COURSE MANUAL

ENG113

Prose Literature

University of Ibadan Distance Learning Centre

Open and Distance Learning Course Series Development
Version 1.0 ev1
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University of Ibadan,
Nigeria
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Tel: +234 (80775935727)
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Website: www.dlc.ui.edu.ng
Vice-Chancellor’s Message
The Distance Learning Centre is building on a solid tradition of over two decades of service in
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and beyond. The Distance Learning mode to which we are committed is providing access to
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Prof. Isaac Adewole

Vice-Chancellor
Forward
As part of its vision of providing education for ―Liberty and Development‖ for Nigerians and
the International Community, the University of Ibadan, Distance Learning Centre has recently
embarked on a vigorous repositioning agenda which aimed at embracing a holistic and all
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Best wishes.

Professor Bayo Okunade

Director
Course Development Team
Content Authoring Francis Olufemi Olatokunbo, M.A.

Content Editor Prof. Remi Raji-Oyelade

Production Editor Dr. Gloria O. Adedoja
Learning Design & Technologist Folajimi Olambo Fakoya
Managing Editor Ogunmefun Oladele Abiodun
General Editor Prof. Bayo Okunade
 Contents
About this course manual 1
How this course manual is structured .................................................................................................................... 1

Course Overview 3
Welcome to Prose Literature ENG113 .................................................................................................................... 3
Course outcomes .............................................................................................................................................................. 3
Timeframe........................................................................................................................................................................... 4
How to be successful in this course ......................................................................................................................... 5
Need help?........................................................................................................................................................................... 6
Academic Support............................................................................................................................................................ 6
Activities .............................................................................................................................................................................. 7
Assessments ....................................................................................................................................................................... 7
Bibliography ....................................................................................................................................................................... 7

Getting around this course manual 8

Margin icons ....................................................................................................................................................................... 8

Study Session 1 9
The Meaning of Prose Literature............................................................................................................................... 9
Introduction .......................................................................................................................................................... 9
1.1 What is Prose Literature? ........................................................................................................................ 9
1.2 Significance of Prose Literature ......................................................................................................... 11
Study Session Summary ............................................................................................................................................. 12
Assessment ...................................................................................................................................................................... 12
Bibliography .................................................................................................................................................................... 13

Study Session 2 13
Sub-Division of Prose Literature ............................................................................................................................ 13
Introduction ....................................................................................................................................................... 13
2.1 Sub-genres of Prose Literature........................................................................................................... 14
2.1.1 The Short Story......................................................................................................................... 14
2.1.2 The Novella ................................................................................................................................ 14
2.1.3 The Novel .................................................................................................................................... 15
Study Session Summary ............................................................................................................................................. 16
Assessment ...................................................................................................................................................................... 16
Bibliography .................................................................................................................................................................... 16

Study Session 3 17
Aspects of Novel ............................................................................................................................................................ 17
Introduction ....................................................................................................................................................... 17
Contents ii

3.1 Aspects of Novel ........................................................................................................................................ 18

3.1.1 Setting........................................................................................................................................... 18
3.1.2 The Plot ........................................................................................................................................ 19
3.1.3 Characterisation....................................................................................................................... 20
Round Character...................................................................................................................... 21
Flat Character ........................................................................................................................... 21
3.1.4 Theme ........................................................................................................................................... 21
3.1.5 Point of View.............................................................................................................................. 23
The First Person Narrator and the Third Person Narrator ................................... 24
The Omniscient Narrative Technique ............................................................................ 25
The Third Person Narrative Technique......................................................................... 26
The Epistolary Narrative Technique............................................................................... 26
Stream of Consciousness Technique............................................................................... 27
Mixed Method Narrative Technique ............................................................................... 28
Study Session Summary ............................................................................................................................................. 29
Assessment ...................................................................................................................................................................... 29
Bibliography .................................................................................................................................................................... 30

Study Session 4 31
Symbolism........................................................................................................................................................................ 31
Introduction ....................................................................................................................................................... 31
4.1 Symbolism ................................................................................................................................................... 31
Study Session Summary ............................................................................................................................................. 33
Assessment ...................................................................................................................................................................... 33
Bibliography .................................................................................................................................................................... 33

Study Session 5 34
Biography and Autobiography (Non-Fiction)................................................................................................... 34
Introduction ....................................................................................................................................................... 34
5.1 Biography .................................................................................................................................................... 34
5.2 Autobiography ........................................................................................................................................... 34
5.2.1 Why Do People Write About Themselves? ................................................................... 35
Study Session Summary ............................................................................................................................................. 35
Assessment ...................................................................................................................................................................... 35
Bibliography .................................................................................................................................................................... 35

References 36
 About this course manual

About this course manual

Prose Literature ENG113 has been produced by University of Ibadan
Distance Learning Centre. All course manuals produced by University of
Ibadan Distance Learning Centreare structured in the same way, as
outlined below.

How this course manual is

structured
The course overview
The course overview gives you a general introduction to the course.
Information contained in the course overview will help you determine:
 If the course is suitable for you.
 What you will already need to know.
 What you can expect from the course.
 How much time you will need to invest to complete the course.
The overview also provides guidance on:
 Study skills.
 Where to get help.
 Course assignments and assessments.
 Margin icons.

We strongly recommend that you read the overview carefully before

starting your study.

The course content

The course is broken down into Study Sessions. Each Study Session
comprises:
 An introduction to the Study Session content.
 Study Session outcomes.
 Core content of the Study Session with a variety of learning activities.
 A Study Session summary.
 Assignments and/or assessments, as applicable.
 Bibliography

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 ENG113 Prose Literature

Your comments
After completing Prose Literature we would appreciate it if you would
take a few moments to give us your feedback on any aspect of this
course. Your feedback might include comments on:
 Course content and structure.
 Course reading materials and resources.
 Course assignments.
 Course assessments.
 Course duration.
 Course support (assigned tutors, technical help, etc.)
Your constructive feedback will help us to improve and enhance this
course.

2
 Course Overview

Course Overview

Welcome to Prose
Literature ENG113
Literature is often described as work of art with special use of language.
Literature is a product of imagination and creativity, which relates to life
in all understanding of what it stands for, and how it is translated to the
people through the creative ability of literary men. The course is
therefore prepared to familiarise undergraduate students of Prose
literature with the various forms of prose, such as the short story, the
novella, the novel and their illustrative texts in English drawn from
different cultural and literary backgrounds.

Course outcomes
Upon completion of Prose Literature ENG113 you will be able to:
 explain the concept of prose literature;
 discuss what the short story, the novella and the novel mean as forms
of prose;
 discuss the art of decoding and situating various prose texts through
the knowledge of prose types, such as the Diary, Epistolary,
Outcomes Biography and Autobiography;
 distinguish between various types of prose; for example, Biography
and Autobiography;
 present the significance in English various techniques of writing,
such as the first person, the third person and omniscient or Eye of
God narrative techniques; and
 point out the elements of prose: story, plot, setting, theme and
characterisation.

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 ENG113 Prose Literature

Timeframe
This is a 15 week course. It requires a formal study time of 45 hours. The
formal study times are scheduled around online discussions / chats with
your course facilitator / academic advisor to facilitate your learning.
Kindly see course calendar on your course website for scheduled dates.
You will still require independent/personal study time particularly in
How long? studying your course materials.

4
 Course Overview

How to be successful in this

course
As an open and distance learner your approach to learning will be
different to that from your school days, where you had onsite education.
You will now choose what you want to study, you will have professional
and/or personal motivation for doing so and you will most likely be
fitting your study activities around other professional or domestic
responsibilities.
Essentially you will be taking control of your learning environment. As a
consequence, you will need to consider performance issues related to
time management, goal setting, stress management, etc. Perhaps you will
also need to reacquaint yourself in areas such as essay planning, coping
with exams and using the web as a learning resource.
We recommend that you take time now—before starting your self-
study—to familiarize yourself with these issues. There are a number of
excellent resources on the web. A few suggested links are:
 http://www.dlc.ui.edu.ng/resources/studyskill.pdf
This is a resource of the UIDLC pilot course module. You will find
sections on building study skills, time scheduling, basic concentration
techniques, control of the study environment, note taking, how to read
essays for analysis and memory skills (―remembering‖).
 http://www.ivywise.com/newsletter_march13_how_to_self_study.htm
l
This site provides how to master self-studying, with bias to emerging
technologies.
 http://www.howtostudy.org/resources.php
Another ―How to study‖ web site with useful links to time
management, efficient reading, questioning/listening/observing skills,
getting the most out of doing (―hands-on‖ learning), memory building,
tips for staying motivated, developing a learning plan.
The above links are our suggestions to start you on your way. At the time
of writing these web links were active. If you want to look for more, go to
www.google.com and type ―self-study basics‖, ―self-study tips‖, ―self-
study skills‖ or similar phrases.

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 ENG113 Prose Literature

Need help?
As earlier noted, this course manual complements and supplements
ENG113at UI Mobile Class as an online course, which is domiciled at
www.dlc.ui.edu.ng/mc.
You may contact any of the following units for information, learning
Help resources and library services.
Distance Learning Centre (DLC) Head Office
University of Ibadan, Nigeria Morohundiya Complex, Ibadan-
Tel: (+234) 08077593551 – 55 Ilorin Expressway, Idi-Ose,
(Student Support Officers) Ibadan.
Email: ssu@dlc.ui.edu.ng

Information Centre Lagos Office

20 Awolowo Road, Bodija, Speedwriting House, No. 16
Ibadan. Ajanaku Street, Off Salvation
Bus Stop, Awuse Estate, Opebi,
Ikeja, Lagos.

For technical issues (computer problems, web access, and etcetera),

please visit: www.learnersupport.dlc.ui.edu.ng for live support; or send
mail to webmaster@dlc.ui.edu.ng.

Academic Support
A course facilitator is commissioned for this course. You have also been
assigned an academic advisor to provide learning support. The contacts of
your course facilitator and academic advisor for this course are available
at the course website: www.dlc.ui.edu.ng/mc
Help

6
 Course Overview

Activities
This manual features ―Activities,‖ which may present material that is
NOT extensively covered in the Study Sessions. When completing these
activities, you will demonstrate your understanding of basic material (by
answering questions) before you learn more advanced concepts. You will
be provided with answers to every activity question. Therefore, your
Activities emphasis when working the activities should be on understanding your
answers. It is more important that you understand why every answer is
correct.

