LINGUSTIC STYLISTIC ANALYSIS OF CHUKWUEMEKA IKE’S SUNSET AT DAWN AND ISIDORE OKPEWHO’S THE LAST DUTY

Abstract

This study explored the linguistic stylistic analysis of Chukwuemeka Ike’s Sunset at Dawn and Isidore Okpewho’s The Last Duty. The General objective of this study aims at a linguistic stylistic analysis of some stylistic markers deployed in Ike’s Sunset at Dawn and Okpewho’s The Last Duty. Other significant objectives include identifying and explicating the prevalent stylistic features the authors employed in the two selected text and features the authors deployed to pass their intended  message.  The study  borrowed  an  insight  from  Hallidays  systemic functional grammar model as its analytical tool. The data for the study were systematically but randomly extracted from the two selected texts and analysed qualitatively in accordance with the tenants of the adopted theory. The result showed that both authors made preponderant use of linguistic items such as Graphology, punctuation, paragraphing, titling, noun, verb, adjectives, adverbs, registers ,collocations ,code mixing and code switching, proverbial expression .Ike made use of all the linguistic items list on like Okpewho who did not make use of some .But by and large, the two authors demonstrated  high level of creativity in the language use which peculiarly marked their individual styles.it was thus  recommended that researches  should work on  areas   not covered in this research.

CHAPTER ONE: INTRODUCTION

1.1   Background to the study

Stylistics is A study and interpretation of text from literary and linguistic perspectives. As a discipline, it links literary criticisms and linguistics. A stylistic analysis entails studying in details the features of written or spoken text and stating what functions they perform in the context of the texts. The features chosen from any text are dealt with in three ways; identification, description and purpose. Carter (1989) suggests that the practice of Stylistics comes about at any point of intersection of the language of a text with the elements which constitute literariness of that text.

A stylistic analysis of a text is a critical dissection of the text in order to understand the writer. Leech and Short (2007:9) define it as “the way in which language is used in a given context, by a given person, for a given purpose. Text is the natural starting point or place for the study of style and  stylistics,  and  to  have a mastery of them,  a firm  understanding  of language in  all  its dimensions  is  required.  Both  style  and  stylistics  are  derived  from  the  Latin  word  “stilus” meaning “a writing instrument” Style, therefore, refers to the linguistic “signature”, “stamp” or “thumbprint” of a writer and signifies the man – the writer (Luke Eyoh 2005:29). Every writer makes his own choices on the language which he wants to use as well as the manner he will use them. This choice and manner that constitute the style of the writer is the pre-occupation of this research. This work will study the linguistic choice and style of the writers.

The point of focus in stylistics is the recognition of how a text works as a whole; it attempts to establish principles capable of explaining the particular choice made by social groups in their use of language and the production or reception of meaning. It is also generally assumed that the process of analysis will reveal the qualities of a work. Stylistics is the study of style used in

literary and nonliterary text and the effect a writer or speaker wishes to communicate to the reader or hearer. It also is the scientific study of the variations in language. It is “a celebration of language in all its oddity, beauty, fun, astonishing complexity and limitless variety” (Crystal

1997). Stylistics explores how readers interact with the language of literary texts in order to explain  how  we  understand,  and  are  affected  by  texts  when  we  read  them.  It  is  a  three dimensional process of communication between a reader, a text and a writer (Ofuani and Longe

1996:3.59).

It is mainly concerned with the idea of style, the analysis of literary texts and the application of linguistics  to  literary  and  non-literary  texts.  Since  every  writer  possesses  his  or  her  own particular way of writing and thinking, language use is different from one writer to another. To appreciate a literary work, it is important to see how the language and style used differ from one writer to another. To appreciate a literary work, it is important to see how the language and style used by the writer affect the interpretation of the work. Stylistics focuses on text and gives much attention to the devices and style. It therefore, discusses theoretical matters alongside whatever practical analysis they provide.

Stylistic analysis besides helping one to acquire an explicit basis for deciding between interpretation also help one to become more consciously aware of the processes of interpretation which are used in other to get a grip with the text one has read.

