A Pragmastylistic Analysis of Figurative Language Used in Selected Royal Court Songs of Sa’idu Faru

Citation: Masama, S.G., Tsafe, B.D. & Abdullahi, Z. (2024). A Pragmastylistic Analysis of Figurative Language Used in Selected Royal Court Songs of Sa’iduFaru. Four Decades of Hausa Royal Songs: Proceedings from the International Conference on the Life and Songs of Makaɗa Sa'idu Faru, 3(3), 462-470. www.doi.org/10.36349/tjllc.2024.v03i03.064.

A Pragmastylistic Analysis of Figurative Language Used in Selected Royal Court Songs of Sa’idu Faru

By

Sani Garba Masama

Department of English Language and Literary Studies, Zamfara State College of Education, Maru
masama1984@gmail.com
+2348032576475, +2347088977748

and

Bala Dankande Tsafe

Department of English Language and Literary Studies, Zamfara State College of Education, Maru
dantsfebala63@gmail.com
+2348036374958

and

Zubairu Abdullahi

Department of Liberal Studies, Abdu Gusau Polytechnic Talata Mafara
Zamra592@gmail.com

Abstract:

From time immemorial, Hausa singers have been displaying their talents and contributing toward enlightening, educating, and informing societies. These among others are the stories of heroes from various institutions who contributed to the development of the society, politically, educationally, religiously, or battles and defense of the particular society those heroes belonged to. Little wonder, many of them (Hausa singers), especially the royal court singers have unique ways of using variety and striking figures of speech to showcase the image of whoever they wish. By so doing, various forms of metaphoric expressions, hyperbole, satire, irony as well as personifications are used for a reward from their client or ridicule to criticize and expose other opponents’ stupidity or vices. Accordingly, this paper aims to explore a few of those figures of speech, drawing relevant examples from the songs of Sarkin Tudun Falale titled Sarkin Tudun Falale Gogarman Magaji Ummaru, and that of Sultan Maccido titled Kana Shire Baban ‘Yanruwa. The two songs were transcribed and translated into the English language for analysis. The paper adopts pragmatics strategies such as Person Targeted Strategy and Idea Targeted Strategy, as well as ‘Style as Individual’ and ‘Style as Choice’ by Gibbons (2003) for its analysis. The paper reveals that Faru is unique in his use of language, as he uses figures of speech to eulogize Muhammadu Maccido and Sarkin Tudun Falale heavily, describing the influence, and their genealogy which is portrayed as eternal, while their rivals as temporal. Furthermore, through his exceptional use of figurative language vilifies and mocks their rivals.

Keywords: pragmatics, Stylistics, Pragmastylistics, Figurative language, Royal Songs

Introduction

Though distinct in certain aspects, pragmatics and stylistics are two interrelated interdisciplinary fields whose main concern is the quest for meaning-making in language. Being forms of meaning, metaphorical modes can be analyzed from a pragmatic-stylistic stance. If stylistics is mainly concerned with linguistic interpretation of literary discourses, pragmatics unravels the contribution of the context to the construction of meaning proper. The interaction between these subfields of linguistics has led to the emergence of the hybrid term Pragmatic Stylistics. Therefore, the term Pragmatic Stylistics has been circulated in the sphere of linguistics to state the pragmatic dimension in the deconstruction of imaginative works of art. Hence, this paper aims to investigate the figures of speech, with much stress on the metaphors, Hyperbole, satires, ironic personifications and other forms of imageries in the songs of Malamin Kida (Sa’idu Faru) titled Sarkin Tudun Falale Gogarman Magaji Ummaru and that of Sarkin Kudu Maccido-titled “Kana Shire Baban ‘Yanruwa, ” Therefore, stylistic and pragmatic components like figures of style, i. e. metaphor and simile, and personification, will be investigated so far, as stylistic and pragmatic walks are concerned. The study will be rounded up with a set of concluding remarks elicited from the pragmatic stylistic analysis.

Pragmatics

According to Crystal (2008), “pragmatics is the study of the aspects of meaning and language use that are dependent on the speaker, the addressee and other features of the context of utterance.” On his opinion, Leech ever since sees pragmatics as ‘the study of how utterances have meaning in situation.” While Herbernis (2014), avers that “pragmatics is concerned with the mental structure underlying the ability to interpret utterances in context.