Assessments
There are three basic forms of assessment in this course: in-text questions
(ITQs) and self-assessment questions (SAQs), and tutor marked
assessment (TMAs). This manual is essentially filled with ITQs and
SAQs. Feedbacks to the ITQs are placed immediately after the questions,
Assessments while the feedbacks to SAQs are at the back of manual. You will receive
your TMAs as part of online class activities at the UI Mobile Class.
Feedbacks to TMAs will be provided by your tutor in not more than 2
weeks expected duration.
Schedule dates for submitting assignments and engaging in course / class
activities is available on the course website. Kindly visit your course
website often for updates.

Bibliography
For those interested in learning more on this subject, we provide you with
a list of additional resources at the end of each Study Sessions; these may
be books, articles or websites.

Readings

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ENG113 Prose Literature

Getting around this course manual

Margin icons
While working through this course manual you will notice the frequent
use of margin icons. These icons serve to ―signpost‖ a particular piece of
text, a new task or change in activity; they have been included to help you
to find your way around this course manual.
A complete icon set is shown below. We suggest that you familiarize
yourself with the icons and their meaning before starting your study.

Activity Assessment Assignment Case study

Discussion Group Activity Help Outcomes

Note Reflection Reading Study skills

Summary Terminology Time Tip

8
 Study Session 1 The Meaning of Prose Literature

Study Session 1

The Meaning of Prose Literature

Introduction
This Study Session will provide you with alternative meanings and
thorough explanations of the concept of prose literature. Prose literature
is perceived and interpreted differently by literary scholars. Also, this
Study Session will provide explanations on why it is necessary for you
and other students of humanities and other related disciplines to have the
knowledge of prose literature.

Learning Outcomes
When you have studied this session, you should be able to:
1.1 explain prose literature.
1.2 justify the inclusion of prose literature in the study of English.

1.1 What is Prose Literature?

The word ‗literature‘, from the generally sense is often described as
written or printed expression. Hence, we can regard as literature anything
that is written down on any subject. Therefore, we have literature of
history, religion, social sciences, science and technology. The definition
of literature depends on the angle from which we look at it. However,
Literature here is interpreted within the context of creative writing; it is
described as a body of imaginative works of art, which illustrates human
experiences. There are three genres of literature; namely poetry, drama
and prose.

Prose A text, either Prose literature is a form of literary writing, which is based on story line.
spoken or written, which What primarily differentiates prose from other genres of literature is its
has a storyline and is
narrative style, meaning it usually tells a story. Prose is applied to all
forms of written and spoken expression, which do not have a regular
without regular rhythmic
rhythmic pattern. Usually, prose is without sustained rhythm regularity,
pattern.
but it has some logical, grammatical order and its ideas are connectedly
stated rather than merely listed.
Prose literature is also a story of meaningful sequence of events. It is
often structured in episodes, sections and chapters. The smallest unit in
any form of prose literature is the paragraph. The actions or experiences
are traced in an imaginative way such that no two writers create the same
experience in the same way. A prose work can be descriptive, narrative,
expository, dramatic, argumentative, technical or scientific in nature. But

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ENG113 Prose Literature

literary appreciation is often based on narrative fiction. The most

common form of narrative fiction is the novel. Examples are: A Walk in
the Night by Alex Laguma; Old Man and the Sea by Earnest Hemingway;
Animal Farm by George Orwell; Hearts of Darkness by Joseph Conrad
and So Long A Letter by Mariama Ba. There is also the short story, which
is another popular form. Examples are: ―The Tell-Tale Heart‖ by Edgar
Allan Poe; ―The Mad Man‖ by Chinua Achebe; ―The Baker Story‖ by
V.S. Naipaul and ―Clean Sweep Ignatius‖ by Jeffrey Archer.
Prose literature is also defined as a fictitious narrative of considerable
length, in which characters and actions representative of real life are
portrayed in a plot of more or less complexity.
Literature as a specific branch of study: this idea conceives literature as a
branch of study which any interested individual can venture into. Not
only this, it sees literature as a product of our imagination and creativity,
which is rendered in a very interesting language. Thus, we call this sense
or concept of literature as creative or imaginative literature because the
situations in it are created or imagined; it is not real but fictional. When
real situations are involved, they are created and not presented as they
actually happened or occurred as you can find in history or religion.
Literature, as a branch of study, is more interested in general or universal
truths about human life and existence in any society. It is also concerned
with the patterns which are created to expose human experiences. For
instance, Chinua Achebe‘s Things Fall Apart aptly illustrates a pristine
pre-colonial society before the advent of the colonial masters and how the
colonial encounter disintegrates the African people. Literature is also
subjective in nature because the writer is more interested in creating or
manipulating the instrument of language in various ways that can put
across his own vision of the world not as it is often is.
Aristotle in his poetics sees literature as ―an imitation of life‖. However,
in this definition, he believes that literature should be close to reality as
much as possible. This is because imitation does not often portray a true
picture but a reflection. But one word that often describes the closeness
of literature to presenting real life is called verisimilitude. Therefore, one
fundamental factor why prose literature is needful is its closeness to real
life situations.
People in the humanities/arts (like English, Philosophy, Classics,
Religious knowledge, Linguistics, Communication Arts, Theatre Arts and
Education) require a good knowledge of prose literature, as a genre of
study, because it is educatively fascinating.

Prose literature is usually divided into episodes, sections and chapters.

Tip

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 Study Session 1 The Meaning of Prose Literature

1.2 Significance of Prose Literature

The significance of engaging in the study of prose literature is reflected in
the following reasons:
1. Prose literature is about life experiences. Even when a story is
manufactured by the imagination of an individual, such a story
will relate to certain issues or episodes of life. However, funny,
sad, light-hearted or serious any work of literature may be, it will
have a reflection on life, either of an individual, a group of
people, a language or cultural group or of even a mixed society of
diverse views and preoccupations For example, George Orwell‘s
Animal Farm reflects on the ideology of socialism (cum
communism), which was practised in the old Soviet Union.
2. Prose literature relates to society, to the people operating in that
society, to individual or group behaviours and to the culture of
people from one society to another e.g. Chinua Achebe‘s Things
Fall Apart; Bessie Head‘s A Question of Power.

3. Prose literature examines human values and relates to the readers

those things which are common in human existence. Example is
Ayi Kwei Armah‘s The Beautiful Ones Are Not Yet Born.
4. Prose literature deals with particular and contemporary events
and issues or with attitudes and behaviours in contemporary and
particular situation. For example, Kofi Awoonor‘s This Earth
My Brother (1971) portrays the ills of colonial administration, the
antiquity of Ghana‘s corruption and man‘s inhumanity to man is
also clearly depicted. In J. M. Coetzee‘s In the Heart of the
Country (1977), Coetzee presents a parody of the Afrikaner ideal
of womanhood. He portrays how the women‘s stubborn courage
made possible the survival of the Afrikaner tribe. These writings
are varied accounts of Ghana and South Africa.
5. Prose literature refreshes the mind after a period of mental or
physical exertion. A good example is Amos Tutuola‘s, The
Palmwine Drunkard and My Life in the Bush of Ghosts (1975).
6. Prose literature broadens individual outlook by telling people
what they do not know about their own culture and other
cultures, and also by reminding them of aspects of their culture
that are neglected. Because people do not pay much attention to
prose literature today, they have lost much contact with important
aspects of their cultures such as: stories of creation, migration,
war and valour, family history and lineage/ Some important
details of political evolution are getting lost. Prose literature can
be an opportunity for the reader to learn about the history of his
community and people, or other communities and peoples. For
example, Chinua Achebe‘s Arrow of God presents the culture of
Igbo people of Nigeria; V. S. Naipaul‘s Miguel Street, also
depicts aspects of West Indies culture and ways of life.

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ENG113 Prose Literature

7. Prose literature improves our knowledge of English Language by

providing new opportunities for learning new idioms and
expressions. Prose literature provides ample opportunities for
extensive use of language devices. A lover of prose will not only
pick up fresh and useful expressions in English, he will also
come across the intricate, but correct use of words to construct
sentences. For example, Festus Iyayi, Ben Okri, Peter Abraham,
Sembene Ousmane, Nuruddin Farah, Thomas Hardy, George
Orwell and Chinua Achebe and a host of other writers, write in
simple, but correct English.
8. Prose literature helps our ability to read fast. Because of its
volume, a lover of prose develops the critical eye to read fast
with minimum vocalisation. Students need to develop the ability
to skim through words without missing important details, and a
veritable training ground is prose literature.

What are the things you have gained from your contact with literature?
Reflection

Study Session Summary

In this Study Session, we approached prose literature from three
perspectives. First, prose literature is taken as a literary writing, which is
based on a specific story line. Second, it is regarded as a story of
meaningful sequence of events, structured in episodes. Third, it is
Summary described as a fictitious narrative of considerable length, in which
characters and actions are portrayed.
Also, we learnt that prose literature is needful to us as individuals. The
knowledge of prose literature helps us to examine life and human values,
deals with events both old and contemporary. Furthermore, it relates to
society, it refreshes the mind; it helps in improving our knowledge of
English Language and also enhances our writing and reading skills

Assessment
Required

Assessment

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 Study Session 2 Sub-Division of Prose Literature

Bibliography
http://open.salon.com/blog/jakewilliams/2009/09/14/what is the role of
literature in society
http://www.bartleby.com/60/161.html
www.ariyam.com/docs/NovelEssay1.doc
Reading
www.britannica.com/EBchecked/topic/479353/prose-fiction

Study Session 2

Sub-Division of Prose Literature

Introduction
As noted in the previous Study Session, prose literature is a form of
literary writing, which is based on story line. Through narration, it
recounts events that are either fictional or non fictional. Prose is applied
to all forms of written and spoken expression. The prose form has three
main sub-divisions:
1) the short story
2) the novella and
3) the novel.
This Study Session will introduce to you these three sub-divisions of
prose literature and the distinguishing features of each

Learning Outcomes
When you have studied this session, you should be able to:
2.1 distinguish appropriately between the three sub-genres of
prose literature:
 short story
 novella
 novel

