Thesis (MA (African Languages))--University of Stellenbosch, 2005. / This study aims at highlighting one of the crucial aspects of Xhosa drama: how women have been regarded by a variety of communities as being inferior to men. This stereotype pervades almost all spheres of life. The low status assigned to women find its way into literature as well. Ngewu’s drama “Yeha mfazi obulala indoda” and Taleni’s drama “Nyana nank’uNyoko” has been examined. In most Xhosa literature, women are portrayed as submissive, obedient and minor characters. The advent of Ngewu’s work changed this scenario by portraying women as independent characters. This has led to great conflict with male characteristics and this demonstrates clearly that partriarchal domination is deep rooted in Xhosa culture.

Text in Xhosa. / Thesis (MA)--University of Stellenbosch, 2002. / ENGLISH ABSTRACT: This study explores the cultural conflict between the Western and African cultures in two Xhosa novels. The two novels investigated in this study are Ingqumbo yeminyanya by A.C. Jordan and Ukuba ndandazile by W.K. Tamsanqa. We concentrate on the two older Xhosa novels with the aim to find out how they deal with the cultural conflict arising from western and traditional Xhosa life systems. Chapter 1 of the study presents the aims of the study. Chapter 2 presents theoretical underpinnings of literature and culture as the theoretical framework of the study. In Chapters 3 and 4, two Xhosa novels are analysed, one in each chapter. It is found that conflict in Ingqumbo yeminyanya and Ukuba ndandazile, results from western and traditional Xhosa value systems that co-exist. The characters in the novels belong to each camp and have strong views about the other's value system. The protagonists of both novels adhere to the western culture, and they live in their community with antagonists who cherish their traditional Xhosa lifestyle. The traditional people are content with their style of life, they are dissatisfied by the westernised life of their offspring who have become alien and who despise and look down upon their own Xhosa tradition and custom. A major problem in the novels is that the westernised protagonists are a few educated royal leaders who have to lead the traditional people they despise. Yet because of the majority of the traditionalists, the traditional Xhosa life exerts so much force on the lives of the few educated protagonists such that they reach tragic ends. The conclusion that can be made about the tragic end of the characters in both novels is that it results from the failure of the intolerance of the western and traditional value systems. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die kulturele konflik tussen die Westerse en Afrika-kulture in twee novelles. Die twee novelles wat ondersoek word is Ingqumbo yeminyanya van A.C. Jordan en Ukuba ndandazile van W.K. Tamsanqa. Daar word gekonsentreer op hierdie twee ouer novelles met die doelom te bepaal hoe kulturele konflik hanteer word wat veroorsaak word deur die verskille tussen westerse en tradisionele Xhosa leefwyses. Hoofstuk 1 van die studie bied die doelstellings