AN APPRAISAL OF SOME SHORT STORIES FROM H.M.

NKADIMENG'S SELEPE GOMELA.

BY

LEUBA PETER DIKGALE

DISSERTATION

SUBMITTED IN PARTIAL FULFILMENT FOR THE DEGREE

OF

MASTER OF ARTS

IN THE

DEPARTMENT OF AFRICAN LANGUAGES

at the

RAND AFRIKAANS UNIVERSITY

Supervisor: Mr S.A Makopo Co- supervisor: Mr J.K.N Mabuza

JULY 1996

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ACKNOWLEDGEMENTS

I wish to express my sincere gratitude and deep appreciation to the following people:

Mr S.A Makopo, my supervisor, whose unmeasurable assistance and

guidance made it possible for the successful completion of this study.

Kolobe!

Mr J.K Mabuza, my co-supervisor for his scholarly guidance and

constructive criticisms.

My wife, Selina and our children, Lerato, Lebogang and Thato for their

patience, support and encouragement along the way to have this

study completed, whilst bearing the pangs of my absence and

"night vigils"

My mother, Mamotele Matilda for having laid the foundation of all my

studies and also for the moral support and encouragement she has

given me during the preparatory stages of this study, even in the most

depressing moments. Kgaladi!

Stanley Mntambo, my former colleague at Musi High School for having translated some Zulu proverbs and idioms into English for me during

my coursework.

Dr. JHM Kock for his inspiration and willingness to provide me with

some materials.

Librarians at both RAU and the City Library, Johannesburg, whose

willing persistence helped me get hold of all the books necessary for

this research.

All my friends, relatives and colleagues who have in one way or other

helped me to shape and re-shape my thoughts.

Lastly, but not least, I am greatly indebted to Mr H.M Nkadimeng, the

author of Selepe Gomela, the collection on which this study is

based. He has been my pillar of strength by providing me with

some information I needed most during my study. Tau!

BIOGRAPHY: H.M NKADIMENG

Henry Maloke Nkadimeng was born on 31 July 1930 at Manganeng near Schoonoord in

the Lydenberg district. He received primary education at Marishane Tribal School and in

1953 obtained the Junior Certificate at Ngwana-Mohube Senior Secondary School at

Mphahlele, South East of Pietersburg. In 1959 he obtained matric through private

studies.

After having completed the Higher Primary Teachers' Course at Botshabelo Training

College near Middelburg in 1956, he started teaching at Woyenthin Primary School near

Heidelberg. He thereafter held a post in Nigel at Charterston Senior Secondary School.

He later taught at Maripi Secondary School, near Accornhoek before leaving the

teaching profession in 1962 to take up a position as a radio announcer at the then Radio

Bantu of the SABC. In 1963 he joined the then Department of Information, which later

became the Department of Planning and Provincial Affairs. He served as an editor of the

magazine, "Tswelopele" in that Department until he retired in 1992.

At present Nkadimeng lives in Atteridgeville, Pretoria. His interests and activities are

writing and watching big football matches. As an elder in the Evangelical Lutheran

Church, he is often requested to conduct church services.

H.M Nkadimeng has at present written two collections of short stories. His first

endeavour was Selepe Gomela, selected for appraisal in this study. It consists of nine

short stories. The title of this collection is part of the proverb, "Selepe Gomela o se tlo

rema be mehlare ya mehwiliri". Nkadimeng used this title to appeal to the people who

are involved in chicanery and criminal practices to refrain from such things, indicating to

them that it is enough. This collection was published in 1985 by Educum. It was

followed by Go Bjalo in 1986, published by J.L Van Schaik.

Nkadimeng has at present written another collection of fourteen short stories, titled

Semphekgothwi, which is due to be published by J.L van Schaik. He is at the same

time putting together some information in preparation for the fourth collection of short

stories. Nkadimeng's other works are Senatla Moferehli, a novel published by J.L van

Schaik in 1965, Kgosi Sekwati Mampuru, a biography of chief Sekwati Mampuru of

Sekhukhuneland, published by J.L van Schaik in 1972, Katanophelo, a novel also

published by J.L van Schaik in 1972, Ntshutelele, a drama published by J.L van Schaik

in 1985, Bana ba mpa ba a Jana, a drama published by J.L van Schaik in 1989 and

Lehladi o pshatlagane, a novelette published by J.Lvan Schaik in 1991.

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SUMMARY

Lehumo le tlisa bokgoba

Lepheko, the main character is very rich. He has cattle, sheep and goats and does not want anyone to come near the kraal, as he suspects that his livestock may be stolen. He ends up being hospitalized and eventually loses his senses, because he thinks too much about his riches.

Ruri o mpolaile hlogo ye ntsho.

Lekoko is a victim of theft by his cousin, Leswiswi. When Lekoko enquires about his money, Leswiswi denies having stolen it. Leswiswi is ultimately taunted by his conscience for stealing and consequently goes to Lekoko to confess that he has stolen the money.

Mahlajana a a lahlega e le run

Motlalepula, the main character sells dagga but it does not take long before he is discovered by the police. Motlalepula knows beforehand about the intention of the police to raid his place, because he has a spy who keeps him informed. He therefore organizes a "funeral" with his customers acting as mourners to prevent the police from arresting them. During their first visit, the police believe that there is indeed a "funeral". When the police come for the second time, they realize that they are being cheated. They start beating up Motlalepula and his customers who then run helter-skelter.

Mogwera ke tlo fihla be wena mo o yago

Selepe and Sefepi are good friends who do many things together. After marrying, their wives also become close friends. Selepe buys a car and goes on a journey with Sefepi. The car overturns and Selepe dies instantly. After Selepe's funeral, Sefepi tries to commit suicide to join his friend in death, but he is prevented from doing so by men who are at the scene.

Letuku ke mokadikata

Letuku, the main character is a wayward person. He is hired as a driver by Letlake, who owns a bus. Letuku steals Letlake's money and the latter dismisses him from work. Letuku is offered another job by a truck owner. As usual he robs him of his money. He also cheats women by telling them that he met their arrested sons and wants to bail them out. The women give him the money , but Letuku pockets it instead. Letuku strikes a deal with butchers. He steals cattle from local farmers, slaughters them and sells the meat to the butchers. He is caught red-handed and is severely beaten up.

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Ke beleget§e dithaka

Mmadinoge has a son called Lerumo. She wants Lerumo to marry Kebadi's daughter, their neighbour. She plans this with her neighbour, whom she promises that matters will stand as planned. Lerumo disappoints her by marrying a girl of his own choice. Mmadinoge is unhappy about this, but finally accepts her son's decision to marry a girl of his dreams.

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CONTENTS

CHAPTER ONE

PAGE 1.1 Introduction 1. 1.2 Aim of study 1. 1.3 Method of analysis 2. 1.4 Delimitation of the study 2. 1.5 Some definitions of the short story 3. 1.6 The essay 4. 1.7 Origin and development of the short story 4. 1.8 The short story in Northern Sotho 6. 1.9 Conclusion 7.

CHAPTER TWO

PLOT.

2.1 Introduction 8. 2.1.1 Definition of plot 8. 2.1.2 Plot structure: 9. 2.1.3 Introduction 9. 2.1.4 Setting 10. 2.1.5 Body 10. 2.1.6 Ending 11. 2.2 Discussion of plot: 11. 2.2.1 Lehumo le tlit'a bokgoba 11. 2.2.2 Introduction 11. 2.2.3 Body 12. 2.2.4 Ending 14. 2.3.1 Ruri o mpolaile hlogo ye ntsho 14. 2.3.2 Introduction 14. 2.3.3 Body 14. 2.3.4 Ending 16. 2.4.1 Mahlajana a a lahlet§a e le run 17. 2.4.2 Introduction 17. 2.4.3 Body 17. 2.4.4 Ending 19. 2.5.1 Mogwera ke tlo fihla le wena mo o yago 19. 2.5.2 Introduction 19. 2.5.3 Body 19. 2.5.4 Ending 21. 2.6.1 Letuku ke mokadikat§a 21. 2.6.2 Introduction 21. 2.6.3 Body 22.

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2.6.4 Ending 23. 2.7.1 Ke belegege dithaka 24. 2.7.2 Introduction 24. 2.7.3 Body 24. 2.7.4 Ending 26. 2.7.5 Conclusion 26.

CHAPTER THREE

CHARACTERIZATION

3.1 Introduction 27. 3.1.1 Definition of characterization 27. 3.1.2 Types of characters 28. 3.1.3 Delineation of characters 28. 3.2 Discussion of characterization: 29. 3.2.1 Lehumo le tlit'a bokgoba 29. 3.2.2 Ruri o mpolaile hlogo ye ntsho 30. 3.2.3 Mahlajana a a lahlega e le ruri 32. 3.2.4 Mogwera ke tlo fihla le wena mo o yago 34. 3.2.5 Letuku ke mokadikaga 35. 3.2.6 Ke belegege dithaka 37. 3.2.7 Conclusion 39.

CHAPTER FOUR

THEME

4.1 Introduction 40. 4.1.1 Definition of theme 40. 4.2 Discussion of theme: 41. 4.2.1 Lehumo le tliga bokgoba 41. 4.2.2 Ruri o mpolaile hlogo ye ntsho 42. 4.2.3 Mahlajana a a lahlega e le m11 43. 4.2.4 Mogwera ke tlo fihla be wena mo o yago 44. 4.2.5 Letuku ke mokadikaga 44. 4.2.6 Ke belegege dithaka 46. 4.2.7 Conclusion 47.

CHAPTER FIVE

STYLE

5.1 Introduction 48. 5.1.1 Definition of style 48. 5.2 Discussion of style: 48. 5.3 Conclusion 55.

CHAPTER SIX

6.1 General evaluation: 6.2 Conclusion. BIBLIOGRAPHY 59.

CHAPTER 1

1.1 Introduction

The short story or short narrative is a literary genre with certain basic requirements. It is a story which is short, as the name indicates. O'Brien (Lategan, 1960:5) defines the

short story as:

...a story which is short.

This description is not very accurate, though, because brevity is a relative concept, applying more to the limits of the author's conception than to actual length.

Brief narratives about heroes, for example, were from time immemorial told, but none of them really qualified to be called "short stories," because they originated before the short

story was identified as a distinct literary genre. Reid (1977:1) says:

Not until the OED Supplement of 1933 did the term "short story" itself, designating a particular kind of literary product, gain formal admittance into the vocabulary of English readers.

The concept "short story," actually refers to a modern literary genre, that emerged

around the time of Edgar Allan Poe, and that has developed through the early part of the Twentieth Century, when a distinction was made between the short story as a literary

genre and other forms of short narrative. May (1976:14) explains:

The short story had kept pace with the modernity of the novel by becoming modern itself at about the same time in the 19th century, as seen in the work of Anton Chekhov and Guy de Maupassant in Europe, and Edgar Allan Poe in America.

In current usage, the term "short story," is generally applied to almost any kind of fictitious prose narrative shorter than a novel. With the development of the modern short

story, some kind of form of the short story is inevitable.

1.2 Aim of study

The primary aim of this study is to make an appraisal of some short stories from H.M

Nkadimeng's Selepe Gomela.

2

The concept "appraisal" means to evaluate or to estimate the value, amount, quality or

success. Like other literary genres, a short story has certain requirements. There is a great diversity in the form of the short story, but some distinguishing elements are its plot

structure, setting, theme, characterization and style. It is in the light of these elements that Nkadimeng's collection Selepe Gomela will be appraised.

As the title of this study indicates, only six of the nine short stories will be analysed.

They are as follows:

Lehumo le tliga bokgoba.

Ruri o mpolaile hlogo ye ntsho.

Mahlajana a a lahletga a le rufi.

Mogwera ke tlo fihla le wena mo o yago.

Letuku ke mokadikatga.

Ke belegetS'e dithaka.

It is hoped that these six short stories will adequately measure Nkadimeng's success or

failure in the light of the aforementioned elements.

1.3 Method of analysis

The method of analysis in this study will be based on the existing critiques and some of

the outstanding works of short story writers in older literatures such as English, Afrikaans

and other African Languages. Attention will also be focused on earlier short story

collections of Northern Sotho writers to present - day ones.

