Yorùbá Literature as
Sociological Reflection:
Ìdààmú Páàdì
Míkáílù and Ládépò Ọmọ Àdánwò
By
Olatilewa Olayemi S.
Introduction
That Yorubá
literature as a reflection of society is a fact that
has been widely acknowledged. Literature indeed reflects the society, its good
values and its ills. In its corrective function, literature mirrors the ills of
the society with a view to making the society realize its mistakes and make
amends. It also projects, the virtues or good values in the society for people
to emulate. Literature, as an imitation of human action, often presents a
picture of what people think, say and do in the society. In literature, we find
stories designed to portray human life and action through some characters who,
by their words, action and reaction, convey certain messages for the purpose of
education, information and entertainment. It is impossible to find a work of
literature that excludes the attitudes, morale and values of the society, since
no writer has been brought up completely unexposed to the world around him.
What writers of literature do is to transport the real-life events in their
society into fiction and present it to the society as a mirror with which
people can look at themselves and make amends where necessary. Thus, literature
is not only a reflection of the society but also serves as a corrective mirror
in which members of the society can look at themselves and find the need for
positive change. It is necessary to take a close look at some works of
literature, in order to understand how literature actually reflects the
society.
In this paper, we shall
be looking at the sociological reflections of two plays written by Adébáyọ̀ Fálétí and Ọlánrewájú Adépọ̀jù; Ìdààmú Páàdì Míkáílù
and Ládépò Ọmọ Àdánwò
repectively. The both playwrights can be considered as didatic artists whose
works are majorly centred around moral instruction. As at the time the two novels of were published, the
political scene of Nigeria was getting tussled, especially the crisis between
Ládòkè Akíntọ́lá and Ọbáfẹ́mi Awólówò of Western Region of Nigeria.
There were all kinds of assassinations, struggle for power, and corruption
within the administrative corridor of Nigeria. Adébáyọ̀ Fálétí published
its Ìdààmú Páàdì Míkáílù in 1972 while Ọlánrewájú Adépọ̀jù published Ládépò Ọmọ Àdánwò in
1974 which we believe
the two plays were written to depict the happenings in the arena of power. To
shed more light on this, let’s do rundown of some events that took place
immediately after the Nigeria independence in 1960.
1960: Nigeria gained independence from Britain under Prime
Minister Tafawa Balewa and President Nnamdi Azikiwe.
1966, 15 January: A military coup deposed the government of the First
Republic. Balewa, Premier of Northern Nigeria Ahmadu Bello, and Finance
Minister Festus Okotie-Eboh, were assassinated.
16 January : The Federal Military Government was formed, with General
Johnson Aguiyi
Ironsi
acting as head of state and Supreme Commander of the Federal Republic.
29 July: A
counter-coup by military officers of northern extraction deposed the Federal
Military Government. Aguiyi-Ironsi and Adekunle Fajuyi, Military Governor of
the Western Region, were assassinated. General Yakubu Gowon became President.
1967: Genocide against people of Eastern Nigerian origin
claimed the lives of many thousands mostly Christian Igbo people. This was carried
out by the Muslim Hausa and Fula people. This triggered a migration of the Igbo
back to the East.
27 May: Gowon announces further subdivision of Nigeria, into
twelve states. These include subdivision of the Eastern Region which will
undermine its political power.
30 May: Nigerian-Biafran War: General Chukwuemeka Odumegwu
Ojukwu, Military Governor of Eastern Nigeria, declared his province an
independent republic called Biafra
1970: Ojukwu fled into exile. His deputy Philip Effiong became
acting President of Biafra
1975: General Yakubu Gowon was overthrown in a bloodless coup.
General Murtala Mohammed became Head of
State
Sociological Criticism
Sociological criticism is literary criticism directed to understanding
(or placing) literature in its larger social context; it codifies the literary
strategies that are employed to represent social constructs through a
sociological methodology. Sociological criticism analyzes both how the social
functions in literature and how literature works in society. This form of
literary criticism was introduced by Kenneth Burke, a 20th-century literary and
critical theorist, whose article "Literature As Equipment for Living"
outlines the specification and significance of such a critique.
Sociological criticism is influenced by New Criticism; however, it adds
a sociological element as found with critical theory (Frankfurt School), and
considers art as a manifestation of society, one that contains metaphors and
references directly applicable to the existing society at the time of its
creation. According to Kenneth Burke, works of art, including literature, "are
strategic namings of situations" (Adams, 942) that allow the reader to
better understand, and "gain a sort of control" (Adams, 942) over
societal happenings through the work of art.
