Cite this article as: Oladimeji, O. A., &Moruwawon, B. S. (2026). Language and translation in Nigerian fictional narrative: A case study of Wole Soyinka's The Lion and the Jewel. Sokoto Journal of Linguistics and Communication Studies (SOJOLICS), 2(1), 488-497. https://doi.org/10.36349/sojolics.2026.v02i01.040
By
Oladimeji Olaide A. Ph. D
Federal University, Oye Ekiti
laideladimeji02@gmail.com
&
Moruwawon Babatunde Samuel, Ph. D
Ekiti State University, Ado Ekiti
babatunde.moruwawon@eksu.edu.ng
Abstract
This paper investigates the linguistic issues involved in the
translation of post-colonial text and the role played by the translator in the
transfer of equivalence from source text into the target text. The study is
restricted to investigating some key linguistic elements in the French-English
translation in Soyinka’s (1963) The Lion and the Jewel translated into French
by Philippe Laburthe-Tolra as: Le Lion et la Perle. Data for the study are
randomly selected on the basis of their linguistic relevance in the text.
Despite all that research has shown and documented on Soyinka’s works over the
past decades, there is still a lack of sufficient studies that analyze language
and translation in his work, thus, creating a condition for further research on
his fictional text. The study concludes that translators of post-colonial
African literary texts, particularly, The Lion and the Jewel, should be well
acquainted with the culture and language of the original text in order to guide
against translation loss.
Keywords: Language, Translation,
Equivalence, Fiction, Text.
1.0 Introduction
Translation, essentially speaking, involves the transfer of
equivalence of a source language text into the target language text in terms of
meaning and style using the appropriate translation procedures. However, this
is not an automatic transfer process or simple transcoding of textual materials
from the source text into the target text. Before translating the text, it is
incumbent on the translator to pose several questions such as: Who is the
target audience? What is the purpose of the text that requires translation?
These questions are paramount to a successful inter-lingual rendering. In
translation, the unit of translation should be regarded as text itself. In
translating, words, sentences are not only the units of translation to be
rendered but the entire context must be taken into consideration. Dramatic text
claims that the dramaturgical composition, tailored for vocal rendition,
entails a constellation of paralinguistic mechanisms, wherein pitch,
intonation, pace of expression, accent and other attributes function as
signifiers Bassnett (2002:134) The paramount significance of audience in
translated dramatic text affirms that the ultimate fruition of such endeavours
lies in the actualization of the play’s performance on stage and its
consequential impact on the audience Zuber-Skerritt (1988:485). The nature of
dramatic text implies that the translator guides against translation loss in
terms of content and style during literary transformation of the original text
into the target text. The impact of competence of drama translator cannot be
over-emphasised. In the face of translation challenge in the transfer of
cultural, linguistic and ethnographic features in the text, the cultural,
linguistic and ethnographic capabilities of the translator are paramount for a
successful inter-lingual and inter-cultural mediation.
2.0 Literature Review
A lot of research works have been carried out on language and
translation (Nord (1994), Olagunju and Nneka (2018), Soulemanne (2024). Most of
these works have largely centered on language variations and while giving
little attention to drama translation. Olagunju and Nneka (2018) focused on the
linguistic deviations as characteristics of contemporary Europhone African
Literary translation in rendering Chinua Achebe’s Arrow of God into
German. Souleymanne (2024) centered his work on hostility, reciprocal
articulation of religious alterity of the West and the Middle East, a clash
between two civilizations. The present paper presents innovative approach to
fill the gaps in its attempt at analyzing language and translation in dramatic
literary text using the theThe Lion and the Jewel as case study.
3.0 Methodology
The present study adopts analytical approach. The study is
restricted to investigating some key linguistic elements in the French-English
translation in Soyinka’s (1963) The Lion and the Jewel translated
into French by Philippe Laburthe-Tolra as: Le Lion et la Perle.
Data for the study are randomly selected on the basis of their linguistic
relevance in the text.
