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ii v
S T N E M E G D E L W O N K C A
,l l a f o t s ri
F mygrattiudegoest omybelovedGod ,Jesu sCh irstf o rhelping e c n a d i u g d n a s g n i s s e l b t n a d n u b a s i H . s i s e h t e t a u d a r g r e d n u s i h t h s i n if o t e m
. e fi l y m n i g n i h t y n a e c a f o t e m h ti w e b s y a w l a
,r o s i v d a y m o t s e o g e d u ti t a r g p e e d y
M P .Sarwoto,S.S,.M.A,.Ph.Dfo rhi s I
. s n o it a ri p s n i d n a s p l e h , e c n e it a
p t i smy pleasure to have him a smy adviso r .
n o it s e g g u s d n a n o it c e r r o c s i h r o f y ll a i c e p s e s s e c o r p g n it ir w s i h t g n ir u d
o t s i t b e d t s e t a e r g y
M Dra .A.B .Sr iMulyani ,M.A. ,Ph.D.fo rcorrecitng d
a r g r e d n u s i h t n i s e k a t s i m g n il l e p s d n a l a c it a m m a r g f o s n o il li m y
m uatet hesis .
d n a a t n i h S , s t n e r a p d e v o l e b y m o t s s e n l u f e t a r g y m e v i g o s l a
I Jonny, rfo
h s i n if o t s tr o p p u s r i e h t r o f s d n e ir f y m l l a k n a h t I .s tr o p p u s d n a s r e y a r p , s e v o l ri e h t
s a r o H o t s e o g s k n a h t t s ri F . s i s e h t e t a u d a r g r e d n u s i h
t ,Frandy, Adonk ,Windu ,
o d l
A andmanymore ,whoweregenerou swtiht hei ritmeandf irendship . r
o f s k n a h t d n u o f o r p e w o
I al lmy firend sin campus ,especially Natail s o
t p a
Y ,Paul ,Ad ifo ral lthe memo ire so fhappines sand hardship .My grattiude a
t a n a S n i e n o y r e v e o t s e o g o s l
a DharmaUniverstiy ,my big f amliyi n Jawawawo o
w a w ir i G d n
a whocanno tbemenitonedonebyonehere.
ii i v
S T N E T N O C F O E L B A T E
G A P E L T I
T ... i E
G A P L A V O R P P
A ... ii E
G A P E C N A T P E C C
A ... iii E
G A P O T T O
M ... iv T
N E M E G D E L W O N K C
A ... ii..v S
T N E T N O C F O E L B A
T ... ii....v i T
C A R T S B
A ... x K
A R T S B
A ... ix N
O I T C U D O R T N I : I R E T P A H
C ... 1 .
A BackGroundoft heStudy ... 1 .
B ProblemFormulaiton ... 5 .
C Objecitve soft heStudy ... 5 .
D De ifniitono fTerms ... 6 W
E I V E R L A C I T E R O E H T : I I R E T P A H
C ... 7 .
A Reviewo fRelatedStudies ... 7 .
B Reviewo fRelatedTheo ires ... 21 .
1 TheoryonCharacte randCharacteirzaiton ... 21 .
2 TheoryonPlot... 41 .
3 TheoryonShakespeareanTragicHero... 61 .
C Theoreitca lFramework ... 12 Y
G O L O D O H T E M : I I I R E T P A H
C ... 22 .
A Objec toft heStudy ... 22 .
B Approachoft heStudy ... 32 .
C Methodoft heStudy... 52 S
I S Y L A N A : V I R E T P A H
C ... 62 .
A Characteirsitc soft heHero ... 63 .
1 Humorous... 7..2 .
2 Arrogan tandOppo trunist ... 82 .
3 Redempitve ... 13 .
B Plo toft hePlay ... 2....3 .
1 ExposiitonorI nrtoduciton ... 33 .
2 The irseandt hedevelopmen toft heConfilct ... 73 .
3 C irsis ... 14 .
4 DecilningAciton ... 34 .
5 Catasrtophe... 44 .
C TheCharacte irsitc so fShakespeareanTragicHeroRelfectedFrom a
r a h
C cteirsitc soft heHeroandPlo toft hePlay ... 54 .
1 AhighDegreeandAdmriablePerson ... 54 .
2 ComplexCharacteirsitcs ... 84 .
3 Supernatura lElements ... 05 .
x i .
5 Excepitona lBeing ... 55 .
6 PtiyandAdmriaiton ... 65 .
7 FateandWeflareo fNaitono rEmprie ... 85 :
V R E T P A H
C CONCLUSION ... 06 Y
H P A R G O I L B I
ii x
b e b i k il i m e m a b O n i s e l E , a y n s i g a rt n a w a l h a P . e r a e p s e k a h
S erapa persamaan
n a d i g g n it n a k u d u d e k r e b g n a y g n a r o e s ; it r e p e s e r a e p s e k a h S k il i m a ti r e c m a l a d
, b i a g l a h n a g n e d t a k e d , s k e l p m o k g n a y n a i d a b ir p e k i k il i m e m , g n a r o k a y n a b a j u p i d
a y n n a h u t a j e k , a s a i b r a u l g n a y n a a ti r e d n e p i k il i m e m , n a l u t e b e k h a u b e s i m a l a g n e m
d n e
m atangkan r asabela skasih dankekaguman setranasibnyamenentukanhidup .
e r u t a r e ti l f o k r o w o t n o it u b ir t n o c t n a d n u b a s i h s e d i s e
B ,Wole Soyinka i s
o h w t h g ir w y a l p n a c ir f A n a s a d e d r o c e
r s e hal fo fstudy peirod wa sspen tin
4 5 9 1 d n u o r a d n a l g n
E -1973 .Based on Nobe lP irze’ saccount stied in www .
