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Pragma-Stylistic Investigation of Proverbs in Some Yoruba-Mediated
Nollywood Films
By
HAMZAT Fatahi Owolabi (146893)
Of
English Department
Faculty of Arts
University of Ibadan
Nigeria
September, 2010
CHAPTER ONE
GENERAL INTRODUCTION
1 Background to the Study
In the beginning was language, Rhetoric was part of language and proverb
was a pillar in Rhetoric. This echoes the fact that the study of proverb started
when language scholarship started. Proverbs scholarship therefore did not
emerge from the blues. This is underscored by the energy expended on this
oral art by such great minds as Aristotle and Plato. These erudite and even the
early Greek linguists wrestled with the question of what constitutes the
proverb. Also, attempts were made by them to distinguish proverb from other
gnomic devices such as apothegms, maxims, aphorisms, quotations, truisms,
witticisms, wellerisms est.
In 1932, Bartlett Jere Whiting came up with his ground-breaking essay on
“The Nature of the proverb”. This momentous essay by Whiting engendered
scholarly articles, monographs, and even books on this unique verbal art. But
it is surprising to note that what all these write ups and books were out to do
was to define the concept “Proverb” and funnily they could not agree. The
failure of the earlier scholars to define proverb is heightened in the
submission of Archer Taylor who unequivocally declared that proverb is
indefinable. The recent works of Mieder on the proverb still do not solve the
definitional problem of proverb. They rather underscore the claim of Archer
Taylor
This did not deter the experts pursuing the gnomic device. The activity
continued even up till now only with meaningful advance. Still looking for
the definition of proverb, some of the most recent attempts in the English
language are those by Shirley Arora, Nigel Barley, Otto Blehr, Margaret
Bryant, David cram, Alan Dundes, Galit, Hasan-Rokem, George Milner,
Peter Seitel e.t.c. despite their newly insightful definitions based on
structural, semiotic or linguistics insights, all agree with contention of the old
master proverb scholar Archer Taylor.
It is however a different game now, the study of proverb has gone beyond
definition or should we say the proverb scholars have allowed the sleeping
dog to lie on the matter of definition but not on the other issues about the
proverb. In Tokyo conference in 1996 on proverb, Mielder, a professor of
proverb said;
Any attempt to describe the present state of proverb scholarship and its
desiderata for the future must by necessity look back upon past
accomplishments. There is indeed an impressive history of the two major
aspects of proverb scholarship, i.e., the collection of proverbs
(paremiography) and the study of proverbs (paremiology). Naturally these
two branches are merely two sides of the same coin, and some of the very
best research on proverbs combines the two in perfect harmony.
This shows us that proverb has now had divisions; paremiography and
paremiology, despite lack of generally acceptable definition of this verbal
phenomenon. The proverb scholar was however quick to add that
comprehensive analysis of proverb is done when both approaches are used at
once.
One may wonder loud what use proverb has that makes it deserve such
scholarly attention. The importance of proverb is best appreciated in a speech
that is meant to achieve immediate or sometime later objectives. Persuasive
or political speeches fall within this precincts. But then one might wonder if
proverb is meant for these alone. Proverb is not an exclusive property of a
personal conversational genre. Anywhere communication takes place,
proverb is welcome. This accounts for our location of proverbs in Nollywood
film. It is a known fact that dialogue is a crucial aspect of movies. Hence, the
tendency of using proverb is high.
Proverb has also been partitioned into four in terms of its function: speech
act situation, formal performance (story telly), virtual chants and verbal
contest. All these partitions are found in the current research. The film, no
matter its origin, will have speech act situation, it is needless to say that the
film is more often than not a story telling of sort. In the same veins, we
seldom stump on lineage praises that use proverbial materials extensively.We
cannot deny verbal acrobatics encroached in proverbs in the film as well.
1.1 AIM AND OBJECTIVES OF THE STUDY
The aim of this research is to investigate the use of proverbs in some Yoruba (a
South Western part of Nigeria) films. In doing this, the study has four specific objectives;
To assert the use of proverbs in Yoruba-mediated Nollywood films
To find out the frequency of the use of proverbs in the films
To find out if the original context of the proverb changes when used in
films; and
To examine the pragmatic functions of the used proverbs as they
contribute to the beauty and message of the selected movies.
SCOPE OF THE STUDY
This study is purely linguistic one and our analysis will focus on
Yoruba-mediated Nollywood movies. Specifically ,Ori(a movie by
Muyiwa Ademola), Ohun Okosomida(a film by Shola Sobowale) and
Baba Super(a film by Bolaji Amusan a.k.a Latin),, .The films are
representative of Tragic-comedy, Tragedy and Comedy representative.
RESEARCH QUESTIONS
Specifically, this study will attempt to answer the following questions:
a. What is the frequency of proverbs used in Yoruba-mediated
Nollywood movies?
b. Do proverbs used contribute to the story line of the movies?
c. What other value do proverbs have apart from meaning in the movies?
SIGNIFICANCE OF THE STUDY
A good conversation in Yoruba is adjudged appealing and
insightful if it draws from proverbs. This is so because the Yorubas
believe proverbs are discourse tools that help in deriving home points.
Hence, a meta-proverb; proverb is the horse for a discourse, so is
discourse for proverb, when a discourse seems knotty, we employ proverb.
Proverb has a close relationship with Style which is an integral part
of Rhetoric. It also finds its place in Discourse Analysis. It is against this
background that the study of proverb is significant. The significance of
this current work is further underscored for the fact that this investigation
is to be carried out in the purview of the Yoruba-mediated Nollywood
movies.
JUSTIFICATION FOR THE STUDY
Cultural export is one of the ways of generating revenue for a country. One of the
easiest ways of exporting culture is through the movie. Hence, Nollywood-the concept to
be fully explained immediately after this heading-is a good means of cultural transport
for Nigeria.
Nollywod is one of the fastest-growing film industries in the world, and one of the
largest, too, in terms of output, alongside Bollywood-india film industry, based on
UNESCO’s survey conducted a few years ago. Nigeria produces a staggering 2,500 films
a year. Not less than too full length documentaries have been done on Nollywood. This
alone justifies this research work.
Carrying out researches in Nollywood from any perspective is therefore a
worthwhile idea as the fallout of such researches will inform the artists of where more
effort is needed. And by improving on their work, the flag of Nigeria carried by
Nollywood becomes more popular as the movie industry shows the world that we have
quality. This work researches in Nollywood from the angle of proverb since what is said
is the substance of movies and proverb is the spices of what is said more often than not.
DELIMITATION OF THE STUDY
The textual function of language as postulated by Hlliday (1973;70) invokes both
linguistic and situational clues (Halliday and Hassan 1976;21).The linguistic clues refer
to specific linguistic elements which bind a passage together, giving it a pattern of
connection, independent of structure, resulting in semantic relations. On the other hand,
the situational clues otherwise known as context of situation refer to all the extra-
linguistic factors that constitute the environment in which a text arises. In this study, our
concern shall be analysis of situational clues that aid proverbs in Nollywood films to
yield meanings .Besides, this study is delimited in time and in location. In other words,
the study considers only Yoruba-mediated Nollywood films and only three out of the
deluge of films that Yoruba-mediated Nollywood films has produced and that is still
producing.
GRAMMATICAL MODEL
This study shall be hinged on Systemic Functional Grammar developed by
Halliday (1961) and his disciples. This model becomes attractive because it adopts a
descriptive approach to the study of language. Significantly, systemic linguistics places
emphasis on how language functions in society. In other words, the theory conceives
language as a social activity and that ability to convey meaning from one person to
another is the main function of language. Halliday (1978; 70) posits that the grammar of
all languages is capable of performing three key functions. These three basic functions
also known as meta-functions are the ideational, the interpersonal and the Textual
function
IDEATIONAL FUNCTION
Ideational Function has to do with use of language for thinking and expression of
thoughts and experiences both in the physical and in the imaginative realm. By means of
this function, a person can refer to people, things, objects, places, actions, events, states,
qualities and circumstances. For instance, a person who says: I am hungry, has used the
ideational function of language to express his experience. Ideational function is
grammatical.
INTERPERSONAL FUNCTION
Man is a social being who lives in a community. He is designed to relate with
other members in his environment. This is the situation that called for interpersonal
function of language. The interpersonal function of language has to do with the creation
and maintenance of social relations. This can manifest in form of various greetings in
order to open or maintain social interaction. It may concern the use of language to
influence people’s behaviour and getting things done. Also, it may function to show the
feelings and attitude a speaker or writer attaches to what he/she says. Ideational function
is pragmatic. Hence this is where the present work really falls.