1.1.1 Linguistic Stylistics

Enkvist (1964) describes linguistics as a branch of learning, which builds models of a text and language on the basics of theories of language. Crystal and Davy (1992:9) in their opinion say that linguistics is the academic discipline which studies language scientifically. On the other

hand, stylistics is traditionally regarded as a field of study where the methods of selecting and implementing linguistic, extra-linguistic or artistic expressions are studied (Missikova 2003:15). Leech and Short (1981) are of the opinion that stylistics is the study of the relation between linguistic form and literary function. Stylistics cannot be reduced to mere mechanical objectivity, whereby we expect linguistics to provide an objective, mechanical technique of stylistic analysis. One major  concern of  stylistics  is  to  check  or  validate intuitions  by  detailed analysis,  but stylistics is also a dialogue between the literary reader and the linguistic observer, in which insight, not mere objectivity, is the goal.

Linguistic stylistics, places literary uses of language against the background of more “ordinary” use of language, so that we see the novelist making use of the same code, the same set of communicative resources, as the journalist or the scientist. This is a strength, for through linguistics we learn that language even in its mundane use is an immensely complex, rich and variable instrument (Leech and Short, 1981:5-6).

Therefore, linguistic stylistics is the study of the language style of an oral or written text. Style which in this context is the typical way of writing, painting and so on that is used by a particular person or during a particular period of time. However, the argument as to the relevance of linguistics to literature has been in progress for some time. Short (1996:55) suggested that much of the discussion over stylistics and the related topic of objectivity in literary criticism have been forged by the misunderstanding by both literary critics and linguistics. The misunderstanding has prompted a polarisation of attitudes such that either side in the debate often seems to be preferred to the other.

The core task for a critic is the job of interpreting literary texts and judging them while that of criticism is to describe, interpret and evaluate. Therefore, stylistics is concerned with relating linguistic facts to meaning in an explicit way. The meeting point of both linguists and literary critic is then seen in Short’s opinion that criticism can benefit from a fusion of literary and linguistic methods. Presently, the general approach adopted is that of linguistics stylistic analysis as a means of supporting a literature text or interpreting a thesis. This shows that both linguistics and literary criticisms work hand in hand in enabling one to handle competently a coherent and comprehensive descriptive grammar which can be used in either literary oriented- studies or linguistic-oriented studies.

1.2 Statement of the Problem

Linguistic stylistic analysis is usually an attempt to evaluate the workings of language in order to unravel  the  synthesis  of  thoughts  as  organized  in  the  text.  Stylisticians  argue  that  the identification of a writer’s unique structural patterns at all levels of language facilitates the understanding and interpretation of a text. Often times, researchers of literary works do not read literary text from the linguistic perspectives. In order words, readers often ignore the application of linguistic frameworks while doing literary analysis; therefore, they miss out salient linguistic features that might contribute in enhancing the meaning and the aesthetic value of the text and subject into intuitive interpretations.

More so, there are volumes of literary assessments by scholars on creative works by prominent African writers such as Achebe, Soynika, Ngugi wa Thiango, Adichie, Emecheta etc. but not much is done in the area of language. Precisely, creative writers like Ike and Okpewho have written many literary works each to their credit have scarcely been given serious linguistic

attention. In fact, from the research done so far not   much works have been done on language and style in Ike’s Sunset at Dawn and Okpewho’s The Last Duty. As skillful writers, their works need to be linguistically and stylistically analyzed so as to unravel the prevalent stylistic features that mark their individual styles which foster readability and interpretation of their texts. These problems, therefore, coalesce to inform the researcher’s desire to attempt a linguistic stylistic analysis of Ike’s Sunset at Dawn and Okpewho’s The Last Duty. This is, therefore, the gap which this study intents to fill.

