Citation: Patricia, EZE (2021). Parallelism as a Linguistic Narrative Tool In Chimamanda Ngozi Adichie’s Purple Hibiscus. Yobe Journal of Language, Literature and Culture (YOJOLLAC), Vol. 9, Issue 1. Department of African Languages and Linguistics, Yobe State University, Damaturu, Nigeria. ISSN 2449-0660
PARALLELISM AS A
LINGUISTIC NARRATIVE TOOL IN CHIMAMANDA NGOZI ADICHIE’S PURPLE HIBISCUS
And
Patricia, EZE
Abstract
Parallelism is a linguistic tool employed by writers to
communicate effectively. Many of the most famous phrases in English draw
strength in part from effective use of parallelism. . Writers are compelled to
use various elements of equal importance or else they wind up with starling
calamities. This study delves into the use of parallelism as a linguistic
narrative tool in Chimamanda Ngozi Adichie’s Purple Hibiscus to establish a
logical relationship of ideas within the text. The theoretical underpinning incorporates
style as idiosyncratic and constant form/idiolect which is accompanied with an
in depth study of the text to unravel the parallel structures vis-a-vis
syntactic categories; words, phrases and clauses. In the text, parallelism
helps the writer to reinforce or elaborate on a particular idea as well as
provides a word, phrase or clause with balance and clarity. The symmetry
creates a rhythm and repetition which can make words, phrases or clauses
catchy, memorable and compelling. It reinforces the reader’s thought to think
deeply through the balanced sentence elements for effective communication.
Key words: parallelism, parallel equivalence, linguistic
parallelism, syntactic categories, parallel structure
1.0 Introduction
Language as one of the greatest gifts to mankind is supposed to be
used voluntarily and systematically. The indispensability of language use among
individuals shows the uniqueness of human beings above other creatures; writers
explore this art through their writings. The way of combining the resources of
language for effective communication is based on the available resources on
individual disposal. Alabi (2008, p. 254) on the issue of language choice says
that a language user is “free to select features from available resources of
language at his or her disposal and the choice is partly conditioned by the
demands of the genre, form or theme of discourse”. Therefore, every purposeful
writer has his own choice of linguistic devices such as parallel form, contrastive
form, and ambiguous word or collocates etc. However, when words or group of
words that perform the same function in a sentence fail to communicate as
clearly as they supposed to; lapses result in mistake called faulty
parallelism. In other words, the structures in parallelism are constructed to
be of the same pattern. Therefore, parallel forms constructed which are not of
equal importance are termed ungrammatical. From the foregoing, this study
investigates how Chimamanda Adichie in her book Purple Hibiscus employs
parallelism as a linguistic tool to create readable and understandable
passages.
2.1 Parallelism as a
Linguistic Tool
Parallelism is a linguistic device employed by writers to produce
a standard sentence which makes for aesthetic purposes. In defining
parallelism, Oluikpe (1981, p. 102) posits that “when words or word groups
perform the same function in the same sentence, we say that they are in
parallel form, (parallelism)”. In essence, equal syntactic elements or
categories in parallel forms equal to parallelism; they could be the use of
noun or verb or adjective of the same element in a parallel form.
In Kristin and Lobeck (2013) view, parallelism constraints on
coordinating like categories (NP and NP, VP and VP, PP+PP etc.). In essence, NP
which signifies noun phrase must be accompanied with another noun phrase, same
with verb phrase and prepositional phrase. Coordination that violates this
principle is seen as ungrammatical. According to Harpham and Abrams (2012, p.
283), parallelism is a “device common in rhetoric which depends on the
principle of equivalence’’. In Jakobson’s (1960) terms in Wales (2001), it is
the repetition of the same structural pattern commonly between phrases or
clauses. Example of prepositional phrase in parallel form is “out of class, out
of school’’ while ‘She came, she saw, she conquered’ is a repetition of the
clause.
Murana (2011, p. 47) refers linguistic parallelism to the “pattern
repetition in discourse for creating stylistic effect”. On the importance of
parallelism, Leech (1969) in Aluya (2016) notes that it is used for rhetoric
emphasis, [sic] ensures memorability as well as offers pleasure to the readers.
Parallel grammatical structure, therefore, reinforces one’s thought by stressing
the parallel importance of the various sentence elements and so makes life
easier for one’s reader. Repetitive natures of words or word groups employed to
realize parallelism is the issue being discussed in this study. Therefore,
repetition acts as a device of intensification. Looking at the disparity
between parallelism and repetition, repetition is an intentional use of word or
phrase, two or more times in close proximity of each other while parallelism
involves the repetition of words or phrases of grammatical and/or structural
elements. For example, ‘over, over, they go’ the underlined
words are repetition. Another example is ‘today, and today and today’;
the underlined words function as repetition. It also features parallelism due
to the grammatical structure of the phrasing, utilising ‘and’ as a conjunction.
