Print this article - asian journal of multidisciplinary studies

Asian Journal of
Multidisciplinary Studies
ISSN: 2321-8819 (Online)
2348-7186 (Print)
Impact Factor: 1.498
Vol.4, Issue 5, April 2016
Periscope of Stylistic Properties in Ramonu Sanusi’s
Un Nègre a violé une Blonde à Dallas
Sikiru Adeyemi Ogundokun
Department of Languages and Linguistics, Faculty of Humanities,
College of Humanities and Culture, Ikire Campus, Osun State University, Osogbo, Nigeria.
Abstract: Majority of previous studies, if not all, either take side with the language facet of a work of art or
centre on the message of such a literary work for their analysis. The fact that most literary creations are
premised on actual realities and power of imagination of individual writer can indeed stand the test of time.
This study examines how the author’s use of language has helped in shaping his intended meaning. In other
words, we investigate how a writer’s style affects his message. The “French Explication de texte” is adopted
as our methodology while a combination of stylistic theories, an eclectic approach is used for the study. The
writer’s use of linguistic features and linguistic devices such as figures of speech, allusion, proverbs,
transliteration, iconicity, dialogue, dialect, idiolect, code-mixing and code switching provide sufficient tools
to fill our quest for the study. The research concludes that an understanding of a writer’s style paves the way
for a better digestion, internalisation, evaluation, appreciation and application of his ideological stance.
Key words: language, message, situational context, figures of speech, dialogue, allusion, iconicity.
Introduction
Stylistics is the linguistic study of various styles
used by different writers. In other words,
investigation of a style through linguistic devices
cum linguistic features is stylistics. A stylistician
works on a writer’s style by examining the
linguistic ingredients which are present in a given
work of art. It is the link between language and
literature. Leech (1969, p. 1) sees stylistics as “the
study of literary style or to make matters even more
explicit, the study of the use of language in
literature.” It is a systematic explanation of
linguistic features and devices of a given piece of
writing (drama, poetry or prose), which will give
room for the understanding and the appreciation of
the work of art in question.
For a careful stylistic study of any text, there are
six prominent levels of language. First, the
adequate knowledge of graphology, which deals
with the way a writer, has written down his work
and presented in the printed form is very essential.
For instance, the lettering system (italicizing, small
or capital letters), the space between the letters, the
use of punctuation marks, spellings, etc. Two, the
study of morphemes of a given human language
and the way they are combined to form different
words, which is technically called morphology is
also paramount. Three, there is again the need to
understand the idea of syntax. It is the facet of
language that concerns the grammatical rules,
which guide meaningful sentence-constructions in
a particular language. It takes care of how words
are to be arranged in order to form correct
sentences. Four, one needs the knowledge of lexis
which focuses on the vocabulary or the different
registers. Five, the semantics; that is, the
understanding of the connotative interpretation of
the language employed in a piece of writing is
significantly important. Six, the context, which
represents how the various stylistic ingredients
have been effectively mixed together in a work of
art, should be given proper attention. This is so
because the context is the “juice” in the language.
It gives the language its best possible taste, at least,
in the production of a specific literary work as well
as shaping it appropriately. Simply put, the style of
a writer covers his manner of presentation, the
devices of language, extra linguistic imports such
as feelings, attitudes as well as imagery applied to
make his artistic work what it is.
Theoretical Framework
A combination of workable stylistic theories, an
eclectic approach is adopted for the study. The
choice theory which permits a writer to select from
available stylistic options in his artistic production
is central to our analysis. Language is believed to
be “the sum total of the structures available to the
speaker (and even writer), while style concerns the
characteristic choices in a given context” (Traugott
and Pratt, 1980; Osoba 2001, p. 186).
Similarly, Spencer (1964; Osoba, 2001, p. 186)
observed that “a writer’s style may be regarded as
individual and creative utilities of the resources of
language which his period, his chosen dialect, his
genre and his purpose . . . offer him.” It is evident
to say that a good writer chooses those linguistic
elements or devices which show his prestige on one
hand and the social situation of his milieu, on the
other hand. The choice made by any writer might
be deliberate or non-deliberate; the important thing
is that a choice can be made in a syntagmatic
Available online at www.ajms.co.in
63
Periscope of Stylistic Properties in Ramonu Sanusi’s Un Nègre a violé une Blonde à Dallas
manner (horizontally); that is a linear arrangement
or in a paradigmatic manner (vertically).
