University of Nigeria Research Publications

Aut

hor

NWADIKE, S. Ada

PG/MA/02/32556

Title

The Image of Men in Ubesie’s Novels

Facu

lty

Arts

Dep

artm

ent

Linguistics

Dat

e

February, 2007

Sign

atur

e

1'HK IMAGE OF MEN IN UBESIE'S NOVELS

Nwadike S. Ada PG/MA/02/32556

Department of Linguistics, lgbo &: Other Nigerian Languages

llniversity of Nigeria Nsukka

Title Page

The lmagc of Me11 in Ubesie's Novels

~wabike S. Ada PG/MA/02/32556

Lkparlnlcnl 01' Linguistics, Igbo & Olhcr Nigerian I .anguagcs

University of Nigeria .

Nsukka

February 2007

Approval Page

A Project Kcport Sulmiltcd to the School o f Post Graduate Stddies, Uuivcrsity of Nigeria, -

Nsulilia.

. I . . , In Partial IJuliillment of'Thc Requirement for the Award of Degree of . M i w ~ c l - of' Arts ( M A )

I>cpart~ncnt o f Linguistics, Igbo & Otl-~cr Nigerian Languages

IJni\.crsity ofNigeria Nsulika

Nwadilie S. Ada (Mrs.) a post graduate student in the Department of

Linguistics, Igbo & Other Nigerian Lmguages, with registration number

PG/MA/02/32550 has satisliict oriiy completed the requirements for the

course and 1.cscarc11 work li)r 1 1 1 ~ dcgr~c 01' Maskr ol' Arts (MA) in Igbo

Written Liturtiture.

'The work embodies in this project is original and. has not been

submitted in part or in t i l l 1 lbr any other diploma or degree of this, or any

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Supervisor

...................................

Head of Department .

This work is dcdicalcd 10 God Almighty, who made it possible for me

to be in the [caching servicc. I t is also dedicated to all the members of my

family.

I wish to use this opportunily lo express niy immcasurablc gratitudc lo

those whose words oS cncouragcmcnt and support in one way or the other

helped in making my success a reality.

Special h n l t s and ;tpprcciaiion go to my ablc-mother supervisor, Dr,

(Mrs.) G. I. Nwnozuzu, who, despite all her private and ofiicial com~nitnients

used to mite out time to go through my work any time 1 ran 'to her. 1 thank

God for her kind gesture.

Also my prol'ound gratituclc goes to my husband Prof. I . U. Nwadike

Ihr his patience, underskinding : I I ~ linar~cial backing to see me ~hrough this

programye.

My sincere appreciation goes to all the lecturers in my Department

who, hecuusc 01' their uscli~l contributions brought Inc to the Icvcl 01' u

masters degrce holder.

My thanks also go 10 my neighbour, Mrs. Amaka, Ejike who when 1 . ventured to abandon the work, jingered me up. I also owe my thanks to one

of my colleagues in the Stafl' School, Dr. (Mrs.) J . Anyanwu who always

asked me, how about your pro-ject?

Finally, I shall not l'orgct lo show niy appreciation to our childrcn who

uscd to help in running the lio~nc \vhcnevcr 1 was out for my academic

pursuit.

. vi

1 owe special thanks to Chiinma, my "Baby" for her numerous services

in order to sec me through the whole period of the programme 1 pray that our

Good Lord reward hcr lii~ndrcd li)lcls li)r all hcr carc.

. Nwudikc Subina Adtl University of Nigeria Nsultka

vii

Table of Contents

' M e Page ........................................................................ i

. . Approval Page ................................................................. . I I

... Certification .................................................................... A I I

Acknowlcclgcnicnt ............................................................... v

. . Table of contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .VII

Abstract .......................................................................... . x

Chapter One ...................................................................... 1

1.0 lntrorli~ction ................... .... ...................................... . l

. .................................................. 1.1 Background ol' the Study .: 1

1.2 Purpose o f Study.. ............................................................ .5

1.4 Scopc ol' Study .................................................................. . 5

......................................................... 1.5 Stawmcnt of' I'roblcm.. .7

1.6 Research Methodology .......................................................... 8

................................................................. 1 .7 Research Iksign .8