TEXTUAL FUNCTION
Language, as we know, has a way of organizing itself for effective communication in
society. The function which relate to this way is textual function. Basically, the textual
function is concerned with the creation of text. That is, the textual function is the ability a
language has to create cohesion, which account for the relatedness of one sentence to
another in a text. In other words, the textual function accounts for the sequential
organization of text so that communication is not disjointed. Again, it must be
emphasized that the essential aspect of this function is the notion of cohesion which is the
semantic interconnections that exist in a text and distinguishes it as a text rather than
mere jumble of words. Based on the facts stated above, it is apparent that the choice of
Systematic Function Grammar as theoretical foundation for this study is the ideal one,
WHAT IS NOLLYWOOD?
Nollywood is the name attributed to Nigeria's movie industry. By definition, it is
Nigeria's movie industry by Nigerian production teams for the Nigerian people.
Nollywood has over the years become a world phenomenon, as its movies are being sold
in Ghana, Togo, Kenya, Uganda and South Africa as well as Jamaica, USA and the UK
to name a few.
Although the name caused a protest in the earlier days as critics felt it was
imported and derived from Hollywood and Bollywood. There was also an argument on
issue of the name being coined by a foreigner. Some didn't like it, but the good thing is
that Nollywood as a name has moved far beyond these earlier hiccups. No-one actually
bothers about the origin of the name today. It has become accepted that Nollywood
applies to the Nigerian Movie Industry.
Today, Nollywood ranks third in the movie industry after Hollywood (USA) and
Bollywood(India). It has been able to stay despite so many deterrents, which to name a
few include, expensive technical tools of the trade, inconsistent supply of electricity
(which is taken for granted in almost every other country in the world), the horrible
traffic-jam conditions which can lead to extreme lateness in production times (but the
"show must go on"!), and little on no governmental aid, not to talk of piracy.
What makes the industry so unique is that it is a video driven industry; the movies
in the early days were produced and put straight on VHS cassettes and then released/
distributed for sale to the public. Now with the new technological advancement in place
they are usually on VCD's, the Nigerian refer to the movies as "home video".
This reputation notwithstanding, this phenomenon called Nollywood inherits
ethnic divisions that characterize Nigeria. Thus, we talk of Yoruba Nollywood films (our
concern in this research), Igbo Nollywood films and Hausa Nollywood films.This reflects
the three major ethnic groups in the country. It must be added that Nollywood covers any
film that emerges from any of the Nigerian ethnic groups.
PRAGMA-STYLISTICS
It is important we talk about this model as it is unique in its combining of two
fields. The term ‘Pragma-stylistics’ which if morphologically dismantled is ‘Pragmatics’
and ‘Stylistics’ is a concept that x-rays the interface of context and choice. It is not
deniable that certain context requires choice making in terms of language use. Likewise,
choice making does not happen in a vacuum but in a particular context. But then since we
have known that Pragmatics and Stylistics gave birth to Pragma-stylistics, it is desirous
we look at each one after the other. Hence, what is Pragmatics? What is Stylistics? What
do we discuss when we have both interacted?
WHAT IS STYLISTICS
Peter Verdonk(2001) sees Stylistics, the study of style, as the analysis of
distinctive expression in language and the description of its purpose and effect. How such
analysis and description should be conducted, and how the relationship between them is
to be established are matters on which different scholars of stylistics, or stylisticians,
disagree.
Stylistics is a branch of linguistics, which deals with the study of varieties of
language, its properties, and principles behind choice, dialogue, accent, length, and
register. Stylistics also attempts to establish principles capable of explaining the
particular choices made by individuals and social groups in their use of language, such as
socialisation, the production and reception of meaning, critical discourse analysis and
literary criticism.
Many linguists do not like the term ‘stylistics’. The word ‘style’, itself, has
several connotations that make it difficult for the term to be defined accurately. However,
in Linguistic Criticism, Roger Fowler makes the point that, in non-theoretical usage, the
word stylistics makes sense and is useful in referring to an enormous range of literary
contexts, such as John Milton’s ‘grand style’, the ‘prose style’ of Henry James, the ‘epic’
and ‘ballad style’ of classical Greek literature, etc. (Fowler. 1996, 185).
In addition, stylistics is a distinctive term that may be used to determine the
connections between the form and effects within a particular variety of language.
Therefore, stylistics looks at what is ‘going on’ within the language; what the linguistic
associations are that the style of language reveals
WHAT IS PRAGMATICS
According to Yule (1996a; 127) (pragmatics studies the “’invisible’
meaning or how we recognize what is meant even when it isn’t actually said (or
written)”This fronts the essence of pragmatics; pragmatics is not what it is said
but who said it, where it is said, when it is said, and how it is said.
In another words, Pragmatics is a systematic way of explaining language use in
context. It seeks to explain aspects of meaning which cannot be found in the plain sense
of words or structures, as explained by semantics. As a field of language study,
pragmatics is fairly new. Its origins lie in philosophy of language and the American
philosophical school of pragmatism. As a discipline within language science, its roots lie
in the work of (Herbert) Paul Grice on conversational implicature and the cooperative
principle, and on the work of Stephen Levinson, Penelope Brown and Geoff Leech on
politeness.
The lack of a clear consensus appears in the way that no two published accounts
list the same categories of pragmatics in quite the same order. But among the things
popular in the fields are: Speech act theory, Felicity conditions, Conversational
implicature, the cooperative principle, Conversational maxims, Relevance, Politeness,
Phatic tokens, Deixis among others
The field is not however, without criticisms. Among these are:
It does not have a clear-cut focus
Its principles are vague and fuzzy
It is redundant - semantics already covers the territory adequately
The pragmaticians did not tarry to defend pragmatics with the following points:
The study of speech acts has illuminated social language interactions
It covers things that semantics (hitherto) has overlooked
It can help inform strategies for teaching language
It has given new insights into understanding literature
The theories of the cooperative principle and politeness principle have provided
insights into person-to-person interactions.
Having realized that Pragma-stylistics is nothing new, but rather an amalgamation
of two already known fields; pragmatics and stylistics,we can now see that Pragma-
stylistics as a model employed in analyzing proverbs in Yoruba movies is appreciated
better when we realize that there exist at least two proverbs to express an action in the
Yoruba world of proverb, and the user of proverb must make a choice(style) and is
already a fact that the choice would be made in a particular situational
context(pragmatics).
One may, as a matter of logic, think that this model could as well be dubbed
Stylistic-pragmatics. But a critical appraisal shows that this could not be. The reason
being that choice making does not precede contextualization. It is clear when we realize
that it is the context that negotiates style. It is the context that will by default generate
options from which to make a choice. Hence, we are still on the right path to say Pragma-
stylistics. This does not enact a decree that Stylistic-pragmatics is meaningless only that it
is not within the purview of this works.
CHAPTER TWO
LITERATURE REVIEW
REVIEW OF RELATED LITERATURE AND THEORETICAL FRAMEWORK
This chapter will review related literatures as well as theoretical frameworks of
the past and present works on proverbs. This will show us the necessary gap this work is
to fill.
Across languages and cultures, proverbs constitute a very important aspect of
language use. Hence, they have been subject of varying attention from linguists,
anthropologists and language users in general. They have also been described and labeled
in various ways in different languages and cultures. For example, the Yoruba refer to
proverb as a kind of horse which comes handy in recovering a speech that has derailed.
Among the Igbo, proverbs are “the palm oil with which words are eaten” and they form
“an aspect of language use which not only makes a point, but fixes it in our minds”
(Achebe, 1958:6, xi).
Even the scriptures are not silent on proverbs. Proverbs 1:1-7 (The Holy Bible,
New International Version, 1984), explains that proverbs help the wise in increasing his
wisdom, while enabling the discerning to get guidance. Proverbs in different languages
and cultures form part of the codes of behaviour and exemplify their use for the
transmission of tribal wisdom and rules of conduct (The New Encyclopedia Britannica,
1992:749).
Burton (1981:84) refers to proverbs as a short-hand frame of reference to the
moral and ethical inclinations of a people. They could form part of a class that comprises
origin myths, folk-tales and songs which feature in conversation between mature adults.
Adegbija (1980:63) believes that proverbs “mirror the life of the people, reflect
what they do, what and how they think, how they live, what they value, admire or abhor
and what joys and sorrows they experience”.
Lawal and Raji (1997:635), opine that proverbs “represent the quintessence of a
people’s collective wisdom sustained and transmitted from generation to generation”.
And, according to Noah in Iwara (1996:95) “a proverb is a laconic declaration, generally
invariable in its structure, whose intervention in a context of verbal representation
condenses and radiates experience, ideas and admonitions through its terse, pithy
statement of a truism
Proverbs are the distilled genius of oral cultures, perhaps even an encapsulation of
the whole. They identify and dignify a culture, bringing life into wisdom and wisdom into
life. Unfortunately their potential value for modern thought and life is little recognized.
