Module for B.

Ed Early
Childhood Education Programme

EBS158SW:
PROSE FICTION

DR. SAMUEL K. NKANSAH

MR. THOMAS AMPOMAH

REPUBLIC OF GHANA i INSTITUTE OF EDUCATION, UCC

 IoE/MoF/TUC/GHANA CARES TRAINING AND RETRAINING

PROGRAMME FOR PRIVATE SCHOOL TEACHERS

Ministry of Finance Trade Union Congress University of Cape Coast

DECEMBER, 2022

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 TABLE OF CONTENT

CONTENT PAGE

UNIT 1: GENERAL INTRODUCTION TO ELEMENTS OF PROSE FICTION I 1

Prose, Fiction and Types of Prose 1
Plot, Structure, Style, Diction 4

UNIT 2: GENERAL INTRODUCTION TO ELEMENTS OF PROSE FICTION II 8

Character, Characterization, Character Types 8
Setting, Point Of View, Subject Matter and Theme 10

UNIT 3: A STUDY OF GEORGE ORWELL’S ANIMAL FARM I 15

The Title and Plot Summary 15
Character and Characterization 17

UNIT 4: A STUDY OF GEORGE ORWELL’S ANIMAL FARM II 25

Theme, Sub-Themes, Language and Style in Animal 28

UNIT 5: A STUDY OF KWAKYE’S THE CLOTHES OF NAKEDNESS 32

Character, Setting and Point Of View in the Clothes of Nakedness 35

UNIT 6: LITERARY APPRECIATION OF KWAKYE’S THE CLOTHES OF

NAKEDNESS 44
Style, Symbolic Characters and Symbolic Settings 44
Diction, Imagery, Thematic Issues and Child Motif 48

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UNIT 1: GENERAL INTRODUCTION TO ELEMENTS OF PROSE FICTION I

In this Unit, we shall examine various elements that occupy the attention of students of Prose
Fiction which are within the broader concepts ‘prose’ and ‘fiction’. The discussion will bring up
their characteristics and their place in literary studies. The unit will also isolate the prose elements
such as plot, structure, style and diction to literary discussions. In all these, we will examine their
relevance in the study of prose fiction. We hope the unit will lead you to discover a lot of issues that
relate to literature.

Learning outcome(s)
By the end of the unit, the participant will be able to:
 Explain the various terms that control the study of prose fiction.
 Clearly distinguish between the closely related terms.
 Identify and discuss these elements in a prose text.
 Share with their pupils the meaning of these terms in (literature) prose fiction.

PROSE, FICTION AND TYPES OF PROSE

In this session, you will be introduced to prose fiction as a literary genre by attempting to explain
the term in the context of its morphological make up. You will learn the definition of the words
‘prose’ and ‘fiction’ as a stepping stone to define ‘prose fiction’. You will also be introduced to the
major types of prosaic writings that fall under prose fiction.

Learning outcomes

By the end of the session, the participant will be able to:

1. Define prose fiction.
2. Differentiate prose fiction from other prose works.
3. Define prose fiction in your own words.
4. List the types of prose fiction.

Definition of Prose
Prose is the most typical form of language and it is derived from the Latin word “prosa” which
literally means 'straight-forward.' It is like talking to someone in a straight- forward manner and not
in a sing-song or poetic way. This means that a prosaic writing is presented in a straight- forward
manner. For instance, historical stories are written or presented in prose style.

There are many views on the construction of prose but the summary of these views is that it has a
simple and loosely defined structure. Prose works are mostly not presented in any particular or
special structure. This lack of formal structure makes it to be adopted as the general mode of
communication in many formal and informal presentations like the spoken dialogue, speeches,
factual, topical and fictional writing. This means that most of the books you read are presented in
prose and that you also speak in prose form.

Meaning of Fiction
Fiction is derived from the Latin word fiction which means “created”. Fiction is a term used to
denote anything, mainly stories or accounts that are not real. Can you recall the fairy tale or other

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stories that your mother or grandmother used to tell you about animals, or human beings that
existed in faraway countries or in the primitive times? These are fictional narratives. Fiction is
therefore any form of narrative which deals, in part or in whole, with events that are not factual, but
rather, are imaginary and invented by its author. They are created from the artist’s imagination. It is
thus important to state here that fictional stories or presentations are not factual or real. It is purely
imaginative. I hope you understand non-imaginative stories. They true stories such as
autobiographies and real life accounts.

Meaning of Prose Fiction

We have learnt the meaning of the words “prose” and “fiction” as separate words. Now, let us try to
merge the two words to get the meaning in our present context, that is, as a genre of literature. Prose
fiction is a literary genre that is purely imaginative and presented in an ordinary everyday language
in a narrative. Can you say this in your own words? It is fictional work that is presented composed
in a simple everyday language in a narrative form.

Fiction and narrative are words that distinguish prose fiction from any other form of narrative or
fictional work. For instance, drama is fiction but it is presented in dialogue and not narrative.

Explanation of Non-fiction (Non-imaginative)

Non-fiction as a contradictory term to fiction is used to denote anything, mainly stories or accounts
that are real or based on facts. That is, non–fiction refers to stories that are based on events that
actually happened in reality. It has a true setting and the characters are real people. It tells a true
story, but with lots of drama and all the interesting quirks of the characters. It could have some
elements of imagination but there is a high degree of truism in the story. Unlike fictions, non-
fictional narrative are a non–imaginary but factual in nature.

Some common forms of non–fiction may include biographies, autobiographies, memoires, histories,
letters, and newspapers among others.

Types of Prose
Prose fiction is distinguished from other forms of prose because its artistry, imaginative nature, and
its creation to mirror the totality of life are based on history or contemporary issues of an individual
or a people. The portrayal of life (society) in prose fiction is done at different levels by different
authors using different styles which give rise to different types of fiction. The basic types of prose
fiction include novels, novelettes, short stories, novella (fables, and fairy tales) (McKeon 1987:30).
In this context, the length of the text determines its prose type. The paragraphs below would list and
explain the different types of prose. The content of the prose text can also define the text.

a. The Novel
The novel is a fictional prose narrative or tale presenting the picture of real life,
especially the emotional crises in the life history of the men and women portrayed. In
literary terms, the novel is defined as “a fictitious prose narrative of considerable length,
portraying characters, actions, or scenes representative of real life in a plot of more or less
intricacy” (Harmsworth 78). It is a long narrative in literary prose that has its historical
roots both in the medieval and early modern romance and in the tradition of the novella.

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 The present generic term “novel” is coined from the Italian word novella which means a
compact prose tale of somewhat longer length than the short story. The novel is usually
thought of as ranging from 50,000 words or more (about 170+ pages).

b. The Novella
Novella is simply a term used for a miniature or short novel. It shares all the
characteristics of the novel and can fall into any of the categories of the novel. However it
is not as popular as the novel and sometimes, readers cannot differentiate between a novel
and a novella. It is a written fictional prose narrative longer than a novelette but shorter
than a novel. The Science Fiction and Fantasy Writers of America Nebula Awards for
science fiction defines the novella as having a word count of between 17,500 and 50,000.

c. The Short Story

The short story is a type of prose fiction that is usually written in narrative format. This
format tends to be more pointed than longer works of fiction, such as novellas and novels
or books. A short story is defined based on the length but this differs somewhat even
among professional writers. Since the short story format includes a wide range of genres
and styles. Many short story writers define their work through a combination of creative,
personal expression and artistic integrity. In contemporary usage, the term short story
most often refers to a work of prose fiction that is not longer than 7,500 words and not
shorter than 2,000 (5-25 pages).

Short stories tend to be less complex than novels. Usually a short story focuses on one
incident, has a single plot, a single setting, a small number of characters, and covers a
short period of time. A typical pattern in a short story could be presented with exposition,
complication, climax and resolution as in longer forms of fiction. However, some short
stories may not follow this pattern while some do not follow any patterns at all. For
example, modern short stories only occasionally have an exposition. More typical,
though, is an abrupt beginning, with the story starting in the middle of the action (in
medias res). As with longer stories, plots of short stories also have a climax, crisis, or
turning point. However, the endings of many short stories are abrupt and open. As with
any art form, the exact characteristics of a short story vary by its author.

Key Ideas
 Prose is the most typical form of language and it is derived from the Latin word “prosa”
which literally means 'straight-forward.'
 Prose works are mostly not presented in any particular or special structure.
 Fiction is any form of narrative which deals, in part or in whole, with events that are not
factual, but rather, are imaginary and invented by its author.
 Prose fiction is a literary genre that is purely imaginative and presented in an ordinary
everyday language in a narrative.
 The basic types of prose fiction include novels, novelettes, short stories, and novella.
 The novel is a fictional prose narrative or tale presenting the picture of real life, especially
the emotional crises in the life history of the men and women portrayed.

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Reflections

 What are the basic concepts of prose fiction that I have been exposed to?
 How will the understanding of the literary concepts studied in this session prepare me to
expose my pupils to stories?

 How has this session equipped you to appreciate the different types of prose narrative?
 How is the novel related to prose literature?
 Can an autobiography be considered fictional? Give reasons to support your stance.

PLOT, STRUCTURE, STYLE, DICTION

Welcome to session 2. In the previous session, we explained the terms ‘prose fiction’ by dwelling
on the words ‘prose’ and ‘fiction’ that make up the phrase. The types of prose were also considered.
In this session, we shall focus our attention on some important elements of prose fiction (plot,
structure, style, diction).

Learning outcomes

By the end of the session, the participant will be able to:

1. Discuss the structure of the plot.
2. Explain style and diction of a text.
3. Relate these to a novel.

Explanation of Plot
Plot may be defined as a story’s sequence of incidents, arranged in dramatic order (Gwynn,
2009:13). Due to different modes of presentations of events in a story, the order of events in a story
(plot) may or may not be in a chronological order. For instance, some techniques as flashback,
foreshadowing and in medias res sometimes denies the plot its chronology. Usually, plot has a
beginning, middle, and an ending. Plot starts with a situation depicting the characters’ interpersonal
relationships and they are usually in conflict with each other or with an outside force. As the story
progresses, the conflicts deepen, intensify and are heightened and lead to a complication of action
and it rises to a climax and moves down to a resolution.

The basic plot structure is made up of the exposition, which provides reader with essential
information about the story and characters; the complication, the appearance of circumstance or
event that stirs up the stable situation presented in the exposition. The complication may be either
external or internal, or a combination of the two. The complication is heightened by the conflict
between the characters; the rising action, the point when the tension begins to pile up, then the
central moment of crisis in the plot, the climax, or moment of greatest tension, which inaugurates
the falling action of the story, in which the built-up tension is finally released. The final part of the

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plot structure is the denouement (resolution) where all the tensions calm down and conflicts are
resolved.

There are two basic types of plot: simple and complex plots.

i. The Simple Plot

A simple plot, in most cases, presents the adventure of one character, usually the hero,
from the beginning to the end. In simple plots, as the name implies, the incidents are
presented in a simple straight forward manner. In this type of plot, the incidents or events
are closely knit and are strung together in a linear sequence. This means that events and
incidents are presented in a chronological order as one event leads to the other and the
subsequent event is dependent on the preceding one. A very good example is Chinua
Achebe’s Things Fall Apart. In the novel, Okonkwo’s father, Unoka is a lazy man so his
son works hard to avoid his father’s fate. Okonkwo inadvertently kills a man during a
funeral ceremony and he is sent on exile. He would not have gone on exile if he did not
kill the person.

ii. The Complex Plot

Complex plot as the name implies is more complicated than the simple plot. The story
here does not run chronologically from the beginning to the end. In many cases, the story
is presented in a disjointed manner and the reader will have to rearrange it to form a
logical sequence. This type of plot, according to Ezeigbo (1998), “requires
disentanglement” and it is a type in which "the author’s point of view necessitates some
rearrangement and realignment of circumstances or events” (11) for it to make meaning.
This plot type can be exemplified in Chinua Achebe’s No Longer at Ease. The first
chapter of the book presents Obi Okonkwo as he is caught in a bribery act and this is the
incident that should have ended the novel. In this case, the novel starts from the last
incident and the story starts to unfold after that. Consequently, at the end of the novel, the
reader has to recast the plot as presented so as to piece the different parts together.

In some novels, there is a subplot which is a second story that is complete and interesting
in its own but is integrated in the main plot in such a way that it forms part of the main
story. A sub plot that is well integrated helps to broaden the reader’s perspective on the
main plot so it concretizes instead of diffusing the overall effect of the story.

Meaning of Diction and Style

Style in fiction refers to the characteristics of a language in a particular story and to the same
characteristics in a writer’s complete works. In simple terms, style is the manner of expression of a
writer produced by: choice of words, sentence structures, and the use of literary device, rhythm,
organization and other elements of composition. Many writers have their own particular style which
is chosen by the author with a purpose depending on the audience. A detailed analysis of style in an
individual story might include attention to such matters as diction, sentence structure, punctuation
and the use of figurative language. Thus, the aspects of style in literature may include elements such
as:

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 i. The use of words with significant connotations (meanings either than their basic
reference).
ii. The use of emotive language. Language that will provoke a particular emotion in the
reader or audience. The emotions could be one of joy, sorrow, fear, anger, disillusion etc.
iii. The use of figurative language. A figurative language is the opposite of literal language
where we mean exactly what we say; all our words adhere to their denotative meanings or
senses. On the contrary, when we speak figuratively, we conceal the actual meanings or
ideas that we want to communicate. The figurative use of language is marked by the use
of figures of speech such as hyperbole (an exaggeration for an effect), metaphor (the
sense of one thing is represented in another through a direct comparison), irony,
personification and simile among others.
iv. The use of imagery/descriptive language; words that appeal to the senses of perception.

Meaning of Prose Fiction

We have learnt the meaning of the words “prose” and “fiction” as separate words. Now, let us try to
merge the two words to get the meaning in our present context, that is, as a genre of literature. Prose
fiction is a literary genre that is purely imaginative and presented in an ordinary everyday language
in a narrative. Can you say this in your own words? It is fictional work that is presented composed
in a simple everyday language in a narrative form.

Fiction and narrative are words that distinguish prose fiction from any other form of narrative or
fictional work. For instance, drama is fiction but it is presented in dialogue and not narrative.

Key Ideas
 Plot is explained as the sequence of a story showing causes and effect.
 The basic plot structure is made up of the exposition, the complication, the rising action,
the climax, the falling action and the denouement (resolution).
 There are two basic types of plot: simple and complex plots.
 In simple plot, the incidents or events are closely knit and are strung together in a linear
sequence.
 Complex plot as the name implies is more complicated than the simple plot. The story
does not run chronologically from the beginning to the end.
 Style is the manner of expression of a writer produced by: choice of words, sentence
structures, and the use of literary device, rhythm, organization and other elements of
composition.
 Diction is explained as the writer’s use of words; regarding the choice and ordering of the
words and the effects.

Reflections
 How would I explain plot to my students for them to understand well?
 How can I help my students to identify the plot structure of a story they have read?
 How do I explain the relevance of style and diction in a literary text?

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 How will you explain plot to your friends?
 Mention and describe the stages of a plot.
 How different is the diction of a literary work from an ordinary essay?

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 UNIT 2: GENERAL INTRODUCTION TO ELEMENTS OF PROSE FICTION II

This Unit examines the additional elements of Prose Fiction, their characteristics and their place in
literary studies. The unit will specifically isolate the prose elements such as character,
characterization, character types, setting, perspective of narration (point of view), subject matter and
theme to literary discussions. In all these, we will examine their relevance in the study of prose
fiction. We hope the unit will lead you to discover a lot of issues that relate to literature.

Learning outcome(s)
By the end of the unit, the participant will be able to:
 Explain the various terms that control the study of prose fiction.
 Clearly distinguish between the closely related terms.
 Identify and discuss these elements in a prose text.
 Share with their pupils the meaning of these terms in their literature lessons.

CHARACTER, CHARACTERIZATION, CHARACTER TYPES

In this session, we shall explain the terms ‘character’ and ‘characterization’ as defining elements of
a novel. The types of characters would also be discussed in the session were also considered.

