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Semiotics and Symbolism in Literary Communication

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 ANSU Journal of Arts and Social Sciences

Semiotics and Symbolism in

Literary Communication:
A Study of Dibia Humphrey’s
The End of Dark Street

Okeke, Fidelia Azuka

Anambra State University,
Igbariam,
Anambra State
fideazuksokeke@yahoo.com.

and

Uche, Ken Chukwu

Directorate of General Studies
Federal University of Technology,
Owerri, Imo State
chukwueneth@yahoo.com.

Abstract
Among the concerns of semiotics is how the workings of sign systems enable the understanding of
the richly textured significations of all kinds of cultural texts, for instance, actions and events in a
novel, action films etc. On the other hand, among the striking features of a literary work are its
structure which depicts its organization or arrangement of events and actions (to show the
development of plots); its use of contrast, its patterns of imagery; setting and characterization. Most
literary artists employ various devices to represent their observations about the incidents and
characters’ actions and feelings in certain situations. Dibia Humphrey recreates in his novel virtues
and vices of man as he presents a society where crime, drug trafficking, money laundering, power
tussle, murder, bribery, corruption and other moral decadence that have eaten deep into the fabrics
of some seen contemporary Nigerians prevail. This is seen in his careful creation of characters who
act out different symbolic ideas in specific situations. This paper observes that the ideas Humphrey
raised many years ago are still perturbing issues with increased branches today. It therefore joins
the author to warn that if these ills are not corrected, Nigeria may continue to experience fear and
underdevelopment. But with persistent positive efforts, Nigeria shall attain reformation agenda.
However, Dibia’s success derives in his use of language of indirection to present a real life situation.
The thrust of this paper is therefore to examine the use of symbolism as a form of linguistic
manipulation that Dibia Humphrey employs through special construction of words to communicate
meanings which readers deduce by making certain assumptions.

Key words: Semiotics, Symbolism and Literary Communication.

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 Okeke, F. A. & Uche, K. C., (2014); Semiotics and Symbolism in Literary Communication: A Study of Dibia Humphrey’s The End of
Dark Street, ANSU Journal of Arts and Social Sciences, 3 (1): 94-104

Introduction writer’s intentions and meanings are either

Language is primarily used to communicate directly or indirectly conveyed to the readers
information by the encoder to the decoder. through symbolism. The interest in this study is
Different disciplines and indeed individuals use to examine the special manipulation of symbol,
language in different manners. Also, occasion a linguistic form which Dibia Humphrey
of use has its way of affecting language use. In employs in displaying a sequence of images to
all these, language in communication could be create an illusion of human features in his
used directly or indirectly. It is used directly literary communication.
when there is a seeming correspondence
between what is said and what is meant, in Language as a Vehicle for Communication
other words, the myth of semantic Communication is shaped by its medium. The
correspondence between sign and referent is verbal mode of communication is characterized
revealed through direct use of language. It is on by the use of language. Language use in
this realm that literal and denotative communication is one of the special gifts to
interpretations operate. Again, language may be human beings which give them advantage over
used indirectly where it breaks the other creatures. It makes human unique in
conventional denotative interpretation to allow his/her communication because it enables
meaning to be inferred indirectly. Connotation, him/her to capture his/her social complexities
symbolism, figurative expressions etc, are good in their various unique forms and manners of
examples of language of indirection. occurrence. Otagburuagu (1999) believes that
One notable means of communicating “All normal human beings communicate
indirectly is through semiotics which through this mode… An important point to note
investigates how signs come to represent about the use of language in communication is
objects, ideas, states, situations, feelings, and that every language satisfies the
conditions outside of themselves. Semiotics has communicative needs of the users”. He further
been especially important in helping readers asserts that in this mode of communication,
understand what goes into a message-its parts- words and language structure should be
and how these are organized structurally as carefully selected to facilitate meaningful
well as how the message comes to have encoding and decoding of information. The
meaning. Significantly, writers in literary above assertion is true because there is no
communication use the words of a language to human experience that human being cannot
indirectly refer to things they name and signify, capture uniquely in his/her communication,
that is, the symbol. Umera- Okeke (2008) sees unlike other animals that, although they
symbol as the word, sentence or the form; communicate among themselves do so with
referent is the object in the world of experience stereotyped sounds that do not respond to
and thought or reference is the thought. changes in perceptions. Every human being is a
Among the three types of semiotic social being because he/she makes use of
theories is the symbol theory created by language to interact with his/her environment.
Sussane Langer (LittleJohn and Foss, 2008). Language enables humans to dress up their
Semiotic theory is useful because it defines thoughts and send them across to others in a
several concepts and terms that are commonly communication process. Jain (2001) describes
used in the communication field, especially in communication as: “The process by which we
the literary communication. A literary work like exchange meanings, facts, ideas, opinions or
The End of Dark Street by Dibia Humphrey is a emotions with other people. It is an essential
vehicle through which a writer recreates man condition of our existence and the most
and his society using language. Again, such important activity of ours… man as a social