, g r o . e z ir p l e b o
n edtied by Wlihelm Odelberg ,Soyinka spen t hi ssix year sin
a e m a c e b d n a d n a l g n
E dramaturgis tfo rRoya lCour tTheater in London 1958
-9
1 65 (Odelberg ,1987).
n i d e t o n y h p a r g o i b s i h s
A Academyo fAchievementsw irttenbyB iranBlaine
n i s d l o n y e
R http://www.achievmen.torg ,hi sclose ite sbetweenEnglandhappened
y l e r e m t o
n when he studied i n England bu tsince hi schlidhood .H e go tused t o
h s it ir
B reilgious ,poilitca land educaitona linsttiuiton. Those expeirence she had
e ri p m E h s it ir B a s a a ir e g i N f o s u t a t s e h t o t d e t a l e r e r e
w dominion
s d l o n y e R
( ,2013) .
n e tt ir w y lt n e u q o l e , s y a l p g n i d n a t s t u o s ’ a k n i y o S f o e n
O t hat i srelated to
h s it ir
B lfie in Nigeira and the concep to fYoruba mythology i sDeath and the
n a m e s r o H s ’ g n i
K . When comprehending Soyinka’ s Death and the King’ s
n a m e s r o
H the wrtie rthen know stha tt he play i sregarded a sa rtagic play , in
. y r o t s e h t f o d n e e h t t a y ll a c i g a rt s e i d o r e h e h t h c i h
w Tracingbacktot heconcep t
y d e g a rt f
o ; Greek and Shakespearean rtagedy, i ti sdoubltess to say tha tWole
w o ll o f a k n i y o
S s those concept sbu t ti i sstli lno tknown ye twhich path Soyinka
s w o ll o
f .
g n i d a e r n e h
W Death and t heKing’ sHorseman reviewe d by Tanure Ojaide ,
the wrtie rstatr sto pu tinterest in analyzing the play. Ojaide says t hat i ti s
y r a s s e c e
a m a r d n a c ir f A g n i h c a e t n e h w d n i m s li p u
p in Ameirca (Ojaide , 1992 .) He
s a h a k n i y o S t a h t s e u n it n o
c double hertiage o fAfircan and Western dramaitc
. n o it i d a
rt Soyinka ,a sOjaider emark ,s i sveryf amiila rwtih Shakespeareandrama
e s u a c e
b he studied a tLeed sunde rthe famou sShakespearean scholar sWlison
Knight , who become hi s mentor. Hi s argumen t can be found a t
(h ttp://wwwt.hefreeilbrary.com// .)
n w o n k s i ti , t n e m e t a t s s ’ e d i a j O n i g n ir o r ri
M tha tinw iritng rtagedy, Soyinka
d e p p i u q e l l e w s
i wtiht heknowledgeo fShakespearean rtagedy .Thewrtie rtheni s
f o t d e g n e ll a h
c i nd thecharacteirsitcs fo Shakespearean rtagedybyfocusingon the
o r e h c i g a
rt presentedi nh isDeathandt heKing’ sHorseman .
.
B ProblemFormula iton
o t r e d r o n
I ifnd ou tShakespearean rtagic hero in Soyinka’ sDeath and the
g n i
K ’ sHorseman,t heproblem saref ormulatedasf ollows .
.
1 Howare thecharacteirsitc so ftheheropresentedint heplay?
.
2 Howi st heplo tdescirbedi nt heplay?
.
3 Howdo thecharacte irsitco fheroandt heplo toft heplayrelfecttheconcep to f
o r e h c i g a rt n a e r a e p s e k a h
.
C Objecitveoft heStudy
, y l s u o i v e r p d e t a l u m r o f s m e l b o r p e e r h t n o d e s a
B t his study i s aimed to
e h t y fi t n e d
i concep to f rtagicheroa spresentedin t heplay Death andt heKing’ s
s r o
H eman .
, s i s y l a n a e h t f o t r a p t s ri f e h t n
I thewrtiert irest oanalyze thecharacte irsitc so f
e h
t hero which i sdescirbed in the play .Fo rthe second par to fthe analysi sthe
e h t e z y l a n a o t s e ir t r e ti r
w plo toft heplayandt hel as tpar tist o ifnd theconcep to f
o r e h c i g a rt n a e r a e p s e k a h
S relfectedf romplo tandcharacteirsitc soft hehero.
m r e T f o n o it i n if e D . D
d n a t s r e d n u s i m d i o v a o t r e d r o n
I ing in comprehending thi sundergraduate
, y l e m a n s m r e t t n a v e l e r e h t f o g n i n a e m e h t w o n k o t r e tt e b s i t i , s i s e h t
. o r e h c i g a rt d n a n a e r a e p s e k a h S
.
1 ShakespeareanTragichero
y e l d a r
B expounds tha tin the sense o fthe concep to fShakespearean rtagic
h g i h f o n o s r e p a s a d e b ir c s e d s i o r e h a , o r e
h estate ro having greatnes smoret han
r e f f u s s e c n e ir e p x e o h w n a m n o m m o
c conducitngt ohi sdeath(Bradley ,1960 :10) .
e h t w o h s o t r o , n e m o t d o G f o s y a w e h t y fi t s u j o t g n it p m e tt a t o n s a w e r a e p s e k a h S
7
I I R E T P A H C
E R O E H
T TICALREVIEW
r e ti r w e h t r e t p a h c s i h t n
I leavessomer eviewsi nordert os uppo trt heanalysis .
h c s i h
T apte rconsist soft hereview o frelated studies ,review on related theo ires ,
d n a y d e g a rt n a e r a e p s e k a h S n o y r o e h t , t o l p n o y r o e h t , r e t c a r a h c n o y r o e h t
. k r o w e m a r f l a c it e r o e h t
.