This complicates the basic trend of New Criticism which simply calls for
a close textual reading without considering affective response or the author's
intentions. While Burke also avoids affective response and authorial intention,
he specifically considers pieces of art and literature as systematic
reflections of society and societal behavior. He understands the way in which
these artworks achieve this to be strategically employed through the work, and
he therefore suggests the standardization of the methods used by the artists
and authors so as to be able to consider works of art within a social context.
Corruptions and Killings
In the two plays, the two playwrights vividly prove to us the love of
people for power and their readiness to do whaterver to cling to the position
of authority for selfish interest. Unepectedly, Yúnúsà the council
secretary, who is one of the corrupt
officers utter the following statement when they are trying to convince Páàdì
Mínkáílù to accept the nomination letter from the state government to make
him one of the council officials. The statement utter by Yúnúsà gives us overview about the present situation of the community which at
the same time depicting our present day society.
T’ọmọde t’àgbà lo doniṣẹ àparọ̀:
Ẹlomíì ti baba rẹ̀ ò d’ẹgbàá ní lọ́wọ́.
A si gbo jiji d’ẹni ọ̀wọ̀
A maa fa pọ́un pọ́un kiri lọ́wọ́ yẹbẹyẹbẹ
L’ẹni ti kò ṣiṣé kan k’o làágùn rí
L’ẹni ti ko je jade nile ni akoko iri
Leni ti a ‘o gb’orukọ rẹ̀ n’ibikan t̀ rí,
Nibo ni nwon ti r’owo ti nwọn fi d’ẹni aiye mbọ?
(Fálétí 1972, p. 2)
Both
young and old are now into business of falsehood
Someone
that his father has no two thousand
Will
suddenly becomes
influencial
Will
be spraying pounds all around
One
that has not worked and sweat before
One
that never comes out when it dews
One
that no one hears his(her) name from anywhere
before
Where
do they get money that makes people worship them?
Yúnúsà is not only showcasing what is happening in the government alone
but general view about the whole community. He gives instances how some people
suddenly become very rich without having any source of income. And people are
not bothered or concerned about the source of such money. What people do after
is to respect and hold them in high esteem.
Also Sálú, the son of king Eléjìgbò, who is one of the evil
perpetrators confirms the same ideology during interrogation, when police are investigating
the rubbers that shoot Ṣẹ̀tílù.
Ẹ niro ni mo n pa! Bo ba jọ irọ́ loju nyin, irọ́ naa ki gbogbo aiye npa jeun nisiin. (Fálétí
1072, p. 60)
You said am
not saying the truth. If it looks like falsehood in your understanding, is it
not falsehood the source peoples’ livelihood now.
In a society where corruption is so rampant, killing, betrayal and all
other forms of corruptions won’t be found wanting.
In Ládépọ̀ Ọmọ Àdańwò, Ládépọ̀
is ready to murder his own father in order to regain his status and wealth he
loses in Ghana. Ladepo’s wish is not just to get money for his mother’s burial but
also wishes he can get back to the life of affluence he is living while in
foreign land.
…Ile l’o pewura da magbe lọ́wọ́
Ti roko-roko fi da-bi ọlẹ
Ofin ajeji t’owọ Ghana lo pa majẹ̀mu ọ̀rọ̀ dà
Nibi mo f’ọwọ ṣiṣẹ́ owo de
Iru mi ko tọ́ ki ntun ráágó mọ́…
(Adépòjù 1974 p. 36)
…It’s the
farmland that changes water yam in the hand of farmer.
That makes
farmer looks lazy
It’s the
strange law that enters Ghana that changes the covenant.
The level I
have gotten in laboring for money
One like me
should suffering again…
Àjàgbé, the Ifá priest of King Fágadé and Asubíaró community
betrays the king and the community by aligning with the Chief Ajòmàle to kill
the King. Ajòmàle wants to get to the throne by all means and never care if
terminating the life of Fágadé, the present king of Asubíaró will be the
only way to the throne. He can’t do that
alone so he lures Ládépò, who is desperate to regain his former status and
Ajagbe, the unfaithful Ifa priest.
Ladepo: Ẹ du’o ná o, k’a to maa
lọ; elo l’ẹ sọ pe ẹ o fun gan-an o?