The form-content approach which interrogates the
relationship between content and form of a given
piece of writing also plays a significant role in this
study. The formal features or architectonical
properties of a work of art; that is, the language or
linguistic devices stand for the form while the
message, information, subject-matter or theme
represents the content. Simply put, what is said is
the content and how it is said means the form. By
extension, why it is said, which presents the
author’s motive/intention can again be of interest to
a stylistician.
The study also benefits from the deviationist
approach. The use of a given human language in
such a manner that violates the established norm or
standard of the language in question is described as
a deviation. Foregrounding is the kind of deviation
which is of interest to us in this study. A creative
distortion of standard language is foregrounding.
This literary stylistic device brings the information
to the forefront of the readers’ attention. Pattern
repetition is an example of foregrounding. This
device is mainly known for the purpose of
emphasis. Foregrounding is the same as
“prominence” (Halliday, 1973; Osoba, 2001, p.
189).
Discussion
One of the major stylistic features which every
writer can employ in his/her text is the literary
devices. The devices include simile, metaphor,
personification, hyperbole, pun, irony, paradox,
onomatopoeia, oxymoron, metonym, alliteration,
assonance, symbolism and apostrophe among
others. Sanusi’s use of these devices reveals his
expertise as a competent creative writer. For this
study, the use of simile shall be our major concern.
Most of the similes used by the novelist are
informed by situational context which some
scholars referred to as context of situation. Ayeleru
(2001, p. 26) says: “context of situation refers to
the immediate social situation and environment of
the text.” Whether at the micro level when situation
covers only the small area or at the macro level
when cultural properties are involved, every use of
language is open to stylistic investigation as the
“product of social situation” (Chapman, 1973). The
style of expression can however, be affected
because a writer’s intention as well as the function
his use of language is expected to perform depends
largely on, not only the situational context but also
on the cultural context. The authorial tone, which
can be interpreted as the writer’s attitude could also
be traced to situational or cultural variables and by
extension biological factors. Such authorial tone
can be described as formal, subtle, complex,
simple, distant, and intimate or suspense.
The use of simile:
Asian Journal of Multidisciplinary Studies, 4(5) April, 2016
In Sanusi’s Un Nègre a violé une Blonde à Dallas,
a process of comparing two things, which do not
belong to the same group based on a particular
point or attribute of similarity is the most used
literary device. This device is technically called
simile. It is commonly achieved with the use of like
or as ----- as. Simile generally gives mental pictures
(imagery), makes readers to have pity for what is
presented or inject laughter. Laughter excites,
reduces tension, gives pleasure of mind and
consequently heals the soul. These are some of the
basic functions of literature as an art for life sake.
We have classified the expressions of simile in the
novel, Un Nègre a violé une Blonde à Dallas, into
two (a) Those that tickle and (b) Those that contain
pathos.
Datum A: Examples of similes that make readers
laugh:
i.
ii.
iii.
iv.
v.
vi.
vii.
viii.
ix.
x.
xi.
xii.
xiii.
Mon oncle gronda de nouveau comme
un tonnerre! (p. 12)
Il marcha lourdement comme une
vache (p. 14)
. . .elle était belle comme la lune qui
brille bien la nuit. (p. 35)
Le moment pour lui de hurler comme
un chimpanzé atteint par un coup de
fusil. . . (p. 36)
Comme un tigre qui descend sa proie
avec agilité, (p. 38)
Son visage a rougi comme les fesses
d’un singe. (p. 68)
On aime ricaner comme des hyènes.
(p. 107)
Nos yeux avaient changé de couleur.
Ils étaient devenus rouges comme
ceux d’un oiseau sauvage de
l’Afrique noire. (p. 109)
Il s’en fuit comme un chien en rage . .
. (p. 113)
Je tire sur la camera qui tombe par
terre comme un œuf. (p. 114/115)
Les femmes dansaient autour des
hommes comme des serpents. (p. 127)
On baisait les femmes blanches
comme des chevaux. (p. 148)
Le Nègre est sale comme le cochon.
(p. 164)
Apart from the fact that those expressions create
concrete mental pictures, they also tickle readers or
listeners.