A Reviewo fRelatedStudies
y a l p e h
T Death and t heKing’ sHorseman, since tisfris tpubilcaiton in 1975 , s c it ir c s u o ir a v m o r f s i s y l a n a d n a s w e i v e r , m s i c it ir c f o t o l a d e v i e c e r s a
h and
s r a l o h c
s .Thus , ti i scrucia lfor t he wrtiert o state some of t hoseanalyses i n t he
. s i s e h t s i h t f o y ti l a n i g ir o e h t d n a y c n e g r u e h t e v o r p o t r e d r o n i n o it i s o p x e f e ir b
n i n o t g n il li B l e a h c i
M The Guardian ds ai tha tthe play w irtten by Soyinka a
w sf ul lo fsuspense .Deathandt heKing’ sHorsemanencompassedseverali ssue s l
t u o b a s l a c o l f o f e il e b e h t d n a n o it i d a rt , y ti t n e d i s a h c u
s fieand death .Moreove r
p e h t t a h t d e d d a e
h laywa sa rtagic-comedy,i tbeganwtih comedyandend edwtih
d e g a rt
a y .Hisi deai sctiedasf ollow .s
e b t o n n a c y a l p 5 7 9 1 d e t c e l g e n , t a e r g s i h t a h t t n a m a d a s i a k n i y o S e l o W
h c ir s i h T . s n a e m e h t a h w e e s I . " s e r u tl u c f o h s a l c e h t " f o y d u t s a o t d e c u d e r
l u b r u
t en tpiece ,whichstatr sasf olkcomedyandend sa sGreek rtagedy,t ake s o t e fi l m o r f e g a s s a p e h t , n o it i d a rt , y ti t n e d i : s a e d i f o e c n a d n u b a n a d r a o b n o
h t a e
d (Bliilngton:2009,Thursday9Aprli) . r
a li m i
S toBliilngton’si deaabou tGreek rtagedy ,IvaGlibetrovawhodid the
e h t n o h c r a e s e
u o w y a l p e h t , y r o e h
t ld b irng the interpretaiton abou tthe non-western w iritng
d e tr e v b u
s socalledEurocent ircmode sofs eeing(Olakunle ,1999 :7 . 0)
m a w
A mA pka also gave commen ton thi splay through hi sPostcolonia l g
n i m o c e B y r o t a p i c n a m E f o s c i h t E e h t d n a e r t a e h
T statedt ha tSoyinka’ splaywa s d
e t a l e
r to the essence o fthe rtiua l tisel fand a san inspi irng w iritng to dissec t
. y d u t s l a i n o l o c t s o p
… ypla Death and t heKing’ sHorseman to suggest t ha tSoyinka’ sdramaitc l a i n o l o c t s o p f o y g o l o e a h c r a d e t a ti g a d n a g n ir i p s n i n a s t n e s e r p e r e c it c a r p
n u o r G . s e r u tl u
c ded in the conceptuailzaiton o fmythic rtagedy a sa stie fo r r e h t a r , e g n a h c r o f e ri s e d d n a y ti l a n i g r a m f o s s e n s u o i c s n o c l a n u m m o c g n il e u f
s k r o w s i h , e k a s n w o s ti r o f n o it i d a rt g n it a d il o s n o c r o f n o it s a b a s a n a h t
r f d e v ir e d r e h t e h w m s i n a ir a ti r o h t u a e g n e ll a h
c om colonia l o r indigenou s y
c n e g a d n a e c n a t s i s e r f o s m s il o b m y s e t a i c n u n e d n a s e c r u o
s --the bitrhing, i f
e ri s e d l a i n o l o c t s o p f o n o it a n it s e d e h t t o
n (Ampka,2003 :3 ). 1
p m
A ka ,in previou squotaiton ,told tha tSoyinka’ splay became the symbo lo f
e g n a h
c and a san i nspiirng work t o expres spostcolonia ldesrie .Hi splayassetred
e r u tl u c l a i n o l o c r o s u o n e g i d n i r e h t e h w s e d i s h t o b m o r f g n i g n a h c f o a e d i e h t
. y a l p e h t n i s n e p p a h t n e d i c n i c it a m a r d e h t d r a w o
t Fo rhim ,Soyinkademanded a
n i c it c a r p n o w e i v l a c it ir
c ga rtadiiton .
a n if k
I Maufu iryahcont irbutedhe ropinioni nTheNaitve’ sResistanceagain ts i
m s il a i n o l o
C n WoleSoyinka’ sDeath and t heKing’ sHorseman, s eh commented a
k n i y o S t a h
t ’ splay shed ilght son the idea o fcutlura loppression and naitve
. e c n a t s i s e
r She then added tha t“naitve’ saciton swere considered a sacts fo
d l u o c m s il a i n o l o c t a h t n e v o r p d a h d n a e c n a t s i s e r l a r u tl u
c notr oo toutt hecustom
d a h h c i h
w beenwel lestabilshedi nYorubacommun tiy.”
g r e d n u r e h g n i o d n e h
W raduate thesi ,s Maufu iryah quoted Evan Pau lGold
y a l p e h t n o w e i v e r s ’ h ti m
d a h y a l p e h t t a h
t a simliartiy to the play o fShakespeare and Sophocle swhich
d e t u b ir t n o c d u o r p s ’ n i s e l
E tohi sowndesrtuciton( Maufu iry ha ,2005 :8) .