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 ANSU Journal of Arts and Social Sciences

animal has to communicate, hence, the passive observers to active participants, change
importance of communication for every human events into objects, and make things acquire
being”. concrete meanings.
Similarly, Akmajian, et al (2001) see
communication as: Literary Writing as Communication
Drawing from the above conclusion, literary
A social affair, (that is) usually writing can be seen as a form of
taking place within the context of a communication. This is because what we find
fairly well defined social situation. in literary writing is the creative manipulation
In such a context, we rely on one of language as a code in the expression of
another to share our conception of meaning. Through the written expression, the
what the situation is. With the
writer/ source shares ideas with the reader/
people we know, rather than spell
everything out, we rely on shared receiver. A literary writer expresses his feeling
understandings to facilitate and understanding of his society. The major
communication. (363) index in the assessment of literary works is
creativity through language. Can there be any
Obviously, what these scholars describe above struggle for national consciousness towards
would not be possible without the essential role oppression, corruption, freedom, equality,
of language in the form of symbols or codes security, etc without creativity through
which are meaningful to both interlocutors. language?
Anigbogu et al (2001) see this function of Nawal El Saadawi (2007) wonders if
language as its importance and obvious use and ever one can have the passion and knowledge
they refer to communication as “All forms of required to change the powerful oppressive
‘verbal’ interaction among human beings such system of family and government without
as exchange of ideas, feelings, information, etc, being creative and whether anyone can be
whether by speaking or by writing.” creative by (unreasonably) obeying or
Different situations call for different following the tradition of their ancestors. She
modes of communication: speech, writing, sees creativity as the knowledge we acquire by
direct and indirect expressions etc. ourselves, from our own experience in the daily
Communication involves a source transferring struggle against those powers globally, locally,
idea to a receiver through a code. Such code and in the family. Saadawi’s position here is
could be graphic, phonic, body touch, facial that such knowledge cannot be acquired from
expression, eye contact, use of colour, and books, formal education or the mass media
other symbols that promote meaning and because they are all controlled by the global
interpretation in the communication process. and local powers of domination and
Hence, in communication, encoding and exploitation, and they help to veil our brains
decoding are used to refer to the activities of with one myth after another. No wonder Saro-
sending and receiving information. As can be Wiwa triumphantly declares that, “…the most
observed in the literary world, the source, (that important thing for me is that I’ve used my
is, the writer) creates characters whom he/she talent as a writer to enable the Ogoni people to
assigns different roles to involve in different confront their tormentors. I was not able to do
activities and who express themselves through it as a politician or a businessman. My writing
codes in which he/she buries information that did it…” (qtd in Ushie, 2006).
he/she expects the receiver (reader) to decode One may thus strongly assert that
and comprehend the meanings or messages. literary writers hold the key to the
Communication therefore should transform consciousness of the people. As people that