Ajomale: Họwu, o tun mbeere ni?
Ladepo: O n’idi ti mo fi mbeere bẹ́ẹ̀
Ajomale: Ṣebi ẹgbẹrun mẹfa naira l’a jọ fadehun si, mo si ti fun ọ
l’ẹgbẹrun kan
Ladepo: Bi ẹ ba fẹ k’iṣẹ o tete ya, ng o gba ẹgbẹrun naira sí I,
nitoripe mo nilo owo. Mo fẹ sin iya mi, baba mi náà si fẹ ku, o yẹ ki
nlowo gidi lọwọ lati sinkun awon mejeeji papọ. Wayi o, ẹnyin náà si mo pe
gbogbo dukia mi ni nwọn ti gba sile ni Ghana; o yẹ ki nmaa r’owo ṣ’ọmọ
jaiye-jaiye, pàá-pàá aṣọ rira.
(Adépòjù
1974 pg44-45)
Ladepo: Please wait, before we go, how much did you
say you would give me?
Ajomale:
Why, are you still asking?
Ladepo: I
have reason for asking
Ajomale: Our
agreement is 6,000, and I have given you 1000.
Ladepo: If you
want the job to be fast, I will collect a thousand more because I need money. I
want to bury my mother and father too is about to die. I ought to have enough
money so that I can bury both together. Also,
you too know that all my properties have been seized in Ghana; I ought to have
money to be enjoying myself, most especially buying clothes.
After the first attempt to kill King Fágadé fails, Ládépò
renegotiating his deal with the enemy of his father. He told him that if he
wants his father’s death to be quicken, Chief Ajọ̀màle will increase his
money.
Ìdààmú
Páàdè Mínkáílù has same
set of people just like we see in Ládépò
Ọmọ Àdánwò. Sálú, Yúnúsà and Ibrahimu set to kill Sẹ̀tílù for
ease access to carter away the money meant for community development.
Ṣẹ̀tílù escapes the first attempt of killing him by the group but
eventually later killed when bring in to confront the evil perpetrators as
witness.
There are also record of accidental killing which are unintentionally carry
out by evil perpetrators but link to their actions. The killing of Ládítí
and Tólání in Ládépò Ọmọ Àdánwò.
Ládìtí and Tólání are not the target but unfortunately, both fall victims
of evil doers. Saratu shocks and falls dead when her husband is murdered in her
presence.
Ladepo: …Àní nkan ti ṣẹlẹ
l’aafin. Tọlani ti ku.
Ajagbe: [pẹlu itara]
kil’o pa a?
Ladepo: Nigbati mo dé ‘le, lori ibi ti
Kabiyesi gbe nrohin nkan t’oju rẹ̀ ri l’ọna oko ni mo bá a; ko si pẹ pupọ
ti nwon fi gbe ounjẹ wa fun un. L’asiko yi gan-an ni mo r’aye da nkan sinu
ounjẹ. Sugbon ara fu ú nigba t’o fẹ jẹun. L’ọrọ kan, Tọlani ṣa jẹ ninu
ounjẹ ki ara r̀ẹ ó mọ́.
(Adepoju 1974, p.61-62)
Ladepo: …Something has happened at palace.
Tọlani is dead.
Ajagbe: [Sympathetic mood] What killed her?
Ladepo: When I got home, I
met them where Kabiyesi was narrating his experience at farm way, not long food
was brought to him. It was at this time that I had chance to put something in
his food. But his was suspicious when he was about to eat. In a nutshell,
Tọlani ate in the food to declare herself innocent.
Salu is also reported being dead. Even though we are not properly inform
about the cause or Salu’s death but we presume probably for breaking the oath
he takes with Yunusa and Ibrahimu or kill by his partners as it is reported.
Faithfulness
and patriotism
The both playwrights do not only depict society full of corrupt fellows but
rather a mixture of bad and good people make up society.
In Ládépò Ọmọ Àdánwò, Tégbè,
the palace massager, has an opportunity to subscribe to get-rich-quick syndrome
just like other people in the society but he chooses to stand out and be
faithful to his master. We can also see where Ladepo is trying to bribe him
with 50 naira and also promises to add 1000 naira to the money so that he can
align with him to complete the elimination of King Fagade, the Asubiaro of Aro
town who is unconscious at the time but he declines the offer.
Tégbè: Hẹ̀n-hẹ́n? Kini
ki nfi ṣe?