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ENG113 Prose Literature

2.1 Sub-genres of Prose Literature

2.1.1 The Short Story
Short story A compact The short story is the shortest form of prose fiction and has a limited
prose literature which has thematic scope. It presents only one episode or a few episodes. The
limited episodes and
characters, the subject and the theme appear to us as fully developed.
The short story is the least of the sub-genres of prose literature. In
thematic preoccupation.
volume, it is compact when compared with the novella and the novel.
The subject matter is by presentation through selected occurrences that
adequately reveal the whole. The compact nature of the short story form
is achieved with careful use of language: brevity and appropriateness of
symbols and metaphorical expressions.
The short story is related in content with the novel; it is a condensed form
of the novel. It is meant to be read at a sitting. It is direct, brief and
brisk. It represents a single impression from one dominating character
and incident. Examples are Chinua Achebe‘s Girls‟ at War and Other
Stories (1972) and Selma Al-Hassan‘s The Cowrie Girl and Other Stories
(1971). The remarkable thing about these traditional stories in the written
medium is that they still retain their creative balance between imagination
and reality, and the truth that emerges is stated without apologies. Other
examples of short stories include Alex La Guma‘s, ―Blankets‖, ―Out of
Darkness‖, ―Etude‖, ―Coffee for the Road‖, and Cyprian Ekwensi‘s, The
Rainmaker and Other Stories (1971), Lokotown and Other Stories (1966).
Chinua Achebe’s Girls’ at War and Other Stories deal with the obscenities, both
physical and spiritual, that accrue from the civil war; Mabel Dove Danquah’s
short story, Anticipation (1947), the story takes a sardonic look at the institution
of polygamy, when a village Chief, Nana Adaku II, Omanhene of Akavasin, out
of greed and stupidity courts and marries his own wife twice. Mabel Dove-
Danquah deftly succeeds in portraying the institution of polygamy as bereft of
love, affection and romance, a mindless institution in effect.

2.1.2 The Novella

Novella An Italian word This is an Italian word that comes from the name for certain short prose
narratives popular before the novel. The novella is not as strict or
which means new. It
disciplined as the short story, or as relaxed as the novel. In volume, its
denotes a short prose thematic scope is broader than the short story but considerably less than
narratives that is popular that of the novel. The novella highlights a series of episodes discussed in
before the novel. a more detailed manner than the short story. It occupies the middle level
in terms of length between the short story and the novel. Examples are
So Long A Letter by Mariama Ba; Still Born by Zainab Alkali and Hearts
of Darkness by Joseph Conrad. Another example of the novella is the
hundred stories about relations between the sexes collected in
Boccaccio‘s, Decameron (1358). Novelists themselves have used a
variety of terms, including ‗novella‘, ‗tale‘, ‗romance‘, to suggest concern
with a single episode or state of affairs in prose narrative that are shorter
than a novel. Such terms are never finally fixed in meaning. They
depend upon the changing perceptions of their subject within particular
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 Study Session 2 Sub-Division of Prose Literature

cultural practices.

2.1.3 The Novel

Novel A long prose The novel is a sustained fictional narrative involving ordinary human
beings and their experiences in a realistic human society or world. The
narrative that describes
novel is mainly noted for its unlimited length and scope in its dealing
fictional characters and with themes that touch every aspect and level of life. It is also noted for
their experiences in a its flexibility and freedom of expression of the writer. It enables the
context that is writer to bring out his thought in the narrative sequence of a story. The
novel is the most ambitious of the sub-genres of prose fiction. The novel
representational of
tries to be total and comprehensive in its coverage of the events and the
reality. characters it presents in a story. In the novel, characters develop
considerably; sometimes, we see a character grow from childhood
through adulthood. This type of prose fiction is referred to as
bildungsroman. For example, ‗Pip‘ in Great Expectation, by Thomas
Hardy. The language of the novel is more relaxed, unhurried and
sometimes simple. Examples are Chinua Achebe‘s Things Fall Apart;
Anthills of the Savannah; Ayi Kwei Armah‘s The Beautiful Ones Are Not
Yet Born; Alex La Guma‘s A Walk in the Night etc.
According to the Shorter Oxford English Dictionary, novel is a fictitious
prose narrative of considerable length, in which characters and actions are
representative of real life. Novels are portrayed in a plot of more or less
complexity. From the foregoing definition, novels are fictions, or may be
called ‗fictitious‘, because they depict imaginary characters and actions.
However, this is not entirely correct. We know that parts of Dicken‟s
Great Expectations were drawn from the author‘s own life and that other
novel, such as Daniel Defoe‘s Robinson Crusoe (1719), were suggested
by and even based on real events. On the other hand, Shelley‘s
Frankenstein, was derived from a dream of nightmare, and could hardly
have happened to somebody in real life. Some novels, therefore, seem to
be more or less fictitious than others.
Another element of the novel is narration. This is the process of telling,
and it helps to distinguish novels from plays, or drama, in which the
action is directly presented rather than related. Novels must be longer
than an anecdote or short story, but how long is ‗longer‘? Almost
anything seems possible, and some novels have been immense. Clarissa,
for instance, which appeared in eight volumes, was one of the earliest
novels of immense length running to more than a million words. In 1993,
Seth‘s A Suitable Boy, with over 700,000 words, created a sensation in
the publishing industry, while proving that readers were still willing to
buy very long fictional works. It is not just a question of length,
however. It is also a question of how much space a writer requires to
fulfill his expectation: A novel should engage us for a considerable time
for us to feel it has dealt with its subject in some depth and complexity.

The novel is more voluminous and developed than the short story and the
novella.

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ENG113 Prose Literature

Tip

Another important aspect of the novel is characterisation, which is

perhaps the most important aspect of novels. Most of us can recall
characters from novels we have read over a long period of time, more
easily that the stories, or even their titles and the authors. Examples of
important characters in novels are Earnest Hemingway‘s Santiago,
Chinua Achebe‘s Okonkwo in Things Fall Apart; Robinson Crusoe, Tom
Jones, Emma, David Copperfield, Anna Karenina, Tess of the
d‘Urbervilles, Kin, Mrs. Dalloway, Chinua Achebe in Anthills of the
Savannah, His Excellency, Ikem, Beatrice, Oriko, etc.

Study Session Summary

In this Study Session, you learnt the distinguishing characteristics of the
three prose forms which are: the short story, the novella and the novel.
The features of each of the sub-divisions were also extensively
discussed.
Summary

Assessment
Required

Assessment

Bibliography
http://en.wikipedia.org/wiki/Novella retrieved August, 2013.
http://en.wikipedia.org/wiki/Short_story retrieved August, 2013.
http://literature.com.my/index.php?option=com_content&task=view&id
=488&Itemid=407 retrieved August, 2013.
Reading
http://users.aber.ac.uk/jpm/ellsa/ellsa_elements.htmlhttp://www.scribd.c
om/doc/20131952/Elements-of-Short-Stories-What-is-a-Short-Story
retrieved August, 2013.
http://www.english.ufl.edu/mrg/readings/the%20novel.pdf retrieved
August, 2013.
http://www.online-literature.com/forums/showthread.php?38797-What-
is-a-Novella retrieved August, 2013.

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 Study Session 3 Aspects of Novel

Study Session 3
Aspects of Novel
Introduction
This Study Session will discuss aspects of the novel, which the writer
combines to present a realistic story to the reader in the novel. The
aspects include the setting, symbolism, theme, characterisation, point of
view, the plot of the story and language.

Learning Outcomes
When you have studied this session, you should be able to:
3.1 discuss the aspects of novel.

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ENG113 Prose Literature

3.1 Aspects of Novel

The aesthetic nature of literature forms the nucleus of the identification of
its parts in their uniqueness. The aspects of novel include the setting, the
plot of the story, theme, characterisation, point of view and language.

3.1.1 Setting
The setting is one of the main elements of a novel. It is often described as
the background against which the characters live out their lives. So,
setting can refer to (a) the time in which the story is set and (b) the
geographical location of the action. It is important for a reader to
understand the feature of setting in order to really grasp the message of a
text. Wild Conquest (1950) by Peter Abraham on apartheid, for instance,
is read according to prevalent issues in the new millennium, the bearing
of the reader would be wrong because, events have overtaken its theme
and content. Knowing the time will make one appreciate the message of
the novelist. It is possible however, for some texts to cover a wide
expanse of time in relevance. This refers to a novel that is timeless in its
theme coverage. For example, The Beautiful Ones Are Not Yet Born by
Ayi Kwei Armah is still relevant to contemporary issues in many African
countries. Corruption and other social vices examined in the work are the
order of the day in these countries.
Time and place have a great effect upon the personalities, actions and
way of thinking of the characters. For example, most of Thomas Hardy‘s
books like Far From the Madding Crowd are set in rural England just
before the new ways of communication like railway, had penetrated into
these areas. So also, Ferdinand Oyono‘s, The Old Man and the Medal
was set in the sixties in Cameroun, West Africa. To talk of place in
setting allows us to understand many things; it dictates the characters, the
cultural values, the occupation, religion, language and social status or
general outlook of the characters. This knowledge assists to a great
extent in registering the subject matter in the minds of the readers. Such
is the experience a reader has when he reads Kenneth Kaunda‘s, Zambia
Shall be Free and Achebe‘s Anthills of the Savannah.
The prevalent social circumstances at the time a novel is written will if
known by the reader assist in understanding the message and enable one
to access or evaluate the story. For example, the theme of disappointment
and unrealised dreams was prevalent in Ngugi‘s Petals of Blood (1977)
particularly with regard to inequalities and hypocrisy of the post-
independence era in Kenya.
The setting of a novel refers to the period in which the story is set (temporal
setting) and the physical location of events in the novel (spatial setting).
Three things should be generally considered as far as setting is concerned,
Hint
these are time, place and atmosphere. The setting in a novel can be used to
evoke a mood or atmosphere that will prepare the reader for what is to
come

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 Study Session 3 Aspects of Novel

3.1.2 The Plot

Plot A plot can be said to be the arrangement of incidents in a novel. The plot
must have unity, that is, it must be a whole that possess a beginning,
The logical arrangement
middle and an end. Aristotle defines the plot in Poetics as ―ordered
of events in a novel. arrangement of the incidents‖. The normal chronological flow of events
in a novel is the story while the artistic arrangement, that is, a deliberate
organisation meant to create a special effect is known as the plot.
Suspense and flashback are employed in such organisations.
Events can be presented in a variety of orders. A chronological
arrangement begins with what happens first, then second, and so on, until
the last incident is related. That is how Sembene Ousmane‘s God‟s Bits
of Wood is told. The events in Ngugi‘s Petals of Blood, however, are not
arranged in chronological order because that would give away the story‘s
surprise ending. Instead, what Ngugi does in the work is to move back
and forth, between the past and the present to provide information that
leads up to the final startling moment.

