RELIGIOUS AESTHETICS IN AFRICAN NOVELS: A CASE STUDY OF ELECHI AMADI S SELECTED NOVELS

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1 RELIGIOUS AESTHETICS IN AFRICAN NOVELS: A CASE STUDY OF ELECHI AMADI S SELECTED NOVELS UNOROH SOLOMON OGHENEOCHUKO English Department, Michael Otedola College of Primary Education Noforija- Epe, Lagos State, Nigeria ABSTRACT It is a general consensus that all human societies all over the world practice one form of religion or the other. In Africa, African traditional religion is in vogue apart from Christianity and Islam. All religious practices have some attendant aesthetics and the onus of this research is to examine religious aesthetics in African novels using Elechi Amadi s The Concubine and The Great Ponds as a case study. Apart from using the structuralist theoretical framework for analysis, the researcher constructed twenty-five items that were administered on one hundred respondents. The collected data were analyzed using simple percentage and it was discovered that superstition, charms and traditional medicine are important religious aesthetics in Africa. Elechi Amadi s treatment of religion in his selected novels is highly objective and also helps in the projection of the African personality. INTRODUCTION This paper attempts the treatment of religious aesthetics in African novels using Elechi Amadi s The Concubine and The Great Ponds as a case study. Amadi s religious thesis is based on the belief system of African traditional religion. This paper focuses on superstition, charms and the practice of traditional medicine by herbalists. Amadi s treatment of religious aesthetics reinforces the idea that African communities were not mindless before the coming of the Europeans. Africans were well organized and their culture among the best. African writers use the work of literature to fight against colonial prejudice of tabula rasa Africa is a dark continent and Africans are ignorant they have to show how traditions are manifested (Abdou 2010). This is one of the major reasons why Amadi presents religious aesthetics positively and objectively. It must be pointed out that religion is an organized collection of beliefs, cultural systems and world views that relate humanity to an order of existence. It is a relatively bounded system of beliefs, symbols and practices that addresses the nature of existence and in which communion with others and otherness is lived as if both takes in and spiritually transcends socially-grounded anthologies of times, space, embodiment and knowing. It is associated with feelings, acts and experiences of individual men in their solitude, so far as they apprehend themselves to stand in relation to whatever they may consider divine. According to Idowu (1979), religion forms the foundation and the all-governing principles of life and that it hardly makes any formal distinction between the secular and the sacred. This reiterates the communal role religion play in African society. According to Idowu, in Africa: traditional religions are not primarily for the individual but for his community of which he is part. To be human is to belong to the whole community and to do so involve participating in the beliefs, ceremonies, rituals and festivals of the community. A person cannot detach himself from the religion of his group; for to do so is to be severed from his roots, his foundation, his content of security