1.4 Delimitation of the study

Chapter one deals with an overview of the short story, some definitions of the short story

and comparison thereof with the essay. The origin and development of the short story

will also be dealt with as well as tracing the Northern Sotho short story from early times

to the present and lastly the conclusion.

Chapter two deals with the plot, its definition and discussion thereof with reference to

Selepe Gomela and conclusion.

3

Chapter three deals with the characterization, its definition and discussion thereof with

reference to Selepe Gomela, followed by conclusion.

Chapter four deals with the theme, its definition and discussion thereof with reference to

Selepe Gomela and concluding remarks.

Chapter five deals with the style, its definition and discussion thereof with reference to

Selepe Gomela and followed by conclusion.

Chapter six is a general evaluation as well as concluding remarks.

1.5 Some definitions of the short story.

The short story is often confused with the essay, because the two genres are known as short fiction. Consideration will now be given to some definitions of the short story. In

order to obtain a clearer picture of a short story, a brief comparison with the essay will be made. According to Ashley (1984:3) the short story:

...has certain characteristics of length, structure and style. It is prose fiction, sometimes based on truth, but always a deliberate fabrication meant to be recognized as a work of art and not to be taken literally. It is a piece of literature, drawn from life perhaps, but not life itself.

Garcia and Patrick (1961:56) define the short story as:

...a brief, imaginative narrative, unfolding a single predominating incident and a single chief character; contains a plot, the details of which are so compressed, and the whole treatment so organized, as to produce a single impression.

Although definitions are not always adequate concerning a work of art, they usually serve

as guidelines in identifying a short story. A conspicuous point in the midst of all these different definitions is that there are certain rules that govern the structure of a short story. For example, the short story writer remains in the background and presents his

story through the words and actions of his character(s) as well as through the plot. His

message or theme is his primary aim.

4

1.6 The essay

The essay usually consists of more or less the same length as the short story. Both of these belong to the category of short prose fiction. The difference, however is that in a

short story there is a leading character who does things . His actions lead towards a climax. In an essay, the writer comes to the fore. He usually expresses his views on

some subject. Good (1988:8) expresses his opinion as follows:

The essay offers knowledge of the moment, not

more. The moment is one of insight, where self

and object reciprocally clarify and define each other.

This implies that thought in the essay tends to be presented as experienced. It responds

to objects and events on the spot, not as it is later arranged and systematized. An essayist may describe some phenomenon or discuss a certain topic in an argumentative

manner.

Pretorius and Swart (1982:14) write:

The reader is taken step-by-step through the essayist's argument. The exposition gains the reader's involvement. Proof of the essayist's point of view is provided.

Although it is not easy to distinguish a short story from an essay, it is important to remember that in a short story the outstanding feature is that someone aspires to reach a

certain goal, but there are obstacles which must be removed. At the end he either

succeeds or fails. If this feature lacks, that prose may be anything else, but not a short

story.

1.7 Origin and development of the short story.

The short story as it is known today, especially in the nineteenth century when it was identified from other types of short narratives, can be traced from very ancient times.

May (1976:66) writes:

...the short story as it is known today is not only the oldest of all literary types, but had also had continuous existence from the very bogimiing of time to the present day...

5

On the other hand, Ashley (1984:5) expresses his idea as follows:

Fictional narratives were handed down by oral tradition for centuries before men began to record them in longhand or print.

It becomes clear that stories were always a commodity of men and were the ' stuff ' of

our ancestors' seemingly innate impulse to relate experiences and truths, as Smith and Hart (1981:1) explain:

For as long as we human creatures have possessed the power of speech, we have been spinning tales. Sometimes we have spun them in an effort to describe our experiences...

It can also be said that the short story originated from home, where members of the family, especially the elderly ones were responsible for narrating them to the young ones. In this regard, May (1976:64) explains:

Oral tradition begins with the first human family; and it is to this first oral tradition that we look for the genesis of the short story.

It is further made clear in the Bible that parents were responsible for the narration of tales to their young ones as the book of Deuteronomy, (6:6-7) puts it:

And these words that I am commanding you today must prove to be in your heart; and you must inculcate them in your son and speak of them when you sit in your house and when you walk on the road and when you lie down and when you get up.

When written language was developed a few thousand years ago, the ability to record and embellish the truth took a quantum leap forward. Consequently what was orally

presented became literature.

Short stories existed in one form or another throughout history. For example, the Old Testament contains' narratives about characters in Nimrod and the Tower, the conflict between Cain and Abel, king David, king Solomon, Jona and the whale and The trials of

Job. Many stories were also told in the New Testament by Jesus Christ. For example,

the story of the sower, (Matt. 13:3-8). Christ's teaching included parables, which are a

type of short story. Certain brief allegories have also been told through the ages for satiric and moral purposes, for example, the Panchatantra, literally meaning

6

"Five Treatises." These are the beast fables in Sanskrit literature dating back to the

sixth century A.D. In this regard Ashley (1984:11) says:

Scholars traced them (Panchatantra) from Buddhist sources to Sanskrit, from Sanskrit to Pahlavi, thence into Syriac, Arabic, and English.

This Indian collection, The Panchatantra, has for many centuries been one of the world's

most popular books.

Since its development the short story has come to figure prominently in the literature of

various nations, and today it is probably the most widely read of all modern genres.

1.8 The short story in Northern Sotho

Ancient people had been narrating tales or stories mainly to their young ones. They used those stories to describe their life experiences and to teach the norms and values of their societies, especially in the evenings around the fire. Groenewald (1987:8)

describes this practice as follows:

In former times the moral was put forward, and the children when gathered in the evenings around the fire, were by way of these stories, taught the moral and ethical code of their people.

When written language was eventually developed, the short story, as it generally began

to be known as such in the nineteenth century, around the time of Edgar Allan Poe, the

Northern Sotho short story came to the fore and became a relatively new genre.

Although Northern Sotho orthography started in 1861, the development of its literature in general was not realized until 1935. Serudu (Gerard, et al, 1993:157) comments:

The influence of missionaries and their writings is

reflected in the works of Northern Sotho writers who

wrote during the period prior to 1940. The year 1935

is a memorable milestone in the historical development

of Northern Sotho Literature.

7

This could be ascribed to non-literacy among the Northern Sotho people and

consequently the absence of writers. Therefore, the writing of the short story in Northern

Sotho was also somewhat delayed. Groenewald (1987:1) remarks:

Northern Sotho received its spelling in 1861, but the first literary work to be written, was published much later. The development of this literature is still hampered by the problem of illiteracy, and for that reason, not many books have been published yet.

E.M Ramaila (1968:4) acknowledges:

Re na le dipuku Ma Sesotho, eup§a mmolelo wa ge§o ga se wa huma ka dipuku tga mehuta e mentgi. Ka baka leo ke tia phutha ditaba tge dingwe tge kopana tge nkilego ka di ngwala, ke di dire puku e tee.

(We have Sotho books, but our language is not rich in books of different kinds. Therefore I will compile a collection of some short stories which I once wrote to make one book.)

The development of the short story in Northern Sotho probably started around 1951, as it

was during this year that E.M Ramaila produced his first collection of short stories titled,

Molomatsebe, which was followed by his other collection titled, Taukobong, in 1954.

Serudu (Gerard, et al, 1993:159) explains:

Two collections of short stories by E.M Ramaila appeared during this period. The first one is called Molomatsebe (1951), while the second is called Taukobong (1954).

The short story in Northern Sotho began to flourish and today, many Northern Sotho

writers have proved themselves to be among the most prominent in this genre. It can

also not be denied that E.M Ramaila, as a pioneer in Northern Sotho literature, has laid

the foundation on which later writers of short stories built.

1.9 Conclusion.

It is strikingly apparent that the short story in Northern Sotho has gained momentum due

to a good number of writers coming to the fore, because of the demand for Northern

Sotho short stories. It also becomes clear that since it initially gained formal admittance

into the vocabulary of English readers, not every piece of short fiction was a short story,

as a short story has certain basic requirements.

8

CHAPTER 2

PLOT.

2.1. Introduction

In this chapter, the focus will be on the definition of plot, headings under which a plot can

be studied and plot discussion with reference to some short stories in Selepe Gomela.

2.1.1 Definition of plot

Plot is what happens in a story. The author organizes his material in such a way that the

protagonist is no longer the same at the end of the story as when he began, and it is so

because something has happened to him throughout the story.

According to Hendry (1991:1) the plot:

...may be considered the vehicle in which other elements of the story, characters and theme in particular, are transported through a planned structure to a purposeful conclusion.

The plot is more than a mere story as it includes cause and effect that lead one event on

to the next, narrating not only what happened, but also its cause. When defining plot,

Forster (1974:93) says:

Plot is a unified and purposeful sequence of events which meaningfully relates events and detail, emphasizing causality.

In a short story there is therefore an aspect of cause and effect and it is normally by

making use of the various characters, their interaction with each other that the plot is

worked out, and it usually becomes apparent that there is some conflict. Conflict in the

short story is usually that element which brings suspense. According to Hendry (1991)

conflict is an indispensable element in the short story:

Certainly it is difficult to imagine a short story

without an element of conflict, which therefore

seems to be essential

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Conflict may invariably be a physical contest between individuals, i.e, the protagonist and

antagonist, between the protagonist and fate, the protagonist and circumstances that

stand between him and a goal, or a conflict within a character himself or herself, such as conscience, desire, ambition and a desire for revenge. One often finds a character who

at one time sides with the protagonists, only to side with the antagonists when it suits

him. He only looks after his own interests and switches his loyalty as the case may be.

This type of character is called tritagonist. Dietrich and Sundell (1967:48) explain:

Sometimes external conflicts are merely a projection of internal conflicts.

A plot moves as far away from the story as its limitations will allow. The fundamental

difference between these two aspects is that in a story the question asked is " what"? or "and then"?, whereas the question asked in a plot is " why"? What is also noteworthy is

that conflict is at the core of plot. It is the most significant element, without which it

becomes difficult to imagine a short story.

2.1.2 Plot Structure:

Plot can be studied under the following headings: Introduction, Setting, Body and

Ending.

2.1.3 Introduction

A good introduction to any story, arouses the reader's curiosity. It captures his attention,

enticing him to read on to determine if his curiosity is answered.

The first paragraph in a short story is very important as it is in this paragraph that the

main character becomes prominent. The problem facing him is also presented, and

though it is not a problem as such, there may be some questions which should

encourage the reader to read on in order to find out what the outcome will be. Lategan

(1961:12) expresses this idea as follows:

Die konsentrasie waarmee die kort verhaal sy lewensvisie gee, verg dat die verhaal uit die staanspoor die aandag van die leser moet pak en dat dit horn onmiddellik, in die eerste paragraaf, of sin selfs, moet instem op die sleuteltoon van die verhaal se lewenstemming; verder dat dit dadelik aandui op wafter element-karakter, gebeure of agtergrond - die hoofaksent val, indien slegs een van die Brie benadruk word.

10

Some short stories are introduced by dialogue in which characters are involved. The

introduction to a short story needs to be brief, thus enabling the reader to proceed.

2.1.4 Setting.

In this introductory paragraph, a setting is also indicated. Setting is a physical location of

the story, usually described by the narrator. It involves place, time and state of mind.

About the setting, Smith and Hart (1981:15) say:

Stories take place within a specific physical environment, occupy a given span of time, and usually reflect an observable spiritual condition.

With the -above example, the author sketches the background in which the story takes

place. Setting could be geographical, such as lowveld, highveld or karroo. It could also

be a social, a rural or an urban milieu. There are in fact as many settings possible as

circumstances in which people find themselves.

Setting has the function of establishing a specific atmosphere, and it is therefore

important that a setting be true to the world of the narrative. It has to blend well with

character and plot.

2.1.5 Body.

The main character is seen in the body of the story battling hard to solve his problem,

which may develop to further complications as the story unfolds. At this moment, the

reader becomes more interested in how the story will end. He perceives various

possibilities which compel him to read on. In this way the body captivates the interest of

the reader.

During the process of reading, it is important that the reader always feels that the story is

progressing and does not divert to insignificant issues. Lategan (1950:XV11) expresses

his thought:

Die kortverhaal, met sy gekonsentreerde lewensvisie,

moet uit die staanspoor die voile aandag van die leser

pak en sonder enige verslapping, gespanne hou...,moet

die verhaal langs n'strakke spanningslyn vinnig oploop

na sy spanningshoogtepunt.