A plot can follow a chronological order or can be arranged in such a way that
event A is not necessarily followed by event B.

Tip

Some stories begin at the end and then lead up to why or how events
worked out as they did. A good example of this is Ralph Ellison‘s Battle
Royal. This interesting arrangement makes it difficult for one to stop
reading such works. Stories can also begin in the middle of things or in
the midst of functioning events (the latin term for this is, (in medias res).
In this kind of plot, we enter into the world of the story on the verge of
some important moment.

Flashback A literary Flashback is another common strategy adopted in plots. This is a literary
device that informs us about events that happened before the opening
device in which an earlier
scene of a work. For example, works of Ngugi, Armah and Orwell use
event is inserted into the this literary device extensively. In Ellison‘s Battle Royal, we read how
normal storyline, usually the narrator recounts his identity as a black man was sharpened by the
to provide additional circumstances that attended a high-school graduation speech he delivered
twenty years earlier in a hotel ballroom before a gathering of the town‘s
information on the
leading white citizens.
current event.

A well planned plot makes a story interesting, exciting and easily

understandable. An interesting story can easily be soiled by a badly
articulated plot. A plot may also be simple or complex. Traditionally, a
good plot usually follows a principle of five-stage structure (i) the
exposition (ii) complication/crisis (iii) climax (iv) anti-climax (v)
denouncement. Whatever the plot arrangement, adopted in a work, you
should be aware of how the writer‘s conscious ordering of events affects
your responses to the action.

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ENG113 Prose Literature

3.1.3 Characterisation
Characterisation The The methods by which a writer creates people in a story so that they
actually seem to exist are called characterisation. It is the way in which
process of creating
characters are presented in a novel. Characters, the imaginary persons,
characters for a narrative are created by the novelist as the actors and actresses of the various
text, including the way episodes of the novel are thematically selected. Okonkwo never lived;
information is conveyed yet, those who have read Chinua Achebe‘s novel about his bravery in
Umuofia and Mbata feel as if they know him. A good writer gives us the
about the characters.
illustration that a character is real, but we should bear in mind that a
character is not an actual person but instead has been created by the
author. The illusion of reality is the magic that allows us to move beyond
the circumstances of our own lives into a writer‘s fictional world, where
we can encounter everyone from royalty to paupers, lovers, destroyers,
murderers, arrogance, ambitions, cheats, artists, sympathizers, martyrs,
and nearly always, some part of ourselves. The life that a novelist
breathes into a character adds to our own experiences and broadens our
own perception of the world.
Considering the theme of the novel, the novelist decides whether there
would be a main or major character around whom the whole story will
centre or some few characters who are going to be equally treated.
Oftentimes, a major character features and other characters (minor) are
used to assist in effecting the intended traits to be elicited in the major
character. The major character is gradually developed from a certain
stage in his life to old age.
Importantly, the only qualification to be placed on character is that
whatever it is – whether animal or even an inanimate object, such as a
robot – it must be imbued with recognizable human qualities. The action
in the plot interests us because we care about what happens to people and
what they partake in. We may identify with a character‘s desires and
aspirations, or we may be disgusted by his or her cruelty and self –
centeredness. To have a clear understanding of our response to a story,
we should be able to recognize the methods of characterisation the author
uses.
It is also possible to get to know a character in several ways (a) the
actions and interactions of the character with other characters in the work
(b) the comment on the character by other characters, and (c) the
novelist‘s comment on the character. The novelist has the authority of
making the characters in any form he likes: he could make them either
round, character flat or some others. The personality traits of the
characters are revealed through these forms and they are pointers to the
thematic intention of the writer. Some types of characters are examined
below.
Quick Tip Box
- A round character is a dynamic character that evolves through the course
of the story.
- A flat character is a minor character that does not undergo any
significant change or growth through the course of a story

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 Study Session 3 Aspects of Novel

Round Character
A round character is a developing character. He lives a life that is
dynamic; he is unpredictable in manner, reactions and approaches to
issues. He oftentimes issues surprises to the readers. A round character
considers, weighs reasons and becomes convinced before he takes
actions. He is highly intelligent in approach. ‗Li‘ in Zaynab Alkali‘s,
Stillborn; Ezeulu in Achebe‘s Arrow of God, and Beatrice Okoh in
Anthills of the Savannah are good examples of a round character.
Beatrice Okoh, assumes the role of avenging goddess and is determined
to remind His Excellency of his power but also to prevent him from
abusing it.
―I did it shamelessly. I cheapened myself. God I did it to your glory like
the dancer in the Hindu temple. Like Esther, Ok yes like Esther for my
long suffering people‖, (1987:81).

Flat Character
A flat character is the one that refuses to develop in the course of the
novel. This is a predictable character who is tied to a peculiar way of life.
He is diametrically opposite to the round character. The attitude and
manner of a flat character does not change from the beginning of the
story to the end. Nothing can change his belief and decision. A good
example of a flat character is Okonkwo in Achebe‘s, Things Fall Apart.
Almost all the characters in Selvon‘s The Lonely Londoners are flat
characters. They have peculiar traits. It should be noted that a major
character‘s experience is often a pointer to the thematic intention of the
novelist.

A character can be understood through his his/her actions and interactions

with other characters; what other characters say about him/her and the
authors comments on him/her.
Note

3.1.4 Theme
Theme The central idea The theme is one of the key elements of a story. It can be described as
the lessons drawn from the story. With doubt, every story teaches or
or subject explored by an
explores some important issues that helps the reader to understand the
author in a literary work world better. The theme also refers to the subject of discussion in any
piece of writing. It is packaged to present a message from the author or
from a group of individuals. Sometimes, the theme is conceived as the
overall idea that runs through a story. It is the central idea or meaning of
a story. It provides a unifying point around which the plot, characters,
setting, point of view, symbols, and other elements of a story are
organised. Whenever a writer decides to write a novel or a story, it is not
for the fun of it. He has a purpose in mind for it. There is an idea which
is the focus of all discussions; that central idea is the theme.

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ENG113 Prose Literature

Though, there is a central theme, it is possible for some other minor

themes to feature, and they play complementary roles in piloting the main
theme to its port of landing. For instance, in the novel, Things Fall
Apart, by Chinua Achebe, there are two themes; (i) The personal tragedy
of Okonkwo; and (ii) the theme is overtly stated. In Ayi Kwei Armah‘s,
The Beautiful Ones Are Not Yet Born, for example, the novel‘s opening
pages centre on what happens after a particular bus ride. The starting
point of the ride and its destination are not given to us. However, we
know that Armah talks about environmental degradation, corruption,
political betrayal and personal integrity.
Most modern writers, however, present their themes covertly (as Armah
does in Two Thousand Seasons). So, determining the underlying meaning
of a work often requires more effort than it does from the reader of The
Beautiful Ones Are Not Yet Born. Importantly, the reason for the
difficulty is that the theme is fused into the elements of a story, and these
must be carefully scrutinised in relation to one another as well as to the
work as a whole. Determining the theme requires a close analysis of all
the elements of a work. This close reading often results in sharper
insights into an overworked character or that seemingly unrelated
incident. Seeking for details and seeing how they fit together result in
greater understanding of the story. Such familiarity with the details,
creates pleasure in much the same way that a musical piece heard more
than once becomes a rich experience rather than simply a repetition.
Some cardinal principles can assist you in articulating the central
meaning of a work, this is because themes are not always easy to express.
First, distinguish between the theme of a story and its subject; these are
not the same. Many stories share identical subjects, such as death, life,
youthfulness, loneliness, innocence, racial discrimination, oppression,
and disillusionment. Yet, each story usually makes its own statement
about the subject and expresses some view of life. Yambo Ouologuem‘s
Bound to Violence and Ngugi‘s Petals of Blood express their
disappointments with neo-colonialism in Africa, but the meaning of each
story is quite different. There is no single, absolute way of expressing a
work‘s theme. A thematic genelisation of Ngugi‘s Petals of Blood could
be something like this: ‗The disappointment/broken dreams of
Ilmorogians‘. However, the theme of Ouologuem‘s Bound to Violence
could be stated this way: The diabolical angst unleashed on Africa by
imperialists‘. Moreso, the emphasis in each of these themes could be
modified or expanded, because interpretations of interest, complex works
are always subject to revision. People have different perspectives of life;
so, it is hardly surprising that responses to literature are not identical. A
consideration of theme usually expands the possibilities for meaning,
rather than reducing them to categories such as ―right‖ or ―wrong‖.
The possibilities for readers to differ in their interpretations of a story is
very rife, however, that does not mean that any interpretation is valid.
For example, if we were to believe in the ‗powers‘ of Ezeulu, as the
representative of the gods (Ulu), on earth, we would be missing Achebe‘s
purposes in writing the novel; we would have failed to see the real
essence of the novel that the community is more important than an over-
bloated individual. (Arrow of God). To be valid, the statement of the
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 Study Session 3 Aspects of Novel

theme should be responsive to the details of the story. It must be based

on evidence within the story rather than solely on experiences, attitudes,
or values the reader brings to bear on the work.
Sometimes, readers erroneously conclude that a story‘s theme always
consists of a moral, some kind of lesson that is dramatised by the various
elements of the work. A tendency to look for a lesson in a story can
produce a reductive and inaccurate formulation of its theme. Determining
all the themes of a story can be a difficult task, because all the story‘s
elements may not contribute to its central idea. One may also discover
that, finding the theme is more challenging than coming to terms with the
author‘s values as they are revealed in the story. There is no precise code
for detecting a story‘s meaning and help you to articulate it. However,
several strategies are practical and useful after reading the story. The
strategies are:
1. Pay attention to the title of the story; it will provide the lead to a
major symbol (Ngugi‘s Petals of Blood); Achebe‘s Arrow of
God.
2. Look for details in the story that have potentials for symbolic
meanings. Armah‘s Two Thousand Seasons; ―Desert‖, ―Stream‖.
3. Decide if the protagonist changes or develops some important
insight as a result of the action. Tess (Teresa) in Tess of The
D‟urbervilles.
4. When you formulate the theme of the story in your own words,
write it down in a concrete sentence that makes some point about
the subject matter.
5. Make sure your expression of the theme is a generalised
statement rather than a specific description of particular people,
places and incidents in the story.
6. Do not use clichés as a way of stating themes. They limit ideas
instead of generating them. For instance, ―It pays to be good‖;
―love is the greatest‖.
7. Be conscious of the fact that some stories emphasise their themes
less than others. For example, stories that have as their major
purpose adventure, humour, mystery, or terror may have little or
no theme.