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 Okeke, F. A. & Uche, K. C., (2014); Semiotics and Symbolism in Literary Communication: A Study of Dibia Humphrey’s The End of
Dark Street, ANSU Journal of Arts and Social Sciences, 3 (1): 94-104

have the gift of exploring and harnessing the What a writer intends to communicate and how
magic of the pen, linguistic fluidity becomes he/she does it are informed by many factors,
their potent tool. Ushie (2006) submits to this which include the socio-political environment.
when he writes that a literary writer is not a According to Obafemi (2008), a writer in a
casual user of language, “but as one given the hostile environment for instance, can divert
gift of word-smiting, his bullets must fly from from the conventional mode of linguistic
the barrel of a pen, not gun. Then, of course his expression into “the gift of metaphor and
creative account of what goes on in this area magic, parody and parable, masking and
today will become a lasting record for the mimicry”. All these are potent modes of
future generations…” This is why it is often communication through the use of symbols as
said in literary criticism that no writer writes in potent semiotic tool of creating and transferring
a vacuum. There must be intention expressed information/ideas. For instance, characters and
through creative use of language. Thus, literary situations could therefore be stylistically
writing is a form of communication. The writer exploited to stand for the unending socio-
and the reader are involved in the sharing of political and economic dialectics in the society.
experiences, and it takes the reader to be Thus, a text is appreciated at the two important
creative-minded to be able to relate the world levels of representation: the mimetic and the
and meanings created with language by the ideological. Oha (1997) explains that at the
writer, to the real world. mimetic level, “artistic refraction of social
It is in this regard that Mey (2001) semiotic is accomplished”. At the ideological
believes that reading is a collaborative activity, level, “the social semiotic is transformed to a
which takes place between the author and the level of subjective knowledge”. In this manner,
reader. In his explanation, reading is an the use of symbolism as a feature of semiotics
innovative process of active recreation, not just to express meaning is so potent in literary
the passive, pre-set and pre-determined use of communication.
some ‘recreational facility’. Mey is right in his The role of literary communication as a
observation because although the reader is not socially committed art suggests that it is not a
available when the writer writes, yet, he/she fruitless exercise. A literary writer responds to
strives in his/her collaborative effort to exhume the realities of his environment by either
the meanings buried in the symbolic codes used upholding the virtues or abhorring the vices.
by the writer and relate it to the real society. The writer sits at a vintage position where
Hence he states that a reader does not trust the he/she can observe both the good and the ugly
narrator or author, but the text and the ability of and the manner in which he/she sets his pen
the reader to make sense of it (Mey, 2001). suggests his/her intention.
According to Anyachonkeya (2006), “In
literature, there is imaginative reconstruction of Theoretical Framework: Semiotics
events through which the people project life to and symbolism
come, as man’s attempts to create a fictive This work is anchored on the theoretical
experience with which he hopes to examine his foundation known as semiotics. Halliday in
behaviour”. This observation suggests that Webster (2003) says that semiotics evolves out
literary creativity is an exercise with purpose of investigation of language as object to
which to a large extent hinges on social enhance an understanding of meaning, and of
experiences of the writer. In literary systems of meaning with varying modes of
communication, language use and its realization. The study of semiotics is a study on
interpretation are taken to various levels: sign. Eco (1976) defines sign as “Anything
denotative, connotative, symbolic, emotive, etc.