11

When the short story has been introduced, the writer endeavours to keep the reader in

suspense throughout the narrative. He keeps the body of the story streamlined by

concentrating on the relevant events, excluding unnecessary details.

2.1.6 Ending.

This is where the reader gets to know the outcome of the problems presented at the

beginning of the story. The reader is supposed to be left satisfied with the solution to the

problem. Hendry (1991:20) says:

There will not necessarily be a satisfactory or even a happy ending, but it should provide clarification of some kind. Either the readers realize the significance of all that has happened, perhaps achieving as a result insight about their own values that they did not have before;or the protagonist discovers something which permits a resolution of the dilemma with which he or she has been struggling.

The ending also provides the fulfilment of what is suggested by the title of the story. A

weak ending may therefore be ascribed to the writer's poor choice of a title, which may

inform the reader how the story will end.

A successful short story should have a brief introduction, a body which concentrates

on one episode, with insignificant issues discarded and a brief ending with a clear

message neatly rounded off by an identifiable denouement.

2.2 Discussion of plot.

2.2.1 Lehumo le tlit'a bokgoba .

2.2.2 Introduction

In the first paragraph of this narrative, the author presents the main character by the

name of Lepheko. The problem facing him is also presented as follows (1985:1):

Lepheko o humile, gomme ga a huma la go bapala, eup§a

o humile le dinala moo a sa tsebego se a se nyakago mo

bophelong bja gagwe.

(Lepheko is rich, and he is not ordinariiy rich, but so rich that he does not even know what he wants in his life.)

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With this introduction, readers are compelled to think deeper as to what comes next. Nkadimeng's introduction in this story is rather too long. Although the first paragraph is the longest of all the preceding paragraphs, in this story, the entire picture of the main character is given about his wealth and the impact it has on other people surrounding

him. It is appropriate that setting also be presented in the first paragraph. Although the author does not mention where all the activities surrounding Lepheko take place, it is

assumed that it is in a rural area, as the author mentions the kraal: cattle, sheep and

goats (1985:1):

0 na le maS"aka a dikgomo; ka ga dipudi le dinku gona ga re sa bolela.

(He has cattle kraals; as for goats and sheep it is needless to mention.)

With this background it is suggested that activities are taking place in a rural area.

2.2.3 Body

The author gives some background information about Lepheko, who has a human relation problem because of his riches. Lepheko suspects neighbours, including his

family that they may steal his riches. Even when he goes to bed, he takes the money with him and puts it under a pillow. He does not even want anyone to stand near his cattle, sheep and goats. When one of his cattle becomes sick, he also becomes a sick

person (1985:2):

Le ge go le bjalo, yena mong o be a sa iketle. Leruo gagwe le be le sa mo robat§e...Ge ye nngwe e babja, le yena o a pitika

(However, he himself was not happy. He could not sleep because of his wealth...When one of them is sick, he also becomes sick...)

The suspense is realized when Lepheko refuses to accept a gift of a beautiful grey suite

with matching grey shoes and a farmers' hat from one of his sons, as he suspects that

the gift is an employment of some tricks to take his riches. This is revealed when

Lepheko says (1985:13):

Monna ke re se gona selo se o se nyakago go nna... Gomme ke a gatelela gore nka se go fe selo seo o se

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nyakago ka mahlo a mahubedu. Dikgomo tse ke tsa ka, le wena nyaka tsa gago...

(Man, I say there is something that you want from me... I emphasize that I will not give you the thing you so

seriously want. These cattle are mine, and you must also find yours...)

One day Lepheko becomes sick and a need arises that he must be taken to the hospital.

His two sons take him to the hospital against his will. He fights tooth and nail as he does

not want to go to the hospital and leave his cattle, sheep and goats behind. His two

sons, Thakadu and Podungwane manage to take him to the hospital. Lepheko refuses

as follows (1985:16):

Le re le nkda kae? Sepetlele? A le rata go mpolaya balod'ana tenang! Le gona ga ke tsebe gore boloi bjoo le t§o bo topa thoko efe ya naga Mahlatse a ka ke gore ke seise ke kwele mararankodi ao a lena le gore le kwane le ngakana yela e swanago le lena gore e ntlhabe ka dhwana ya go mpheleleda sa ruri...nna le ka se nkgone dinogana tenang!

(Where do you say you are taking me to? The hospital? Do you want to kill me you damn witches! I don't even know from which side of the land you picked up that witchcraft. Luckily, I have already heard of your tricks and that you have connived with that doctor of yours, who is like you, that he must inject me with a syringe to finish me up...you won' t do me anything you little snakes!)

When Lepheko becomes better at the hospital he starts speaking alone about his cattle

he left at home and this surprises other patients. This is revealed when he says

(1985:19):

Ke a tseba ba di hlabile balodana bao, ba ipshina ka nama ya dilo t§eo ba sa tsebego go di diga.

(I know they have slaughtered them those witches, and enjoyed the meat of things they do not even know how to sherpherd.)

Lepheko is released from hospital, but does not abandon his attitude towards his family

and neighbours. He still does not want to see them next to his cattle, sheep and goats.

Lepheko is a disgrace to his family as people start realizing that he has more love for his

riches than his own family.

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2.2.4 Ending.

This is one part of the structure that is supposed to leave the reader satisfied with how

the matter was eventually finalized. The author ends this story as follows (1985:22) :

Mokgalabje Lepheko lehumo la gagwe le mo hlakantge hlogo, Ke segafa, le ge a sa namele dithaba. Ga a kgone go dula le batho a iketla.

(Old Lepheko's riches have confused him, he is insane, even if he does not climb mountains. He cannot sit down and relax with people.)

In this story the author summarizes every activity to the satisfaction of the reader in a

brief ending. Nkadimeng ends this story in the same way as the reader would end it.

Lepheko has been enslaved by his own wealth. His wealth has made him morally

bankrupt.

2.3.1 Ruri o mpolaile hlogo ye ntsho.

2.3.2 Introduction.

The first paragraph relates about a man and his problem. This man cries because his

cousin has stolen from him. It is in this paragraph where the author is expected to

mention the name of the main character, but instead his name, Lekoko appears in the

second paragraph. He has just come back from Borwa (South) for Good Friday. The

author does not mention the name of the place where he is to spend Good Friday, which

is very important, because this is where the preceeding events take place. The author's

introduction to the story is very long as he starts by dwelling much on the issue of Good

Friday, relating what normally happens on this day, and has devoted eight paragraphs to

this issue before starting with the actual story. This is rather too essayistic, deviating

from the main trend of the story.

2.3.3 Body.

Lekoko arrives home from Borwa (South) with his wife for Good Friday. On arrival,

Lekoko suddenly becomes sick. He has stomach ache. His cousin, Leswiswi pays him

a visit under the pretext that he is going to comfort him. On his arrival, Leswiswi is heard

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knocking at the door (1985:49):

Ka yona nako yeo Lekoko ge a robetge malaong, motho a kokota. Mogatgagwe ge a bula, a hwetga e le Leswiswi, motswala wa bona.

(During that time when Lekoko was in bed someone knocked. When his wife opened, she found it was Leswiswi, their cousin.)

During the conversation Leswiswi becomes restless as he is busy peeping around in the room with the desire to steal. Lekoko's wife leaves them immediately to go and make tea in the kitchen. After a while, Lekoko's stomach ache becomes worse and forces him to leave Leswiswi alone in the room, rushing to the toilet to relieve himself. Lekoko's departure from the room becomes a good chance for Leswiswi to steal two hundred rand from Lekoko's bag. This is the moment he was looking for. This account is recorded as follows (1985:50):

Ge Leswiswi a le ka mo kamoreng, a na le Lekoko le mosadi, kganthe yena o gadigatga mahlo, go bona se a ka se topago ge lebaka le ka mo dumela.

(When Leswiswi was in the room with Lekoko and his wife, he looked around to see what he could take along with him, if circumstances permitted.)

When Lekoko returns from the toilet, he finds Leswiswi sitting with his wife looking innocently. The following day, Lekoko becomes better and this allows the couple to prepare for departure as the Good Friday is over. When they are about to leave, Lekoko realizes that his last R200 is missing. Lekoko's wife suspects Leswiswi to be the culprit. However, Lekoko does not believe his cousin can do such a thing. He is eventually persuaded by his wife to go and enquire from Leswiswi about their missing money. This is revealed when Lekoko's wife says (1985:55):

Nna ke bona bokaone e le go phula sekutu se boladu ka go giteletga Leswiswi go mmotga gore re timeletgwe, le ge a tlo gana ka ge lehodu le swarwa ka memalo.

(I think the best is to open the sore, to embarass Leswiswi, by telling him that we have suffered a loss, though he may deny, because a thief is the one caught red-handed.)

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Lekoko takes advice from his wife by going to Leswiswi to enquire about his money, but

his efforts of going to enquire become futile. This is revealed by what Leswiswi says

(1985:55):

Ke theeditge Lekoko. Fela nna ga se nna. Le gatee! Modimo a ka ntlhatsa.

(I am listening Lekoko. But it is not me. Not at all! God is my witness.)

As days go by, Leswiswi is taunted by his own conscience for theft and he goes to

Lekoko to ask for forgiveness. Lekoko advices Leswiswi that he has sinned against

God, who is the one from whom to ask for forgiveness. This is revealed when Leswiswi

asks for forgiveness from Lekoko (1985:58):

Lekoko morwarre, go kgothola ke duite ke lahlile. Ntshwarele ngwane§o! Ntshwarele dibe tga ka, ke a swa, ke a tuka, ke mofiong! Sathane o a nkwapga. Marumo fase ngwane§o!

(Lekoko my brother, I 'II never steal again. Forgive me my brother! Forgive me my sins, I am burning, I am in flames, I am on fire! Satan is withering me up. Peace my brother!)

2.3.4 Ending.

Finally, Leswiswi becomes insane. The author concludes his short story so well that the

message comes across vividly by highlighting the consequences of stealing other

people's belongings as follows (1985:60):

Gomme ya ba taba ya gona gore moipolai ga a Ilelwe...

(It then became a matter of the suicide who is not mourned for...)

This ending leaves the reader with satisfaction as to the solution of the problem. It was

indeed suicidal.

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2.4.1 Mahlajana a a lahlega e le ruri.

2.4.2 Introduction.

Nkadimeng starts this story by giving a background about life problems. He stresses the use of proverbs, such as "once bitten twice shy", which is the proverb on which this story is based. This is actually the manner in which any novel can be started. A short story requires that the first paragraph be straight forward in that it should contain the main character, his problem and the setting. Instead, Nkadimeng does this in the second paragraph. In his introduction the main character, Motlalepula, breaks the law by selling

dagga and he finally gets into trouble with the police. The author's main problem as usual, is that he does not mention the setting, the place where activities are to take

place.

2.4.3 Body.

Motlalepula deals in dagga. As it is illegal to sell dagga, his customers are not seen publicly when buying and smoking it. This account is recorded as follows (1985:72):

Bjale ge, Motlalepula o be a phela ka go rekiga page, e le yona kgwebo ya gagwe.

(Now, Motlalepula made a living by selling dagga, which was his business.)

Motlalepula is aware that one day he shall be arrested by the police for his illegal

business. So, he creates a spy within the police themselves, so that he can be tipped off when a raid looms. Lejakgomo, a police spy, reports Motlalepula to the police and the

police plan to raid him. Motlalepula becomes aware of this immediately as he has been tipped by his spy and he also plans to escape the arrest. He goes to a funeral parlour to

buy a coffin to arrange a "funeral" that would scare off the police. He places dagga in the coffin and puts the coffin in the quadrangle with his customers surrounding it, singing

funeral hymns. One of his customers, Sejagobe is appointed to act as a preacher.

When the police-arrive they are surprised to find a "funeral", mourners singing and a

"priest" busy preaching. The police respect the situation and become part of the

mourners. They later leave the mourners for their other daily activities. After their

departure, the "funeral" turns into a party. This account is recorded as follows (1985:75):

Kgapela, ge go kgonthigigwe gore maphodisa a ile, legaba la

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Motlalepula la ba lethabong gape, la thabela dino tse ba tlogo di hweaa mahala, le go fete ba tswaka ka t o talana...

