®1..·r·····aa ll·' - Lagos State University

ABOUT THE BOOK~",~~~Religion is the key to human existence and hational

development. As it was in the past, religion hascontinued to exert both positive and negative impactson society and human coexistence. Its impact is felt ineducation, politics, policy formulations and value. It.These are some Qf the issues vehemently argued and ,beautifully illustrated in this volume of the Festchrift inhonour of Dr. LateeefO. Jimoh. The volume is divided intofive sections. The first section in the volume takes a look atthe effects of poverty on the socio-economy of the nation. Thissection also argues that development can be attained by nation that shunsriba, promotes institution of Nafadah, Islamic education and pay closeattention to the informal sector.

The second section examines the relationship between religion and moraldevelopment of the nation. Thesection advocates sound family role, godlydressing code, functional ethical revolution and family moral education aspossible solutions to moral decadence in society. The place of the twomain religions in Nigeria, Christianity and Islam is the focus of the thirdsection.

The section following that argues that religious dialogue of proverb andpoetry can contribute positively to national development. The last sectionargues that the political state of the nation is determined by its religiouspractices. Therefore the section argues, properly practised and harnessed,religion can bring about peace, unity and development to the nation.

Considering the insecurity, lack of policy implementation, sad educationalsituations and deplorable economic condition in the country, the place andthe role of religion in Nigeria cannot be over emphasized.

®1..·r·····aa ll·'911789789 324477

GAZHlrt: Boon

'l>1-ell(;JOj~c9" "* *"~.:

perth, western australia.lagos, nigeria

Joy tal Prints 08034237146

religion and 'national development(Festschrift In Honour of Dr Lateef O. Jimoh)

.,"'.~

Edited By:Femi AdedinaEzekiel Bolaji

Religion And National Development(Festschrift In Honour of Lateef O. Jimoh)

WHERE THE UN£S MEET:THEMJ1JIC PARALLELS IN ORIKI(YORD8A PRJ1;(SE POETR'1) ANDMp,Dllb (ARA8IC PJ1,NEGYRIC)

daud azeez. ONIYINDE

Daud Azeez Oniyindcis a Lecturer in the Dcpartrncnr of Foreign Languages at theLagos State University, Ojo. He obtained both Bachelors and Masters of Art

in Arabic languages and literature, currently working on his Ph.Dprogrammes. His Area of spccialisation is in Arabic

languages and literature.+2348023269062,daud.oniyidc@lasu,cdu.ng

IntroductionOff all the strongest and widest of literary genres from timeimmemorial to the present, is the praise poetry, through whichsomething of good qualities and peoples of high repute in thesociety are recognized and saluted, This tradition has been thepractice of so many societies under a number of differentnames. However, the fact still remains that they all share thesame objectives and ideas; as an exposition of socio-culturalvalues and historical documentation of life of peoples andplaces. The act is popularly known among Yorubas as Oriki,


(Praise Poetry) and as Madiik (Panegyric Poetry) in Arabsociety. Though, the two concepts portray the same ideas andsimilar thoughts that are going to be analysed in this study. It isthe interest of this chapter to focus on interpretation of thesignificance of oriki and Madlin through their thematicillustration to bring out the true picture of several socio-culturaldynamics that formed the Yoruba and Arab societies. This studyhopes to substantiate by one way or the other the assertion ofsome historians that Arab arid Yoruba share the same historicalbackground.

...

Orikl; Its Origin in Yoruba Traditional BeliefsThe word oriki is etymologically deriveis d from Ori (head)(not the physical head but destiny which virtually called Ipin,Ayanmo and Eleda). Ori is an important deity in Yoruba beliefsystem, subjected only to the Supreme Being. It is the abode ofeach choice of fulfilment as individuals strive to achieve theirdestiny. It is a person's guide to attain success and greatachievements in this world and in heaven. A person without ahead is a person without direction. So at a point in time ori needsto be praised and eulogized by the owner so that it would revealto him a new source of strength-or a better course of action. Thisis how Ori became subj ect of praise (Ori ti an ki)