s r a l o h c s o t n o it c e lf e r n
I and researchers ’ argument s previously , the
r e ti r
w learns tha t ti i sa good achievemen tin a ltierary pracitce tha ta piece o f
k r o w y r a r e ti
l paritculalryDeath and the King’ s Horseman i sciritcized from .s
t c e p s a s u o ir a
v Thosepeoplehavegivenal o to fcontirbu itont oconsrtuctr eader s
t u b y a l p e h t g n ir e d n e r n e h w g n i d n a t s r e d n
u therei sonet hing t ha twrtie rwantst o
e s o p o r
p whichmakest hi sundergraduatet hesi sdfifersf romt hosestudies .
e c n e r e f fi d e h
T s oft hi sundergraduatet hesi swtihaboves tudie sare;f risltythi s
e h t d r a w o t e c n a t s i s e r s ’ e v it a n f o a e d i h t o b s e d u l c x e s i s e h t e t a u d a r g r e d n u
. e r u tl u c n a c ir f A d r a w o t m s il a i n o l o c f o t c e f f e e h t d n a s r e n r e t s e w m o r f n o i s s e r p p o
e ti p s e
D somescholar spayt hei rattenitonmorei nt hei ssueonclasho fcu tlureand
, m s il a i n o l o c t s o
p thewrtieri n t hi sstudyt irest oseet heplayi n t hedfiferen tangle .
r e d n u s i h
T graduate t hesis t ires t o reveal t heconcep to f rtagic hero presented by
. a k n i y o S e l o W
, y l d n o c e
S In relaiton to the Smtih’ sand Glibetrova’s idea abou tgenre o f
d n a n a e r a e p s e k a h S ( a m a r
d Greek) , the wrtie r choose s to use Shakespearean
f o t p e c n o
c rtagic hero i nstead o fSophoclean concept swhich follows t hei deao f
. o r e h c i g a rt k e e r G
, y l d ri h
T thi sundergraduatet hesi sdoe sno tcorporatet hediscussiononmixing
, t s ir h C s a h c u s c it s ir e t c a r a h c s ’ o r e
h Dionysius ro OguninYorubamythologyasi n
g n it ir w s ’ e w i n
y ll i
M S. Barrange nri UnderstandingPlay sSecondEdiiton ,(1994 :339)s tate s l a c i s y h p r i e h t y b d e n if e d y ll a n o it i d a rt e r a s r e t c a r a h c , a m a r d n i “ t a h t
l a c i g o l o h c y s p r i e h t ; s u t a t s c i m o n o c e o i c o s r i e h t ; s s e r d d n a , h c e e p s , s c it s ir e t c a r a h c
s e c i o h c l a c i h t e d n a l a r o m r i e h t d n a ; p u e k a
m .” She explain stha tthere are fou r
t a h w g n i v r e s b o , t s ri f ; s r e t c a r a h c s ’ a m a r d g n i d n a t s r e d n u h c a o r p p a o t s y a w
g n i d a e r r o g n ir a e h , d n o c e s , d n a s n o it c e ri d e g a t s n i m e h t t u o b a y a s s t h g ir w y a l p
g g n i c it o n , d ri h t , e u g o l a i d n i r e h t o n a e n o t u o b a y a s s r e t c a r a h c t a h
w enera ltype s
l a c i h t e r o l a r o m e h t g n i u rt s n o c , h tr u o f d n a l a c i g o l o h c y s p d n a l a c i s y h p s a h c u s
.s e i n it s e d r i e h t e n i m r e t e d t a h t s e c i o h c
t e n r a B n a v l y
S (1988:172 ) in Ltierature fo r composiiton : Essay , Ficiton , a
m a r D d n a y r t e o
P ,explain stha tthe way to understand the characte irsitc o fa .
h g u o r h t r e t c a r a h c
.
a Whatt hecharacte ro r ifgures ays
s i h / r e h t e r p r e t n i s r e d a e r e h t p l e h l li w s y a s s r e t c a r a h c e h t w o H
.s c it s ir e t c a r a h c
.
b Whatt hecharacte rdoe so racts
a f o r o i v a h e b r o s e d u ti tt a e h t n r a e l n a c s r e d a e r e h
T characte rand t hey
.r e t c a r a h c e h t s e t a e r c r o h t u a e h t y ll a u t c a w o h s s e u g y a m
.
n a e r a e p s e k a h
S sense possibly ha sno irva lespecially instory about
e fi l e t a v ir
p (Bradley ,1991:10 .)
w e m a r F l a c it e r o e h T .
C o rk
s s u c s i d r e ti r w e h t tr a p s i h t n
I esb irelfyt het heo ire sappiledi nt heanalysis .The
e m o s o t s e i d u t s r e ti r w e r a p m o c o t d e s u e r a y r a r b il d n a t e n r e t n i m o r f n e k a t s w e i v e r
y d u t s a e k a m o t s t n e m e ri u q e r c i m e d a c a e h t l li fl u f o t s i s i h T . s e i d u t s r e h t o f o
. t n e g r u d n a l a n i g ir o
t o l p d n a n o it a z ir e t c a r a h c d n a r e t c a r a h c f o y r o e h t e h
T a reusedt oanalyzet he
t s ri f e h t n i d e t a t s s a , y a l p e h t n i o r e h a s a d e d r a g e r r e t c a r a h
c and the second
n o it s e u
q s in problem formulaiton .In answe irng t het hrid quesiton, t het heory on
h t h ti w y a l p e h t n o d e t n e s e r p o r e h e h t h c t a m o t d e il p p a s i y d e g a rt n a e r a e p s e k a h
S e
a e d
i o fShakespearean rtagedyseenf romcharacteirsitc soft heheroandplo toft he
2 2
Y G O L O D O H T E M
.
