Abstract
Literary satire is generally a social pre-occupation; an attempt to contribute to the advancement of a society in all the ramifications of the word. This is done by humorously pointing out individual or collective non-conformation to accepted norms and ethos. The task however demands subtlety, especially when operating from a multi-religious and multi-ethnic society like Nigeria. It therefore calls for a great ingenuity especially in the use of language by the satirist who must bring his ideal to the fore. In the view of Sociolinguistics, this paper submits that in Idaamu Paadi Minkailu under study, Adebayo Faleti can draw out from the reader a mirthless laughter in the confusion and agitation faced by a Catholic priest and elder statesman, who must not divulge the confession of a repentant member of his congregation, but must also ensure the obedience to, and the maintenance of the social order in his society. The satirist’s bias and the probable reasons for it are highlighted in this paper.
Highlights
Language, a process peculiar to human beings, is for sharing information, ideas, thoughts and emotions between a source and a receiver
It is of utmost importance to have knowledge of the environment in which a speech event takes place so that the pragmatics of an utterance, spoken or written, is understood [4]
This is referred to as “context of situation”, a term associated with proto-pragmatists, especially Firth Malinowsky [5] and Levinson [6]
Summary
A process peculiar to human beings, is for sharing information, ideas, thoughts and emotions between a source and a receiver. Today, (the formerly wandering)Yoruba tribe, one with the largest speech community of the three most (officially) recognised languages in Nigeria[12] (the other two being Igbo and Hausa), is settled predominantly in Lagos, Ogun, Oyo, Osun, Ondo, Ekiti and some parts of Kwara states of Nigeria as sub-ethnic groups Some of these are Oyo, Ijebu, Ekiti, Ijesa, Ife, Ondo, Ikale, Egba, Ibarapa, Egbado, Akoko, Owo, Bunu,Yagba, Gbede, Ikiri,, Ketu, Awori, Sabe, Owe and Ibolo. In the spirit of Yoruba religio-cultural nationalism, there had been signs of rebellion against the modes, content and practice of the ‘alien’ and ‘threatening’ religions Their (the religions) appearances of being ‘fashionable’ and that of the ‘enlightened’, and having enlarged the people’s visions, liberated their minds from un-necessary fears and superstitious inhibitions, thereby giving them a progressive outlook and sense of personal values [18], has led to a kind of syncretism of Christianity and Yoruba tradition. This repression and Salu’s refusal to hand himself over to the police, set in the conflicts of the play, leading to the death of the three armed robbers and that of innocent Prince Rafilu and Setilu, the hardworking and sincere treasurer
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