Datum B: Examples of similes that make readers
have sympathy for what is presented:
i.
ii.
iii.
. . . il est devenu pauvre depuis ce
jour-là comme une souris d’église !
(p. 10)
. . . se retrouve perdu comme une
aiguille dans un océan. (p. 12)
. . . ce serait d’autres coups de pieds
lancés sur moi comme sur un chien
galeux (p. 12/13)
64
Periscope of Stylistic Properties in Ramonu Sanusi’s Un Nègre a violé une Blonde à Dallas
iv.
v.
vi.
vii.
viii.
ix.
x.
xi.
xii.
xiii.
Il y a deux ans qu’il me nourrit
comme un chiot orphelin de mère. (p.
13)
Je grelottais comme un poussin sur
qui on avait versé de l’eau froide. (p.
15)
J’étais comme un petit oiseau enlevé
de son nid de force. (p. 25)
J’étais mince comme une tige de mil
d’où le paradoxe de mon nom. (p.
26/27)
. . . en secouant ma tête comme celle
d’un margouillat ! (p. 27)
. . . il le tuait comme un chasseur tue
un animal sauvage sans regarder
derrière. (p. 108)
. . . je suis parti me promener comme
un flâneur ! (p. 119)
Tous les regards hagards étaient
braqués sur moi comme les phares
d’une voiture ! (p. 125)
Mon sang bouillait comme de l’eau
chaude dans une marmite ! (p.
125/126)
Il a crié comme un singe fusillé. (p.
190)
A close examination of expressions of simile
employed by Sanusi shows that the author’s
cultural context and his immediate situation have
played a useful role in the artistic production of Un
Nègre a violé une Blonde à Dallas. The novel is
picturesque and film-like.
Besides simile, the author does not shy away from
other literary devices such as metaphor,
personification, paradox and assonance only to
mention but a few. Expressions like «Je dis oui
Sophie, ma lune! » (p. 65) «On devenait plus fous!
On devenait plus sauvage! » (p. 110) « New York
était une nouvelle école pour moi. » (p. 111) are
metaphoric while «Cette magie Nègre m’aidera
dans mes cambriolages » (p. 51) is a
personification.
The writer condemns the idea of celebrating people
particularly in Africa, without knowing the source
of their fortune through his use of paradox. He
writes:
En
Afrique
noire
comme le charbon, tout
le monde vous admire
quand vous êtes riche.
Tout le monde vous
côtoie. Tout le monde
veut être votre ami
sans même savoir la
source de votre argent.
(p. 49)
To give us a feeling of sympathy, the novelist
employs assonance by creating sound effect as
demonstrated in these expressions: «J’étais fracassé
comme une boutelle cassée.» (p. 137) As though
Asian Journal of Multidisciplinary Studies, 4(5) April, 2016
the simile in the expression was not enough, there
is assonance in «fracassé» and «cassée.». Also, in
the expression, «. . . je la vois des fois même dans
mes rêves, dans mes songes! » (p. 164), the
underlined words give an impression of sound
effect which can be described as assonance because
it is generated from the last accentuated vowel
sound in each of the given words.
The use of foregrounding:
Concerning the syntax of the French language,
Sanusi carries out some tactical constructions in Un
Nègre a violé une Blonde à Dallas. Most
importantly, his use of foregrounding calls for
attention. There are many pattern repetitions to
achieve his intention at different situations. For
example, on the very first page of the novel, we
find this construction, which firmly frowns at a
practice adjudged to be unacceptable.
Datum C:
«Il avait cette sale habitude!
Cette sale habitude de Nègre sauvage!
Cette sale habitude de Nègre ivrogne!» (p. 9)
Datum D:
«Cette phrase faisait écho dans mes oreilles.
Cette phrase faisait écho aussi dans ma tête.» (p.
16)
From the information above, it can be deduced that
the novelist uses foregrounding to emphasize the
degree of impact a discussion has on the being of
the main character, Ajanaku.
Datum E:
«Là, on nous a appris à faire le pickpocket.
Là, on nous a appris à fumer le chanvre indien.
Là, on nous a appris à violer les femmes
Là, on nous a appris à manier la kalachnikov.» (p.