A Objec to fTheStudy
e h
T objec toft hisr esearchi sDeathand t heKing’ sHorsemanw irttenbyWoleSoyinka,t he 6
8 9 1 n i e t a e r u a l l e b o N n a c ir f A t s ri
f .Thi splay i sfris tpubilshed i n 1975 by Eyre Methuen Ltd s
i s e s u r e ti r w t a h t n o i s r e v e h t d n
a Death and the King’ sHorseman pubilshed by Methuen s
i h T . 9 9 9 1 n i d e ti m i L g n i h s il b u
P if -ve ac tplay ha sinspried many c iritc sand student sto do y
a l p s i h t e s u a c e b n o h c r a e s e
r offer sva irous i nterpretaitons; includingt he concep to f rtagic hero r
e ti r w t a h
t wantst opresents .
, a b O n i s e l E , o r e h l a c o l a s y a rt r o p y a l p e h
T a king’ shorseman i n Yoruba .I tstatr swtih t he .
g n i k l a c o l e h t f o l a ir u
b According t o t he custom hi schie fhorseman ,Elesin Oba has t o die on y
ti u n it n o c s ’ e b ir t e h t p e e k o t n o s s i h y b d e c a l p e r e b d n a l l e w s a y a d t a h
t throughr tiuals acir ifce . ,
m r o f r e p o t t u o b a s i e c if ir c a s l a u ti r e h t n e h
W t he dist irc tof ifcer ,Simon Pliking sand hi s t
n e v e r p s g n i k li P e n a J , e fi
w Elesinf romr tiuals uicidebyj aiilnghim . ’
s g n i k li
P inrtusion in r tiua lsac ir ifceb irng sa catasrtophe t o t het irbe because Elesin’ sson , r
o s s e c c u s s ’ e b ir t e h t e m o c e b l li w o h w e d n u l
O , ed si int hes hamet ohist irbe .Hei sdishonoredby o
h w r e h t a f s i
h fali sto perform the rtiual .In othe rside Elesin i saccused by hi st irbe fo rhi s .
l a y a rt e b
n i s e l E , m e h t g n i y a rt e b r o f e b ir t s i h y b d e s u c c a g n i e b d n a , n i a v n i s e i d n o s s i h g n i e e
S feel s
d n a y r r o
s so depressed and decides t o end his l fie to remedy hi sfautl .Hi sdecision b irngs t he e
l b i s s o
l a n o it a l e r e h t d n if o t s i s i s e h t e t a u d a r g r e d n u s i h t f o s u c o f e h t e c n i S . y d e g a rt n a e r a e p s e k a h S
p p a s i h c a o r p p a t s il a r u t c u rt s , o r e h c i g a rt f o t p e c n o
c rop irate t o relate t he hero i n Death and t he g
n i
K ’ sHorsemanwtihShakespearean rtagichero .
.
C Methodo fTheStudy
n
I doing the analysi so fDeath and the King sHorseman, the wrtie rappiled the ilbrary h
c r a e s e
r method where book sbecame the p irmary source to collec tthe data .The impo tran t e
r e w y d u t s s i h t n i d e s u s e c r u o
s theplayDeathandt heKing sHorsemanandt her elatedbook so r s
l a n r u o
j .In ordert o gain t hemore curren tand sound i nformaiton,I nterne texploraiton wa salso s
i s y l a n a e h t e t e l p m o c o t d e d e e
n oft heplay .
y a l p e h t d e s u r e p r e ti r w e h t , y lt s ri F . y d u t s s i h t g n i o d n e h w s p e t s e m o s k o o t r e ti r w e h
T Death
n a m e s r o H s ’ g n i K e h t d n
a tounderstand t hestory andgraspedt he i nteresitngt opic discussedby r
o h t u a e h
t . Secondly ,a tfe rhavingt het opict hewrtiert henf ormulatedt heobjecitveoft hestudy . g n it r o p p u s n i a g o t h c r a e s e r y r a r b il e h t d i d r e ti r w e h t , c i p o t g n it s e r e t n i e h t g n i d n if r e tf a , y l d ri h T
r e ti r w e h t p l e h o t d e p o h s a w n o it a m r o f n i s i h T . c i p o t n e s o h c n o d e s a b s e c n e r e f e r d n a n o it a m r o f n i
u q r e w s n a o
t esitonsi nproblemf ormulaiton .Thosei nformaitonandr eference swereusedt o ifnd e h t d i d r e ti r w e h t , t a h t r e tf A . t n e m e t a t s s i s e h t e h t n i d e s s u c s i d e u s s i e h t o t n o it a l e r r o c e h t
ir w e h t t r o p p u s o t s k r o w y r a r e ti l n o s w e i v ’ s tr e p x e d e s u r e ti r w e r e H . s i s y l a n
a ter’ sarguments .
6 2
V I R E T P A H C
S I S Y L A N A
r e w s n a r e t p a h c s i h
T s the problem formulaitons t ha thave been stated i n t he
. r e t p a h c t s ri
f Based on t het hreeproblem sformulated previously, t hi sanalysi s si
n i d e d i v i
d to three pa trs . The fris t par t covers et h discussion on the hero’ s
s c it s ir e t c a r a h
c in theplay Death and t heKing’ sHorseman . eT h nex tpar tcover s
n o n o i s s u c s i d e h
t plo to fthe play and the las tcover sthe discussion on the
m o r f d e t c e lf e r o r e h c i g a rt n a e r a e p s e k a h S f o c it s ir e t c a r a h
c the characteirsitcs fo
o r e h e h
t and the plo to f the play . To make the analysi s easier ,the wrtie r
e t a i v e r b b
a s Death and the King’ s Horseman ni to DKH when poinitng ou t
. y a l p e h t m o r f s n o it a t o u q t n a tr o p m i
.