Accordingly, Kemison (2011), has it that “pragmatics is the study of the general cognitive principles involved in the retrieval of information from an uttered sequences of words.” Taking a cursory look at the above-mentioned definitions, one may say they are all trying to arrive at a particular view that is the effect that the following concepts have on the speakers’ choice of expression and the addressee’s interpretation of an utterance:

Content of utterance

Generally observed principles of communication

The goals of the speaker

Pragmatics is the study of the relation between the structures of a semiotic system (notably Language) and its usage in context and, along with semantics (see Semantics), forms part of the general theory of the meaning. Within the theory of meaning, pragmatics is especially concerned with implicit meaning, inference, and the unsaid, and how language structure trades on this background of the presumed and the inferred. Pragmatics has come to play an important part in general linguistic theory in part because it has substantial intrinsic subject matter, partly because it promises explanations for other linguistic phenomena, and partly as a response to over-idealization in contemporary grammatical theory (see Generative Grammar). It has also become an area of interdisciplinary concern, with fundamental contributions from the philosophy of language, linguistics, psychology, and the sociology of language

Stylistics

Stylistics is a name of a field of study proposed to explore language use in literary works. It is said to be a combination of linguistics and literary analysis. As a branch of applied linguistics, stylistics originated as a way of applying linguistic models to literary text. As rightly said, Widdowson, (1975), sees “stylistics as the study of literary discourse from linguistic orientation.” According to Short and Culpeper (1996), stylistics is an approach to the analysis of literary text using linguistic description. There are several approaches, and orientations which the analysts may adopt. These varied approaches, as Wales (1989) observes are “due to the main influences of linguistics and literary criticism.” While Widdowson (1995) further argued that stylistics is a link between the disciplines, literary criticisms, and linguistics, David Crystal (1969) sees stylistics as part of linguistics which studies “certain aspects of language variation”. In this respect, we can say that stylistic analysis tends to explore and explain the particular choices made by the writer/author in the selection of words and sentence structure. In other words, the style employed by the author serves to present a particular emotion and meaning. Leech and Short (1981) also explain style as the way the writer conveys the message to the reader(s).

Traditionally, stylistic analysis was seen as a way of exploring the meaning of literary text but now it has gone beyond this structuralism approach and moved towards a more pragmatic orientation to link choices in text to social and cultural context. However, this does not imply that the trend of exploring the meaning in stylistic analysis has completely changed altogether. Along with the discovery of meaning, statisticians have started taking an interest in how features of text, particularly the choice of words are viewed concerning the context in which it is produced and received. (Crystal 1969).

Pragmatics and Stylistics: The Interface

Pragmatics and Stylistics are both aspects of linguistic studies that address the place of context in meaning realizations. Leech (1983:1) highlights the place of pragmatics in language use when he asserts that “we cannot understand the nature of language itself unless we understand pragmatics; how language is used in communication,” context of utterance is crucial. It is the context of utterance and the influence this bears on meaning that pragmatics is concerned with. Mey (2001:42) avers that “no matter how natural language facilities or how convention bound their use, as language users, we always operate in contexts. Therefore, the context looms large, and has to be taken into account whenever we formulate our thoughts about language.” Taking a cursory look at the assertion above, it is crystal clear that even convention in language bends to context in meaning realization. That is to say, conventions are not explicated in isolation. The context in which they operate has to be accounted for. In this regard, both pragmatics and stylistics focused on context for meaning realization. Hickey (1993:578) rightly states: that pragmatics coincides with stylistics in that both are directly interested in the speaker’s choices from among a range of grammatically acceptable linguistic forms. Although pragmatics looks at choice as the means of performing actions, (request, inform, etc); Stylistics studies choice with a particular interest in the consequences on the linguistic level and the effect produced on the hearer (aesthetic, effective, etc). Accordingly, one may argue that style is a contextually determined language variation, while pragmatics is an area of study that analyses the relationships between language and context. However, the context tends to be perceived somewhat differently in each case. For stylistics, context is usually the situation that makes a certain way of speaking more likely, whereas pragmatics sees a context as a composed of knowledge, beliefs, assumptions, etc.

