Paper 2 Quotes

“I am a killer, but I have committed no crime” (136)

• inverted sentences

• irony

• towards the end of the novel firdaus was being charged with the murder of a pimp who would exploit her position as a prostitute and take her earnings. If she tried to resist he would resort to violence ⇒ so she killed him

• criminalization

• isolation/alienation

• extremist ideology

• It is ironic that she refers to herself as a killer but states that she has not committed a crime, as if these two subjects are mutually exclusive.

• But signifies a break in ideology,

• criminalizes the women who go against the extremists. patriarchal views of those who go against societal standards and views.

"The only ones who live are the ones who are harder than life itself" (72)

• This quote reflects the harsh realities of survival and resilience in the face of adversity. It suggests that only those who can endure and adapt to life's challenges truly thrive.

• highlighting how the patriarchal systems in place make life difficult, and in turn make it difficult for people

• She is not a criminal because of the actions, but society made her a criminal

• making the meanings of life and taking them to highlight how the alienation and isolation occur in the extremist patriarchal society that is used to black and white thinking that criminalizes people who don't fall in line.

“All women are prostitutes, and I preferred to be a free prostitute rather than an enslaved wife (124)

• the irony + enslaved wife

oxymoron

• this was when Firdaus decided to use her high school diploma and get a job but after that she got her heart broken by a man who was engage and mislead her. As a result this she decided to revert back to prostitution.

• Metaphor comparing women to prostitutes ⇒ all women are valued because of their bodies ⇒ sorrowful tone among readers ⇒ dehumanizes all women

• exchange one form of gender exploitation for inequality for another.

“Why should she refuse? This is her best chance to get married, and don’t forget what a nose she has. It is big and ugly like a tiny mug. (48)"

• rhetorical quetions

• simile

• nose ⇒ synechdoche of not being pretty enough

• part of the rising action of the story as her introduction to the marital structures and the patriarchical roles that define them.

• Ends her pursuit of her eduction

• rigid marital structures

• status of women

• role of family and society

• the use of rhetroical question is used to create an incredulous tone.

• marital status shown was something women should strive to achieve

• alienated because of her looks

“His mouth was like that of a camel, with a big opening and wide jaws. His upper jaw kept clamping down on his lower jaw with a loud grinding noise, and chewed through each morsel so thoroughly that we could hear his teeth striking against each other.” (24)

• zoomorphism

• gustatory imagery

• auditory imagery

• teeth striking each other

This quote, in which zoomorphism is employed to characterize Firdaus’ dad’s chewing mouth to a camel, is significant in characterizing her view of him for a number of reasons. First of all, it is significant because her father is the first male figure that mistreats and abuses her. By comparing his mouth to that of a camel, she reduces his status which mirrors the reduction of her respect for him, as she has witnessed how he treats the birth of female children, her mom, and herself. This zoomorphic imagery also characterizes her dad as a violent man, through diction such as ‘striking,’ and also shows his sloppy and mindless side - like a camel who does not have the same brain or capacity for intelligence like a human does.

"I always left the table without satisfying my hunger" (64-65)

• negative and inverted sentences

  this human imagery of not getting any food to term

"She experiences the pleasure of having no ties with anyone, of having broken with everything, of having no relations with the world around her, of being completely independent and living her independence completely, of enjoying, from any subject to a man to marriage or to love" (118)

the pleasure thinking, there is she experiences the pleasure

• theme: marital structuresof complete independence, exploring themes of gender roles, societal impacts, and patriarchal commentary, highlighting her struggle for agency.

• role of family and society

• impacts on society

Gender roles and feminism

> Portrayal and treatment of women

> Struggle for agency and independence

> Commentary on patriarchal societies

Power and authority

> Forms of authority and how they are portrayed

> Challenges and navigating through these systems

> Consequences of challenging or adhering to authority

"The marriage system was built on the most cruel suffering for women" (118)

marriage ⇒ often asociated with happiness ⇒ suffering

"I would glimpse my uncle's hand moving from behind the book he was reading to touch my legs" (18)

• synechdoche

• book a metanym for education

• gender

• inequality/exploitation.

