Présence Africaine Editions

The tonal structure of yoruba poetry

Author(s): E. L. Lasebikan
Source: Présence Africaine, Nouvelle série, No. 8/10, Le Ier Congrès International des Écrivains
et Artistes Noirs (Paris — Sorbonne — 19-22 Septembre 1956) (JUIN-NOVEMBRE 1956), pp. 43-50

Published by: Présence Africaine Editions

Stable URL: http://www.jstor.org/stable/24346888
Accessed: 30-11-2015 18:29 UTC

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/
info/about/policies/terms.jsp

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content
in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship.
For more information about JSTOR, please contact support@jstor.org.

Présence Africaine Editions is collaborating with JSTOR to digitize, preserve and extend access to Présence Africaine.

http://www.jstor.org

This content downloaded from 148.85.232.235 on Mon, 30 Nov 2015 18:29:39 UTC
All use subject to JSTOR Terms and Conditions
E. L. Lasebikan.

The tonal structure of yoruba

poetry (*)

The Yoruba Language is spoken by about five million inhabi

tants of South-Western Nigeria. It is impossible to examine the
structure of Yoruba poetry without first of all examining the
structure of the language itself. For the purpose of this talk, we
shall confine ourselves to three main characteristics of the lan
guage.
The first of these is that the language is scientifically classified
as a tone language. This explains the fact that many non-speakers
of the language have referred to it as a « sing-song » langage.
Every utterance in Yoruba is made on a definite tone, and
the slightest alteration in the tone-pattern of an utterance results
in a change in its meaning.
There are three main tone levels, namely, Ihe low, the middle
and the high : for example, the word « rà » (to buy) is on a low
tone level, whilst the word « ra » (to rub) is on a middle
tone level, and the word « rä » (to creep) is on high tone level.
From this example and those which will follow immediately,
we see that the same syllable pronounced in succession on each
of the three tone levels just mentioned will have three different
meanings, and will be properly regarded in Yoruba as three dif
ferent words. Here are more examples of such words :

« lo » (— ) pronounced on a low tone means «to grind»,

« lo » (—) pronounced on a low middle tone means « to go » and,
« lô » ( —) pronounced on a high tone means «to twist».
« rô » (—) pronounced on a low tone means « to turn »,
« ro » (—) pronounced on a middle tone means « to drain » and,
« rô » (—) pronounced on a high tone means « to wrap ».

When a syllable is pronounced continuously on two or more tone

levels, it is heard in speech as a rising, a falling or a wavy tone.
Thus we have the rising tone in «wô» which is a realisation of
the low — high succession in «, wo-o »; the falling tone in «bê»
a realisation of the high-low succession in be-e and the wavy
tone in « E kärö » a realisation of the succession of the high-low
high tone in the greeting « E kâ-à-âro » = Good morning.

(*) The giving of this talk was accompanied .by the drum. The techni
cal conditions of printing do not allow us to give due account of the part
played by the instrument, in this study. We. therefore, apologize to the
author and readers.

This content downloaded from 148.85.232.235 on Mon, 30 Nov 2015 18:29:39 UTC
All use subject to JSTOR Terms and Conditions
 44 PRESENCE AFRICAINE

Words of more than one syllable have their meanings altered

as soon as their tone-patterns are changed. For example : —

The word « àgbon » low, low means the chin,

The word « àgbon » low-mid, means a coconut,
The word « agbön » mid, low means a basket,
The word « agbön » mid, high means a wasp, and
The word « àgbon » low, falling means the fiery nature of
pepper,
in the idiomatic phrase « ata àgbôn » (pepper which burns when
eaten).
The word « agbada » mid, mid, mid means a frying pot.
The word « agbàdà » mid, high high means a gown.
The word « ödodo » low, mid, mid means righteousness.
The word ödödö » low, low, high means a flower.

Examples such as these can be multiplied indefinitely.

Now we come to the second of the three main characteristics
of the language. Quite apart from the importance of tone in the
structure of Yoruba speech, and in the building up of its vocabul
ary, the language abounds in certain figures of speech whose
effects are derived not onlyi from the tones on which the expres
sions are uttered but also from the over-all sounds of the words
and expressions.
Most of such expressions are onomato-poetic, that is they are
expressions whose, sounds suggest their meanings. For example, it
is easy, even for non-speakers of Yoruba to associate the idea of
smallness with the word « tin-n-tin », and one of hugeness to the
word « ràbàtà » or « giriwö » or gbàngbà ».
Here are a few onomatopoetic adverbs commonly used in
Yoruba. I am sure you will easily recognise them in the Yoruba
sentences, once I tell ycu the idea thè adverbs are supposed to
convey : —

The fluffy nature of cotton wool : « O nja bùté-bùté ».