2 It is important to note that experience affects perception and in turn constitutes ones belief system. Though, some of the religious practices are presently being questioned by the adherents of other religions, one cannot say that these practices had not been with us. Religion is a universal phenomenon. Looking at art- ancient and modern- one can see the pervasive influence of religion. Religion provides cultural symbols, mythology and emotional shorthand for ideas, concepts, and attitudes necessary for artistic work. Without the common cultural resources created by religions, most of the religious issues raised by literary artist would be impossible. THORETICAL FRAMEWORK The theoretical frame work adopted for this study is structuralism. It originated in the early 1900s through the work of Ferdinand de Saussure on linguistics, along with the linguistics of the Prague and Moscow schools. Wilhelm Wundt is often referred to as the father of structuralism. (Philip 1975). Other proponents of structuralism include: Levi-Strauss, Roman Jakobson, Jacques Lacan e.t.c. Siegel (2012) is of the view that structuralism is a way of thinking about the world which is predominantly concerned with the perceptions and description of structures. Structuralism argues that there must be a structure in every literary text, which helps to explain the main text and that is why it is far easier for experienced readers to assimilate literary text than non-experienced readers. Structuralist reading of a work of literature focuses on how the structures of the single text revolve round inherent narrative tensions. As a result of this, structuralism rejects the concept of human freedom and choice and focuses instead on the way that human experience and thus behavior, is determined by various structures. According to structuralist theory in anthropology and social anthropology, meaning in any literary work is produced and reproduced within a culture through various practices, phenomena and activities that serve as systems of signification. The choice of structural theoretical framework is based on the fact that religious aesthetics treated in Elechi Amadi s selected novels; The Concubine and The Great Ponds are issues selected from existing structure which is the society. Consequently, it is the system of organization (religious aesthetics) that is important since they aid not only the understanding of the text but its interpretation as well. STATEMENT OF THE RESEARCH PROBLEM This research work is a case study intended to find out the objective presentation of religious aesthetics like superstition, charms, and traditional medicine in African novels using Elechi Amadi s selected novels. Also, this study will analyze the perceptions of Africans concerning belief in superstition, charms and African traditional medicine so as to ascertain their level of acceptance of the specified religious aesthetics. AIM AND OBJECTIVES OF THE STUDY The principal purpose of this study is to sample the views of respondents on the portrayal of superstition, charms, and traditional medicine-men in African novels so as to authenticate their belief system in them. The basic objectives of this research are to: i. Examine the novelist s treatment of superstition, charms and medicine-men. ii. Discuss the views of the respondents about superstition, charms and medicine- men. SCOPE OF THE STUDY The focus of this study is on the two selected novels of Elechi Amadi: The Concubine and The Great Ponds using twenty-five survey questions to find out the opinion of the respondents on the use of charms, belief in superstition and medicine-men. The respondents are the three hundred level students of English department of Ekiti State University. The total number of respondents is fifty. The sampled group was selected because; they have the fore knowledge of the selected texts.

3 RESEARCH QUESTIONS i. What are the views of the respondents on the issues of superstition, charms and medicine-men? ii. How objective is the treatment of those (3) religious aesthetics in Elechi Amadi s selected novels? METHODS OF DATA ANALYSIS The researcher adopted two methods for the analysis of data. First, the collected data were analyzed using percentage and the second method used is the descriptive method to treat Elechi Amadi s handling of superstition, charms and medicine-men. The data are to help to assess the objectivity of the novelist s treatment of the identified religious aesthetics. S/ N RESEARCH QUESTIONS YE S N O 1 Religion and literature come from the same source 100 _ 2 Religious belief system are reflected in some works of 100 _ literature 3 Religious practices reflected in literature are objectively presented 4 Literature portray African traditional religion positively to the outside world 5 Superstition is part of the religious elements treated in African novels 6 Is superstition real in African traditional religion? Do you believe in superstition? Charms are part of African traditional religion 100 _ 9 Are charms reflected in some African novels? Charms are real as far as African people are concerned Charms are used negatively in the society Charms are useful in traditional African society People believe in the efficacy of charms in African society Do African literary artists portray the use of charms in their works objectively? 15 Do African people have herbalists or dibia or medicine-men? 100 _ 16 Do you believe in medicine-men? Are African traditional medicines effective? Are African traditional medicines useful? Do people use African traditional medicine positively? Do Africans patronize native doctors in those days? Medicine-men are portrayed objectively in African novels All medicine-men are good and useful to the society Some medicine-men are fake. 100 _ 24 Some medicine-men exploit their patients 100 _