The Conceptualization of OrikiThe term Oriki, according to Akporobaro (1994:61), is a formof poetry that is specifically designed for eulogy to portrayvirtues of a given subject. It is also defined by Akiwowo (I 983)as a praise chants or recitation of achievements of anindividual's or group ancestry, and similar oral works which areintended to make full a person's image of himself, or to providea great amount of historical or biographical information to aperson or group in order to create a full sense of self-awarenessor identity in that person or that group. Oriki is one of the mostwidely used poetry in Yorubaland other part of South-West of:III


Africa composed for innumerable subjects of all types; human,animal, plant and town that capture the essence of the objectbeing praised. It virtually features in all the sub-genres ofYoruba oral poetry like ijala (hunter chant), iwi egungun(Masquerade chant), Ese Ifa (Ifa Divinatory poems), 010(incantation) and well distinguishable by their vocal qualitiesand their musical contours.

Ogunbote (2003:251) and Barber (1991 :80) assert that Oriki isconsidered as the most significantYoruba poetry for the reasonthat it serves as the depository of the culture, civilization andnarratives of peoples; political figures, kings and heroes. It alsocommemorates personal achievements, memorable events andactivities that people consider important such as naming,marriage, and chieftaincy ceremonies and funeral ritual amongothers. It is also amode of greeting that is highly recognized bythe elders to greet young ones and people of high repute in thesociety such as kings and chiefs on a daily basis by chanting orsinging along with specific drum. Ogunbote (2003 :251) noticesthat the composition of oriki is subjected to acquainting withthe family background of the subject of oriki. and his physicalqualities. Olajubu (1981 :79) further argues that the artist needsto learn proverbs, incantations and wise saying, together withtechniques of creating new oriki from the profile of a personand any other fact that he may encounter for the first time. It isadmitted that it is an act that requires special skill, learning,memorization and knowing different types of oriki such aslineage Oriki (Oriki Orile) and personalised oriki (OrikiBorokini). Olatunji (1979a) quoted Babalola thus "all oral poetsinterviewed assert that oriki, especially all oriki orile (lineageoriki) is the most deciding factor in assessing the competence ofan artist. Similarly, according to Barber (1991: 184-7) Orikiplays a very important role in self-aggrandisement andglorification in the society. It is the main instrument throughwhich reputation was publicly acknowledged and enhanced. InBarber (1991: 67) the idea is stressed in the following lines;

-iApr 'r ~",,'"'" #$'~"cl:.W' .t:lWf,i,ra",:; ~::» ~~'J""; ~*\~.26Religion And National Development(Festschrift In Honour of Lateef 0, Jimoh)

8

A kidagbaojeKamalalaje'NiJotabagboti a ba too, niomo enifi kini

One cannot attain the old age inspiritualityWithoutacquiring some bynameWhen onegrows hoaryThechildren chant such byname.

. Oriki also serves as a link between the ancestors and theirdescendants whenever it is being chanted for theirremembrance. Olatunji (1984:67) among others quotedBabalola to have said;

It is traditionally believed that the correct performance oforiki in honour of aprogenitor gladdens the progenitor inthe world of the spirits and induces him to shower blessingson his offspring on earth. The reciting or chanting of theappropriate oriki in honour ofthe ancestors of.aparticular

family causes members of that family who hear theperformance tofeel very proud of thepedigree, and if theyare then far away from home, they also feel exceedinglyhomesick

Perhaps, It is worth noting that whenever artists perform theoriki of particular peoples correctly the inspired ones use togive a valuable materials in cash or in kind as a sign ofappreciation and gratitude.

MadiiQ(Arabic Panegyric)Madiih is one of the most important genres in Arabic literature.According to Stetkevych (1996:119) "it is the most dominantgenre of the classical Arabic ode throughout the Islamic period,indeed down through the neo-classical poets of the first half oftwentieth century". It is the most popular and effective type ofArabic poetry that eulogizes and glorifies tribes and praises all


sorts of good qualities and virtues of people and portraitsprominent personalities in the society in light of theirexemplary morals. During the Pre-Islamic period (Jdhiliyya),madiih celebrated the 'pre-eminent tribal virtues of solidaritysuch as chivalry, courage, noble linage, liberality, hospitality,generosity, patience in adversity and forbearance towardsenemies. Arabic panegyric poetry is more than praise; it ismoral redeemer for the reason that people like to be admiredand recognised in the public with good attributes, so theyendeavour to be more conscious of what they do. The linkagebetween public life and the composition of ringing odes hasremained a direct one from the pre-Islamic era when the poetwas a major verbal weapon, someone whose verses could beinvoked to praise the heroes of his own tribe and to pour scornon enemies. Margaret Larkin (2008:18) quotes Ibn Rashiqdescribing panegyric as follows:

Whenever apoet emerged in an Arab tribe, the other tribeswould come and congratulate them. They would prepare

food and the women would get together toplay ihe lute, asthey do at weddings, and the men and boys would announcethe good news to one another. For apoet meant protectionof their honor and defense of their reputations,memorializing of their glorious deeds and singing oftheirpraises.

Arabic panegyric emerges from other poetic themes as Allen(2000:85) observes that personal and tribal boast (fahkr),invective and lampoon (hijaa'), and elegy (Rithaa') are all thecomponent of panegyric. In pre-Islamic period, panegyric iswell known for the celebration of life and value of tribe likebravery, fidelity and generosity and other notable personalitiesamong the tribe. Dayf (2004 :215) states that during the Islamicperiod the subject of praise poetry shifted to devotional praiseof Islam and Prophet Muhammad and his noteworthy victoryover unbelievers. Consequently, Hassan b. Thaabit (d. 49/670)was recognized as the prophet's poet who used his poetry to

~ , ,'l126~ ,&-"4fReligion And NatIonal Development(Festschrift In Honour of Lateef 0, Jimoh)

eulogize and defend Islam and the entire Muslims. Allen(2000:87) stated that Ka'b bn Zuhayr was another outstandingpanegyrist who devoted his poetry to the Prophet to the extentthat he was reported to have wrapped him with his mantle (al-Burdah) as a s}gnof pleasure and enjoyment.

Themes Analysis of Oriki and Madiil} in Both Yoruba andArab CulturesOriki and Madiib as a Means of Personal IdentificationA major marker of both oriki and Madiih is that it serves as ameans ofrecognising and honouring peoples of high standard,who distinguished themselves with unique attributes that arepraiseworthy. In Yoruba society, for instance every baby isgiven art oriki name at birth and as a person grows up, he or shewill gradually acquire more orlki, reflecting his or her qualities,characteristics, and actions which he shall be saluted in life. Atthis point, various types of oriki have been identified as follow;personal Oriki (Oriki Borokini) for those who possessedworthwhile qualities such as military might, courage,diplomacy, royalty, magical power, physical appearance, skillin one's profession and those who are born under certaincircumstances like, Taiwo (the first born of twins.), Kehinde(the second born of twins), Ojo (he is a child born with the cordtwined round its neck) Ajayi (A child born with the facedownwards) and so on. Whoever falls under these categories ofpeoples would be identified and praised in the midst of otherswith an Oriki that is peculiar with its attitude and name. On thisnote, Babalola has collected fifty one personalised oriki in abook entitled (Awon Oriki Borokinii. However, the majority ofthe people mentioned by Babalola are no more alive but the factstill remains that their oriki are still much relevant and always inuse for whoever possesses any of their qualities and names.Among the notable peoples in Yoruba history is Latosa Are-Ona Kakanfo who was recognized and praised as one of themost courageous warriors in Ibadan land in the following lines,

Religion And National Developinent(Festschrift In Honour of Lateef 0, Jimoh)

Agbaku olopo Ayan ••Asubiaro, agadaguduOlodeokutaab 'oke die se ogunkomukowaleAjanaku MoriolaAgbe 'gi nla soko

Agbaku Who made the pillars (of his house) fromAyan tree.Asubiaro, the greatHe who beatified the front of his house with marbleWho used hill as charmHe who refused to return home until he accomplishedhis goalAjanaku Moriolawho used big treefor hoe stool. (Babalola 1981:90)

The physical appearance and comeliness of person can alsoconstitute the ingredients of oriki as Olaosun of Ikire iseulogised in the following lines;

Eni Obinrin ko lonaTo tupuru sekuno ni bi ko bajoko eniA si jale eni, Baba ayanlowo

He whom a woman meets on the wayAnd burst into tears proclaiming thus;If this cannot be one's husbandLet him be a casual lover,father of Ayanlowo.