Stylistics has been moving toward pragmatics seeking explanations for aspects of language use that it alone cannot adequately provide. Modern stylistics studies have shown interest in pragmatics in addition to the study of the form of linguistic utterances. The resultant studies are called pragma-stylistic studies. Pragma-stylistics, accordingly, attempts to provide a framework for explaining the relationships between linguistic form and pragmatic interpretation and how the style of communication varies as the speaker aids the hearer in identifying the thought behind an utterance.

Pragma-stylistics is, thus stylistics but with a pragmatics component added to it. (Hickey, 1993). Ibrahim & Waheeb (2017:106), opine that, pragma-stylistics is concerned with showing the extent to which pragmatics contributes to the study of literature; it looks at the usefulness of pragmatics theories to the interpretation of both literary and non-literary texts. Hence, pragma-stylistics offers more complete explanations for any unexplained phenomenon than stylistics or pragmatics can do alone. More so, pragma-stylistics involves the study of all conditions that allow the rules and potentials of language to combine with specific elements of the contexts to produce a text capable of causing specific internal changes in the hearer’s state of mind or knowledge.

A Brief History of Sa’idu Faru

Sa’idu Faru is well known for his exceptional skills in royal songs. As a prominent figure in Hausa musical tradition, it was born in the year 1916, in Faru town, in the present-day Maradun Local Government Area of Zamfara state. Literature has it that Sa’idu’s life and musical career stand as a testament to the richness and resilience of Hausa culture. From his humble beginning in Faru town to his ascension as a revered master of Hausa royal songs, his journey was marked by passion, dedication, and unwavering commitment to his craft. Faru was known not only for his musical talents, but also for his commitment to principles of justice, generosity, and integrity. (https//www.amsoshi.com/2024/02/the-melodic-odyssey-of-saidu-faru.html). Despite facing challenges and hardship, throughout his life, Faru remained steadfast to his craft and his people. Throughout his career, Sa’idu’s music served as a bridge between past and present, tradition and modernity, connecting audiences across generations and communities. His songs were more than mere entertainment; they were a celebration of Hausa's heritage, a reflection of the values and aspirations of his people. His life story is a testament to the transformative power of art and the profound impact that one individual can have on the cultural landscape of a nation. His legacy lived on in the hearts and minds of those who were touched by his music. His songs continue to resonate with the audience, carrying forward the timeless traditions of Hausa culture and serving as a reminder of the enduring power of music to unite, educate, and uplift humanity. (https//www.amsoshi.com/2024/02/the-melodic-odyssey-of-said-faru.html).

The use of figurative language in Faru’s royal songs

Malamin kiɗa tactfully and professionally uses various figures of speech to praise the names, the victories, and the glorious qualities of Sarkin Tudun Falale and Sarkin Kudu Muhammadu Macciɗo by exploring various figures of speech. Figures of speech are any intentional deviation from a literal statement or common usage that emphasizes clarifies or embellishes both written and spoken language. Forming an integral part of language, figures of speech are found in oral kinds of literature as well as polished poetry and prose, and everyday language use. (Agyekun, 2004) Accordingly, the paper seeks to explore the following figures of speech brilliantly used by Malamin Kiɗana Balaraba, viz:

Figures of speech as earlier explained are any intentional deviation from a literal statement or common usage that emphasizes clarifies or embellishes both written and spoken language. Forming an integral part of language, figures of speech are found in oral kinds of literature as well as polished poetry and prose and in everyday speech.