Learning outcomes

By the end of the session, the participant will be able to:

1. Distinguish between character and characterization.
2. Explain the types of character types.

Definition of Character
Characters in fiction are the human beings, animals or supernatural beings that act out the story
presented in the work.

The author creates characters and presents his or her story through the actions and words of these
characters. The novelist, depending on the point of view he or she uses, may allow one of the
characters in the work to tell the story, otherwise, he narrates the story him/herself, telling the
reader what this character did or did not do as the story progresses. Characters therefore are
indispensable in any form of prose fiction no matter how superficial or how short the work is.
Basically in a prose fictional narrative, there are two major characters, the protagonist and the
antagonist. There are other characters too. They include the minor or supporting characters. The
minor or supporting characters are involved in fewer actions or incidents in the work. Their roles
are just to complement the major characters in driving the plot of the story. Characters are
developed through appearance, words, feelings, and reaction of others.

Explanation of the term Characterization

Characterization refers to the way an author creates and manipulates the characters in the work to
explicate his/her theme. A character is a participant in the story and is usually a person, but may be
any personal identity, an animal or an entity whose existence originates from the fictional work.

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The author is usually careful in the selection of these characters and ensures that the role of each
character is clear. Some characters are used and dispensed with while others are active participants
in the story from the beginning to the end. The former are the minor characters while the latter are
the major characters. The writer reveals the character in such a way that the reader becomes familiar
with the character’s nature through the character’s words and actions. A character is also revealed
through his relationship with other characters and reaction to situations and events. Sometimes the
character’s thoughts are revealed by the writer depending on the narrative mode or point of view.
Characterization is therefore the means by which a writer creates designs a character with assigned
roles, and also the process by which a literary critic analyses/reveals a character.

A character in a text can be revealed through the following:

i. what others say about him or her
ii. what the author says about him or her
iii. what he or she says about him/herself
iv. by his relationship with other characters
v. by his thoughts

Types of Characters in Fiction

There are different types of characters and the author decides the ones to use depending on the
message and the effect she/he desires to create.

a. Flat Characters
The flat characters are those characters who remain the same in the course of the story
from the beginning to the end. Some scholars refer to them as static characters. They do
not undergo significant changes during the course of a story. The flat characters are very
predictable because there seems not to be any change in their growth and activities.
A good example of a flat character is Mystique Mysterious in Benjamin Kwakye’s The
Clothes of Nakedness.

b. Round Characters
Round characters are those characters that grow in the course of the narration. Most of
the time, they grow from innocence to maturity and adapt to situations accordingly. They
respond to changes in their environment and react differently to different situations.

c. Dynamic characters
A dynamic character is a person who changes over time, usually as a result of resolving a
central conflict or facing a major crisis. Most dynamic characters tend to be central rather
than peripheral characters, because resolving the conflict is the major role of central
characters.

d. Stock characters
Stock characters are those types of characters who have become conventional or
stereotypical through repeated use in particular types of stories. Stock characters are
instantly recognizable to readers or audience members (e.g. the femme fatale, the cynical
but moral private eye, the mad scientist, the geeky boy with glasses, and the faithful side

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 chick). Stock characters are normally one-dimensional flat characters, but sometimes
stock personalities are deeply conflicted, rounded characters (e.g. the "Hamlet" type).

Key Ideas
 Characterization is an indispensable element in prose fiction.
 Characters are the representation of human beings in any fiction.
 Characterization is the act of creating the characters by the writer.
 The flat characters are those characters who remain the same in the course of the story from
the beginning to the end.
 Round characters are those characters that grow in the course of the narration.
 Dynamic character is a person who changes over time as a result of resolving a central
conflict or facing a major crisis.
 Stock characters are one-dimensional flat characters, but sometimes stock personalities are
deeply conflicted, rounded characters.

Reflections
 How would I distinguish between character and characterization to my students?
 How are characters in the prose text I have read revealed?

 Differentiate between characterization and character in prose fiction.

 Explain three criteria used in discussing the character traits of a character in a text.
 Explain the types of characters that can be present in a novel.

SETTING, POINT OF VIEW, SUBJECT MATTER AND THEME

In this session, we are discussing setting, point of view, subject matter and theme as crucial
elements in a literary text. We will also focus on the relevance of these elements in prose fiction.

Learning outcomes

By the end of the session, the participant will be able to:

1. Define and identify setting in prose fiction.
2. Explain the different types of setting.
3. Explain point of view.
4. State the advantages and disadvantages of a particular point of view.
5. Distinguish between subject matter and theme.

Definition of Setting
Setting is defined as “the physical, and sometimes spiritual, background against which the action of
a narrative takes place” (Harmsworth, 1998:108). Basically, there are two types of setting physical
setting and geographical setting. The reader identifies setting easily through the mention of some
identifiable locations and dates.

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Types of Setting
There are two main types of setting. They are the physical and historical settings.

a. Physical Setting
The general milieu of a work is its geographical or physical setting. In other words, it is
the place where events occur in a story. The geographical location of a work is not
synonymous with where it is written. In addition to the general locale of a work, there
may be specific places also where different actions take place. The physical setting is
therefore the location in which action takes place.

b. Historical Setting
Some writers give dates and places of the action of their work, while others give the
information indirectly. This is referred to as the time setting, temporal setting or the
historical setting. This type of setting in a work may be immediate or remote. The
concept of time setting also encompasses what it evokes and carries along with it like the
cultural, social, economic and religious issues raised in the work. The time setting also
influences the mode of writing and the subject matter. For instance, Things Fall Apart
was published in 1958, two years before colonialism ended officially in Nigeria but the
events of the story may have taken place some years earlier and the story itself must have
been written earlier than the date of publication. This is very appropriate because the
temporal setting presented two years later would not have presented a true picture of the
events in the novel.

Importance of Setting
Setting is one of the important elements of prose fiction which the author uses to accomplish
various goals like
a. Enhancement of Verisimilitude: Setting in form of description of time, place, weather,
furnishings and other elements of setting are usually included because they help to give a
sense of reality and credibility to the plot of the story.
b. Culture: Setting evokes the general culture aspects of the text. Literary texts are
reflections of real societies which have specific locations with identities. References to
such settings in the literary text situate the story in the culture of the location. Setting as
in time implies that periods of time reflect unique socio-economic-cultural conducts and
lifestyle. Time setting thus explains the general sphere of life in the text. An example is
the human sacrifice as an aspect of culture during the pre-colonial era of the Igbos in
Achebe’s Things Fall Apart.
c. Mood: Setting may emphasize the mood of a character. For instance a rainy day may
bring out or strengthen a feeling of sadness in people. On the other hand, this setting
could be appropriate to the events that are occurring in a narrative.
d. Special Effects: A writer may use a particular setting for “…an important effect upon the
actions of a character (as the river and the market do on Nwibe in Achebe’s “The
Madman.” (Adeleke 1997:52).

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The Meaning of Point of View
Point of view can be defined as the mode (s) established by an author by means of which the reader
is presented with the characters, dialogue, actions, settings and events which constitute the narrative
work of fiction (Kennedy, 1976). It signifies the angel from which way an author tells his/her story.
In other words, point of view reveals the position from which the events are presented by the writer
and observed by the reader. The story could be presented through the perspective of one or more of
the characters or by the writer. Point of view is therefore the perspective from which the reader
hears, sees, and feels the story.

Types of Point of View

There are many types of point of view. When the story is told by one of the characters in the
narrative, it is called the first person narrative. In cases where the story is narrated by the writer, we
get the omniscient point of view. Aside these two narrative styles, there can be other narrative styles
like the second person narrative and the multiple or mixed point of view. Let’s deal with types of
point of view in detail.

 Omniscient Point of View

The omniscient point of view is a narrative mode in which both the author presents events
and situations through narration, and through the senses and thoughts of more than one
character. The writer presents the actions, hopes, aspirations and other psychological and
emotional states of the characters through an “overarching godlike perspective that sees
and knows everything that happens and everything the characters are thinking” (Martin,
2003 ). In this kind of narration, the writer names all the characters with third person
pronouns and it is usually referred to a story in which he does not use the pronoun “I” to
refer to himself.

 Limited omniscient point of view

In this method, writer presents the entire story via the point of view of one character, and
looks through this at other characters (Mirsadeghi, 1987). Writer is both with him in the
outside and penetrates his thoughts. However, because of the limited view of this
character, the writer’s view toward others is limited, too. Therefore, the writer here does
not have the vast authority of the omniscient narrator and the key character plays the role
of his representative in the story.

 First Person Point of View

In the first person point of view the narrator speaks directly from his or her own
experience, often represented by the narrator’s consistent use of the first person pronoun
“I”. This narrator takes part in the events of the story. He /she may be an observer, the
protagonist or a minor character but the narrator seems to be standing a little to one side,
watching a story that mainly concerns him/herself or someone else as it unfolds.

 Stream of consciousness method

A method of narration by which the depth of character’s mental fluid that is, a mixture of
sensuous understanding, conscious and sub-conscious thoughts, memories, feelings, and

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 accidental associations is expressed in the way they are. This way of narration is based on
concepts that are the result of meaning association. “Stream of consciousness is a
dissolved collection of associations, moments, and emotions in which conscious and
unconscious layers pass through each other” (Falaki, 2003: 45).

Explanation of Subject Matter

The subject matter in prose fiction is a kind of summary of what is present in the work. It is what
the story is all about. It is the subject of discussion in the work which is different from theme. The
theme refers to the ideas which are stated abstractly but the abstract ideas are dramatized through
the subject matter. The subject matter is what the work is about. We can state the subject in a word
or phrase. However, theme is what is said about the subject matter in a text. Stating a theme
requires a complete sentence or several sentences.

Subject matter concerns two aspects of prose fiction that seem to be the same yet they are different.
The subject matter is how the idea is explicated to form the story. If for instance, the theme of
Chinua Achebe’s Things Fall Apart is colonialism, the subject matter becomes the story of
Okonkwo and the disintegration of a once harmonious society as a result of Colonialism.

Meaning of Theme
Theme is the central dominating idea in a literary work. In the views of Harmsworth (1989), theme
in non-fiction prose may be thought as the general topic of discussion, the subject of discourse, the
thesis. In literary works, theme is the abstract concept or idea which is made concrete through its
representation in person, action and image in the work. It is the central idea or insight serving as a
unifying element, creating cohesion and is an answer to the question, 'What did you learn from the
piece of fiction?'

Theme is usually seen as an abstract concept like love, marriage, corruption, bad leadership, crime,
justice, and many other issues that reflect human experiences. This means that the theme is not
written down anywhere in the work so you have to read the novel, novella or short story very well
to decipher the theme. If you have read Ama Ata Aidoo’s Changes, a Love Story for instance, one
idea there is ‘what constitutes rape in marriage’. In most novels from East Africa, we find the
themes of possession and dispossession of land while the South African novels, until recently,
present the themes of apartheid, racism. The themes of oppression and subjugation are common in
the prose fiction from the two regions.

Key Ideas
 Setting is the physical and sometimes spiritual, background against which the action of a
narrative takes place” (Harmsworth, 1998:108).
 The physical setting is therefore the location in which action takes place.
 The two major types of setting are the physical and time setting.
 Point of view is the perspective from which the reader hears, sees, and feels the story.
 There are many types of point of view: they include first person point of view, omniscient
point of view, limited omniscient point of view and stream of consciousness method.
 The subject matter is how the idea is explicated to form the story.

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  Theme is the central dominating idea in a literary work.

Reflections
 How has this session equipped me to analyse literary text for setting, point of view and
theme?
 How would I help my colleagues understand the difference between subject matter and
theme?

 Explain the concept of setting as an element of prose fiction.

 How does setting make a literary text meaningful?
 List four types of point of view and explain one of them in detail.
 State the relationship between the theme and the subject matter in Prose fiction.

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UNIT 3: A STUDY OF GEORGE ORWELL’S ANIMAL FARM I

In this unit, we shall take a look at George Orwell’s novella, Animal Farm and relate our study to
the basic principles of prose fiction discussed in Unit One and Two such as the plot,
characterization, setting, point of view, and style of writing, the language of the text, the major
theme and sub-themes in the text.

Learning outcome(s)

By the end of the unit, the participant will be able to:

1. Apply your understanding of the principles of prose fiction to the text under study.
2. Discussion the text as a prose fiction that reflects reality.
3. Make a judgement on the effectiveness of the approach used in delivering the massage.

THE TITLE AND PLOT SUMMARY

In this session, we shall look at a brief history and authorship of the novella lay out the plot of
Animal Farm and link the plot to the structure of the text. In the course of the discussion, we shall
introduce terms that are relevant to our study of this text. We will urge you to look up for the
meaning of any such term in a good literary dictionary. You can also google for the meaning.

Learning outcomes

By the end of the session, the participant will be able to:

1. Share a brief background of the author.
2. Present the plot of the story.
3. Discuss the appropriateness of the title.

The Title and authorship

Animal farm is written by Eric Arthur Blair under the pseudonym, George Orwell. It was first
published in 1945. The original title of the novel was Animal Farm: A Fairy Story. However, the
subtitle was dropped when it was published in the US in 1946. The title of the novel is the name the
animals on Mr. Jones’ farm adopt for the farm after the rebellion against Mr. Jones, their human
owner. The name “Animal Farm” actually comes to replace the original name which is “Manor
Farm”. Previously, Mr. Jones and his workers dominated the daily activities and lives of the
animals. Conditions on the farm during the reign of man marks oppression. However, the new name
actually symbolizes the animals’ authority over their own affairs. The title is also a symbol of Old
Major’s idealistic dream that prophesied an animal utopia. The fable has relevance for political
ideologies. We shall discuss them as we go through the text.

The plot summary

Animal Farm is an allegorical novella that narrates the story of farm animals who endure oppression
and neglect at the hands of their drunken owner, Mr. Jones. The story is evoked through the

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inspiration of Old Major who dreamt that a perfect society for the animals is one that has no human
presence. Later in the life of the animals, they carry out a rebellion with the intention of creating a
perfect society where all animals are equal and have enough freedom that will make them happy.
This marks the central conflict of the novella. Having gotten rid of Mr. Jones, the animals believe
they have overcome human oppression. The success of their revolt is marked by the change of name
from “Manor Farm” to “Animal Farm”. They adopted the Seven Commandments from the spirit of
animalism which Old Major had ignited in them during his speech.

At first, “Animal Farm” prospers. The animals begin to man their own affairs with Snowball
teaching the older animals to read and write while Napoleon schools the young puppies on the
principles of animalism. There is abundance of food and division of labour on the farm. The pigs
gradually assume the leadership positions and allow themselves certain privileges which include
special food menu for their health. Mr. Jones and his men attempt to reclaim the farm, however, this
backfires. It is after this attack that Snowball declares his intention to build a windmill. Napoleon
disagrees with this modernization and instructs his dogs to chase Snowball out of the farm.

Subsequently, Napoleon declares himself the sole leader of the farm. He implements several
changes in the governance structure of the farm. Their regular meetings are substituted with a
committee of pigs who will manage the affairs of the farm. Squealer, one of the pigs, becomes
Napoleon’s spokesperson. It is through him that Napoleon sabotages Snowball, while taking the
credit for the windmill idea. When a storm collapses the windmill, Napoleon is able to convince the
animals that Snowball is trying to sabotage their project. Any animal who was accused of helping
Snowball was executed by Napoleon’s dogs. Life on the farm now becomes similar to the hardships
they faced during the time of Mr. Jones. However, Napoleon is quick to point that they are better
off than they were under the ownership of Mr. Jones.

Mr. Frederick, a neighbouring farm owner and his band of men attack the Animal Farm and blow
up the windmill. Although the animals win this battle, they lose many of their comrades. Boxer is
wounded and although he recovers, he collapses while working on the windmill and is taken away
in a knacker’s van. Boxer was the only character who is still clinging to Old Major’s hope.
However, he is betrayed and killed. As the years go by, another windmill is constructed, and the
farm earns more income. Aside the windmill, all the other plans Snowball drew for the Animal
Farm were discarded because, according to Napoleon, they needed to live simple and happy lives.
The other animals begin to realize the pigs’ new role as the political authority on the farm. The pigs,
with Napoleon as the head, claim a greater portion of the farm produce for themselves. They steal
the cow’s milk. They sell animal products to buy human luxuries like whisky.