(Ayanlowo 1978:93)

However, the idea of personal recognition by oriki in Yorubasociety is also the same in Arab society. In the Arab society,each tribe has its own poet mainly for eulogizing the tribe andindividual members of the family for their noble characters andunique qualities. Besides, notables such as Chiefs, kings andrulers occasionally invite poets to their homes for the purpose


of honouring and praising them. Poet thereafter is given aworthwhile gift either in cash or in kind. Abu Tamaam isreported to have praised al- Mu'tadid bi-llaah for the uniquequality of his leadership; generosity and kindness that he standsfor in the following lines;

(Praiset-to the leader of the world, whose his virtues andgenerosityare commended by allHis attitudes, courageous, kindness, generosity, purityand providing for all dependents.He is an ocean for whatever directions that you mightmeet himand abyss is his kindness while seashore is his generosityAnd ifnoting remain in his hand except his soul,he would give it out, so the beggar shouldfear Allah

(al-Haashimiyy 2005: 644)(see Appendix i)

In addition, the conflict and violence that occurred among thecompanions immediately after the death of the prophet duringthe Umayyad and Abbasid dynasties gave birth to sects andpolitical groups that promoted Arabic panegyric poetry. Thepolitical situation made political leaders, patrons, militaries,commander and religious leaders to patronise poets to praiseand defend their ideologies. Al-Farazdaq praised Husayn bn'Ali. as follows:

This is the son of the best of all servants of Allah.this is the pious, the pure, the clean, and the luminary.This 1:<; the son ofFatimah ~fyou do not know,with his grandfather prophets of God were sealed.To whose grandfather bowed the honour of otherprophets,and to the honour of his community,other communities bowed.His origin. goes back to the messenger of Allah,the place of his growth, residence and nature are allsublime. (Zaki 1935:46) (see Appendix ii)

.T:' •Religion And National Development(Festschrift In Honour of Lateef O. Jimohj

Oriki and Madiih: Means of Self- Aggrandizement andGlorificationIt is natural for man to love praising of his remarkableachievements or celebration of forefathers' accomplishments inlife. This tradition is one of the main objects of Oriki andMadiih. Owolabi Fadina of lsale Asipa of Oyo, eulogise theskilful competence of his forebear as the best diviner in thefo110wi ng verses:

Emi omo a gbo sese ifa yaleEmi omo agbe eikule moye odu to huEmi omo agbofa tibitiran.Emi omo asanpele bi eni to torun bo wayeBaba mi ko niun ta lokunBaba mi ko niun ta losaIfa nlanla logbe fa oju omi lo

I am the offspring of the one who hears the sound ofthe diviningpalmnuts and enter the house.I am the offspring of the one who knows, even fromthe back of the house,what odu configurations have emergedI am the offspring of the one know ifa as do hisrelations.I am the offspring of the one who throws the diviningchain like one whohas come to earth from heaven.My father has nothing to sell across the seaMy father has nothing to sell across the lagoonIt is very long verses ofifa that he takes across thewater. (Olatunji 1984:77)

A similar expression on self-aggrandisement and glorificationin Arabic poetry is seen in the poetry of Ibn al-Faaric;i as heboasts of his existence, eloquence and oratory power over otherspeakers in the following lines;

Religion And National DeV9lopment(Festschrift In Honour of Lateef O. Jimoh)


There is no life except it emanates from my existenceand pursuing my desire makes every soul my discipleThere is no speaker without talking from my words, andno one looks except through my eyeballWhoever refuses to inherit from me perfection, suchalways an imperfect person and shall be inperditionSirraaj al-Diin (N.D:40)(See Appendix iv)

The ample example of such oriki is part of Oriki Onikoyi thatgoes as follow;

Omo Apaja Jim won rawoEla omo oko, ng 0 gbodo j'eran egaOmo Layimese apejoye (Babalola 1967: 30)

The son of the one who killed the dog so that people mighthave its skinEla, the offspring of the triplet, who do not taste the meatof the weaver~S'birdThe son of Layimese who was invited to lake the throne.