Even in Africa itself, proverbs are a vanishing heritage associated mostly with the
barefoot, rural world. They seem never to have found a home in the modern world,
especially in the imported system of education. The central intellectual problem of Africa
today is how to integrate those two worlds rather than leave the next generation spread-
eagled between them.
The required integration of proverbs with modern life is not simply a matter of
learning to quote a few proverbs now and then. Careful study is needed at many levels
and from various disciplines so that the themes and patterns of proverbs can be
recognized, appreciated and evaluated. The complexity and depth of proverbs is one of
the reasons they are neglected--researchers know that one cannot base a sound argument
on any single proverb without a fairly comprehensive knowledge of the whole proverbial
store of a given language.
Be that as it may, a considerable body of literatures about proverbs exists though
it is very patchy. African proverbs are at sixes and sevens with every academic discipline,
cutting across the disciplines to deal with the whole of life. With the advent of computers,
new possibilities open up for comparative study of vast numbers of proverbs if standard
indices are used. How will these indices be agreed and implemented? Which academic
discipline will get the proverbial ball rolling, take the bull by the horns, and bell the cat?
Among the common works in prover is that by Alabi (2000:215-230).In the
work,Alabi highlights the form and functions of proverbs in five plays of Olu Obafemi.
The three groups she identifies are, first, proverbs that echo existing Yoruba proverbs,
which aim at freshness, reducing the boredom of encountering everyday proverbs. The
second group consists of proverbs that are garnished by rhetorical elements such as
unusual collocates, L1 lexemes, parallel structures, anastrophe, parenthesis and ellipsis
which serve the function of engaging the minds of the audience/readers in the intellectual
tasks of identifying new versus old forms of the proverbs. The last group comprises
proverbs that sparkle in translation “with the vivid imagery of the L1 and its culture”
which functionally provide the necessary cultural milieu for the plays she studied.
This Alabi’s study stresses style in its analysis, though she mentions function and
identifies few functions of proverb but the bulk of the work favours style which is Form
as evidenced in her grouping of the proverb. In addition, this work is text-based calling
into question the dialectical variety of the proverb used. No doubt, it is more from Olu
Obafemi’s, representation of the proverb.
Nelson Fashina in IBADAN Journal of English Studies,vol 3 2006,examines the
context and the meaning of proverbs in Achebe’s African classic novel,Things Fall
Apart, and their implications for Achebe’s insidious but subtle propagation of pro-
feminine gender politics.
Wonderful as Fashina’s work is, its bias for a group of proverbs shows that the
researcher just bit what he could chew. Writing on gender-related proverbs alone makes
one to ask if proverbs do not exist for Commerce, Education, Law, Sport, etc. What this
means is that Fashina did only what he found important to him in the field.It is important
to note that Fashina’s work is guilty of Alabi’s sin;too text-based analysis
Adeleke Adeeko (1992, 1998) examines the context and functions of proverbs in
African discourse and posits that ‘proverbs are commonly used to mark thematic shifts,
indigenous high rhetoric, self-conscious speech, and the intellectual sharpness of
characters.
It is unarguable that Adeleke’s angle to the subject ay hand is refreshing
as the researcher goes beyond text-based analysis.Adeleke approach which
appears discoursal reveals that proverb is a veritable tool to probe psychology.
But then,Adeleke’s flaw is located in the fact that proverbs are not only for
serious affairs as this current work shall prove.This is glaring in comedy where
wise idiots use funny proverbs
Adedimeji(1997),investigates aspects of the meaning of proverbs in the
two works of two Nigerian authors, Achebe’s Things Fall Apart and Rotimi’s The
Gods Are Not To Blame. It is contended that meanings of Nigerian proverbs can
be worked out within the semantic, referential, ideational, stimulus-response,
realist and contextual theories. Types of meaning and proverbs are addressed
and situated within the two works. It is advanced that proverbs play significant
roles in clarifying, exemplifying, underscoring and influencing communication.
With the broadly analysed thirty proverbs in all, the study attempts to further
demonstrate the vitality of semantics and pragmatics in negotiating meaning
especially in a second language context The situational contexts can also be sub-
divided into immediate (micro) and wider (macro) situational contexts. The micro
situational context refers to the immediate environment or social context of the discourse
in which the proverb is used. It codes such sociolinguistic features as the discourse
participants, their ages, social classes, psychological states, discourse topic or subject
matter, discourse situation (whether formal or informal), etc.
Furthermore, there are two types of context; macro and micro context. The macro
situational context refers to the wider environment in which the discourse is taking place.
It codes such macro-sociolinguistic features as the socio-cultural beliefs of the speech
community, their psychological perspectives, as well as their cosmological views, among
others. The micro situational context is therefore subsumed in the macro situational
context. Both of them are comparable to what has been variously referred to as text-
external world (Lambrecht, 1998), mutual contextual beliefs (MCBs) (Bach and Harnish,
1979), principles of local interpretation and analogy (Brown and Yule, 1983) and
background structure (Lawal, !j1y8 and R2j8, 1997). Lawal et al. (1997:635-652)
describe the illocutionary acts performed through the use of twelve Yoruba proverbs.
They analyze the linguistic, situational, psychological, social, sociological and
cosmological contexts which listeners or readers have to competently deploy to interpret
the proverbs. They dissect the frontiers of meanings inherent in the proverbs through the
pragmatic theory, which is a theory of meaning. Pragmatics is mainly concerned with the
different meanings which words, phrases and sentences can have in different contexts of
use (Lawal, 1997:19).
Following Lawal’s (1992) thesis that proverbs seem to contain the richest
pool of pragmatic or semantic factors, the meaning mappings provided by proverbs are
therefore significant for attention especially in the second language context, where the L1
ideas are transposed on the L2 codes. Though, due to the universality of human
experience, proverbs exist in all languages with similarities in terms of their reliance on
vivid images, domestic allusions and word play, yet they are scantily encountered in
many European languages (Crystal, 1997:53). On the contrary, proverbs feature
prominently in interpersonal, transactional and ideational language use in Africa. And
since African writers articulate African ethos that “enable a compelling realization of
African aesthetics”, Nigerian writers are wont to suffuse their committed literary
enterprises with abundant proverbs as a way of underscoring cultural consciousness and
evoking penetrating meanings.
This scholar takes a step further by bringing two authors text together for
proverb analysis but he is still not less culpable in the area of text-based
analysis.
Furthermore, certain scholars have been channeled their intellectual energy on
Gender and Proverb.Popular among them are Oyekan Owomoyela’s ‘The Sociology of
Sex and Crudity in Yoruba Proverbs’ (Proverbium,1972) J.O.Ojoade’s ‘African Sexual
Proverbs. According to him, Proverbs are common features of conversational eloquence
in many African cultures, especially in Nigeria. Such “wise sayings” are usually acquired
and learnt from listening to the elders’ talk. Given the vintage position that the elders
occupy in various African traditions as the human repository of communal or primordial
wisdom, they are the masters of eloquence, rhetoric and meaning. They are the ones who
know how to impregnate short expressions with vast meanings, implicating the proverb,
“it is the elder’s mouth that determines a ripe kola nut.
Yusuf is also a prominent researcher in African proverbs,he has worked on Rape-
related proverbs(1996),proverbs and sexism(1999).Yusuf suggest re-constructing of
proverbs that denigrate or ignore female folks.
R.K.Omotosho’s analysis of the direct and indirect illocutions of Yoruba proverbs is
also insightful. In the work, he tried to find out the extent to which the structure of
Yoruba proverbs has influenced their literal meanings and how these meanings, in turn,
have affected the direct and indirect illocutionary acts and forces of the
proverbs.Also,Akin Odebunmi(2006) explores the political crisis motivated proverbs in
The gods are not to blame of Olarotimi.
Fayemi A.K (2010) examines the question of logic in African philosophy through a
systematic exploration of Yoruba proverbs as a useful cultural resource. Its basis is to
strengthen the defence of logicality of traditional unlettered Yoruba-Africans. It argues,
with illustrative examples, that proverbs are the axiomatic regimentation of formal logic
in African philosophy. He establishes a close nexus between logic and language. Using
the Yoruba language as an example, he shows that there are some elements of formal
logical inferential rules and principles embedded in Yoruba proverbial thought. As a
matter of universal application, these logical principles are conventionally used in Yoruba
cultural milieu to evaluate discourse, reasoning and thoughts. In addition, he identifies
the critical challenges and difficulties that are confronted in the course of exploring the
logic in Yoruba proverbs.