Ládépò: Ng o fun ọ l’ẹgbẹrun
naira sí i bi ba de ‘le
Tégbè: Owó kini sẹẹ?
Ládépò: Jẹ k’a kuku pa
Kabiesi tan. Sọ iyekiye ti o ba nfẹ, ng fun ó”.
Adepoju 1974 pg 82
Tégbè: What? Wat should I do with it?
Ládépò: I will give you 0ne thousand naira
more when we get home
Tégbè: Money for what?
Ládépò: Let us c ompletely kill king. Name any
amount you want, I will give you”.
During the interrogation of Sálú, Yúnúsà and Ibrahumu about the robbery
that takes place at the Local Council, we are hinted about the personality of Ṣẹ̀tílù.
The following conversation happens between Yusufu and Salu:
Yusufu: Ṣùgbọ́n lóòtọ́
ni pé gbogbo ẹ̀nyin òṣìṣẹ́ ìgbìmọ̀ ìlú Ejigbo kò fẹ́ràn Ṣẹtilu.
Salu: Irọ́ ni. Ṣẹtilu ni ò fẹ́ràn enia. Kìí fẹ kówó
kúrò lápò ìjọba – bẹ́ẹ̀ l’owo rẹ̀ sì kọ́, owó gbogbo ìlú ni”.
Faleti 1972 pg 60
Yusufu: But it’s true that all
of you workers at Ejigbo Local Government Council do not like Ṣẹtilu.
Salu: It’s a lie. It is
Ṣẹtilu that does not like the people. He doesn’t like money moving out from
government treasury - and the money is not his, the money belong to the
community.
We can understand Ṣẹ̀tílù and his perspective about the people - why
they do not like him or why he doesn’t like the co-wokers. Ṣẹtilu doesn’t
share same ideology with other government officials, majority of the people are
only after what they can steal from government account while Ṣẹ̀tílù
believes in accountability. So we can say that Ṣẹtilu is patriotic and never sees
public office as an avenue to steal.
In Ládépò Ọmọ Àdánwò,
Ladepo finds it so hard to believe truly that his father has no money with the
kind of position he is occupying as the king of Aro Town. How can a whole king
be without money? Even though Ladepo did
not utter this, but being the kind of person he is, he would have been using
the king’s position to accumulate wealth if has these same opportunity. So he concludes that his father has the money
but only chooses not to give him.
Ladepo: Olorì, e má sọ bẹẹ mọ. Ki odidi
ọba o maa sọ pe oun ko lowo lọwọ; ẹ’ò sa sọ pe awun l’ó npa bàbá ku
lọ.
Tọlani: Ọrọ awun kọ o. Ẹ ṣa mọ pe nko
le ri wọn tì. Gbogbo owo wọn ni nwọn ti fi dokowo s’ori kòkó ati iṣẹ
oko.
(Adepoju
1974, p.35)
Ladepo: Queen, don’t say
that again. A whole king will be saying
he has no money; just say father is stingy fellow.
Tolani: This is not a
matter of being stingy. You I know much more about him. He has invested all his
money on cocoa and farm work.
So with this, we can conclude
that Fágadé is one of the community leaders that live within their
means and not corrupt.
Ni Ìdààmú Páàdì Mínkáílù, the major qualification of Mínkáílù
is the fact that he is godly and
faithful, and there is
assumption the he won’t be corruption free if appointed into the public service.
And he never cut short of
peoples’ expectation about him. Even though Sufianu, his house help,
goes against his decision in accepting
the offer, Mínkáílù refuses to go back on his word he gives
to the government
representatives that come to deliver the letter.
Mínkáílù:
Ijoba mà ṣeun o. Nwọn ṣeun tí
nwọn gb’ẹgbẹ wa.
Ṣẹtilu: Ẹnyin
l’Ọlọrun má fi ṣe sábàbí fun wa. Ẹnyin t’ẹ wa n’Igbimo l’o jẹki nwọn ó f’owo náà ranṣẹ.
Ijọba Ipinlẹ ti gbọn ja gbogbo awa Igbimọ ilu kekeke níìsìín. Nwon ti
mọ̀ pe b’awon ba ti fa’ru owo bẹ́ẹ̀ lé ‘lẹ, idaji ni t’awon akowe, idaji
ni t’awọn Ọlọya –dàbá-ndàbá ni…
(Fálétí 1972, p.15)
Mínkáílù:
Thanks to the government. We thank
them for not forgetting us.