The story reaches its climax when Napoleon decides to sell the hen’s eggs. Realizing this, the hens
rebel, but they are unsuccessful and Napoleon has them executed. The pigs now emulate the tyrant
Mr. Jones. They walk on two legs, wear clothes, drink alcohol and carry whips. They are even seen
dining with men. In so doing, they breach the seven commandments. However, they are smart
enough to amend the commandments to an abridged form which reads; “All animals are equal but
some animals are more equal than others”. The maxim was also changed from “Four legs good, two
legs bad” to four legs good, two legs better”. All these were done to suit their new position. At the

16
end of the story, Napoleon abolishes all revolutionary practices and restores the name “Manor
Farm”. The other animals can no longer distinguish between men and the pigs.

While some readers consider the novel form the author’s view of a disillusioned communist society,
others look at it as an allegory of a totalitarian regime or as a fable that describes the betrayal of the
animals on Manor Farm.

The Structure
Animal Farm is written in ten chapters. Each chapter is closely related to the plot of the story.
Though the story is a simple plot and follows a direct thought, it shows internal structure (division).
Chapters 1- 3 introduce the overall characters in the text, we are presented with the main theme
through Old Major’s speech and the ideals of Animalism, the rebellion and the animals’ initial self-
control. By the end of chapter 6, Snowball has been expelled and the first work on the windmill
construction takes place. Chapters 7- 10 describe how the pigs eventually become like their corrupt
human master.

Key Ideas
 The story is in three structural parts with each linking others to make a complete story.
 Animal farm is written by Eric Arthur Blair under the pseudonym, George Orwell.
 The title of the novel is the name the animals on Mr. Jones’ farm adopt for the farm after
the rebellion against Mr. Jones, their human owner.
 The name “Animal Farm” actually comes to replace the original name which is “Manor
Farm”.
 The story reaches its climax when Napoleon decides to sell the hen’s eggs.

Reflections
 How would I explain the title of the novella to a colleague?
 How relevant was Old Major’s dream to the development of the plot?

 What is the climax of the story?

 Why did Arthur Blair adopt a false name?
 What is the place of Old Major’s dream to the development of the plot?

CHARACTER AND CHARACTERIZATION

In this session, we are looking at our discussion on character and characterization in Unit One and
relate it to the characters in the text. We must understand that the characters in Animal Farm are
animals (fable) but each animal is given human traits and these traits are our focus. We shall
examine major and minor characters and their roles in the story.

Learning outcomes

By the end of the session, the participant will be able to:

1. Identify and discuss the traits of character and show their roles in Animal Farm

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2. Distinguish between major, supporting and minor characters in Animal Farm.

Characterization
Animal Farm comprises several characters. Each of these characters plays a significant role.
Attention will be paid to the characters and the significant roles they play in contribution to the
development of the plot.

a. The Major Characters

This narrative has three major characters; Old Major, Napoleon, Snowball. Squealer,
Boxer and Clover are considered as pseudo major characters. Do you know what a major
character is? It is the character on whom the story revolves. If he is out of the story, the
story ends. List all the characters you have come across in the story. a pseudo major
character is one that is neither a major nor minor. Such is more prominent than the minor
character.

i. Snowball
Snowball is one of the pre-eminent two young boars Mr. Jones was rearing for sale.
According to the narrator, “Snowball was a more vivacious pig than Napoleon,
quicker in speech and more inventive, but was not considered to have the same
depth of character.” Aside Snowball and Napoleon, all the other male pigs were
porkers. At the beginning of the story, he is depicted as a companion of Napoleon.
These two pigs develop the concept of animalism out of Old Major’s speech. They
later spell out Old Major’s ideas in the Seven Commandments. Snowball is credited
with the maxim “Four legs good, two legs bad” which proves an easier version of
the Seven Commandments for the sheep and the other less intelligent animals.
However, this maxim becomes a means of sabotaging Snowball while he is
delivering his speeches during their Sunday meetings. The interruptions happen to
be the work of Napoleon. He is constantly challenging Napoleon concerning the
control of the animals after the Rebellion. The two friends begin to develop an
intense rivalry.

Snowball is portrayed as very intelligent and the most eloquent of the pigs. Like his
name depicts, Snowball is a very smart pig. He is equally brave and instrumental in
the Battle of the Cowshed. He doesn’t appear to be as sneaky as his counterpart,
Napoleon. In view of this, Snowball seems to be wining the trust and loyalty of the
other animals. Snowball is more idealistic. He is the brain behind the windmill. It
was designed to generate electricity that will make work on the farm less stressful
for the animals. He had worked out other complicated schemes that would make
work easy for the animals. He proposed a three-day a week work schedule as well
as various animal committees all in aid of progress on the farm. Aside his good
qualities, Snowball remains silent on the issue of milk and apples for the pigs. With
this attitude, he is also exploiting the other animals. The rivalry between Snowball
and Napoleon develops to an extent that Napoleon expels him from the farm on the
animals vote to build the windmill.

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 Although he is no longer a visibly active character on the farm, Napoleon
constantly refers to Snowball as a heinous character. He is always blamed for
conspiracy whenever there is a misfortune on Animal Farm. With this attitude,
Napoleon is able to defame Snowball. Consequently, any animal that is an ally of
Snowball is executed.

ii. Napoleon
Napoleon is the main antagonist in the story. He is one of Old Major’s disciples. He
is one of the two boars whom Mr. Jones was breeding up for sale. The narrator
describes this pig as “large, rather fierce-looking Berkshire boar, the only Berkshire
on the farm, not much of a talker, but with a reputation for getting things his own
way”. This description sums up his entire activities on the farm throughout the
narration. Together with Snowball, Napoleon leads the rebellion against Mr. Jones.
Napoleon works with Snowball to develop the ideology of animalism after the
successful revolt. These two pigs champion the spirit of animalism throughout the
farm and its environs. However, Napoleon soon proves himself a cruel dictator.
After the rebellion, he strategically begins to control all affairs on the farm until he
grows into an undisputed tyrant.

During the conflict over the building of the windmill, Napoleon reveals his police
force comprising nine dogs he had secretly trained since their infancy. With these
dogs, he chases Snowball off the farm and installs himself as a totalitarian on the
Animal Farm. In his new role, he demands unwavering loyalty from his subjects.
By spreading misinformation through propaganda and intimidating the other
animals, he earns himself outward displays of trust. Napoleon always makes some
harsh pronouncements and sends Squealer, another pig, to convince all the animals
that his actions are in the best interest of the animals. He is particularly interested in
instituting an elite ruling class. His first move is to educate the dogs and later
insisting on his thirty one piglets in a special school.

Napoleon holds himself in high esteem, above all other animals on the farm, he is
paranoid and does not accept his faults. Instead, he blames Snowball for every mis-
happening. At the end of the narration, Napoleon becomes the duplicate of the
humans he fought against. He starves the other animals and make them helpless.
However, he grows fat, more powerful, walks on his hind legs, sleeps in a bed,
wears clothes, carry a whip, drinks alcohol and above all, parties with the humans
he denounced.

iii. Old Major

Old Major is the oldest pig on the farm. He is a highly revered old boar. He dies at
the age of 12 before the animals staged the revolt. A few days before his death, Old
Major gathers all the animals and gives a speech concerning a dream he had. He lets
the animals know what is wrong with their present world. He proposes that man is
the greatest enemy of animals. This is because, man produces nothing but benefits
from what the animals produce. He specifically points to Mr. Jones, and his

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 farmhands who have been cruel towards the animals. He teaches the animals the
song, Beast of England which becomes the animal anthem on the farm. Moreover,
Old Major’s speech encourages the animals to fight for their freedom. Old Major’s
speech forms the basis for Animalism, a theory, that Napoleon and Snowball develop
three months after Old Major’s death. Although Old Major does not live to see his
ideas implemented, Napoleon disinters Old Major’s skull and sets it up on a stamp at
the foot of the flagstaff so that the other animals can walk past it reverently.

b. Supporting characters
The supporting characters in this text are those who are not necessarily the primary focus
of the narrative but appear to play roles more than the minor characters. These are: Old
Major, Squealer, Boxer and Clover,

i. Squealer
Squealer is the most popular male porker on the farm. He is a fat pig with a
reputation as a skilled orator. This earns him the position of spokesperson for
Napoleon. Through him, the pigs use rhetoric and language to twist the truth and
maintain power. At first, he is devoted to both Snowball and Napoleon but later to
Napoleon alone when the latter expels Snowball. As his name depicts, he passes all
information concerning the decisions made by the pigs to the other animals. Due to
his skillful nature as an orator, Squealer is often asked to address the animals during
their Sunday meetings. Most often, he succeeds in effectively convincing the
animals to accept whatever plans the pigs have. On other days, his messages are
accepted because Napoleon’s police dogs accompany him on his mission. He also
represents the animals at meetings with the other farmers. Since he is a pig, he
benefits from Napoleon’s rule, just like all the other pigs. By the end of the
narration, Squealer is seen walking on two legs and he teaches the sheep to bleat,
“Four legs good, two legs better!”

ii. Boxer
He is a huge, gentle carthorse. He is not as intelligent as the pigs but is able to learn
the four letters of the alphabets. He and Clover are two of Napoleon and Snowballs
most faithful disciples. Boxer’s physical appearance matches up to his hardworking
attitude. Old Major’s speech and the Seven Commandments excite him a lot. He
proves himself very essential to the activities on the farm. Boxer is able to convince
his peers to support the work on the farm. It is his hardworking nature that compels
the animals to rebuild the windmill when it gets destroyed. Boxer adopts the slogan
“I will work harder” whenever there is a problem at hand. During the course of
time, he adopts the slogan, “Napoleon is always right”, in addition to the first.
However, he fails to see that Napoleon is rather the course of the hardship on the
farm. When he collapses, Boxer thinks Napoleon will take him to a veterinary for
healthcare, however, his inability to read prevents him from understanding the
inscriptions on the van. Boxer is sent to a glue factory and his death benefits the
pigs.

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 iii. Clover
Clover is a very cool, compassionate yet powerful carthorse. She is a motherly
horse who naturally shields the weaker animals. She also tries to help her close
friend, Boxer after his collapse. Her compassionate qualities are echoed in the
communal spirit the Seven Commandments hold. Clover supports the rebellion and
the spirit of animalism. However, she is always suspicious of the pigs’ violation of
the commandments, yet she cannot be certain because she wasn’t able to commit all
the commandments to memory. Since she is not as literate as the pigs, she doesn’t
notice the major changes in the Seven Commandments. And so, she ignorantly
support every decision of the pigs. When Napoleon takes over as a dictator, Clover
is appalled. She is not as smart as the pigs to be able to resist them. However, she
prefers the animals ruling her to Mr. Jones.

c. Minor Characters
The minor characters in this texts are those whose actions contribute to the development
of the plot but are not focal point of the story. They also help to reveal the traits of the
major characters. A good number of the characters in Animal Farm can be classified
under the minor characters. These include: Mr. Jones, Mr. Pilkington, Mr. Frederick, The
Cat, Mollie, The Sheep, The Hens, The Dogs and Muriel.

i. Mr. Jones
Mr. Jones is the first totalitarian leader in Animal Farm who runs Manor farm
before the animals stage a rebellion. He is the original owner of Manor Farm. The
narrator makes it clear what a fierce master he was in the years prior to the
commencement of the story. When the reader first encounters Mr. Jones, he is
presented as a drunk, careless, an unkind and ineffective farm owner. He is a very
wicked and arrogant farm owner who no longer feeds the animals as often as he
used to. He is constantly using the whip on the animals. He tries to whip the
animals when they break the stores to feed themselves on the grains. His neglect of
the animals is what sparks the rebellion leading to his expulsion and the animals
taking over the farm. He attempts a comeback but he fails and loses the farm
completely to the animals. Mr. Jones finally spends the rest of his time in
Willingdon.

ii. Mr. Pilkington

Mr. Pilkington is the easy-going farmer who owns Foxwood, a neighbouring farm
to the Animal Farm. Foxwood is described as “a large, neglected, old-fashioned
farm, much overgrown by woodland, with all its pastures worn out and its hedges in
a disgraceful condition”. Mr. Pilkington has no time for the farm. He mostly
spends his time hunting and on leisure activities than on the farm. He often
gossiped about Animal Farm with the other neighbour, Frederick. Although he was
almost on a friendly terms with Napoleon, he was never able to enter into a proper
agreement with Napoleon on buying timber from Animal Farm. When Mr.
Frederick schedules a time to collect the timber, Napoleon breaks his seemingly

21
 friendship with Mr. Pilkington. Insulting messages are sent to Foxwood and the
pigeons are advised to alter their slogan from “Death to Frederick” to “Death to
Pilkington”. He pulls his support for Animal Farm when Napoleon double-crosses
him. However, he is content with the latest developments on Animal Farm and
congratulates the pigs for instituting class boundaries on the farm.

iii. Mr. Frederick

Mr. Frederick is a tough, shrewd man, perpetually involved in lawsuits and was
noted for driving hard bargains. He is the owner of Pincfield, the second
neighbouring farm to Animal Farm. Rumours are that he treats his farm animals
with an iron fist. Napoleon vilifies him as well. He decides to purchase timber from
Animal Farm. However, he pays with fake bills and launches an unexpected attack
on Animal Farm. He successfully blows up the windmill. Mr. Frederick happens to
be at logger heads with Mr. Pilkington but the two find a common reason to gossip
after the rebellion.

iv. Benjamin
Benjamin is the oldest animal on the farm and he is noted for his quick temper. He
is a jaded donkey who hardly talks. But whenever he opens his mouth to talk, he
never hesitates to make one or two cynical remarks. Although he is very devoted to
Boxer, he is never inspired by the rebellion. He only looks on at happenings on the
farm with a conviction. He maintains a skeptical view on an utopian society where
life will be easier. As a result of this, Benjamin is not surprised when the pigs
become corrupt and assume the totalitarian position of the master they overthrew.
He is the only animal among the others who is well informed on the happenings in
their animal society. However, he remains ineffective as he does not speak or do
anything in support of the oppressed animals. He finally breaks his silence and tells
the other animals what is happening on the farm however, this is at the wrong time
since it becomes too late to save Boxer.

v. The Cat
The cat is a self -centred farm animal who is only interested in things that would
benefit her. She always disappears when there is work to do. She only supports the
rebellion and the spirit of Animalism if there is some benefit in it for her. Though
she is not fully committed to animalism, she echoes its ideals to some birds she
wants to eat. Before Napoleon becomes a dictator, the cat has already disappeared
from the farm.

vi. Mollie
She is the white mare who pulls Mr. Jones’s cart prior to the rebellion. She loves
human attention and always wants to be groomed. Molly loves eating sugar and
wearing ribbons in her mare. After the rebellion, she flees from the farm because
supporting the rebellion denies her all the pleasures she craves. She seeks solace in
serving another human a few months after the rebellion.