4.0 Theoretical Framework
The study adopts Nord’s (1991) equivalence theoretical framework
as its theoretical framework. Equivalence as a theoretical framework in
translation involves achieving the utmost correspondence between the Source
text and the Target Text. However, there is no absolute equivalence in literary
transformation due to the problem of untranslatability and the notion that no
two languages are identical Bassnett-Mcguire (1980). Despite all that research
has shown and documented on Soyinka’s works over the past decades, there is
still a lack of sufficient studies that analyze language and translation using
equivalence theoretical framework, thus, creating a condition for further
research on his fictional text.
3.0 Data Presentation and Analysis
3.1 The Translation of Ideorealm in The Lion and The Jewel
The key to conveying Soyinka’s dramatic ideorealm lies in choosing
some words, expressions, to convey the spirit of the text. Ideorealm involves
the totality of the artistic imagery characterised by a fusion of feelings,
scenes, and the images it triggers. A fusion of emotion with scene is the most
important method to create artistic ideorealmHusan (2008). Dramatic ideorealm
takes place when the natural scenes described in the text are turned into a
form of images. In other words, it refers to the fusion of emotion in dramatic
narrative.
In this case, the word ‘The Lion and the Jewel’ (p.1),
the title of our text, establishes the relationship between the image and the
artistic ideorealm of the whole discourse of the text. From the above text, the
meaning of the text is best understood by the translator’s active subjective
participation without which the artistic ideorealmcan not be achieved.
Ideorealm consists of two parts: the actual realm and the fictitious realm. In
our text, Lakunle represents the actual realm image because he does not believe
in the traditional African custom of paying bride price before marriage. He
sees bride price as savage custom, barbaric. According to Lakunle, to pay bride
price of a woman would mean: to pay price to buy a heifer off the market stall
(p.22)
On the other hand, Sidi represents ‘the fictitious realm’ of the
ideorealm because he believes in modern marriage where the traditional African
custom must be fully paid before marriage. This is why Sidi did not allow
Lakunle to carry her pail for her because she perceives that he, Lakunle, shows
interest in marrying her. She will never allow him to relegate her values,
honour, and piety:
Sidi: But my bride-price
must first be paid
Aha, now you turn away.
But I tell you, Lakunle, I must have
The full bride-price. Will you make me
A laughing stock? Well, do as you please.
But Sidi will not make herself
Cheap bowl for the village to spit (…)
They will say I was no virgin
That I was forced to sell my shame
And marry you without a price p.7
Sidi: Mais il faut d’abord
que ma dot soit verse
Ah, Ah! Tu tournes les talons, maitenant!
Je tel’aipourtantdit, Lakunle, Il faut que j’aie la
Dot entire. Voudras-tu faire moi un objet de risèe?
Bon, agiscomme il te plait. Mais Sidi ne veut pas
Se transformer elle-meme encrachoirrecueillant
Les mépris du village! (…)
Ilsdiront que je n’etais pas vierge, que
J’étais force de vendre ma honteent’epousant sans dot (p.14)
Sidi and Lakunle represent outstanding images in the text and
possess two different representations. Lakunle is one of those images around
whom modernism has been attached while Sidi represents the image of culture and
tradition. It is therefore, imperative to resort to interpretive code which
involves a paradigm for distinguishing what seems ‘tangibly modern’ in the
former from what is unquestionably cultural, traditional and mythical in the
latter.
Sidi affirms that:
They will say I was no
virgin
That I was forced to
sell my shame
And marry you without a
price p.8
Sidi: Ilsdiront que je n’etais pas vierge,
que j’etais force de
vendre ma honteen
t’epousant sans dot p.13
Sidi sees herself as promoter of culture and tradition of her
people. She is not ready to go into any marriage union devoid of payment of
bride price. On the other hand, Lakunle is opposed to this type of culture and
tradition:
An ignoble custom, infamous, ignominious shaming our heritage
before the world. Sidi, I do not seek a wife
To fetch and carry
To cook and scrub
To bring forth children by the gross P.8
Lakounle: Ignoble, infame,
ignoramieusecoutume, couvrantnotre passé de honte aux yeux de l’univers. Sidi,
si je chercheuneépouse, cen’est pas pour la voirpeiner à mon service, faire la
cuisine, fronter par terre et pondre des enfants à la douzaine…p.13
Here, Lakunle believes in equal life partner relationship as he
proposes to marry Sidi. However, Sidi believes in the traditional and cultural
value of her society of being chaste, pious and respect for what her culture,
tradition holds in high esteem. The translator identifies the two cultural
images of these characters and faithfully replicate them in the target text.