A TheCharacterisitc so fTheHero
e h t n i o r e h e h
T playDeathandt heKing’ sHorsemani sElesinOba .Hei st he
r e t c a r a h c n i a
m , t hechie fo fking’ shorseman,whoi sd utyboundt o performdeath
l a u ti
r .Basedonl oca’l sbeilef, atfe rhedieshi ssou lwli laccompany hi smaste rto
r o t s e c n a r i e h t f o d lr o w e h
t i n a tfelrfie. eH also wli lbecome an i ntercessort o hi s
. e b ir t
( ’ s r a l o h c s s e s u r e ti r w e h t , o r e h e h t e z ir e t c a r a h c o
T Barranger ,Barnet ,Reaske
d n
a Baldick’s )arguments .They sugges ttha tcharacteirzing a characte rcan be
e n o
, d n a s n o it c e ri d e g a t
s heairng o rreading wha tcharacter sac to rsay abou tone
r e h t o n
a in dialogue ,consrtuing t hemora lo rethica lchoices t ha tdetermine t hei r
s e i n it s e
d .By referirng to scholars ’arguments ,the characte irsitc so fElesin Oba
e b n a
c desc irbedasf ollow .s
.
1 Humorous
t c a n
I o ne;theplayw irgh tthroughiniita lnarrator’s ilnedescirbes Elesina sa
o h w n o s r e
p hass enseo fhumor.
N I S E L
E Oba enter salong a passage before the market ,pursued by hi s g
n i s e s i a r p d n a s r e m m u r
d ers .He i sa man o fenormou svtialtiy ,speaks , w
e fi l f o t n e m y o j n e s u o it c e f n i t a h t h ti w s g n is d n a s e c n a
d hichaccompanie sal l
n o it c a s i
h …ELESIN dancest owardst hemarket-placea shechantst hestory t
o N f
o - Ibird ,hi svoice changing dexterously to mimic hi scharacter .He d n a r o m u h s i h h ti w e u n it e r s i h g n it c e f n i , r u e t n o c a r n r o b a e k il s m r o f r e p
. y g r e n e
, e n o t c a e h t n i ll it
S a tferhei shalied ast hemano fhono rbyhist irbe ,Elesin
e h t d n a a h o l a y I . d e d n e f f o e b o t s d n e t e r
p Women confused when he feel s
. d e d n e f f
o Theyt henbeghimt oacceptt heriapology.
.r o n o h f o n a m s a u o y w o n k e W : N E M O W
!t a h t f o h g u o n E p o t S : N I S E L
E
: N E M O
W (puzzled , they whispe r among themselves , turning moslty to e
f f o e v i g o t g n i h t e m o s y a s e w d i D ? ti s i t a h w ) . A H O L A Y
I nse? Have
? y a w e m o s n i m i h d e t h g il s e w
e v ’ I . n i e v t a h t n i e r o m o n r a e h e m t e L . y a s I d n u o s t a h t f o h g u o n E : N I S E L E
. h g u o n e d r a e h
m e W : A H O L A Y
I us thave said something wrong .(Comesforward a l tilte. ) .
k a e p s u o y e r o f e b s s e n e v i g r o f k s a e w , a b O n i s e l E
s i d li h c e h t n e h w w o r b s i h s d n e b n u r e h t a f t s e t c ir t s e h T . R E G G N I S E S I A R P
e h t e u s r u p s u t e l d n a s d r o w n i a l p n i w o n k a e p S … n i s e l E , t n e n it r e p
h t o t t n e m li
, e m l l e t ll e W . r u o n o h f o n a m a r o f u o y w o n k e W “ . p a e h c e r a s d r o w . N I S E L E
e m a s e h t t o n e s e h t e r A ? n e e s e b d l u o h s r u o n o h f o n a m a w o h s i h t s i
fl a h l l u f a u o y g n o m a e m a c I h c i h w n i s e h t o l
c -hou rago?
(H eroar swtih l aughte rand t heWOMEN ,reileved ,rise and rush i nto sta ll s ).
s h t o l c h c i r h c t e f o t
n i s e l E . n e v i g r o f n o o s s i d e i d e m e r n o o s t l u a F . d n i k e r a s d o g e h T . N E M O W
s u e v i g r o f t r a e h r u o y t e l , d e e d h ti w s d r o w r u o h c t a m e w s a n e v e , a b O
. y l e t e l p m o c
. N I S E L
E Y uo who arebreath and give ro fmy being howshal l Idarer efuse s
e n e v i g r o f u o
y seven fit heoffencewerer eal( DKH , 8.i2 -3 279) . s
i
tI previouslyknowntha tElesindoe snotr eallyangrya thi stirbe; eh pretendst o
s i h s e e s e h n e h w m e h t t a h g u a l t u b y r g n a e
b t irbea tbig confusion . Hedoe sno t
. e k o j a k c a r c o t t u b e b ir t s i h n e t h g ir f o t n a e m y ll a e
r Looking ta two descirp itons
e v o b
a thewrtie rconsider sElesina sahumorou sperson.
.
2 ArrogantandOpportunist
. e c if ir c a s l a u ti r n i y t u d t n a tr o p m i e h t s d l o h o h w e n o e h t s i n i s e l
E eH wli lbe
e c if ir c a
s d in order t o accompany hi smaster i n a tfer l fie .Since Elesin hold sthe
, y t u d t n a tr o p m
i hehast hep irvliegemoret hananymembers oft irbe .Hi sp irvliege
s
i relfectedf romI yaloha’ swords.
n e v e , ll it S . s r u o y s i d lr o w e l o h w e h t d n a y a d r u o y s i y a d o T … : A H O L A Y I
e b o t e k il e r e h w e s l e g n il l e w d a e k a m o t n w o t e v a e l o h w e s o h t
m e m e
r beredbywhatt heyl eavebehind(DKH,i .401- 04 )4 .
e h t a h t g n i w o n
K i sgranted p irvliegeby hist irbe,Elesin t hen asks hist irbet o l e t
a y r r a m m i
h bertothedyounggilr .Hisi ntenitont omarryabertothedyounggilri s
s w o ll o f s a n e e
s .