• hands synechdoche for the

"His hand looked obedient, almost submissive, their movements quiet, relaxed" (62)

synechdoche

use of hand for characterization

duality of light imagery

"They were not two rings of pure white surrounding two circles of intense black, where the white would become even whiter as though the light of the sun or the moon kept flowing through them" (22)

• synechdoche

• celestial diction

• black and white binary duality

"No light seemed to ever touch the eyes of this woman" (23)

Symbolism of light

synecdoche of eyes

" I discovered that all these rulers, what they all had in common was an avaricious and distorted personality, a never-ending appetite for money, sex, and unlimited power." (34/16)

quote

"observing what went around them with wary, doubting, stealthy eyes, ready to pounce" (35/16)

• eyes synechdoche

• zomorphic diction ⇒ pounce

“Life is a snake. They are the same, Firdaus. If the snake realizes you are not a snake, it will bite you. And if life knows you have no sting, it will devour you.” (72)

• zoomorphics description.

• Antithesis

• Polyptoton

• social power

power imbalancers in a patriarchichal society

Gender roles and feminism

> Struggle for agency and independence

> Commentary on patriarchal societies

“He seeks to have me as his property” (21)

“Scientists proved it that women are the weaker sex and it’s in my books (4)”

A statement reflecting patriarchal beliefs that promote male superiority and female inferiority, emphasizing societal misconceptions about gender roles.

"Sadiku: will you be Baroka’s own Jewel?”(20)

A question symbolizing a woman's objectification and the expectation of submission in a patriarchal society.

Sadiku: “The lion sent me” (19)

Sadiku acknowledges Baroka's power and influence, hinting at her role in his life.

“tell me of my fame, loveliness beyond the jewels of the world” (20

This quote reflects the character's desire for recognition and emphasizes notions of beauty and fame in relation to value.

“Above my beauty, he seeks new fame” (21)

Sadiku expresses her awareness that Baroka desires to enhance his reputation through her beauty, prioritizing fame over her physical appearance.

"Lankunle: A savage custom, barbaric, outdated, rejected, denounced,... redundant, …. remarkable" (7)

• Diction (word choice): Harsh, negative words like savage, barbaric, outdated show Lakunle’s deep scorn for traditional customs, especially the bride price.

• Anaphora and Asyndeton: The lack of conjunctions (asyndeton) and repeated structure intensify the speech's emotional rhythm and urgency, suggesting obsession or frustration.

• Tone: The tone is highly judgmental and pompous, reflecting Lakunle’s arrogant, colonial-influenced mindset.

• Ellipsis (...): Used to mimic hesitation or dramatic effect. It may imply Lakunle is searching for more intellectual-sounding words or uncertain of his argument.

• Irony: The final word, remarkable, contradicts the previous insults. This is ironic, possibly unintentional on Lakunle’s part, and undermines his entire rant.

• Characterization: Through his speech, Soyinka presents Lakunle as pretentious and insecure—more concerned with sounding modern than truly understanding either tradition or progress.

• Satire: Soyinka uses Lakunle to mock shallow Westernization and the blind rejection of one’s own culture.

"and eat–not with fingers but with knives and forks, and breakable plates like civilized beings" (8)

• Diction: The phrase "civilized beings" implies superiority and reflects colonial ideas of refinement, suggesting that traditional ways (eating with fingers) are uncivilized.

• Juxtaposition: The contrast between "fingers" and "knives and forks" highlights Lakunle’s obsession with Western practices and his rejection of African customs.

• Symbolism:

  • Knives and forks symbolize Western modernity and supposed "progress."

  • Breakable plates ironically suggest fragility—possibly a subtle critique by Soyinka that Western values are not inherently stronger or better.

• Tone: Condescending and self-righteous, reflecting Lakunle’s belief that adopting Western habits makes one more "civilized."

• Irony: While Lakunle promotes modern practices as superior, his shallow mimicry of Western culture appears ridiculous, reinforcing Soyinka’s satirical portrayal of him.

• Characterization: This line furthers Lakunle’s role as a parody of colonial mimicry—he is more concerned with appearances than meaningful progress.

"Bush girls you are, bush girl you'll ever be, uncivilized, primitive bush girl" (9)

ad hoemien fallacy

anaphora

• Repetition: The repeated phrase "bush girl" emphasizes Lakunle’s scorn and attempts to assert dominance by defining Sidi’s identity through his colonial lens.

• Anaphora: The structure "bush girl you are, bush girl you’ll ever be" reinforces finality and condemnation, suggesting that, in Lakunle's view, tradition prevents change or growth.

• Diction: Words like "uncivilized" and "primitive" echo colonialist rhetoric used to demean African cultures, showing how Lakunle internalizes and perpetuates these ideas.

• Tone: Harsh, judgmental, and demeaning—his language reveals frustration, possibly rooted in Sidi’s rejection of his values (and possibly him romantically).

• Characterization: Lakunle’s insulting speech portrays him as arrogant and hypocritical—while he criticizes tradition, he himself is trapped in narrow-minded thinking.