The collection of this oral literary genre also worthy of review from the production of
Òwe Yorùbá (1947)
Àkójopo Àwon Òwe Yorùbá (1962), Egbòkànlá Lé Ogóòrin Òwe Yorùbá (1955), and
Ìwé
Òwe ní Èdé Yorùbá (1955). One of the things that helped the transmission of Yoruba
culture to scholars from other parts of the world then was that most documentations
made on proverbs had English translations. The tools deployed for documentation by
these scholars then were basically oral interview and the print media. The outcome of
Collections done through interviews were published texts, which later became resource
materials for early scholars in Yorùbá oral literature. For instance, Beier and Gbadamosi
(1959) examine the ideas contained in Yoruba proverbs. They conclude that Yorùbá
World views are reflected in their proverbs. The classification of Yorùbá proverbs done
by Sobande (1967) and Bamgbose (1968) also relied heavily on the collection done by
the early scholars.
Fasiku(2004) attempts to situate Yorùbá proverbs, names, role-expectations,
aspirations and consciousness towards building and contributing to the development of a
national consciousness. He proceeds with a critical exposition of the general nature of
Yorùbá proverbs, an exploration of the dialectical relationship between Yorùbá proverbs
and names, and argues that this relationship instantiates a descriptivist theory of reference
of names in the philosophy of language, with concluding particulars that critically
espouses the values and virtues embedded in selected Yorùbá proverbs and names
Other scholars that contributed are Ayo Bamgbose(1968;77),Austin Shelton
(1969;105), M.J.C.Echeruo,1971;65),Chukwuma Okoye (1979),Nwachukwu-Agada
(1988),1990,1993)’(1998;50),Oha (1998),Y.K Yusuf (1998),Raji-Oyelade(1998 and
2004) and Ayo Kehinde (2004).
It is thus certain that proverb scholarship is a well researched area which ensures that
the prospective researchers in proverbs get a compass for direction. One may then
wonder of what use is venturing into what has been claimed to be well researched
already. The answer is found in the fact that all researches so far, at least to the best of
my knowledge, are text-oriented and those that are not text-based employ abstract context
for their analysis. As a matter of specificity, no proverb research has probed proverbs in
movies known to me, if any has done it, then none has done it on Yoruba movies, if any
makes claim of this, then none has chosen the exact movies this research shall use. The
last argument is based on the currency of the selected movies and its cutting across the
genral divisions of films; tragic-comedy, comedy and tragedy.
1.2 PROVERBS ACROSS LANGUAGES AND CULTURES
Thus, the study of proverb is no doubt a fascinating aspect of language study. This
is well understood when we realize that apart from message-explicating nature of the
proverb, it does perform aesthetic function as well either looked at from organist or
ornatist view. Little wonder that the study of this spectacular aspect of language now has
two approaches to it; paremiography and paremiology. Paremiography deals with
collection of proverbs of different regions and cultures while paremiology is the study of
the collected proverbs.
That the scholarship of this linguistic phenomenon has two braches attests to how far
scholars have treaded this path. However, the University of Vermont don claimed that the
best and accomplishing way of studying proverbs is to be a collector and analyst of them
as well.
The position accorded the proverb among the Yoruba-the part of the world we
want to analyze its proverb-is sacrosanct. Among these people proverbs taste sweetest in
the mouths of very old people. This is not, however, implying that younger ones cannot
use proverbs in their speeches, but they have to defer to, and seek permission from the
elders present, saying: "I bow to you elders; it wants to go the way of proverbs ...” And
the elders will grant him permission, blessing him: "May you live long to use more
proverbs". Proverbs are thus employed to reinforce and sustain the traditional respect for
elders. In this regard, it also serves as a potent means of social control. In settling quarrels
and disputes, a proverb comes in handy: "It is only he who is knowledgeable in words
and proverbs that can settle quarrels'". Again, the traditional deference to elders is here
underscored.
The aesthetic qualities and functions of proverbs can be gleaned from their different
poetic techniques. There are certain stylistic devices such as the foregrounding of sound,
imagery and diction which are not common in ordinary usages. This explains the
intellectual, emotional and imaginative appeals of several Yoruba proverbs. Hence,
another proverb claims that "the agidigbo drum is sounded like proverbs; it is only the
wise that can dance to its rhythm, and the knowledgeable (in words) that can interpret its
message".
Yoruba proverbs also serve didactic functions, especially for the younger generation.
This is why level-headed youths crave the company of elders so that they can glean
linguistic, cultural and historical information usually conveyed in elders' speeches which,
as indicated earlier on are full of appropriate proverbs. As the proverbs go, "it is the old
mouth that knows the ripeness of kola" and "any youth that washes its hands clean shall
dine with elders".
A cursory examination of the contents of even a small number of Yoruba proverbs
would reveal an eclectic socio-cultural origin. The sources are as varied as the historical,
social and cultural experiences of the Yoruba people. The significance of historicity, for
instance, can be seen in this proverb: "Greeting is something but taunting another thing;
we do not greet a man by calling him an Ijaye man passing through the frontage of
Ogunmola's house". This proverb contains a historical allusion to the Ijaye war of the
early 1860's and the historic role of Ogunmola in the war.
Perhaps the greatest number of Yoruba proverbs is minted from the socio-cultural
realities of traditional Yoruba experience. Hence, "as soon as the suitor wins the consent
of his woman, the match-maker must withdraw his services", and "inheritors cannot be
likened to true heirs". In addition, "the slave dies without the knowledge of the mother,
but pandemonium greets the death of the freeborn". This last one would seem to be
equivalent in pragmatic function to the Shakespearean coinage; "When beggars die there
are no comets seen; the heavens themselves blaze forth the death of princes" (Calpurnia
in Shakespeare's Julius Caesar, Act III, Sc. ii.).
Within the realm of socio-cultural experience, the Yoruba religious and moral ethos is
perhaps the richest sub-source. Some of the proverbs derived from this area include: "If
my deity cannot support me, he should leave me as he met me"; "Our character is deity,
the more positive it is, the more supportive"; and "No deity .supports the indolent; it is
our arms that support us". These last two proverbs would seem to echo the English
equivalent which claims that "character is fate".
There are a handful of Yoruba proverbs that manifest deep psychological penetration
and an understanding of animal behaviour. Two examples of these are "Human beings
never assist in licking your hands when they are smeared with blood, except when they
are shimmering with palm-oil"; and "a sheep that keeps the company of dogs must eat
faeces", in other words, "show me your friends and I will know whom you are".
Certain lines of divinatory and incantatory poetry have come to stay as widely
accepted proverbs among the Yoruba. Due essentially to their poetic origin, this category
of proverbs displays philosophical profundity and a keen sensitivity to the environment.
For instance, "when the wood-insect gathers sticks, on its own head it carries them, in the
same way as "the ash must trail whoever blows it", and "the earth shall consume those
who betray it”. This set of proverbs is closely associated with figurative or literary
expression. More often the proverbs are figurative in one way or another. Direct similes
occur fairly often. The Hausa, for example, say that ‘A chief is like a dust-heap where
everyone comes with his rubbish (complaint) and deposits. Among the Southern Bantu
the likening of something to dew melting away in the sun appears in many forms: the
Zulu suggest that something is caly a passing phase by asserting that ‘This thing is dew’
or Ndebele kingship is dew ‘wealth’ is another stock comparison, as in the Swahili ‘wits
(are) wealth; or the vivid saying of the Thonga and others that ‘To bear children is
wealth to dress oneself is (nothing but) colours. Many other examples of these direct
comparisons could be cited: the Southern Bantu To look at a men as at a snake’ (i,e. with
deadly hatred), or To marry is to put a snake in one’s hand bag ; the Ashanti proverbs
Family names are like a blanket; when you cover yourself with it, it irritates you, and yet
if you cast it aside you feel cold and the Xhosa. He is ripe inside, like a watermelon;
describing a man who has come to a resolution without yet expressing it publicly.All
these underscore the claim that proverbs are literary in a sense.
Importantly, many have observed that proverbs overlap with many other verbal
arts but when we consider certain specialized forms in which proverbs appear, we shall
see it as a verbal art of their own kinds. Their use in the form of proverb names is one.
Among the Ovimobundu, to give one example, the woman’s mark Simbovla is a
shortened form of the proverb ‘while you mark out a field, Death marks you out in life’ –
in life you are in the midst of death’ Another connection is with bird lore, a form
particularly among the Southern Bantu. The cries attributed to certain birds can be
expressed as a proverb or a song. The hammerkop, for instance, can be referred to as a
symbol of vanity either in a brief proverb or in the full song in which he is represented as
praising himself at length; the songs here are thus in- extricably linked with the proverbs.