(Later, when it was verified that the police had left, Motlalepula's people rejoiced again, rejoiced for the liqour they would get freely,

mixing with dagga now and again...)

Though the police are convinced that there is indeed a "funeral," they are now

suspicious, as a funeral procession was not seen heading for the cemetry. This is

revealed by what sergeant Mokwena says (1985:76):

Le ge ba re re soma ka maatla moo re sa kgonego go bona ditiragalo t§e dingwe tsa motse, ye taba yona e re putlile ka morago. Ka banna, monna yo re tlile go mo senola! A ka se boeletge bjalo ka mehla.

(Even if they say we work very hard to an extent of not seeing some of the village happenings, this very event has escaped us. Honestly, this man, we are going to expose. He will not repeat this as usual.)

Like before, the police go to Motlalepula's house. As he knows before hand that they are

coming, he organizes his customers as usual. He fills the coffin with dagga and bottles

of beer and puts the coffin in the quadrangle. His customers start singing funeral hymns

and the police arrive. The "preacher" trembles and does not even know where he can

find a suitable verse. The police realize the trick and this is revealed by what one of

them says (1985:78):

Moruti, o tloge o nyaka mant§u a go re homotga ka ge le rena re Ila. Maloba re tulle mo, la re dira ditlaela, ra boela morago re swabile ka ge re be re phonyokgilwe ke nonyana re e tant§e. Mamohla ga ke kgolwe gore e tlo re thelela. Ka gona le rena re Ha bjalo ka lena.

(Pastor, you must truly find consoling words, as we are also mourning. Recently, we came here and you made us fools and we then went back disillusioned, as the bird we had trapped escaped. Today, I do not believe that it will escape us. Therefore we are also mourning like you.)

After the sergeant had spoken, the Bible fell from the "preacher's" hands. Mourners

were then in trouble. They started running helter-skelter, but it was too late as the police

went for them, beating them up with batons. It became clear that "once bitten twice shy".

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2.4.4 Ending.

Nkadimeng rounds off his story very well in short. He ends the story by alluding to a proverb that says (1985:79):

Mahlajana a a lahlega ka ge pigana ya maano, e sa apee gabedi.

(Slyness does not pay, tricks cannot be repeated.)

Again the consequences of violating the law are realized as Motlalepula and his customers end up being beaten up by the police and law is restored.

2.5.1 Mogwera ke tlo fihla le wena mo o yago

2.5.2 Introduction

The author makes an introductory remark about friendship in the first paragraph. He remarks about friends and their friendship. His characters appear in the second paragraph, i.e, Sefepi and Selepe who both appear to be the main characters. Nkadimeng's usual weakness is also noticeable in his introduction in that he does not mention the setting.

2.5.3 Body

The author goes straight into the story to relate about the friendship between Selepe and Sefepi. They love each other so much that no one can separate them. This becomes clear when a certain young man tries to rob Sefepi of his bicycle. Both Sefepi and Selepe beat this young man up until he runs away. This is revealed when Sefepi says to Selepe (1985:82):

Gape nna be wena re bagwera ba lehu be bophelo... na ga o lemoge gore re dirile eng ka moisa yola a go nyaka go re makata?

(And you and I are true friends...don' t you remember what we did to that young man who wanted to surprise us?)

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Sefepi and Selepe grow up together and get employed in the same place until they are both married. Their wives also become close friends. The two families do things and even have meals together. This account is recorded as follows (1985:83):

Ge ba eja ga Sefepi lehono, ka moswana ba rwalane le bana go yoja ga Selepe.

(When they have meals at Sefepis' on a given day, the following day they take the children with them to go and have meals at Selepes'.)

It does not take too long before Selepe buys a car. Although the car belongs to Selepe, it is as if it belongs to both of them (1985:83):

E bile ya bona ka ge ditshenyegelo ka moka ba di kopanege.

(It was theirs as all expenses were jointly defrayed.)

The car is used by both of them. They are always together, driving about, until their wives complain. Selepe's wife does not like the manner in which he uses the car as she says it is excessively used. Selepe is always on the road with Sefepi (1985:84):

Aowa, tatagobanake!...ka mehla ge letgat§i le hlaba le tseleng...

(No, father of my children!...each day when the sun rises you are on the road...)

Selepe is not bothered by what his wife says, but continues with Sefepi, driving around by car. Sefepi's wife also does not like it when Sefepi maintains Selepe's car (1985:84):

Ruri bana ba ka ba tlile go apara magelal...Petrole le yona ge e fedile le gona o rga seatla potleng.

(Truly my-children are going to be without clothes!...Even when the fuel is finished you also pay for it.)

Sefepi ignores his wife and continues his friendship with Selepe. The two families with their children take an outing in that very car. Unfortunately the car overturns and Seiepe dies instantly. After Selepe's funeral, Sefepi attempts to commit suicide, but he is

21

immediately rescued (1985:88):

Ge a thoma go ragaraga, ba be ba mo akgoge.

(When he started kicking about, they rescued him)

It is true that Sefepi wanted his friendship with Selepe to continue even under difficult circumstances, hence his wish to die with him.

In this story, the author merely describes the friendship between Sefepi and Selepe. There is actually no event that takes place, except that both of them do many things together until the latter dies. The main issue being emphasized in this story is

faithfulness and honesty between them.

2.5.4 Ending

The ending of this story has been well constructed as it contains a brief summary of the content of the story itself. This is recorded as follows (1985:88):

Kganthe o be a sa gopola keno ya bona... ge ba sa phela gammogo.

(Yet he was not doing that deliberately...but he thinks of their vow... when they still lived together.)

This ending provides the fulfilment of what is suggested by the title of the story, namely that the two aforementioned friends would die together.

2.6.1 Letuku ke mokadikaga.

2.6.2 Introduction.

In the first paragraph, Nkadimeng remarks about slyness, viewing it as hereditary. It is only in the second paragraph that the main character emerges as well as his problem.

The author still does not say anything about setting, which is an important element of the

short story. Letuku is introduced as the main character as follows (1985:89):

Ge e le Letuku yena, o filo bona!a go tioga bofseng gore o tlile go ba legwaragwara, a ka se rerae.

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(As for Lekutu himself, it was clear from youth that he would be a delinquent, he will not be truthful.)

The author still does not say anything about setting, which is an important element of the short story.

2.6.3 Body.

Letuku, who had distinguishing traits of delinquency from youth, deceives Letlaka by telling him that he should buy a bus for transporting villagers and he offers himself as a driver, as Letlaka cannot drive. Letlaka agrees to this proposal. It does not take long before Letuku buys a luxurious car and builds a big house. He achieves all these by taking some money from passengers. He explains to the bus owner, Letlaka that some money is used for fuel and repairs. Letlaka sacks him after he realizes that Letuku plays a dirty trick on him (1985:93):

Lesogana, ga o na ditsebe Ma go kwa naa? Ke re mphe dinotlelo tea koloi ya ka; monna o nkga le sa gagwe!

(Young man, don' t you have ears to hear? I say give me my car keys; if you hate a man, you should also hate what is his)

Letuku, unrepentently goes to another man who has a lorry to ask for a job to deliver goods. Initially, the lorry owner does not believe that Letuku is a dishonest young man, but later his dishonesty is discovered. It is realized that he is given double payment by people from whom he receives the goods and those to whom he delivers, stating to the latter that he was not payed. He also deceives parents in the village that he meets their sons in town arrested and that they give him messages that they need money for bail or release. These monies are given to Letuku to pay for the bail of their sons. He in turn takes it for himself. Letuku is now hunted like an animal and he is found and severely beaten up by one of the sons of the parents he deceived. This is revealed when one of the sons says (1985:97):

Lehono gong .o tlo nkhunela, o hlwa o ba fora, ba sega le wens! Nna le wena re gahlane...let§at§i le.

(Today you will know me, you usually deceive people, they laugh with you! You and I have met...this day.)

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After Letuku recovers from the wounds he strikes a deal with the local butchers to bring

them slaughtered cattle for sale to their customers. The butchers accept the deal.

Letuku steals cattle from the local farmers, slaughters and then carries them in their

skins straight to the butchers in the evening.

Local farmers are surprised to see their livestock decreasing and they investigate. One evening Letuku is caught red-handed by one of the farmers, who pumps a few bullets

into his body as he attempts to run away. The farmer calls other farmers to come and

witness the consumer of their livestock. When the farmers arrive, Letuku feels forced to

tell them that he has been stealing their cattle, slaughtering and selling them to butchers.

These are the butchers from whom farmers have been buying meat for their families,

realizing that they have also been buying and eating the meat of their own cattle.

Admission of guilt is revealed by what Letuku himself says (1985:101):

Ka ye nako ke bona ke tiamegile go t§wa ka nnete. Nnete e a pholaa ka nako ye nngwe, eup§a maaka le boradia di

a bitlela ke di bone.

(At this juncture I feel forced to come out with the truth. Truth sometimes saves, but I have realized that lies and deception kill.)

Letuku does not have an option than to tell the truth. He himself realizes the consequences of his behaviour. Had he realized what his action would get him into, he

would not have indulged himself in this kind of behaviour.

2.6.4 Ending.

The author ends the story in this manner (1985:101):

Ee, monna ga a kgalemelwe ka molomo, o a phasolwa; gomme go phasolwa ga monna ga go swane le ga ngwana.

(Yes, a man is not reprimanded by means of the mouth, he is clapped; and yet to clap a mart is not the same as to clap a child.)

It is a very short ending with a clear message to deceivers and thieves. Nkadimeng

ends this story aptly by showing the consequences of being a thief or a deceiver. Letuku

is now a cripple because of his deeds.

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2.7.1 Ke belegetge dithaka.

2.7.2 Introduction.

The main character, Mmadinoge is introduced in the opening paragraph. Nkadimeng's

weak point in this paragraph is that he does not say anything about the setting or the milieu. The author tells the reader the kind of person Mmadinoge is. In this first

paragraph, the description is as follows (1985:126):

Mmadinoge e be e le mosadi wa go ithata, wa sekgwari... Diaparo tga gagwe di fo dula di hlatswittwe...

(Mmadinoge was a woman who loved herself, a neat woman...Her clothes were always clean...)

The author takes too long before proceeding to the body of the story, thus lengthening

his introduction unnecessarily as he makes allusions to matters such as a fight between

Kiribi and his neighbour, and dwelling much on Mmadinoge's neatness.

2.7.3 Body.

The body of this story actually starts on the second page as the author devotes the first page on issues not related to the story. In the first few paragraphs readers are told that Mmadinoge's husband, Kiribi fights with his neighbour, Mohlari in a shebeen, but Nkadimeng does not give an account of their fight. Such comments would perhaps fit

well in a novel, as a short story is supposed to be straightforward with one life episode. It is only after these unnecessary allusions that Nkadimeng starts narrating his story.

Nkadimeng describes Mmadinoge, Kiribi's wife as having more affection for her first-born

son, Lerumo than her other children. This is because he is a quiet and well-behaved

boy. This account is recorded as follows: (1985:127)

Mo gare ga bana ba gagwe, Mmadinoge o bile le mmamoratwe,...segireletgwa, mohlokabosodi.

(Among her children, Mmadinoge had the most beloved, the...most protected, the blameless.)

To express this love she sends her son to school until he completes matric. Lerumo is

also a very handsome boy, admired by girls. Mmadinoge's friend, Kebadi agrees with

25

Mmadinoge that her daughter should be married to Lerumo. Kebadi tells her daughter this secret, but Mmadinoge does not tell her son, Lerumo. Therefore, her son does not know about this agreement. Mmadinoge assumes that her son will agree to marry Kebadi's daughter. This is recorded as follows (1985:142):

Bana ke ba rena o se tghoge, ba swanetge go tea se re se tlemilego;

(The children are ours, don' t be afraid, they must accept what we have agreed upon.)

On completion of his teachers' course, Lerumo wants to go and teach outside his village as he believes that he will serve the community much better in another village. His mother is very much against his proposal. Lerumo tries to persuade his parents that they should allow him to go, particularly his mother. Lerumo himself says (1985:132):

Ke a le kwa batswadi ba ka, ebile ga ke na molala godimo ga seo le se bolelago... Fela nna ke nyaka modiro kgole le gae.

(I understand you my parents, and I am not stubborn about what you are saying...However, I want to work far from home.)