2/29)
From the datum marked E, foregrounding is
applied to picture the horrible activities in the
society presented in the novel.
Datum F:
The expressions, «On se bouscule! On se coude!
On crie! On s’engueule!» (p. 34) and On a cassé les
banques à Lekky! On a cassé les maisons à Ikoyi!
On a cassé les appartements à Ikeja! On a
complètement cassé tout à Surulere! (p. 37) further
underscore the author’s determination to paint the
unsafe situations in most African states. Little
wonder, when the writer describes the weakness of
the Nigeria police, he results to the use of
foregrounding. «Il y avait là (Oluwole in Lagos)
des crimes divers. On y trouvait tout. On y vendait
tout. Et on y achetait tout là. Tout se passait là
comme dans une république bananière. On trouvait
65
Periscope of Stylistic Properties in Ramonu Sanusi’s Un Nègre a violé une Blonde à Dallas
partout des policiers mais
n’intimidait personne. » (p. 39)
leur
présence
Datum G:
The attitude of the Black people is captured in the
writer’s application of this foregrounding. «Que
nous les Nègres, on aime jacasser comme des
oiseaux. On aime ricaner comme des hyènes. ».
Datum J:
-
-
Datum H:
«De ne plus voler!
The first conversation between Ajanaku and
Agbako as contained in datum J reveals the
character traits of the latter and the paradox in the
former’s name as well as the social reality of the
milieu.
De ne plus tuer!
De ne plus baiser plusieurs femmes. . .
De ne plus fumer du chanvre indien.
De ne plus boire de l’alcool.» (p. 167)
It is not just for condemning negative issues,
foregrounding can be used to uphold and promote
good virtues. As we can see form the instance in
datum H, the writer emphasizes the significance of
Baba Esu’s sermon upon his repentance.
Datum K:
-
From the data presented, it is noteworthy that
Sanusi’s foregrounding is chiefly premised on
anaphora. A repetition of the same word at the
beginning of successive clauses, sentences or
verses (Wales; 1989; Alabi; 2008, p. 254). This
practice
has
enhanced
the
phonolexical
effectiveness of the text.
Datum L:
-
Datum I:
-
-
Emekami, c’est fait. J’ai réussi à dérober un
passeport. Le voici!
Ajanaku, le coup est bien joué. La photo du
propriétaire de ce passeport te ressemble. Tu gardes
son nom. Désormais son nom sera ton nom. Tu as
une nouvelle identité. C’est seulement la photo que
je vais changer. Cela me rend la tâche plus facile.
Donne-moi ton photo-passeport (p. 42).
Datum K presents a conversation between
Emekami and Ajanaku. It displays a kind of social
mutual understanding between them. They are
comrades in criminal acts.
The use of dialogue:
Another stylistic feature in many literary texts is
dialogue. It concerns conversations. It is indeed a
popular element of traditional literature and a
common way of human life. It enhances and
promotes peaceful co-existence. Dialogue shows
cultural mutual understanding, mental disparities
between characters, difference in their educational
background, social stratification or to reveal the
geographical origin of characters in a given piece
of writing. «L’art qui emploie plus de récits
scéniques que de “résumés” tend à abolir ou du
moins, à diminuer la distinction entre le lecteur, les
personnages et l’histoire.» (Bestman, 1981;
Ayeleru, 2007)
Bonjour jeune homme, je m’appelle Agbako!
Bonjour, . . .
Mais écoute! Comment t’appelles-tu? D’où vienstu et où vas-tu? Ici c’est Oshodi, le lieu où le voleur
est maître et la victime part perdante.
. . . je m’appelle Ajanaku.
Fais très attention à Lagos pour qu’on ne te vole
pas. À Lagos, on vole tout. À bon entendeur? (p.
26/27)
Ajanaku. Ajanaku. Ajanaku. Combien de fois t’ai
je appelé?
Trois fois, lui répondis-je!
Ecoute, tant que tu ne reviendras pas de Lagos avec
des fortunes, ne reviens pas dans cette maison.
Compris!
Compris Tonton (p. 14/15).
The conversation between Ajanaku and his uncle,
Ali Baba captured in datum I, shows the uncle’s
mind set. He can be best described as a materialist,
a lover of money. He instructed Ajanaku to leave
Boripe for Lagos. He quickly added that the young
guy should not return home without making his
fortune.