1.3   Significance of the Study

i) This study will be relevant to the students of language and literary studies in that, it will help them attain some level of language in English through the understanding of function of literature resources in Sunset at Dawn and The Last Duty.

ii) This study will also be relevant to researchers and scholars whose interest is built around stylistics. It will serve as a reference material to them, Thereby adding to the existing literature in stylistics.

iii) This study will also enable readers of literary work (novels) appreciate the beauty of literary creation which is explicated via stylistics. However, the texts will be analysed linguistically in other to determine crucial characteristic linguistic properties, structures and patterns influencing perception of the texts.

1.4    Objectives of the Study

This study aims at Linguistic Stylistic Analysis of some stylistic markers deployed in Okpewho’s

The Last Duty and Ike’s Sunset at Dawn. This study will explore the authors’ use of several

ideologies, experiences, histories to communicate via language. Thus the specific objectives of this study are to:

i.       Identify and explicate the prevalent stylistic features the authors employed in the novels as their stylistic markers.

ii.       Identify and explain the various stylistic features the authors used to pass their intended message.

iii.        Examine the prevalent linguistic features that have been used creatively   by the authors to pass their message across to readers.

1.5    Scope of the Study

The study only attempts to do a linguistic stylistic analysis of Ike’s Sunset at Dawn and Okpewho’s The Last Duty. The central focus of the study, therefore, is to investigate how the authors use the linguistic stylistic devices at levels of lexis and grammar to drive home the themes of the novels. The scope of this study, therefore, covers the analysis of the prevalent linguistic features in Ike’s Sunset at Dawn and Okpewho’s The Last Duty; using M.A.K. Halliday’s Language Metafunction and Language strata of Systemic Functional Grammar theory as the analytic tools.

1.6       SUMMARY OF THE TWO TEXTS

1.6.1 SUNSET AT DAWN

Sunset at Dawn is a war novel that chronicles the thirty-month war between Nigeria and Biafra, in  which  the  latter  made  a  desperate  effort  to  secede  from  the  former.  The  setting  is predominantly the Biafran enclave, with flashes of actions and events told about some mid- western parts of Nigeria. Immediate causes of the war are firstly, the death of two prominent politicians of Northern Nigerian origin in the 1966 military coup that brought the army into the Nigerian political arena. Because no prominent Igbo was murdered in the coup, the Northerners launched a reprisal attack on Eastern Nigerians (especially the Igbos) living in the North. This resulted in what was tagged ‘the pogrom’. Some thirty thousand Igbos were brutally murdered, their property looted and/or destroyed.

This happened on 29 May, 1966 during which an Igbo supreme commander was assassinated, and another mass killing took place on 29 September the same year. On May 30, 1967, the Republic of Biafra was proclaimed. At first, Nigerian government declared it a mere police action.

The whole story revolves round Dr Amilo Kanu, his family and relations and Duke Bassey from Anang Province, Professor Emeka Ezenwa from Onitsha, Barrister Chike Ifeji and Dr Osita. Biafran forces are ill-trained, ill-equipped, hurriedly assembled. By August, surprisingly, while Nigerian troops from the Nsukka sector are slowly gaining grounds, Biafran forces gallantly capture Mid-West and proclaim it the Republic of Benin. Nigerian Federal Military Government now declares full-scale war on Biafra.

In spite of all these, by late September 1967, there is an abortive coup by some highly placed Biafran army officers and civilians. The fate of Enugu seems to be uncertain since the first enemy mortar landed, and more continue to land.

The propaganda explanation is that they are from enemy collaborators among Biafrans. Biafran government makes contingency evacuation plans to relocate every establishment away from Enugu. In spite of all the confusion and the loss of several Biafran towns to Nigerian forces, there is tremendous enthusiasm on the part of young Biafrans to join the Biafran Army. October

4, 1967, Enugu is finally overrun by Nigerian forces. Calabar is captured; Biafra is compelled to evacuate Onitsha.

Meanwhile, Fatima and her surviving son do not find it easy staying in Obodo village where Dr. Kanu does not even own a hut. Then arrives Halima Uche, who narrates how brutally her husband was murdered in the North. By January 29, 1968, Biafra changes currency notes and postage stamps, following Nigeria’s change of theirs. The change of currency is particularly painful to Obodo people in many ways.