Use of metaphors

In both the two songs, Faru brilliantly and adequately used metaphors to praise Tudun Falale and Sarkin Kudu Muhammadu Maccido. According to Baldick (2004), Metaphor is described in literary contexts as making a comparison by transferring a name from one thing to another, a shift, a carrying over of a word from its normal in all communication; at its simplest, metaphor has been seen as a tool for representing one entity or event in the terms of some other related entity without explicitly stating a likeness, and has sometimes been presented as a poetic device which can add interest, wit, or complexity. Faru is well known to be a figure in the use of metaphors to describe the political and economic powers as well as the social status quo of his patrons. Here are some of them:

Zak imai zama ga hilin Allah gashi ga hili

Lion in an open space (land/ field) ready

To waka son ya hwar mashi

who would be ready to be attacked

In another line, Faru has this to say to portray the political power of Sarkin Tudun Falale thus:

Kafin ‘yan maza su shirya

before men planned for you

Mammanna Ali ya shira

Mammanna Ali is ever ready

Ko da ɗai shirin Allah ash shiri Muhammadu,

Already Allah’s plan is the best Muhammadu

Faru further applauds both Sarkin Kudu and Tudun Falale for employing hyperboles. Hyperbole as defined by Abrams (2009) reported by Garba is a bold overstatement or an extravagant exaggeration of facts or possibilities. For example, Faru has this to say:

Sarkin Tudun Falale gogarman magaji Ummaru

The district head of Falale man of Magaji Ummaru

Ba yau ba ko mazan jiya sun san kana da martaba

Let alone the men of nowadays even the men of the past believed you are undefeatable

When we take a cursory look at these lines, Tudun Falale never lived with his ancestors but Faru has to portray the political strength of the duo. In another verse of Sarkin Kudu, hyperbolically Faru stressed some facts and possibilities, cherishing the political jurisdictions as well as political powers and the lineage of Sarkin Kudu, and his family influence, etc. thus:

Da inda rana ka fita gabas

from the east where the sun rise

Har in da rana taka hwaɗuwa

to the west where it falls

Duɗ ɗai na ga jikan Ɗanhodiyo

are under the jurisdiction of a grandson of Ɗanhodiyo

Babu wurin da mulkinai yats tsaya. No limit to his territory

History has it that one of the impacts of the 1804 Sokotojihad was the establishment of the Sokoto Caliphate which covers almost 400, 000 km2 (four hundred thousand square kilometres). Sa’idu and his band hyperbolically described the jurisdiction of the Sokoto caliphate by saying “From where the sun rises in the east, to where it sets in the west, all under the jurisdictions of a grandson of Danfodiyo, no limitations. Impliedly describes the Sokoto caliphate, considering the number of flag bearers. By exaggeration, Faru and his band describe the jurisdiction of the Sokoto caliphate as covering the world over.

Satire is a literary device that employs humor, irony, exaggeration, or ridicule to expose and criticize people’s stupidity or vices, particularly in the context of royal political context and other societal issues. Satirical works are often marked by a biting wit and a clear intent to provoke thought, challenge the status quo, and potentially instigate change. In other words, satire is a method of ridiculing and critiquing individual or collective human behavior through wit and humor. (Furniss, 1996) Malamin Kida is well known for his effective use of satires, and imagery to ridicule the opponents of his patrons Sarkin Tudun Falale and Sarkin Kudu Maccido. For example, to ridicule the opponent of Tudun Falale, Faru states:

Jagora: Ban ci Kokuwa akwai maraba,

if not for the presence of reconciliatory between

Ɗan Ariguma ya bah hwaɗa maka Muhammadu,

the son of irresponsible never attempt to fight with you

 Ko wurin uwaye mata

 even from the side of your mothers

Y/Amshi: Kuna da tcetctcere da ɗan marar abun wuya,

your status quos differed by far the son of psyche

Ɗan Karuwa dub ɓaci kajjiya da kai muke,

the son of prostitute…

Jagora /Y /Amshi: Ɗan Karuwa dub ɓac ikaj jiya da kai muke

son of the harlot/prostitute all the insolence

words you hear refer directly to you

 

In another verse, Faru effectively used multifaceted hyperbolic imagery, where he says:

 

Jagora: Yahihiya da Kunkuru

turtle and tortoise

Y/Amshi: Shawara guda sukai

with common features share the destiny

Jagora: Bubuk'uwa da Jinjimi

Bubuƙuwa and sacred white ibis

Y/Amshi: Shawara guda sukai

with common features share the destiny

Jagora: Da Bushshiya da Beguwa

hedgehog and porcupine

Y/Amshi: Shawaraguda sukai

with common features share the destiny

Jagora: Da Kurciya da Hasbiya

the dove and the wild pigeon

Y/Amshi: Shawara guda sukai

with common features share the destiny

Dub babuwan da yaz zo haji babu mai nuhwaz zuwa,

none of them went to Haj and none was willing

Jagora: Dub babu wanda yaz

none of them went

Y/Amshi: Yaz zo haji babu mai nuhwaz zuwa

non went and none is willing to go

 