Ultimately, Lerumo succeeds to convince his mother and leaves. When he arrives at Kudupana's village as it is called, he falls in love with a young lady teacher, Raisibe and they marry. This becomes a blow to Mmadinoge. She feels disillusioned, as she realizes that this is an infringement of the agreement she made with her friend, Kebadi. Both Kebadi and her daughter become very frustrated when they learn of Lerumo's marriage to Raisibe. Mmadinoge tries to reverse matters, but it is not possible, as Lerumo is adamant and very comfortable with Raisibe. She calls Lerumo's uncle, Sebalala who refers the matter back to Mmadinoge by advising her that she must call Kiribi, Lerumo's father who is not at home due to work commitment. Kiribi arrives home and resolves this matter as follows (1985:143):

Nna ke bona e le lehumo rufi. Bjale gong le nna ke tlo ba le leina ka swana le banna ba bangwe, ka ba monna. Ka go realo ke bona ke na be morota.

(I regard this as real wealth. Now I will also have a name and be like other men, and be a man. By so

26

saying, I mean that I am proud.)

Kiribi does not see anything wrong with the choice made by his son to marry someone he loves. He is only happy that his son is now married and this makes him a proud father-in-law as well.

2.7.4 Ending.

Nkadimeng makes it possible that the problem be solved peacefully and fairly. It would have been unfair if Lerumo's marriage was reversed. Mmadinoge comes to her senses by accepting the choice made by her son to keep his marriage with Raisibe. Her satisfaction is demonstrated by the love she has for Raisibe's children. The author ends the story in this way (1985:146):

Ka go realo mokgekolo a ipshina ka bane ba gagwe, a robala boroko.

(Therefore the old woman derived pleasure in her children, and slept peacefully.)

This is a good ending and very brief in accordance with the requirements of a short story. The author has shown that one's free will has to be respected and Lerumo in this regard has exercised that free will.

2.7.5 Conclusion

Nkadimeng has a simple and spontaneous manner of narration. However, some of his short stories show two basic weaknesses. They are too essayistic. For instance, instead of devoting one paragraph for the introduction in the story, "Ruri o mpolaile hlogo ye ntsho," he extends it over eight paragraphs, describing a "Good Friday". The second weakness which strongly manifests itself is the absence of the milieu in almost all his short stories in this collection. No man can exist independently of his environment. Therefore setting is the most basic and necessary element in any short story. Nkadimeng has seriously ignored this important element in his short stories.

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CHAPTER 3

CHARACTERIZATION

3.1 Introduction

This chapter will focus on the definition of characterization, round and flat characters and delineation of characters, and how these are introduced in various short stories in the

collection Selepe Gomela.

3.1.1 Definition of characterization.

Characterization is the most important element in the short story. It is the process of developing the characters in a story. The author shows the qualities, actions, sayings and reactions of the characters in his story as they set out the plot and interact with one

another. Shaw (1976:51) defines characterization as follows:

The creation of images of imaginary persons in drama, narrative poetry, the novel and short story, is called characterization.

According to Cohen, (1973:177), characterization is:

...the art of creating fictional characters in words which give them human identity.

Since the short story contains only one life episode, it probably cannot accomodate many

characters. It is often said that it should contain about three or four characters and that the main character should emerge as soon as possible, preferably in the first paragraph.

In this regard, Hendry (1991:107) says:

A number of characters will be used,...if in a particular story character is more of a central issue than incident, probably only one character will come under close scrutiny.

On the other hand Shaw (1972:343) maintains that:

...a short story is a relatively short narrative (under 10 000 words) which is designed to produce a single dominant effect.

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It becomes apparent that a very limited number of characters will be used in the short story, since its brevity does not accomodate a variety of characters. Very often the short

story will be structured around one character.

3.1.2 Types of characters.

Characters are classified according to their behaviour. The character or characters who

propel the story or get involved in the main issues of the story are called protagonists,

while opposing characters are called antagonists, because their actions are directed

against those of their protagonists. The antagonist tries to neutralise the very issues the

protagonist attempts to promote and this brings about a conflict that has to be resolved. Both these kinds of characters are also called round characters because readers are made to experience the complexities, the innermost feelings and thoughts of those

characters. Smith and Hart (1981:40) say:

Not every character appearing in a story needs to be fully developed. The one or two who are, however - usually the protagonist and the antagonist - are said to be round, or three-dimensional characters.

On the other hand, if an author merely indicates surface facts and traits in a character,

such a character is called a flat character. Hendry (1991:106) describes flat characters

as:

..."two-dimensional" and...described in a few words or sentences; they are presented in outline only, without the depth of real people, (and are therefore sometimes called flat characters;)

3.1.3 Delineation of characters.

Various authors agree that characters can be revealed in a variety of ways. For

instance, Wellek and Warren (1973:219) consider naming of characters as one basic

element in presenting characters, whereas Smith and Hart (1981:40) consider dialogue

and description of characters or their surroundings as basic elements in presenting

characters.

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3.2 Discussion of characterization with reference to the collection, SELEPE

GOMELA.

3.2.1 Lehumo le tliga bokgoba.

Lepheko

Lepheko is revealed as the main character as he is at the centre of all the activities.

Other characters, Kgapigana and two sons are his protagonists, as they are against his

style of living. Lepheko is described in the following manner (1985:1):

Lepheko o humile, gomme ga a huma la go bapala, eupga o humile le dinala moo a sa tsebego seo a se nyakago mo bophelong bja gagwe.

(Lepheko is rich and not simply rich, but very rich to such an extent that he does not even know what he wants in life.)

The above description shows Lepheko as a rich man, but he is also described as

deprived of peace of mind by his riches (1985:3):

Lepheko o be a robala bjalo ka mmutla ge a gopola ka diphoofolo tea gagwe. 0 be a dula a sametge morakgo ...ka ge a fo dula a le masemeng.

(Lepheko slept like a hare when he thought of his livestock. He always lay his head on a knobkerrie ...as he was always suspicious.)

Lekoko suspects that everyone, including his wife, sons and neighbours want to steal his

riches or rob him so that he eventually remains with nothing. This is suggested by the

following dialogue between his wife, Kgapigana and one of his sons, Thakadu when she

says (1985:9):

Ke a go bolts, tatago o tlo hwa le bonganga bja gagwe. Re a rapela gore le se swane le yena ka ge mohlomongwe e ka tlo ba taba-ya leabela gomme la fetiga.

(I am telling you, your father will die with his stubbornness. We pray that you should not be like him as it may be a matter of heredity and even be worse.)

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Lepheko has more love and sympathy for his livestock than his own family. He is seen chasing his eldest son away, when he comes to the kraal to greet him. (1985:8)

Tloga mo pele gakal...0 nyakang mo §akeng? 0 tlile go hlola dikgomo tsa mang ka ge o se na le selo?

(Go away from me!...What do you want here in the kraal? Whose cattle have you come to check as you do not have anything?)

Lepheko's talks and actions are like those of a mad person. His sons do not know what to do about him. When he is in hospital, he keeps on asking the nurses about the

welfare of his cattle at home (1985:19):

Ke robege bjang...Dikgomo tsa ka di kae? Dipudi gone?

(How did I sleep...Where are my cattle? And the goats?

Lepheko is described as a round character as he has been fully developed and achieved his goal, which he has pursued from the beginning. Other characters, such as his wife, Kgapigana and two sons are said to be flat characters as only surface facts and traits in

them are merely indicated by the author.

3.2.2 Ruri o mpolaile hlogo ye ntsho.

Leswiswi

The main character in this story is Leswiswi as he is the central figure around all

activities. The title of this short story describes the kind of person Leswiswi is. This title means someone who made another to suffer. Leswiswi is further described by what the

author says (1985:50):

Ge Leswiswi a le ka mo kamoreng, a na le Lekoko le mosadi, kganthe yena o gadigata mahlo, go bona se a ka se topago ge lebaka le ka mo dumela.

(When Leswiswi was in the room with Lekoko and his wife, he looked around to see what he could take with him, if circumstances permitted.)

In the above description Leswiswi is portrayed as unreliable. He waits for an opportunity

to avail itself so that the reader's suspicion can turn into reality. What Leswiswi has been

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waiting for, arrives as Lekoko's wife, Kgapigana leaves immediately to make them tea in the kitchen. Suddenly Lekoko rushes to the toilet due to stomach ache from which he has been suffering since he returned for Good Friday. Leswiswi seizes the opportunity and steals Lekoko's money (R200) and behaves as if nothing has happened when both

Lekoko and his wife return.

After Leswiswi's departure, Lekoko realizes that his money is missing and his wife

persuades him to go and enquire from Leswiswi about it. Leswiswi is further depicted as

a liar as he denies that he took the money (1985:55):

Ke theeditge Lekoko. Fele nna ga se nna. Le gatee! Modimo a ka ntlhatsa.

(I am listening Lekoko. But it is not me. Not at all! God is my witness.)

Lekoko is finally described as an insane person. The insanity is so severe that he goes

to the extent of asking for an apology from Lekoko. Leswiswi puts his apology in the

following manner (1985:58):

Lekoko morwarre, go kgothola ke dutge ke lahlile. Ntshwarele ngwanego! Ntshwarele dibe tea ka, ke a swa, ke a tuka, ke mollong! Sathane o a nkwapiga. Marumo fase ngwanego!

(Lekoko my brother, I 'II never steal again. Forgive me my brother! Forgive me my sins, I am burning, I am in flames, I am on fire! Satan is withering me up. Let's bury the hatchet my brother!)

Lekoko

Lekoko is also a round character. He is the antagonist. He opposes Leswiswi's actions.

He is heard saying (1985:58):

Modimo yena, motswadi yo a sa felego pet:), o tlo ntefeletga,

le ge ke-sa tsebe gore ka nako mang le gona bjang.

(As for God, the parent who is forever patient, will avenge for me, even though I do not know how or at what time.)

Lekoko who is the victim of theft, wants to see justice being done. It is his desire to see

Leswiswi being brought to book by the almighty God.

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Kgapigana

Kgapigana is the third character and wife to Lekoko. She sympathises with him for

the stolen money and therefore advises him to go and ask Leswiswi if he has seen it.

This is what she says (1985:55):

Nna ke bona bokaone e le go phula sekutu se boladu ka go §itelega Leswiswi go mmot:sa gore re timelegwe, le ge a tlo gana ka ge lehodu le swarwa ka merwalo.

(I think the best is to disclose the matter, to embarass Leswiswi by telling him that we have suffered a loss, though he may deny, because a thief is caught red-handed.)

The author has fully developed the main character, Leswiswi. He is therefore a round character in this short story. His wife, Kgapigana, whose role is not fully defined except

to sympathise with Lekoko, seems to be a flat character.

3.2.3 Mahlajana a a lahlega e le ruri.

Motlalepula

The name Motlalepula is commonly used for females, but the author is using it for a male person who is presented as the main character. The author describes him by the type

of business he runs (1985:72):

Motlalepula ka go leka go iphologa dinaleng tsa tlala, le go pholo§a ba bangwe, o lekile mahlatse a go tshela molao ka go rekiga mawang wa Matuba.

(Motlalepula, by trying to save himself from the claws of hunger, and also to save others, has tried his luck by violating the law in selling dagga.)

The description above indicates to the reader that Motlalepula is the type of person who

does not care about the law, despite what this can cost him. He also sells liquor. Despite his violation of the law, Motlalepula is described as having the ability to maintain

secrecy. He has not been open about his business, except to those he knows

are real dagga smokers (1985:73):

...kgwebo ya motlalepula e gere mengwaga, e tsebja

fela ke bona...

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(...Motlalepula's business took years, known only to them,...)

Eventually the police know about his business and again his wisdom is noticed when they come to arrest him. He is tipped off at the eleventh hour that the police are coming. He immediately goes to buy a coffin to disguise the shebeen as a funeral. He organizes his customers to act as mourners. A "preacher" is also organized. The author explains

(1985:75):

Ge nako yeo e thwasige, maphodisa a hubadit§e mahlo, ke ge a hloka se a ka se dirago maphodisa a batho; a rola dikefa a theelega gannyane thero ya moruti. Go se go ye kae, a bolaya naga a swabile.

(When that time arrived, the police were watching seriously, while a big service was being conducted in Motlalepula's quadrangle ...So, they were not able to do anything, the poor police; they took their hats off to listen a little to the "preacher's" sermon. Before it was too late they left downhearted.)