What is most important about realising the theme of a work is not a brief
summary statement but the process by which the theme is determined.
Basically, the theme is articulated by the story itself and is inseparable from
the experience of reading the story.
Note

3.1.5 Point of View

It is possible for a novelist to adopt more than one technique in telling his
story; this is because there are many ways of telling a story. Let us
examine various points of view that story tellers draw upon.

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ENG113 Prose Literature

The First Person Narrator and the Third Person

Narrator
The third person narrator uses he, she, or they to recount the story and
does not participate in the action. The first person, on the other hand, uses
I and is a major minor participant in the action.
The first person narrative technique is a technique adopted by the author
when he uses the Pronoun ―I‖ or ―We‖ to indicate personal involvement
of the narrator in the story. Using this technique, the reader is limited to
the perceptions, thoughts, feelings and emotions of that single character.
In this case, he knows he is a character in the story and tells us what he
knows and experiences along with information about other characters.
He does not know what goes on in other places but only where he is. An
example of this is that of Chinua Achebe in Anthills of The Savannah. In
this novel, there are three first – person narrators who provide personal
accounts of the events in the novel. They are: Christopher, Ikem and
Beatrice Okoh. There is an excerpt:
I did it shamelessly. I cheapened myself. God! I did it to your
glory like the dancer in the Hindu temple. Like Esther, Oh yes
like Esther for my long suffering people.
And was I glad the king was slowly but surely responsible! Was I
glad! The big snake . . . (1987: 81).
Daniel Defoe, in his novel Robinson Crusoe, employs the first – person
narrative technique by which the main character, Robinson Crusoe, is
also the narrator, giving us a first – hand account of the events as they
occur to him. As earlier said, this has the implication of a limited and
subjective account by which issues are only seen from the perspective of
the narrator. But it also leads authenticity to it, coming straight from the
horse‘s mouth. An example of the first – person narrative technique is
also found in Gerald Durrell‘s My Family and Other Animals.
Another example of the First – person narrative technique can be situated
in Peter Abrahams, The Path of Thunder, when Mako, one of the major
characters for instance, observes:
I do not object to the coloureds grading upward, or trying to,
because it is toward the whites. I do so because it shows the
way in which he is not free . . . (1952: 91).
The first – person narrative technique tends to limit the narrator‘s account
to only those events he or she is involved in, and even these are presented
from a strictly personal perspective. Nevertheless, the use of the first –
person narrative technique makes it possible for the reader to know the
innermost thoughts, feelings and emotions of individual characters. As
said earlier, it is possible for the author to make use of different
techniques in a work. Achebe attempts this in his novel Anthills of the
Savannah. In the novel, he uses the first – person and the Omniscient
narrative technique. The combination of these two techniques and the
changing point of view of the first – person narrator lend the novel an
exciting variety which increases the reader‘s interest in the story.

24
 Study Session 3 Aspects of Novel

For me, lying on the floor, labelling my collection of shell‘s, it had

brought catarrh, pouring it into my skull like cements, so that I was
forced to breathe strenuously through open mouth. For my brother
Leslie, hunched dark and glowering by the fire, it had inflamed the
Convolutions of his ears so that they bled delicately . . . (1956: 17).

The Omniscient Narrative Technique

This sub-section will discuss the narrative techniques known as the
omniscient narrative technique. It is more sophisticated than any of the
narrative techniques examined so far. It allows for greater versatility in
narration in that it portrays the narrator as the all-knowing and all-seeing
narrator who is able to report the feelings and thoughts in the mind of the
characters.
As earlier said, the Omniscient narrator is all-knowing. The narrator is
neither the author nor a character in the novel. He moves from place to
place and passes back and forth through time, slipping into and out of
characters as no human being could in real life. He sees the thoughts,
feelings, attitudes, beliefs and other things about the characters; he
simultaneously sees what goes on everywhere and in every character.

An omniscient narrator is an all-knowing and all-seeing narrator who sees

and knows everything that goes on in a story.

Tip

A good example of this technique is demonstrated in Thomas Hardy‘s

Tess of the d‟Urbervilles:
Alec d‘Urbervilles had pushed on up the slope to clear his
genuine doubt as to the quarter of the chase they were in. He
had, in fact, ridden quite at random for over an hour taking any
turning that came to hand in order to Tess‘s moonlit person than
to any wayside object. (1993: 64).
You can imagine who the narrator is in the above passage.
Thomas Hardy employs the Omniscient narrative technique in
this novel. This is also an objective technique that makes it
possible to probe the innermost depths of the characters and
determine their psychological and emotional states. Thus, the
reader has access to most of the information he or she needs for
a fair assessment of each character‘s action and motivation.
This technique gives Hardy‘s novels a broad, picture like
appeal.
Another example of the Omniscient narrative technique is also found in
Ngugi‘s The River Between:
The two ridges lay side by side. One was Kameno, the other was
Makuyi. Between them was a valley. It was called the valley of
life. Behind Kameno and Makuyu were many more valleys and
ridges, lying without any discernible plan. They were like many
sleeping lions which never work (1965: 1).

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ENG113 Prose Literature

The Third Person Narrative Technique

This sub-section will introduce to you the third person narrator, which is
also referred to as the limited omniscient narrator. Here, the author very
often restricts the narrator to the single perspective of either a major or
minor character. At times, a narrator can see into more than one
character, particularly in a longer work that focuses, for instance, on two
characters alternately from one chapter to the next.
Here, the narrator is not an active participant in the sequence of events.
The author refers to his characters in the third person ―he‖ or ―she‖,
―they‖ or ―them‖. Here, the narrator is not confined to know what is
experienced through the thoughts and feelings of the characters.
Oftentimes, a narrator can see into more than one character, especially in
a longer work that focuses, for example, on two characters alternately
from one chapter to the next. Short stories, however, frequently are
limited by length to a single character‘s point of view. The narrator here
does not seem to know everything. The narration comes more in a
reported from. The way people, places, and events appear to the
characters is the way they appear to the reader. The reader has access to
the thoughts and feelings of the characters revealed by the narrator, but
neither the reader nor the character has access to the inner lives of any of
the characters in a story. In presenting the story, the narrator in the third –
person is like a referee handling a match. A typical example of the third
– person narrative technique is in Cyprian Ekwensi‘s Burning Grass.
He reached out, and taking one of the books began to examine it
with interest.
A vein was throbbing in his head. The characters began to
dance with staggering unrest before his eyes. He placed a hand
against his brow and noticed that it was very hot. The fever had
come. (1962: 57).
Another example of this is found in Alex La Guma‘s Adonis walks
through the street:
He turned down another street, away from the artificial glare of
Hanover, between stretches of damp, battered houses with their
broken ribs of front – railings; cracked leftovers of a bombed
area in the twilight; vacant lots and weed-grown doorways
resembling the entrances to deserted castles … (1974: 21)

The Epistolary Narrative Technique

This sub-section will present the epistolary narrative technique. It is a
unique narrative technique in which the story is presented in a series of
letters written between the characters. It is not common in the modern
writing except for a few ones used within stories. In reading Mariama
Ba‘s So Long A letter, one is particularly overwhelmed by the amount of
affective and emotional language that pervades the novel. The romantic
language bursts out in the very first line and page of this long letter. So
Long a Letter is a typical example of the epistolary narrative technique.
This method begins thus:

26
 Study Session 3 Aspects of Novel

“Dear Aissatou, my friend, my friend, my friend, I call on you

three times” (1980: 9).
A typical characteristic of this technique is that it is laden with
sentimental and emotional outburst. In Ramatoulaye‘s description of how
she fell in love with Modou Fall.
. . . Modou Fall, the very moment you bowed before me to
dance, I know you were the one I was waiting for. Tall and
athletically built, of course, Olive-Coloured due to your distant
Moorish blood, no question. Virility, fineness of features
harmoniously blended, once again, no question. As we danced,
your forehead, hairline already receding bent over my own.
The same happy smile lit up our faces. The pressure of your
hand became more tender, more possessive. Everything in me
gave in. (1980: 13).
The epistolary technique shows that the author can use characters to
manipulate language, to make subjective statements, statements which
may be unacceptable in a situation of communication. It has also shown
that a speaker can assume the role of proprietor of a whole
communication network. The result, in the final analysis, is the
exposition and emergence of words and expressions of psychological,
cultural and political dimensions.

Stream of Consciousness Technique

Stream of consciousness is a literary technique through which a character
is used to narrate a story. Using this kind of technique in a story, the
narrator starts by talking to himself, having something to debate on. He
asks questions, entertains confusion and speculates. It takes the reader
inside the character‘s mind. This technique therefore suggests the flow of
thought as well as its contents; hence, complete sentences may give way
to fragments as the character‘s mind makes rapid associations free of
conventional logic or transitions. It is a technique by which the thought
of the character is used to narrate the story. As an event or action leads to
another, the thought becomes a chain of different associated issues. The
narration comes in interior monologue. The narrator starts by talking to
himself, having something to debate in his mind. He asks rhetorical
questions, entertains confusion and speculates.
As a narrative technique, stream of consciousness was developed by
modern writers, such as James Joyce, William Faulkner, and Virginia
Woolf. A good example of this technique can be found in Armah‘s Why
Are We So Blest or Blessed?
. . . See myself in the couple; . . . See them in me. The man in
me: the African absolved into Europe, trying to escape death,
eager to shed privilege.
At another level, Armah adopts monologue through Solo, a major
character in the novel:
. . . read him, watching me, a spectre from an unwanted
destiny, wondering how little time he had to go before his fire
also went out and he too was reduced to me. (1974: 257).