The translator renders the ‘tangible’ and the ‘intangible’ of the two cultural
images of the characters to the target reader. The translator experiment with
cultural scenes of conflict and resolution. We observe that culture has its
stamps on the style of the text. This is because the characters who express
themselves within the mental and experiential horizon of a given cultural
continuum, share certain expressive features which crystallize, ossify and
assume a definite shape across time Mario (2008:1). Each culture is set apart
from other cultures by stylistic features which become distinctive of this
culture. Hence, it is safe to say that culture, like the individual, is style
(ibid:2)
On the aesthetic representation of the text, the translator
translates the modest and the virtuous of the two ideorealms leaving the target
readers to imagine and fill the cultural implications left behind by the
actions of Lakunle and Sidi in the text. No doubt, there are images and
emotions waiting for the target readers to fill. Taking advantage of their
imaginations, the target language readers can create the artistic ideorealm of
the narrative. Retaining the formal structure is the effective method of representing
the artistic ideorealm of the original text in the target text. Literary
translation is an ever-going two-way communicative process carrying out the
dialogue between the text and its readers, between its authors and readers
between one culture and another. The goal of the conversation is to relive the
intention of the author and text so as to satisfy the reader’s horizon of
expectations and help him get resonance with the author. From the above, it can
be affirmed that the translator’s subjective ability is very crucial to the
creation of the artistic ideorealm in dramatic narrative. The reader is equally
a participant in the creation of artistic ideorealm in the process of
translation because understanding the actual realm, the target-reader uses his
imagination to achieve the author’s aesthetic experience
3.2. Dialectal Idiosyncrasy and Translation
Every language has dialects of the same language. This is a
function of the primacy of speech in human language. In principle, every
language has two major forms: the standard and the non-standard, otherwise
called dialect Chimaobi (2016:54). Dialect is a regional or societal variety
differing in pronunciation, grammar and vocabulary from standard language which
is in itself a socially favoured dialect Stock (1973:65). This is further
stressed by Pei (1970:9) when he defines dialect as a specific branch or form
of a language spoken in a given geographical area differing sufficiently from
the official standard or literary form of the language one or all levels of the
language: pronunciation, grammar, vocabulary and idiomatic use of words to be
viewed as a distinct entity, yet, not sufficiently different from other
dialects of the language to be regarded as separated language. A study on
dramatic translation should not neglect the dialectal features in Soyinka’s
fictional narrative. This is why McGuire 1(980:120), (1985:87) affirms that
theatrical text and performance are inextricably intermeshed in a dialectal
relationship, which is the consequential result of the bidirectional
communicative interaction taking place between the author, the play text and
the audience. In The Lion and the Jewel, Baroka, the Baale of
Ilujinle’s pronunciation of good morning as ‘guru morin’ evincts the creation
of a Yorubalized style of addressing Lakunle, ‘the book-man’ in the play. Let
us consider this excerpt:
Baroka: Guru morin guru morin,
ngh-hn!
That is all we get from ‘alakowe’.
You call at his house hoping he sends for beer
But all you get is Guru morin.
Weill guru morin wet my throat?
Well, well our man of knowledge
I hope you have no query for an old man today. (p.16)
Borka: Boyou, boyou, hum!
C’est tout cequ’on tire d’un ‘alakowe’.
On passe chez luiespérantqu’iloffert la bière
Mais tout cequ’onobtient, c’est ‘boyou’.
Est-ce que ‘boyou’ me raffraichira le gossier?
Bon, passons. Alors, nôtre homme de la connaissance
J’espèrequ’aujourd’hui il n’yaaucunproblème à poser au viellard
que je suis? p.24
The word ‘guru morin’ is no doubt a challenge that requires the
attention of the translator before the translator can render it aesthetically.