4 25 All medicine-men use supernatural power PRESENTATION AND DISCUSSION OF DATA In this segment of this research, the researcher presents and discusses the data on religious aesthetics in African novel with a bias on Elechi Amadi s selected novels: The Concubine (1966) and The Great Ponds (1969). The collected data are analyzed using the structuralist literally theory. Question one inquired whether religion and literature come from the same source. To this question, 100% of the respondents agreed that both religion and literature come from the same source- which is the society. This is true because, literature is about people, their society and culture which include their religious belief system and practices. This is why man cannot be separated from his religion. In fact, religion is seen as a way of life. It encompasses the totality of man s activities and experiences that literary artists reflect in their works. This is attested to by 100% of the respondents that religious belief system are reflected in the works of literature. In addition, 70% of the respondents are of the view that religious practices are reflected in literature objectively while 60% said that African traditional religion are portrayed positively to the outside world in both Amadi s The Concubine (1966) and The Great Ponds (1969). Commenting on the handling of religion in the African novel, Obiechina (1975) is of the opinion that most of the earliest African novelists were driven in the direction of cultural affirmation, towards expressing and affirming the African past of the colonial people, validating their autochthonous values often at the expense of the received new values. In addition, Baldwin (1967) observes that in African, religion looms large in the life of the people. This is why most African novels are embedded with the issue of religion. It is imperative to point out that one of the research questions that must be examined are the views of the respondents on the issue of superstition. 60% of the respondents agreed that superstition is one of the religious element treated in Amadi s selected novels. Also, 60% are of the view that superstition is a real phenomenon in African traditional religion but ironically, only 40% beliefs in superstition. Superstition is a religious term denoting a belief, or practice that appears irrational based on religious convictions. It is outside the realm of formal knowledge or superior evidence. According to Wikipedia (2014), it is commonly applied to beliefs and practices surrounding luck, prophecy and spiritual being that cannot be scientifically collaborated. In Elechi Amadi s The Concubine (1966) and The Great Ponds (1969), superstition rules the people s life. It is believed that no sickness is thought to occur without some spiritual connection. When a medicine man arrives, the person consulting must pay something, preferably two manilas to him before he proceeds in his business. Not to do this, is to court the wrath of his personal god who is likely to render his medicine ineffective. This is why Adewoye (1996) hinted that Omakachi s very existence is shrouded in several superstitions like that of a typical African village before the advent of the colonialist. Africans believes so much in superstition and meanings are attached to almost every occurrence in life. The people believed fervently in Ojukwu, who they said controlled smallpox. This disease is dreaded by the people that no body dared call its name; they ironically called it the good thing. When a victim of smallpox dies, no one dare to weep. People merely say mildly that the good thing has claimed him. People go to bed early and would never sing at night or wave a fire brand. It is believed that the god would come in shape of a woman and ask a neighbor for vegetable to make her soup. Refusal to

5 grant her the said vegetable could mean catching the disease. This makes the people a bit nicer during epidemics. From the above, it is categorical to say that in Africa, people believe in superstition. The 40% indication of belief in superstition can be attributed to the fact that most Africans now practice either the Christian or Islamic religion. It is imperative to note also that other religious may point to one form of superstition or another in the religion they do not believe in. For example, the tradition of the Roman Catholic crossing themselves and use of rosary may be seen as superstitious by other adherents of other religion or denomination. In Amadi s selected novels, there is the belief that seeing a person s boil is infectious and that the person you see first in a day determines whether your day will be positive or negative. It is also said that seeing people having lucky face attract good luck and that when the moon points upwards, good luck is on the way. Another religious aesthetics worthy of note in Amadi s selected novels is the belief in charms. 100% of the respondents believe that charms are part of African traditional religion while 60% are of the view that the use of charms are reflected in some African novels like Camara Laye s The African Child, Amadi s The Concubine, The Great Ponds, etc.80% believe that charms are real as the African personality is concerned. 40% are of the view that charms are used negatively in the society while 60% of the respondents attest that charms are useful in African traditional societies. 60% of the data collected agreed that charms are effective while 40% of the respondent agreed that the use of charms is not presented objectively. Amadi presents belief in charms in his selected novels. The use of charms is part of the religious system of Amadi s world in both The Concubine (1966) and The Great Ponds (1969). Abdou (2010) commenting on the force of charms of traditional communities points out that Amadi s novels The Concubine (1966) and The Great Ponds (1969), make a plea for the ancestral religion, especially the use of charms and psychic forces of dibias, to exalt the wonderfulness of Africa. To Amadi, African traditional religion is not only all-embracing but has some essential ingredients that meet the needs of the people. In The Great Ponds (1969), Amadi describes the belief of many characters in the power of charms. The novel opens with Olumba. He is described as the foremost exponent in the use of charms in Chiolu. To Amadi s characters in The Great Ponds (1969), wearing talisman is a great event that allows villagers to be safe in the face of war. Due to the efficacy of charms the villagers feared Olumba not only because of his undisputed physical strength but also for his many reputedly powerful charms. According to Amadi, the whole of the community in The Great Ponds (1969) is conditioned by the use of charms. Great warriors are weak without any amulet. This is why Olumba himself is amazed when he discovers that is amulet against arrows is missing. In The Concubine (1966), Amadi also highlighted the potencies of charms. To show the place of charms in Ikwere s traditions, the novelist introduces us to Nkwokekoro- he can make rains and regulate it to stop. There are talismans that are buried at household s entrances in place of Niger guards, there are love charms through Wigwe s wife. Love portion is a talisman used mostly by women to catch their husbands love. (Abdou, 2010). The use of charms in Amadi s novels reinforces the idea that African communities had a dependable belief system before the coming of the Europeans. They had a well-organized culture that is among the best. This is because; it touches on different aspects of the day to day life of the people. The use of charms is part of the expression of African culture and civilization. Through these novels, Amadi portrays African traditional religion positively in his writings.