The elasticity of a rubber strap : « O nfa Jö-ö-ö ».
Water draining out in drops : « O nkân tö, to, to ».
Water being poured out of a bottle : « Q.ntu ko, kö, kö ».
The sounds of the steps of a lady
in high heels : « 0 nte bata kö, kö, kö kö, kö»,
The souds of the steps of a stalwart
in heavy boots : « 0 lite bata kö, kà, kö ».

The third characteristic is that the language contains a great

number of words and expressions which, owing to their peculiar
sounds and tone-patterns, have their own peculiar associations, and
when repeated, have their meanings expanded or intensified. Thus,
the nasal vowel heard on a high tone is very often associated with
the idea of smallness. This accounts for words such as « tin-n-tin »,
« sin-n-sin », « kiinun », « yin-kin-ni », « pin-ni-sin », all of which
mean « tiny » or « very small ». On the other hand, the plosives
« gbi di » and sunds such as « bà, rà, tà, dà », heard on a low
»tone are almost always linked up with the idea of Rugeness,
unwieldiness and slow movement. We have words such as « ràbà(à »,
« gbàràgàdà », « bàmbà », used for describing the huge, the heavy
and the colossal.
Words such as these are often reduplicated, either on the

This content downloaded from 148.85.232.235 on Mon, 30 Nov 2015 18:29:39 UTC
All use subject to JSTOR Terms and Conditions
THE TONAL STRUCTURE OF YORUBA POETRY 45

jame tone-p^attern to indicate that there are are several of such

things, or o"n a different tone-pattern to intesify their meanings.
Thus, we have :
« ewe tin-n-tin, tin-n-tin a> =
several tiny leaves.
« omo sin-n-sin, sin-n-sin » =
several very small children.
« ile giriwo, giriwo » =
several huge buildings
« igi ràbàtà, ràbàtà » =
several huge trees and so on.

And we have,
« Apata ràbàtà, rabata » =
An extremely huge rock
« Okùn gbôrô, gböro » =
A very long rope
« Ilu bàntà, banta » =
An exceptionally big town.

Into this class of words fall certain adverbs which are inva
riably heard on the tone-pattern high, mid, low, mid, and which
are almost always used to indicate some abnormality or excess.
For example, we have :
« O nse pâla-pàla » =
He is behaving in an unseemly way.
« O nso kân-un-kàn-un » =
He is talking nonsense.
« Onje kun ile dâlafàla « =
Food was laid on all over the place.
But there aretimes when the intention is to the
magnify
normal meanings of such words, and then the normal tone-pattern
of the words is followed by a reduplication on the tone-pattern
low, low, mid, low. We see the effect of reduplication in the
following sentences : —
« O nse pâla-pàla » =
He is behaving in an improper way.
« O nse pâla-pàla, pàlà-palà » =
He is behaving in the most disgusting way.
« O nso kân-un-kàn-un » =
He is talking nonsence.
« O nso kânun-kànun, känun-kanun » =
He is talking utter nonsense.
« Onje kun ile félafàla « ==
Food is served extravagantly.
« Onje kun ile fâlafàla fàlà-falà » =
Food is served in the most extravagant way.

So far, I have drawu your attention to three main characteris

tics of the Yoruba — (1) That it is a tone lan
language, namely
guage, (2) That it abounds in onomatopeic words, and (3) that it
contains a number of expressions associated with certain
usually
ideas, and whose meanings are intensified thein re
by being
duplicated on certain ton patterns.

This content downloaded from 148.85.232.235 on Mon, 30 Nov 2015 18:29:39 UTC
All use subject to JSTOR Terms and Conditions
46 PRESENCE AFRICAINE

Now, the object of this talk is to examine a few Yoruba poems,,

with a view to finding out the basis of their structures. It seems
to me that in a large number of Yoruba poems the tonal arrangement
of words, the use of onomatopoeic expressions, and the distribution
of tone patterns form the basis of the structure.
Yoruba literature remained an oral literature until the second
half of the last century. It was then that the missionaries
introduced the Roman characters with a few modifications for
the purpose of writing down the language. Even so, our literature
is still mainly oral, although, a few people have collected some
proverbs and poems, and have had them printed.
The best example of our traditional poems are still unwritten.
They are in the brains of court bards and drummers in the palaces
of our Ohas, and are usually heard either from these bards and
drummers, or, from Babalawos (Ifa Priests), who use them at
their rituals.
Yoruba poetry takes various forms. Among the lighter poems
are a large number of folk songs, lullabies, cüildren's poems and
love poems. In the class of more serious poems we have our Oriki
(praise poems), Ogbere (Masqueraders' chants), Ijala (Hunter's
chants), Egè (Funeral Dirges) and a number of Ritualistic Poems
which are usually recited in connection with the worship of Ifa,
Sango, Ogun and other Gods.
In similarity to the poems of other lands, Yoruba poetry
contains a good deal of lofty and charming ideas expressed in
choice language, and dealing, either with nature around, or, with
the Gods above ; either with the exploits of wings, or, the relatio
ship of men. But, as I mentioned earlier on, the aim of this paper
is to deal, not so much with the subject matter of Yoruba poetry,
as with its form, with special emphasis on its tonal structure.
Our first example a short extract from the long Ifa Poem. In
this brief extract, reference is made to Eala. Now, Ela ( ) is
the abbreviated name of Orunmila, the hero of Ifa Poem. A true
translation of this extract runs thus :