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vii. The Sheep
These are a group of less intelligent animals on the farm. They are mostly noted for
chanting the maxim Snowball teaches them. They follow all Napoleon’s orders.
Because they are not literate, they are not able to question the decisions of the pigs.

viii. The Hens

They a group of layers who form part of the less intelligent breed of animals on the
farm. They are at first in full support of the rebellion. Laying hens on Animal Farm.
They are initially fully behind the rebellion and the ideals of Animal Farm but their
support negotiates a bend when Napoleon demands they surrender their eggs. They
also stage an internal rebellion. This however proves unsuccessful and nine of them
die.

ix. The Dogs

Jessie, Bluebell, Pincher, and the nine attack dogs born between Jessie and Bluebell
are all instrumental in the affairs of the farm after the revolt. The first three are seen
attacking the men during the Battle of the cowshed. However, they do not live too
long in Napoleon’s totalitarian state. The other dogs are the puppies Napoleon takes
away to educate. No one hears of them until they surface one day as fierce dogs.
These dogs provide the pigs with the brute force necessary to terrorize the other
animals. They play an instrumental role in driving Snowball off the farm. For their
reward, they are entitled to certain privileges on the farm which include sitting
close to the pigs. They live a comfortable life because they support the pigs in
implementing all policies.

x. Muriel
Muriel is a white goat. Aside the pigs, she is one of the few animals who becomes
fully literate. She is very instrumental in the Battle of the Cowshed. Because of her
intelligence and her dedication to the oppressed animals, she was always
interpreting the commandments for the animals when it was realized the pigs were
flouting the rules. She participates in all the activities on the farm. She is one of the
animals who dies during Napoleon’s rule.

xi. Moses
Moses is a tame raven on the farm who slept on a perch. He is a favourite pet of
Mr. Jones and so, he does no work. He was always feeding on crusts of bread
soaked in beer. This makes the other animals dislike him. He is the only animal
who is reported absent during the meeting with Old Major. He earns a name on the
farm as a spy, a tale bearer and a clever talker. Most of the animals believe his
stories about Sugar Candy Mountain and the pigs have a hard time convincing the
animals not to believe such stories. He flaps after Mrs. Jones during the rebellion.
Moses suddenly reappears, unchanged after several years of absence from the farm.

xii. Mr. Whymper

Mr. Whymper is a human solicitor whom Napoleon hires to represent Animal Farm
in the human world. He was a sly-looking little man with side whiskers, a solicitor

23
 in a very small way of business, but very smart. The animals dreaded him, but were
also amused at the sight of Napoleon who walked on four legs delivering orders to
a man who walked on two legs. By the end of the novel, has done well for himself.

xiii. Minimus
He is the poet pig who writes propaganda poems and praise songs for Napoleon and
Animal Farm. He is the one who writes the patriotic song “Animal Farm, Animal
Farm” to replace the idealistic “Beast of England”.

xiv. Mrs. Jones

Mr. Jones’s wife. She is only seen running out of the farmhouse during the
rebellion. Mollie mentions that Mrs. Jones dresses Mollie with ribbon. Her absence
then affected Mollie so much that she had to leave the Animal Farm.

Overview
In this session, we have identified three sets of characters in Animal Farm. We have also discussed
the role played by each one of them in the development of the plot.

Key Ideas
 There are three set of characters in Animal Farm. They are major, minor and supporting
characters.
 Animal Farm has three major characters; Old Major, Napoleon, Snowball. Squealer,
Boxer and Clover are considered as pseudo major characters.
 The supporting characters in this text are those who are not necessarily the primary focus
of the narrative but appear to play roles more than the minor characters.
 The minor characters in this text are those whose actions contribute to the development of
the plot but are not focal point of the story.

Reflections
 How would I describe Napoleon and Squealer as characters in Animal Farm to a friend?
 Share your views about how the human characters are characterized in the story.

 Critically examine the role of Squealer in the text

 Who is your most admired character in the story?
 Contrast the character and role of Snowball and Napoleon in the development of Animal
Farm.

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UNIT 4: A STUDY OF GEORGE ORWELL’S ANIMAL FARM II

In this unit, we shall continue our discussion on George Orwell’s novella, Animal Farm and relate
our study to the basic principles of prose fiction discussed in Unit One and Two such as the plot,
characterization, setting, point of view, and style of writing, the language of the text, the major
theme and sub-themes in the text.

Learning outcome(s)

By the end of the unit, the participant will be able to:

1. Apply your understanding of the principles of prose fiction to the text under study.
2. Discussion the text as a prose fiction that reflects reality.
3. Make a judgement on the effectiveness of the approach used in delivering the massage.

We have shared our understanding on the plot and structure of Animal Farm. In this session, we
shall look at the setting in terms of time and place of the story. Also, we shall discuss the concept of
point of view in relation to Animal Farm. We have indicated point of view or narrative perspective
or narrative technique is a defining feature of prose narratives. Recall the narrative approaches we
mentioned in Unit Two.

Learning outcomes

By the end of the session, the participant will be able to:

1. Identify the settings in the text using landmarks.
2. Discuss both the time and place setting of the story.
3. Identify and explain the point of view used in Animal Farm.
4. Discuss the literary significance of the point of view used in the text.

Setting as a place
Literarily, the story is set on an imaginary farm in (Europe) England with the nearby farms
symbolizing other European countries in the neighbourhood (continent).This farm is first called
Manor Farm, then the animals rename it Animal Farm to symbolize their freedom. The location as
in England influences the entire life of the text. The names of places and people are pure English
names. The songs, education, costumes, technology etc. are reflections of the English people. It
must however be mentioned that in reality, the Manor Farm/Animal Farm symbolizes Union of
Socialist Soviet Republic, a country that reflect Animal Farm during the reign of Snowball.

However, when Napoleon becomes their dictator, the previous name, Manor Farm, is retained.
After the revolt, the previous owner of the farm, Mr. Jones flees to a town called Willingdon.
Animal Farm shares boundaries with Pinchfield Farm which is owned by Mr. Frederick and
Foxwood Farm which is also owned by Mr. Pilkington. It is on one of Foxwood farmhands where
Molly is seen petting. The setting is a typical farmyard except that animals take over the
management of activities on the farm. This setting is very important since it enhances the meaning

25
of the plot, making it more interesting. It has an influence on the characters as well. The setting
enlightens the reader about the angry community of simple animal farms who revolt against their
owner as well as all humans to form their own government. They have high aspirations which are
drawn from Old Major’s dream. The animals come up with their own rules to keep the revolt
strong, to enhance free flowing activities on the farm and to ensure that all animals have equal
treatment as well as equal share of everything. Their seven commandments are inscribed on the wall
for everyone to see. These include, “All animals are created equal” and “Whatever goes on two legs
is an enemy”. Thus, with the spirit of animalism instilled in every animal, they build a windmill.
This is an object of much contention on the farm that is rebuilt after being destroyed by a storm and
subsequently by a group of farmers with “blasting powder”.

Originally, the animals pledge to preserve the manor house as a museum, but as the power structure
becomes more unbalanced, the pigs move into the house, which becomes their domain. The
farmhouse symbolizes the new totalitarian rule of the pigs and is indeed indicative of the “revised”
commandment: “All animals are created equal but some animals are more equal than others.” With
these new rules in place, the pigs begin to use the very things that are associated to man. Orwell, by
restricting all the actions of the animal to the farmyard, creates a microcosm of society (symbolic of
the then USSR).

However, the pigs begin to use everything on the farm, such as the farmhouse, the farm produce as
well as the other animals themselves to bend the rules in their favour. This introduces the subplot of
the common animals’ quest for equality on the farm. The life there is presumably simple. It serves
as a good site for the attainment of Old Major’s dream. It is in this setting that Napoleon gets the
opportunity to be a dictator. It is also an ideal platform for the implementation of development in
the society. Allegorically, the setting is Soviet Russia. Orwell symbolizes Soviet Russia in this
novella since the Russian revolution took place in a country where most of the inhabitants were
peasants. Thus, the setting of the farm becomes ideal for this story.

Setting as a time
Although the story of Animal Farm takes place over a period of time and can be linked to the
Russian Revolution, the timing is actually unspecified. The story actually depicts certain political
events of the past and during the time it was being written. This allows the readers to date actions
precisely. We can however make guesses as when the story is set. The period was witnessing
ideological conflict; capitalism verses socialism, where England and Europe represented capitalism
with Russia representing socialism. It can also be inferred that technology was at its growing stage.
We read of Snowball championing the construction of windmill. The period also witnessed series of
war of dominance. With these, we are guessing a period from the First World War through to the
period USSR collapse for the region to embrace capitalism.

Point of View in Animal Farm

George Orwell’s Animal Farm is written in the omniscient third person point of view. This narrator
is never involved in the actions of the story. However, he seems to appear above everything that is
happening. This means that the narrator knows and sees the things that the various characters know,
feel, think or do on the farm. The narrator is never ignorant of anything that happens outside the
farm since he follows the characters who go outside the farm. He is everywhere.

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This narrator understands every happening in the story better than even some of the animals on the
farm. As for the animals, they only understand what they hear and see. He equally knows the things
prior to the start of the story. He is able to help the reader move freely within the story and draw a
link between the previous activities and the current activities on the farm. He gives a vivid
description of each character in the text and one can understand why a particular character acts the
way he does. The use of the third person omniscient narrator helps the reader to understand the
behaviour of each character in the story.

With this point of view, the narrator gets to understand dubious motives behind all the actions,
utterances and decisions of Napoleon, the totalitarian leader and his accomplice, Squealer. The
narrative style shows how easily the animals’ collective decision and thoughts can be manipulated
by their own kin and used to oppress them. This narrator draws the reader’s attention to the hopes of
the animals which are eventually dashed. Consequently, the reader becomes sympathetic towards
the animals who now live in fear for their lives.

Also, the narrator reveals how the oppressed animals are used. And when they grow old and weak
and are no longer useful, their new master, just like Mr. Jones, discards them off. Such is the fate of
the likes of Boxer who toils day in and out for the hope of a better society. However, he does not
live to see this dream materialize as he is sold to a glue factory when he loses his strength.

The point of view helps the reader distinguish between what a character thinks about himself and
what the others think about him. For instance, the reader knows that Boxer believes he needs to
work harder whenever there is a problem on the farm. The other animals found inspiration in his
statement because he is always living up to his words. Also, the narrator helps the reader understand
the character development of Napoleon, what he thinks about himself and what the other animals
think about him. He is seen rising from the level of comradeship to the dictatorial fat pig. In this
story, the sense of humour is not lost as the pigs are seen walking about on two legs.

Moreover, this point of view is very revealing, and it shows how easily the collective memory of
the animals is manipulated into believing certain falsehood about the Battle of the Cowshed.
Although the animals do not fully remember exactly what happened during that time, the reader is
able to tell Napoleon is using propaganda to spread false rumours about Snowball’s contribution to
the battle.

The narrative point of view equally reveals the ironies that are created by the communal
development on the farm. The animals find themselves in a pathetic situation when they put all their
trust in the manipulative pigs. For example, the animals come back in the evening to see that the
cow’s milk is gone, but the narrator makes the reader know that Napoleon has taken it and the pigs
are fattening themselves with it. Also, when Napoleon takes the new puppies away from their
parents to “educate” them, the animals are left ignorant on what exactly happens. But the reader is
hinted on the kind of education Napoleon actually gives the pigs. By emphasizing the gap between
the knowledge of the inhabitants and the reader on procedures of the farm, the narration depicts
how the trust of the common animal is ironically twisted into betrayal.

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Literary Implications of the Point of View
There is objectivity in the narration. The technique in this text creates an unbiased commentary on
the conduct of the characters since the narrator seems to be unaffiliated to any of the characters.
Again, characters are revealed in their true nature as the narrator is able to get into their thought and
follow them everywhere. On the blind sides of the animals, the narrator who is all seeing, provides
the missing information. The reader therefore is more informed to make better judgement than any
character in the text.

Key Ideas
 The story is set on an imaginary farm in (Europe) England with the nearby farms
symbolizing other European countries in the neighbourhood (continent).
 The location as in England influences the entire life of the text.
 The period was witnessing ideological conflict; capitalism verses socialism, where England
and Europe represented capitalism with Russia representing socialism.
 George Orwell’s Animal Farm is written in the omniscient third person point of view.

Reflections
 How would I explain the settings and their effect on the roles play by characters?
 How relevant is the omniscient third person point of view?

1. Discuss how landmarks influence the determination of the setting of the story.
2. Explain the relationship that builds between setting and culture of Animal Farm.
3. Citing examples from Animal Farm, discuss the literary significance of the point of view.
4. How is the point of view demonstrated in the text?

THEME, SUB-THEMES, LANGUAGE AND STYLE IN ANIMAL

In this session, we will consider the main theme and sub-themes in the text we are studying. Also,
we shall discuss how language is employed in the text. Finally, we will take a look at the style of
writing.

Learning outcomes

By the end of the session, the participant will be able to:

1. Distinguish between the main theme of Animal Farm and the sub-themes of Animal Farm.
2. Discuss how both the theme and sub-themes are derived.
3. Discuss the language the writer adopts in Animal Farm.
4. Talk about the style of writing in Animal Farm.

Theme in Animal Farm

The central theme in animal farm is poor leadership breeds corruption. It is the main issue that runs
through the story from the beginning where Mr. Jones is the owner of Manor Farm, till the end of
the novel where Napoleon rules. This is drawn from the plot, setting and diction. The main theme in
Animal Farm can also be derived from the characters’ relationship on the farm. From the onset of

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the novella, Mr. Jones is the owner of Manor Farm and so, he wields total power over the animals in
it. He is a corrupt leader who produces nothing but takes everything the animals produce and leaves
them with just enough to satisfy their hunger. It is realized that Mr. Jones constantly uses physical
violence in the form of the whip to control the animals. He is particularly seen whipping the animals
when they broke into the store shed. The animals joyfully sing about bringing an end to the crack of
the “cruel whips” in Beast of England when the animalism ideal is sparked off in them.
Consequently, the animals gang up to use this same violence in kicking out Mr. Jones and his
farmhands. They are successful in destroying all of Mr. Jones’s whips.

Their revolt is successful, and they begin to work on building a society where all individuals are
treated fairly. Initially, the animals are temporally liberated from the hunger and the whip. And all
of them have an equal share of farm work and benefits. However, this equality remains an
unfulfilled dream of Old Major because, the pigs turn to use their intelligence and power of rhetoric
to control the other animals on the farm. The pigs appear to be serving the other animals, but they
manipulate the unsuspecting animals to their own benefit. When Napoleon assumes Mr. Jones’s
totalitarian leadership position, he is seen carrying a whip in his trotter, and the animals begin to
fear him. The whip becomes a symbol of control. At the end of the story when the Seven
Commandments are merged into the single commandment; “All animals are equal but some animals
are more equal than others”, all the whips that went into the flames were seen in the trotters of the
pigs.

The text equally explores leadership leading to corruption. Starting from Mr. Jones, most of the
characters who assume leadership positions eventually become corrupt. They capitalize on their
position to exploit the others. For instance, the pigs deny the animals some delicacies, but they
fatten themselves with it, arguing that they need milk and apples to develop their brains. Napoleon
uses Squealer to persuade the other animals, and the dogs’ growl to silence them. The other animals
only look on as the pigs sleep in beds with sheets, buy themselves wireless, install telephone system
and subscribe to John Bull, TitBits and the Daily Mail, all of which are attributed to man. To
emphasize the pigs’ corrupt attitude, they are seen drinking alcohol, and playing cards with men.
The narrator satirizes the pigs with his description of their attempt to emulate man by walking on
two legs.

Sub-themes in Animal Farm

a. Class stratification in society
Animal Farm offers commentary on the development of classes that were once unified
against a common enemy - man. A division arises among the animals when the enemy is
overthrown. When Mr. Jones is expelled, the leadership position become vacant and the
elite pigs find it necessary to fill this power vacuum. They elevate themselves from the
comrade position to the leader position as they make decisions and supervise works on
the farm. This reinstates the previous division that existed between the elite supervisor
and the naïve working-class individual. The class division is realized when some
individuals claim belong to a better section of a community than others in the same
community. This is reflected in the amended commandment that reads; “All animals are
equal but some animals are more equal than others”.

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 b. The plight of naïve working class in a society
Early in the novella, the pigs learn to read and write, and try to teach all other animals to
do same. This is because; they realize that education is a very important factor in their
communal life. Unfortunately, the other animals are not as smart as the pigs and so are
not even able to master the commandments as the pigs have done. The pigs in turn
capitalize on this ignorance and impose their will on the working-class animals. It is not
very surprising to see Boxer always conclude that “Napoleon is always right” whenever
they are faced with a dilemma. The working class in Animal Farm suffer the
consequences of their inability to question the authority.

c. The use of language as a manipulative tool in society

In Animal Farm, the pigs learn at a very early stage about the power of language. The
oratory is a powerful tool for manipulation. Squealer is the main character who has the
ability to persuade in maintaining Napoleon in power. Squealer and Napoleon are able to
alter the commandments without the animals noticing it. They only understand what they
are told. This is because they can’t read. For instance, the rules: “No animal shall drink
alcohol” was revised to “No animal shall drink alcohol in excess” and “No animal shall
sleep in bed” was altered to “No animal shall sleep in bed with sheets”. Although Clover
couldn’t remember the new additions, he isn’t smart enough to point out the changes. The
pigs added these extra words to change the rules in their favour. However, to the other
animals, the fact that there is an inscription on the wall is enough. Again, Squealer and
Napoleon are able to use the power of rhetoric to rewrite the history of Animal Farm. In
their version, Snowball becomes a traitor of the animals and an ally of Mr. Jones.
Consequently, anyone who sides with Snowball automatically becomes a traitor and is
executed. Notably, the pigs manipulate language in order to ensure their continuous stay
in power.