Motlalepula is further described as a stubborn person as he persists in his illegal business, despite the police's earlier presence at his place. His persistence is revealed

by what the author says (1985:77):

Mokgomana Motlalepula yena a ga pele ka kgwebo ya gagwe, a gweba go swana le maabane le maloba.

(The gentleman Motlalepula continued with his business and continued like yesterday and the day before.)

Motlalepula has been fully developed in this story and is therefore classified as a round

character. Other characters such as the police and Motlalepula's "mourners" may be

labelled flat characters.

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3.2.4 Mogwera ke tlo fihla le wena mo o yago.

Sefepi and Selepe

A short story is supposed to have only one main character. In this story, both Sefepi and

Selepe seem to be main characters. Nkadimeng (1985:80) describes them as friends

whose intimacy cannot be destroyed by anyone.

ka gona ga se gwa ba le motho yo a ka tsenago magareng a Sefepi le Selepe...

(Therefore, no one would stand between Sefepi and Selepe...)

Their intimate friendship is realized when Selepe says (1985:82):

Nna ke ikanne gore moo o yago ntshe, le nna ke tlo fihla.

(I have vowed that where you go, I will also go.)

On the other hand Sefepi replies by saying (1985:82):

0 a rere§a! Re ikanne. Gape nna le wena re bagwera ba lehu be bophelo.

(You are speaking the truth. We have vowed. By the way, you and I are friends indeed.)

Their vow is further realized when their wives complain that they ignore them and pay

attention to each other. Sefepi's wife complains that her husband spends more money

on Selepe's car. Sefepi replies as follows (1985:84):

Se e lego sa Selepe, ke sa ka, sa ka ke sa gagwe.

(That which belongs to Selepe, is mine; mine is his.)

Their friendship is intensified when they finally arrange for an outing as families. It is

during this outing that Selepe meets his untimely death in an accident, when their car

overturns. The death of Selepe affects Sefepi so severely that the latter attempts to

commit suicide, but this action is immediately aborted by people who follow him, while he

does not notice them.

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The two characters, Sefepi and Selepe can be regarded as round characters. They are both introduced and developed at the same time. When Selepe dies, Sefepi attempts to commit suicide to follow his friend; he is immediately rescued. When the reader expects to see the story being continued by the survival, the story then comes to an end, hence the comment that there is no main character in this short story. If there is, then the two of them are main characters and it should also be noted that no short story can accomodate more than one main character. Furthermore, a short story may not be without a main character.

3.2.5 Letuku ke mokadikatga

Letuku

Letuku is the main character in this story as he is at the centre of all the activities. Letuku is introduced by what is called flashback, i.e, what he used to do in the past. The author describes him as follows (1985:89):

Ge e le Letuku yena, o filo bonala go tloga bofseng gore o tlile go ba legwaragwara...0 itge a tlaga basadi ka go ba utsweta mae a dikgogo.

(As for Letuku, it was clear from his youth that he would become a wayward person,...He persecuted women by stealing their their fowls' eggs.)

From the above description, it becomes clear that Letuku would become a deceiver. This is shown when he deceives Letlaka that he should buy a bus and that he is prepared to drive for him. Letuku knows deep in his heart what his plans are (1985:90):

Mokgalabje wa gaol t'ghelete e ngangane ka mo ntle mo bathong. Seo re sa se hlaelelago, e lego bothata bjo bogolo bja rena, ke go nagana gore re ka e hwet§a bjang.

(Fellow old manl money is too much here outside with people. What we lack, which is our big problem, is to think about how we can get it.)

Finally, Letlaka agrees to buy a bus for public use. It is not long before Letlaka builds a big and beautiful house. Letuku accumulates money in this way by robbing Letlaka of

the profit that he has to receive.

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His tricks are revealed when the author says (1985:92):

Pese e sepetge lebaka, mongpese a fela a swarigwa bonnyane ke Letuku le go botgwa gore ye nngwe tghelete o rekile makhura ka yona le go lokiga moo e itgego ya kgwelekgwehla...Mokgalabje ka go se hlaologanye se sengwe ka koloi, a fo dumela.

(The bus travelled for some time, with the bus owner being given some little money by Letuku and told that with the other money he bought fuel and attended to some minor repairs...The old man, not understanding anything about a vehicle, believed.)

Letlaka realizes his tricks and dismisses him. Letuku does not refrain from his bad ways. He meets yet another man and asks him to offer him a job to deliver goods for people. This man offers him the job and his true colours emerge again. As he drives about, he tells lies to some women that he met their sons in town arrested by the police and that they want a certain amount of money to be bailed out. The women give him the money and he in turn diverts it for his own use. Letuku is heard saying to one of those women (1985:96):

Mokgekolo, maabane ge ke le toropong, ke...hweditge morwago a swerwe... 0 nkgopelte gore ke tie ke le botte...gore le /eke ka moo le ka kgonago ka gona go tlo mo ntgha ka tghelete.

(Old woman, yesterday when I was in town, I...found your son arrested...He asked me to inform you...that you should do your best to release him with money.)

Although Letuku persists with his tricks, he does not escape with them as he is soon discovered. One day Letuku is confronted by one of the sons of these women who severely beats him up. Letuku is also a stubborn person, because after he is beaten up he continues with his actions. He strikes a deal with butchers that he will bring them slaughtered cattle for sale. The delivery is to be made in the evening when everybody is asleep. Letuku steals these cattle from local farmers. As usual, Letuku does not escape undiscovered. Farmers realize that their livestock is being tempered with. One day Letuku is caught red-handed by one of the farmers in the evening, who calls other farmers to come and witness the thief of their livestock. Letuku becomes very confused, not knowing the way out at this stage. Circumstances force him to tell the truth and he says (1985:101):

Ka ye nako ke bona ke tlamegile go tgwa ka nnete...

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Balemi ba geo, ke /e bolaile hlogo ye ntsho...Ke kgale ke dira boradia bjo.

(At this juncture I feel forced to tell the truth...Fellow farmers, I have tricked you...lt is long that I have been engaged in this trickery.)

The main character, Letuku has been fully developed and this makes him a round character. Other characters such as Letlaka, the lorry owner, the butchers, and the farmers serve as flat characters.

3.2.6 Ke belegeae dithaka.

Mmadinoge

Mmadinoge is the main character as she is at the centre in this story. She is first introduced as a neat woman as follows (1985:126):

Mmadinoge e be e le mosadi wa go ithata wa sekgwari,

(Mmadinoge was a woman who loved herself, a neat woman.)

The above description is further observed when Mmadinoge appropriately wants her children to have the best education. The author remarks as follows (1985:127):

Ge a na le monna wa gagwe a fe/a a bole/a ka bokamoso bja bona le ka moo a kganyogago ge ba ka fihia moo a ratago.

(When she was with her husband, she used to talk about their future and how she desired to see them achieving success to her satisfaction.)

Mmadinoge's desire to see goodness in her children is observed in her eldest son, Lerumo. She has in mind the girl she wants her son to marry, i.e, the daughter to her neighbour, who is very pretty. Lerumo is not aware of her intention about his marriage. It is still a secret between the two women. This is revealed in a conversation between Mmadinoge and Kebadi, the mother to her "prospective daughter-in-law" (1985:142):

Barra ke ba rena o se ahoge, ba swanet§e go tea se re se tlemilego.

(The children are ours, do not be afraid, they must accept what

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we have agreed upon.)

Lerumo has completed his studies and is now a teacher. He prepares himself to go and teach outside his village. Mmadinoge becomes disappointed as she realizes the

possibility of her son not marrying her friend's daughter.

She becomes very angry when Lerumo insists that he does not want to teach in his own

village (1985:133):

Lehono o tsoma batswadi ba bafsa ka ge rena re nkgal... Fela ba tla go botS'a bagwera ba gago.

(Today you want new parents, because we are smelling! ...But your friends will tell you.)

Lerumo pursues his decision of going and he finally leaves. Lerumo arrives at the place of his employment and on arrival he falls in love with another lady teacher and they end

up marrying each other. Lerumo writes a letter to his parents to inform them of the marriage. Mmadinoge now starts realizing that she "counted the chickens before they

were hatched." She does not know what to tell Kebadi, her friend. She calls Lerumo to come back home to discuss this matter. She also calls her brother, Sebalala to try and reverse what her son has done. Kiribi, her husband also joins them. Kiribi tells them

that Lerumo has done the right thing. Finally Mmadinoge welcomes the decision of her son Lerumo, for marrying a girl of his choice and accepts it in this way (1985:144):

0 boletge, Hlabirwa, monna ga a bolele gabedi...ngwet§i

ke ya rena le nna ke tlo bonala gore ke mosadi.

(You have said a mouthful, Hlabirwa, a man does not talk twice... the bride is ours and I will also be seen as a woman.)

Mmadinoge, who is a protagonist in this story has been fully developed as a round

character. At the end of the story she becomes a changed person altogether as she welcomes the marriage between her son, Lerumo and his wife, Raisibe and also shows

love for their children. This change makes her a dynamic character.

Lerumo

Though not the main character, Lerumo plays a very important part in this story. He is

39

first introduced as follows (1985:127):

Mo gare ga bana ba gagwe, Mmadinoge o bile le mmamoratwe, yena sairelet:swa, mohlokabosodi..

(Among her children, Mmadinoge had a favourite, he the protected child, the blameless.)

The reason for being loved most is his calmness and warmth. Lerumo is very determined in whatever he does. This can be realized by what he says when his mother prevents him from going to teach outside his village (1985:131):

Ge go le ka tsela yeo, ke bona ke tlo gitelwa, ka ba ka dira ka kgang, be ge kgang, e sa age motse.

(If things are like this, I think I will be inconvenienced, and use force, even if force does not build.)

Despite his determination, his respect and love for his parents are also manifested when

he says (1985:139):

Fela taba ye e lego ntshe, batho ba ke batswadi ba ka, ba re nna wee, nka se ba lahle.

(However the truth is that, these people are my parents, they are mine, I will not forsake them.)

Lerumo's activities brought about the continuity of this story and therefore, he becomes a round character, though an antagonist.

3.2.7 Conclusion

Nkadimeng's short stories portray true incidents and most of them have few characters ranging from two to, three. He has succeeded in meeting this requirement of the short story. His characters are real and true to life. This reveals his wide knowledge of the people; about their short-comings, beliefs and superstitions.

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CHAPTER 4

THEME.

4.1 Introduction

This chapter deals with the definition of theme with reference to some short stories in

Selepe Gomela.

4.1.1 Definition of theme

Theme is what the author tries to say through his story. It is what the story is all about.

The main reason why the writer decided in the first place to write a story, is to express

his or her theme. Some themes are expressed in titles, making it easy for readers to

know at a glance what the theme of a particular story is, even before they complete

reading it, whereas other writers leave it to the readers to discover the theme for

themselves. Hendry (1991:226) defines a theme as:

...what remains with the reader after the immediate impressions of character, setting and plot have faded away.

A theme usually emerges from the author's intention. The whole story is worked out

through characters, setting and plot to unfold the theme of the author. On the other

hand, Smith and Hart (1981:128) define it as:

...what a story means, what it says to us, and it results from the interaction of plot, character, emotion, and symbolism. Theme is the sum total of everything that takes place in a story plus the effect all this has on the mind of the reader.

A good theme treats real life and is not vague. It is more precisely stated and expressed

in the form of a good, grammatical statement. Smith and Hart (1981:129) further

explain:

A story's theme ought to be expressed in the form of a good, grammatical statement or two, even if those statements include a number of qualifications. a theme cannot be simply -jealousy," "revenge," "nostalgia," "motherhood," or "love."

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Much as short stories which contain obvious thematic titles are acceptable, a capable

writer will be more subtle in giving his short stories appropriate titles, thus leaving it to the

reader to discover the theme for himself or herself. By so doing, the reader will feel

proud of having participated in the eventual solution of the narrative.

4.2 Discussion of theme with reference to SELEPE GOMELA.

4.2.1 Lehumo le tlisa bokgoba

The title of this story itself and the manner in which the author has depicted Lepheko

throughout the story, alert people against being enslaved by riches. Lepheko believes in

materialism. This can be realized when the author says (1985:3):

Lepheko o be a robala bjale ka mmutla ge a gopola ka diphoofolo tea gagwe.