He made the « Odundùn » King of leaves,

And the Tètè its deputy;
He made the Sea King of "Waters,
And the lagoon its deputy;
Still Ela was accused of the mismanagement of the world.
"Whereupon, Ela grew angry,
And climbed to heaven with a rope.
Gome back to receive our homage,
O, Ela!
Notice that, in the Yoruba version, whenever there is a pause,
the expression ends on a low tone.
Also notice that, at the end of the extract, the word Ela fittingly
comes in on a low monotone, giving the whole extract a sense of
gravity.

Here it goes : —

O f'Odündün s'oba ewè,

O fi tète s'osorun è,
O f okun s'oba omi,
O f'osa s'osorun è.

This content downloaded from 148.85.232.235 on Mon, 30 Nov 2015 18:29:39 UTC
All use subject to JSTOR Terms and Conditions
THE TONAL STRUCTURE OF YORURA POETRY 47

Omo araiye 1 « Ela ô s'aiye 're,

Ela binu ta 'kùn o r'orun,
Ela w'aiye k'o wa gb'ure,
Ela !

The next example is a portion taken from an Ijala (a Hunter's

chant) entitled Ija Ofa (the Rattle of Ofa). Here is a free transla
tion of it.
What about a battle that was fought at Ofa,
Who of you saw a bit of it ?
Although all the trees that saw it shed their leaves,
And all the undergrowth were clothed with blood,
Yet I saw every bit of it, for it was fought where I was born.
I do not claim to be an old man,
But I have passed the stage of a child carried from place
to place.

It will be noticed from the Yoruba version as I read it that

wherever there is a pause, the expression ends, not on a low
tone this time, but on a middle tone.

Ija kan ija kan ti nwon ja l'Ofa nkô,

Oju tal'o to die mbe ?
Gbogbo igi t'o s'oju è To wo 'wé
Gbogbo ikan t'o s'oju è l'ö w'ewu eje
Ogoro agbonrin t'o s'oju è l'ö hu'wo l'oju ode;
Sugbon ô s'oju mi pä kete
N'ile wa, nibi nwon bi mi L'omo;
Agba ni ng ô ti dà,
Mo kuro l'omodé agbekorun r'oko.

Our next example is again taken from the Ifa Divination Poem.
A free translation of this short quotation will run thus : —
'
What a d?-' when I wake up and fail to hear the clang of
the mortar and pestle ;
What a night when I listen in vain to hear them sifting
flour ;
When the frying pot does not simmer with rabbits and
birds !
What a prospect when the expert retires under the shadow
of starvation !

In the Yoruba version, the clang of the mortar and pestle is sug
gested by the high sounding onomatopeotic expression : « poro
poro odô », the sifting of flour by the low hissing sound of « woso
woso Kô-n-kô-sô », and the frying of meat, by the «mixed sound of
« sin-rin-kun-sin-kün k'a din eku m'eiye ». Finally, note the gravity
produced by the repetition of the word « af'àimô », on a low mono
tone.

Here it is ; —

Ojumo mo, ng ô gbo poro-poro odô;

Oganjo gàn, ng ô gbô wôsô-wôsô kô-n-kôsô;
Ng ö gbô sin-rin-kün-sin-kün
K'a din eku m'eiye,
Afàimô, k'awo ma sùn l'ebi,
Afàimô !

This content downloaded from 148.85.232.235 on Mon, 30 Nov 2015 18:29:39 UTC
All use subject to JSTOR Terms and Conditions
48 PRESENCE AFRICAINE

Our next example is a light poem which exhibits a play on

tone-patterns. In this poem, it is easy to recognise the tone-pattern
of high, mid, low, mid, an its reduplicate one the töne-pattern, low,
low, mid, low. This short poem is best reproduced on the talking
drum. The free translation runs thus : —

Dancing with irregular steps you are heading for the

marsh,
Dancing with irregular steps you are heading for the
marsh.
If you will always dance with those irregular steps, you
never be a good dancer.

And here is the poem in Yoruba.

Jo bâta — bata o gb'ônà àbàtà

Jö bâta — bata o gb'ônà àbàtà
Ojô bâta — bâta
Ojô bâta — bâta
Opa b'ô ti mo jô lailai.