Proverbs are also sometimes connected with other artistic media: they can be
drummed (a characteristic form in some West African society,Yoruba Community
inclusive), sung, as with Legal judicial proverbs, or can appear on the flags of military
companies, as among the Fante,; Most striking of all is the way the Ashanti associate a
certain proverb with one or other of their many ‘gold weight’- small brass figures and
images originally used to weight gold dust and worked with great skill and humour. Thus
a snake catching a bird represents the proverb. The snake lies upon the ground, but God
has given him the hornbill’ (that flies in the sky). Another weight depicts two crocodiles
with only a single stomach between them, representing ‘Bellies mixed up, crocodiles
mixed up we get anything to eat it passes down our respectively gullets’- a famous
proverb often cited when one individual in a family tries to seize fro himself rather than
sharing.
Certain direct associations between proverbs and other artistic forms such as
metal work or drumming or song may be peculiar to certain African societies, but the
general association of proverbs and other forms of literature is not after all very
surprising. Close connections are perhaps particularly characteristics of an oral literature
without a clear- cut distinction between written and unwritten forms, but the sort of way
in which proverbial expression and other types of literacy art (including the art of
conversation) mutually enrich and act upon each other is something which is presumably
a quality of most cultures. In this, then proverbs in African are not so very different from
those in any literate culture, in both of which their main impact seems, in fact, to be in an
oral rather than a written form. In neither case should they be regarded as isolated sayings
to be collected in hundreds or thousands on their own, but rather as just one aspects of
artistic expression within a whole social and literary context. The close connection of
proverbs with other literary forms raises a difficulty. How, particularly in an oral culture,
can we distinguish proverbs from other forms of oral art? Or indeed from ordinary clichés
and idioms, and from such related but different forms as maxims and apothegms?
Most of the published collections ignore this point of definition and by merely entitling
their works ‘proverbs’ often give the misleading impression that these sayings are clearly
differentiated from other expression or that they are in all way equivalent to our idea of
proverbs. Some of the best collections, such as those of Hulstaert, Nyembezi, Doke, or
chatelain, specifically point out this difficulty, but most have little or no discussion of this
point.
As earlier said, the exact definition of proverb is no easy matter. There is,
however, some general agreement as to what constitutes a proverb. It is a saying in more
or less fixed from marked by shortness sense, and salt’ and distinguish by the popular
acceptance of the truth tersely expressed in it. Even so general a picture as this contains
some useful pointers for the analysis of African proverbs.
First, their form, they are picked out first and most obliviously as being short; and
secondly by the fact that even where the wording itself is not absolutely fixed, at least the
main structural pattern is accepted in the society concerned. In addition to terseness and
relatively fixity, most saying classed as proverbs are also marked by some kind of poetic
quality in style or sense, and are in this way set in form from more straight forward
maxims.
The question of ‘popular acceptance’ is however, a more difficult one. If one of the
marks of a true proverb is its general acceptance as the popular expression of some truth,
we are seldom given the data to decide how far this is indeed a characteristic of the
sayings included in collections of ‘proverbs’. In many cases presumably the sayings
included are proverbs in this full sense. But we have in fact no way of telling whether
some of the ‘proverbs’ included are not just the sententious utterances of a single
individual on a single occasion which happened to appeal to the investigator.
The sort of terminology involved can sometimes provide a clue to the local
attitude to ‘proverbs’. As we have seen, there is sometimes a specialized term, sometimes
not. This is not always made clear by collectors. Even more serious is the frequent failure
to consider when, how, and by or among whom common proverbs are used. Even where
something about the general context is given, we are practically never told in detail how a
given single proverb was actually. Yet, as will emerge, this may in fact determine its
significance, the way in which it is appreciated locally, even its meaning. This aspect is
often crucial, if whether or not some attractive saying is really a ‘proverb’ depends on the
local evaluation of it. This question is made more difficult because proverbs often have
no specialized occasions for their use. Unlike forms as riddles and stories they are not
normally set apart as suitable for relaxation after, say the end of the day’s work, but are
closely involved with speech and action on every sort of occasions (including general
conservation). Therefore to differentiate those saying which are merely idiomatic from
those which the people concerned consider to have that special flavour which makes it
correct to call them proverbs, we need more precise information about context and
attitude than we are usually given.
In the Yoruba language, appropriate use of proverbs is part of the competence that
a speaker is expected to exhibit. No wonder then that the language is full of proverbs
which cut across all facets of the Yoruba people’s cosmology. Actually, when proverbs
are used in (Yoruba) discourse, they implicate several aspects of the sociolinguistic
variables of discourse. For example, sociolinguistics parameters like the age, sex, social
class, psychological states of interlocutors, as well as other situational contexts of
discourse, become very relevant in a Yoruba speaker’s use of proverbs in discourse. In
the Yoruba culture for instance, the elders are believed to be the custodians of proverbs,
as it is only in their mouths that proverbs, like kola-nut become ripe.
Chapter Three
METHODOLOGY
In a work like this the phenomenon, proverb in this
case under analysis is as important as the way or method
employed in its analysis.Moreso,it is a norm for scholarly
works to use theory. This is used as a guide for orderliness
and smooth analysis.As a result of this,this work will
employ the guide.However,it must be clearly stated that the
guide here shall come in form of blended theories;Mey
Theory,two views of proverb analysis are used as explained
below soon
In the words of Mey (2001: 221), the pragmatic act theory focuses on "the
environment in which both speaker and hearer find their affordances, such that the entire
situation is brought to bear on what can be said in the situation, as well as what is actually
being said". This perspective is captured as a pragmeme, a generalized pragmatic act
regarded as the only force associated with making utterances.
A pragmatic act is instantiated through an ipra or a pract, which realizes a
pragmeme. "Every pract is at the same time an allopract, that is to say a concrete
instantiation of a particular pragmeme" (Mey 2001: 221). What determines a pract is
solely participants' knowledge of interactional situation and the potential effect of a pract
in a particular context. Thus, practing resolves the problem of telling illocutionary force
from perlocutionary force.This view will be used in the analysis
Investigating the use of the pro-
Verb one then faces a problem of methodo-
logy. The use of Goldstein's induced
natural context technique which works for
other genre would be of limited applica-
bility here. The proverb is an excep-
tion to the method of induced natural con-
text, because asking two informants to en-
gage in a verbal exchange of proverbs is
different from asking a group of people to
gather and tell stories. In the latter case,
there is a natural context (audience) which
has been induced. In the case of the pro-
verb there would be an audience or an in-
duced context, but one essential ingredient
of proverb usage would be lacking, namely
linguistic context, an intergral part of the
definition of the proverb.
Furthermore,
should the researcher here ask the infor-
mants to converse and use proverbs? If so,
what topic of conversation should be raised?
abviously the use of proverbs cannot be pre-
determined . The user does not anticipate
his use of proverbs; he cannot predict
what topic or specific situation will inspire
him to use a proverb. Proverbs are the
result of an instant impulse, and a prolific
user may speak continuously for several
hours without using one proverb. What
couId the researcher then conclude about
the speakers' use of proverbs? Or is he
going to ask his informants to compete in
uttering proverbs out of linguistic context?
If he were to adopt this approach, he would
violate the meaning of popular sayings among
several ethnic groups in Africa which advise
the contrary. An Akan proverb says, "You
cannot dream except in sleep, " or sometimes,
"Without discourse there is no proverb."
Having shown the fruitlessness of the
induced natural context, there remain two
a1ternatives for the scholar interested in
proverb usage: observing the use of pro-
verbs in a natural context-which is the case with the
proverbs in Nollywood, and inter-
viewing subjects about their use of proverbs.
The former technique is the most reliable,
but its results may be haphazard owing to
the nature of the proverb. The latter ap-
proach is probably more promising, the
disadvantage being that informants find it
difficult to recall a proverb they have
used. In the research conducted by
present writer both methods were combined.
We shall use both primary and secondary source of data collection in our
analysis.We shall use at least three classical Yoruba movies Ori(Destiny),Agogo
Eewo,Saworo ide.
In these films,we shall fish out the proverbs in them, offer their English glosses
and analyse them using merged models of pragmem-a new pragmatic theory by Mey
2001- ,a cognitive theory of proverb of Larkoff and Turner and stylistics approaches
Using pragmeme theory, the analysis requires modifications of the theory to suit our
data .Hence we adopt the modified model below;
Proverbs
S SCP NCP H
Macro Micro
Dialogue acts Context
Indirect speech acts REF, MPH,
INF, SSK, SCK
REL
Practs;
CHAPTER FOUR
This chapter takes up analysis part of the work. Inventories of the proverbs are
taken and systematically analyzed. In order to have a good grasp of the proverbs in each
movie, thematic pre-occupation of each is briefly delved into
Ori (FATE) is the first movie on focus. This film is produced by a popular young
Nigerian actor,Muyiwa Ademola. The film, in theme, is primarily concerned with pre-
destination which is a well-held belief in Yoruba mythology.