Here we are seeing how he, hyperbolically personifies the group of people as pairs of animals with common features and common destinies. It is a well-known fact that every Muslim believes that performing Hajj is one of the five pillars of Islam, and every believer is willing to perform it at least once in life. At last hyperbolically present their images as just nominal Muslims. This is because only a nominal Muslim will declare his intentions that he is not willing to perform Hajj even if he/she is blessed with wealth to pay for Hajj fare. He ridiculed them, saying that none of them was willing to go. Pragmatically this statement can be interpreted as not optimists.

A little wonder, many Hausa singers, especially the court singers have unique ways of using language to blow up the image of whoever they wish to get something, Faru is not in any way exempted from that. He demonstrated that when he demanded a car from Sarkin Kudu. He made the right choice of words to reaffirm his pleasant disposition, describing him as liberal, and of good character which earns respect, love and affection not only from his family members but the entire Caliphate. To that effect, Faru has this to say:

Babban daji kake ɗan Alu

A big forest you are, the son of Abu

Ko ice ko namun dawa

whether the trees or the wild animals

Ko manya ko ‘yan ƙan ƙana

Big or smaller ones

Da mutum da dabba da itatuwa

Human beings, animals, and the trees

Kowa ƙamnam mamman shi kai

Everyone loves Mamman

Mamman jikan Attahiru

Mamman the grandson of Attahiru

Baba na Sidi Mamman

Baba the right man of Sidi

Gwarzon Cika

Mamman the descendent of Cika

In another verse, Faru further portrays the sterling qualities, the genealogy of Sarkin Kudu which is portrayed as eternal among the entire families of Sultan Abubakar the third (3rd). Accordingly, he states that:

Jagora: Maganag ga da zani hwaɗa maka,

this what I will tell you

Y/Amshi: Gagarau ɗan Alu kai min gahwara,

for Allah’s sake forgive me ’gagarau

Jagora: Maganag ga da zani hwaɗa maka,

this is what I will tell you

Y/Amshi: Gagarau ɗan Alu kai man gahwara,

 ‘for Allah’s sake forgive me

Wada dud aka gadon ɗaukaka,

no matter how one inherits pride

Wada dud aka gadon ƙasura,

no matter how one inherits disposition

Wada dud aka gadon ci gaba,

no matter how one inherits credibility

Mamman ka gadi Abubakar,

Mamman you inherited Abubakar

Ko da sayen halin nan akai,

if for pleasant disposition is to be sold

Baba halin da ka kai kuɗɗi shi kai,

Your behavior is going to be costly

Jagora: Ko da sayen halin.

if for pleasant disposition is to be sold

Y/Amshi: Halin nan akai, Baba halin da kakai

kuɗɗi shi kai,

if for pleasant disposition is to be sold

 

In requesting a car from Sarkin Kudu, Faru demonstrated the pragmatic tact and politeness approach as he made the following statements:

Mai raba kaya uban Sarkin Zagi

a great philanthropist, the Father to Sarkin Zagi

Shi adda haling na Bubakar

he is the only one that emulates the behavior of Abubakar

Bada mota ga rai ba komai bana

donating a car is nothing to him

In other lines, Faru continues with the use of convincing words as follows:

Jagora: Babban daji kake ɗan Alu,

big forest you are, the son of Alu

Y/Amshi: Ko icce ko namun dawa,

whether the tree or wild animals

Jagora: Babban daji kake Dan Abu,

big forest you are, the son of Alu

Y/Amshi: Ko icce ko namun dawa

whether the tree or wild Animals

Ko manya ko yan ƙan kane,

big or small

Da mutun da dabba da itatuwa,

Humans Animals and trees

Kowa ƙamnam Mamman yakai,

everyone loves Mamman

Mamman jikan Attafiru,

the grandson ofAttahiru

Baba na Sidi,

Baba man of Sidi

Mamman gwarzon Cika,

Mamman the best man of Cika

Jagora: Mamman. . .