Asian Journal of Multidisciplinary Studies, 4(5) April, 2016
Est-ce que je peux m’asseoir s’il vous plaît? (Elle
me prenait pour un étudiant de la Fac)
Moi, comprends pas fraçé bien! Toi dis quoi?
Mon nom c’est Sophie, me dit-elle.
Moi nom, c’est Jean-Claude Denzel Paccino.
Quel beau nom! Me dit-elle. Je vais t’appeler
Paccino tout court.
Toi aime Paccino? C’est bon, lui dis-je (p. 64).
The datum described as L is a conversation
between Ajanaku and Sophie. The encounter
explains the difference in their cultural and
educational background as well as their mental
disparities. Check for instance, the way Ajanaku
expresses himself in French language. His sentence
constructions and his pronunciation of the word
“français” are incorrect. They are deviations from
the standard or norm.
The use of code-mixing, code- switching,
dialect and idiolect:
These stylistic devices help readers to understand
the cultural and geographical backgrounds of a
writer, his religious affiliation as well as his
educational exposure among other things. The
author’s use of dialect and idiolect adds local
colouration to the story and it enhances the
originality of the work. Code-mixing is the use of
two or more linguistic codes (languages) in a
sentence or an utterance while code-switching
66
Periscope of Stylistic Properties in Ramonu Sanusi’s Un Nègre a violé une Blonde à Dallas
means changing from one language (linguistic
code) to another in an utterance or a discourse
(Ogundokun, 2013, p. 49). The following words,
groups of words or expressions are some of the
items of code-mixing, code- switching, dialect and
idiolect used in Sanusi’s Un Nègre a violé une
Blonde à Dallas.
Datum M:
“Walahi” (Arabic word) reveals that the speaker is
probably a Muslim. “Agbako” (Yoruba word)
shows the cultural/geographical origin of the
speaker. “Baba Esu” (Yoruba expression),
“Boripe”, “Oyinbo”, “Akata”, “pafuka” and
“égoungouns” are Yoruba words, which provide
clues on traditional ingredients of the novel. Other
words that reflect the Africanness of the novel
include “Toubabs”, “fafiot”, “patati patata”,
“dègè”,
“blakoro”
and“béké”.
At
the
intercontinental level, the novelist code switches
from French to English by using words and
expressions such as “Yah man”; “WELCOME”;
“Snow Birds”; “RING”; “Cowboys”; “See Paris
and die” (p. 62), “I want to talk to my lawyer” (pp.
116 & 156) and the author also makes references to
some texts written in English language. Examples
are Open Veins of Latin America: Five Centuries of
the Pillage of a Continent.” (p. 74); “The Beautyful
Ones Are not Yet Born”; “A Play of Giants”; A
Man of the People”; “Waiting for an Angel” (p.
78/78) and “There was a Country: a Personal
History of Biafra” (p. 183). From all of these, the
novelist can be described as a polyglot.
The use of allusion:
This stylistic cum linguistic device is demonstrated
in the author’s ability to make direct or indirect
references to events and persons. In Un Nègre a
violé une Blonde à Dallas, Sanusi uses words and
statements which remind readers of certain events
and personalities at home front and at the
international scenes. The writer makes use of four
main types of allusion; namely, biblical allusion,
historical
allusion,
literary
allusion
and
contemporary allusion. The biblical allusion
reminds us of names and events in the Holy Bible.
Datum N:
«C’est moi qui devais porter le calvaire comme
Jésus Christ de Nazareth!» (p. 17) «Cherchez et
vous trouverez», Mathieu: chapitre 7, verset 7 (p.
100). «New York, c’est un vrai monde de Sodome
et de Gomorrhe» (p. 111). «Il était saint comme
Jésus Christ de Nazareth» (p. 145).
Sanusi makes references to socio-political and
historical names and events such as “Jean-Jacques
Rousseau”, a French philosopher (p. 11),
“Jankelevitch”, another French philosopher (p. 27);
Chester Himes, who is famous with the expression:
«S’il braille, lâche-le» (p. 39). The expression, «. . .
c’est comme Oliver Twist qui veut toujours avoir
plus» (p. 103) and the references to Tafawa
Asian Journal of Multidisciplinary Studies, 4(5) April, 2016
Balewa, Sir Ahmadu Bello, le Colonel Odumegwu
Ojuku (p. 181) and Biafra (p. 183) confirm the
artist’s employment of historical allusion.
