INTRODUCTION

This study is premised on the language of literature in general and language of poetry specifically. It derives from and is predicated on the seemingly developing trend of disillusionment in post-independence African literature. The researcher chooses poetry because “the commonly accepted notion [is] that poetry represents a vehicle through which one’s deepest and most distilled thoughts may be expressed,” (Matambirofa et al, The Problematics of a Feminist ontology, 2006: 87).

Furthermore, Mazrui (2006) reminds us that of all literary forms of African literature, poetry is the most indigenous. Most especially if literature is perceived from African orature. The researcher also noted that very few researches have been carried out on Esiaba Irobi’s poetry. To the researcher, it is crucial to carry out this research because it is anticipated that it can be useful to different educational levels in literary studies. In this sense it can be beneficial to university students, academics and other literary practitioners.

1.1 BACKGROUND TO THE STUDY

Oral literature has thriven in Africa for many centuries and it incorporates a variety of forms that include: myths, epics, dirges, praise poems, songs, chants, festivals and proverbs. Most popular of the African oral forms is perhaps the proverb, a short witty statement that aims to communicate a response, to offer advice, or to persuade. The proverb is continually hired as an emblematic device, rendering its speaker as the bearer of authority. Yet, as much as the proverb makes anaphoric references to an African culture as its origin and spring of authority, it recreates such African culture each time it is spoken and used.