Ṣẹtilu: It’s you that God used for us.
State government have outsmart we that are the councils of small towns. They
know if such money is allocated, half of it is for the secretary, half is for
the contractors…
Ṣẹ̀tilu clearly
states in the conversation above that the allocation is approved on the
pedigree of Mínkáílù that is part of their council officials at the present.
The burden and tribulation that come with Leadership
Leadership is not an easy task, and no true leadership without its own pain
and challenges. Aside from popular
belief of what people think the position of authority should be, fame, power and wealth, the two playwrights
prove to us that in the two plays that the position of authority or leadership
can actually be a place of agony, sadness and tribulations.
Minkalu: Hùn-ùn-ùn, iru idamu wo ni mo ko si
yi o?
Ìwọ̀fà r’ọ́ba lọna, óṣ’adura l’abẹnu pé boya, ori a ṣe e, iru oun
a si jọba,
Ìwọ̀fà kò tete mọ̀
P’ori ade, kò jẹ k’ẹrù ọba ó rọgbọ.
Ìdààmù ọlá kì í rọ, koko ni í le.
Òṣùka bàràmù ko r’ẹru agba…
Hùn-hùn-ùn… (Adebayo Faleti 1972
pg 42-43)
Mínkáílù: Oh! What kind of travail do I
encounter?
Slave meet king on the road, he is paying secretly, may the destiny have it
and one like him become king.
Slave does not realize
That the crown does not make the kingship burden to be light
Travail of wealth does get easy, it’s always hard
Big head knot doesn’t carry elder’s load
Ooooooh …
Fagade: Ọgbẹni Agbabiaka,
Ẹ má fọ̀rọ̀
lọ mi, inu mi dàrú;
Ọmọ araiye
ti gbé mi l’ọ́lá wọ ‘mi;
Emi ti w’aiye
ti ironu,
Mo ti w’aiye
adanwo.
Ẹni t’Edumare
ba tori adanwo da,
B’ó ba jìjàdù
w’aiaye,
Onitọ̀ún waa jẹ ‘ra rẹ̀
níyàn ni… (Olarenwaju Adepoju pg 94
Fagade: Mr Agbabiaka
Don’t ask me
to say anything, am sad
The people
of the world have immersed my wealth in water
I have come
to the world to live a life of soberness
I have come
to the world of tribulation
He/She
who God created beacause of tribulation
If he/she
mistakenly come to the world
That person come to suffer himself (herself)...
The expressions of Fágadé and Páàdi Minkailu are expression of
saddiness, heavy burden and regret. And this tell us more about the wealthy
people or people of authority that many people look up to or being perceived as
confortable, happy and enjoying the best of life. In most cases, the oppposite
always be their cases. Fagade can’t get over his depression and commit suceide
at the end of the play.
Comic
Characters
Olanrewaju Adepoju and Adebayo Faleti artistically
create some humors in between the plots so that the whole stories won’t appear
too serious once both are tragic drama. In the two play, Idaamu Paadi Minkailu and Ladepo
Omo Adanwo, we have Sufianu and Tégbè respectively as comic characters. The
other characters in the two play do not take both Sufianu and Tegba serious due
to their approaches and manners. But
when we look closely, we found out they very smart beyond the expectation of
other characters in the plays. Sufianu appears to have knowledge of Ejigbo and
the people there. Sufianu knows from the onset that Minkailu will get into
problem by accepting the nomination and she advises him to reject it which he
refuses. Another instance is when Prince Rafilu comes
to Mínkáílù’s vicarage to pluck oranges.
....S’emi ni mo so pe mo losan yi? Iwo lo si ji i
ka. Han-in iwo t’o o ka’san mi lo ye ko’o mu mi. Ole l’o nmu oni-nkan l’ode oni
Am I
not the one who says I am the owner of this orange? You are the one who stole
them. Yes! It is you who have stolen them that is supposed to arrest me. It is
the thief who arrests the owner these days.
Rafilu knows that Sufianu (the
‘fool’) is referring to king Jubirilu his father, who is working with the
police detectives in their search for the culprits of the attempted robbery and
murder, whereas Salu, Rafilu’s brother is one of the hoodlums. While Saratu who
is present at the scene does not understand Sufianu’s statement; Rafilu does.