The language of Animal Farm

We discussed diction in Unit One as the choice of words and arrangement of such words for literary
effect. What is your observation on the use of language in the story?

The language is simple and straight forward. The statements from the animals are often brief and
loaded with devotion. Some of these become slogans that are often repeated by the speakers. Some
examples of these are: “Forward Comrades”, “I will work harder”, “Napoleon is always right”. The
speakers of these statements always put them into action, particularly Boxer. On the contrary, the
elite are mostly found giving long speeches much of which are just vain promises. Orwell uses
language to paint the necessary imagery, thus sending his desired message across to readers.
The language of the narration gives insight into the characteristics of each character. The diction
hints on the pigs’ intelligence. And this foreshadows how they eventually oppress the other animals.
Although they are smart, they still spend a lot of time in understanding Old Major’s principles of
Animalism.

Style in Animal Farm

Every writer has a unique way of delivering his massage. This is called style. Also, the subject of a
story determines the style to adopt. Animal Farm is seen as a commentary on the struggle between

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two political ideologies. Discussing such topics is likely to affect major political characters. To
avoid this, George Orwell writes an allegorical novella in which he depicts these political situations
of societies. He engages symbolic animal characters that reflect these ideologies. The writer also
uses a false name. By these, he conceals the identities in the story and behind it. Fables are easily
appreciated by all readers. We believe you have watched the cartoon movie on Animal Farm. Did
you enjoy it? That is the effect of the style. The involvement of animals in crucial political
ideologies creates awe in readers and thus deepens suspense. He depicts instances of political
campaigns with the speeches made by Old Major and the other pigs. Old Major’s speech is very
significant as it leads to the rebellion. The song, “Beast of England” is sang as a rally song in the
story. The tune adopted underlines the satire in the novella as it is a blend of two different tunes.

Orwell’s writing is simple and straight forward. He makes the language simple to reflect the
characters as he uses both dialogue and continues prose to keep the novella alive and interesting.
The text is written in the past tense which indicates that the actions in the story have already
happened and are being reported by the narrator. He hints on his satirical intent with instances such
as Mollie admiring herself in a mirror, the pigs reading and writing as well as climbing a ladder, and
the reader wonders how possible it is for a pig to put pen to paper. By this, Orwell also mocks
corrupt elite leaders like the pigs who eventually walk on two legs, wear clothes and sleep in beds.
Orwell uses satire in this fable to criticize the ills of communist ideologies by corrupt individuals.

Key Ideas
 The central theme in animal farm is poor leadership breeds corruption.
 The language is simple and straight forward.
 Animal Farm is seen as a commentary on the struggle between two political ideologies.
 Orwell uses satire in this fable to criticize the ills of communist ideologies by corrupt
individuals.

Reflections
 How would explain the central theme of Animal Farm to your colleagues?
 How effective is the satire in this fable?

 In the context of Animal Farm, examine the view that power breeds corrupt leaders.
 Identify three subject matters and develop a theme from each.
 How does the writer sustain your interest in reading the text?
 Examine the choice of words in the principle of Animalism and comment on it.

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UNIT 5: A STUDY OF KWAKYE’S THE CLOTHES OF NAKEDNESS

In this Unit, we will study Benjamin Kwakye’s The Clothes of Nakedness. The discussion will
begin with a general background of the story, look at the title and present the plot of the story. Key
elements such as the setting will be examined, looking at the types and its effects on the story and
characters. We will also identify the major and minor characters. Point of view, a critical defining
feature of the prose text shall be discussed. A journey through these well-structured aspects of the
prose text will equip you with the skills to analyse any prose text.

Learning outcome(s)

By the end of the unit, the participant will be able to:

1. Identify and discuss the elements of prose fiction.
2. Discuss the content of The Clothes of Nakedness.
3. Identify and analyse the elements in Kwakye’s The Clothes of Nakedness.
4. Apply the concepts and skills in analysing other literary texts.

This session seeks to show the link between the author and his story, and the social context that
makes the story real. The concept of verisimilitude comes to play through this approach. It also
attempts to provide the plot of the story. In The session further looks at the title of the novel, find its
source and discuss its relevance to the development of the story. The session is built on the
assumption that, in literature, every aspect of the text contributes to the complete understanding and
analysis of the text.

Learning outcomes

By the end of the session, the participant will be able to:

1. State the social context within which the story situates.
2. Narrate the story line of the text.
3. Explain the title as an Akan proverb.
4. Discuss the place of oral literature in a written text.

General Background to the story

Benjamin Kwakye is a Ghanaian, who left Ghana right after his secondary school education and
continued at Dartmouth College in USA and Harvard Law School to train as lawyer. The Clothes of
Nakedness is his first novel and it was published in the year 1998. In this novel, Kwakye sets out to
write something uniquely Ghanaian, ‘something that he might have not experienced in a long while.
Or something he would have to second-guess. Maybe something that came from his memory’. This
something would have to be born from filtration and emotional osmosis. It is an imaginative
creativity that appeals to the realities of life especially life in the modern city. The Clothes of
Nakedness is about power and corruption as well as class and society. The hint of its content is in
the title. In the text, the author exposes the temptations that await the vulnerable in the modern
urban communities. In the story he places two communities together and compares lives and how

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people of one take advantage of the other. The major issue in the text the struggles the poor go
through as elements of manipulation. In effect, The Clothes of Nakedness examines the
complexities of human interactions and, in the process, offers a gritty expose of relations between
rich and poor in modern Ghana.

The Story Line (Plot)

What picture do you see on the cover page? Does it suggest anything? At least we can see a
drinking spot named “Kill me Quick” (I guess you know what kill me quick is). We can see both
men and women drinking. There is also a man dressed in a suit and wearing a shade, standing
beside a Mercedes Benz car. This gives us a clue to the two contrasting characters we are going to
read about. Can you identify the broad groups of characters we are going to read about?

The story opens with Bukari, an out of job taxi driver, and his friend at the usual place of the
unemployed in a close knit community – a drinking spot – to drink away their worries. It is during
this time that an unfamiliar gentleman, described as “… a bored chameleon” appeared at the “Kill
me Quick” spot and offered generosity and friendship. The nicely dressed gentleman gets to know
of the predicaments of the people of the community and decides to offer help. He comes from the
nearby affluent community as an assistant to a rich man. This gentleman promises and manages to
get a taxi for Bukari to drive and give him a percentage of Bukari’s salary. The gentleman goes
ahead to scheme how to get Bukari’s son, Baba, to be a newspaper vendor so that he exploit the
young boy too. The gentleman also decides to offer and sell marijuana to a group of boys
nicknamed “441”. Bukari’s allegiance to this gentleman opens doors for him to have access to
Bukari’s household. He introduces Bukari to prostitutes at Nkrumah Circle. The worst to happen to
Bukari is the attempt by this gentleman to rape Fati, Bukari’s wife. In all these, there were other
friends of Bukari that he took advantage of. There is one friend that the gentleman could not take
advantage of. Do you know his name and he could not be exploited? As we go through the text, you
should be familiar with the names and roles of the characters.

The plot follows the basic structure of exposition, rising action to the climax, then through falling
action to resolution. The twenty chapter book follows this consistently from chapter one where the
major characters, key setting and the main conflict are introduced. Exposition in chapter one rises
through the climax where the gentleman attempts to rape Fati to the last chapter where the
resolution is reached, Kofi Ntim and Esi get married and live off the manipulation of the explorer.

The Title of the Story

What is the title of the text? Have you had someone using it? Do you understand it? Let us open our
books to the sheet before page one. Let’s read together:
If Nakedness promises you clothes, hear his name
(Akan proverb)
It is the fool whose own tomatoes are sold to him
(Akan proverb)

The title The Clothes of Nakedness is culled from the Akan proverb above. The title, woven as an
epigram provides a witty background within which the story and its main characters will be
examined. Our understanding of the proverb makes the story relevant to us. As we read the story

33
questions that pod up are “what is nakedness”, “who is who is associated with nakedness?” and
“what clothe is nakedness promising to provide?” the broader question is “how do the answers to
the above questions play out in the story.

The second proverb, also an Akan proverb “It is the fool whose own tomatoes are sold to him”
provides a preview of a person whose farm produce are harvested by someone and sold to him. Can
you associate the second proverb with any character in the story?
Not enjoyment, and not sorrow,
Is our destined end or way;
But to act, that each to-morrow
Find us farther than to-day.
(Henry Wadsworth Longfellow, A Psalm of Life)

Can you explain Longfellow’s A Psalm of Life above in the light of the story? As you read the book,
the meanings to the epigrams will become clearer.

Oral Literature in Written literature

Do you see a possibility of having oral literature in a written literature? The two have a beautiful
relationship. What is the difference between the two? Discuss with your friends.

It’s evident that oral literature has been antecedent to written literature and in some cases; it serves
to augment the written text. Oral literature provides a setting flavour in the text as well as
introducing indigenous knowledge and consciousness into the otherwise alien practice. The author
in addition, uses local terms, items and linguistic structures as a means of linking the text to its
primary readership.

In The Clothes of Nakedness, the author plays a singular role of explaining and contextualizing the
proverb. The use of the proverb and its contextualization makes the story real and easy to associate
with. As you read the text, you will identify element of oral literature and discuss its relevance in
the story.

Key Ideas
 The author aimed at painting a picture of life in an urban society; the plight of the
vulnerable in the hands of the advantaged.
 The plot follows the basic structure of exposition, rising action to the climax, then through
falling action to resolution.
 Exposition in chapter one rises through the climax where the gentleman attempts to rape
Fati to the last chapter where the resolution is reached, Kofi Ntim and Esi get married and
live off the manipulation of the explorer.
 The title is derived from an Akan proverb and that the entire story is an exposition on the
proverb in context.

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Reflections
 How would I explain the title of the novel to a friend?
 How does the plot develop in this story?

1. State the social context within which the story situates.

2. What is the meaning of the title?
3. Who is referred to as “nakedness” and why?

CHARACTER, SETTING AND POINT OF VIEW IN THE CLOTHES OF

NAKEDNESS
In this session, we will first examine some characters we may describe as major and minor in the
novel. These are very important blocks of the plot. Secondly, we shall identify the major
chronological and geographical settings in the text. I hope you remember the importance setting in a
literary text. The culture of a literary text is determined by the setting as the time and place defines
the conduct of a people. Finally, we shall discuss the perspective of presentation in The Clothes of
Nakedness. In discussing the elements of prose fiction, we mentioned that the major defining
feature of prose fiction is the narrative technique (also called point of view or perspective of
presentation).

Learning outcomes

By the end of the session, the participant will be able to:

1. Explain the terms “major and minor character” in literary context.
2. Discuss the character and role of selected characters as major or minor characters.
3. Relate the setting with the characteristics of the characters.
4. Explain the perspective of presentation employed in the text.

What is a Major Character?

A major character in simple terms is described as any character on whom a story revolves; in other
words, the major character is an indispensable character whose absence from the story renders the
story void. Does the explanation bring to mind any such a character in the novel? We are going to
characterize few of the major characters as a guide to help you characterize others.

a. Mystique Mysterious
The first character to talk about, is Mystique Mysterious, who is arguably “the
protagonist”. A protagonist is the main or central character of a narrative work. We get
attracted to this character as we enter the story. The narrative opens with a description of
him that “He moved slowly, like a bored chameleon” (p.1) in the opening sentence of the
novel. His name is symbolic of his strange and wily ways (Mwinlaaru & Nkansah, 2018).
This is seen in the description of his movement at the opening of the novel.
“He moved slowly, like a bored Chameleon….”

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 A chameleon changes skin colour and blends in with its external environment as a
camouflage.
Then finally, the narrator introduces him thus, “this is the man they called Mystique
Mysterious” (p.1). That is, the figure around whom all the action revolves. As his name
suggests, he is a character who is shrouded in mystery.

His physical appearance also draws attention. “It was impossible to tell, because his eye
were always hidden behind a pair of dark sunglasses, his barrier against the curiosity of
those were drawn by his unnatural quality of energy and power” (p.1). On the same page,
we are told that in contrast to his usual slow movement, “the only swiftness in his
movement was the sharp motion of his tongue, flickering through his lips and back
again.” That is what this character is; what comes close to being his name— Mystique
Mysterious.

Due to the economic status of Nima, Mystique Mysterious looks for avenues to become
rich. This leads to his manipulative and deceitful ways. Later in the book, we are made
aware that he drives “Range Rover” (p.137) a sign of richness. The people of Nima are
ready to embrace anyone who provides them jobs and basic needs. It is evident that
Mysterious owns nothing. He is a steward to Mr. Denyi so he has access to Mr. Denyi’s
vehicles and (Mr. Denyi) asks him to recruit drivers. Like the chameleon, he then poses
as a rich man. Mystique Mysterious helps Bukari and Kojo Ansah to get taxis to drive
and they pay him percentages of their wages. He offers Baba the opportunity to sell
newspapers and Baba pays Mysterious a portion of the commission. Mysterious
introduces the 441 Crowd to drugs as an opportunity to sell drugs to them when they are
hooked on it. He introduces Bukari to prostitutes and eventually ruins Bukari’s home.
When Kojo Ansah tried to prove difficult to manipulate, he schemes to get him executed.

Mysterious is the brain behind all the criminal activities in the novel and like the trickster
character, he escapes punishment but gets others punished for his crimes. Through
Mystique Mysterious, one can establish several themes in the novel.

b. Gabriel Bukari
The next major character who contributes greatly to the story is Gabriel Bukari, the
husband of Fati and has a son, Baba. Bukari is a migrant from the north (pp.22-24) whose
arrival in Accra has seen several challenges. One of such challenges is his involvement
with Fati which got Fati disowned by her rich father. He is a fine gentleman whose
friends believed him to be a kind hearted but marked by sadness and discomfort as a
result of several months of being unemployed.

Bukari is first seen in chapter one (p.3) when he is mentioned as one of the patrons of
aunt Esi’s bar. Fati sees Bukari to be a great and brave husband; though he is
unemployed, he appreciates what his wife does for him in the family. He is calm and
objective in his responses to issues (p.6).

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 He lives in Nima and as Nima is perceived as a deprived area one could imagine his
economic status. Because of the scene of hardship in his community, he falls prey to
Mystic Mysterious when he offered him a job which he willingly accepted without
thinking of the terms and conditions applied. Secondly, because of where he lives, he sees
everyone who offered him an opportunity to live a comfortable life as a “smaller god”
who has come to redeem him from his poor state (p.8). Bukari is offered employment by
Mr. Denyi through Mysterious and he pays 15% of the wage. His sense of gratitude
makes him so vulnerable to Mysterious that he obeys every word that Mysterious speaks.
Mysterious takes advantage of this to influence him into drinking and womanizing. When
Mysterious felt exposed in his attempt to rape Fati, Mysterious influenced Mr. Deny who
dismissed Bukari (p.188). He then gave in to drinking as he realized that the moment with
Mysterious got him to disorganize his home. Bukari no longer took care of his wife and
son as he had become promiscuous. Bukari lost his life when he was going to get Joojo to
help him plead with Fati to accept him but unfortunately, Bukari was hit by a truck.