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which may be interpreted to stand for (or The sign in Pierce’s claim can be taken to be
substitute for) something”. Thus, in his theory the signifier, e.g. Bengania (written in words);
of semiotics, he presents a critique of the object can be whatever is signified by the word
theory that the meaning of the signals or signs ‘Bengania’ while the interpretant is taken to be
is determined by the objects (i.e. things or the understanding that we have of the sign/
events) to which they refer. He argues that the object relation. Therefore, interpretant is
meaning of signals or signs is not necessarily central to the content of the sign because the
determined by whether they refer to actual meaning of the sign is only understood
objects and explains that the existence of depending on the interpretation given to it by
objects to which signals or signs may its users. Therefore, in semiotic interpretation,
correspond is not a necessary condition for two worlds exist: a world of things and a world
their signification. (Eco,1976). of signs. The relationship between these two
Littlejohn and Foss (2008) assert that worlds helps to create meaning. A sign cannot
semiotics refers to “how signs come to have content without being an expression and
represent objects, ideas, situations, feelings and cannot be an expression without having
conditions outside of themselves”. They further content. The expression of a sign presupposes
state that such “representation is always its content, and the content of a sign
mediated by the conscious interpretation of the presupposes its expression. So, for a sign to
person, and any interpretation or meaning for a have semiotic significance, it must be an
sign will change from situation to situation”. In expression.
their observation, semiotics is often divided This theory is important to this study
into three areas of study: semantics, syntactic because it establishes the bases upon which
and pragmatics. Semantics addresses how signs effective creativity (encoding) and
relate to their referents, or what signs stand for, interpretation (decoding) in the process of
as if answering the question, what meaning communication is achieved. It is known that
does a sign bring to the mind of a person within communication is a context-based activity.
a situation? They see syntactic as the study of Contextual variables like field, mode, and tenor
relations among signs. It is concerned with the are very necessary in the description of
rules by which we combine signs into complex language in use. Therefore, every form of
systems of meaning. They explain that communication code and in whatever manner a
pragmatics looks at how signs make a language is used responds to context of use. It
difference in people’s lives, or the practical use is the context that helps the reader to situate
and effects of signs and their impact on social language within its expressive intent.
life. (Littlejohn and Foss: 36). This study adopts a descriptive method
Pierce Charles, an Anglo-American to examine Dibia Humphrey’s use of language
scholar, is another scholar whose theory is of in his novel, The End of Dark Street. This
great importance. According to Atkin (2006), description focuses on the semiotics of
Pierce posits a semiotic theory of signs giving symbolism as a mode of communication. A
an account of signification, representation, symbol according to Abrams (1981) is
reference and meaning. He explains that “Anything which signifies something else, in
Pierce’s ideas about semiotics are accounted this sense, all words are symbols”. Symbol, as
for in three broad stages, starting with his ideas a facet of semiotics is tremendously important.
on the basic structure of signs and signification. In writing, for instance, literary
Pierce basically claims that signs consist of communication, it enables the writer to
three inter-related parts: a sign, an object, and compress a great deal of meaning in few words
an interpretant. or descriptions. To really appreciate its

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 Okeke, F. A. & Uche, K. C., (2014); Semiotics and Symbolism in Literary Communication: A Study of Dibia Humphrey’s The End of
Dark Street, ANSU Journal of Arts and Social Sciences, 3 (1): 94-104

relevance, it requires interpretation and of a person within a situation? This, of course,

comprehension. Thus, Di Yanni (2002) is one area of semantic study.
observes that symbols in fiction are simply Essentially, Dibia Humphrey creates
objects, actions or events that convey meaning. human characters, actions and events to
According to him, the meaning they convey symbolise certain significant meanings. There
extends beyond their literal significance, is no doubt that he had Nigerian society at the
beyond their more obvious actual reason for back of his mind as he reflects the socio-
being included in the story. A piece of literary political ills and their impacts on the country.
communication (e.g. novel) is therefore The knowledge of semiotic study enables a
essential when its symbols are observed and reader to deduce the meanings which have been
appropriately interpreted. On the other hand, if indirectly communicated through words of the
its symbols are overlooked, its achievements English language.
could be underestimated as well as its Thus, each character could also be
significance oversimplified. Omeh Ngwoke interpreted to have a larger, extended meaning.
(2012) cites Arp and Johnson who define In this regard, from the descriptions of these
symbol as “something that means more than characters, we tend to recognize people’s
what it is”. Omeh, however, asserts that actions around using real life situations. Hence,
symbols or symbolic words and expressions Dibia Humphery presents to us Alhaji Salami,
evoke mental pictures which, like all images, Mukta Al Mukta, and others who symbolise the
appeal to the senses. In communication, evils of bribery and corruption and which he
symbolism exists in the domain of semiotics, conceives as commonly practised by almost
since symbols like signs stand for other things every individual who has love for
outside of themselves. money/material as well as lust for power. The
author also, through his stories, signifies the
Symbolism as a Creative Semiotic Feature in high rate of moral decline in men under such a
The End of Dark Street society where evil thrives. The reference to
The effort in this section is to further bridge the coup - announced over the radio in chapter One
wide gap between literature and language - is Dibia Humphrey’s indirect way of
studies which some scholars tend to create in representing and recalling the incessant
English and literary circle. A literary work is a military coups that have been experienced in
medium through which a writer expresses his Begania, the setting which also symbolises the
creative skill using language. This, Dibia country Nigeria, and subsequent curfews that
Humphrey has done in The End of Dark Street. followed. By incessant military coups, the
The approach adopted in this study is author symbolises the ones that occurred in
descriptive as every comment is made within Nigeria from 1966, led by Major
the context of the text under study. A critical ChukwumaNzeogwu which dismantled the
study of this novel revealed its richness in the democratic elected government of Dr. Nnamdi
use of symbolism, a semiotic feature/concern Azikiwe and Alahaji Tafawa Belewa on
which more than any other thing enables the January 15th, 1966 and then the counter coup of
writer to indirectly communicate messages to July 29, 1966 that brought Lt. Col. Yakubu
the readers. Efforts are made here, therefore, to Gowon to power; 1975 bloodless coup led by
semantically address how signs and symbols Murtala Mohammed, overthrowing the
relate to their referents or what they stand for, government of Gowon; also, Col. Buka Suka
thereby answering the question, what meaning Dinka February 13th, 1976 bloody abortive -
does a character or action represent in the mind coup which terminated the life and government
of Mutala Mohammed and thus, created