Soyinka is an inventor, who invents word-images that are very difficult to
understand. According to Fashina (1999:55) a basic linguistic problem of
interpreting, understanding and comprehending Soyinka’s plays lies in his
chaotic confusion of images, symbols, stage iconographies. It is noted that the
translation of this word is less formalized because it is not readily
diffusible to the target reader. According to Venuti (1999:
Modern translation approach has been oscillating between two main
tendencies clearly formulated ever since 1813 by the German theologian and
philosopher Friedrich Schleiermacher in his lecture on: the different methods
of translating: Either the translator leaves the author in peace as much as
possible and moves the reader toward him. Or he leaves the reader in peace, as
much as possible and moves the author toward him. The translator should
therefore choose between domesticating methods, an ethno-centric reduction of
the foreign text to target language cultural values, bringing the original
author back home, or a foreignizing method, an ethno-deviant pressure on those
values to register the linguistic and cultural differences of the foreign text,
sending the reader abroad.
The translation of the above text is no doubt an issue to the
translator. He resolves this issue by inventing a new target language-based
greeting to produce equivalent comic effect.
The translator’s style draws on the idiosyncrasies of the author
and on the performative quality of the play. It is the translator’s task to
determine the dialectal stylization of the original in order to faithfully
render the specific equivalence of form and content to produce equivalent
dramatic effect. Calson (1964:56) identifies this as ‘the problem of the kinds
of words to be placed at the actor’s disposal’. Other theorists refer to it as
the issue of ‘speakability or playability ‘as against mere readability of the
written text Haag (1984:221). Translating the dialectal idiosyncrasy of the
text contributes to the translator’s task of stimulating the emotion of the
target audience positively. Philippe Laburthe-Tolra’s translation of the above
text does not only sustain the beauty of the text but also deepens the
impressions for the target readers. It can be asserted that the translator’s
innovative rendition of The Lion and the Jewel into
Frenchtakes into account the aesthetic sensibilities of the readers, maintains
an ideal balance between the source and the target text. A study of drama
translation should not neglect the dialectal features of in the text.
3.4. The translation of ethnic Jokes in Soyinka’s Text
Soyinka permeates The Lion and the Jewel with
ethnic jokes. Jokes as popular communication serves to affirm perpetual ethnic
identity among people in different locations. Ethnic jokes are jokes specific
to a particular tribe, ethnic group and may relate to the societal values,
beliefs that may be found in a given society. Jokes affirm the value of
rationality, efficiency and intelligence on the part of the joke tellers
Popwell (1988:4). Let us consider this funny example from Lakunle’s rejection
of Sidi’s of payment of bride price before marriage:
Sidi:
And you must chirrup like a cockatoo. You talk
and talk and deafen me
With words which always
sound the same.
And makes no meaning.
I’ve told you, and I say it again.
I shall marry you today,
next week. Or any day you name. But my bride price must be paid p.7
Sidi: Pour la moindre chose,
tutemets à caquetercommecacatoès. Tu causes, tu causes, et tu me cases les
oreilles de mots qui font toujours le mêmeronron et qui n’ontni queue ni tête.
Je tel’aidit et je te le répète: Je t’épouse aujourd’hui, la semaine qui vient,
oun’importequandtuvoudras. Mais, il faut d’abord que ma dot soitversée p12
Lakunle: A savage custom,
barbaric, out-dated, Rejected, denounced, accursed, Excommunicated, archaic,
degrading, humiliating, Unspeakable, unpalatable. P.7
Lakounle: Coutumesauvage,
barbare, démondée, rejetée, denoncée, Maudite, excommuniquéearchaïque,
dégradante, humiliante, innombrable, inutile, retrograde, abérrante, imbuvable!
p.13
Before ethnic jokes can be faithfully rendered, the translation
must be familiar with such jokes and be prepared to translate the funniness of
the jokes into the target language and culture. When the translator fails to
transfer the comical effect of jokes due to lack or poor comprehension, it
results to mistranslation. Since the jokes are not teachable, the translator
resolves the problem of joke translation by first determining the cause of the
jokes. Second, he deploys equivalent talent-related skill to re-create a
comparable effect and make it amusing and funny in the target language.
Sidi’s joke is a form of protest meant to correct Lakunle.
Lakunle’s action is a symbolism of African elites who reject their native
culture, tradition in order to show their educational profile, status in the
society. This corroborates the view of Goring (2001:293-294) in his description
of satire as jokes.