en afbakening van die navorsingsonderwerp. Hoofstuk 2 bied die teoretiese grondslae van die interaksie tussen letterkunde en kultuurondersoek wat die teoretiese raamwerk vorm van die studie. In hoofstukke 3 en 4 word die Xhosa novelles ontleed. Daar word bevind dat konflik in Ingqumbo yeminyanya en Ukuba ndandazile veroorsaak word deur westerse en tradisionele Xhosa waardesisteme wat naas mekaar bestaan. Die karakters in die novelles verteenwoordig elk van hierdie kante, en het sterk sieninge oor die ander se waardesisteem. Die protagoniste in beide novelles volg die westerse kultuur, en hulle leef in hulle gemeenskap met antagoniste wat die tradisionele Xhosa lewenswyse volg. Dié tradisionele mense is tevrede met hulle leefwyse, en is ontevrede oor die verwesterse lewe van hulle kinders wat vervreemd geraak het, en wat neerkyk op die Xhosa tradisies en gewoontes. 'n Groot probleem in die novelles is dat die verwesterse protagoniste in paar opgevoede koninklike leiers is, wat die tradisionele mense moet lei vir wie hulle verag. Vanweë die meerderheid tradisionele mense, oefen aspekte van die tradisie te veel druk uit op die enkele opgevoede protagoniste en laasgenoemde het 'n tragiese dood. Die gevolgtrekking kan gemaak word uit die tragiese dood van die protagonis karakters in beide novelles dat dit die resultaat is van onverdraagsaamheid van westerse en tradisionele waardesisteme. / XHOSA: Olu phando lumalunga ngokungquzulana kwenkcubeko yaseNtshona neyemveli kwiinoveli ezimbini ezibhalwe ngababhali abadumileyo ekubhaleni iincwadi zamabali esiXhosa. Ezi noveli zolu phando nababhali bazo yi - Ingqumbo yeminyanya ngokubhalwa A. C. Jordan. Eyesibini ngu - Ukuba ndandazile ngokubhalwa ngokuka W. K. Tamsanqa. Olu phando luqwalasela kwezi noveli zindala ukuze lubone ukuba ziwuxukushe njani umbandela wongquzulwano Iwenkcubeko yaseNtshona neyemveli yamaXhosa. Isahluko 3 sithetha ngokuza kuqhubeka kolu phando. Isahluko 2 sidandalazisa amabakakala engcingane oluncwadi., nenkcubeko, nto leyo ebonanakalisa ubume. bolu - phando. Kwisahluko 3 kunye no 4, kuhlalutywa iinoveli ezimbini zesiXhosa. Ingqumbo yeminyanya kunye no - Ukuba ndandazile kwisahluko 4. Kuyafumaniseka ukuba ungquzulwano kwi - Ingqumbo yeminyanya no - Ukuba ndandazile Iwenziwe kukudibana kwenkcubeko yaseNtshona neyemveli. Abalinganiswa bamacala omabini baye banezinye iingqondo ezingahambelaniyo nelinye icala. Abalinganiswa abazintloko bezi noveli bakholelwe kwinkcubeko yaseNtshona, noxa bekhokela isizwe sabo sabantu benkcubeko yemveli. Noxa abantu benkcubeko yemveli babeqhubeka nenkcubeko yabo yemveli, babengayithandi inkcubeko yaseNtshona eyamkelwe ngabantwana baseNtshona, ebenza ukuba bayijongele phantsi inkcubeko yabo yemveli. Unobangela owenze ungquzulwano kukuthi bona abantu abakholelwa kwinkcubeko yaseNtshona bebancinci ngokwenani, bafune ukuqweqwedisa abantu benkcubeko yemveli abasisininzi. Ngenxa yobuninzi babantu abakholelwa kwinkcubeko yaseNtshona, nto leyo edale isiphelo esingekho sihle nokuphalala kwegazi kwezi noveli. Ukuqukumbela, isiphelo esibi sabalinganiswa senziwe kukunganyamezelani kwabanbezinkcubeko zombini.

