^{Page 447 note 1} Stevick, Philip (ed.), The Theory of the Novel (New York, 1967), p. 3.Google Scholar

^{Page 447 note 2} Daiches, David, ‘Fiction and Civilization,' in Gerald, J. and Goldberg, Nancy M. (eds.), The Modern Spectrum (Englewood Cliffs, 1962), p. 114.Google Scholar

^{Page 447 note 3} Langer, Susan, Problems of Art (New York, 1957), p.53. She adds on p. 176Google Scholar: ‘The meaning of a work of art has to be imaginatively grasped through the forms it presents to the sense to which it is addressed; and, to do this, the work must make a forceful abstraction of “significant form” from the concrete stuff that is its medium’.

^{Page 447 note 4} Hagopian, John V., ‘Symbol and Metaphor in the Transformation of Reality into Art’, in Comparative Literature (Eugene, Oregon), XX, 1968, pp. 45–54.Google Scholar

^{Page 447 note 5} Wellek, René, Concepts of Criticism (New Haven, 1963), pp. 238–9.Google Scholar

^{Page 447 note 6} de Maupassant, Guy, ‘A Presentment More Striking than Reality Itself’, in Stevick, (ed.), The Theory of the Novel, p. 397.Google Scholar

^{Page 448 note 1} Quoted by Killam, G. D., The Novels of Chinua Achebe (London and New York, 1969), p. 8.Google Scholar

^{Page 448 note 2} Lindfors, Bernth (ed.), Palaver: interviews with five African writers (Austin, 1972), pp. 11–12.Google Scholar

^{Page 448 note 3} See his introduction to Achebe, Chinua, A Mon of the People (New York, 1967), p. 13.Google Scholar

^{Page 449 note 1} Roscoe, Adrian A., Mother is Gold: a study in West African literature (London, 1971), p. 129.Google Scholar

^{Page 449 note 2} Brain, Russell, The Nature of Experience (London, 1959), pp. 10 and 39–40.Google Scholar

^{Page 449 note 3} Langer, Susan, Philosophical Sketches (Baltimore, 1962), p. 88.Google Scholar

^{Page 449 note 4} Langer, , Problems of Art, p. 93.Google Scholar

^{Page 450 note 1} Duhamel, P. A. and Hughes, R. E. (eds.), Literature: form and function (Englewood Cliffs, 1965), pp. 447–8.Google Scholar

^{Page 450 note 2} Lindfors, op. cit. p. 27.

^{Page 450 note 3} Quoted by Lukacs, George, ‘The Ideology of Modernism,’ in Grebstein, Sheldon N. (ed.), Perspective in Contemporary Criticism (New York, 1968), p. 207.Google Scholar

^{Page 451 note 1} Wellek, op. cit. p. 225.

^{Page 451 note 2} Guerin, W. L.et al., A Handbook of Critical Approaches to Literature (New York, 1966), p. 3.Google Scholar

^{Page 451 note 3} Shelton, Austin J., ‘The Offended Chi in Achebe's Novels’ in Transition (Kampala), 3, 1964, p. 36.Google Scholar

^{Page 452 note 1} The distinction between the useful and the beautiful is clearly evident in the aesthetic concept of nsaasia held by the Turu, a Bantu people living in central Tanzania. According to Harold K. Schneider: ‘The essential qualities of nsaasia are regularity, smoothness, symmetry, cleanliness and color… also wholeness and completeness in the sense of integration. A stoll which has no ornament may still be nsaasia because it is skillfully made and integrated, but it loses its quality if disfigured even if it is still useful.' See his ‘Turn Aesthetic Concept,’ in The American Anthropologist (Washington), 63, 1966, pp. 157–8.Google Scholar I am presently at work on a study of nsaasia and its importance in literary criticism.

^{Page 452 note 2} See my Ph.D. dissertation, ‘The Rhetoric of African Fiction,’ Binghamton, State University of New York, 1972.Google Scholar

^{Page 453 note 1} See Gleason, Judith I., This Africa: novels by West Africans in Engtish and French (Evanston 1965).Google Scholar

^{Page 453 note 2} Taiwo, Oladele, An Introductisn to West African Literature (London, 1967), p. 58.Google Scholar

^{Page 453 note 3} Ibid. p. 151.

^{Page 453 note 4} Cf. Palmer, Eustace, An Introduction to the African Novel (London, 1972), p. 53Google Scholar: ‘Okonkwo is what his society has made him, for his most conspicuous qualities are a response to the demands of his society. If he is plagued by fear of failure and of weakness it is because his society is preoccupied with rank and prestige; if he is always itching to demonstrate his prowess in war it is because his society reverses bravery and courage, and measures success by the number of heads a man has won; if he is contemptuous of weaker men it is because his society has conditioned him into despising cowards. Okonkwo is a personification of his society's values, and he is determined to succeed in this rat-race.’.

^{Page 454 note 1} Roscoe, op. cit. p. 130.