. A H O L A Y
I ElesinOba… W
. N I S E L
E ha twheredoyoualls ay Iam? .
A H O L A Y
A . N I S E L
E ndt hatr adiancewhichs os uddenly il tupt hi smarke t Icouldboas t ?
ll e w o s w e n k I
H . A H O L A Y
I a sones teparleadyi nhe rhusband’ shome .Shei sbertothed. .
N I S E L
E (irrtiated )whydoyout el lmet hat? (DKH,i .392-400 .) n
i s e l
E i sso rirtiatedwhenI yalohar ep irmand shimt oconcen rtateonhi sduty .She
r e d i s n o
c stha tElesini snotr eadyt ol eavet hewo lrdsos hes ayst ha tElesini s“stli l
g n i v il e h t g n o m
a ”.Elesinr ebukest hat, shi proposalt omarryt hatbertothedyoung
. fl e s ti l a u ti r e h t e n o p t s o p o t t o n s i lr i
g Fo rhim,marryingt hatgi lri snothingt o do
o t y a w a s i ti t u b g n i n o p t s o p h ti
w honor mh i beforehedie .s nI thi spa trt hewrtie r
h t s e c it o n o s l
a a tElesini sanarrogan tpersonbecause forcinghist irbet ofuflli lhi s
s i
w .h
. N E M O
W (reileved )AhElesinOba ,weknewyouf o ramano fhonour . .
N I S E L
E Thenhonourme . Ideserveabedo fhonourt o ileupon. .
A H O L A Y
I The best i syours .Weknow you fo raman o fhonour .You are . n e r d li h c r o f e t a l p s i h n o g n i h t o n s e v a e l d n a s t a e o h w e n o e h t t o
n D id
a r o f s r e h t o f o s s e n i p p a h e h t s t h g il b o h w e n o o N ? fl e s r u o y t i y a s u o y
momen’t spleasure . W
. N I S E L
E ho speak so fpleasure? O women , ilsten !Pleasure palls… Iam e m t e l n e h T . g n i g n o l d n a e t s a w f o s n e d r u b d n o y e b e t u o r e h t r o f d e d ri g
n i a m e r y a w e h t n o h c a m o t s e v r e s t o n l li w t a h t d e e s t e L . t h g il l e v a rt
t n i t o o r e k a t ti t e l , d n i h e
b he eatrh o fmy choice, i n t hi seatrh Il eave (
d n i h e
b DKH ,ii .413-44 0 .) n
i s e l
E , previously, insistst ha thi sintenitont omarryayounggi lri sno tbecauseo f
o t t u b e r u s a e l
p give him the offsp irng .He hope stha tthe offsp irng wli lmake
r e b m e m e r e l p o e
p abou thim .Basically the wrtier ,in thi sstance ,regard stha t
d e t c a rt s i d s i n i s e l
E by the beauty o fthe young gri lbecause i fhe want sto be
n i s e l E , g n ir p s f f o n a g n i v a h y b d e r e b m e m e
r m ay take anothe rgi lr. eH insist sto
lr i g g n u o y d e h t o rt e b t a h t e k a
a y d a e rl
a son named Olunde . S o hi s idea to be remembered i s unacce
. e l b a t p
y l n o t o
N become san arrogan tperson, Elesin alsoi sregarded sa oppo trunist
l l a r e tf
a fromhi sconfessionwhenhei sarrestedbySimonPlikings .Hi sadmission
.s w o ll o f s a d e t a r r a n s i
. N I S E L
E My youngb irde… Ihavet aken counltes swomeni nmy l fiebu tyou h c i h w s s o r c a s s y b a e h t s a u o y d e e n I . h s e lf f o e ri s e d a n a h t e r o m e r e w
r i e h t o t g n i v il e h t f o t fi g l a n if e h t e r e w u o y … n w a r d e b t s u m y d o b y m
h t u o y d n a h t m r a w r u o y s p a h r e p d n a , s r o t s e c n a f o d n a l e h t o t y r a s s i m e
m o t d lr o w s i h t f o t h g i s n i w e n t h g u o r
b eand t urned my feetl eaden on
. s s y b a e h t f o e d i s s i h
t Fo r Iconfes sto you ,daughter ,my weaknes s y lt n e l o i v e m o c o h w e ti h w e h t f o n o it a n i m o b a e h t m o r f y l e r e m t o n e m a c
a o s l a s a w e r e h t , e c n e s e r p g n i d a f y m o t n
i weigh to flonging on my
h tr a
e -held ilmb .s Iwouldhaveshakeni toff ,arleadymyf oo thadbegun h
g e ti h w e h t , n e h t t u b t fi l o
t os tentered and al lwa sdeflied (DKH , .V 0
2 1 -139 .)
s i h s e n il r e d n u n o i s s e f n o c e v o b
A inablitiy t ol eavet hewo lrdbecauseofhi ssexua l
. e ri s e
d Elesin say s“Fo r Iconfes sto you, daughter ,my weaknes scame no t
y l e r e
m …therewa salsoaweigh tofl ongingonmyearth-held ilmbs . Iwouldhave
d e r e t n e t s o h g e ti h w e h t , n e h t t u b t fi l o t n u g e b d a h t o o f y m y d a e r l a , ff o t i n e k a h s
d e li f e d s a w l l a d n
a ”. From hi swords ,the wrtie rdeduce st hat He i sno treally
. d lr o w e h t e v a e l o t y d a e
r eH plotshi smariragewtiht heyounggilrt ohavingsome
. s e i d e h e r o f e b n u
f Hei san oppo trunis tbecausehet akest headvantagefromt he
y b m i h o t n e v i g e g e li v ir
p marryi ng a bertothed young gi lr to prolong hi slfie
t u o h ti
.