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 ANSU Journal of Arts and Social Sciences

opportunity for Gen. Olusegun Obasanjo termination of the jobs of their colleagues,
(1976-1979). Although General Obasanjo especially when such victims want to be
handed over to the civilian government of patriotic. This is the case as Alhaji Salami is
Alahaji Shehu Shagari in 1979, the military always haunted by the bribe he received from
hunters struck again in 1983 and Gen. Buhari Indian businessmen and the decree of war
emerged as the head of state. However, the against bribery and corruption by the “actors of
‘game of vultures’ continued as the bloodless the new dawn” who have said that anybody
coup of 1985 brought Gen. Ibrahim Babangida caught must be incarcerated. Thus, the true
to power who later ‘stepped aside’ (as a result attitude of Salami is exposed in his
of problems arising from the nullified election kaleidoscopic state of mind symbolising him as
presumed to have been won by Chief Musood a greedy and materialistic man.
Abiola) in 1993 and handed over to Ernest Thus, the writer reveals that greed,
Shonekon as the head of Interim National selfishness and man’s insatiable needs could
Government (ING). Later, the same year, Gen. make him indulge in such vices as bribery and
Sani Abacha dismantled the interim corruption, drug trafficking, money laundering,
government of Shonekon and assumed and other fraudulent practices which most men
leadership until the sudden death of the do at the detriment of the less privileged - the
imprisoned Abiola and subsequent death of poor masses who suffer starvation, disease and
Abacha himself in 1999 when Gen. Obasanjo despair.
was democratically elected as a civilian Bearing in mind the quest to explore
president. symbol as a semiotic feature in The End of
Meanwhile, Humphrey through Mallam Dark Street, this study discovers, Dibia’s
Bello’s soliloquy portrays the military as depiction of human being as symbolic. He
bastards, bloody hypocrites, corrupt, dishonest, presents humans as desperate in their pursuit of
adulterers and liars. Also, the misdeeds of the money and power to the extent that they
military were exposed as Mallam Bello goes involve themselves in coups, lies, murder,
into a kaleidoscopic state of mind, recalling jealousy, hatred and other acts that bring
such misdeed as the detention of anybody who degeneration instead of progress in the country.
attempts to expose the evils of the military In their corrupt practices, especially in their
leaders. various offices, (the arena where they struggle
Essentially, the then incessant military for a means of survival), Dibia is worried that
coup in Nigeria symbolises instability in the even the good ones who refuse to climb on the
country owing to the corrupt activities of the bang-wagon are shown the way out (by
military. But Alhaji Salami (The Brain) terminating their jobs) to go and suffer in the
contends in the novel that the civilians are dark street. Dark Street, however, symbolises a
ineffective in bringing the desired democracy. poor state of life, a situation where unlucky
The reference to “Agbada” leaders is a semiotic ones live hopelessly without a seeming bright
representation of the civilian leaders who future.
Alahaji Salami sees as the most corrupt who Thus, such metaphoric characters as
are influenced by vice and greed that they Bello and Rocky lost their jobs and are left in
could not construct an ideal democracy. despair (in the dark street).This circumstances
Using this metaphoric character, Salami, brought a deadly swap in their lives as they
Humphrey depicts most Nigerian workers, decided to ‘join them since they could not beat
especially the bosses, who are corrupt in their them’. Hence, from the writer’s description of
various offices, and who out of their motiveless these characters, we could infer an important
malignity device every means to cause the meaning that they are such men who could not