• Irony: Though Lakunle claims to be progressive, he uses regressive and degrading labels, showing how his "modernity" is just another form of prejudice.

• Thematic Relevance: The quote explores the theme of identity and the conflict between tradition and modernity, showing how colonial influence can distort self-perception and relationships.

"I am the twinkling of a jewel, but he is the hind-quarters of a lion!" (23)

• Metaphor: Sidi compares herself to "the twinkling of a jewel", symbolizing beauty, value, and allure. This shows her pride and vanity, especially after seeing her photographs in the magazine.

• Contrast / Juxtaposition: The comparison between "jewel" and "hind-quarters of a lion" is humorous and degrading—Sidi elevates herself while reducing Baroka to an unflattering animal part, not the powerful lion’s head or roar.

• Irony: Baroka is often symbolically associated with a lion (strength, cunning), yet Sidi mocks this by focusing on the least dignified part—his backside. This reveals her youthful arrogance and underestimation of his wisdom.

• Tone: Mocking and playful, reflecting Sidi’s growing confidence and her belief in her superiority over Baroka.

• Characterization: Sidi is presented as proud and naive. Her beauty has inflated her ego, making her overlook Baroka’s craftiness—a key element in the plot’s eventual twist.

• Thematic Relevance: This quote highlights the theme of appearances vs. reality. While Sidi values surface-level beauty, she fails to see the deeper power structures and intelligence that Baroka wields.

"Voluptuous beast! He loves this life too well … and motor roads and railroads would do just that, forcing civilization at his door" (25)

• Oxymoron / Juxtaposition: The phrase "voluptuous beast" combines sensuality (voluptuous) with animalistic imagery (beast), reflecting Lakunle’s confused mix of admiration and disgust for Baroka and traditional life.

• Tone: Bitter and accusatory—Lakunle sees Baroka’s enjoyment of rural, traditional life as lazy, indulgent, and backward.

• Diction: Words like "forcing civilization at his door" suggest that Lakunle sees progress as inevitable and violent, while Baroka resists it to protect his lifestyle.

• Irony: Lakunle frames civilization (modernity, roads, railways) as a good thing being forced upon a resistant people, echoing colonial justification for cultural imposition. Yet Soyinka seems to critique this very mindset.

• Characterization: Lakunle is portrayed as someone who misunderstands the value of tradition. His frustration reveals how out of touch he is with his own culture and how he conflates change with moral superiority.

• Theme: The quote captures the central tension between tradition and modernity. Baroka’s resistance to progress isn’t just laziness—it’s a conscious defense of cultural autonomy, something Lakunle fails to appreciate.

"Did you never hear of how he foiled the Public Works attempts to build the railway through Iljunle" (24)

• Allusion: This refers to a larger backstory within the play that symbolizes the conflict between traditional authority and colonial modernity.

• Tone: The tone is one of surprise or disbelief, emphasizing Baroka’s cunning and ability to outmaneuver modern institutions like the Public Works department.

• Characterization: Baroka is shown as a wise, manipulative leader who uses wit to maintain control over his town and resist outside influence. He is not anti-progress but seeks to implement change on his own terms.

• Irony: While Lakunle sees himself as the agent of modernization, it is Baroka who is actually engaging with progress strategically—he embraces parts of it while rejecting others that threaten cultural autonomy.

• Theme: The quote reinforces the theme of tradition vs. modernity and questions the assumption that tradition is passive or outdated. It also explores power dynamics—Baroka uses traditional authority to outwit bureaucratic modern forces.

"We won! We won! Hurray for Women kind!" (33)

• Repetition: “We won! We won!” emphasizes excitement and a sense of triumph, giving the line a celebratory, rhythmic tone.

• Exclamatory Tone: The exclamation marks convey joy and empowerment, highlighting a rare moment of perceived female victory in a male-dominated society.

• Collective Pronoun: “We” unites the women as a group, suggesting solidarity and shared success—likely in reference to the scene where the women believe they have outwitted Baroka.

• Irony: Dramatic irony plays a key role here. The audience knows that Baroka has actually manipulated the situation to get what he wants (marrying Sidi), making this cheer bittersweet or even hollow.

• Characterization: The women's reaction shows optimism and agency, but also naivety—particularly Sidi’s, who believes she’s in control when Baroka has outplayed her.

• Theme: The quote touches on gender roles and the illusion of empowerment. While the women momentarily believe they’ve gained power, the play ultimately critiques how patriarchal structures remain intact.