Rafilu tries to exonerate his father by replying Sufianu thus:
Nje, o ye mi o. Emi ki i sole o. Baba wa o si ko wa
niru eyi ti e wi-un…
(pg. 37)
Well then, I understand what
you mean. I am not a thief. Our father never taught us such things as you
imply…
What Sufianu does here, as is
wont of jesters, fools and parodists, is a diplomatic way of interrogating
Rafilu to know if his father the king is aware, and consent to the fact that
Prince Rafilu is a gangster. This is evident in Sufianu’s epigramic (a witty,
brief and pointed statement that expresses much in few words) statement after
shame-faced Rafilu’s exit.
Sufianu: Hèn-hèn-èn.
Adegboye lolopa-inu.
Emi Sufianu lolopa ode! Eni ti mo ba si mu…
(pg. 38)
That
is it. Adegboye is the detective
I,
Sufianu is the police. Whoever I catch…
Sufianu’s statement to the
effect that he is also a detective (though taken to be a fool) is very true.
This is because he appears to know the culprits already. Adagbada 2013
Aside from Sufianu and Tegbe, there are also some
comical moment in the plays by other charaters.
Minkailu: B’oniure
ba joye n’ilẹ-ìkà
Ìkà ‘o ní jẹ ó
joye naa pẹ́
Enia t’o p’oun ‘o fọ̀
‘bajẹ aiye mọ́
Yio kan ‘yo ninu ìdin.
Yunusa: Yio kan ‘din ninu iyọ̀, Paàdi!
“Yio kàn ‘din ninu iyọ̀” ni nwọn íwí.
(Faleti 1972 p.4)
Minkailu
When a good fellow being bestowed
with a title in the house of wicked
The wicked won’t let the fellow last with the title
The person that wants to clean the bad of this world
Will find salt in the maggots
Yunusa:
Wil find maggot in the salt.
Will
find maggot in the salt that is how they say it
Instead of saying kan
ìdin nínú iyọ̀, the playwright reverses it other way round just to make
it looks funny which actually is the experience of the reader/audience.
Adajọ: …L’ori ẹsun pipa ti ẹnyin ọdaran wọnyi pa ọgbẹni Laditi
ati ayaba Tọlani, mo da nyin l’ẹjo iku pẹlu aṣẹ Aarẹ orilẹ-ede yi. Ọna
ti ẹ o gba ku ni wipe nṣe ni a o yẹ ‘gi fun nyin. [Awọn enia sọro] Wayi o, lori ẹsun wi pe ẹ gbidanwo ni ọpọlọpọ
igba lati pa ọba Fgade, ẹ o lọ si ẹwọn gbere, ti i ṣe ẹwọn aiyeraye.
Ajagbe: Ẹ dakun, ẹ là á yé wa o. Ṣe
nigbati a ba ku tan ni a o pada waa ṣe ẹwọn ni abi bawo?
Adajo: Emi
ko ní alaye lati ṣe fun nyin. Bi idajo
nyin ti ri ni mo wi-un.
Judge: On
the offence of you criminals that killed Mr Laditi and Queen Tolani, I sentence
you to death with the authority of the president of this country. And your
execution shall be by hanging. [People are talking] Then again, on the offence
you attempt several times to kill king Fagade, you are sentence to life in
jail, which is life imprisonment.
Ajagbe: Please,
explain it to us. Is it after we are dead that we now go to prison or what?
Judge: I
don’t have explanation for you. I just announce your judgement the way it is
Why will a judge sentence criminals to death and later
to prison? It sounds somehow confusing and the playwright intentionally makes
it that way to create humour. Though
apart from humour, we can say that the playwright is pointing at flaw of
judicial system.
Conclusion:
Literature comes from the society and it is the
reflection of the society. We can actual study literature of particular region
of country and predict the behavior, attitude, religion, belief and level of
knowledge of the people in same region/country. The two playwrights vividly
show the picture of Nigeria in their work, society where love of money is
dominant in the minds of people. A society that is ready to commit murder,
betray, steal and lie just to get what they want and this is the basic reason
why many African nations are still underdeveloped. The funds allocated to
community development are most time end up in the pocket of government officials.
References
Duhan,
Roshni,
2015.
Language
in India . Apr2015, Vol. 15 Issue 4, p192-202. 11p. 1 Color Photograph.
Adagbada, Olufadekemi, 2013. Language Use in Ìdààmú Páàdì
Mínkáílù: A Yoruba Religio-Satiric Play
Faleti,
A. 1972. Idaamu Paadi Minkailu. Onibonoje Press.
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