It is a type of protest, but also a form of correction which
pre-supposes the existence of a shared set of values by which an individual or
institution can be judged. Such accounts of misbehaviour can also be used to
support the reader or listener’s sense of the necessity of proper behaviour. In
the text, Sidi became a victim of Baroka’s self-serving amorous lifestyle when
he deceived her by raising her hope of making stamps that will bear Sidi’s
image.
The translator needs a complete knowledge of the subtler, funny
shades of equivalence for these texts. The French translation replicates the
spirit, fluidity and movement of the original joke in that the translator
speaks directly to the target reader by portraying Sidi as a gullible character
in the text. The target reader feels the flavour of sentimentality and innocent
corruption of Sidi vis-à-vis the corrupting tendency of Baroka. It reflects a
character without sound morality in himself.
3.5. Intertextual Reality and translation in Soyinka’s literary
Fictional text
Soyinka uses intertextual approach in the composition of The
Lion and the Jewel. Intertextuality refers to far more than the influences
of writers, texts on each other. Intertextuality points not only to the way
texts echo on another, but also to the way discourses or sign systems are
represented in one another so that meaning in one kind of discourse is overlaid
with meaning from another kind of discourse Berce (2002 cited in Alina 2009:
194). Generad (1997) cited in Alina (2009:194) proposes the term:
‘transtextuality’ as a more inclusive term than‘intertuality’ and
listed five sub-types: intertuality: quotation, plagiarism, allusion;
paratextuality: the relation between a text and its ‘paratext’ – that which
surrounds the main body of the text – such as titles, headings, prefaces,
epigraphs, dedications, acknowledgments, footnotes, illustrations, dust
jackets, etc.; architextuality: designation of a text as part of a genre or
genres or genres (…) metatextuality: explicit or implicit critical commentary of
one text on another text (metatextuality can be hard to distinguish from the
following category): hypotextuality; the relation between a text and a
proceeding ‘hypotext’ – a text or genre on which it is based but which it
transforms, modifies, elaborates or extends (including parody, spoof, sequel,
translation). To such a list, computer-based hypotextuality should be added:
text which can take the reader directly to other texts (regardless of
authorship or location).
Some of these intertexts are culled from the canonical text, The
Holy Bible of the Christian faith:
The first intertext was taken from the Mathew 13:57, being the
word of Jesus Christ:
And they were offended in him. But Jesus said unto them. A prophet
is not without honour save in his own country and in his own house. And he did
not many works there because of their unbelief.
(a) Lakunle: A prophet has no honour except I his
own home. Wise men have been called mad before me and after, many more shall be
so abused p.5
Lakunle: Nuln’est prophet en son pays. Bien des sages
avantmoiontététraités de fous, et par la suite Il
viendrabeacoupd’autresqu’oninsultera tout autant p.12
(b) Lakunle: My Ruth, my Rachael, Esther, Bathseba
thou sum of fabled perfections from Genesis to the Revelations listen not to
the voice of this infidel…p.20.
Lakounle: Ma Ruth, ma Rachael, mon Esther, ma Bathsabée. Vous qui
rassembleztoutes les perfections révéléesdepuis la Genèsejusqu’àl’Apocalyspse,
n’écoutez pas la voix de cetteinfidèle.p.30
In (a) text, the above refers to Lakunle’s concern in describing
his worries for not being given the respect that is due to him in the village
of Illujinle. The text is taken from Matthew 13:57: A prophet is not without
honour except in his home country, and in his own house. When Christ came to
his place of birth, He was not honoured due to familiarity and he did not
perform many miracles in his home country due to apparent lack of honour by his
kinsmen. This experience is vast becoming a communal attitude in most African
societies. Local leaders are hardly respected especially, in instances where
your origin, local community is well known by the people. It is important that
the translator recognises the references as belonging to religious text and
cleverly transform them into functional target language equivalent.
In (b) text, Lakunle sees Sidi as woman of valour to be married at
all cost. He describes her with beautiful language to make her succumb to his
desire. At this juncture, it is easy to say that Lakunle’s comparison of Sidi
to Batheseba shows his poor knowledge about Bathseba. Citing Bathseba as a
model of moral women in Christian Holy Book, suggests that Lakunle is an
example of morally unstable personality or a revelation of his limited
knowledge of the Christian Holy Book on moral women. In fact, Bathseba does not
belong to the class of moral women in the Christian Holy Book. She fell in love
with David, committed adultery with David and later re-married David after
David had killed her husband.