Murana (2011) summed it up when he says that whichever form
parallelism takes in texts one fact is clear, it signals a relationship of
equivalence between the items and calls attention to their connection and unity
of their purpose. On the levels of language categories in which parallelism can
be exploited, Okunowo (2012) identifies the following; word, phrase, sentence,
units of sound and meaning. Similarly, Murana (2011) identifies the three
levels in which it can be analysed; phonological (alliteration/assonance),
lexico-semantic, which involves synonymous or antonymous words occurring in
paradigmatic relation, and syntactic when parallels occur at clausal or group
level. What concerns us in this study is where an aspect of the text is brought
to the fore through repetition which is analysed on the following levels; word
level, phrasal and clausal levels.
2.2 Review of Related Literature
Chiamanda Ngozi Adichie was born in 1977 in Enugu, Enugu state in
Nigeria. She is a prolific African writer of the 21st century
and winner of numerous international prizes in which Purple Hibiscus was
her first novel. Purple Hibiscus deals with the story of
Kambili, a teenage girl who lives in Enugu with her wealthy and disciplinarian
father, Eugene Achike, brother Jaja and mother Beatrice. The father, Eugene, a
religious bigot oppresses the family with his fanatical catholic doctrines.
Kambili and Jaja’s visit to their aunt’s house, Ifeoma, a university professor
brings a new discovery which gives rise to defiance.
Purple Hibiscus as an award winning book has attracted scholarly attentions
which include works on the linguistic as well as the literary tools prevalent
in the text. A few works on Chimamanda Ngozi Adichie’s Purple Hibiscus include
the following; Yeibo, Island & Akerele, (2014) analysed phonological
foregrounding in Chimamanda Adichie’s Purple Hibiscus. The study
focuses on how sound or phonic elements such as alliteration, assonance and
onomatopoeia are systematically organized or patterned in Adichie’s Purple Hibiscus to
foreground stylistic meaning and serve aesthetic ends. It finds out that as an
integral or constitutive layer of language, phonic elements, and functions as a
veritable part of textual organization and is as useful and fundamental as
other levels of language study in the construction of literary texts.
Orakwue (2015) studied a linguistic stylistic analysis of
Chimamanda Adichie’s Purple Hibiscus and Half of a
Yellow Sun. The study identified some of the linguistic features the writer
used and the cultural and historical ideology behind the texts, appreciating
her style. The study reveals that the choice of linguistic forms of literary
work is motivated by demonstrating how Adichie uses some particular stylistic
features to attain thematic concerns. Some of Adichie’s characters often code
switch by inserting Igbo words and expressions into English sentences. The
study concludes that the use of code switching and mixing is a demonstration of
some of the attempts by Adichie to reflect the realities of the use of English
in Nigeria. Fashakin & Idiamin (2016) analysed religion as a tool of
violence: an exploration of Chimamanda Ngozi Adichie’s Purple Hibiscus.
It examines an exploration of her treatment of religion and violence as they
affect women in particular and the society in general. Oakley in Fashakin &
Idiamin (2016) in her view does not claim that men are inherently violent;
rather she sees violence as resulting from what men learn about being masculine
and from attempts to maintain patriarchy as a system.
Okolo (2016) assessed the thematic and stylistic analysis of
Chimamanda Ngozi Adichie’s Purple Hibiscus. It focuses on the theme
and stylistics of Purple Hibiscus with the intention to show a
relationship between the two as inseparable aspects of the novel. The study
discovers that the stylistic structure of the novel is symbolic to the themes.
This present study differs from other works analysed above in that it examines
parallelism as a linguistic tool in Chimamanda Ngozi Adichie’s Purple
Hibiscus analysing it both on the word, phrasal and clausal levels for
effective communication which none of the scholars above has delved into.
3.1 Theoretical Framework
Style as idiosyncratic form/individual or idiolect is an approach
in which the analysis of this study hinges on. The view is borne out of the
belief that although language is public and social, every writer or speaker has
his own way of combining the resources of language for effective communication
purposes (Osundare, 2003). Every choice of word in any discourse by a writer is
an individual choice, even though language use is universal. In the course of
making these choices, a writer may choose to play with words, use parallel
structures or contrast structures or collocates to build and heighten effect.