Bukari is the main character that brings the concealed evil in Mysterious’ benevolence.
He plays a crucial role in the development of the plot just as much as Mystic Mysterious,
in getting the conflict well advanced. Bukari reveals some subject matters in the novel
such as a guest for survival, love, betrayal, indecisiveness among other.

c. Kofi Ntim
Another major character who features in the novel is Kofi Ntim. According to the
narrator, Kofi Ntim is an ugly looking man who talks a lot and has greater level of
knowledge as compared to the other characters. Ntim is a sanguine, witty, smart, and
eloquent, and knows the craft of the trickster. But he uses his craft to protect his self-
interest against the trickster. He is a friend to Kojo Ansah and Gabriel Bukari. He
happens to be one of the victim of Mystic Mysterious who fall prey to his traps. Though
he has been able to bargain with Mystic Mysterious to a lower percentage, he has still
helped Mystic Mysterious to succeed in executing his plans. He is popularly known as
“philosopher nonsense”. This is because he speaks recklessly to anyone and question
everything that happens. He has played the role of a lover to Esi at the end of the story.
This therefore adds to the subject of love that the writer tries to project. He sometimes
appears as a comic character with his main conflict in the text. Thus, the canning strategy
of Mystique Mysterious gets Kofi into his realm as well as other characters which marks
the inception of the main conflict in the novel.

Kofi Ntim has been a formidable friend to Kojo Ansah and Bukari. He provided a hiding
place for Ansah and attempted defend Ansah until the threat become too scary for him.
When Bukari was expelled by Mr, Denyi, Ntim was at hand to buy him a bottle of drink
to calm and console him. He is dynamic character as he changes with the development of
the plot.
Kofi Ntim’s role in the novel is to serve as a foil to Mystique Mysterious whose sole
intent is to exploit and destroy his victims.

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What is a minor Character
Minor characters can be described as characters who are not the main focus of a literary work but
interact with the major characters to make the plot complete. The minor character is the catalyst that
brings out the traits in the major character. The minor character therefore helps the major character
to develop. Can you identify a character whose interaction with a major character reveals the inner
traits of the major character?

a. Kojo Ansah
Kojo Ansah is another minor character worth discussing. He is quiet as against Kofi Ntim
who is an extrovert. He is said to be a teetotaller (He doesn’t drink). As a result of his
nature, Mystique Mysterious finds it difficult to manipulate him like Bukari. He is very
contemplative and speaks less. This makes Mysterious uncomfortable round him. He
refused to make friends with Mystique mysterious when he approached him. Kojo Ansah
seems to have suspected the interior motive that Mystique Mysterious has in trying to
make friends with them. He is seen as treat (foil) to Mystique Mysterious as he watches
the latter when he supplies hard drugs sneakingly to the 441 crowd in Nima. He tries to
expose Mystique mysterious in order to become a hero. He foils Mysterious’ attempt to
rape Fati. These make him a target for Mysterious to eliminate. Mysterious instigate the
441 Crowd to suspect and implicate Kojo Ansah in the murder of Madman. The strong
character of Kojo Ansah emerges when he proved a danger for Kofi Ntim to hide Kojo
Ansah in his room. Kofi Ntim’s advice for Kojo Ansah to run away to Apam was reject; a
mark of a man whose conviction is firm. However, he is falls vulnerable to Mysterious as
he accepts a job from Mysterious but tricks Mysterious in the commission he is to pay
Mysterious. Again, he couldn’t sustain his detest for alcohol; he gets drunk at a time he
needn’t drink. That is when his knife is used in killing madman; an evidence that sends
him to the executioners. He is symbolizes character that symbolizes the challenges that
sometimes make the work of the trickster difficult. Through Ansah’s interaction with
Mysterious, we learn that Mysterious is the character who will go all length to eliminate
an obstacle.

b. Baba
One other minor character is Baba, son of Fati and Bukari. He is sixteen years old. We
first encounter him when Mysterious identified Baba in a broken stall with some boys
(pp.28-29). Mystic Mysterious sees Baba as a young man who can be easily manipulated.
Mysterious immediately echoes Baba’s vulnerability and gave him a bundle of cedi notes.
Baba is an indisciplined character; he is affected by the setting (Nima) which is described
as a society of indiscipline and lawlessness. This becomes evident when Baba urinates on
the school wall and is confronted by an elderly man, Baba rains insult on him and tries to
fool the man (p.40). baba is a high school truant (p.15). Again, Baba lacks the control of
his parents. In crucial moments, Baba seeks advice from Mystique Mysterious and it is
these that bring Baba out and makes him open to all forms of temptation and
manipulations. As a teenager in love, he conceals his amorous adventures from his
parents but seeks advice from Mysterious (p.141). Mysterious helps Baba to find jobs to
make money just to take of Adukwei. Baba is an indecisive character; he does not know

38
 whom to love. He is easily manipulated by Mysterious. An instance is when he
contemplates on choosing between Janet and Adukwei (p.155). Mysterious’ advice
finally sends him to the police cell. All the above make Baba an easy tool of
manipulation to destroy himself. His development in the plot makes the reader see how
children are treated as objects, immature and ignorant, and are denied attention and
recognition.

Baba also reveals the subject of love in the novel, when he goes the extra mile to work
harder to prove his love for Adukwei and showers her with gifts. Baba shows a sign of
maturing when his mother tells him of his father’s death. Baba, immediately, assumes the
role of responsibility in finding food for his mother. The child is at a crossroad in this
novel. Is he given the opportunity to develop or destroy? Baba is symbolic of all
teenagers who are in such dilemma.

c. Fati
Fati is the wife of Bukari and a mother of Baba. Fati exemplifies genuine love. Fati‘s
father was a rich principled moslem businessman called Ahmed Yussef who lived at the
Airport Residential Area in Accra (Read pp.66-70). She fell in love with Gabriel Bukari,
a common driver to her father, and a Christian who got her pregnant at sixteen and she
suffered the consequence of being out of her father’s house. However, the love between
Fati and Bukari has survived all difficult times. Though the family does not have much,
he have lived happily. Fati has lived at the blind side of Bukari’s promiscuity until Esi
informed her. Fati appears a responsible mother as she spends time with her son.
However, when she fails in this, Baba goes wayward. Fati’s sense of naivety nearly gets
her raped by Mysterious. Fati is a symbol of a sincere wife and loving mother whose
yearn is to give spaces to husband and son to develop.

d. Esi
Another minor character in the novel is Esi. She seems hardworking and committed to
her job, thus, there is no day recorded she absents herself from work. She is welcoming
and has a lively nature which she uses in sustaining customers (p. 2). Her good attitude
and relation with her customers always made them come back. Esi could be described as
one with sympathy and this can be seen in the drinking competition between Kofi Ntim
and Madman. Esi suggested that Mystique Mysterious stops buying drinks for them since
she felt pity for the Madman. Also, her character could be seen as helping Fati to know
the truth about her husband’s change in behaviour when she told Fati’s friend about what
was going on in Bukari’s life and felt pity for him and his wife as well. Though Kofi
Ntim always quarreled with Esi, Esi proved a good inspiration and support for Kofi Ntim
(p.221). Esi presented in the novel as the strength of woman that calms bad tempers and
supports man to achieve greatness. She is symbolic in the text.

e. Denyi
Henry Denyi is also a rich man who lives in Kanda. He is a victim to Mystique
Mysterious because he trusts Mystique Mysterious in such a way that, Mystique
Mysterious uses him as a tool to find jobs for his victims or preys. Henry Denyi invites

39
 Bukari and interviews for a job and all that Mysterious does is to vouch for Bukari
(pp.31-32) and this attracts 15% of Bukari’s wage without Denyi’s knowing. When
Bukari falls out with Mysterious, Mysterious manipulate Denyi to dismiss Bukari as his
taxi driver. Mysterious again uses Joe and Janet, members of Denyi’s household to
punish Baba. Mysterious gets Baba to try his luck on Janet’s love by getting Baba to a job
as a gardener and sneaks into the house. Baba is caught and put in police cells. Henry
Denyi is a manipulative tool in the hands of Mysterious.

f. The 441 Crowd

The 441 Crowd in Nima are also a group of young men with youthful exuberance. They
meet at 441 and talk about their lives. Though the appearance of Mysterious to their
meeting was a surprise, their gullibility made Mystique Mysterious use them for his
selfish games. He offers them cigarette, discusses its “strength” and then introduces
marijuana to the boys (pp.27-28). When they are hooked onto the drug, he enriches
himself by supplying them marijuana. Upon the death of Madman, Mysterious instigates
the boys against Kojo Ansah (p.202). The 441 Crowd becomes a group of organized
young men who are manipulated to achieve personal selfish programmes. These acts of
the 441 Crowd, greatly influenced by Mystique Mysterious exemplifies how such groups
are financed by politicians and the powerful to protect their interest. The symbolic
essence of 441 Crowd is their representation of all such groups and their predicaments.

g. Madman
Madman is one of the customers of Esi’s “Kill Me Quick” bar. He sounds very comic and
his words are not taken serious by other characters. Madman’s biting comments
Mysterious set him up to face the wrath of Mysterious. He goes into “akpeteshie contest”
with Kofi Ntim but he loses. The death of Madman demonstrates gross callousness on the
part of the murderer. The weaving of Kojo Ansah into the murder of Madman affirmed
the evil nature of Mysterious.

Setting as Date/Time
Diyanni (2008) defines setting as the place or location of a story’s action along with time in which it
occurs. Let us remind ourselves of what we discussed in unit one. Setting comprises two types
namely; backdrop and integral settings. Backdrop setting emerges when it is important for a story.
Integral setting is when the place and time influence theme, characters and actions in a story. In this
type, setting controls the characters in the sense that if the writer confines a certain character to a
particular setting, it will define the character. According to Kennedy (1987), setting can make
things happen. Prompt characters to act, bring them to realizations or cause them to reveal their
innermost nature.

What do you think is the time setting the novel? Difficult to mention?
Though it is not mentioned in the novel, there are chronological landmarks that will guide us to
make meaningful guesses. Can you give a hint of anything that could give us a clue? The narrator
indicates that
“Most of the dwellings were built during the colonial
period or soon afterwards, and although they had

40
 aged, care and refurbishment had kept the structures
and surroundings impressive and charming (p.30).

This indicates that chronological period is after the independence of Ghana. The image of Mystique
Mysterious evoked contemporariness. We are told that “… his eyes were hidden behind a pair of
sunglasses” (p.1) and he drives a contemporary car as in “When they were out of Nima, they
stepped in Mystique Mysterious’ Range Rover and drove in silence … (p.137). There were other
indications that point to the fact that the story was setting in the post-colonial period of Ghana. It is
therefore proper to describe the story as a post-colonial story. As you read, identify the landmarks
that support the view expressed above.

Setting as a Place
In The Clothes of Nakedness, the main settings are the contrasting Nima and Kanda in postcolonial
Accra, separated from each other by a road that runs through them. Nima is noted for its influx of
people from all parts of Ghana, especially from the northern part of Ghana – Bukari migrated from
Wa – and other parts of West Africa. This explains why we have characters like Bukari, Fati, Baba,
and Issaka among other reflecting the names in northern Ghana Nima is an impoverished, congested
and badly laid out community with most of its inhabitants being unemployed.. Like any such
community, it has a degree of lawlessness with all forms of social vices. An instance is the 441
group who were drug addicts and drunkards, and teenagers who are abandoned by their parents to
fend for themselves. Bukari and Fati’s relationship is an example. Though they couple was
struggling to take care of their son, Baba, he had to sell newspapers to take of himself and his
teenage girlfriend, Adukwei. The characters here are highly vulnerable and easy prey for predators.
It becomes obvious then that Mystique Mysterious takes advantage of this situation to exploit every
character he encounters from/in Nima.

Kanda on the other hand is place of affluence with its inhabitants being well-to-do, respectable
people and also there is law and order. Kanda as a neighbourhood has a well laid-out plan of settle
(Estate houses) with serene and calm environment (atmosphere). With these set of settings, the
author determines and controls the characters due to the places they find themselves. Example,
Gabriel Bukari who lives in Nima with his family, lives in a compound house where they share a
common bathhouse. Also, the interior of his room describe in page 15, shows how impoverished he
is. With few employment opportunities, Bukari has been unemployed for eight months. In contrast
to Bukari, Henry Denyi is a well to –do business man who live in Kanda. He is so rich that, he even
offers Bukari a driving job.

Also, the setting brings out some themes in the story. As Nima is an impoverished society and so
they live in compound houses, a form of communalism and neighbourly love is seen among them.
For instance, Bukari, his wife, the Jojo family and that of the Issaka always sit together in the
evening to converse and interact. . Esi’s “Kill me quick” drinking spot, we see Bukari and his
friends, Kojo Ansah and Kofi Ntim sit and converse, tease and share their problems almost every
evening. Kanda where everyone stays in their homes. This theme of friendship and solidarity is
typical of a place like Nima. With Nima being an impoverished community, parents and guardians
go about looking for their daily bread to feed their family and so parental control is not as effective

41
as that of the parents in Kanda. This is why Baba, the son of Bukari and Fati, drops out of school
and roams about, he leaves and comes back to the house anyhow and at any time.

Lastly, as a lawless place, Mystique Mysterious exploits the vulnerable inhabitants of Nima as a
result of their economic status. These exploitations include giving the 441 group drugs for free as a
way of hooking and addicting them to the drugs, promising Kofi Ntim, Bukari and Baba works
which he enjoyed interest from their wages. As a result of the nature of Nima, we are exposed to
Mystique Mysterious’ character which brings to light the theme of power and corruption. He
succeeded in corrupting the better moral life of Bukari by luring him to become “promiscuous”
chapter (p.84). He also turned Baba into a money searching child who worked for money in order to
satisfy Adukwei’s happiness so that he does not lose her to “older rich men”; (p.122). He again uses
his power to order men to beat Kofi Ntim when he refused to pay his share of his wages as agreed
(pp.128-29) and above all, he made moves on Fati, Bukari’s wife, which eventually led to Bukari’s
dismissal and subsequent death. All these acts of Mysterious did not happen in Kanda due to the
presence of law and order. An instance of law and order in Kanda can be seen on (p.193) when Joe
saw Baba in the Denyi household. He refused to beat him but left him in the hands of the law, the
police.

Point of View

Omniscient narrative approach

What narrative approach do you see used in the novel? Is the narrator a character in the story? Give
reasons to support your answer. Reading through the text, it is evident that he narrator is not a
character in the story but the narration of events and situations is done by an outside entity. In other
words, the author presents the narration through the senses and thoughts of someone who is not in
the story. The writer presents the actions, hopes, aspirations and other psychological and emotional
states of the characters through an overarching godlike perspective that sees and knows everything
that happens and everything the characters are thinking. What dominant pronoun is used in the
story? There is an extensive use of the third person pronouns and all the variants. The story opens
He moved slowly, like a bored chameleon. It was as though his steps
were a chore performed with difficulty but necessary for the accomplish-
ment of compelling objectives (p.1)

The tone of the story clearly shows that the narrator is a distant away from the story. References to
characters and situation or events do not reflect a close link with the narrator.
It must be stressed that as the story reflects dynamic human engagements, there are instances of
other forms of communication such as dialogue between characters, characters reflecting/
communicating through thought and even characters narrating events in the story. In of all these, it
is the dominant approach that becomes the defining characteristic of the text.

Literary Significance of Omniscient Narrative Technique

The stories that have a great number of happenings and characters have to be narrated via
omniscient narrator, because only he can see all the aspects and be aware of everything. In this
narration, narrator has a general view towards everything and might present many issues that are not

42
much related to the story. Narrator not only does say what goes on in the minds of characters, but
also criticizes them.

Omniscient narrative allows the author/narrator to distance himself/herself from the story. This
imbues the story with truthfulness as the personal biases of narrator is minimized.
It also provides space for unsolicited information to be made available to the reader to enhance
comprehensive understanding of the text.

The omniscient narrative approach permits the narrator comment on the attitude and thoughts of the
characters. This broadens the scope of analysis.
The approach creates space for the other narrative approaches to find expression. The narrative
technique allows for dialogue, limited omniscient narrative and even stream of consciousness. It
opens door for multi-perspectival approach.

Key Ideas
 A major character in simple terms is described as any character on whom a story
revolves; in other words, the major character is an indispensable character whose absence
from the story renders the story void.
 Mystique Mysterious, who is arguably “the protagonist”. A protagonist is the main or
central character of a narrative work.
 The minor character is the catalyst that brings out the traits in the major character.
 The main settings are the contrasting Nima and Kanda in postcolonial Accra, separated
from each other by a road that runs through them.
 The narrative technique allows for dialogue, limited omniscient narrative and even stream
of consciousness.