Most of the items under literary allusion in the
novel remind readers of some committed world
writers, who use their art to fight social injustice
and other social ills. This kind of allusion shows
our novelist as a true man of letters. His mastery of
his chosen area in the academia is laudable.
Surveying literary texts across borders, Sanusi
references the literary works of Ferdinand Oyono
(p. 22), Bernard Dadié, Senghor (p. 59), Ahmadou
Kourouma (p. 66), Mongo Beti, Sembène
Ousmane, Ibrahima Ly, Alioune Fantouré, Sony
Labou Tansy, Alain Mabanckou, Ali Wabéri,
Aminata Sow Fall, Amadou Koné,Helon Habila,
Chinua Achebe, Wole Soyinka, Ayi Kwei Armah
(p. 78); Emile Zola (p. 80), Calixthe Beyala (p. 81),
Joseph Zobel (p. 82), Aimé Césaire (p. 83), Guy de
Maupassant (p. 151), Albert Camus (p. 171) and
Camara Laye (p. 193).
Furthermore, the use of contemporary allusion is a
form of iconicity through which real life is
imitated. In other words, one can argue that the
presence of contemporary allusion in a literary text
is an evidence of faction. Remember, faction is a
fusion of “fact” and “fiction”. References to current
issues and peoples of the world are major things we
look for to stamp out the use of contemporary
allusion. In Sanusi’s Un Nègre a violé une Blonde
à Dallas, references to proper nouns such as
personalities, known cities, countries and some
geographical features dominate the pages of the
novel. The writer gives a list of some African
leaders, although they are believed to be corrupt
and insensitive to the plight of their people. We
have, for instance, the likes of Eyadema, Mobutu,
Bokassa, Biya, Houphouët-Boigny, Kountché,
Kérékou, Samuel Doe, Idi Amin, Obasanjo,
Babangida, Abacha, Busia, Campaoré, Sassou
Nguésso, Teodoro Obiang Nguema, Mbassogo (p.
82/83). The novelist goes on to mention some
perceived progressive African politicians such as
Muhammadu Buhari, Alassane Ouattara (p. 98);
Bola Tinubu and Babatunde Fashola (p. 164/165).
Chine, Japon, Canada, Amérique, Brésil, Arabie
Saoudite. . . (p. 62) are countries referenced in the
novel while PARIS 2015 (p. 95) is a contemporary
issue, where world leaders met to discuss Climatic
Changes.
The author, again, makes references to black spots
in Lagos where crimes have become the order of
the day. Oshodi, Ajegunle, Agege, Oluwole and
Ojuelegba are vividly captured in the novel. New
York is also pictured thus; «. . . me rappellent
Harlem City à New York où drogues, crimes
divers, prostitution parmi d’autres sont des activités
du jour.» (p. 40)
Other words or groups of words which denote
contemporary allusion include l’aéroport John F.
Kennedy (p. 106), Steve Wonder (p. 160), Bin
67
Periscope of Stylistic Properties in Ramonu Sanusi’s Un Nègre a violé une Blonde à Dallas
Laden (p. 119), le Sida et l’Ebola (p. 174),
Abubakar Shekau (p. 184) and Boko Haram (p.
185). The reference made to Bin Laden and
Abubakar Shekau reminds readers the wicked
operations of the terrorists, who in recent times
have wasted a lot of lives and properties.
-
-
By and large, the novelist uses proverbs to make
confirmation, give advice/encouragement or to
issue warning. Two examples of proverbs used in
Sanusi’s Un Nègre a violé une Blonde à Dallas are:
The use of other stylistic features cum
devices:
At the level of graphology, the novelist uses capital
letters in a special way to draw readers’ attention to
issues or subjects he wishes to emphasize. He also
uses exclamation marks intensively to reflect his
feelings at different situations and this has
contributed to affective or emotive meaning of the
text.
-
Datum O:
Consider these examples:
-
-
-
«Il y avait peut-être de quoi car son nom signifie
DIABLE dans mon parler local. (p. 40)»
«Moi, je ne suis pas membre de BOKO HARAM.