“Purposeful choices must be distinguished from a habitual idiosyncrasy in the
use of language” (Bossan, 2015). The consistent use of any linguistic devices
indicates that it is the author’s style but receives affirmation when
repeatedly used by same author in another work. “No conscious writer uses a
significant linguistic item repeatedly without a reason” (Dare (1991) in Lawal
(2012, p. 33). Parallelism as a linguistic tool employed by Chimamanda Ngozi
Adichie’s Purple Hibiscus is analysed based on style as
idiosyncratic form/individual for communicative efficacy and aesthetic
purposes.
3.2 Methodology
The methodology involves an in depth studying of the text to
unravel the use of parallel structures in Chimamanda Ngozi Adichie’s Purple
Hibiscus as a linguistic tool to establish a logical relationship of
ideas for effective communication as well as for aesthetic purposes. This can
be analysed syntactically through word, phrasal and clausal in order to
ascertain how parallel structures are employed to reinforce or elaborate on a
particular idea.
4.1 Syntactic Analysis
One of the commonest linguistic devices explored in Chimamanda
Ngozi Adichie’s Purple Hibiscus is the use of parallel
structures to set up relationship between two or more ideas through repetition.
Therefore, this can be delved into through word, phrasal and clausal levels to
unveil their grammatical equivalence, which on one hand established a
relationship of the ideas expressed within the text.
4.2 Word Analysis
4.2.1 Pronoun
Text 1: l
turned to watch him, imagining myself at fourteen,
imagining myself now (pg. 140).
Text 2: Those who wish others
well, keep them well. Those who wish others
ill, keep them ill” (pg. 175). The emphatic
reflexive pronoun ‘myself’ repeatedly used is in apposition in text 5, which
gives the text its harmonious flow. In text 6, ‘those’ is a demonstrative
pronoun in the plural form while ‘them’ is an objective case for the 3rd person
plural, repeated for emphasis. Similarly, Dada & Bamigboye (2014, p. 191)
pointed out that the “repetitive patterns of linguistic elements are
super-imposed on the background of the expectations of normal usage and so
strike the reader’s attention as unusual”. Both texts have parallel word groups
and of equal importance which makes the idea expressed in the text clear,
persuasive and understandable.
4.2.2 Preposition
Text 3: Aunty
lfeoma prayed for the university, for the
lecturers and administration, for Nigeria, and finally, she
prayed that we might find peace and laughter today (pg. 134).
Text 4: l thought about Father Amadi’s musical
voice, about the wide gap that showed between Amaka’s teeth
when she laughed, about Aunty lfeoma stirring stew at her
kerosene stove (pg. 202). The first text shows the Morning Prayer offered by
Aunty lfeoma with other members of her family asking for God’s divine
intervention in the challenges bedevilling our nation, the university as a
whole and her family. The second text indicates Kambili’s thought at home after
they leave Nsukka. The repeated use of prepositions, ‘for’ and ‘about’ in both
texts “signals relationship of equivalence between the items and calls
attention to their connection and unity of their purpose” (Murana, 2011, p.
47). The symmetry rhythmic flow of the prepositions, ‘for’ and
‘about’ in the texts serves as the connector in the phrasal. We can deduce from
the above that parallelism is an indispensable aid to style and meaning
(Oluikpe, 1981). The three simple sentences within text 8 are descriptive with
their referents well modified, the consistent use of preposition makes reading
memorable. Therefore, the prepositions ‘for’ and ‘about’ are foregrounded for
emphasis and stylistic effect.
4.2.3 Adjective
Text 5: But she looked the
same, except for her attire – a black wrapper, black blouse,
and a black scarf covering all of her hair and most of her
forehead (pg. 262). The text shows Yewande Coker, wife of Ade Coker, editor of
the Standard newspaper, in her mourning attire. The adjectives are in parallel
structures as well as pre-modified with indefinite article ‘a’ and
post-modified with nouns; ‘wrapper’, ‘blouse’ and ‘scarf’ respectively. The
repetitive use of ‘black’ in the phrase gives the text a memorable rhythm and
pattern.
4.3 Phrasal Level (Prepositional Phrase)
Text 6: The
sounds of fork meeting plates, of serving spoons meeting
platters, filled the dining room (pg. 104).
Text 7: My eyes were on
the football field, on Father Amadi’s running legs, on the
flying white-and-black football, on the many legs of the boys,
which all looked like one leg (pg 184).