Reflections
 How do I identify a character in the novel as major or minor?
 What makes the settings describe in the novel realistic?
 How does the narrative approach help me to enjoy the story?

 Why would you describe Mystique Mysterious as the protagonist of the story?
 Discuss the character and role of Kofi Ntim in the text.
 Discuss the character and role of Kojo Ansah in the text.
 How do the contrasting settings help the themes to develop?
 Discuss three factors that show that the narrative approach is omniscient.

43
UNIT 6: LITERARY APPRECIATION OF KWAKYE’S THE CLOTHES OF
NAKEDNESS

In this Unit, we shall focus on the literary interpretations of some of the elements of Prose Fiction.

Learning outcome(s)

By the end of the unit, the participant will be able to:

1. Explain the literary representations of characters and settings in the text.
2. Identify the language and discuss the imagery employed.
3. Tease out the major issues exemplified in the text and discuss them.

STYLE, SYMBOLIC CHARACTERS AND SYMBOLIC SETTINGS

In this session, we are looking at the approach the writer adopted to make his delivery effective. We
are also going further to identify significant characters as representatives of social concepts and not
entities in themselves. This will enable us broaden our understanding of literature as a reflection of
society. Lastly, we shall delve deeper into the settings of the novel and relate the setting to the traits
and conduct of the characters and thematic concerns that emerge from the setting. We are
considering the settings as symbolic entities and not entities in themselves.

Learning outcomes

By the end of the session, the participant will be able to:

1. Explain the characteristics of the style and relate it to the text.
2. Explain the characters to reflect the concepts.
3. Relate the conduct of the characters to the setting
4. Draw in some thematic concerns that reflect the setting.

Style
Style is the unique and efficient ways a writer employs in his writing. The unique and efficient ways
a writer employs depends on the use of language, setting, imagery, symbolism, thematic issues and
characters, and among other technique which are employed in the story. The unique style Kwakye
employs in The Clothes of Nakedness is the use of the trickster figure which is a popular character
in Akan (and Ghanaian folklore) story-telling known as Anansesem. Share with the class a story
that has a trickster character to illustrate. Efua T. Sutherland in her foreword in The Marriage of
Anansewa defines the trickster character as “a kind of Everyman, artistically exaggerated and
distorted to serve society as a medium for self-examination. He has a penetrating awareness of the
nature and psychology of human beings and animals. He is also made to mirror in his behaviour
fundamental human passion, ambitions, and follies as revealed in contemporary situations”.
Basically, it is a situation when a character pretends helping others but gains from his cunning
ways. Sometimes he is caught and punished while in most cases he goes uncaught. Finnegan (2012)
also points out that the trickster character divert the punishment of his own misdeeds onto other,
deceive them into endangering themselves or their own relations, scarce them away from harming
him, gobble up their food and pretend innocent and finds a way to outdo larger animals in race.

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The Clothes of Nakedness as a Trickster Tale
In view of the characteristics of the trickster character described above, any reader of this novel will
quickly agree Mystique Mysterious shows such characteristics in The Clothes of Nakedness. It is
evident that throughout the novel, Mysterious pretends offering helping hands to the needy and the
vulnerable. However, reading the novel, one realizes that Mystique Mysterious does that to his
benefit and those that he help rather suffer at the end. This is a trickster. It must also be indicated
that anyone who stands in his way is dealt with in a manner no one can associate him with the
crime. Recount the incidents of Mystique Mysterious’ seeming benevolence. Show how this
kindness benefitted him.

Mystique Mysterious is portrayed as a rich man at the beginning of novel. Mystique Mysterious
according to the narrator is respected, feared and fascinated by the by all people including male,
female, adult and children. He visits “Kill Me Quick” and meets three men he quickly takes
advantage of. He helps Bukari and Ansah to get employment and gets 15% or 8% from them
respectively.

Mystique Mysterious gives marijuana to the 441 boys as a kind gesture but through this he
introduces them to drugs and gets them to buy from him. Influenced by the drugs, the 441 boys are
employed to kill Madman in order to erase suspicion about him and his wrong deeds. Mystique
Mysterious uses the 441 boys to divert the attention of the people and succeeds in accusing Kojo
Ansah of the death of Madman. Mystique Mysterious cunningly gets Kojo Ansah executed, thus
eliminating another big threat (Kojo Ansah) from his way (Chapter 19).

Mystique Mysterious’ support to Bukari, Fati and Baba only resulted in a broken home. He
introduces Bukari to promiscuous life and he dies at the end. Mysterious attempts to rape Fati after
Mysterious had got Bukari to leave his wife to go after prostitutes at Nkrumah Circle. He is cause of
the collapse of Bukari’s family and loss of Fati’s dignity as a woman, a wife and dignified member
of the society. Mysterious introduces Baba to making money in order to take care of Adukwei.
Mysterious also get Baba an employment at the Denyi’s where Baba fall in love with Janet (a girl
who has no love for Baba). Through Mysterious’ machination, Baba is arrested as a thief, an act that
portrays society as irresponsible. One may argue that Fati and Bukari were irresponsible leading to
Baba’s misfortune, however, African and especially Ghanaian values teaches that a child is for the
society not only for the parent and family. Mystique Mysterious’ bad influence on Baba has led the
latter in endangering himself.
There are several such instances in the novel. Identify them and discuss with the class.

Literary Implication
The familiar nature of the approach sustains readers’ interest in the novel.it thus creates suspends
and readers read to the end. It also gets readers to identify with the story on two accounts. One, the
trickster character is very common in the Ghanaian community. Students can even mention names
of such entities. Two, it follows the folktale pattern where Ananse (among the Akans) and other
such folkloric characters are easily identified. These make the approach effective and the story
meaningful.

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SYMBOLIC CHARACTERS

Mystique Mysterious
Throughout the story Mystique Mysterious has stood out as a unique character with name that is
very different from all other names in the story. The name does not belong to any society but comes
with its own narrative of mystery and manipulation. He is shrouded in mysticism as his dress code
shows. Unlike the other characters, he is the only one that knows and operates within all the spaces
and at all times of the story. He goes to Kanda to manipulate the people there and comes to Nima to
exploit them. He then goes to Nkrumah Circle to destroy his victim, Bukari. He is seen where he is
not expected to be seen. The drinking spot “Kill Me Quick” is not a place for a man in black suit
and dark sunglasses (p.1) but he appears. During the execution of Kojo Ansah where no one was
associating him to the scene, he appears. At the end of the story when many thought the resolution
had been achieved that the struggles have ended, he shows his face. He is such a complex character
that, embracing him is to fall prey to his diabolical machinations, while challenging or ignoring him
spells one’s doom. He therefore represents the universal force that each character must struggle to
contend with to endeavour to carve out one’s own destiny. Mystique Mysterious is not an individual
human character but a configuration of several evil tendencies that easily come the way of every
human who is in the race to make a way for themselves. He is forever with humanity (p.212).

Kofi Ntim
Kofi Ntim is one of the three friends who is an absolute foil to Mystique Mysterious. He is a symbol
of resistance that yields good results. He is the only one among the three friends that did not fall
into the traps of Mystique Mysterious. He is also called “Philosopher Nonsense”. He thus
interrogates every act of benevolence (p.7). He holds the view that unwarranted favour is a source
of imprisonment. It is apparent that all those who fell into Mysterious’ trap were lured with favours.
Though it has been difficult for some characters to avoid Mysterious, it has been because they had
received favours from him and were bound by an agreement. Kofi Ntim presents as an approach to
avoid falling prey to unsuspected exploiters. The narrator describes him as “… the specimen of
human ugliness” (p.7) however, he is the authorial voice on moral and social cohesion in the novel.
What lessons do you learn from the life of Kofi Ntim in the novel?

The Woman in a Male Dominated Context

There are a number of women mentioned in the story however, our discussion will center on Esi.
The narrator presents true reflection of life in Nima and the female characters in the novel are true
to life. Esi exemplifies industriousness and fortitude in conduct. She is the owner of “Kill Me
Quick” drinking spot (p.2). She is described as beautiful and looks younger than her forty years.
Nima is a community of depravity yet full of opportunities. Esi works hard and she is meticulous of
her profession; she is complimented by Mysterious. Her clients are awed by her sociability and
sense of interaction (p.5). She takes the men on on issues that many perceive as male topic. Discuss
Esi’s question on women and alcohol. What is your view on women and alcohol? Her resistance to
male dominance is an attitude of concern. How do people perceive women who sell alcohol in your
community? Are they represented in Kofi Ntim’s rebuke (pp.5-6)? Compare Fati to Esi. At the end
of the novel, Esi is married to Kofi Ntim and they live happily thereafter (p.211). She provides a
model for women in her context of existence and operation.

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Groupings
The 441 Crowd is an example of groups of organized young men who are unemployed and are
prone to political and social manipulations. Can you enumerate the crimes that Mysterious got them
to commit? Do they compare with the organized crimes that prominent people contract young men
to commit? Do you have such groups in your society? These acts of the 441 Crowd, greatly
influenced by Mystique Mysterious exemplifies how such groups are financed by politicians and
the powerful to protect their interest. The symbolic essence of 441 Crowd is their representation of
all such groups and their predicaments.

SYMBOLIC SETTINGS AND RELATED ISSUES

Symbolic Settings and Related Issues

Do you remember the geographical settings we mentioned in Unit Five? These will form the basis
for the discussion in this session.

As we know, the main settings are Nima and Kanda in postcolonial Ghana. Nima is an
impoverished, congested and badly laid out community with most of its inhabitants being poor
immigrants who are unemployed from other parts of the country particularly the northern part of
Ghana, and even other national. This explains why we have characters like Bukari, Fati, Baba, and
Issaka among other reflecting the names in northern Ghana. It is also a lawless place with all forms
of social vices. For instance, the 441 crowd were drug addicts and easily drawn into criminal
activities. In contrast is Kanda, a place of affluence with its inhabitants being well-to-do,
respectable and law abiding. Kanda as a neighbourhood has a well laid out plan of settle (Estate
houses) with serene and calm environment (atmosphere). These contrasting of settings, determine
and control the character traits and conducts due to the places they find themselves. Example,
Gabriel Bukari who lives in Nima with his family, lives in a compound house where they share a
common bathhouse. Also, the interior of his room describe shows how impoverished he is. Bukari
has been unemployed for eight months. In contrast to Bukari, Henry Denyi is a well to –do business
man who lives in Kanda. He is so rich that, he even offers Bukari a driving job. His status makes it
impossible for him to come Nima to employ workers, thus Mysterious becomes the middleman
between the inhabitants of Nima and Kanda. The inaccessibility of the rich creates another social
ladder; middlemen. Also, with Nima being an impoverished community, parents and guardians go
about looking for their daily bread to feed their family and so parental control is not as effective as
that of the parents in Kanda. This is why Baba, drops out of school and roams about (especially
when the father got much involved in promiscuous lifestyle). He leaves and comes back to the
house anyhow and at any time. Again, as an impoverished lawless setting, Mystique Mysterious
exploits the vulnerable inhabitants of Nima as a result of their economic status and lawlessness.
These exploitations include giving the 441 group drugs for free as a way of getting them addicted so
as to sell drugs to them. He promises Kofi Ntim, Bukari and Baba works and he demands various
percentages from their wages.

Thematically, the setting projects some themes in the story. As Nima is an impoverished society
they mostly live in compound houses; a form of communal and neighbourly affection is seen among
them. For instance, Bukari, his wife, the Jojo family and the Issaka family are seen sitting together
in the evening to converse and interact. At Esi’s “Kill me Quick” drinking spot, we see Bukari and

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his friends, Kojo Ansah and Kofi Ntim sitting together conversing, teasing one another, and sharing
their problems almost every evening. This theme of friendship and solidarity is typical of a place
like Nima. At Kanda, everyone stays in their homes and there is a high sense of individual interest
as against the communal welfare of Nima. Again, due to the nature of Nima, readers encounter
Mystique Mysterious whose character highlights the theme of power and corruption. He succeeds in
corrupting the better moral life of Bukari by luring him to become “promiscuous” (p.84). He also
turns Baba into a money searching child who works for money in order to take care of Adukwei’s
happiness so that he does not lose her to “older rich men” (p.122). Mysterious also uses his power
to order men (from Nima) to beat Kofi Ntim when he refused to pay his share of his wages as
agreed; (pp.128-29) and above all, he attempts to rape Fati. All these could not happen in Kanda
due to the presence of law and order. An instance of law and order in Kanda is seen on (p.193)
when Joe saw Baba in the Denyi household, Joe refused to beat him but handed him over to the
police.

The story mentions Nkrumah Circle as a place Mysterious introduces Bukari to womanizing. As a
popular place in Accra, known for its easy care free lifestyle, it does not surprise readers when
Bukari’s morals deteriorated when he visited Nkrumah Circle. In fact it is this place that project the
post-colonial urban Ghana and its taste and influences. This extends the theme that money power
corrupts indeed.

Key Ideas
 The unique style Kwakye employs in The Clothes of Nakedness is the use of the trickster
figure which is a popular character in Akan (and Ghanaian folklore) story-telling known as
Anansesem.
 Mystique Mysterious is not an individual human character but a configuration of several
evil tendencies that easily come the way of every human who is in the race to make a way
for themselves.
 The main settings of The Clothes of Nakedness are Nima and Kanda in postcolonial Ghana.

Reflections
 What have I learnt about the style employed text studied in this session?
 How will I explain the effectiveness of the use of symbolic characters and symbolic settings
discussed in this session?

 Discuss the view that the novel is a trickster tale.

 Critically examine the role of women in the novel.
 Discuss three ways the setting influences the characters in the novel.

DICTION, IMAGERY, THEMATIC ISSUES AND CHILD MOTIF

In this session, we are discussing the language of the text and also the nature and kinds of the
imagery used in the story. We are doing this because the diction defines the literary quality of a
literary text. We shall identify symbolism, simile, and proverbs for discussion here. I expect that as

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you read, you look out for more and discuss their literary relevance in the text. We will also look at
some dominant themes in the novel. Lastly, we shall attempt discussing the themes in the context of
the novel.

Learning outcomes

By the end of the session, the participant will be able to:

1. Describe the choice of words and its organization.
2. Explain the effect of the nature of language on characters and setting.
3. Discuss and relate the thematic issues to the text.
4. Discuss three means of child exploitation in the novel

DICTION AND IMAGERY

Diction
Diction refers to a literary writer’s choice of words and its arrangement for special effect. The
diction of a literary work may be formal/informal, concrete/abstract, colloquial, among others. The
structure may be simple or complex; with difficult words, phrases, clauses etc. Roberts (2008)
mentions that “the effective diction is situational” (p.241). This means that the topic, people and
context under consideration have influence on the diction of a text. He adds that “the use of right
words bears the burden of controlling the ways in which readers respond to the material.” (p.228).
Diction helps to give identity to the works of a particular author. For example one can easily
identify a Shakespearean text based on the diction. Diction can also help to give a distinct identity
to a writer as well.
Now, what have you observed about the language of The Clothes of Nakedness? You can share with
your class.

Kwakye uses simple language in structures that are reflective of the discourse in The Clothes of
Nakedness. The common and simple expressions in the novel as used by the characters helps the
reader to fully understand what the writer wants to say. The narrator employs everyday familiar
language items such as akpeteshie, kenkey, massah and among others which are mostly used by the
indigenous reader. Indigenous languages include the names of characters such as Adukwei, Baba,
Kofi Ntim, Kojo Ansah, Bukari, Fati, Jojo, Issaka, Esi and places such as Apam, Nima, Kanda and
Nkrumah Circle among others. Each setting comes with its characters’ names to make the story
reflect its place and people. The diction thus, helps the reader to know the background of the story.
It must also be observed that characters are made to speak languages that match their statuses and
also the people one is interacting with. The scenic descriptions are presented in simple direct and
familiar words which makes it easy to imagine.

The totality of the diction includes the types and manner of the imagery employed. Though the
novelist attempts to be simple and picturesque, his choice of imagery adds to make the language
easy to understand and effective. Let us then turn our attention to some imagery used in the text.

