CHAPTER ONE
1.1 INTRODUCTION
Reading through African novels, this research work was triggered by a
lot of borrowing from oral traditional aesthetics into the written form
by African novelists. The transfer of traditional aesthetics is a
common feature in African novels. According to Bodunde (2001) “….
aesthetic transfer investigates the transformation of different aspects
of indigenous heritage….”(p.7)
African traditional setting in general comprises cultural activities
that constitute the concept of beauty or aesthetics. These aesthetics
are enriched in the belief of or custom handed down from one generation
to another. The aesthetics can be found in the people’s early beliefs,
religions, customs, festival, myth, legends, laws, folktales, settings,
communities, metaphysics and magical ceremonies of the people. African
novelists mostly source their raw materials from African traditions.
This is why the transferred aesthetics were formally oral.
TRADITIONAL AESTHETIC TRANSFER AND THE AFRICAN NOVELISTS
Many African novelists owe much to traditional aesthetics.
There are many examples of African novelists that their works show
evidence of traditional aesthetic. Good examples are: Wole Soyinka, Amos
Tutuola, Sembene Ousmane and Ngugi wa Thiongo. These writers are
African novelists and they are competent in using traditional aesthetics
in their works. Amos Tutuola in his novel The Palm wine Drunkard makes
use of lots of traditional aesthetics. Amos Tutuola writes about African
cosmology, myth, legend, folktales, belief in supernatural powers and
the African sociology. The novel is rich in morals, rituals,
andentertainment. The novel brings out rich cultural elements Just as
Chinua Achebe and Camara Laye hadbrought about the cultural elements in
Things fall Apart and The African Child.
Also in Weep Not Child by Ngugi wa Thiongo. Ngugi wa
Thiongo makes use of traditional aesthetics like traditional custom,
traditional settings and governance, myth and legend, superstitious
belief and folktales. In Weep Not Child, Kimathi is a legendrical figure
and the myth about Gikuyu and Mubi. There is also the custom of
circumcision. Also is the traditional setting; Ngotho is the head of his
family and he built his household huts by himself. Ngotho’s polygamous
family is a model, because of Ngotho’s sense of ruling. This view shows
that most African novelists transfer the traditional aesthetics into
their works.
The examination of the traditional aesthetics and the
Africannovelists, a study of Achebe’s Things Fall Apart and Laye’s,The
African Child, the goal of this research work. The transfer of African
traditional aesthetics in the contemporary world such as myths,
proverbs, festival, folktales, superstitious belief, cultural
celebration are features of most African novels.
SIMILARITIES IN THE SETTINGS OF THINGS FALL APART AND THE AFRICAN CHILD
According to David (1980) who made a comparative analysis
of the setting in Things Fall Apart and The African Child. He observed
some similarities in, the setting of the Igbo people of Nigeria and
Malinke people of Guinea in the respective novels. They both lived in an
extended family compounds, both are autonomous and self ruled. They
lived in an oral society where learning was done traditional through
songs, stories and proverbs. Farming was their predominant profession.
The traditional aesthetics in The African Child and Things
Fall Apart are similar in the sense that we received detailed accounts
of family, tribal, rituals, customs, ceremonies through the stories the
characters tell.
The similarities in the setting of the two novels explain
the similarities in the use of traditional aesthetics. It also explains
the transfer of traditional aesthetics of African tradition and cultural
heritage in relation to the two texts.
1.2 PURPOSE OF THE STUDY
The purpose of this study is to examine the traditional
aesthetic transfer in two of African novels. Chinua Achebe Things Fall
Apart and Camara Laye’s The African Child.
This research also aims at making a critical analysis of
the various traditional aesthetics used by Camara Laye in The African
Child and Chinua Achebe’s Things fall Apart.
Finally, the researcher shall discuss importance of the traditional aesthetics in the two texts.
1.3 JUSTIFICATION
This study is embarked upon because no study of this nature
to the researcher’s knowledge has focused specifically on the transfer
of traditional aesthetics, using the two texts: Things Fall Apart and
The African Child.
The works that the researcher came across in the
information collection include, Kilam (1969) which focuses on the use of
language and literary devices inThings Fall Apart. Another is Idowu
(2009) which deals with the use of mythology and superstitious belief in
Laye’s The African Child.
The researcher also came across Ashaolu (1989) who focuses on the image created by Chinua Achebe in Things Fall Apart.
The difference of this work from Kilam (1969), Ashaolu (1989) and
Idowu (2009) is that the researcher intends to focus on the traditional
transfer in Things Fall Apart and The African Child.
1.4 SCOPE OF THE STUDY
This research work shall be restricted to the analysis of
the traditional aesthetic transfer in Camara Laye’s The African Child
and Things Fall Apart by Chinua Achebe. This research shall not divert
into their other works.
The researcher shall specifically bring out the traditional
aesthetics that are similar to the two novels and give their
importance.
1.5 METHODOLOGY
The theoretical approach of this research study is
functionalism. The reason is that the approach addresses the society as a
whole in terms of the function of its constituent elements namely
norms, customs, traditions and institution.
The chosen texts shall be employed as functional novels as
they also deals with the socio-cultural patterns of their respective
settings. Also, the belief in the uni-linear and parallel stages of
social evolution which all societies must pass through.