Abuu al-Ulaa' al-Ma'rii of Abbasid period also boasts of hisknowledge and potential over the generation before him asfollows

My remembrance has circulated all over the cityAnd who among them can conceal thefull brightness of sunHowever, ifit has happened that J came at lastpart oftheireraI can do what the (scholars) of the first generation wasunable todo

(al-Haashimiyy2005:666) (SeeAppendixiv)

The above oriki, alludes to the death of the first Onikoyi. He issaid to have died in the forest and his corpse was not found untilthe third day as some birds had already been feeding on it.Perhaps, the manner of his death made him an object of ridiculeamong his opponents and the type of birds that fed on corpse.Since then the Onikoyi lineage vowed not to eat weaver bird

\(Eye Ega) .Oriki and Madii/;l as a Source of Historical FactOriki and Madiib serve as a source of history and culture of theYoruba and Arab respectively. In Yoruba for instance, everytribe has oriki Orile that contains the historical background ofthe tribe, their custom and the past and present events. This facthas been ascertained by many scholars such as Karin Barber(1991), Akinyemi, (1991), Olatunji, (1984), and Johnson,(1976), oriki also plays the role of historical record keepingamong the Yoruba. According to Karin Berber (1991: 16)

It is Oriki which tells where a person originatesfrom, howpowerful his ancestors were, how wealthy they were and allthe noble things that they had done ... Oriki, then can openwindow simultaneously onto thepast and thepresent. Theyare theprincipal means by which a living relationship withthe past is daily apprehended and reconstituted in thepast.They are not history in the sense of an overview or attempt tomake sense of a sequence of event, but ways of experiencingthepast by bring it back to life.

The pre-Islamic poetry has also been considered as the registerof the Arabs life (Diwaan aI-'Arab), an archive that keeps theirpast. Ibrahim (2003:5) emphasizes that the whole poetry of thepre-Islamic period constituted Diwaan al-Arab, - a register that

.preserved the genuine social-cultural, political and religioushistory of the peoples. The inter-tribal wars Ayyaam al-Arabwas documented by poets as illustrated in the following lines;

O! The princes, you can now make enquireConcerning what you know notYou shall be informed by whoever witnessed the battlethatIalways frequent at the battle field and latter abhorredthe booty.(Dayf 1970:28) (see appendix v)

...

1IIt,

I II II


Oriki and Madiih: as An Identity MarkerIn Yoruba for instance, it is well known .that.each tribe has a,distinctive oriki that is called oriki orile. (Lineage oriki) whichdistinguishes one tribe from an others. Babalola has collectedTwenty-Seven of such lineage as Awon Oriki OrileMetadinlogbon. Tribes like Onikoyi, Olowu, Olofa, Olugbon,Olu-Oje, Aresa and so on. The oriki of each tribe serves as abound that ties the kinship and reunites the member of eachtribe at home and abroad, no matter how long they had beendistanced from their origin and differed in religion andideology. In this respet, Barber (1991: 135) says;

People from the same place of origin, the same 'Orile'says we are one. When they meet in the course of tradeor other travel they recognize an obligation to help eachother, and observe aprohibition on intermarriage. Theyhave a number of things in common. They may sharecertainfood, taboos and specialfuneral custom

Onikoyi lineage was praised thus;Iya bi mi loluIkoyi omo eru ofaOmo asiju apo piri da igba ofa sofunOmo apo-fun yoyo da igba ofa sileOmo afiku pa oko oba runOmo obunrin-burinfo ohun ogun yanmun-yanmunIko ti ko rogunja toja igboro logun

I was born greatOnikoyi offspring of who has bundle of arrowOffspring ofwho opens thequiver suddenly and swallowtwo hundred of arrowsAnd throw up two hundred arrows againHe who destroys the king'sfirm by deathHe who talks of war while hegoes onHe who wages war against the public in the absence ofopponent (Adeoye 1972:40) .

~"


I.