................................................................... 1.8 Area ol' Study.. ..8

1.9 Research Instrument for Data Collection .................................... . .8

................................................... 1.10 Method of lh ta Collection.. . 8

v i i i

..................................................... 1. 1 1 Method of' I )at9 Anialysis 9

....................................................................... Chapter T w o 10

.............................................................. 2.0 Literalure I<cview 10

.................................... 2.1 The Role of Men in Traditional Society 10

.................................... 2.2 Image of Men as sew by Literary Arlists 13

...................................................... 3.2 Image ol' mcn as I:ailures 22

.................................................... 3.3 Image o i men as Impos~oi-s 26

.............................. 4.2 Mcn as rhc irni~ge ol'intclligcncc and wisdom 42

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4.4 Mcn as llic i t \ ~ : ~ i ~ c ~ ~ ' S L Y ~ I Y L ~ ! '45

................................. 4.5 Imagc oI'111cn as paticni :~nd i~ncicrsianding 47

....................... 4.0 Imagc ol 'mc~i as pcoplc \\.I10 tlrc;~d disappoinlmcnl 49

4.7 Mcn ;IS comlniiicd bcings ..................................................... 51

I'liis hcsis ~rics lo iwcs[igalc and isolalc [liosc iniagcs ol'nicn as portrayed in

[ Jluics I \ o \ ~ L * I ~ . l m ~ . o ~ l ~ I I \ C l i~~cli~\y\. \ \ L- L.;II\ icl~s~\~ilj I I \ C I . ~ C L I I T L - I \ I ~ I I I ; I ~ L > ~ ~ I M I

arc widcnl which ~ l ic au[Iior ar[is~ically portrayed i n all his malc characlcrs.

I h s i c pain~s mcn's images in both posirivc and ncgarivc cliaractcr ~r-;lits. All

[he characlcr-s por[r:~!~ccl ca~l 17c idcn~iliahlc in Iiicn. '1 ' . I lhcsic's lilcrary \vorl<s

portray nicn as they arc in real nari~re. Aniong tlic lindings madc in this

projccl work arc [hc; l'ollowings. Men arc sccn li-om both negalivc and

positivc pcrspccr ivcs. [hey arc porrraycd as l'ailurcs. iniposrors. boaslcrs.

miser, \\u-sliippcrs 01' ~iialerial \ \calh, selfishness, dcceitiulness. craftiness.

being dishones[). un~ruslworlli),. sccrctivc and dubious. 1:rom the positive

sidc. men arc sccn as s\/lnlwls 01' sell'-conlidcncc. intcllipxc. \visciom.

beings [ha[ tlr.cacl tiisappoitir~iicn[ and as pcoplc wry co~iiniirrcd in [hcir

clutics.

Cll Al'TER O N E

Womcn casligalctl and r c l c y ~ c d lo lhc back grwnd. I:vcn ~ h c way and

cornnicn~s: "lhc handicap 01' thc lkmale is natal, that is being born a kmale

7

No wondcr Nwirkohi ( N O 3 ) slrcsscs [he fBcl thal in h o s l p ih l ished

works, both literary and no11 literary, emphasis is on how women are

relegated to h c background and porlruycd as ordinary housewives, mothers,

baby-siltcrs and ~ o l i s , and occasionally rcgardcd as having no constructive

roles to play.

In Onyekonw\~'s Ill-iri A/~(IITI N , ~ w I I , ~ v ~ I , IJduaku was humiliated as

purlrayed i l l [lie csccq)l bclo\v.

Nwakobi (2003) writing on the posilion of women says:

I lumm ( 1900) on thc O ~ I I C I - Il:ind says, the malti-eatment women receive

is as a resull uf'pulriarchul idca and h c custom of the people. I-lc further says

, that those in support ol' ikminism indicated in the& writing ihat.the wrong

Sw~inism. Women according to I Ii~nlm should bc placed in a good position.

Emecheta ( 1966) in her W O ~ I ; S suggests that wonlen should move away l iom

playing merely donieslic rolcs to playing important rolcs.

