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Durham E-Theses Durham E-Theses The language of West African writing in English with special reference to Nigerian prose ction. Young, Peter How to cite: Young, Peter (1969) The language of West African writing in English with special reference to Nigerian prose ction., Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/7959/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 AGEMOVMGEMENTS In the course of this research and the travelling that was necessary to gather scattered material many people have helped me through discussion and the tracing of some of the more difficult West African publications. I am especially grateful to my supervisors, Professor E,D. Jones of Fourah Bay College and Mr. Peter Faulkner of the University of Durham. Without their advice and encouragement this study would not have reached its present stage. I should also like to express my thanks to the following friends in Sierra Leone, Nigeria and elsevAiere who have so selflessly given up time to HQT interests: Mr. John Spencer, Professor Michael Growder, Mrs. Margaret Amosu, Mr. Michael Jolliffe, Dr. Elizabeth Mills (nee Dunstan), Dr. Kay Williamson, Dr. Ayo Banjo, Mr. Bernard Mafeni, Professor Carl Hoffmann, Professor Harold Whitehall, and Dr. John McVeagh. Also Mr, A.N. Ekpiken and Mr. S.O. Oderinde of the Africana Collection, University of Ibadan Library, for their kindness and patience, I should also like to record my gratitude to ray informants Mr. Kenneth Ofodile (Igbo) and Mr, F.A. Aganaba (Ijo). I am grateful to the Committee of the Hvunanities Eesearch Fund at Fourah Bay College which twice made money available for travel in West 'frica. •^cial thanks are due to my wife, Siri, for her forbearance and •- at all times, -r, this thesis represents my own work and no one else can be ponsible for discrepancies it may contain. ABSTRACT Part One of this study consists of a survey of the changing relation• ship of the West African writer to English as the medixxtn of literary creation throughout the eighteenth and nineteenth centuries. The African writer is followed through the almost complete cultural and linguistic dispossession of the eighteenth century i/Aiich by its dose showed signs of slackening. In Chapter Three the changing attitudes towards the African, his education in English, and the gradual re-establishment of his literary independence in the new medium during the nineteenth century are discussed. The process of the ' externalisation' of the African, the emergence of undeniable evidence of his cultural dignity and the final divergence from the British tradition which arose from the early nationalism are also considered as necessary background to the study of the later use of English in West African writing. In Chapter Four, the question of the choice of a language for literary expression in Einglish-speaking West Africa is examined with reference to linguistic thinking. Part Two is a study of present-day attempts to adapt the English langmge for literary purposes. The various methods by which this adap• tion has been attempted are subjected to linguistic examination, and their vaarying success is discussed in the light of the writers' bilingualism, Tn^ich provides a useful insight into the literary effort in West Africa, The study as a T^\diole is an attempt to provide the foundation of objec• tive pre critical criteria upon v\diich a sounder criticism of the language of West African writing in English might be based. CONTENTS Chapter Page I Introduction 1 PART ONE - 'The Background* II 'The Eighteenth Century - Age of Disposition'. 50 III 'The Nineteenth Century and After - "Penmen and Orthographists".• 101 IV 'The Choice of a Language'. 176 PART TWO - 'The New Voice' V 'The Bilingual Author'. 236 VI 'Grammar and Translation'. 288 VII 'Lexis and Transference'. 331 VIII 'The Differentiation of Varieties'. 578 IX Conclusions ^2.k ABBREVIATIONS kk6 SELECTED BIBLIOGRAPHY ^52 POSTSCRIPT 552 - 1 - CHAPTER ONE INTRODUCTION The following study grew out of the recognition that while a great deal has been said in the last few years about West African writing in English, very little of it has taken the form of a cohesive examination of it as a tradition distinct in itself and examinable in its own terns. The tendency has most commonly been to acknowledge the individuality of the literature and to judge it in tems of European tenets of literary criticism, a contradiction that has occurred to very few. This view has been encouraged for two simple reasons. First, the literary forms which have been adopted are largely European ones. Secondly, the language in vhich it is written is English. A consequence of the importation of forms has been that the West African writer, even when he has been praised, has felt himself admired for the 'wrong' reasons."^ It was, indeed, to this reaction against the European critics that Astrachan was replying vAien he wrote on the alleged absence of individuality of character in lest African fiction, It is noteworthy that the attacks ... have been on critics v^o praised Nigerian novels, but for the 'wrong' reasons. The reasons are not in fact wrong, 2 only 'European' - but so is the novel. From a similar standpoint, Tucker was moved to talk of the tendency towards the sociological and political pamphlet in novelists 'only beginning to tackle the problem of individual characterization in the modem world' - 2 - in the following terms. Topicality is ruining the modem novel written in English about Africa. The English and American commentators are mostly to blame, but the West African novelists must share in the blame. Tucker cannot have foreseen the violence with which Ekwensi, in collaboration with Achebe, Nzekwu, Clarke and Soyinka, demanded to know, 'Who the heU is Martin Tucker to be telling Nigerian writers what they should be writing about? The fact that Dickens was writing in a hxirry about topical issues did not preclude his novels fron becoming literature' The answer to this would get us nowhere at all, for the wole argument reflects the stalemate to whj.ch such criticism has come. In an article in Black Orpheus some years ago, Beier remarked of West African poetry: The West African poet writing in a European language finds himself in a difficult position. He is almost bound to be a nationalist and more often than not he is actively engaged in the fight for self- government. His poetry is naturally concerned partly with a criticism and rejection of European values - and yet he has to use a European language to express the same rejection. The poet's paradoxical situation is of course symptomatic of the West African situation as a v\hole. The people best qxialified to lead the nationalist movement are also the most westernised Africans. - 3 - The political implications have changed for the West African writer, but the paradox remains in the search for a distinctive artistic expres• sion in another man's language. Indeed, it is here that we would seem to have the valuable constant we have been looking for. The forms in which the West African has expressed himself in English have changed while the medium he has generally used has not. The criticism of African literature has foundered on the subjectivity of approaches to it. On the one hand, the apparent objectivity of such cr>itics as Tucker and Astrachan is inseparable from their Western sense of proprietorship for the imported literary forms. On the other hand, the West African writer's closeness to his subject goes no further towards the resolution of a sharp critical focus, any more than do such desperate attempts to arrive at critical conclusions as Moore's comparison of The Palm-win^ Drinkard to the quest in European myth in the stories of Aeneas and Orpheus and the allegory of Bunyan.^ The major fault with the approach to West African literature in English is surely that it has been wholly ' critical' and almost never ' pre- critical'. The obvious similarities of forms and language have obscured the very things that matter in criticism, the things that make a literature 7 different from any other. Criticism may not proceed without the pre- critical assumptions and if these are not clear they must be defined with a certain amount of objectivity. The aim of this study, therefore, is to attempt to define at least something of this pre-critical background on which evaluation can be based. Paradoxically, the most consistent source - 4 - of such pre-critical criteria can be seen after some reflection to be in one of the factors that has tended to obscure them, the English lang• uage as used by the writers themselves. Furthermore, it soon becomes apparent that axxy attempt to isolate the pre-critical criteria frcan the body of writing in English has to go back a very long way beyond the beginnings of serious critical attention to West African literature in English vAilch can be said to have begun most noticeably in 1952 with Thomas' s review of The Palm-wine Drinkard.
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