CHAPTER ONE
1.1 INTRODUCTION
Reading through African novels, this research work was triggered by a lot of borrowing from oral traditional aesthetics into the written form by African novelists. The transfer of traditional aesthetics is a common feature in African novels. According to Bodunde (2001) “…. aesthetic transfer investigates the transformation of different aspects of indigenous heritage….”(p.7)
African traditional setting in general comprises cultural activities that constitute the concept of beauty or aesthetics. These aesthetics are enriched in the belief of or custom handed down from one generation to another. The aesthetics can be found in the people’s early beliefs, religions, customs, festival, myth, legends, laws, folktales, settings, communities, metaphysics and magical ceremonies of the people. African novelists mostly source their raw materials from African traditions. This is why the transferred aesthetics were formally oral.
TRADITIONAL AESTHETIC TRANSFER AND THE AFRICAN NOVELISTS
Many African novelists owe much to traditional aesthetics. There are many examples of African novelists that their works show evidence of traditional aesthetic. Good examples are: Wole Soyinka, Amos Tutuola, Sembene Ousmane and Ngugi wa Thiongo. These writers are African novelists and they are competent in using traditional aesthetics in their works. Amos Tutuola in his novel The Palm wine Drunkard makes use of lots of traditional aesthetics. Amos Tutuola writes about African cosmology, myth, legend, folktales, belief in supernatural powers and the African sociology. The novel is rich in morals, rituals, andentertainment. The novel brings out rich cultural elements Just as Chinua Achebe and Camara Laye hadbrought about the cultural elements in Things fall Apart and The African Child. Also in Weep Not Child by Ngugi wa Thiongo. Ngugi wa Thiongo makes use of traditional aesthetics like traditional custom, traditional settings and governance, myth and legend, superstitious belief and folktales. In Weep Not Child, Kimathi is a legendrical figure and the myth about Gikuyu and Mubi. There is also the custom of circumcision. Also is the traditional setting; Ngotho is the head of his family and he built his household huts by himself. Ngotho’s polygamous family is a model, because of Ngotho’s sense of ruling. This view shows that most African novelists transfer the traditional aesthetics into their works.