Inventory of proverbs in ORI (Destiny) and analysis
Ko si eni ti ata oja erupe,ti ko ni gba owo okuta
No one sells article of sand value without having stone as payment
This proverb falls under SCP. This is indirect speech act, when looked within the
micro-context of the movie is understood as no evil doer goes unpunished. Saidi Balogun
who lured his friend –Muyiwa- into marriage of convenience with his (Saidis’s) pregnant
wife is the reference here. The proverb is figurative. Hence, his meaning lies in
indirectness. The pragmatic function of the proverb, that is its pract within the context it
is used is stating.
Ko si ohun todun to baba ikoko ki lofe so omo re
Nothing gladdens a man more than being asked ‘what name you want for your
child’
This SCP proverb is also located within micro-context of the movie. This proverb
is used by Saidi to sum up his feelings after he became aware that his wife was pregnant.
The fact that both were still students and not ready for that made the prospective bundle
of joy to look like a misfortune. The indirect speech act explores situational shared
knowledge in talking to Muyiwa and Fathia who are listening to him. The proverb is
purely literal. The proverb practs stating
A kini igi logba ka ma mo eso re
One does not have a three in the garden without knowing its fruits
This SCP proverb has its meaning fully realized within the micro-context of the
film.Eda,the user of this proverb in the movie uses this indirect speech act referring to
Fathia who has been agood girl before the issue of her pregnancy which her father
considers caree-destroying.The proverb draws from metaphor,sharedl cultural knowledge
of the proverb and social situation.
Atadanu ogi koni ki ogi o ma pe
Splashes does not make raw pap inadequate.
This SCP is explainable at micro and macro-contextual level of the movie. At the
micro level, the meaning is realized on how Eda,the user of the proverb advises his
listener in that particular scene. At macro level, the meaning is realized when we raise
our mind a bit literary and perceive the proverb as ‘what will be, will be’ which of course
is eligible to be another title for the movie. Despite the struggle of Bello, his daugter’s
fate came upon her. Despite the madness of Muyiwa, his good luck still smiled on him.
Despite the absence of the Babalawo when Muyiwa got healed, the prediction of Ifa still
came to pass. The proverb uses Metaphor.It appeals to the shared knowledge of the
interlocutor as well as the Shared Cultural Knowledge of the audience. The proverb
practs advising as used in this scene.
Omo eni ibajoni abayo
Had one’s child taken after one,one would have been happy.
This SCP is used by Eda to verbally scold Fatiah for her untimely pregnancy.The
proverb has its meaning only within the micro-context of the movie. It does not employ
Metaphor but societal knowledge and culture that only bastards do not take after their
parents. The proverb practs scolding in the context in which it is used.
Oko bi emo,iyawo bi afe,alarena bi aago
The husband like emo(a kind of rat),the wife like afe(a kind of rat)the
intermediary like aago(a kind of rat)
This SCP is micro-context explainable and its full meaning is realized within this
scene. Eda used this proverb to deride the act of teenager marriage as he pleads on behalf
of Fatia that she should be forgiven by her father as her case is better than some
teenagers’. The proverb taps from Metaphor extensively as words such as Emo,Afe and
Aago are metaphorically used. All the names of rats mentioned are not different in all
features. All are small, pointing out the message of the speaker ,Eda The proverb as used
in the context practs deriding and referring.
Oju ina lewura hu irun
Water yam dare possess hair in the presence of fire.
The SCP is used by Eda displaying his elderly relationship with his younger
brother,Bello, Fathia;s father. He used the proverb while promising with conviction that
Bello will take Fatiah’s appeal if he intervenes. The proverb is metaphorically
couched.The proverb rides on the shared knowledge in Yoruba land that water-yam
cannot withstand fire for long.Bello is the water-yam here as the situational context
betrays and Eda is the fire. The proverb practs self-praising within the context used.
kama fi oju egbo tele Anitoripe aye daye olaju,
We would not for the sake of civilization walk with sore feet
This SCP is used by Eda and its meaning is realized fully at the micro-context
level.The proverb partially draws from Metaphor but fully from shared knowledge.The
proverb practs condemnation in the context used.
Awodi gbe omo agbebo,agbebo mura ija,iran baba nla adie,ki lo fe fi asa se ?
This SCP used by Eda is dialogue speech act. The proverb is both micro and
macro-context explainable. For the former, it is understood within the scene used as Eda
faces his interlocutor aggressively beating his chest as to his strength to do and undo for
his listner. As for the latter, the proverb re-enforces the concept of Destiny as humans are
helpless in its grip. The proverb rides on Metaphor,SCK and SSC.The proverb practs
questioning and warning.
Bi ao ri eni bala ola o ya boro
One doe not become successful easy if one is not of wealthy association
This SCP is a speech act. It has its meaning realizable fully at micro-context level
of the movie. The proverb does not employ Metaphor; it is purely literal.In the context of
the movie. The proverb practs stating.
?
Ani eeyan orewa,eni ojo lopa,se ojo pa ewa ara re danu ni
We say a person looks ugly, you say rain beat him, does rain wash away beauty?
This SCP is dialogue speech act. Its elicitation of a response stresses this.The
proverb does not use Metaphor.It relies on the the shared knowledge of the listners.The
proverb practs questiong.
Ki eeyan dale ore,oburu ju ki eeyan dale awo lo.
To betray friendhip is more sacrilegious than that of the cult.
This SCP is a speech act.The proverb is purely linguistic and literal.It appeals to
knowledge of the listners for understanding.The proverb,within the context it is
used,practs warning
Orisa boo ba gbemi,semi bi ose bami
Deity,if you cannot favour me,let me be as you met me
This SCP has its full meaning achieved within micro-context of the movie.The
proverb draws from Metaphor as Orisa is metaphorical as used in the proverbial
context.The proverb appeals to cultural knowledge of Africa on the fact that gods are
meant to aid their worshippers.The proverb,as used in the context,practs warning.
Afii joye awodi kole da adie gbe
We made him an awodi chieftain,he cannat carry the chicken
This SCP is a speech act.It employed Metaphor as evident in Awodi,Adie, and
Joye that are used not in their real sense.The proverb appeals to cultural belif of Africa on
the fact that when one is enthroned as a king,one has had obligations on him.The
proverb,as used in the movie,practs complaining and/or condemning.
Ani kappa owo po ba ole wi,eni ibi olohun fihun si kobo si kolofin
We say we should condemn a thief, you say the owner does not keep property
well
This SCP is a speech act. It is a speech act. It does not employ Metaphor. The
proverb, however, relies on shared knowledge that stealing is forbidden. The proverb, as
used in the context, practs condemning.
Eni to ma weni tabaku,aa ki fi arapamo fun
One who shall bathe one’s corpse; one should not hide nakedness for him
This SCP is a speech act. The proverb has its meaning realized at the micro-
context of the movie. The proverb employs Metaphor as the whole proverb is figurative.
The proverb, as used in its context,practs advising.
Bi aba ka eru,inu eru abaje
If we count slaves, they become unhappy
The SCP is a speech act. The proverb is best understood in the scene in which it is
used. Hence, it has micro-contextual meaning. The proverb does not employ Metaphor.
The proverb, as used in the context, practs stating.
Orisa ti aba nbo ti a nle omo kuro nibe,ko nipe parun
Any deity that we send children away while worshiping it will not last
This SCP is a speech act. It is micro-context dependent.The proverb does not
employ Metaphor. It relies on the shared knowledge of the listeners. The proverb, as used
in the context, practs warning.
ONUN OKO SOMI DA
Eniti mo ba fi so ile,mi o ki fura si,eni ti mo ba si fura si,mi o ni fi sole
He who I am suspicious of, I do not make my house guard and who I make my
house guard, I do not suspect
This SCP is conversational. The proverb is fully analysed in meaning at micro-
contextual level of the movie. The proverb does not employ Metaphor.It is purely literal
but dependent on shared linguistic knowledge and common knowledge of what
relationship is. The proverb, as used in the scene, practs stating.
Lo ohun ti oni,ki ofi wa ohun ti ofe
Use what you have to get what you need
This SCP is a speech act. The proverb has micro-contextual meaning. The proverb
does not employ Metaphor. The proverb appeals to common sense of give and take which
of course is shared knowledge. The proverb, as used in the context practs advising
Alewa mata,o mo iwon ara re ni
A person that does not sell beauty knows her limit
This SCP is a speech act. Its full meaning is located in micro-context level of the
movie. The proverb does not use Metaphor. It however relies on the shared knowledge of
the listeners. The proverb, as used in the context, practs stating
Adagba magbon,ti on fi osan to sile
A foolish grown up wets bed in the afternoon
This SCP is a speech act.It has full meaning at the micro-context level.It does not
use Metaphor.It relies on shared knowledge.The proverb,as used in the context,practs
condemning
Egbe re san re maye loye,o n sare pe egbe kiri
Your mates are racing for titles,you are busy inviting friends for gathering
This SCP is a speech act.It is micro-context dependent in meaning.It does not
employ proverb.Hence,it is literal. The proverb appeals to the party culture as it is
organized in Africa, The proverb, within the context employed,practs condemning.