In the Arab society there are various tribes as well, each tribewith different qualities and identity that the poet used to praisethem at all time. For instance al-Samaw'al praised his tribe asfollows;

We are a people who do not consider death as adishonourWhen 'Amir and SaHU'stribes consider it as such.Love of death draws our appointed time to us, but theirtime isprolonged because of their disgust/or deathNone of our leader dies naturally while no one lives longer except he would be killed

(al-Haashimyy2005:650) (See Appendix vi)

Oriki and al-Madiih: as A Means of Worship andIntercessionIn many religions, songs of praise is a key item of worship. Thisis equally true of the Yoruba and pre-Islamic Arabs. In Yorubaland there are various orisa (Deities). Each orisa has oriki inwhich the devotees chant before this orisa in order to invoke itsspirit before making any request. According to Akinyemi(1979: 188), a proper recitation ofthe oriki of a particular orisawill evoke the spirit of the orisa to be in good mood and therebyshower its blessings on its devotes, while a correct delivery ofthe oriki of an orisa devote will boost the image of the devotesand entertain him. The following is a praise ofObatala

Bata-banta ninu alaOSlin ninu <lIft6 ji ninu ala6 ti imi ala dide

Immense in white robeHe sleeps in white clothesHe wakes up in white clothesHe rises in white clothes. (Idowu 1996:72)

In another oriki there is a particular interesting aspect, whichsays:

h I 7 I II


Obatala kdf epoObatala ko f osun

Obatala abhors palm oilObatala abhors cam wood (Ibid. p73)

It is clear that in pre-Islamic society the Arabs had deep-rootedlove for the tribe to which they belonged. This belief in thegreatness and excellence of their tribe led them to carve a deityof their own which they worshiped, invoked and asked them fortheir assistance by chanting songs of praise around them.According to Ibn al-Kab, al-Uzzaa was the greatest Idol amongthe Quraysh to which they otIered exclusive gifts andsacrifices. The Quraysh used to invoke her sprit during theircircumambulation round the Ka'bah saying;

By al-Laat and al-Uzzaa, andManaat the third idolbesideVerily they are the most exaltedfemaleswhose intercession is to be sought(Suyutii: 1999: 58) (See Appendix vii)

However, many Qur'anic verses made it abundantly clear that. the Arabs of pre-Islamic period believed in the existence of

Supreme Being, some group proclaimed that they were seekingthe true religion of their father Abraham. In this respect, ZaydAmir b. Nufayl of pre-Islamic period praised Allah thus;

ToAllah 1give my praise and my thanksgivingA sure word that will notfail as long as time lastsTo the heavenly king, there is no God beyond HimAnd no lord can draw near to HimBeware.D men, ofwhatfollow deathYoucan hide nothingfrom GodBeware of associating anything with Allah(Ibid:p40)

cO

.

"

Religion And National Develo;Hnenl(Festschrift In Honour of Lateef O. Jimoh)

Moreover, panegyric has developed into the al-Madh al-Nabawii (Eulogy of the Prophet) in the 7thcentury to invoke theProphet's intercession. Therefore, Imaam Sharf al-Diin al-Buusiirii (694/1295) is one ofthe Muslim poets that composedQasidali al-Burdah (Mystical Panegyric Poetry) that isassociated with miracles and devotion. Muslims recite it toinvoke the blessing of the Prophet and seek for his intercessionon the Day of judgement and otherworldly demands right fromthe time of al-Bu'liri till date. The poem was so popular duringthe Othman period that it was said that the tomb of the prophetwas. decorated with its verses, only to be torn down with theadvent of the Wahhabi movement in Saudi Arabia. Thefollowing praised the prophet as follows;

How could other prophets match you in status? 0 theexalted one withwhich no height could complete with.They did not match you out in your sublimit .for theyhad beenprevented by highness and aflash from you .You are the (incandescent) lamp of every honour, hence,light radiateforth only from your light.

(Asian 2008: 38 )(seeAppendix viii)ConclusionThis chapter has shown that despite the disparity ingeographical location, colour and language between theYorubas and Arabs, the two societies still shared some socio-cultural elements. The chapter had shown discovered how orikiand Madiik possessed a variety of functions which relate to manand society in general. To ascertain this fact, the chapterdiscovered that both genres are not merely items ofentertainment as it may be thought by some, but, rather,


exploration of the historical background, beliefs and values ofthe Yorubas and Arabs. Oriki and madiih is-used as a means ofself-aggrandizement. The research also established thatthrough oriki and Madiih, people that belong to the samegeographical area and are bound together with the samelanguage inay not share the same historical background andcustoms. Finally, it is a link between the temporal world and thespiritual realm, whenever oriki or Madiih is correctly chantedin tribute to the ancestors or deities in form of worship. Thechapter also revealed certain area of similarity in the wordviews of both Arabs and Yorubas.