Moi, je ne suis pas membre d’ISIS. Moi, je ne suis
pas membre d’AL SHABAB. » (88/89). By
implication, the writer preaches firmly against the
activities of the terrorists.
«Et puisque cet événement-là, c’est à Paris,
l’homme blanc l’a appelé PARIS 2015 ». (p. 95)
«On m’a fait un WELCOME très somptueux. » (p.
107)
« . . . dans le RING ». (p. 139)
«UN NÈGRE A VIOLÉ UNE BLONDE À
DALLAS. » (p. 155)
Lexically, the use of «Walahi» is stylistically
important. The frequent injection of “walahi’ marks
firmness and truthfulness on the part of the
speaker/writer. The emphasis gives the work a
colouration, which again reminds readers, who are
familiar with Francophone African literature, the
artistic works of Ahmadou Kourouma, another
prolific Franco-African writer. The writer writes:
«Walahi, moi je ne mens pas! Je dis la verité! » (p.
126) The words, Boko Haram, ISIS and AL
SHABAB (p. 88/89) symbolize fear, anxiety,
uncertainty, destruction and death. The names of
these groups denote a referential meaning while the
emotive meaning of these words is a group of
dreaded terrorists around the world. The use of
words like «chimpanzé», «fusil», «tigre», «singe»,
«hyènes», «oiseau sauvage», «chien», «serpents»
unmasks the writer’s register. The register
employed is practically that of hunting or armed
robbery, which depicts horror, fear, insecurity,
criminality, destruction and death.
Still on the lexis, the word “Yah man” is
nominalized by the author as presented in the
examples below:
-
« . . . je ne savais pas que les Yah man mangent
plus de piments que les Nègres de l’Afrique noire.»
(p. 129)
«Au cours de mon séjour dans le pays des Yah
man, j’ai eu un drôle de chance!» (p. 129)
« . . . j’ai commencé à respecter les Yah man de la
Jamaïque» (p. 128)
Asian Journal of Multidisciplinary Studies, 4(5) April, 2016
«. . .quelque soit le séjour d’un tronc d’arbre dans
une rivière, il ne se transformera jamais en
crocodile.» (p. 153). This proverb encourages us to
be ourselves; not to attempt impossibility. Since no
matter how long a log (wood) might stay in the
river, it would never become a crocodile. Hence,
this statement warns that people should stop
making tall orders!
«À quelque chose, malheur est bon, » (p. 194). It is
widely believed that every disappointment is a
blessing. This proverb illustrates the story-line of
Ajanaku, the protagonist in Sanusi’s Un Nègre a
violé une Blonde à Dallas. Ajanaku’s leaving
Boripe, his tradition home for Lagos, a one-time
capital of Nigeria, was like a bad omen, at the first
instance. It was characterized with uncertainty but
at the end, he returned home a “successful man”,
who was celebrated by his people.
Some of the deviations used by Sanusi in his novel,
Un Nègre a violé une Blonde à Dallas, demonstrate
a deconstruction of the standard French. This
process allows the writer to reach out to the
majority of his fellow Africans, who do not have
higher education. Sanusi results to the intensive use
of African French, “petit français” from page 163
to page 195. It means a return to his source of a
kind.
Last but not the least, we would like to peep into
the author’s mind style; that is, the characterization.
It explains the way and manner characters are
portrayed or presented in a work of art by the
writer. Apart from costume, props, body language,
paralinguistic elements, what a character says and
what other characters say about him/her are
essential in decoding the character traits of a given
character. In Sanusi’s Un Nègre a violé une Blonde
à Dallas, Baba Esu can be described as a
dynamic/rounded character. He metamorphosed
into a refined being, a believer of a sort, by
dumping his criminal acts. Consider what the
narrator (Ajanaku) says about Baba Esu:
Quand je suis arrivé à Lagos,
Walahi, j’ai vu toutes les belles
choses qui sont tombées sur
Lagos comme une bonne pluie.
J’ai vu mes partenaires en
crimes Baba Esu, il est devenu
vieux. Curieusement, il ne vole
plus. Il connaît maintenant
Jésus-Christ. Notre père céleste
l’a pardonné. Il lui a dit que ses
68
Periscope of Stylistic Properties in Ramonu Sanusi’s Un Nègre a violé une Blonde à Dallas
crimes sont effacés; qu’il parte
et ne commette plus de crimes.