"Have you seen these? Have you seen these wrought by the man from the capital city? Have you felt the gloss? Smoother than a parrot's breast" (19)

• Rhetorical Questions: The repetition of "Have you seen these?" emphasizes the speaker's excitement and desire to impress. It also invites the listener to admire the object, creating suspense and drawing attention to it.

• Diction: The word "wrought" suggests craftsmanship and skill, giving the item a sense of value and significance. The phrase "smoother than a parrot's breast" uses vivid imagery to enhance the object’s luxury, implying softness and refinement.

• Simile: The comparison to "a parrot's breast" is a sensory-rich image. Parrots are known for their colorful feathers and smooth texture, symbolizing beauty, exoticism, and sensual pleasure. It reinforces the object's desirability and allure.

• Tone: The tone is one of admiration and pride. The speaker is impressed by the object's quality and seeks to share this excitement with the listener, possibly to demonstrate superiority or sophistication.

• Symbolism: The "man from the capital city" symbolizes modernization, Western influence, and the idea of "progress" that contrasts with rural, traditional life. The object’s smoothness represents the allure and seductive nature of modernity, which is often portrayed as sleek and refined.

• Characterization: This line further portrays the speaker as enamored with the trappings of modernity, valuing material wealth and the sophistication associated with the city. It highlights the character’s belief in the superiority of modern, urban culture.

• Theme: The quote connects to the play's themes of tradition vs. modernity and the allure of progress. The speaker’s fascination with the object embodies the tension between rural simplicity and urban sophistication, and it reflects a desire for social status and cultural validation through external symbols.

"He seeks fame // As the one man who possessed the Jewel of Iljunle!" (21)

• Metaphor: "Jewel of Iljunle" symbolizes Sidi, portraying her as the prized possession of the village, emphasizing her beauty and desirability.

• Characterization: This line shows Baroka’s desire for power and status. He seeks fame through possession of something highly valued, reflecting his cunning and ambition.

• Theme: The quote highlights gender dynamics and power, with Baroka seeking control over Sidi as a way to assert his authority and achieve personal glory.

"Why did Baroka not request my hand before the stranger brought his book of images?" (21)

• Rhetorical Question: Sidi’s question conveys her frustration and confusion, implying that her value has only been recognized after her beauty has been commercialized and showcased.

• Diction: The phrase "the stranger brought his book of images" highlights how external forces, particularly modernity (the book), have transformed her status. It contrasts Baroka’s traditional, personal approach with the modern, objectifying gaze.

• Theme: The quote reflects the tension between traditional relationships and modernity. Sidi’s questioning exposes how the advent of modern influence (the book of images) has reshaped perceptions of beauty and desire.

"The strongest of them all still wary before the Lion does!" (28)

"We must be modern with the rest or live forgotten by the world" (37)

• Diction: The word "modern" is presented as a necessity, implying that progress is essential for survival or relevance in the world, while "forgotten" suggests a dire consequence for resisting change.

• Tone: The tone is urgent and persuasive, reflecting a sense of fear and pressure to conform to modernity. It implies that to remain significant, one must adopt modern practices, or face obsolescence.

• Theme: This quote addresses the theme of tradition vs. modernity, illustrating the fear of being left behind and the social pressure to embrace change in order to maintain cultural relevance.

"We'll print a newspaper every day with pictures of seductive girls"(37)

• Diction: The phrase "seductive girls" uses loaded language to suggest exploitation and objectification, emphasizing the commodification of women’s beauty for male pleasure and attention.

• Tone: The tone is bold and calculated, reflecting Baroka’s manipulative nature. He plans to use modern media to control and influence public opinion, particularly by exploiting women.

• Theme: The quote touches on themes of exploitation, gender roles, and modernity. It demonstrates how modern tools (the newspaper) are used to perpetuate harmful, patriarchal values by commodifying women.

• Irony: Baroka’s plan reflects the corrupting influence of modernity—what could be a tool for progress (a newspaper) is instead used to reinforce traditional gender inequalities.

"The madman of Iljunle"

• Diction: The use of "madman" immediately paints the character as irrational, dangerous, or an outcast, creating an image of someone who is detached from societal norms or misunderstood.

• Tone: The phrase carries a derogatory tone, suggesting that the character (likely Baroka in this context) is seen as eccentric, rebellious, or out of touch with conventional behavior, potentially isolating him from others.

• Symbolism: "Madman" may symbolize someone who challenges traditional norms or embraces a different way of thinking, perhaps representing Baroka’s unconventional yet strategic methods to maintain control in the village.

• Theme: The phrase connects to themes of power, control, and outsider status. Baroka, despite being labeled a "madman," may be a figure of authority who uses his nonconformity to assert dominance and outwit others.