27
ENG113 Prose Literature

. . . The design was a mask: a pained, human face, a huge

head, huge, bulbous, All-seeing eyes, pained, distorted ears
open to all possible sounds, super-imposed on a shrivelled
mouth are nostrils cramped with hard control. The limbs
emaciated, reduced to spindly lines were attached directly to
the human spider head. (1974: 32).
In order to penetrate the mask, Solo seems to ask what to him is a very
simple question:
. . . What is this love we suffer from, impelling us to embrace
our own destroyers? (1974: 32).
Here, the narrator‘s thoughts range from specific observations to
speculations about death. Armah creates the illusion that we are reading
the narrator‘s thoughts as they occur. The stream of consciousness
technique provides an intimate perspective on a character‘s thoughts.

Mixed Method Narrative Technique

The mixed method, the combination of several other methods in a work
of fiction (novel), is yet another significant narrative technique. The
mixed method is the combination of two or more of the techniques earlier
discussed. The author does this based on the freedom he possesses to
organise his writings according to the theme and setting he is presenting.
Variety and dexterity cannot be ruled out in this kind of writing because
the work of literature itself is dynamic and laden with creativity. An
example of this technique is found in Ayi Kwei Armah‘s, The Beautiful
Ones Are Not Yet Born,
. . . someday in the long future a new life would may be
flower in the country, but when it came, it would not choose
as its instruments the same people who had made a habit of
killing new flowers. The future goodness may come
eventually, but before then where were the things in the
present which would prepare the way for it? (1968: 157).
Armah‘s technique in the above work is focused on certain narrative
ploys, including the use of allegorical form, the application of more than
one narrative view-point, hazy description of characters, the use of
flashbacks, anecdotes and dreams. Importantly, the plot structure in the
novel predicated on a journey or movement in a kind of personal
purification rite.
The author also uses the Omniscient voice most of the time but brings in
the ‗I‘ viewpoint when Teacher narrates their ‗wee‘ trip experience at the
seaside. This incident is an artistic flashback into the past which reveals
the country‘s colonial experience of despair, suffering and life of
hopelessness brought about by the World War II and the unemployment
that followed.
Thus far, we have examined all the narrative techniques in literature. How does
a narrative technique used by an author contributes to the success or otherwise
of a novel?
Post your response on Study Session Three forum page on course website.

28
 Study Session 3 Aspects of Novel

Discussion
Activity

Study Session Summary

In this Study Session, we examined the aspects of prose literature. We
stated that the setting of a novel refers to the place, time and social
circumstances in which the actions or episodes of the novel occur. You
also learnt that the plot is one of the basic features of the novel. We
Summary discussed that the arrangement of incidents in a novel is what is referred
to as the plot.
Thereafter, we discussed the significance of characters in a novel. You
learnt that characters are persons in the novel who are involved in the
actions and events. The theme is the central idea or meaning of a story.
It provides a unifying point around which the plot, characters, setting,
point of view, and other elements of a story are organized. Sometimes,
it may be difficult to realise the theme of a given story; while it may be
pretty easy at some other times.
Our final section was on ―point of view‖. Here, we explained that first –
person narrative technique provides personal accounts of events in a
novel. The use of this technique makes it possible for the reader to know
the innermost thoughts and feelings of the narrator. We also explained
the omniscient narrative technique. The omniscient narrator technique is
an all-knowing and all-seeing narrator who is able to report the thoughts,
feelings and goings – on in the mind of the characters. We went further
to discuss the third person narrative technique. We stated that the
narrator does not seem to know everything. He is confined to know
what is experienced through the thoughts and feelings of the characters.
The narrator in the third-person usually refers to his characters, using
pronouns, such as he, she, and they. We capped this section with a
discussion on epistolary narrative technique. Using this narrative
technique, the writer puts his story in a series of letters written between
the characters involved in the story. We discussed the narrative
technique of stream of consciousness as an event or action that leads to
another in the thoughts of the character; and the mixed method of
narration as the method that deals with the combination of two or more
of the techniques.

Assessment
Required

Assessment

29
ENG113 Prose Literature

Bibliography
Hardy, T. 1998. Tess of the d‟Urbervilles. Cumberland: England.
Idowu, F. 1997. Literature and Literary Criticism: An Introductory
Approach. Ijebo-Ode: Febol Publications.
Idowu, F. 1997. Literature and Literary Criticism: An Introduction
Reading Approach. Ijebo-Ode: Febol Publications.

30
 Study Session 4 Symbolism

Study Session 4
Symbolism
Introduction
This Study Session will introduce to you the use of symbols in prose
literature. Symbols appear all around us; anything can be given symbolic
significance. Without symbols our lives would be curiously uneventful.
Awareness of a novelist‘s use of symbols is not all that different from the
kinds of perceptions and interpretations that allow us to make sense of
our daily lives.

Learning Outcomes
When you have studied this session, you should be able to:
4.1 define and use correctly the term ―symbolism‖.

4.1 Symbolism
Symbol An object, event A symbol is a person, object, or event that suggests more than its literal
meaning. It is the use of one thing to stand for another, that is, objects,
or person that carries
actions; ideas are given symbolic meanings when they are used to
extra layer of meanings represent other ideas, actions or objects other than themselves. This
other than the ordinary. fundamental definition is explicit enough, but the use of symbol in prose
fiction makes some students slightly jittery because they tend to regard it
as a trap, a covert device that can go off during a seemingly harmless
class discussion. This kind of attitude is naturally common.
We know, for instance, that the ring that is used in a wedding is more
than just a piece of jewellery because it suggests the unity and intimacy
of the couple involved. The bride‘s gown may be white because we
associate innocence and purity with that colour. Or, consider the
meaning of a small alligator pepper and kolanut among the Igbo ethnic
group of Nigeria. The ring, the white gown, and alligator pepper are
symbolic because each has meanings that go beyond its specific qualities
and functions.
Symbols, such as these that are widely recognised by a society or culture
are called conventional symbols. The Christian cross or a national flag
have meanings understood by large groups of people. Certain kinds of
experience also have traditional meanings in African cultures. The
appearance of the moon, rain, etc symbolises one thing or another. So
also black means death; green evokes the image of youthfulness and
regeneration, etcetera.

31
ENG113 Prose Literature

Individual cultures have their own conventions; some oriental countries

associate white rather than black with death and mourning.
Note

A literary symbol includes traditional, conventional, or public meanings,

but it may also be established internally by the total context of the work
in which it appears. In Ayi Kwei Armah‘s The Beautiful Ones Are Not
Yet Born, Armah does not use the Bus Conductor as a conventional
symbol of transportation, movement, safety and comfort from the poverty
– stricken society. Instead, the bus at the beginning of the story is
rickety, and its parts barely hold together. Symbolically, this is Ghana
after years of misrule. Everything about the bus is unwholesome.
The light from the bus ‗moved uncertainly down the road‘ (P. I); the light
from the two headlights produces ‗two vague circles‘. A literary symbol
can be a setting, character, action, object, name, or anything else in a
work that maintains its literal significance while suggesting other
meanings. Importantly, symbols cannot be limited to a single meaning;
they are suggestive rather than definitive. Their evocation of varieties of
meanings by the use of symbols allows a writer to say more with a few
words. Symbols are economical devices for evoking complex ideas
without having to resort to painstaking explanations that would make a
story more like an essay than an experience. For instance, the several
sights of dirts in Armah‘s The Beautiful Ones Are Not Yet Born cannot be
reduced to one idea. They have multiple meanings that unify the story.

Allegory A literary When a character, object, or incident indicates a single, fixed meaning,
device in which
the writer is using allegory rather than symbol. Unlike symbols, which
characters or events
have literal functions as well as multiple meanings, the primary focus in
allegory is on the abstract idea called forth by the concrete object.
represents recognised
Oftentimes, stories include symbols that you may or may not perceive on
ideas and concepts
a first reading. Subtle use is a sign of a writer‘s skill in weaving symbols
into the fabric of the characters‘ lives. Symbols may sometimes escape
you, but that is probably better than detecting symbols where only literal
meanings are intended. Allow the text to help you verify if a symbolic
reading is appropriate. Once you are clear about what literally happens,
read carefully and notice the placement of details that are emphasized.
The repeated references to ‗kola‘, (P. 107) in The Beautiful Ones Are Not
Yet Born call attention to themselves and warrant symbolic readings. A
symbol, however, need not be repeated to have an important purpose in a
story.

By not loosing focus of the total context of the story, you should be able
to decide if your reading is reasonable and consistent with the other facts;
plenty of lemons in literature yield no symbolic meaning even if they are
squeezed. Be sensitive to the meanings that the author associates with
people, places, objects and actions.

32
 Study Session 4 Symbolism

Study Session Summary

In this Study Session, we discussed the significance of symbolism as a
device in prose literature. We stated that a symbol is the use of one thing
to stand for another; that is, object, actions; ideas are given symbolic
meanings when they are used to represent other ideas, actions or objects
Summary other than themselves.

Assessment
Required

Assessment

Bibliography
Idowu, F. 1997. Literature and Literary Criticism: An
Introductory Approach. Ijebo-Ode: Febol Publications.
Meyer, M. 1994. The Compact Bedford Introduction to literature:
Reading, Thinking, and Writing. New York: St. Martin‘s Press.
Reading http://literarydevices.net/symbolism/ retrieved August, 2013.
http://www.scribd.com/doc/6472314/Symbolism-in-Literature retrieved
August, 2013.

33
ENG113 Prose Literature

Study Session 5
Biography and Autobiography (Non-
Fiction)
Introduction
This Study Session will introduce to you two non-fictional prose forms to
you – biography and autobiography. Unlike prose fiction, these literary
works are based on actual events or information that is verifiable in time
and space. The nature of these literary works would be examined here

Learning Outcomes
When you have studied this session, you should be able to:
5.1 write a biography
5.2 write your autobiography

5.1 Biography
Biography A Story that This is a story that deals with the life story of an individual written by
focuses on the life story
someone else who may be a friend, relation or a paid writer. It is an
account of the life of a person written by another person. The biography
of an individual written
presents the facts of a person‘s life as he uncovers them through research,
by another person.
interviews and visits. For example, works like MANDELA: THE
AUTHORISED BIOGRAPHY By Anthony Simpson; The Auto-
biography of Malcolm by Alex Haley.