Sango n bugo ‘opolo to lohun o se ogun ara kurukuru fun ijapa,ko se fiwo rara na
The frog that wants to give the tortoise remedy for its rough body should first use
it
This SCP is a speech act. The meaning of the proverb is primarily achieved at the
micro-context level. The proverb is heavily Metaphor dependent. The proverb appeals to
the audience knowledge of world objects and animals. The proverb, as used in the
context,practs stating.
Mokoo won ni ama ni apere
I met him, our people say, must have description
This SCP is a speech act. The proverb is micro-context dependent in meaning
realization. The proverb is devoid of Metaphor. The proverb keenly appeals to shared
knowledge of the hearer. The proverb,practs,as used in the context,explaining.
Enu eni laafi ko mi oje
One uses one’s mouth to say ‘I don’t eat’
This SCP is a speech act. The proverb is micro-context dependent in meaning.
The proverb does not use Metaphor. The proverb appeals to shared knowledge on choice
making in rejecting or accepting offer of food.The proverb, as used in the context,practs
condemning and rejecting.
Ko si eni ti o le pon omo bi olomo
No one can back the baby like its owner
The SCP is a speech act. It is micro-context meaning dependent. The proverb
does not employ Metaphor. The proverb appeals to the African culture of child backing
for its complete sense making. The proverb, as used in the context,practs stating
Opolo ri ibi to tutu ba si
The frog hibernates in a very cold area
This SCP is a speech act.The proverb is micro-context depent in meaning.The
proverb draws heavily on Metaphor.It also appeals to common sense in terms shared
knowledge.The proverb practs condemning.The act of reaping where one has not sown is
condemned here.
Egbe eni leeyan ma ngun isu ewura pe
It is one’s mates that one invites for water-yam pounded yam
This SCP is a speech act. It is micro-context dependent in meaning. It draws
partially from Metaphor. The proverb appeals to the shared cultural knowledge of the
listner in respect of water yam as a specie of yam with less value.The proverb practs
attacking and denigratin.Sobowale’s listener is the object of attack here.
Amuni ko luni okunrin alangba ori esu
A man that ignites crisis,a lizard on the Esu shrine
This SCP is macro-context dependent in meaning;the user of the proverb is of the
opinion that the ongoing crisis is the making of her listner,her husband.And the titlte
reads WHAT HUSBAND TURNED ME TO The proverb is a speech act. It draws
heavily from Metaphor.It appeals to shared cultural knowledge of the listeners in respect
of Esu deity and Lizard mounting its shrine; a bull in the china shops. The proverb practs
accucing.The accused who is the proverb reference here is Bello.
Efon too ba labata ko mumi ko,
The elephant that you saw on Bank River did not die of excess water drinking
This SCP is micro-context dependent. It is a speech act. It makes use of
Metaphor.It appeals to shared cultural knowledge on the idea of No Pain, No Gain.The
proverb practs informing.The listner being informed here is the second wife who
Sobowale saw as a usurper.
Ki jesu to de,o risa kan lawon eeyan nsin,ni gba tode o gba koso
Before the arrival of Jesus, people had the deity they worshiped, his arrival
changed everything.
This SCP is a micro-context dependent in full meaning realization. It is a speech
act.It does not employ Metaphor. It draws from shared knowledge of the listener the
concept of foreing religion.The proverb practs informing.Sobowale is being informed by
the second wife of her necessary coming
Emi ti di agbado inu igo
I am now a bottled maize
This SCP is micro-context dependent in meaning. The proverb is a speech act.
The proverb does not draw from Metaphor. It appeals to just shared common sense
knowledge. The proverb practs arrogating. The second wife prides herself as being fully
harm-proof
Kaka ki eku ma je sese,a fi se awadanu
Rather than the rat not eating sese,it will uproot sese for waste
This SCP is micro-context dependent in meaning.It is a speech act.It draws
heavily from Metaphor.It appeals to shared cultural knowledge of the listeners in respect
of the life style of the animal mentioned. The proverb practs threatening.
Ki won ma ba o soro,ki o ma wa run ki,iparun mbo fun o ni yan
People advise you and you remain recalcitrant,your detruction is near
This SCP is a broken one;it has taken up the ordinary language of the user.It is a
speech act.its meaning is at micro-context level.It does not make use of Metaphor.It
appeals to common sense shared knowledge.The proverb practs warning.Sobowale is the
reference here.
Eni ti o sin oku egbon re ni hoho ni soju aburo re,ki ohun naa ma jafara
The person that buries his elder brother/sister without a shroud in the presence of
his younger one should prepare for the same shame.
This SCP is micro-context dependent in meaning realization.It is a speech act.It is
not Metaphor reliant.It draws from the shared knowledge of child-upbringing.The
proverb practs warning/advising.
Kin ni kan lo ba ajao je,apare gun ju itan lo
But then,something makes Ajao less attractive,its hands are longer than thigh.
This SCP is micro-context dependent.It is a speech act.It draws heavily from
Metaphor.It appeals to the shared cultural knowledge of the world of some African
animals.The proverb practs regreting
Iran eni taa na,lara n taa
It is the lineage of the bruised that lament.
The SCP is both macro and micro context dependent.For the former,we may have
to raise our mind a bit literary to grasp the meaning.The title WHAT HUSBAND
TURNED ME TO is a suitable utterance from Sobowale to justify her action against her
husband.In like manner but for tunting Bello or the second wife could as well use it to
add salt to Sobowale’s injury.The proverb is a speech act.The proverb is devoid of
Metaphor.The proverb appeals to everyday shared knowledge of the bruised that cry.The
proverb practs stating
Eniti amokii ru imo
The person we know does not carry palm tree leaves
This SCP is a micro-context dependent in meaning.It is a speech act.It does not
employ Metaphor but Pun rather.The proverb appeals to shared cultural knowledge of
Yoruba.The proverb practs confirming.
Age kun ejo ti n soro ni…
She is a live remnant of cutlassed snake
This ellipted SCP is both macro and micro-context dependent..At the macro-
context level,the title of the movie WHAT HUSBAND HAS TUNRNED ME TO is akin
to the live remnant cutlassed snake.The proverb uses Metaphor.It also relies on the shared
knowledge that snake is poisonous much more its angry one.The proverb practs warning
Bi omode bagbon ogbon kuku,obi re naa agbon sinsin
When a child knows how to die frequently,the parent learn buring tact
This SCP is micro-context dependent in meaning. The proverb is a speech act.It
does not employ Metaphor. It relies on the shared cultural knowledge of African on the
concept of Abiku and how its burial is done to avoid its coming back.The proverb practs
advising.
Elenu runrun,lo ni aamu iya,
One with his stinking owns his mother’s water pot
This SCP is micro-context dependent.It is a speech act.It doe not appeal to
Metaphor.It draws from shared knowledge of mouth hygiene and the the mother-child
relation.The proverb practs stating
Kaka ki kinnihun se akapo ekun,o ni kaluku,ase ode lotooto ni
Rather than the lion being a treasurer for tiger, each shall hunt different
This SCP is micro-context dependent.It is a speech act.It draws heavily from
Metaphor.It draws from the shared knowledge that lion and tiger are powerful animals
that wont neither will bow for other.The proverb practs segregating.
Ajegbodo,n wa eni kunra
An eater of Egbedo-a new and bitter yam-seeks companionship
This SCP is a micro-context dependent.It is a speech act.It does not appeal to
Metaphor.The proverb relies on the shared knowledge that a new yam is bitter .The
proverb practs condemning.
Oloju kan to n ba oloju meji sere oko,ohun ni e
You are a one-eyed person that engages a two-eyed person in a stoning game
This SCP is a micro-context dependent in meaning.It is a speech act.It does not
appeal to Metaphor in its meaning.The proverb appeals to the commom knowledge of
envy.The proverb practs condemning
A gun esin ni kese,a ni o ntapa,omo eeyan wo laa fi u e kan ti o ni si nwa hu
We kick the horse,we say,it kicks the air,does any human being take that
This SCP is both macro and micro-context dependent. At the macro level,the
proverb projects into the corollary effect of what husband has done to Sobowale.As the
title shows someone has been hurt and as a human being certian acts of reveneg are to
take place.The proverb is dialogic.The proverb does not employ Metaphor.The proverb
relies on the shared knowledge of for every action there must be a reaction.The proverb
practs justifying
E ni ti o tiku,ohun loni oko oke ohun
He who is still alive owns the farm at the far end
This SCP is a micro-context dependent. It is a speech act.It is devoid of
Metaphor.It relies on the Yoruba culture of heritage. The proverb practs advising
A ni eeyan kusoko,ani ko kuu re,se awa naa tun gbodo ru oku naa koja ile
We detest the fact that someone dies on the farm,must we carry the same corpse
passing house front,wont we become overbaerer
This SCP is micro-context dependent.It is dialogic.It does not employ Metaphor.