Y/Amshi: Mamman jikan Attafiru,

Mamman the grandson of Attahiru

Baba na Sidi,

Baba man of Sidi

Mamman gwarzon Cika…,

Mamman best man of Cika

Macciɗo roƙon mota nizzaka

Macciɗo car I pledge for

Kai bari katche iyakag gargare

oh stop trespassing the boarder

Mai roƙon doki ɗansuka

he who pledges for a HORSE

In an bashi mota amsa ya kai

if he gets a motor car he accepts it

Mai roƙon riga kwakwata

one who pledges kwakwata gown

In an bashi shabka amsa ya kai

if he gets shabka gown accepts it

Mai roƙon riga ‘yaddiga

he who pledges for ‘yaddiga gown

In an bashi kore amsa ya kai…

if he gets kore gown accepts it

Additionally, Faru employs pragmatic tact or strategies, pragmatic strategies are of two types according to Gibbons (2003), the first one is person-targeted pragmatic strategies and the second is idea-targeted strategies. The person targeted pragmatic strategies include manipulation of language to achieve the status support and raise the status quo of the patron, on the contrary, it could be used to reduce the status quo of the opponent by attacking his character through using sarcastic remarks, ironic use of titles or overt challenge of the mental, social, economic and political capabilities of the opponent. Faru adopted both positive and negative strategies, in the positive, he raised the status quo of Sarkin Kudu Macciɗo above all members of the royal families; building up his credibility by tracing his lineage right away from Usman Bn Fodiyo. Faru went further to prophesize that Maccido would soon become the Sultan of Sokoto. Of course, Maccido in 1996 was turbaned as the 19th Sultan of Sokoto and died in the year 2006. But in the case of Sarkin Tudun Falale raised his status quo and vehemently attacked the characters of his opponent. Consider the following lines:

Duba ƙafakka zuwa hannuwa

have a look from your toes to the shoulder

Gaban Shehu na bawata za’ida

resembles Shehu’s, the plain truth no exaggeration

Sarkin Musulmin wata ran kake

you will be the sultan shortly

Da Imani da mu’ujiza

thoroughly you are faithful and blessed’

Tun ga Alu mai saje nijjiya…

your sterling qualities were right described by Alu mai Saje

When Faru demands a car from Macciɗo, he consciously and brilliantly employs style as the choice to politely request it. This is demonstrated in the following verse:

Tun randa Allahu yai duniya

right from the time, Allah created the world

Sai yay yi mutum mai ƙoƙari

then created the brave men

Kuma yay yi mutum mai kyawo…

then created a handsome man

Sai yay yi mutum mai iko

and then created the ruler

Kuma ya aza mai roƙo nai

and then created and attached to his epithet

Albarkan Nana uwad Daje

for the sake of Nana UwadDaji

Bamu mato muhamman Sarkin Kudu

give us a car Muhamman Sarkin Kudu

For Tudun Falale, Faru has this to say:

Sarkin Tudun Falale gogarman Magaji Ummaru

the district head of Falale man of Magaji Ummaru

Ba na yau ba ko mazan jiya sun san kana da martaba

Let alone the men of nowadays, even the men of the past believed you undefeatable

Here Faru tries to build upon the credibility of his patrons. On the contrary, Faru sarcastically remarks on the individual as well as the group of opponents of Sarkin Tudun Falale. Consider the following:

In ban da hwaɗa da maraba

if not for the presence of reconciliatory between

Dan aruguma ya bah hwaɗa maka

the son of irresponsible never attempts to fight ‘with you’

Muhammadu

Muhammadu

Ko wurin uwaye mata

even from the side of your mothers

Kuna yatsetstsere

the status quos differed by far

Dan marar abun wuya

the son of psyche

Dan karuwa duɓ ɓaci kajjiya

son of the harlot all the insolence words you hear

Da kai nike

refer directly to you

For the group of Tudun Falale’s opponents, Faru has this to say:

Yahihiya da kunkuru

turtle and tortoise

Shawara guda su kai

with common features share the destiny

Bubukuwa da Jinjimi

bubukuwa and sacred white ibis

Shawara guda su kai

with common features share the destiny

Bushiya da Beguwa

hedgehog and porcupine

Shawara guda su kai

with common features share the destiny

Da kurciya da habziya

the dove and the wild pigeon

Shawara guda su kai

with common features share the destiny

Duk babu wanda yaz zo haji

none of them went to Hajj

Babu mai nuhwaz zuwa

none is willing to go

The second pragmatic strategy is the idea of targeted strategies. These strategies focus more on the message. The first is the vocabulary choice that can have some reference but their use is meant to convey a positive or negative. In addition, word choice can be used to influence listeners’/speakers’ memory of events as famously illustrated by Faru against one of the bodyguards whom he calls ‘samnan bahwade’, one whose idea was targeted and attacked by both Faru and two other bodyguards. So to say, in a challenging way they both debunked the ideas of ‘Samnan bahwade’. To that effect, Faru has this to say:

Ko kai niyya bamu dawakuna

even if you intend to give us the horses

Samnan bahwade sara shi kai

 the wicked bodyguard condemns it

Don ance ko ka bamu dawakuna

as he says even if you give us the horses

Randa Sallah tat tashi ƙaura mu kai.

During sallah celebrations, we leave for Home

Mamman haraka sai yajjiya

when mamman haraka heard it

Yacce kai ko ƙarya ka kai

then responded you are a liar

ƙaura da Gusau da Kwatarkwashi

both Kaura, Gusau and Kwatarkwashi

Dangulbi da Bunguɗu ham Maru

Dangulbi and Bungudu up to Maru

Dud daina ga Mamman Sarkin kudu…

are all the same to Mamman Sarkin Kudu…

… da inda rana ka fita gabas …

. From the east where the sun rises

Har inda rana taka hwaɗuwa

to the west where it falls

Dud ɗaina ga jikan Danhodiyo

are all the same to the grandson of Danhodiyo

Babu wurin da mulki nai yats tsaya

his territories are unlimited

So, here Mamman haraka and Dandikko use idea targeted strategies to debunked the idea of condemning given Saidu Faru the horses by Sarkin Kudu, believing that, given him the horses will not augur well as faru and his band will not stay in Sokoto to celebrate with Macciɗo. They went ahead to tell him that both Kaura, Gusau and Kwatarkwashi; Dangulbi, Bunguɗu and Maru. ‘Dan Dikko by exaggeration went further to say, from the East to the West, his territories are limitless, Sarkin Kudu should go ahead to give Faru the horses.

Conclusion

Little wonder, many of the Hausa singers, especially the royal court singers have unique ways of using variety and striking figures of speech to blow up the image of whoever they wish to get more materials from or ridicule to expose and criticize other opponents’ stupidity or vices using forms of metaphoric expressions-hyperbole, satire, irony as well as personifications that add to their songs and bolster the pride of those praised. Accordingly, this paper explores a few of those figures of speech drawing relevant examples from the songs of Sarkin Tudun Falale titled “Sarkin Tudun Falale Gogarman Magaji Ummaru”, and that of Sultan Macciɗo-titled “Kana Shire Baban ‘Yanruwa,” where Faru eulogizes them heavily, vilifies and mocks their rivals and equally uses hyperbole to describe the influence of the two leaders, and their genealogy which is portrayed as eternal unlike that of their rivals which is temporal. Accordingly, he examines how excellently Sa’idu Faru employs some pragmatic strategies to raise the status quo of both Tudun Falale and Sarkin Kudu Muhammadu Macciɗo and also sarcastically discredited their opponents. At last, we can realize that the royal court (singers and poets) held hereditary exemption from the jurisdiction of the civil chiefs as they are regarded as direct servants to the crown and as such cannot be prosecuted no matter how abusive the language they used otherwise, he would have been prosecuted for saying “ɗan karuwa duɓ ɓaci kaj jiya da kai nike”. In Hausa tradition is an insult to call someone the son of a prostitute; it is the same as calling him an illegitimate child/person.

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