Thesis (MA)--University of Stellenbosch, 2001. / ENGLISH ABSTRACT: This study examines the portrayal of characters in four Xhosa novels of the 1990s. The objective is to found out whether or not characterization in the Xhosa novels of the 1990s improves. This is done with the view that past studies of characterization done before 1990 by Jafta (1978; 1996), Satyo (1978), Sirayi (1989) and Dlali (1992) gave the picture that a high percentage of writers portray characters as archetypes because of thematic concerns. This often renders characterization poor in the sense that the reader is able to predict the outcome of events through the actions of the characters. However, Zulu (1999:3) argues that with the inceptor of democracy in South Africa in 1994, African Languages literature was liberated as well from several constraints, and reveals some signs of maturing. This study is thus conducted to confirm or refute Zulu's (1999) claim that there are signs of improvement in the way writers portray characters. The study concentrates of four selected Xhosa novels published in the 1990s. The novels are selected on the criteria that they have won literary prizes and are written by prolific writers. It is found that in all four novels, Iqlina lomtshato, Kazi Ndenzeni na?, Koda Kube Nni na? and Ukhozi Olumaphiko the novelists have succeededin creating realistic, live, dynamic, complex and multidimensional characters. The change and development of characters are influenced by environmental change as a result of social, political and economic factors. However, the study also shows that some events in Ukhozi Olumphiko are implausible. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die voorstelling van karakters in vier Xhosa novellas in die 1990s. Die hoofdoelstelling is om te bepaal of daar 'n verbetering in kwaliteit is in die Xhosa novellas in die negentiger jare. Hierdie ondersoek word gedoen in die lig van voorafgaande studies soos Jafte (1978, 1996); Satyo (1978); Sirayi (1989) and Dlali (1992) wat bevind dat 'n groot aantal skrywers, karakters in Xhosa novellas as stereoptipes voorstelop grond van die "telematiese" oorwegings at hulle het. Dit het dikwels die gevolg dat karakterisering swak is in die sin dat die leser die uiteinde van gebeurtenisse kan voorspel deur die handelinge van die karakters. Zulu (1999:3) argumenteer egter dat met die verkryging van demokrasie in Suid Afrika, is die letterkunde van die Afrikatale ook bevry, en dit vertoon tekens dat die literêre wasdom bereik. Hierdie studie word dus onderneem om Zulu (1999) se aanspraak te ondersteun of te weerlê dat daar tekens van verbetering is in die wyse waarop skrywers karakters voorstel. Die studie konsentreer op vier geselekteerde Xhosa novelles wat in die 1990s gepubliseer is. Die novelles is geselekteer volgens kriteria dat hulle literêre pryse gewen het en deur erkende skrywers geskryf is. Daar word bevind in die studie dat die skrywers in al vier die novelles, Iqlina lomtshato, Kazi Ndenzeni na?, Koda Kube Nni na? en Ukhozi Olumaphiko suksesvol was in die skep van realistiese, lewendige, ekonomiese komplekse en multi-dimensionele karakters. Die verandering en ontwikkeling van karakters word beïnvloed deur omgewingsverandering, sowel as deur sosiale, politieke en ekonomiese faktore. Dit word egter bevind dat sommige handelinge in die novelle Ukhozi Olumaphiko ongeloofwaardig is. / INTSHWANKATHELO ISIXHOSA: Lo msebenzi uphonononga ukuvezwa kwabalinganiswa kwiinoveli zesiXhosa ezine ezibhalwe ukususela kumnyaka ka-1990 ukuya ku-1999. Injongo yalo msebenzi kukuqwalasela ukuba ikho kusini na impucuko kwindlela abazotywa ngayo abalinganiswa kwezi noveli zesiXhosa zibhalwe ngomnyaka ka-1990 ukubheka phambili. Oku kwenziwa phantsi koluvo lokuba izifundo zamandulo ezimalunga nokuzotywa kwabalinganiswa ngokubhalwa nguJafta (1978;1996), uSatyo (1978) uSirayi (1989) noDlali (1992) zibonakalisa ukuba uninzi Iwababhali luveza abalinganiswa njengemizekelo esisiseko ukuzama ukubanxulumanisa nomxholo wenoveli leyo. Oku ke kubeka ukuzotywa kwabalinganiswa kwizinga eliphantsi nanjengoko umfundi aye akwazi lula ukuthelekelela iziphumo zezehlo ngokujonga iintshukumo ezi