(Lepheko used to sleep like a hare when he thought of his livestock.)

Lepheko who puts his riches far above his family, is finally seen enslaved by his own

riches. He substitutes his riches for his own family. He does not want any member of

his family to approach the cattle kraal. This is realized when he chases away his son,

Thakadu away from the kraal (1985:8):

Tloga mo pole ga ka! 0 nyakang mo §akeng?

(Go away from me! What do you want here in the kraal?)

His appearance is tantamount to that of an insane person. He does not even want to

use his money to buy himself clothes or slaughter one cow for the family to enjoy meat.

The author describes this situation as follows (1985:15):

Ge a m ke hlabile,...ke ge a fofodit§e seruiwa se se titegago_se robegilego goba se babja.

(When he says he has slaughtered...it is when he has slaughtered a dying...or sick animal.)

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Lepheko is now a real slave of his own riches. It becomes hard for people who did not know him before to believe that he was once a rich person. His riches do not help him in anyway, as he does not use them.

4.2.2 Ruri o mpolaile hlogo ye ntsho.

The theme of this story has been well unfolded. It is based on the consequences that are suffered by people who steal from others. Leswiswi visits the Lekokos' and grabs the opportunity to steal while he is left alone in the house. Lekoko is seen going to Leswiswi to enquire about his money1985:55):

Morena Leswiswi,...ke tlile go go begela...Thhelete kamoka yeo ke bego ke e swere, e llwe ke aretse.

(Mr Leswiswi,...I came to report to you...All the money which I had, has gone missing.)

Leswiswi becomes dishonest and denies that he knows anything about it (1985:55):

Ke theeditge .Lekoko. Fela nna ga se nna...Modirno a ka ntlhatsa.

(I am listening Lekoko. But it is not me...God is my witness.)

The consequence of theft is realized when Leswiswi is taunted by his conscience to such an extent that he feels forced to go to Lekoko to ask for forgiveness for having stolen his money. This is shown when Leswiswi says to Lekoko (1985:58):

Lekoko morwarre, go kgothola ke &rite ke lahlile. Ntshware!e ngwane§o! ntshwarele dibe tsa ka, ke a swa, ke a tuka, ke mollong!

(Lekoko my brother, I 'II never steal again. Forgive me my brother! Forgive me my sins, I am burning, -I am in flames, I am on fire!)

Nkadimeng has been very subtle in revealing the theme of this story in the sense that the title itself does not suggest anything like a theme. It arouses the reader's curiosity to know who actually suffered and who caused the suffering, as the title indicates.

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4.2.3 Mahlajana a a lahletga e le ruri.

The theme of this story suggests that people who think that tricks benefit, are

disillusioned. It becomes evident when Motlalepula who makes a living by selling dagga

and liquor is detected by the police. The police plan to raid Motlalepula.

Motlalepula asks his customers to help him scare the police away by pretending to be

attending a funeral (1985:74):

Banna le basadi ba gego, ge le sa nntghe mo kotsing ye, gong ke gobetge gammogo le lena.

(Fellow men and women, if you do not save me from this danger, then you and I are in trouble. )

Motlalepula and his customers organize a "funeral" which deters the police from arresting

them. When the police arrive they find a big "funeral" service going on, customers

singing and others crying and they leave, but they realize later that it was not a funeral as

they did not see a funeral procession. The police are heard saying (1985:76):

Le ge ba re re Boma ka maatla moo re sa kgonego go bona ditiragalo tge dingwe tga motse, ye taba yona e re putlile ka morago.

(Even if they say we work hard to such an extent that we are unable to see some of the community events, this case in particular has escaped us.)

Although, Motlalepula succeeds for the first time, he does not succeed again in his tricks.

Motlalepula like before, becomes aware that the police are coming and he arranges for

the "funeral" again. The police arrive and they realize that even the customer who

pretends to be the preacher becomes confused as he does not know where he should

find the Bible verse. This is revealed when the police say (1985:78):

Moruti! 0 tloge o nyaka mantgu a go re homotga ka ge le rena re lla. Maloba re tlile mo, la re dira ditlaela.

(Pastor! you must really find consoling words as we are also mourning. Recently we came here, and you made us fools.)

Suddenly, the police start beating all the "mourners" up, including Motlalepula. This is

quite evident that "once bitten twice shy."

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4.2.4 Mogwera ke tlo fihla le wena mo o yago

The message the author tries to put across is that a friend in need is a friend indeed. This is evident when a certain strong young man tries to rob Sefepi of his bicycle. When

Selepe realizes that his friend is in trouble, he immediately jumps in to help. They both

beat the young man up and he flees. In this regard, the author says (1985:81):

Ge Selepe a fihlile, a se hlwe a bot§i§a...ge e se go kanamiga lesogana lela...

(When Selepe arrived, he never asked,...except to fell that young man down...)

The author further shows the strength of their friendship when he says (1985:83):

Ge koloi e ile karaltheng, ba kopanela tghelete ya go e lokiga.

(When the car is taken to the garage, they agree to defray its repair bill.)

Their endless friendship, is realized when Selepe dies. Sefepi attempts to commit

suicide to follow his friend whom he has vowed to follow wherever he goes (1985:87):

Bo§ego bjona bjoo, ka morago ga lehu la Selepe, Sefepi a rata go...fedi§a bophelo bja gagwe a sepele be mogwera wa gagwe.

(On that very night, after the death of Selepe, Sefepi wanted to...commit suicide in order to accompany his friend.)

The fulfilment of the title of this story is realized as Sefepi wants to follow his friend,

Selepe, even to death by trying to commit suicide.

4.2.5 Letuku ke mokadikat§a.

The theme of this story is based on the consequences of cheating. Letuku, the main

character goes about cheating people and robbing them of their monies. He persuades

Letlaka, to buy a bus for public use and he becomes the driver of that bus. Not too long,

45

after, Letuku buys a beautiful car and builds a big house with the money he steals from Letlaka. Letlaka discovers this slyness and dismisses him. He also demands the bus

keys from Lekutu (1985:93):

Lesogana, ga o na ditsebe ta'a go kwa naa? Ke re mphe dinotlelo t§a koloi ya ka.

(Young man, don 't you have ears to hear? I say give me my car keys.)

Letuku does not repent. He comes across a certain old man and he asks him to be his

driver to deliver goods from one place to another. During the course of time, he targets women by deceiving them that he met their sons arrested in town and that they

requested him to come and ask for money to be bailed out. With the hope that Letuku will take the money to the right place, he pockets it. It is not too long before Letuku is

confronted by one of the women's sons (1985:97):

Lehono gona o tlo nkhunela, o hlwa o ba fora, ba sega le wena!

(Today you will know me, you are used to cheating them, and they laughing with you!)

Letuku is again seen striking a deal with butchers, promising them that he would bring

them slaughtered cattle. The butchers accept the deal. Letuku steals the local farmers' cattle in the evening and slaughters them. He carries them in their skins straightaway to the butchers in the evening. It does not take too long before Letuku is caught red-handed by one of the local farmers who immediately calls other farmers. The farmers

beat him up until he feels forced to tell them the truth and says (1985:101):

Balemi ba ge§o, ke be bolaile hlogo ye ntsho...Ke kgale ke dira boradia bjo.

(My fellow farmers, I have cheated you...lt is long that I have been engaged in this cheating)

Eventually Letuku reaps what he has been sowing. The ending of this story satisfies the

reader as he realizes what innocent victims have gone through. In consequence of his

conduct, Letuku is now a cripple as he has been severely beaten up.

46

4.2.6 Ke belegege dithaka.

This story is based on the proper communication between parents and their children as

well as respecting their rights to make their own decision. This is shown when Mmadinoge, Lerumo's mother strikes a deal with her neighbour, Kebadi that Lerumo will

marry her daughter. Lerumo is not aware of this arrangement, whereas Kebadi's

daughter is aware of it. Mmadinoge says to Kebadi (1985:142):

Bana ke ba rena, o se ghoge, ba swanege go tea se re se tlemilego;

(The children are ours, don 't be afraid, they will accept what we have agreed upon.)

Lerumo completes teacher's course, and prepares himself to go and teach outside his village. His mother disagrees with him and regards this action as disobedience. She

says to him (1985:133):

...o ipona monna lehono! 0 a lebala gore ga re sa na le se/o, re ikapoge...

(...you regard yourself as a man today! You forget that we are poor, we are naked...)

Lerumo ends up leaving his parents to go and teach outside his village. After a long time

he writes his parents to inform them that he has now married a lady teacher in the same school. His mother becomes angry and tells him to come back home to discuss the

matter. Lerumo arrives home and he finds his uncle, Sebalala waiting for him. His

mother has persuaded his uncle to come and tell him to change his decision to marry

Kebadi's daughter and not the one of his choice. When Lerumo arrives, he says to his

uncle (1985:138):

Di thomilwe ke bona ba nnot7, ka gona a ba di rarolle, ba elte maloba ge ba di thoma.

(They are the ones who started them alone; therefore let them resolve them, like when they started them that other day.)

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Mmadinoge is very embarrassed by Lerumo who does not want to change his mind. Lerumo continues staying happily with his newly married wife. Mmadinoge does not even know what to say to Kebadi and her daughter who both feel disillusioned. Nkadimeng has rightfully shown that children are entitled to their own choice. If parents oppose their choice they might end up ruining their future plans. It may be suggested that all what the children need is parental guidance and not the imposition of their will on them. Lerumo felt oppressed by his mother who did not want him to go and teach at a place of his choice. He was further frustrated by the fact that his mother made a choice for him to marry someone he did not love. Mmadinoge herself, ended up being frustrated, as all her plans were hampered and finally compromised. Lerumo led a happy family life with the wife of his own choice.

4.2.7 Conclusion

In all his short stories, Nkadimeng is not so much concerned about amusing the reader, but to teach. He has chosen themes which have an educative purpose. His themes can be summarized in one sentence. "Dishonesty does not pay". Nkadimeng has rightfully pointed out that tricks will always be discovered.

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CHAPTER 5

STYLE

5.1 Introduction.

The focus in this chapter is on the definition of style followed by a discussion of style with reference to some short stories in the collection, Selepe Gomela.

5.1.1 Definition of style

A number of linguistic peculiarities are noticeable in many short story books. This is because each writer adopts a particular style when writing. Therefore, style may be said to be the manner in which a writer uses language to communicate his thoughts and emotions in a short story, a novel or an essay. However, the concept "style" may be defined in different ways. Murray (1967:65) defines style as:

...a quality of a language which communicates precisely, emotions or thoughts peculiar to the author.

Lucas (1974:49) defines style as:

...a means by which a human being gains contact

with others; it is personality clothed in words,

character embodied in speech.

This implies that writers will use language differently to communicate their emotions and thoughts, and their styles will be in accordance with their personalities and literary

background.

5.2 Discussion of style with reference to some short stories in Selepe Gomela

Imagery is an aspect of style. Most imagery is visual; it suggests mental pictures by naming or describing visible objects. Stone and Bell (1971:115) have this to say about

imagery:

images communicate the sound, taste smell, sights,

colours and tactile feelings of life. Images are not

49

just figures of speech, though they usually appear in

this form: They are all those means whereby sonsory

experience is conveyed in languuage.

It is noticeable that Nkadimeng uses imagery manifested in various types of repetitions. In the short story, Lehumo le tlaa bokgoba, he says (1985:1):

Lepheko o humile,...o humile /e dinala...

(Lepheko is rich,...he is very rich...)

Here, the author emphasizes the extent to which Lepheko is rich. He seems to be the richest man in that village. Another example is found in the same story, when the writer

says (1985:2):

A e oka, o ka re o oka motho wa moriri.

(He nursed it as if he nursed a human being.)

The above example is used to show the manner in which Lepheko loves his cattle. His love for his cattle is compared to the love any person may have for a human being.

Nkadimeng further mentions (1985:2):

Le go e atla, a tloge a e atla.

(Even to kiss it, he kisses it)

This kind of repetition is also found in the short story, Ruri o mpolaile hlogo ye ntsho

(1985:46):

Monna a tla a Ila, a Ha sa hidihidi;

(A man came crying, crying literally)

The above repetition describes the manner in which Lekoko cries. He cries so loudly that people can hear him. The author shows the seriousness of the cry to draw the reader's attention, thus creating the suspense which evokes the reader's curiosity.