5.2 Autobiography
Autobiography A story of This is the story of a person‘s life written by himself, or an account of a
someone’s life written by
person‘s life written by the person himself. This must be relevant to
people in the society. Most people who write about themselves may be
that person.
great writers, politicians, artists, leaders of men, engineers or war
veterans. Examples of such autobiographies include: The Downing Street
Years by Margaret Thatcher; Camara Laye‘s The African Child; Obafemi
Awolowo‘s Travails of Democracy; Olusegun Obasanjo‘s Not My Will;
and Odumegwu Ojukwu‘s Because I was Involved. In Camera Laye‘s
The African Child, Laye presented his account of growth and
development from childhood to maturity, and his corresponding loss of

34
 Study Session 5 Biography and Autobiography (Non-Fiction)

innocence.
5.2.1 Why Do People Write About Themselves?
These are various reasons that motivate people to write about themselves.
Some of them are:
1. To share a very special and thrilling experience with others
2. There is the need or desire to assert oneself.
3. A desire to reveal the source of a writer‘s inspiration or the factors
that shape the writer‘s literary or moral development.
4. There is also the need to ―confess‖ one‘s guilt.
5. In this, he defends his moral or psychological action which may
have brought a sense of guilt.

Study Session Summary

In this Study Session, we discussed both biography and autobiography
which are non-fictional prose. These works are based on factual events
that are verifiable unlike prose fiction. While biography deals with the
life story of an individual written by someone else, an autobiography is a
Summary story of a person written by himself or herself or an account of a
person‘s life put together by the person himself.

Assessment
Required

Assessment

Bibliography
Idowu, F. 1997. Literature and Literary Criticism: An Introductory
Approach. Ijebo-Ode: Febol Publications.
http://www.wikihow.com/Write-a-Biography retrieved August, 2013.
http://www.wikihow.com/Write-an-Autobiography retrieved August,
Reading 2013.
http://www.extraordinarylives.com/memoir-writing-ideas.html retrieved
August, 2013.

35
ENG113 Prose Literature

References

Alkali, Z. 1985. Stillborn. London: Heinemann

Armah, A. K. 1969. The Beautiful Ones Are Not Yet Born. London: Heinemann.
Armah, A. K. 1969. Why Are We So Blest or Blessed? London: Heinemann
B. M. 1981. So Long A Letter. London: Heinemann
Chinua, A 1958. Things Fall Apart. London: Heinemann
Chinua, A. 1964. Arrow of God. London: Heinemann
Chinua, A. 1987. Anthills of the Savannah. London: Heinemann
Defoe, D. (__). Robinson Crusoe. London: Heinemann
Durell, G. 1956. My Family and Other Animals. London: Heinemann
Heywood, C. 1976. Aspects of South African Literature. London: Heinemann
Idowu, F. 1997. Literature and Literary Criticism: An Introductory Approach. Ijebo-
Ode: Febol Publications.
Kaunda, K. 1962. Zambia Shall Be Free. London: Heinemann.
Laguma, A. 1962. A Walk in the Night. London: Heinemann.
Laye, C. 1974. The African Child. London: Heinemann.
Meyer, M. 1994. The Compact Bedford Introduction to Literature: Reading
Thinking, and Writing. New York: St. Martins Press.
Neilson, W. A. Prose Fiction http://www.bartleby.com/60/161.html
Ngugi, W. T. 1977. Petals of Blood. London: Hienemann
Obasanjo, Olusegun1980. Not My Will. London: Heinemann.
Oriaku, R. O. 1990. The Genre of Autobiography in Modern Nigerian Writing Ph.D
Thesis Submitted to the Department of English, University of Ibadan.
Orwell, G. 1945. Animal Farm. London: HeinemannPublications.
Ouologuem, Y. 1971. Bound To Violence. London: Heinemann

36
 Study Session 6 An Analysis of Chinua Achebe’s Things Fall Apart: Background
of the Novel and Characterisation

Study Session 6
An Analysis of Chinua Achebe’s Things Fall
Apart: Background of the Novel and
Characterisation
Introduction
This Study Session will introduce to you to one of the most renowned
novels in the world, Things Fall Apart by Chinua Achebe. Here, there
will be a critical analysis of the selected texts based on conventional
elements of prose fiction such as background of the novel,
characterisation, and thematic preoccupations.

Learning Outcomes
When you have studied this session, you should be able to:
5.1 critically examine literary texts
5.2 understand how to properly illustrate basic elements of prose.

6.1 Background of the Novel

Background An aspect Achebe‘s Things Fall Apart alludes to the lives and conditions of
that describes the
Africans before the advent of colonialism as well as the eventually impact
purpose of a literary work
of colonialism on the lives of the people. It is a story that revolves round
a young successful man called Okonkwo in an Igbo village in the South
in relation to its function
eastern part of Nigeria. From the title of the novel, we are made to realize
within the society.
how the impact of British invasion into Africa unsettled the rich and
diverse cultures of the African people.
Set around 1890s, the novel details the effect of colonialism on the
African continent. It is acclaimed to be one of the greatest books that
have emanated from African which describes the effect of colonialism.
Using the village Umuofia as a representation, it projects pre-colonial
African society as being organized and rich in cultural and traditions.
Several European literary works have attempted to describe Africa and in
the course done irredeemable damage to the image of Africa. For
instance, Joseph Conrad‘s ‗Heart of Darkness (1902), and Joyce
Cary‘s „Mister Johnson‟ (1939) are colonial texts that misrepresented
Africans, as brutish, backward and less than humans without any measure
of conscience and civilisation. Achebe‘s Things Fall Apart aptly and

37
ENG113 Prose Literature

justifiable reputes these false representations, thus earning its rights to be

accorded a postcolonial text.

Through this novel, Africa now has a voice to react to the oppressive
nature of colonialism. According to R. Victoria Arana, a professor of
English at Howard University, ―Things Fall Apart‖ was a
transformational novel. She states; ―It had a profound re-ordering of the
imaginative consciousness for people in Africa,‖ she said. ―The book was
a part of the re-storying of people who had been knocked silent.‖ In
conclusion, Things Fall Apart can be described as a postcolonial
literature because it is a reaction against the suppressive voice of
colonialism on the African continent.

6.2 Characterisation
Characterisation is the way in which characters are depicted in the novel.
Characterisation The list Quite a number of the characters in Achebe‘s „Things Fall Apart,‘ are
of characters in a literary true representations of traditional/precolonial African society. However,
text. It also includes the through their varied actions, they exhibit the strength and flaws of this
society. There are reflections of different personalities from the violent to
way characters are being
the humane; the toxic masculine to the effeminate. In addition, gender
portrayed in the text. strikes a significant cord in the novel. Each gender is portrayed as having
different roles which cumulate into peaceful co-existence. Women are
portrayed as being submissive but there are also authoritative and
imposing women who carry supernatural responsibilities in the society.
There is an interesting range of characters in the novel which showcases
the multi-dimensional status of traditional African societies as opposed to
the simplistic representations of Western writers. Here are a few
characters in the novel.
Okonkwo: Protagonist/Tragic Hero

The novel revolves around, Okonkwo, a young leader in his thirties. He is

the protagonist of Things Fall Apart. He is well-known as a wrestler, a
brave warrior, and a successful farmer. Throughout the novel, his actions
and inactions is directed towards moving up the status ladder in his
community. Like every human, he battles his inner weakness of being
conceived as weak or a failure. He is determined to rid his life and his
family the negative traits portrayed by his father; idleness, debtor and
gentleness, which he sees as weakness on the part of his father. As a
result, Okonkwo becomes extremely stubborn, violent and at times
irrational in ensuring he maintains law and order in his homestead.
Nonetheless, his deposition leads him into trouble on a number of
occasions: when he beats his wife during the Week of Peace and when he
mistakenly kills a man and was immediately ostracized from his
community.

In the end, Okonkwo becomes a tragic hero. A tragic hero possesses a

tragic flaw which ultimately leads to his fall. Okonkwo's tragic flaw is his
fear of weakness and failure. His anger issue makes him impulsive, which
38
Study Session 6 An Analysis of Chinua Achebe’s Things Fall Apart: Background
of the Novel and Characterisation

makes him to act before he thinks. Eventually, when the white man
introduces Christianity to Umuofia, Okonkwo becomes an opposition to
the new religion and ways of the white man. In the end, he recklessly
murders a messenger from the British district office, and when his
clansmen back away in fear, he commits suicide, which ironically is a
dishonourable death like that of his father's.

Unoka: A Minor Character

Unoka‘s was Okonkwo's father in the novel, who is considered a minor
character. However, he plays a significant role in shaping Okonkwo‘s
life. He is described as a tall, thin man with a slight stoop, He is said to be
"haggard and mournful . . . except when he was drinking or playing his
flute." Unoka's main objective was to enjoy life to the fullest and is never
conceived as being ambitious.

The major point is that Unoka is so responsible. Therefore, he was poor,

lazy, and neglectful of his family, and he did not plan for the future.
During his life, he was never respected by the villagers because he was
always borrowing with little intention of paying back. He is the
laughingstock of the village, something which adversely affected his son,
Okonkwo. In a nutshell, Unoka was a debtor, a failure, a coward. His
character was totally conflicting to typical Igbo society. In the end, he
died of a horrible illness — a swelling of the stomach and limbs — and
was carried into the Evil Forest and left to die.

Obieraka: A Foil Character

Obierika is Okonkwo's best friend in the novel. He serves as Okonkwo‘s
relief during difficult times. He is an ideal friend and companion and was
very supportive. He warns Okonkwo not to interfere in Ikemefuna‘s
murder but Okonkwo, out of pride and fear of being considered weak did
not listen and kills the young boy who was like a son to him.
Nevertheless, Obierika stood by his friend and comforts him when he
becomes depressed over Ikemefuna‘s death. When Okonkwo was sent on
exile, Obierika was also of great assistance by selling Okonkwo‘s yams
and returning the profits to him.

Obierika is seen as a foil character, whose actions and behaviour is an

exact opposite of the protagonist. Unile Okonkwo, Obieriks is highly
reasonable and rational, who thinks very well before he acts. He does not
support the use of violence against the British. While Obierika is
amenable to new ways of life and changes in the community, Okonkwo
remains narrow-minded. His comments that the white man "has put a
knife on the things that have held us together and we have fallen apart" is
considered one of the critical messages in the novel.

Reverend Smith: Antagonist and Colonialist

Reverend Smith is a missionary who was sent to replace Mr. Brown as
the new head of the Christian church. He can be argued to be an
antagonist because of his strict and uncompromising posture towards the

39
ENG113 Prose Literature

indigenous people, which is an exact opposite of Mr. Brown who was

considered kind, helpful and highly considerate.