,. I his rcscurcl~cr. obscr\xx that some authors .in different ways portray

lgbo womcn citlicr posilivcl> or ~lcgi~lively. For instance Akonia in Ohidiya

(1977) sees \vomcn fiom a positive angle. Ile portrays them as being soft

hearted, tliinliing li)r thc good and bc~~cli t ~l ' t l icir liimily and arc ready to

' tight for thcir righis.

1 lc (Almna) gocs ii~rtlicr IO portray Ohidiya as dctermincd to light for

her dead husband Onuma, . . I~ence she says:

( I 11~il1 /lo[ L I ~ I I Y . i / ' i[ is LI sit1 le[ d l ~ J ' I I S ~wtllt~li/ i/ t I / ,

[he sutne / h e . On iho jz~dginent daav all of'zls wil l come

lw/ot-c. God (117d nt7~1 ~w- jb t* ;I. //'it means prison let ull

(! / ' / IS go itr,/Or. i i).

As mucl~ as Alyican liturary artists try to rcilcct tlic p~oplcs' Wily 0 1 ' l i l i '

in their worl;s many critics have not tried to examine the image of nicn in

African literary \\;orlis. In most ol'tlicir works it is the image of women that is

l'rom h i s

in 11 is hool, 1 lcd. ~ I ' O I I I O I I ( I I I ( / / L ' ~ , ~ P I + I ' ( I / G W I W I I I L ) ( I 09 I ). I I c portrays \ \ o111c1i

as ~iiaior so~lrecs in asca 01' agsiculturc and therelbre should not be treated as

noncnlilics in llic society.

li-icncls. rcl:\~ion :lncl so on. WII;I~ ahoi~t thcir attitudc towards wcalth, politics

men arc systcm:~~icall!~ strcamlincd ;mi critically examined.

'I'his is \\.hat thc p u c n t sttld\i trics to d o hy critically looking :at

'I'liis pro,jcc~ is li~ililctl to tlic image ol'~iicn ;IS they ilrC portr;~yccI i n five

of his sclcctcd ~iovcls. Otlicr Igtw novelists will not be studicd because of

limited tin~c and s l ~ c c . 'I'lic ~.cscarchcr has clioscri the \,\;orlis ~ncntioncd

above bccnwc they portr;ly vividly thc image ol'lhc avorugc Igbo man.

We can scc fi-om the aboc.c preview that critics have not taken time to

csaminc \\'I1;1t sonic ;~~~t I lo r s t h i ~ i l \ ; ~ l ? o ~ ~ t Incn. thcir bchnvioi~r tc~\vu~-ils thcir

environment. li)r csamplc their \\,ivcs, children, colleagues, associates,

'I'liis is \\liar tlic prcscnt study tries to do by critichlly looking at

U besie's literary \vw-1;s as listcd Iwlow.

'I'his is lo Iwlp I-llc rcsca~.cllcr to be ahlc lo ascertain accurately the

image. the aittlior paints aboitt nlun i n his livc dill'crcnt novels, studied.

1.9 RESICARC1 I INS'I'KIIM KN'I' IWK I)ArI'A C O L L E C T I O N

the role and positio11 01' men. o~ic \\~ould rather say that their position is

Nwaliohi (2003:19) :tsscrts how some mcn fail to periimi their

primary roles. Inspi~c 01' [ha[. slill [hey arc lovkcd upon as uwndcrfi~l human

beings. Imagine the charac~cr 1-'rancis. couldn't lked his Iiriiily. 'I'liey live

. rcl~~rns I~omc ill mnoyancc. thcn rransl'crs such lo his wilk and cliildrcn.

litminist groi~ps consist moslly ol' women wliosc husbands are big capitalist

12

Just because of the biological differences in the sexes in way society, 4

men arc bclicvcd to be superior to women. Because it is a well known fact

that men no niatter what, li.oni every angle are rated highly, ns such critics in

most literary wcwks present men always as perfect.

ticncsally spcaliing, ri~cn are represented in some novels as family

bread-winners, tIicrcfi)re they commit humsclves to hard work in other to

succeed.

'This lict is brought to light by Achebe ( 1 979: 16) thus: '

Onlv men lake ti11e.~ in lgho lund. Yuin, the king of

crops, IIWS N I I I I ~ ~ I ' S ci-op, thus only men grow it.