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Some Imagery in The Clothes of Nakedness
Imagery is language use to create images in the mind of the reader. Imagery includes figurative and
metaphorical language to improve the reader’s experience through their senses. The main essence of
imagery is to connect the reader to the subjective experience of the author. That is the reader is
being able to connect (imagine) with exactly what the author intends to put across. This is because
imagery provides all the “details of sight, sound, taste, smell, and touch” (Di Yanni, 2007:779) that
enhances the depth and vividness of what the author wants present. Imagery is, however, not just
about the presentation of images but the sensory details can also add a deeper layer of meaning to
the text. Jain and Singh (2016) state that authors use imagery “to help their readers understand the
fictitious world and these images can be read symbolically” (p.3).
In The Clothes of Nakedness, Kwakye uses imagery to portray the modern Ghana and the situations
in Ghanaian urban societies. Now, let’s turn our attention to some of the imagery in the text.

a. Symbolism
The author employs so many symbolisms in the novel. A symbol, according to Holt and
Winston (2003) is “an ordinary object, event, person or animal to which we have attached
extraordinary meaning or significance” (p.515). A symbol in a literary work therefore
becomes some form of a substitute for the object or thing that is being signified. Roberts
(2008) identifies two types of symbols. These are cultural or universal symbols and
contextual or authorial symbols. According to Roberts, a cultural symbol is one that
embodies “ideas and emotions that writers and readers share” (p.323). These symbols
usually carry meanings that are generally accepted. He defines contextual symbols on the
other hand as those symbols that derive their meanings from the context and
circumstances of individual works” (p.323). It must be stated that symbols employed by
Kwakye in the novel are mainly contextual in nature.

i. Kill Me Quick
“Kill Me Quick” is another name for the locally brewed alcoholic drink called
Akpeteshie but in the novel “Kill Me Quick” is the name of the kiosk in which Esi
sells Akpeteshie and other alcoholic drinks. In the novel the Kill Me Quick is not
just a place where drinks are sold, but it signifies a place of social bonding and a
kind of problem solving centre. The three friends: Bukari, Kofi Ntim and Kojo
Ansah meet at Kill Me Quick almost every day in the evening to talk, bond, share
their experiences and admonish themselves as friends; to symbolically kill their
problems. Although Kojo Ansah is a teetotaller, he goes to Kill Me Quick
frequently just to go and meet with his friends and talk with them. Symbolically, we
are made to see the effect that comes on Bukari when he broke away from his
friends and stopped visiting Kill Me Quick. His life starts to go wayward. The
attempts by Kofi Ntim and Kojo Ansah to stop Bukari from going out with
Mystique Mysterious and come to Kill Me Quick clearly confirms the true value of
Kill Me Quick as place of bonding and friendship.

ii. The 441 Crowd

The 441 crowd is the next symbol under consideration. 441 is an actual suburb of
Nima where the novel was set. Kwakye however used the 441 crowd to represent a

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 socio-economic margin (symbolic of places where groups of unemployed young
boys meet to discuss their worries away) in the Ghanaian society. They are a
representation of the living conditions and the hardships that the average
unemployed Ghanaian faces. The fortunate one work all day and are paid less.
Their conversations touch on “the problems of ordinary men” like themselves and
to “the selfishness of rich folks” (p.25). The 441 crowd presents a picture of the
economic background of the people that live in Nima as compared to the residents
of Kanda. It must be noted that although the 441 crowd meet to talk and share their
problems, the noticeable and important feature about them that gets projected is
their economic standing and how vulnerable it makes them.

iii. Drugs.
Drugs represent control over an individual’s senses as well as his whole personality
in the novel. Some of the drugs that are mentioned in the novel include akpeteshie,
marijuana and cocaine. By supplying drugs to his victims, Mystique mysterious is
able to have control over them especially the 441 crowd. He is able to get this
control because the drug dull the senses of the victims and undermine their ability
to take wise and firm decisions. Mysterious says that he does not want to drink
akpeteshie because “it dulled the intelligence” (p. 2) and he needed to preserve the
keenness of his mind. Receiving free drugs in the form of marijuana, cocaine and
the strong alcoholic drinks make the victims become indebted to the giver. The
narrator tells us that the tongues of the friends at Kill Me Quick loosened and they
began to talk freely after they had consumed the free drinks that Mystique
Mysterious bought for them. Similarly, the 441 crowd after smoking the marijuana
that was offered to them by Mystique Mysterious livened up and started talking
freely among themselves. Drugs therefore represent some form of control over the
senses and for that matter the individual. It is thus symbolic of loss of control over
oneself.

b. Simile
An instance of imagery can be seen in the picture that the narrator presents of the
appearance and movement of Mystique Mysterious at the opening of the novel. The novel
opens thus He moved slowly, like a board Chameleon. It was as though his steps were a
chore performed with difficulty.. At his sides, his arms swung steadily, unhurried like
noiseless pendulums.. His eyes were always hidden behind a pair of sunglasses, his
barrier against those who were drawn by his unnatural by his unnatural quality of energy
and power. (p.1)

The narrator makes use of some similes to create a picture of Mystique Mysterious. His
movement is compared to that of a Chameleon, his movement is noiseless and his eyes
are hidden behind a sunglasses. These create a picture of Mystique Mysterious but it also
gives us a hint about his personality as well as his character. From these images we
imagine a character that will be unpredictable and elusive, and this is exactly what he
turns out to be.

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 c. Metaphor
Another instance of the use of imagery seen when the narrator tells us that the crowd at
the scene of Kojo Ansah “were cheering and chanting for his demise.” This appeals to
our sense of hearing and it creates an image in the mind’s eye of a criminal that must be
executed. We are drawn into the text because we are aware that the victim is innocent of
the crime he is dying for; a situational irony. The narrator adds that “the crowd roared
again and the guns fired” (p.208). Once again, though the roaring appeals to the sense of
hearing, it evokes in us the image of the lion; the crowd thus assumes the nature of the
lion, ready to devour its victim. The imagery do not only give us the mood at the scene of
the execution but shows us the irony of the justice system in postcolonial Ghana. The
crowd are chanting and calling for the blood of an innocent person while the true criminal
walks freely among them.

d. Pun
Names generally suggest meaning; names are personal narratives. “Mystique Mysterious”
introduced in the second paragraph, (p.1) has a sense of awe as both names share the
same root and semantic significance. Its pronunciation creates a rhyme and a play on a
name. This makes the name a pun. However, the simultaneous use of the two creates
hyperbole in exaggerating the attributes of the name; deepening the mystery surrounding
him. Mystique Mysterious then connotes mixed attitude of respect, fear and the
fascination they felt for the person behind the shades. Throughout the text, every one
finds it difficult to outdo him or ignore him. It is this perception that holds his interacts
with the society and even, at the end of the story when everyone thinks that he is gone, he
mysteriously resurfaces.

e. Proverbs
Proverbs are oil with which words are eaten (Achebe). This shows that proverbs are a
common feature of language use among Africans. We have already mentioned that the
title of the novel is couched from an Akan proverb. Identify some of the proverbs used
and discuss its importance in the story. Proverbs generally add indigenous linguistic
flavour to the text since they are basically transliterative and reflect the socio-cultural
views of the people. It also conceals the message for readers to plod further for
interpretation coupled with its possible multiple meanings.

THEMATIC ISSUES

Some Themes in The Clothes of Nakedness

Benjamin Kwakye’s The Clothes of Nakedness, is a gripping story told with utter liveliness and
candour which reveals how corruption could subtly eat deep into the fabrics of men and women
alike. It shows the relationship between the rich and the poor in urban Ghana and how the position
of the rich could easily influence the poor in taking decisions. The Clothes of Nakedness examines
the complexities of human interactions and in the process, offers a gritty expose of relations
between the rich and the poor in modern Ghana.

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Let us mention some subject matters in the story. Money, Corruption, Care, Friendship, Riches,
Power, Depravity, Parenting etc. You can add to these. We are going to generate themes from some
of these subject matters.

a. Caring for one another and being each other’s keeper.

One of the African cultural value is communal fellowship (Wiredu, 1980). African
societies place importance on communal ownership and collective responsibility to ones
neighbour. This is evident between Fati and Issaka. Issaka say “But as a good neighbour I
know that you know that new babies means new mouths to be fed”. This tells us that we
owe each other a responsible amount of responsibility and security. Also how Kojo
Ansah and Issaka came to the rescue of Fati from Mystique Mysterious’ devilish sexual
desire. There is therefore the need to preserve ourselves and the needs of others as well.

b. Money as a disintegrative tool

Another significant theme that is depicted in the novel is that ‘money is a integrative
tool’. Money has been said to be the root of all evil and this is clearly seen in the novel.
Gabriel Bukari lived peaceful with his wife though he was unemployed. They enjoyed
their marriage and were so much content with what they had but this was short lived
when Mystique Mysterious got Bukari a job and introduced him to drinking and
womanizing. Thus he is further drawn away from his family because he now has money
and does not even spend time with his wife and a growing son who needs his father’s
advice and counsel. Baba’s love for money also saw him drifting from his family. Like
his father, money gave him power to go after girls. The combining effects of money and
women ended him in police cells.

c. Enduring nature of Love

There is the love story between Fati and Bukari who had a successful marriage though
Fati was disowned by her father when Bukari got her pregnant at an early age while
(Bukari was) working for her father. This also borders on the rich-poor relationship as
Fati’s wealthy father could not comprehend why her daughter would allow herself to be
impregnated by a common driver. There is also the love story between Baba and
Adukwei, this love story is a representative of the gradual changes in modern societies.
These evoke romantic subplots of Baba and Adukwei and Kofi Ntim and Esi. The story
ends with these bonds still holding firm (pp.210-211). The conversation between Fati and
Baba indicated the love between a child and mother and father.

d. Depravity and vulnerability as bedfellows

The 441 crowd is thematically significant to the socio economic margin in the Ghanaian
society. The boys are deprived of any good livelihood and they become easy prey to
anyone who comes with help. Mysterious notes their depravity and takes advantage of
them by introducing them to drugs and organized crimes. It is a representation of the
ordinary Ghanaian youth and the economic hardships they are confronted with in a
money-driven society. Thus the economic instability and social insecurity are seen as
moving together.

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 e. True friendship is costly
This is depicted in the novel when Kojo Ansah and Kofi Ntim called Bukari as genuine
and concerned friends to talk to him about the path he had chosen with Mystique
Mysterious which was going to be his downfall. True friends do not sit back and watch
their friends waste their lives and so they called him and advised him as they saw fit.
True friendship and companionship is also seen when Jojo’ mother told Fati what she
had heard about Bukari rather than have an outsider tell her with enmity. We also see
Ntim protecting Ansah against the search gang of Mysterious which nearly cost him his
life. Ansah’s effort in preventing Mysterious from raping Fati ultimately cost his life. In
all these, the friends took the risks in the name of true friendship.

f. Parenting as a social reponsibilty

The role of parents in our contemporary society is also seen in the novel. Looking at the
family of Issaka, Issaka spent most of the time with his wife and children. Thus his
presence alone serves as a shield and security. As a result Mystique Mysterious could not
come out with his evil schemes on his family.

Though our thematic discussion has dwelt on life in Nima, we can broaden our examples
to include some from Kanda. For example, we can examine the Denyis’ role in all the
thematic issues we have identified. Let us reflect on the main theme of the novel. Can we
conclude that the issues raised above are sub-themes? With reference to your reading of
the novel, try and connect some of the issues we have discussed into major ones.

CHILD MOTIF

Motif
What is motif? Have you come across it in your readings? Now let us try to have a basic
understanding of ‘motif’. The word motif has a French origin, meaning “pattern.” A motif is a
symbolic image or idea that appears frequently in a story. Motifs can be symbols, sounds, actions,
ideas, or words. Thus, a motif is a recurring image in a work of literature. They have metaphorical
and symbolic values often supporting a theme or an important idea. Motifs strengthen a story by
adding images and ideas to the theme raised in the text. Whereas themes hover above a story as
ideas, motifs dive into prose and poetry with clear and repetitive images, ideas, and symbols
throughout. In their repetition, motifs emphasize what is most important about a story. Motifs
provide compositions with a traceable pattern: if a red dress or the idea of guilt or even a song
continues appearing throughout a narrative, chances are, that it means something. Motifs allow
writers to create a more poetic and structured narrative, directing readers and audiences to symbols
of larger ideas.

Child Motif in The Clothes of Nakedness

Can we then say that the constant use of a child in a book to project some vital ideal or theme is
what we will say is child motif? Can you identify the children mentioned in the novel? Which of
these children attracts your attention for a deeper discussion?

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The presence of children in a community determines the future of that community hence an attempt
to destroy a child in a family implies the destruction of the family. This is since the child grows to
pick up parental responsibilities when the parents are old or probably absent.

In, The Clothes of Nakedness, Baba and Adukwei in addition to the 441 youth group help us to
arrive at the concept of child motif. We examine the manner of manipulation Mysterious puts them
to and the effect it leaves on the child. Mystique Mysterious uses the innocent Baba through his
love for Adukwei after he had succeeded in destroying his father, Bukari. Mystique Mysterious’
extending his evil deeds to innocent Baba is an attempt on Mystique Mysterious’ part to destroy the
Bukari family which has Baba as its future. This explains why Fati was worried about the where
about of Baba too had met his adventure” (p.200). Similarly, Mystique Mysterious’ manipulation of
the indecisive 441 group in the novel also depicts his effort in destroying the future of Nima. The
441 group which is made up of several youths in Nima represented the basis of the development of
Nima. Destroying these youths by making them become drug addicts and abusers amounts to
destroying the future of the community.

You can review Mysterious’ manipulation of Adukwei and Janet. Discuss the effects of Mysterious’
grip over them. Did the girls fall for his manipulations? Could they have escaped because of where
they were (Kanda)?

Again, the children (particularly the boys at Nima) in the story are treated as objects. Baba is a
classic example as his father hardly notices his presence at home. This apparent lack of notice stems
from the adult’s belief that the children are immature and ignorant of what transpires in the real
world. They do not feel their presence because they have no voice. Where they find voice as in the
case of Adukwei who argues with her mother, they are tagged as rebellious. Their seeming
ignorance and child-like innocence make them fall prey to manipulation as seen in the case of Baba
(in the hands of Mysterious).

Moreover, the unquestioned love relationship between Baba and Adukwei also shows how children
are neglected in the novel. As usual to every responsible parent, love relation between children of
tender age as that of Baba and Adukwei would not be embraced as the parents did in the novel. Do
you recall the attitude of Fati’s father when Fati fell in love with Bukari? This shows how poor the
parents cared for their wards in The Clothes of Nakedness.

We can also look at the liberation they finally get from Mysterious. Baba returns home from police
cell to hear that his father has died. He grows suddenly but with irreparable regret. He now has a
tainted image and never got the opportunity to learn wisdom from his father.

Literary Implication
If we see these instances as symbolisms, then we can extend the message to the broader Nima,
Kanda societies, and the generality of Ghana. The children in the novel then become symbolic
representatives of Ghanaian children who identifies with Baba, Adukwei and 441 boys. We also can
see Mysterious in most men and women who take undue advantage of vulnerable children in the
society. We then see the novel as having extended meaning.

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 Key Ideas
 The diction of the novel has been described as informal and simple.
 A symbol in a literary work therefore becomes some form of a substitute for the object or
thing that is being signified.
 Through themes, the author gives his readers an insight into how the world works, or how
he views human life.
 Themes in Kwakye’s The Clothes of Nakedness which include true friendship and
companionship, the enduring nature of love, money as a disintegrative tool and caring for
one another and being each other’s keeper.
 A motif is a symbolic image or idea that appears frequently in a story.
 Motifs can be symbols, sounds, actions, ideas, or words. Thus, a motif is a recurring image
in a work of literature

Reflections
 What have I learnt about the diction of the text studied in this session?
 How relevant are the themes and the child motif of the text studied in this session?

 Discuss how the language reflects the setting

 Explain the imagery used in projecting the characters.
 Discuss how the novel exposes the relationship between rich and poor in modern Ghana.
 What lessons are there for parents to follow regarding how to take care of their children?

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