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.