Traditionally men work hard so as to be recognized. They are

. portrayed'as pcoplu ol'high responsibilities and diligence. If a man fails to

asscrt himscll' irs cspcctcd ol' him, hc will hc dcnicd his social rights as a man.

That happened to . Unoka, . Okonkwo's hther in Things Fall Apart:

Achcbc in this novel, has this-to say:

"crgbulu" is not onlv n name for a woman, it could

In this novel people are made to understand that Okonkwo's father

Unoka . . is portrayed as a poor man because of his laziness and weakness in

action.

The character Okonkwo is shown to be very angry when his father was

called "agbala" which is a term used in describing woman without title.

In traditional lgbo socicty, men are portrayed as beings, of high . integrity and importance. Where one fails to reach these expectations he loses

the chances ol'being associated with a reputable character. If this happens he

will be negatively portrayed.

2.2 IMAGK OF MEN AS SEEN BY LITERARY ARTISTS

Some Artists have various representations of the image of mcn in

general. 'T'hesc imagcs cmld bc Sound both in novels and in dramaiic ivorks.

In the drama k x l , Nlvcrltr /tie A 1v0 Goddy 0 O n y c k ~ n w ~ , ~ ( 1 980) portrays

Aworo . . as n man not satisfied with the idea of having only a female child I

borr. for him by his wiSc Obionia.

In this play, Awom . . sc~ids both the mother and the daughter away, by

selling them into slavery. Aworc) later re-marries his daughter Odjnchefu SO

many yews alia-. I lcrc, I ~ I I ;Ire portrayed as having insatiable tendcncics.

clown as a I'amily-rnm 'I'hc aullior sccs rhis as c i m m o n to most men who get

niarlc him rich o\crnigllt. I'liis i111;lgc p ~ r t r ~ ~ y s men as having a do-or-dic

dauglitcr Npo;l i . b ' l ~ c n (' l irdc's I':itIlcr dicd tlic I t~c l i ran against ('hudc Ilia1

inconvinr'

could not hcar thc son I J c l i c n d i ~ ' ~ s~uhbc)r-nncss and clccidcd to take hcr lil'e

C.'ht~ilc ~xcci\fcs a1 I sorts ol' p~~nislinicnt, humiliation and intimidation

Anotlicr- literary artist \\ 110 portrays mcn tlic \\.;I!: shc concci\/cd them is

I:rorn ho\v she por t ra~ul men. yoit can scc that shc is 01' thc opinion .

t l i ; ~ t riicn Ii-0111 1 1 1 ~ so-callccl ci\ ili/cil \\orld I ~ i ~ \ f c much to learn li-om tlic so-

called bacl, \ \ old pcoplcs. I I\c p ~ ~ o l ~ l c ~ i i ol' mcn li-om thc civiliLcd coimtrics is

their li~nitcil ctlucatio~i. Ilicir lirnitcd education can only sccurc them

loved and chcrisllcd. ilsccl lo help c \ el-! onc in ~icccl. I'hat O l i i ~ n z c pcoplc were

the othcr

3.3 MI'N AS IMI'OS'I'OHS: ./uo . , O h i / r t r t r (p . 21 )

Obinna, c\:cr hcliwc 111c'\\;ar hrokc out, hoasrcd lie\\: hc \vas going 10 join lie

and att txr ivc position.

weryonc. ' 1 ' 1 ~ all shared 1 1 1 ~ s m c opinion lhar i t is always dil'ticult l'or a

human beings.

ilnagc ol'111c11 ;is i l~~l, io~rs is ~~or.iraj.cil i n 1 1 1 ~ Okoli. Mz. Okoli. is por~l-aycd as

r1 thicl' a~id a notorious clicat. All his li-icnds know him \ w y \vcll. Ilhesic,

gelling rcad\l lo clilcr sccondar! s~ \ l~ooI . Ilis lilllicr orpnizccl a pnrly Ihr him.

scc Iw.

jusl b c c ; ~ u ~ 01' \ \ N ; I I N ~ ils cl'l;'c~ ahailclo~lccl him and h i r chilcirc~~. Ada,

has this to si~!,:

Also. r l l ~ . pcwr~-;~\A 0 1 ' 111~11 ;IS I ~ I I ~ C I I C ' ~ ~ m d ~~tidc~-st;~nditig con~inucs in

Ukcva /</to Ogi- Y I I 0 / h a (17. 70) I)cspitc llic I:clc[ l l ~ i l ~ mz. Onwulia, Ngozi's

I ; I I I I ~ I . \ \ ; I S :I!!:I~II<I 1 1 1 ~ ~ I ~ I : I I . I - ~ ; I ~ ~ ~ I X ~ I \ \ . ~ X ~ I ~ Ngo/i :11i(1 ( ' I i i ~ c l ~ ~ . d[ic lo ill1

unli)t-csccn cit.ci~~~~sr:~ticc.. srill ('llildc.. licpr his l(nfc Ii)r Ngozi. ~ l n l i l such ;I

[imc l l i ; ~ [ I ~ : I ~ ~ I I Y p~m~li[[ciI [ l i c ~ ~ i l o be lii~slxi~id a~id wil'c.

A li~:~. I llc \\ i.tl(lin:? c~~rc.lno~i\.. I ll~csic. \.\!as cli~ick in milking this

.. . S I C I I C I ~ 1 I I 0 I 0 1 1 I'liis IIILCIIIS (hill (IILTC is liliic liw

c v c t . ~ ~ l l ~ i ~ ~ ~ . ( ' I I I I ~ c ' s . I ~ I I ~ C I I ~ C 111;1iIc I ~ C ' O I ~ I C 10 ; ~ i l ~ ~ l i r c llis ~ l l ; ~ r ~ ~ i : ~ g c \ \ , i l l1

Ngozi. IJl>csic. llic~.cli)~.c~ po~-Ll.:~\cil [lie illi;lgc 01'Incn ~lirougli Ngozi's IhLIicr

w i ~ h spiril ol' C ~ I I I I I I ~ ~ I I I C I I ~ . I'liis l i f i ' 01' commitment \\/as portrayed through

Adu, some ~l~i l i tasy .treatn~cnt lir her huruhness. Okechukwu, was highly

committed to thc wclll~rc ol' his brother Chike. I Ie ( O k e c h ~ ~ k w u ) even thought

of tormenling Ada, his brother's wilk to dcath. I t was only bccausc of her

children that Ol<echultwu, spared Ada's life. Because when those children

grow, they w o ~ ~ l d hear that i t was their uncle Okey, who killed their mother. .

Ubesie therelbrc reported what Okey., said thus:

Nar~l i / ~ e nil-a,gr Okey, agrrr rlgbrr a b y / si uzo a zuru ha n 'am!

o . brl . Okey ghw?r rrrrc /la. /si A k wrr (p. 16.5)

(Tlw on/y thit~g that Okechzrkwzc, wanted now was to use the way

qtwy were fniincw' it1 the at-tny to strangulate her, (Ada) silently

to ckx1tl.1. Her on!)) saving grace then wns the children. Because

Muwwer Okechukwu, tried to protect the lives of his brother Chike, .

and his children.

CONCLUSION

We have tried in thesc chapters to isolate those images of men as

portrayed i l l IJbcsic's novcls unclcr s t~~d j ' . I:rom our lindings wc can idcntilj.

the recurrent images wli ich arc evident and which the author artistically built

around his rnale characters. Wc can, lkom the novels studied see that Ubesie . portrays men as people who could exhibit both positive or negative behaviour

under identiliable contexts.

5.0 SUMMARY AND CONCLUSION

5.1 SUMMARY

The ob.jective of this research had bcen to investigate the image of

men, as portrayed by 1'. IJbesie, in his jive selected novels.

r 7 1 he novels investigatcd arc:

Ukwa krro Oge Ya O /lra 1985

Therefore, for the effectiveness of the facts needed for the work, five

of Ubesie's novels wcrc analysed. Findings were made on how the images of

men were portrayed within the lgbo context. The study also identified the

roles, positions and importance oi'n~en as shown by me.