6 Another aspect of religious aesthetics in African novels is the treatment of traditional medicine and herbalist. In response to the question of Africans having herbalist, 100% of the respondents agreed that there are herbalists in African communities. 60% have the faith that African traditional medicines are effective while 60% believe in their usefulness. Out of the sampled population, only 40% make use of African traditional medicine but 70% agreed that they patronize native doctors. Positive portrayal of medicine men is agreed to by 60% while 40% agreed to the usefulness of medicine-men to modern society. 100% are of the view that some of the medicine-men are fake because, 100% agreed that most medicine-men exploit their patients. 70% of the respondents agreed that most medicine-men use supernatural powers. Sweeny (1986), writing on Amadi s characters is of the opinion that the most colorful characters in Elechi Amadi s The Great Pond (1969) are the dibias. Through their divinations, spells, and medicine, they exert an extraordinary power over the villages they serve. The most powerful dibia in the story is Anwuanwu of Abii. His magic is the most far reaching and successful. He is able to diagnose and counter the spell Olumba is under. He is much in demand beyond the village, and because of his power and reputations, he holds himself above the war. He seems to be somewhat amused by it, indeed, and he does not let it either hurry or fluster him. Abdou (2010) discussing the influence of dibia, priest and their charms or talisman on Ikwere community, identifies Anyinka, Igwu, Anwuanwu, Achichi, Agwoturumbe, just to mention but a few. The medicine-men (dibias) occupy the position of intermediaries or go-between in the society. They are play various roles and are highly honored some are trustworthy while others are not reliable. CONCLUSION Man is basically religious and so, belief in superstition, charms and African traditional medicine is part of the ways of life of most Africans. Literature being a reflection of man and his society helps to replicate the religious experiences of the people. The religious aesthetics analyzed from collected data and the survey carried out using Elechi Amadi s selected novels: The Concubine and The Great Ponds shows the level of acceptance and actual patronage of African traditional religious belief in superstition, charms and traditional medicine. The portrayal is objectively projected and positively shows that Africans have a religious practices worthy of emulation. REFERNCES Abdou, L. B. (2010). The Forces of Charms in Elechi Amadi s The Concubine and The Great Ponds in Journal of African Studies and Development. Vol. 29 Adewoye, S. (1996). The African Novel Another Evaluative Review. Ilorin: Majab Publications. Amadi, E. (1966). The Concubine. Ibadan: Heinemann Educational Books. Amadi, E. (1969). The Great Ponds. Ibadan: Heinemann Educational Books. Baldwin, A. A. (1967). A Practical View of the Prevailing Religious System of Professed Christians in the Higher and Middle Classes Contrasted with Real Christianity. New York: American Tract society. Idowu, O. (1979). African Traditional Religion. Ibadan: University of Ibadan Press. Obiechina, E. (1975). Culture, Tradition and Society in the West African Novel. London: Cambridge University Press. Philip, S. (1975). The Concept of Structuralism: A Critical Analysis. University of California Press. Siegel, K. (2012). Introduction to Modern Literary Theory. Milwaukee: Mount Mary College. Sweeney, E. (1986). Theme and Technique in the Novels of Elechi Amadi in A.O. Ashaolu, S.O. Asein (Eds): Studies in the African Novel. Ibadan: Ibadan University Press.

7 Wikipedia (2014). Literature.

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