The foregrounded prepositional phrases in both parallel structures
are for poetic effect. The enumeration of different sounds effect made by
Kambili’s family and their aunt and cousins with their cutleries as they sat to
eat is to create a mellifluous rthymic pattern especially with the
pronouncement of the end rhythm such as ‘-ing’, /z/ sound in boys and legs
which also promote and balance the unity of the text. The phrasal makes the
information interesting, easy to process and the similarity in modification
informs parallelism. The participle verb ‘meeting’ found in both structures is
for stylistic effect as well as the final /s/ and /z/ sounds found at the end
of the following words, plates, spoons, platters for aesthetic purposes. The
logical and the grammatical ideas expressed here are interrelated for easy
comprehension.
In text 7, the reoccurrence of the following words in the phrase;
‘on’ ‘football’; ‘field’, ‘father’ ‘flying’ and ‘leg’ rhyme to pave way for a
rhetorical ease of presentation. The ending rhyme in the verbal, ‘running’
and ‘flying’ ease the flow of the text and both are used to pre-modify
the nouns, ‘legs’ and ‘football’ respectively for emphasis.
Consequently, the football made reference to here as if it has the
ability to fly, which strikes the reader’s attention as unusual. Wales (2011)
is not out of her way when she says that parallelism is made more prominent by
alliteration and other patterns of sound. This is apparently made known in the
repetition of labiodental fricative and alveolar lateral sounds /f/ and /l/
respectively in the following words, football, field, father and leg.
4.3.1 Verb Phrase
Text 8: She would
be pleased to hear that, just as she would not be pleased to hear it
if l did have one (pg. 126).
Text 9: l thought he would
pull at Jaja’s ears that he would tug and yank at the
same pace as he spoke, that he would slap Jaja’s face and his
palm would make that sound, like a heavy book falling from a
library shelf in school (pg. 77).
Both the verbal phrases in text 8 and 9 are in equivalence,
according to Omonede (1993), parallel structures “are structures constructed to
follow the same pattern”. In Kristin and Lobeck (2013, p. 270) view,
parallelism constraints on coordinating like categories (NP and NP, VP and VP,
PP+PP etc.). That is the parallel categories have to be the same or else they
become ungrammatical. In text 8, the verbal group comprises of the auxiliary
verb ‘would be’ followed by the main verb ‘pleased’ with an infinitive ‘to
hear’ while the second has negation incorporated in the auxiliary verb ‘’would
not be’. Text 9 verbal group also comprises of the modal auxiliary verb ‘would’
the past tense of ‘will’ with the main verb as thus ‘pull’, ‘tug’, ‘slap’ and
‘make’. Nevertheless, both texts are in parallel forms, the author is full of
words, short of the exact words to express her passion, thus resorted to
intensification. The whole pattern of repetition in both texts which is
climaxed by the use of modal auxiliaries with the subsequent verbal groups is
to show fret and worry in the mind of the protagonist in the event at home. The
repetitive words used are paralleled which create phonological parallelism, a
device that becomes highly ornamental and which heightens the beauty and the
sublimate of the thought in general (Ajadi, 2012, p. 210).
4.3.2 Noun Phrase
Text 10: The compound walls would crumble, l was sure, and squash the frangipani
trees. The sky would cave in. The Persian rugs on
the stretches of gleaming marble floor would shrink (pg. 22).
Text 11: My form mistress, Sister Clara, had written, “Kambili is intelligent beyond her years, quiet and
responsible”. The principal, Mother Lucy, wrote, “A brilliant,
obedient student and a daughter to be proud of” (pg. 46).
In text 10, the definite article ‘the’ is brought to the fore
through repetition for emphasis in the noun phrases. Their parallel structures
are, determiner (the) + noun (compound) + noun (walls), determiner (the) + noun
(sky) and determiner (the) + noun (Persian) + noun (rugs), they are “more of
the same” echoes (Simpson, 2014). In the following noun phrases underlined in
text 11, they have nouns used in apposition, ‘Sister Clara’ and ‘Mother Lucy’
still referring to the former nouns, ‘my form mistress’ and ‘the principal’
respectively which are in equivalence. Both the possessive pronoun ‘my’ and the
definite article ‘the’ show the authenticity of Kambili’s story with inverted
comma. Therefore, the structures in both texts as employed by the writer are in
equivalence, resolute and definite in the reflection of fear and anxiety built
up in the mind of the narrator via the events in the novel. As advocated by
Leech (1969, p. 17), “the repetitions of structural patterns make the text
symmetrical and therefore very memorable for readers”. These make the text
readable and enjoyable. The repetition of the alveolar plosive sound /t/
creates effect for aesthetic beauty.
4.4 Clausal Analysis
Text 12: Our
steps on the stairs were as measured and as silent as our Sundays: the
silence of waiting until Papa was done with his siesta so we could
have lunch; the silence of reflection time, when Papa gave
us a scripture passage or a book by one of the early church fathers to
read and mediate on; the silence of evening rosary; the
silence of driving to the church for benediction afterwards (pg. 39).