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 Okeke, F. A. & Uche, K. C., (2014); Semiotics and Symbolism in Literary Communication: A Study of Dibia Humphrey’s The End of
Dark Street, ANSU Journal of Arts and Social Sciences, 3 (1): 94-104

consistently hold on to their beliefs and Sherfatu (Bello’s wife). Thus, he betrays
principles in the course of changing situations Bello’s trust in him by sharing his bed and
in their lives. For such men, it is a deadly swap planning to marry Sherifatu. With this
from morality to immorality which leads to intention,he equally betrays Zandra’s trust and
death. hope that he would marry her.
In the context of this literary text also, On the part of Mukta Al Mukta, he
this study situates the author’s use of language betrays Yolamo’s trust in him after receiving
within its expressive intent through the actions bribe and promising to cooperate with him,
and interactions of his characters. Thus, we although he acted so under duress. Alhaji
could deduce that Dibia Humphery depicts Salami also deceived Mustapha into believing
Rajiv (The Gila) and some other characters in that his mother had since been dead but that
the novel as symbols of jealousy and hatred. trust was shattered when koko later revealed
Hence, Rajiv hates and envies Bello for his the truth to him. Most essentially is the trust
better chances than him as regards Czarina’s Czarina had on Bello which was only betrayed
love; Yolamo envies Bello for succeeding during their honey moon when she discovers
Ezaki El-Hadawi (Bello’s old school master) - that Bello used company fund to sponsor
the position he had hoped on – and worst still, Mantasmane and his men who caused uprising
winning Czarina’s love; Czarina would have on her wedding day - symbolising bad publicity
wished that Sherifatu is divorced just as of the club.
Sherifatu is jealous of Czarina for keeping Hence, through these characters, actions
Bello, (her husband) away from home; Zandra and expressions in different events, it becomes
out of jealousy villainously slandered obvious the author’s emphasis on betrayal of
Mustapha and Sherifatu before Bello because trust. In real life situations, many people have
she wants to secure Mustapha’s love. But different unexpected experiences that cause
jealousy borne out of malignity is the type them disappointment. Consequently, by
nursed by Rajiv and Yolamo as they stand as recreating this very idea, the author, through
threats to Bello’s life until he succeeds in appropriate choices of words, symbolises that
eliminating Yolamo only to be brutally killed betrayal of trust bestowed on someone could
by the Gila - his rival. cost one’s life as he illustrates with Bello and
Indeed, every word is a symbol if the Mustapha who lost their lives, leaving the
meaning could be interpreted. This paper readers to infer that others might have met a
therefore identifies in this novel subsidiary idea tragic end.
revolving on the betrayal of trust which Being a socio-political novel, Dibia
manifested in the relationship between some Humphrey did not fail to depict the idea on
characters in the novel: Mustapha and Bell; moral which by indirection is derived from
Bello and Czarina; Czarina and Rajiv; these political ills mentioned earlier. By
Mustapha and Zandra; Salami and Mustapha; recreating them, he points to the moral lesson
Yolamo and Mukta. Hence, Czarina fulfils her that “the love of money is the root of all evils”
ulterior motives by betraying the trust her and that “the wages of sin is death.” Thus, the
lovers had on her as she promises to marry novel by describing such acts of bribery and
them. She later marries Bello for his unique corruption, jealousy, wickedness, betrayal of
qualities, leaving the Gila (Rajiv) and Yolamo trust, murder, revenge, adultery, deceit, hatred,
who nurse the grudge in their hearts. drug trafficking, money laundering, and
Meanwhile, Mustapha who initially was a very fraudulent practices, theft and other immoral
good friend of Bello was lured into betraying acts, warns that they could lead one to
him by his sympathy and lust for the love of destruction (death). It can further be inferred