iI\11

;- Religion And National Development(Festschrift In Honour of Lateef O. Jimoh)

Appendix of the Arabic Texts

~ ,..:;is Ijj.IJ ;,JI.:aJ.o

• t•• ,•• ~.iJ~

~\....oJ~J"'~~

• •• .~I J'lliLf.l ~

,t fth ~\IaI JllI.}llII~

IJ .pl,)I'~ ''''tI

~~I' t~J~\~JII ".,&JlJ(...Ji.o.:.,LI.

'Jj)ot v'" JlIj;!.)"eAl",' tj,;;llj'ilfo~JL....oirJI ;) uo$U ~ .,'&-

J-,.I.Sl. ~~".. ~ JI.ii.\I

J.jlj~1 ~ ~ ~ 91

~ ~ ~ 4..L.4 i;J.S ill,..u.ll w ~iJ .,&j-ll ~i

.,..,L:.-:; } I~1 L..,H uu, I,y.j

J..,L-o;J .>-'~ ~ij U I~!

JJh . j j 1'i4T ~jS...iJ

,1 !ii ilLS ~ u.... Jlo '1J

<!;>~I t...JLiJI iu....,.Aj..J cJ+l& W ill'

,L.,.o; 4-UJu, U .\.,' L:!

,I ;"J P#J~ olI.l..t u...J.I~~I 4.~ 0& 1! J~

.1 ., J! oIl1 ~ ••••• ~

1....+ Jl!!JJ~J "'j~J ~ v-, .~;i.,rJJilI ~iv- H .,.

• 'JJ~4iS)()Sj~h

~.i!1 ¥.)Ii~ I~4k40 "" t.J.Ii ~ 114

41,w.YJ ~ UlJ.~ (JA

~..iI1 JJ..J (JA ~

y

",1 P'~'IJ:rji I'

,'.1 •• .lii.Ij 'i! .Jii'1J

~ J...sl ~ '!'J! ~ (JAJ

/""'-fl'uJ l:I.;II ,) Ij.ll;" J!J

~j""~).:.iSulJu)J

dJu ~I L:! l'.t-iJi .i.Jt... ~~U,J---li ~ I,y.~~

S;) y.••.•1 I~i L..h! uu, o.J

4u J.,Li <!~ u 1'.t-iJ U1J

L.U L.U4i <l,J.1 If> ':'~

wi ..Li.> ~ u.... UU UJ

<!j .11 J .::I:U...lj

.,l.o..ll~I;..UI &;\-i

,~~I ~J.,J"':; ~

L..> uJ 4':1; ~ iJ"L....:! ~

....u w J,.iJ JS c40u .::...;1

it


•.

ReferencesAdeoye, C.L(1972) Oruko Yoruba, 2nd Ed. Ibadan: (N.P)Arbery AJ (1964) Arabic Poetry: A Primer For Student,Cambridge: University Press.Allen Roger (2000) An Introduction to Arabic Literature, 1Sled.Cambridge-Cambridge University Press.Akinyemi, Akintunde (1997) "Oriki: The Essence of YorubaReligious Literature" In Yoruba Ideas- A Yoruba Journal,1(1)PpI84-188.Akporobaro, F.B.O (1994) Understanding Poetry: ItsLanguage, Its Forms and its Functions, Lagos: DmodusPublishers.Ayanlowo, P.E (I978) Language of the Drum Among theYoruba People, B.A Long Essay, Department of Linguistics andNigeria languages, University oflbadan.Barber, Karin (1991) I Could Speak Until Tomorrow,Edinburgh: Edinburgh University Press.Babalola Adeboye (2000) Awon Oriki Orile Metadinlogbon,Lagos: Longman Nigeria PIcDayf, Shawq (2002) Tariikh Aadaab al- 'Arabi-al- 'asr al-Islaamii, 20th ed. Egypt: Dr al-Ma'aar~f________(2004) Tariikb Aadaab al- 'Arabii-al- 'Asr al- 'abbasii al-Uulaa, 16th ed. Egypt: Dr al-Ma' aarif.----- (2001) Tarlikb Aadaab al- 'Arabii-al- 'Asr al- 'abbasii al-Thanii, 16'h ed. Egypt: Darual-Ma'csrjf--------(1970) al-Buuulah fil-Shi'r al-tArabti .z" ed. Egypt: Dral-Ma'rif.Folorunso, A.O (2006) The Famished Artist in a FamishedSociety, rr Inaugural Lecture Series, Lagos State University.Folaranmi, Stephen, The Importance ofOriki in Yoruba MuralArt, Retrieved on 20'h August 2010 from http://www.ijele.com/issue4/folaranmi.htmlGbadegesin Segun, Aspect of Yoruba oral Tradition:Importance, Richness and Limits in the Context of Freedom.Received on 5th June, 2011 from http://www.yoruba.org/Magazine /Summer97