4.0 Findings and Conclusion
Translators of post-colonial African literary texts,
particularly, The Lion and the Jewel, should be well acquainted
with the culture of the original text in order to guide against translation
loss. To faithfully replicate the aesthetic effect of the source text in the
translated version, the translator must carefully anticipate the expectations
of the target readers Qingqing &Tianyuan (2024). Individuals with diverse
social experiences and cultural backgrounds inherently possess varied aesthetic
sensibilities when engaging with literary works. Consequently, the translator
is tasked with meticulous attention to the aesthetic preferences of the target
readers, ensuring a nuanced and resonant reproduction of the original text that
aligns with their cultural and social contexts.
Soyinka writes in English, mixes Yoruba words with English, a
style that makes his works difficult for non-Yoruba translator to render into
French. Philippe Laburthe-Tolra, Soyinka’s translator. overcomes the linguistic
challenges involved in the transfer of the source text author’s intention,
thus, ensuring faithfulness in the English translation of The Lion and
the Jewel into French.
References
Alina, M, B. (2009). Ekphrasisi: A Suggestion of Parallel Reading:
‘Text-Image’. CondordiaDiscors vs Discordia Concors. Researches into
Comparative Literature, ConstrastiveLiguistics, Translation and Cross-cultural
Strategies. Stefan cel Mare University Press, Suceava.
Bassnett-Mcguire, S. (1980). Translation Studies. London. Methuen.
Bassnett-Mcguire, S. (1985). Ways through the Labyrinth.
Strategies and methods for translating theatre text in Theo Hermans (ed). The
manipulation of Literature. Studies in Literary translation. London Sidney:
Groom Helm, pp89-102.
Bassnett-Mcguire S. (1980). Translation Studies. London & New
York: Methuen & Co. Ltd.
Carlson, H.G. (1984). Problems in Play translation. Educational
Theatre Journal, 16, pp55-58.
Evans, William A. (1989). Virginia Woolf: Strategies of Language,
Lanham: University Press of America, Inc.
Goring, P. Hawthorn, J and Mitchell, D. (2001). Studying
Literature: The essential Comparison. London, Arnold.
Haag, A. (1984). Uberserzenfuris Theatre: Beispied William
Shakespear. Babel. 30, 218-224.
Lawrence V. (1990). Translator’s invisibility: A History of
Translation. Routledge, London.
Nieragden, G. (2002). Focalization and narration: Theoretical and
terminological refinements. Poetics today, vol.23(4); 685-697
Nelson, O. F. (1995). Deification or assassination of Language:
The Linguistic alienation in Wole Soyinka’s Road, Obitun, vol.1, mo.1, October
1995, p.55
Nord C. (2005) Text Analysis in Translation. Amsterdam: Rodopi
B.V.
Onwukwe, R.N and Onukawa, E. N. (2016). Ibembe as a dialect of
Igbo: A lexicostatistic analysis. Journal of Languages and culture, vol.7 (5),
May 2016, pp.54-61.
Olagunju, O.O & Ugagu-Dominie, N.R. (2018). Linguistic
deviations as characteristics of contemporary Europhone African Literary
translation of Chinua Achebe’s Arrow of God: Case Study
Pei, M. (1970). Igbo transformational syntax: The Nigeria dialect
example. Onitsha Africana Educational Publishers.
Qu, S. (1999). How I became a Woolffian Scholar in China. Virgia
Woolf Miscellany Fall (8):54
Qingqing, Y. and Tianyuan, Z. (2024). Reception aesthetics in
English Translation s of poetry from Hong Lou Meng: A case Study of Zang Hua
Ci. International Journal of Humanities, Arts and Social Studies,
vol.9, no,3, August 2024.
Souleymanne. T.U.O. (2024). Beyond religious alterity: an
exploration of West and Middle East encounter in Leila Aboulela’sthe
Translator. Ado journal of French and Related Disciplines, vol.7, no,1.
Zuber-skerritt, O. (1988). Towards a typology of literary
Translation: Drama translation Science, Meta: Journal des traducteurs, vol.33,
no.4, pp.485-90.
0 Comments