In our lindings, \vc saw that thcsc novcls, contain both negative and

positive images oT mcn. Some portray only the negative images of men.

Whilc othcrs show only the positive image of men.

In Jr~o . . Obinrrcr Ll bcsic, showcd both positivc and negative images of

men. They arc sccn as in~poslors, failures, misers or stingy etc. These images

are very clcar and glearing in the character traits of Obinna.

On thc other hand, Ubcsic portrayed positive images of Inen such as

self confidence, intelligence, tactful also using the character Obinna as an

In Ukcva Xrlo Oge Ya 0 Daa and Ukpaka Miiri .. . Onye Ubia~n, Il besie,

exposes the negative c l ~ a r x t ~ r 01' 1 1 1 ~ . These negative character of men were

shown in the life of mz. Oko~ik\vo, Ngozi's father. This man, over night,

changed his mind about the nlarriage between Ngozi and Chude, just to suit

his taste.

Ubesie. uses ~ k . Okontwo, to portray the image of selfishness,

deceitfi~lncss and craltiness. Those character traits are all exhibited by his

male cl~aracters.

In Ukp~ka Mi11-i . . . Onye lJl?iam IJhcsie. uses Chinyere's father to portray

men who encourage their daughters to abandon their husbands when material

wealth is nolonger ilowing. In this Ubesie, showed men who are dishonest

and untrustworthy.

111 ! / X / X I I I ~ I Ok/~oko lIrlrn?r and lsi Akwp Darcl WAla IJhesie also

exposed men in their negative nature. U besie portrayed these character traits

in the persons ol'mz. Okoli and his business partners.

Ilbcsic, in lsi A k ~ w Dm/ N'Ala, portrayed men as creatures with

patience and undcrstaniling. I lc uscs the character chili^ to do this.

1 lencr: wc can arguc t l ~ i l ~ Ubcsie's novels portray men in various ways

showing that they are human beings that coi~ld react to situations affecting

them.

5.2 CONCLUSION

From our investigation, we conclude that contrary to the opinion

among the Igbo that men arc iaultless, Ubesie, has shown that men are made

of flesh and blood and can react to various situation affecting them. It is the

situation in \ L I I ~ C I I a 111m l i d s himself that will prompt him to react in a

certain way. Idkc \\lonien, u man's character could be negative or positive as

shown from U besie's, portrayal oi' his male characters. I-Iowever we see that

it has not been easy 1'0s iht: author to paint a negative image of his fellow men

hence he tries l o strike a balance.

Wc acknowlcdge the hc t that men are indispensable but, that does not

mean that they are all-knowing, l'aultless and saints, while women are . ignorant, always guilty and insignificant. Thc five novels all writ~cn by T. U.

Ubesie prove us right.

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MA' l'hesis llniversily ol'N igeria Nsukka.

Nwapa, F. (1066). Iij i l t-11. Idondon: I leinemann I'ress I ,td.

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Igho Novel. MA University o f Nigeria, Nsukka;

Odiliora, . . , . ( 1% 1 ). Qkpa Akp /+i Eri. Onitsha: I Jniversity Publishing Company

I 'ld.

Onuolia, . . . I . A . (3003) . Wolrwn i t1 (?fi,tticrtcr's Novels. An Over V i c ~ r ) f 'Thcir ,

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................. ( 1 973). /si AX. W ~ I f i l m Nil la. IIbi~dan: 0sli)l.d 1Jnivc1-sity

................. (1975). Ukpatm Okpolco Buuru. Ibadan: Oxford University

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M A 'I'hcsis Univcrsiry o l 'Nigur ia Nsukka .

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1gho Novel. MA University of Nigeria, Nsukka.

Odiliora, . . . . ( I9S 1 ). Okjxl R ~ L I PIY Eri Onitsha: Ilniversity Publishing Company

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........................ (1980). ~Vwutn Rie Awg Onitsha: University Publishing

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Ubesie, '1'. 11. (1973) ( . / k w Kuo Oge Ya 0 Daa. Ibadan: Oxford LJniversity

................. ( 1073). lsi Akw11 f h ~ a N'Ah. Ibadan: Oxford Ilniversity

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