This is how this short poem sounds on the talking drum. Now
the tone-pattern of bâta-bàta » sounds thus : (drum beats) and the
tone-pattern of « bàtà-batà » sounds thus : (drum beats). Now the
two tone patterns heard in succession sounds thus : (drum beats).

Hear the poem once more :

Orally, then on the drum :

(Repeat, orally,
Reproduce on the drum.)

The next
example into falls
the class of poems known as
Arofo, that is, poems composed on abstract subjects. This parti
cular one points to the treachery o an of an unfaithful friend.
An English version of it runs like this :

When asked to help his friend to wash

his hack, he hides a thorn in his palm.
When asked to blow out the dirt in his
friend's eye, he puts some pepper in his mouth.

When expected to give the best of the fruits,

he sends his friend the sour ones.

When relied upon to keep a secret,

he proves his friend's betrayer.

This poem has six divisions. The second, the fourth, and the
sixth divisions end on a middle tone. These divisions are thrown
into contrast, with the first division, which ends on a high töne,
and then with a third and fifth divisions each of which ends on
a low tone.

Here it is : —

Eni a ni 6 kin'ni I'ehin, o

f'egun s'owô,
Eni a ni ô fé 'ni I'oju, o
fata senu; (Mid.)

This content downloaded from 148.85.232.235 on Mon, 30 Nov 2015 18:29:39 UTC
All use subject to JSTOR Terms and Conditions
THE TONAL STRUCTURE OF YORURA POETRY 49

Eni a bâ fehin ti k'a mu didun osan (Low)

Kikan ni unfun 'ni mu; (Mid.)
Eni a ba f'inu han, (Low)
0 kùkii j'alarôkiri eni. (Mid.)
Our last example also belongs to the class of poems known as
Arofo. Here the poet is talking about variety and draws freely on
his observation of nature around and of the 'relationship between
men. Then he concludes with the note that the gods above do not
distribute their gifts equally.
A free translation of it runs thus : —

Why do we grumble because a tree is bent,

When, in our streets, there are even men who are bent ?
Why must we complain that the new moon is slanting ?
Can any one reach the skies to straighten it ?
Can't we see that some cocks have combs on their heads,
but no plumes in their tails ?
And some have plumes in their tails, but no claws on their
toes.
And others have claws on their toes, but no power to crow ?
He who has a head has no cap to wear, and he who has a
cap has no head to wear it on.
He who has good shoulders has no gown to wear on them,
and he who has the gown has no good shoulders to wear
it on.
The Owa has everything but a horse's stable.
Some great scholars of Ifa cannot tell the way to Ofa.
Others know the way to Ofa, but not one line of Ifa.
Great eaters have no food to eat, and great drinkers no
wine to drink :
Wealth has a coat of many colours !

The poem may be entitled « Variety ». The tonal arrangement of

the lines when written down also gives a good example of variety.
For example, in lines 1 and 2, the arrangement is by contrast.
Line one ends on a low tone, while line 2 ends on a rising tone.
Then there is a change : Lines 3,4, and 5 end on a middle tone ;
lines 6, 7, and 8 end on a high, a low, and a middle tone, respec
tively. Note the contrast between :

fâ (high) fà (low)
fà (low) fâ (high)
in the following lines :

Enit' ô mo 'fâ o m'ona Ofà,

Enit' ô m' ona Ofà o mo 'fa.

Finally, note the low monotone of the word : « Malamala »

( ) with which the poem ends.
Here is the poem :

Igi gbun n'igbo, a nsô,

Ototo enia k'ô gbun larin ilü ?
Osupa le a ni o le re,
Nwon l'eni t'owo re ba to o
K'o yara mura k' o lo tun u se.
Eyi ti o l'ogbe kô ni 'rèrè,

This content downloaded from 148.85.232.235 on Mon, 30 Nov 2015 18:29:39 UTC
All use subject to JSTOR Terms and Conditions
 PRESENCE AFRICAINE

Eyi t'o n'irèré ko l'ogàn l'esè,

Eyi t'o l'ogan l'ese ko le ko bi akuko
Eni t'o l'ori ô ni fila, eni t' ni fila ô l'ori,
Eni t'o l'ejika ô l'ewu, éni t'o l'ewu o l'ejikâ.
0*wa l'ohun pe, ko n'iwô esin.
Eni t'o mo 'fâ ko m'ona Ofà,
Eni t'o m'ona Ofà, ko mo 'fà.
Iyan è wa 'le marinaje,
Oti ô wa 'le marumanu.
Oro abaso màlàmàlà !

E. L. LASEBIKAN.

This content downloaded from 148.85.232.235 on Mon, 30 Nov 2015 18:29:39 UTC
All use subject to JSTOR Terms and Conditions