The phrasal in the following clauses ‘the silence of’ shows the
high handed approach by which Eugene, Kambili’ father governs his household.
The family exhibited calmness as nobody questions his authority to the extent
of starving until Papa is awake.
The use of parallel structures represents a “search for the right
word to express a complex feeling” (Leech in Yankson, 1987, p. 23). The author
lacks short of words to express herself by the use of repetitive phrasal ‘the
silence of’. The structures in the beginning of the clauses are equivalent and
resolute to her father’s attitude to both the children and the wife which calls
for attention, thus the use of these parallel structures are for
intensification. The words after ‘silence of’ of the three clauses contain
gerund with ‘ing’, the same final sound /ŋ/ are employed to create effect. The
verbal group in the first clause ‘was done’ as well as ‘could have’ is employed
to express her anxiety in their challenges, the subordinating conjunction
‘when’ with other expressions in the second clause deepens her emotional
trauma.
Text 13: “They have taken him! They have
taken him!” she said, between throaty sobs (pg. 45).
This exclamatory parallel structure was used by Yewande Coker,
wife of Eugene’s editor of the Standard Newspaper whom the husband. Ade was
arrested on the basis of exposing people of questionable character about
illicit drug trafficking in a corruptible nation. Illicit drug trade like any
other type of transnational organised crime, portends danger to political and
socio-economic development, fosters corruption and violence, undermine rule of
law and good governance, and poses serious health challenge (USAID, 2013). Not
minding the serious health challenge in this heinous crime of drug trafficking,
yet people still embrace it and any attempt to stop it through any means poses
danger to the person, which is the issue in this excerpt. By employing this
grammatical parallel structure, ‘they have taken him’ reinforces one’s thought
by stressing the parallel importance of the various sentence elements, and so
makes life easier for the reader (Oluikpe, 1981). The repetitive structure
‘they have taken him’ by the author draws attention of the reader to the event
being discussed. Leech (1980) in Murana (2011, p. 47) echoes that “repetition
is a fundamental…device of intensification…By underlining rather than
elaborating the message, it presents a simple emotion with force”. Yekwade,
Ade’s wife repeatedly used this structure to indicate the emotional trauma she
is passing through to Eugene’, his employer to act fast.
Text 14: But first he
wanted us to join the Knights of St. John. He wanted us to send
Amaka to convent school. He even wanted me to stop wearing makeup! l
want a new car, nwunye m, and I want to use my gas cooker again and l
want a new freezer and l want money so
that l will not have to unravel the seams of Chima’s trousers when he outgrows
them (pg. 103).
The repetitions of ‘he wanted’ with the parallel structures of ‘to
infinitive’ in the above simple sentences as a device of foregrounding, is a
kind of deviation used for artistic highlighting purposes (Dada &
Bamigboye, 2014). They continued that when used to violate the normal rules of
usage by the frequency at which such items occur in a particular passage.
Indeed, these, also, can be viewed in the symmetry rhythmic flow in the
preceding clause which uses ‘l want’ repeatedly in an unusual context. The parallel
structure uses coordinating conjunction ‘and’ to intensify the flow
and the adjective ‘new’ to modify the nouns ‘car’ and the ‘freezer’ to bring to
fore lfeoma’s needs. ‘I’ as a possessive pronoun is personified in the flow of
the equivalent simple clauses above. The repetitive use of ‘I want’ in the
clause makes it memorable to the reader. Dada and Bamigboye (2014) remarked
that the repetitive patterns of linguistic elements in parallel structure are
for prominence. They aimed at showing the speaker’s pressing needs but she
refuses to be relegated by her brother, Eugene, a religious bigot. The
infinitive ‘to use’ reinforces the lexical verb ‘want’ for intensification. The
logical and the grammatical ideas expressed in this passage help us to know
Ifeoma’s stand.
5.1 Conclusion
Parallel structures of unequal elements result in faulty
parallelism which is also considered ungrammatical. But when constructed of
equal importance help to establish a grammatical and logical relationship of
the ideas expressed. In essence, the choices of words or word groups, which
follow the same pattern should writers opt for, in any given text reinforce
their thought thereby help for clarity, beauty and readability. Chimamanda
Ngozi Adichie employed parallelism in Purple Hibiscus for
communicative efficacy. The repetitive symmetry harmonious flows of words,
phrases and clauses in the text through parallelism make them persuasive and
impactful. Indeed, her consistent use of parallelism in the novel shows her
“search for the right word to express a complex feeling’’ (Leech in Yankson,
1987:23).
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