.>.Religion And National Development(Festschrift In Honour of Lateef O. Jimoh)

IbrahIm, Muhammad Abu al-Fa?il and al-Bijaawii, 'AliyMuhammad (2003) Ayaam al-'Arabfil- J a a h i I iy a h ,Beirut: al-Maktabah al-'Assriyyah

al-Haashimiyy, al-Sayyid Ahamad (2005) Jawaahir al-Adab,IstEd. Cairo: Mu'asasah al-Mukhtar,

Kaylaanii, Muhammad Sayyid (1996) Athar al- Tashi'i Fil-al-Dab al- 'Arabi, 2nded. Egypt: Dr al-Ma'aarif.Larkin, Margaret (2008) al-Mutanabbi: Voice of the 'AbbasidvPoetic Ideal, Oxford: One World Publication.al-Ilori. (1991) AI Qabaa'il Yawrubaa wa al-Qabaa'il al-Majaawarah lahaa fiNayjiiriiyah1 st ed. Egypt: Mataabi' al-Zaharaa' Lil-'Alaam al-'ArabiiMuhammad, Siraaj-al-Diin (n.d) al-Fakhr fi-al-Shir al-Yrabi,Beirut: al-Raatib aI-Jaami' iyyah.------------ (n.d) al-l••ladii/:lfil al-Shir al- 'Arabii, Beirut: Dr al-Rtib al-Jm'iyyah,al-Musawi, Muhsin, J. (2006) Arabic Poetry: Trajectories ofModernity and Tradition, London and New York: Routledge.Nasiif, 'Amiil, (n.d) Arwa' Maa Qiila fil al-Madiih, Beirut:Oar-al-JI.Olatunji, O. Olatunde (1984) Features of Yoruba Oral Poetry,Ibadan, University Press Limited, IbadanRose AsIan (2008) Understanding the Poem of the Burdah inSufi Commentaries, M.A Dissertation, American University ofCairo.al-Raafi', Muhammad Saadiq (1997) Tariikh Aadab aI-'Arab,VoI.l, Egypt: Maqtab al- 'umm.al-Shahrii, Zaafir 'Abd al-Lah (1985) al-Madh wa al-FakhrBayna Jariir wa al- Farazdaq Waal- Akhtal. M.A Dissertation,Jami'ah Umm al-Qurah, Saudi Arabia .Sayuti, Najrnah (1999) The Concept of Allah as the HighestGod In Pre- Islamic Arabia: A Study of Pre-Islamic ReligiousPoetry. M.A Dissertation, McGill University Montreal.


Stetkevych, Suzanne P. (1996 ) "Abbasid Panegyric: ThePolitics and Poetics of Ceremony: AI- MutanabbI's "Id-poemto Sayf al-Dawlah." In J. R. Smart, ed. Tradition andModernity in Arabic Language and Literature. Surrey:Curzonl'ress, pp. 119-43.-------- (2007) "From Sirah to Qasiidah: Poetics and Polemics

in al-Bus?iiriii's Qasidat al-Burdah (Mantle Ode),Journal of'ArabicLiterature, Vol.38 no. 1.

®1..·r·····aa ll·' - Lagos State University

Documents

Transcript of ®1..·r·····aa ll·' - Lagos State University