zabalinganiswa. Ukanti ke, uZulu (1999:3) uveza ukuba ukususela mhla kwamiselwa ulawulo lukawonkewonke okanye inkululeko eMzantsi Afrika ngomnyaka ka-1994, uncwadi IweeLwimi zaseAfrika Iwaye Iwakhululeka nalo, Iwaze Iwabonakalisa iimpawu zokuvuthwa. Lo msebenzi ke ujolise ekuqinisekiseni okanye ekuphikiseni ingcamango kaZulu (1999) yokuba kukho iimpawu ezibonakalisa ukuphuhla kwindlela ababhali abaveza ngayo abalinganiswa. Lo msebenzi ke uza kuqwalasela kwiinoveli zesiXhosa ezine ezikhethiweyo nezishicilelwe kwisithuba sika-1990 ukubheka phambili. Ezi noveli zikhethwe phantsi komgomo wokuba ziphumelele amabhaso oncwadi yaye zibhalwe ngoomakhwekhwetha bababhali abavunyiweyo. Kuye kwafunyaniswa into yokuba kwezi noveli zone, Iqhina lomtshato, Kazi Ndenzeni na?, Koda Kube Nini na?, kunye noKhozi Olumaphiko ababhali beenoveli baphumelele ekwakheni abalinganiswa ababonisa izinto ngobunjalo bazo, abaphilayo, abanentshukumo, abantsonkothileyo nabambaxa. Utshintsho nokuphuhla kwabalinganiswa lubangelwa kukutshintsha kweendawo abahlala kuzo ngokudalwa ziimeko zokuhlala, ezopolitiko, nezoqoqosho. Ukanti ke, ezinye zezehlo kuKhozi Olumaphiko aziqondakali ngokugqibeleleyo.

Thesis (MA)--Stellenbosch University, 2001. / ENGLISH ABSTRACT: This is research on the metaphor in R.M. Tshaka's lintsika ZeNtlambo yeTyhume. What comes out clearly is Tshaka's artistic employment of the metaphor especially in the poems selected from his poetry book lintsika ZeNtIambo yeTyhume. Chapter 1 gives the aim of this assessment which is to conduct research about metaphor in selected poems and the method of how comparison has been done in the poems. This research is based on the ideas of theorists like: Aristotle (384 - 322 B.C.) and Johnson (1980) as pointed out by Hermanson (1995). Works by literary critics like Mona (1994) and Qangule (1972) inspired this research. Chapter 2 gives an overview of the views by various critics and linguists about metaphor. Here, thoughts from critics revolving around the metaphor clarify what is meant by metaphor in culture and in everyday use. Chapter 3 deals with the metaphor in selected poems. Poems have been selected according to the themes and a critical analysis is done to illustrate the significance of each metaphor in each poem. Tshaka's topics in selected poems are drawn from the following issues: 1. Originality (cultural); 2. Habitation; 3. Historical; 4. Political and 5. Biblical (religious). Chapter 4 is the conclusion of the research on metaphor and is arrived at by reviewing clearly the manner in which Tshaka utilises metaphor in the selected poems. It is here that attention is also drawn to his succesful use of metaphor. High quality language that arrests one's interest is manifestly evident in the selected poems because Tshaka's topics are realistic, sensible and drawn from daily experience. To cite an example, Qangule (1972) in his critical analysis of the poem Igqili (p.59), discusses metaphor and ideophone extensively. Metaphors are not used in isolation, but are used grammatically to give a clear tone and it is clearly evident that Tshaka has used grammatical and conceptual theories because in the formation of the copulative there is a morpheme which establishes personification, emphasis or otherwise a metaphor. Metaphor then, is companson of two objects (things, items); assimilation of one thing with another which is not the former one, or incorporation according to speech and opinion or otherwise the action to give evidence of what is being compared. / AFRIKAANSE OPSOMMING: Hierdie navorsing / studie oor die gebruik van die metafoor in "lintsika ZeNtiambo yeTyhume" van R M Tshaka toon duidelik die digter se artistieke werking van die metafoor in uitgesoekte gedigte van sy boek. Wat belangrik is uit Tshaka se gedigte is die kunstige gebruikmaking van die metafoor. Sy keurige taalgebruik tref met die eerste oogopslag. Hoofstuk 1 handeloor die doelstelling van die studie asook die wyse waarop die vergelyking getref is in studie. Die navorsing word gesteun deur toerië geformuleer deur Hermanson (1995) soos Aristotle (384 - 322 B.C) en Johnson (1980). Ander literêre leiersfigure soos Mona (1994); Qangule (1972) en Tshaka (1953) word ook in hierdie studie in ag geneem. Hoofstuk 2 gee 'n oorsig oor die menings van kritici en taalkundiges ten opsigte van die metafoor en verwys beide na die metafoor in kultuur en alledaagse gebruik. Hoofstuk 3 handeloor die metafoor in geselekteerde gedigte. Gedigte is tematies gekies en 'n kritiese analise is verskaf om te toon en nadruk te lê op die belangrikheid van elke metafoor in elke gedig. Tshaka se onderwerpe in geselekteerde gedigte word bespreek onder die hoofde: 1. Oorspronklikheid (kultureel) 2. Lewenswyse 3. Geskiedenis 4. Politiek 5. Godsdienstigheid Hoofstuk 4 is die gevolgtrekkings van die studie in die vorm van In oorsig oor die wyse waarop Tshaka baie suksesvol die metafoor aanwend. Vergelyking is 'n fokus punt van hoe die digteer sy gedigte bespreek het, byvoorbeeld: Qangule het in sy kritiese benaderings van die gedig se krities op die gedig "Igqili" (bl. 59), baie gebruikgemaak van metafore en idiofoone. Metafore word nie ge-isoleerd gebruik nie, maar grammaties, en hulle gee In volle betekenis van wat die digter wil benader. Tshaka het begrippe van teorieë deur die gebruikmaking van grammatikale. Daar is In morfeem in die verbindingswoord wat personifikasie vestig. Metafoor is die vergelyking van twee objekte: (items) assimilasie van een ding met 'n ander, óf 'n inkorporasie van spraak en mening, óf die aksie om vergelyking te bewys.

Thesis (MA)--Stellenbosch University, 2002. / ENGLISH ABSTRACT: This study examines gender relations in four Xhosa drama books. It aims at establishing the influence of culture on gender representations of female and male characters. Culture is observed in the context of patriarchy, which influences the way men and women are portrayed in the dramas. Men and women in the dramas are portrayed as cultural stereotypes. They behave in similar and predictable ways. These characters illustrate a moralistic theme thus conveying a patriarchal message. In this study, culture is viewed as too comprehensive, a concept to be forced into definition that will be acceptable to everyone. Culture can be used to refer to a general process of intellectual, spiritual and aesthetic development. It might be to suggest a particular way of life, whether of people, a period or a group. Storey (1993 : 20) "Culture" embraces everything, which contributes to the survival of man. According to Payne (1997 : 190) "gender" refers to the ensemble of cultural forms, meanings, and values conventionally associated with women and men. The thesis is arranged as follows: Chapter 1 introduces the aim, the scope, the theories and the methods of the study. Chapter 2 deals with the development of plot within episodes in the four dramas. A critical evaluation of the dramas is undertaken. Chapter 3 deals with a man and a woman as character in Xhosa drama under a study. A detailed analysis of the main male and female character in each drama is undertaken. Furthermore, a critical summary of how the male and female character has been portrayed in the dramas is presented. Chapter 4 presents depiction of Xhosa culture in the Xhosa dramas. From each drama, certain selected aspects of culture are explored and an investigation of the portrayal of these aspects is undertaken. Chapter 5 summarizes the findings of the study. / AFRIKAANSE OPSOMMING: Die studie ondersoek die verhoudings tussen geslagte in vier Xhosa drama boeke. Die doel is om die invloed wat kultuur op die manlik en vroulike karakters teenwoordig, vas te stel. Kultuur word waargeneem in die konteks van patriargisme, wat die manier waarop mans en vrouens in die drama uitgebeeld word, beïnvloed. Mans en vrouens word in die dramas as kulturele stereotipes uitgebeeld. Hulle tree op dieselfde en voorspelbare maniere op. Die karakters illustreer In moralistiese tema en dra sodoende In patriargale boodskap oor. In die studie, word kultuur as te omvattend beskou, In konsep wat aanvaar word deur almal. Kultuur kan gebruik word om na In algemene ontwikkelingsproses wat intellektueel, spiritueel en asteties is te verwys. Dit mag wees om In sekere soort leefwyse uit te beeld, hetsy van mense, In periode of In groep. Storey (1993:20) beskryf "kultuur" as alles wat tot die oorlewing van die mens bydra. Volgens Payne (1997: 190) verwys "geslag" na die samestelling van kulturele vorms, menings en waardes wat konvensioneel met mans en vrouens geassosieer word. Die tesis is as volg uiteengesit: Hoofstuk 1 stel die doel, die omvang, die teorie en metodes van die studie voor. Hoofstuk 2 handeloor die ontwikkeling van die komplot binne episodes van die vier dramas. In Kritieke evaluasie van die dramas word gedoen. Hoofstuk 3 handeloor die karakters van In man en In vrou in die Xhosa dramas. In gedetailleerde ontleding van die dominante manlike en vroulike karakters van elke drama word gedoen. In Kritiese opsomming van hoe die manlike en vroulike karakters uitgebeeld word, word ook gedoen. Hoofstuk 4 stel die tipiese uitbeelding van die Xhosa kultuur in die Xhosa dramas voor. Vanuit elke drama word sekere selektiewe aspekte van kultuur ondersoek en In inspeksie van die uitbeelding van die aspekte word gedoen. Hoofstuk 5 bevat die bevindinge van die studie.

Thesis (MA)--Stellenbosch University, 2003. / ENGLISH ABSTRACT: This study identifies the predominant features in JJR Jolobe's children's poetry (rhymes). Another purpose well worth considering is the impact poems can have on children's language because poetry is the highest literary form and without poetry a child will sense the loss. The language in poetry is learned in an immitative manner because it is natural to childhood thereby helping children to respond almost instictively. They hear languages as part of their early environment and take it through imitation. In Jolobe's poems children learn about:- 1. The physical background which constitute geographical location, natural scenery appropriate for narrative. 2. The spiritual background which includes the emotional climate created by religious moral, social and psychological conditions. One should note that the speaker's rhymes enable the youngsters to build upon the language facilities and attempts one has to improve so that a child can communicate in his culture in an affective and productive way. These poems help the child to keep the sense of nationality, describe their nature land lovingly and understand the essential quality of their own race. Through Jolobe's poems children do not overlook isiXhosa oral heritage at school level and let oral tradition of the other nations dominate. Furthermore critical theory reflects that Jalobe's rhymes are genuinely poetry meant for fun. Humorous and nonsensical verses often serve as outlets for laughter and fun. Jolobe's work follows briefly the history of the Xhosa nation tracing their tradition, culture and language whereby it reflects the mental behaviour of a group and reveal its love and its hatred of certain things. / AFRIKAANSE OPSOMMING: In hierdie studie word die hoofkenmerke in JJR Jolobe se kinderpoesië geïdentifiseer. Poësie het 'n groot impak op kinders se taalgebruik, dit vorm deel van hulle vroeë omgewing, en die verlies daarvan sal 'n negatiewe invloed op kinders hê. Die taal in poësie word aangeleer deur nabootsing, omdat dit natuurlik is vir kinders en hulle help om amper instinktief daarop te reageer. Jolobe se poësie leer kinders van: 1. Fisiese agtergrond, wat bestaan uit geografiese ligging en natuurtonele toepaslik tot die vertelling en 2. Spirituele agtergrond, wat die emosionele klimaat insluit wat geskep word deur godsdienstige, morele, sosiale en sielkundige toestande. Die poësie help kinders om 'n sin vir nasionalitiet te ontwikkel, dit beskryf hulle geboortelande met deernis en bevordre begrip vir die essensiële kwaliteit van hulle eie ras. Deur Jolobe se poësie herken kinders hulle mondelinge isiXhosa-erfenis op skoolvlak, en verseker dit sodoende dat hierdie erfenis nie deur die mondelinge tradisies van ander nasies gedomineer word nie. Kritiese teorie toon aan dat Jolobe se kinderpoësie ware poësie is wat pret vir die leser moet verskaf. Humoristiese en onsinnige verse dien telkens as uitlaatkleppe vir plesier en pret. Jolobe se werk beskryf die geskiedenis, tradisies, kultuur en taal van die Xhosanasie, en reflekteer sodoende die denkwyse en voor- en afkeure van die groep.