Je lui ai dit que je lui avais
ramené beaucoup de choses du
pays de l’homme blanc. Il m’a
demandé poliment de les garder.
Qu’il n’acceptait plus de pareils
cadeaux! (p. 166/167)
However, Ajanaku and Agbako are flat characters.
They refused to change from their sinful way of
life. In the words of the narrator/ Ajanaku, we can
draw some strength:
Agbako est aussi abattu par
l’âge. Il ne cambriole plus mais
il n’a pas cessé de boire. Lui, ne
s’est pas métamorphosé comme
Baba Esu. Bref, j’ai passé ma
nuit avec lui. Nous avons bu
dans un club. Nous avons dansé.
Nous avons fumé du chanvre
indien comme auparavant! Rien
n’a changé en lui depuis que je
suis parti. (p.168)
Finally, it is essential to put it on record that the use
of episodic plot does not affect the stylistic potency
of the novel. In fact, it serves as an element of style
in itself. A cross examination of the text reveals
that the events in the story are loosely put together,
in such a way that even if you remove or rearrange
some events, the entire narrative may not be
dislocated. This kind of plot can also be found in
Camara Laye’s L’enfant noir and George Orwell’s
Animal Farm. It is, therefore right to argue that the
use of the various literary devices, a combination of
authorial tones, episodic plot, good characterization
and epilogue has enabled Sanusi to achieve his
intention in Un Nègre a violé une Blonde à Dallas.
Conclusion
This study has attempted to demonstrate why the
writer has chosen to write the way and manner he
does and how the aesthetic features of the work
have enhanced the linguistic technique of the
novelist. It is argued that a writer’s intention
dictates the function of the language he uses.
Through the study, it is evident that facts and
fictions are often juxtaposed to construct
interesting novels, plays, short stories, songs and
poems for different purposes. But the truth is that
both the language and the content of any literary
work cannot be separated. Language used in any
work of art is the vehicle through which the
meaning or message embedded in that artistic work
is expressed. Language is the container, which
holds the information that portrays the writer’s
preoccupations, ideologies or themes. The style of
a language text constitutes the hinge on which
textual interpretation is suspended (Alabi, 2008:
252). It is a disservice to examine the language of a
text without making reference to its content. Both
the conscious and the unconscious experiences of a
given writer play a significant role in the
production of his/her artistic work. However, even
with the spontaneity, which comes from our stream
of consciousness and the use of iconicity, the work
remains a purely fictional narrative originated from
a deep power of imagination and description.
References
Alabi, T. A. (2008). “Phonolexical Foregrounding in Oduduwa and Sango as Samples of Traditional Religious
Drama in Nigeria”. Papers in English and Linguistics, 9, 2008, 252 – 264.
Ayeleru, B. (2007). «Pour une relecture de Xala de Sembene Ousmane». Voix Plurielles; 4, (2) Septembre.
Ayeleru, B. (2001). Sony Labou Tansi’s Literary Idiolect in La vie et demi and L’état honteux. Unpublished PhD
Thesis, University of Ibadan, 26.
Chapman, R. (1973). Linguistics and Literature: An Introduction to Literary Stylistics. London, Edward Arnold.
Halliday, M. A. K. (1973). Linguistics Function and Literary Style: An Inquiry into the Language of William
Golding’s The Interiotors, Explorations in the Functions of Language. London, Edward Arnold, 103 –
140.
Leech, G. N. (1969). Linguistics Guide to English Poetry. London, Longman.
Ogundokun, S. A. (2013). «Sociolinguistic Resources in Mbuko Lynn’s Chaque Chose En Son Temps». IOSR
Journal of Humanities and Social Science, 8, (1), 46 – 52.
Osoba, G. A. (2001). “Style and Stylistics: Definitions and Approaches”. The English Compendium;
Department of English, Lagos State University, 1 & 2, 185 – 192.
Sanusi, R. (2016). Un Nègre à violé une Blonde à Dallas. Ibadan, Graduke Publishers.
Wales, K. (1989). A Dictionary of Stylistics. Essex, Longman Group UK.
Asian Journal of Multidisciplinary Studies, 4(5) April, 2016
69