Soyinka purposefully makes the representatives of British culture inferior to the Yoruba. Through the character of Olunde, it raises the dilemma of being caught in the crossfire between rival traditions.
Defeated by the women, Amusa retreats to seek reinforcement. It is time for his chief lieutenant, Elesin Oba, to will his own death, so that he might accompany the alafin on his passage to the next life.
It also yields moments of startling comedy. His estranged son, who returns from studies in England, commits suicide in his place to restore order in the community, while Elesin kills himself in shame. What he hoped to do was find an objective authorial stance and get inside the mind of his characters.
This is tough stuff for a materialist British audience to take on board. He remains a powerful political figure in Nigeria, albeit one who has endured imprisonment and exclusion down the decades.
Soyinka continues to spend a lot of time away from Nigeria. It is not about a clash of cultures Death and Death and the kings horseman kings horseman which the victor is the West. So far so good, a classical antigonesque plot: Olunde finds the self-sacrifice life-affirming, being death in the cause of life.
This covered everything, and it encouraged analytical laziness. The message of the play seems to be that each human being will face the consequences of his or her actions, and that childish refusal to see beyond the surface will lead to destructive events.
This rich turbulent piece, which starts as folk comedy and ends as Greek tragedy, takes on board an abundance of ideas: The women of the marketplace, led by Iyaloja, also ask whether he is truly ready to face death, praising him all the while for his strength of will.
The paly ends on a hopeful note, with the strong Yoruba woman Iyaloja in charge of the closing remarks: Oh, so you are shocked after all. Act 1, through the warnings of the Praise-Singer and Iyaloja, places a heavy burden on Elesin and makes him affirm that he knows his duty and can fulfill it.
I discovered that you have no respect for what you do not understand. No I am not shocked, Mrs Pilkings. Pilkings orders Amusa to make the arrest while he and his wife go to meet the Prince.
Unlike many of his contemporaries, Soyinka says he has no romantic notions about the innate value of Africa. The drama could unfold without What a delight to read a play again, after quite a while!
To see Lucian Msamati and Jenny Jules as the Pilkings posing as upper class imperialists is initially as hilarious as watching a group of Yoruba women mimicking the British habit of crossing and uncrossing their legs.
There appears to be new interest in his work: Pilkings, admonished by his supervisor to maintain control, takes matters into his own hands, going off to arrest Elesin.
The mood is explained when a heavily chained Elesin arrives on the scene; Pilkings has succeeded. Creon and Antigone are both given the opportunity to develop their thoughts, and both could possibly have acted differently and been justified to do so.
Share via Email Wole Soyinka is adamant that his great, neglected play cannot be reduced to a study of "the clash of cultures". Jane tells him of an English naval captain who died while destroying his ship, thereby saving the city.
They took it as the greatest insult. But the event is the cause of celebration with the swaggering Elesin impregnating a young bride on the eve of his extinction. You forget that I have now spent four years among your people. The drama could unfold without the intrusion of the British Empire, as it is human, not cultural, in essence.
Even the British administration is shown from various angles, demonstrating different levels of understanding. He recalls how one actor backed out of the Chicago production after two weeks, saying she could not master the text.
Filled with vitality and sexual satisfaction, he momentarily loses his will to die, but recovers and falls gradually into a trance. In the late s, during the civil war with Biafra, Soyinka spent 28 months behind bars an experience he recorded on toilet paper in his memoir, The Man Died.
Turn your mind only to the unborn.Wole Soyinka is adamant that his great, neglected play cannot be reduced to a study of "the clash of cultures". I see what he means. This rich turbulent piece, which starts as folk comedy and.
Based on events that took place in Oyo, an ancient Yoruba city of Nigeria, inWole Soyinka's powerful play concerns the intertwined lives of Elesin Oba, the king's chief horseman; his son, Olunde, now studying medicine in England; and Simon Pilkings, the colonial district officer.
The king has died and Elesin, his chief horseman, is expected /5(4). His starting point for Death and the King's Horseman was a vivid episode from western Nigeria's colonial period, in which a British district officer intervened to stop the horseman.
Free summary and analysis of the events in Wole Soyinka's Death and the King's Horseman that won't make you snore. We promise. Wole Soyinka, one of Africa's foremost writers, won the Nobel Prize in and is the author of Death and the King's Horseman, among /5(25). Death and the King’s Horseman Questions and Answers.
The Question and Answer section for Death and the King’s Horseman is a great resource to ask questions, find answers, and discuss the novel.Download