In the short story, Ke belegege dithaka, another example is noticed when the author

50

says (1985:129):

Yo e be e le yena ngwana wa badimo, ngwana wa go betlwa...)

(This was the child of the gods, the child who was carved...)

The above explains the way in which Lerumo is handsome. He is the most handsome of all the boys in the village.

Figures of speech are another important factor in style. Lucas (1974:192) expresses his opinion:

Style without metaphor and simile is like a day without sun or woodland without birds.

In this case, Nkadimeng does not use metaphor or simile, but sarcasm instead. This is realized when Lepheko is in conversation with his neighbour (1985:5):

A lena ga le kwe ke dihlong go tsena malapa a batho le ge le se la ba tlwaela?

(Are you not ashamed to enter people's homes even if you are not familiar with them?)

In the above example, Lepheko is being sarcastic to his neighbour. He believes that neighbours want to bewitch his cattle, so that they die. This is the reason why he talks to his neighbour in the manner he does.

Another example is realized when Nkadimeng uses the simile in particular in the story, Lehumo le tliga bokgoba (1985:22):

Ge dikonyana di Ila di nyaka bommago gona, o hlahlamologa bjalo ka legafa...

(When lartibt bleat for their mothers, he jumps up like a madman...)

The above indicates that Lepheko's heart is on his livestock and that he is restless, as he thinks people will do harm to his livestock, hence he jumps up from sleep when his calves bleat, drawing attention from their mothers.

51

Dialogue is another aspect of style. Albright (1931:118) maintains that:

...dialogue can be made to serve the author's purpose

more subtly in revealing fine shades of thoughts and

feeling.

Nkadimeng's style is also realized through dialogue. In the short story, Lehumo le tliga

bokgoba, Thakadu says to his father (1985:11):

Ke fete ke gorogile maabane. Kganthe ga se la mpona ge ke goroga maabane?

("I arrived yesterday. Did you not see me when I arrived yesterday?" )

In the above example, Thakadu explains to his father who arrived late in the evening

while they were already asleep that he arrived yesterday. It is his father's tendency to spend most of the time with the cattle at the kraal until late in the evening, not bothering

about his family.

In the following quotation, a dialogue is noticeable when Motlalepula talks to his customers (1985:94):

Banna le basadi ba gego, ge le sa nntghe mo kotsing ye, gona ke gobetge gammogo le lena.

(Fellow men and women, if you won't take me out of this danger, you and I are in trouble.)

This is the time when Motlalepula is to be raided by the police. He tries to scare the

police off by organizing a "funeral" so that the police should not arrest anyone of them. Indeed things happen the way he planned with his customers.

Dialogue is also -realized in the short story, Mogwera ke tlo fihla le wena mo o yago.

Sefepi is heard saying (1985:81):

Mogwera, Modimo a tla a re thuga! Nna ke ile ka...lemoga gore paesekele ya ka e ile.

(Friend, God has helped us! I...realized that my bicycle was gone.)

52

This is the time after Sefepi and Selepe had won a fight between them and a certain young man who tried to rob Sefepi of his bicycle. They are happy to realize that their

friendship is strong.

Dialogue gives life to any short story, but its excessive use affects the compactness of the short story and reduces it to a kind of drama. For instance, in the story, Ruri o

mpolaile hlogo ye ntsho, Nkadimeng has devoted the whole page 55 to a dialogue between Lekoko and his wife, talking about the missing money.

As far as style is concerned, Nkadimeng resembles novelist. He has the tendency of commenting at length on events or lives of people. For example, in the story, Ruri o

mpolaile hlogo ye ntsho, Lekoko and his wife have just arrived home for Good Friday.

Nkadimeng narrates at length about what happens on Good Fridays and devotes eight paragraphs to this. This is irrelevant for a short story, as unnecessary issues in a short story should be discarded.

Another example is noticed in the short story, Mahlajana a a lahletga e le ruri. He

stresses the use of proverbs, such as "Pitga ya maano ga e apee gabedi" ( Once bitten twice shy), which is the proverb on which this story is based. This is actually the manner in which a novel can be started. This kind of approach is also noticed in the short story, Letuku ke mokadikatga. In this story, the author gives a background of what this story is all about, alluding to a life episode in the first paragraph.

Nkadimeng has the tendency of overlooking the importance of the setting. In all of his short stories, which have been appraised in this collection, no setting has been mentioned. Setting is an important element which must be mentioned, more especially in the first paragraph, together with the main character. In life neither story nor man can exist independently of his environment. Among the remaining three short stories which have not been appraised, only one of them titled Se ga o se dule, contains setting by the

name of Selela. This is the name of the place where activities take place. It would also be most appropriate for the main character to be introduced in the first paragraph, so that the story can takeoff immediately. Some of the short stories in this collection, have their main characters introduced in the second paragraph. These are stories like, Ruri o

mpolaile hlogo ye ntsho, Mahlajana a a lahletga e le run, Mogwera ke tlo fihla le wena mo o yago and Letuku ke mokadikatga.

53

Despite some short-comings that appear in this collection, the language used is

impressive. This is manifested in numerous proverbs that the author uses. Finnegan

(1970:422) expresses her opinion on proverbs:

Proverbs can be used to enrich and enliven speech

at every level, whether of formal oratory or of everyday

conversation, and are regarded as essential to the life

and language...

Nkadimeng's use of proverbs and idioms can be realized in his short stories. For

example, when he describes the love Lepheko has for his cattle he says (1985:15):

Lepheko le leruo la gagwe e be e le monwana le lenala.

(Lepheko and his livestock were like a nail and finger.)

The above description shows the love Lepheko had for his livestock. He had more love

for his livestock than anything, not even mentioning his family. Another example is found

in the story, titled Letuku ke mokadikatga (1985:98):

...letlalo la motho ga le bapolelwe fase...

(...murder will always be discovered...)

This proverb means that if a person is wrongly punished, the truth will finally be

discovered. In the above case, there are also people who sympathise with Letuku after

he is beaten up by one of the women's sons. They criticise the person who beat him up

and believe that Letuku is merely hated and has not committed a crime, hence they

believe that the truth will finally be discovered.

In the story, Ruri o mpolaile hlogo ye ntsho, the author says (1985:52):

Ka go ya sepetlele gona a §upa godimo.

(As for going to the hospital he refused point-blank.)

In the above idiom, the author emphasizes that Lepheko refused altogether to be taken

to the hospital.

54

Nkadimeng uses numerous idioms that really enhance the Northern Sotho language. His

language is fairly good.

He also has the tendency of pausing in the course of the narrative to make comments on the actions of the characters or to draw a moral. For instance in the story titled, Lehumo

le tga bokgoba, the author says (1985:18):

Ge nkabe motho e le kgomo, a reki§wa, yena nkabe e le botala a rekigit§we.

(If a human being could be sold like a cow, he would have been sold long ago.)

The above comment by Nkadimeng emphasizes that Lepheko is an obstinate and selfish father and he is therefore compared to a cow which had better be sold for profit. Here is

another example (1985:57):

lo t§a batho ga di thop§e fela. Gape beng ba tgona ga se ba di hwetga molaleng, di kgokologa.

(People's belongings are not just taken away. After all their owners did not find them in the veld, rolling about.)

In the above example, Nkadimeng comments on what has befallen Leswiswi due to

stealing. Leswiswi stole R200.00 from his cousin and as a result he is taunted by his conscience and also struck by madness. Another example is noticed when he says

(1985:144):

Motho yo a sa tsebego basadi ga a tsebe selo.

(A person who does not know women, knows nothing.)

Nkadimeng remarks on the scheme made by Mmadinoge and Kebadi. These two

women resolve that their children will marry each other, but things do not turn out as they

have resolved.

55

5.3 Conclusion.

Nkadimeng has used the Northern Sotho language accurately and impressively. Most of

his stories contain poetic language in various types of repetitions. The language used in

these stories is also rich in figures of speech, idioms and proverbs.

56

CHAPTER 6

GENERAL EVALUATION.

This collection contains the best short stories, but a few cannot stand the test of the

present time. In some instances, the author does not mention the main character in his

opening paragraphs of his stories, but does it in the second paragraph. The main weak

point that Nkadimeng manifests is that no setting is mentioned in all the short stories that

have been appraised in this collection. Even in those remaining short stories which have

not been appraised, only one contains setting, the story titled, Se ga o se dule. There is

a village called Selela, which is mentioned in that story, in the second paragraph. In

some instances, it is assumed that stories take place in rural areas as such stories

contain narrations about cattle, cattle kraals and calves. These are common in rural

areas. Setting, together with the main character and the problem facing him are a point

of departure in every short story, and this should be included in the first paragraph. In

the short story, titled Mogwera ke tlo fihia be wena mo o yago, setting appears in the

sixteenth paragraph, when the author mentions that Selepe brought his wife to

Dithabaneng to stay with her, which is just an allusion.

In some short stories, Nkadimeng tends to be longwinded as he introduces irrelevant

information which lengthens his stories unnecessarily. For example, in his first short

story titled, Lehumo le tga bokgoba, the opening paragraph is the longest of all the

succeeding paragraphs. The author gives too many details about Lekoko and his

wealth. After the story has been introduced, the author should keep the story

streamlined by discarding unnecessary details, which may reduce the interest of the

reader. Another example is the story titled, "Ruri o mpolaile hiogo ye ntsho, where the

author gives unnecessary information about Good Friday and what happens during this

time. Such a long and winding way of introducing a story is not necessary, more

especially that it has nothing to do with the story per se.

However, what impresses the reader is that, once the author starts with the story, after

wandering about, he does not interrupt it with extraneous information. This is what

arouses the curiosity of the reader as events unfold.

Nkadimeng has used dialogue sparingly, but in the short story, Ruri o mpolaile hlogo ye

ntsho, the dialogue has been excessively used. For instance the whole page fifty five is

devoted to dialogue. Such excessive use of dialogue may affect the compactness of the

story and reduce it to a kind of drama.

57

Nkadimeng rounds off his stories briefly. In some instances he alludes to proverbs in his

ending. Some of these proverbs are sometimes preceded by short phrases. For

instance, in the ending of the short story titled, "Mahlajana a a lahlega e le run"; this is

noticeable (1985:79):

Ke ge go ka thweng! Mahlajana a a lahlega ka ge piga ya maano e sa apee gabedi...

(What is it that can be said! Slyness does not pay, because tricks cannot be repeated...)

Nkadimeng has succeeded in choosing his characters, because most short stories have

very few characters, ranging from two to three.

One realizes immediately that the theme of "dishonesty or selfishness does not pay"

plays a prominent role in this collection. Nkadimeng has clearly outlined the

consequences of selfishness in "Lehumo le tliga bokgoba", when Lepheko is seen

isolated by people and finally struck by insanity and also the consequences of dihonesty

in "0 mpolaile hlogo ye ntsho", when Leswiswi finally becomes mad. Also the

consequences of dishonesty in "Mahlajana a a lahlega e le ruri", when Motlalepula

ultimately is beaten up by the police, and in, "Ke belegege dithaka", when Mmadinoge

experiences frustration due to her dishonesty by not telling her son about her intentions

that she wanted him to marry a girl of her choice. On the other side honesty is realized,

between Sefepi and Selepe when they vow from the beginning to do things together and

even to die together and this is fulfilled when the latter dies. Sefepi is seen trying to

commit suicide in order to follow Selepe in death.

Nkadimeng's short stories are easy to read, because of his language usage. He has a good command of the Northern Sotho language, which is manifested in his use of the

simple language common to Northern Sotho speakers and judiciously uses both idioms

and proverbs.

6.2 Conclusion.

More elements concerning the short story could be identified. The important matter for

the critical reader is whether the writer has succeeded in structuring a satisfactory short

story.

58

Nkadimeng imparts a moral lesson to the readers by revealing various lifestyles that people adopt, as well as various problems they encounter in fife. Some of these problems include conflicts between business people and their disloyal employees. For

instance, a deal between Letuku and Letlaka, the bus owner and a deal between Letuku

and the owner of the lorry and also the conflict between parents and their children and in general, the realities of life. On the whole, Nkadimeng has made a commendable

contribution to Northern Sotho short stories.

59

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