Reverend Smith can be said to be a racist because "He [sees] things as

black and white. And black [is] evil." He is intolerant and disrespectful of
Igbo traditions and beliefs which he interprets to be the work of the devil.
Reverend Smith insists that all the villagers who convert to Christianity
reject all indigenous beliefs. His overzealous nature robs off on some of
his coverts like Enoch, and in the end, his actions brings about chaos and
division in the hitherto peaceful Igbo community. Reverend Smith is a
metaphoric representation of colonialism.

Chielo, Priestess of Agbala: A Female Character

Chielo is one of the female characters in the novel. She is a representation
of gender equality in the novel. Unlike the notion that women play
insignificant role in African society, Chielo deconstructs that notion. As
the widowed priestess of Agbala, she serves as the priestess of one of the
central deities in Umuofia. In that capacity, she wields enormous power
and control over the community.

Chielo‘s contrast to the submissive disposition of women in the book is

significant. She is able to stand up to powerful men in the society such as
Okonkwo. She even rebukes him for beating his wife and thus violating
the rules of Week of Peace. Her strong words of caution and actions
against Okonkwo, when Ezinma (Okonkwo‘s favourite child) was sick
bear testament to her powerful disposition and role in the story. Even
Okonkwo had to follow her at her distance. Chielo indeed is a worthy
character worth examining when it comes to understudying women and
the significant roles they play in varied communities across the globe.

Study Session Summary

In this Study Session, we discussed both background to the novel as well
as characterisation in Things Fall Apart. The background is an important
aspect of analysing any given novel because it gives more information
about the meaning in the novel. In a similar vein, characterisation is
Summary about the interplay of characters in a novel. Novels most often than not
revolves round characters and their attitudes or disposition to others and
their immediate environment go a long way in adding relevant meaning
to the text.

40
 References

Assessment
Required

Assessment

Bibliography
Idowu, F. 1997. Literature and Literary Criticism: An Introductory
Approach. Ijebo-Ode: Febol Publications.
https://www.cliffsnotes.com/literature/t/things-fall-apart/about-things-
fall-apart/retrieved March, 2023
Reading https://www.google.com/search?q=background+to+things+fall+apart&o
q=background+to+things+fall+apart&aqs=chrome..69i57.6332j0j15&so
urceid=chrome&ie=UTF-8, retrieved March, 2023
https://bookanalysis.com/chinua-achebe/things-fall-apart/historical-
context/retrived March, 2023
https://bookanalysis.com/chinua-achebe/things-fall-
apart/characters/retrieved March, 2023

References

Chinua, A 1958. Things Fall Apart. London: Heinemann

Conrad, Joseph (1899). Heart of Darkness. Blackwood's Edinburgh Magazine.
Heywood, C. 1976. Aspects of South African Literature. London: Heinemann
Idowu, F. 1997. Literature and Literary Criticism: An Introductory Approach. Ijebo-
Ode: Febol Publications.
Moore, Gene M., ed. (2004). Joseph Conrad's Heart of Darkness: A Casebook. Oxford
University Press. ISBN 978-0195159967.
Murfin, Ross C., ed. (1989). Joseph Conrad: Heart of Darkness. A Case Study in
Contemporary Criticism. St. Martin's Press. ISBN 978-0-312-00761-4.
Meyer, M. 1994. The Compact Bedford Introduction to Literature: Reading Thinking,
and Writing. New York: St. Martins Press.
Neilson, W. A. Prose Fiction http://www.bartleby.com/60/161.html

41
ENG113 Prose Literature

Study Session 7
An Analysis of Chinua Achebe’s Things Fall
Apart: Themes
Introduction
This Study Session will introduce to you to one of the most renowned
novels in the world, Things Fall Apart by Chinua Achebe. Literature
offers an opportunity for readers to understand our world better. More
importantly, there are valid lessons or messages that are implicit or
explicit in the texts. Here, there will be a critical analysis of the selected
thematic preoccupations embedded in the novel.

Learning Outcomes
When you have studied this session, you should be able to:
5.1 identify the themes in the novel
5.2 understand how to properly discuss and analysis themes in novels.

7.1 Themes: Definition

Background An aspect Themes are considered one of the most important elements of Literature
that describes the vis-à-vis the novel. There are many functions of Literature but among
purpose of a literary work
them is the importance of teaching or learning salient lessons about life.
in relation to its function
In other words, themes, also known as thematic preoccupations, are
within the society.
considered lessons or messages in the texts. At times, these messages are
deduced through the responses of the reader towards issues raised in the
novel.
At times, themes are deliberately instituted by the writer, who seeks to
address some problems in the society. For instance, the issue of gender
and feminism can be said to be a conscious expression of Chimamanda
Adichie in Purple Hibiscus. The themes of Invisibility, Racism and
Violence are also depicted in Ralph Ellison‘s Invisible Man, in describing
the problems in American societies in the mid-twentieth century. In this
chapter, attempts will be made to underscore salient themes that are
prevalent in Achebe‘s Things Fall Apart.

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 Study Session 7 An Analysis of Chinua Achebe’s Things Fall Apart: Themes

7.2 Themes in Things Fall Apart

Characterisation The list Class Struggle
of characters in a literary
text. It also includes the
One of the central themes or message in Things Fall Apart is class
struggle. Through the actions of Unoka and Okonkwo, the motif of class
way characters are being
system is evident in which the community is described as valuing and
portrayed in the text. respecting wealthy and successful inhabitants while deriding lazy and
unambitious folks. As a result, success and wealth is placed firmly at the
top of the social hierarchy. Hence, the society is stratified along the tropes
of the rich/poor as well as the affluent and the peasant. We also see class
struggle in Umuofia‘s religious system in which there are two classes of
people; the freeborn and the Osu. The Osu are descendants of people who
have been marginalized and ostracized. They do not benefit as the
freeborn, and are thus seen as an inferior group. The advent of the
Christian missionaries and British colonizers upturned Umuofia‘s normal
hierarchy because the Ous were accepted by the church and eventually
gained some level of predominance in the society.

The symbolic representations of being successful includes titles, number

of wives, number of yams, and size of one‘s compound, and so on. The
lack of all these was an indication of an individual‘s failure and defeated.
A vivid illustration is seen in Okonkwo‘s father, Unoka, was derided in
the village for his level of abject poverty. His very existence is considered
an insult first to his immediate family and the society at large. Hence,
Okonkwo was determined to rid himself of the lower class that his father
had subjected himself to. Throughout his lifetime in the novel, he was too
conscious of his status in the society, which led him into committing
mistakes that eventually cost him his life. The lesson deduced here is that
while aspiration to great height is encourage, striking a balance is
imperative so as to avoid unnecessary problems.

Cultural Conflicts
The prevalent of cultural conflict is also a strong theme in Things Fall
Apart. Through the novel, Achebe attempts to establish that although
African societies, just like other societies were not perfect, they were
however, idyllic, dynamic and well-organised. Rather than the brash
conjectures by colonial writers, he depicts the reality of African world as
‗civilised‘ and ‗independent‘. This collision of cultures takes place at the
individual and societal levels throughout the novel. Cultural
representations are evident. The uncompromising Reverend Smith views
Africans as "heathens," the Igbo also criticizes the Christians and the
missionaries as "foolish." Therefore, there is a clash of both cultures and
struggle against the suppression of one culture over the other.

Patriachy
Umuofia is an extremely patriarchal community in which males take
predominant roles and decides the fate of the community. Despite

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ENG113 Prose Literature

Okonkwo‘s personal behaviors and aspirations, it can be argued that he is

strongly influenced by his community‘s gender beliefs. In fact,
Okonkwo‘s dreams and aspirations are conditioned by his society‘s ideal
of masculinity. To be a man, you must be accepted by all. That is why he
tries to be a successful wrestler and farmer because these gravitate
towards male achievements as well as demonstration of strength and
affluence within the society.

Unfortunately, one of the ways in which Okonkwo underscores control

and manliness is through violence. This explains his disposition towards
an unquestionably dominant status in his family; he reckless becomes
violent if he perceives someone is trying to challenge his authority,
especially from his wives. But his patriarchal characteristics is often
times overzealous, which leads him to his downfall.

Study Session Summary

In this Study Session, we discussed the significance of themes in Things
Fall Apart. Themes are being described as salient lessons or messages
that are inherent in the text. In Things Fall Apart, class struggle, cultural
conflicts and patriarchy are among the themes in the texts. Can you try
Summary and identify other themes? More importantly, you must be able to
critically analyse them during references from your understanding of the
novel.

Assessment
Required

Assessment

Bibliography
Idowu, F. 1997. Literature and Literary Criticism: An Introductory
Approach. Ijebo-Ode: Febol Publications.
https://www.cliffsnotes.com/literature/t/things-fall-apart/critical-
essays/major-themes-in-things-fall-apart/retrieved March, 2023
Reading https://www.google.com/search?q=background+to+things+fall+apart&o
q=background+to+things+fall+apart&aqs=chrome..69i57.6332j0j15&so
urceid=chrome&ie=UTF-8, retrieved March, 2023
https://bookanalysis.com/chinua-achebe/things-fall-apart/historical-

44
 References

context/retrived March, 2023

https://bookanalysis.com/chinua-achebe/things-fall-
apart/characters/retrieved March, 2023
https://www.cliffsnotes.com/literature/t/things-fall-apart/critical-
essays/major-themes-in-things-fall-apart

References

Chinua, A 1958. Things Fall Apart. London: Heinemann

Conrad, Joseph (1899). Heart of Darkness. Blackwood's Edinburgh Magazine.
Heywood, C. 1976. Aspects of South African Literature. London: Heinemann
Idowu, F. 1997. Literature and Literary Criticism: An Introductory Approach. Ijebo-
Ode: Febol Publications.
Moore, Gene M., ed. (2004). Joseph Conrad's Heart of Darkness: A Casebook. Oxford
University Press. ISBN 978-0195159967.
Murfin, Ross C., ed. (1989). Joseph Conrad: Heart of Darkness. A Case Study in
Contemporary Criticism. St. Martin's Press. ISBN 978-0-312-00761-4.
Meyer, M. 1994. The Compact Bedford Introduction to Literature: Reading Thinking,
and Writing. New York: St. Martins Press.
Neilson, W. A. Prose Fiction http://www.bartleby.com/60/161.html

45