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from the moral idea that consistency or being Unfortunately, the poor masses, the symbols of
principled, stable and spirit - controlled is very the strong ladders through which these political
important so that one could be the best of what leaders climb to their aspired positions, are left
one is. Ironically, Bello’s devout nature as a to suffer and become poorer. The few
muslim later deteriorated to a life of developments that were achieved are rather
materialism, irresistible pursuit of money and destroyed by the ‘enemies of progress’ thereby
women as well as the instinct to revenge on the making the country that had ‘started running’ to
government that changed him, till he entered fall back to a ‘crawling stage’.
his grave in the belly of the marine creatures. However, all hopes are not lost. This
This implies that whatever sin one commits in paper is therefore reminding Nigerians of Dibia
the secret must find one out one day to answer Humphrey’s prophetic statements that if these
the call of one’s destiny. ills are corrected, man may expect a happy
One can continue to discuss the use of future, but under the current trend of events,
symbols in this novel because Dibia desperation is bound to occur in future. This
Humphrey’s creativity with language is so confers on the End of Dark Street a model
captivating that almost every word is symbolic symbolic novel which has an appeal and
of a person(s), action, state, feeling, emotion, meaning at various levels and which, as far as
place and event. Although this novel was Nigeria is concerned, still addresses
written some years ago, it is still very relevant contemporary issues.
because the author tries as he has confessed to
infuse the ills plaguing the society (Nigeria) Conclusion
into the artistic whole. It is his contention that The study so far is anchored on the philosophy
if these ills are corrected, Nigerians may expect of sign and symbol systems which is semiotics.
happy future, but under the current trend of In this sense, language is viewed as object of
events, desperation is bound to occur in future. creativity and manipulations to enhance an
Dibia Humphrey, like the prophet of God, cries understanding of meaning, and of systems of
out through this literary piece and this novel, meaning with varying modes of realisation.
being an artistic work is ageless. What Dibia This study has investigated and discovered the
Humphrey forecast many years ago about various intricate relationships that hold
Nigeria is actually still happening. Although between a signifier and the signified as
efforts have been made by various agencies, explicated in the above analyses. Signification
religious groups, literary writers to “correct the is a semiotic event whereby signs and symbols
ills” exposed by Dibia, these ills have not only are used to communicate information and
continued to rear up their ugly heads but have which are facilitated by the use of words of a
gone ahead to obey the injunction to be language in an indirect manner. This paper
“fruitful and multiply” making almost every believes that the symbols employed by Dibia
individual their “offspring”. In other words, the Humphrey in The End of Dark Street are better
ills have taken to many more dimensions. In understood in their relation to other signs.
Nigeria today, fear has become a common Through this semiotic study, it is
sickness on every soul caused by insecurity obvious that Dibia addresses not only the
induced by terrorists - Boko Haram sect, Niger corruption and hypocrisy of the Nigerian
Delta Boys, kidnappers, assassinators, child leaders, and by extension, any leader, but also
traffickers, ritualists, rapists, etc. Most how wickedness, indifference, ignorance, and
politicians in Nigeria now live out what Ahaji greed corrupt the idea of democracy and
Salami, in the novel, accused them of - that reformation. Thus, the author, by choosing
they are the most corrupt than the military. appropriate symbolic imageries, subtly submits

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Dark Street, ANSU Journal of Arts and Social Sciences, 3 (1): 94-104

a rhetoric verdict about the idea that a society Akmajian, et al (2001). Linguistics: An
can exist where everyone is conscious of doing Introduction to Language and
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in the acts of bribery and corruption in order to Retrieved November 15, 2010, from
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Okeke, F. A. & Uche, K. C., (2014); Semiotics and Symbolism in Literary Communication: A Study of Dibia Humphrey’s The End of
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