The fall of Port Harcourt implies that Nigerian troops have practically surrounded Biafra, cutting off sources of petroleum and electricity. By now, Biafra is heading towards a major famine; interest in voluntary military service is waning. Halima and her son are killed in the Obodo air- raid. There is also the great Umuahia air-raid. Then there is the fall of Obodo. Dr. Kanu sends his orderly to evacuate his old parents from home.

Dr Kanu joins the army and he is badly wounded. He is later killed in one of the air raids. Meanwhile, Biafra is practically exhausted. But in Nigeria, life has been normal. January 14,

1970 comes the final surrender, and the Republic of Biafra is erased from the map.

1.6.2 THE LAST DUTY

Isidore Okpewho’s The Last Duty is a recast of the Nigerian Civil War of 1967-1970. It is a war between the secessionist Biafran Republic of the Eastern Nigeria and Nigeria itself. The Nigerian Civil War is fictionalized in this novel – a fictive world. This fictiveness is seen in the imaginary setting, events and characters. The nation or country in this novel is the Federal Republic of Zonda, while the secessionist tribe is Simba, perpetrating mayhem in Urukpe which is a border town comprising the people of Igabo and Kweke clans. Urukpe is in the Black Gold state in the Zonda Republic and it is the war zone or setting in the novel. The secessionist Simbians occupy and over-power the people of Urukpe, causing havoc in the town. So, federal military troops come to the town to liberate them from the terrorists or rebels. The federal troops occupy Urukpe for over three years, forcing the secessionist Simbians to flee for their dear lives, although there have been occasional reprisal attacks by the rebels. The federal troops station in Urukpe to eradicate rebellion in the Republic. The people of Urukpe welcome the federal troops, demonstrating their loyalty and solidarity by assisting the federal soldiers to eliminate rebels and rebel collaborators in the town.

The assistance the indigenes give to the federal soldiers in Urukpe gives the opportunity to Chief Toje Onovwakpo, a rubber magnate in Urukpe, to fabricate lies against Mukoro Oshevire, a fellow rubber trader in Urukpe. Toje is a very rich, popular and influential rubber trader who gets connected to Major Akuya Bello, the commandant or commanding military officer in Urukpe. Toje labels Oshevire a rebel collaborator just to incriminate and get rid of him because he (Toje) considers  Oshevire  a  stumbling-block  in  the  rubber  business.  Oshevire  is  accused  of collaborating with the rebels when he only saves the life of a little Simbian boy asphyxiating, running away from a bomb blast and chasing mobs out of pity. He is arrested and detained at the

state capital city of Iddu (33-34). Oshevire is imprisoned for over three years. Toje uses his influence to make Aku, Oshevire‟s wife, also a Simba, a public enemy in Urukpe. She is ostracized, kept miserable; hence she suffers hunger, lack, deprivation and mental torture. Toje capitalizes on this and takes advantage of the woman’s predicament and pretentiously offers to help her out only to seduce and mess her up sexually, although he is impotent. Toje tactically convinces Major Ali, the new commandant, who ignorantly offers protection to Aku by ensuring that only Toje or Odibo, his nephew, visits her. Toje continues to give her and her only son, Oghenovo food, money and clothing. The relationship between Toje and Aku, Oshevire’s wife, is symbiotic or a fair exchange. Aku needs food, clothing, maintenance and protection as she is suffering because of her husband’s detention.  Toje is in need of self-reassurance of potency to prove his manhood (133).

Being impotent, Toje only arouses her. The arrangement is that Toje stays in Odibo’s house to make love to Aku while Odibo stays in her house to look after her son, Oghenovo. Odibo has the golden opportunity of spending a night with her because it is too late for him to go back home. He satisfies her sexually and a relationship ensues. According to Odibo, “God never does a job half-way”. Toje suspects their relationship and attempts to attack Aku but Odibo stops him and the two men fight each other, butchering each other into coma are hospitalized. Oshevire is finally released for want of evidence. Major Ali briefs him what happened and he divorces his wife, Aku, and sets his house ablaze. Getting out, he is killed by a gunshot.

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