This thesis is structured into four sections. The first section is a brief statement on the choice of the text chosen for the purpose of translation. Ityala Lamawele is one of the old and classic Xhosa texts and after seeing some translated texts either from Xhosa to English or English to Xhosa such as Uhambo Lomhambi (The Pilgrim's Progress) Ingqumbo Yeminyanya (The Wrath of the Ancestors), Akusekho Konwaba (No Longer at Ease) and having not seen any translation of Ityala Lamawele, I felt an attempt at translating Ityala Lamawele was long overdue. This first section also looks at the theoretical aspects of translation that will inform the translation of ltyala Lamawele. The second section is the actual translation (the process and the product) of selected extracts which deal specifically and exclusively with the case of the twins. Though the translation of the whole text is not a remote possibility or consideration, for the purpose of this thesis, selected extracts will be dealt with. The third section of this thesis is the reflection on and the discussion of the choices I have made. This section looks at the process of translating ltyala Lamawele, the challenges and obstacles that I have come across, the way I have put and expressed issues and why. / Thesis (M.A.) - University of Natal, Pietermaritzburg, 2002.

Thesis (MPhil)--University of Stellenbosch, 2007. / Bibliography. Also available via the Internet.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1969. / Vita. Typescript. Includes bibliographical references.

Eli phepha lithiywe “Ukuzotywa kwabalinganiswa ababhinqileyo, abazintloko kwidrama zolwimi lwesiXhosa, bezotywa ngababhali besini sobuduna nesini sobukhomokazi liza kube lijongene nendlela apho ababhali abasini esohlukileyo, abathi babazobe ngayo abalinganiswa abayintloko, abangamabhinqa kwizibhalo zabo zedrama zelwimi lwesiXhosa. Apha kuzobe kujongwe ingakumbi ababhali abasini sobuduna, ngenjongo yokuveza umba wokuba ababhali besini sobukhomokazi babazoba abalinganiswa ababhinqileyo nje ngabantu abangenamiqolo okuzimela ngaphandle kokuba kubekho indoda obomini babo. Aba babhali babazoba abalinganiswa ababhiqileyo phansti kwala ngcamango yokuba, apho umntu obhinqileyo ekumela afumaneke khona kusezimbizeni apho baphekela usapho lwabo rhoqo, ekucoceni umzi nasekukhuliseni abantwana, hayi enye into engaphaya koko. Ngoko ke eli phepha libhalwe ngenjongo yokuphelisa oku dodobalisa loo ngcamango. Baninzi kea bantu abaphikisana nale ndlela yaphotho lwamabhinqa ngamadoda abo, nangamanye amadoda nje jikilele, eli phepha lizobe lingqinelana nolo ninzi lwabantu abathi loo mpatho mbi yamabhinqa mayiphele, kuvezwe imeko yokuba kukho ulingano phakathi kwamabhinqa kunye nababt abasini sobukhomakazi. Int ethetha ukuba eli phepha lizakuti ligqithele lijonge kwaye liveze indlela apho kungati kuekho ulingwano phathi kwezini zimbini, nendlela apho uwonke wonke angakwazi ukuphila ngentlonipho omnye komnye kungekho zimpatho mbi, okanye sini sinesikhundla esiphakamileyo kunesinye.