It relies on the Yoruba culture of respect for the dead and the living during the burial. The
proverb practs re-emphasising fact.
Igi taa titori gbodi,oye ko le suna funi ya
The tree that we suffer for should be able to make good fire for one’s warmth
This SCP is a micro-context dependent. It is a speech act. It employs Metaphor. It
relies on the shared knowledge of the listeners. The proverb practs stating.
Ewure to ti jakun,ko ma ko ba eyi ti o wa lori iso
To avoid roaming goat effecting the tethered ones
The SCP is a micro-context dependent in meaning. It is a speech act. It does not
employ Metaphor. The proverb relies on shared knowledge of the listener on the
domestic animal rearing. The proverb practs warning.
Aifi ele kebosi,lae reni banijo
If one plays sad music with ease, people will dance to it .
The SCP is a micro-context dependent in meaning.It is a speech act.It does not
employ Metaphor.It relies on shared knowledge of the movie context.The proverb practs
advising
Bi eeyan baro ejo re fun olu odo,a fun leje je
If one laments to the mummy water,mummy water will give such a person fish to
eat
Ko le buruburu,ko ma kun enikan mo ni,eni ti yoo kun lo a mo
It cannot be worst for someone not to have a companion,who that companion
shall be is what we cannot predict.
BABA SUPER
Obinrin oni gbowo ale tan koni aginnisa in se ohun
A woman does not, after collecting money from the concubine, complain of
stomach ailment
This SCP is located within the micro-context of the movie. The proverb is more
of the scene-concerned. Baba Super, the protagonist in the movie used it to win
his concubine to bed after giving her some money she needed. The proverb does
not employ metaphor. What Baba Supper practs here is demanding this becomes
imperative as he just payed the woman?
Okun kii wo ruru, ka wa ruru
The ocean beach cannot be well paddled on when it is angry
This SCP, is micro-contextual in relation to the movie. It is dialogic, as the
context visibly produces the listener. It is metaphorical as the speaker means more
than ordinary beach ocean. The context is both shared by the speaker and the
listener. The proverb practs warning.
Wo fun, ni itan lorun
To agree is to accept.
This SCP is micro-contextual in relation to the movie. The proverb does not use
metaphor the context in terms of shared knowledge has to do with fumy
negotiation between Baba Super and Tunji. The proverb refers to the agreement to
be reached. The proverb practs stating
Oju toye ki ofi riran, lo fi n tele
The eyes you are to see with are what you use to walk.
This SCP is micro-contextual in relation to the whole movie. The proverb does
not use metaphor. The proverb rides on the context of shared knowledge of
situation and culture particularly regarding the mean of proverb. The proverb
practs advising.
Bi adie sogun bo sugbon, ago lo maa de
If the hens are twenty or thirty, they will be camped by the age.
This SCP is used by Baba Super. It is micro-contextual. The proverb rides on
metaphor as it uses the images of poultry. The proverb explores the combatant
context of situation and cultural knowledge of the use of the proverb. The proverb
practs threatening.
Ki lo gbe sori tooni kii wo so bureedi lon ta ni?
What do you put on your head that you seek help to put down, are you selling
bread?
This SCP is used by Baba Super. It does not make use of metaphor. It is dialogic
more so, the proverb rides on the context of shared knowledge so situation that is
immediate. The proverb practs condemning.
Omo ti o bam u owo dele ni obi re maa yi
Only the child that makes profit in his/her journey will have the praise of the
parent.
This SCP is used by Tunji. The proverb is devoid of metaphor. It is not dialogic it
rides on the situation of braying that is going on between Baba Super and Tunji.
The proverb practs stating.
Igba iponjyu…
Trial period…
This ellipted SCP is used by Baba super. It is not metaphor . It rides on the
context of situation particularly that of embarassmt that Baba Super suddenly
finds himself. This uncompleted proverb practs stating.
Owo epo lomo araye n ba nila
The people only participate in licking one’s hand when immersed the palm-oil
This SCP is micro-contextual. The proverb uses metaphor as it is signifies by
palm oil and blood when carry meaning more than the real semantic. The proverb
rides on the situation context as seen in the sudden disease afflicts Baba Super
whose new wife snatche1 one anyway runs away from instant. The proverb practs
stating and advising.
Oku odun meta, kii se ajoji saare
The corpse of three years is not new to the grave
This SCP is micro-contextual. The proverb uses metaphor as shown in the images
of “corpse” and “grave” that have meaning that are more than their meaning. The
proverb rides on situation context of deception between Baba Super and Tunji.
The proverb employs cultural knowledge on the use of the proverb practs
doubting.
Bi eeyan bani ohun o se ogun ika mo…
If one wishes to desist from making evil medicine the poison-drinker won’t allow.
This SCP is micro-contextual. It does not use metaphor. It uses indirect speech
act. It rides on the context of situation on misbehavior of Baba Super and his
ewemy-: The proverb practs stating
CHAPTER FIVE
The analysis above reveals more potentials about proverb. The analysis has shown us that
proverb study is a mine that can be explored from different angles and as a matter of fact
many results will emerge
The analyzers done in this work does not only confirm that proverbs used in films
(Nollywood) demarcate characters. The use of proverb, as the films (Nollywood) has made
us see, is an exclusive property of the elder, the wise and the intelligent. Taking a look at
the analysis so far; one will agree with this assertion.
In the first film “Ori”, the person that used proverb mostly is “Eda Onile Ola”.
Concentrating on this man, in both the fictional world he is seen and out side this film, he is
an elderly man. He has had many experiences. He is wise. He is intelligent.
The next in rank that used proverb very well is the Ifa-priest. He is also old as presented in
the film. He is intelligent. He is wise.
Critically speaking, one night query the fact that the Ifa-priest is older than Eda and yet
he did not use many proverbs in the film like Eda. The answer is in the frequent appearance
of Eda in many scenes.This gave him that edge on the Ifa-priest. Given the same
appearance, the Ifa-priest might have used more proverbs than Eda.
This now justifies the reason why young Muyiwa and Saidi Bologna also use proverb.
The reason is in the fact that they are prominent figures in the film. We must however add
that despite this, then youngster employ proverb when the issue at hard is critical. Also,
they do not use proverb freely like the elder ones. They always add pre-proverbial elements
such as “Our elders say; “I want to go in the way of proverb...” e.t.c.
The assertion above about proverbs distinguishing important characters from the less
important and serious issue from unserious one is also visible in “Ohun Oko Somida”
What Husband Has Trued me into” This films use of proverb stresses serious matter more
than the issue of important characters. Hence, virtually all the sceness are serious. As a
result all the characters employ serious language use. Hence, the use of proverb. This
culminates into many of the characters (If not all) using proverb.
Another angle to proverb is displayed in this film. Proverb is shown as a veritable tool for
conflict settlement. In the court scenes presented in the film, both the prosecutor and
defendant’s counsels employ proverb. In fact, even the judge is not exempted.
The comedy film introduces another angle to the analysis or should we say, it stresses
what we have highlighted above. This film shows that proverb is also a good tool for
comedy. There, we learn that there exists serious proverb and less serious proverb. In this
film (Baba Super) we are aware of how proverb can perform utilitarian value more than
aesthetic value. Proverb here is humorous.
Having said this above, we can still see that proverbs used in the film (Nollywood) could
be either scene-related or title related. The analysis shows that we have more scene-related
than title-related proverbs. Hence, we generalize to say that proverbs use in films
(Nollywood) often favour scene at hand. It is important to say that this does not mean
scene-related proverbs are out of the purview of the whole film. Since all the scenes work
towards completing the story, the proverbs in the scene are indirectly contributing to the
whole film. It is just for analysis sake that we improvise the dichotomy of scene-related
proverb and title-related proverbs.
Further more; it is made clear in this analysis that proverbs in the films (Nollywood)
could be dialogic and/or mongolic. It is dialogic when the proverb used elicits response
which may be given or not given.It is monologic when the proverb is used without
expectation of any reply but with intention of clarification or statement. This is common in
the analysis we have carried out so far. It is in the following scenes.
We have 1;4 of dialogic versus monologic proverbs in the film.Stylistically,the
meaning of this is in the fact that films are meant for the audience without immediate
feedback.This is responsible for the use of proverbs that explicate more than the ones that
demand answers.