3 Redemp itve
i p s e
D tehei sconsidered t lio f a ther tiua lsacir ifce ,Elesin admti shisf raitly
lr i g e h t o
t ” “Fo r Iconfesst o you ,daughter ,myweakness…”.whenhei sarrested
y
b Plikings ,Elesinshow shi sresistancet of reehimsel fso hecan performrtiua l
. e c if ir c a s
e l g g u rt s e m w o h s u o Y . a h o l a y I ,t i w a s u o Y … . N I S E L
E tor etirevemywli l
t s e h t f o r e w o p e h t m o r
f range rwhose shadow fel lacrosst he doorway g
n ir e d n u o lf e m t f e l d n
a and blundeirng in a maze Ihad neve rbefore e m a c n o ri d l o c f o h c u o t e h t n e h w d e b m u n e r e w s e s n e s y M . d e r e t n u o c n e
t s ir w y m n o p
u . Icoulddonothingt os avemys el.f …
s u d e y a rt e b u o Y . A H O L A Y I
h g u o n E . N I S E L
E Iyaloha ,enough. A
H O L A Y
I . Iwish Icouldp tiyyou.
ELESIN . I need netihe r you r ptiy no r the p tiy o f the wo lrd . I need …
g n i d n a t s r e d n u
s e y e r u o e r o f e b p u s ll if h c i h w r e v ir e h T . g n i n r a w u o y e v a g I . A H O L A Y I
o o lf s ti n i y a w a s u p e e w s t o n s e o
d d .
( e m e v i g r o f d lr o w e h t y a M . N I S E L
E DKH ,V .234-300) .
g n ir r e f e
R a tabove talk ,i ti sseen tha tElesin srtuggles to be free so tha trtiua l
d e m r o fr e p e b n a c e c if ir c a
s .Heknowst ha theha sslowed t he rtiua ldown bu the
t i l i a f o t n a e m t o n s e o
d so he plead sforgivenes sfo rthe mistake he makes .He
e m o s s e ri u q e
r understanding bu tIyaloha state stha the bertay shi stirbe. He r
s ti m m o c n i s e l E , y a l p e h t f o t r a p l a n if e h t t A . n o i s s e r p e d n i n i s e l E s t e l n o it a s u c c a
e d i c i u
s .
k c o r d o o t s s a h N I S E L
E -sitll ,hi sknucklest au tont hebars ,hi seye sglued t o s
e n ll it s e h T . n o s s i h f o y d o b e h
t sseize sand paralyse severyone, i ncluding d n u o r m r a e n o s g n il f N I S E L E y l n e d d u S . k o o l o t d e n r u t s a h o h w S G N I K L I P
, tf i w s a n i fl e s m i h s e l g n a rt s , n i a h c e h t f o p o o l e h t h ti w d n a , e c n o , k c e n s i h
y l n o e r e h t t u b m i h p o t s o t d r a w r o f h s u r d r a u g e h T . ll u p e v i si c e
d in itmet o
n w o d y d o b s i h t e
A H O L A Y
I . H… ei sgoneto t hepassage bu toh ,how l atei tall i s .Hi sson t
s a e f ll i
w ont hemea tandt hrowhimbones (DKH ,V .496-497) . ,
n o it a u ti s e v o b a g n i y d u t s n e h
W the wrtie rlearn stha ti ti sno tonly because o f
y tl a y o l s i h g n i w o h s d n a e r u li a f s i h g n i y a p o s l a t u b f l e s m i h s d n e n i s e l E n o i s s e r p e d
n o it i d a rt s i h o
t . Looking a tIyaloha’ sstatemen t“how late i tal lis” ,the wrtie r
s e k a m e h r o r r e e h t x if o t s e ir t n i s e l E t a h t s k n i h
t bu thei st ool ate .Hi sposiitonha s
d e c a l p e r n e e
b byhiss on .
n i s e l
E i sregarded a sredempitve person because ;1 )he admtis t ha theha s
l a u ti r e h t n w o d d e w o l
s and he i sapologized abou tthat .2 )He tire sto pay hi s
e r u li a
f by ending hisl fieeven i fIyalohaconsiderst ha thei st ool ate .I n thi spar t
n i s e l E t a h t s k n i h t o s l a r e ti r w e h
t love shi srtadiitonevent houghPlikingconsider s
t c a c ir a b r a b s a e c if ir c a s l a u ti r e h
t . Her eject sPliking’ snoitont os urvive.
.
B Plo toft heplay
e h t h ti w g n il a e d n e h
W concep to f rtagichero , ti isi mpo trantf ort hewrtiert o
o r e h c i g a rt f o t p e c n o c e h t ,r e ti r w e h t r o F . y r o t s e h t f o t o l p e h t e e
s int heplaycan
y l e s i c e r p e
b matched wtih the Shakespearean rtagic hero by looking a tplo t
g n i k o o l s e d i s e
b att hecharacteirsitcoft hecharacte.r
ll i G d r a h c i
R sayst ha taplo tcanbede ifnedast heorde ro feventsi nwhicht he
m e h t f o s n r a e l r e d a e
r (Gli l1995 :165) .Heconitnuest ha tPloti san essenita lpar t
f o n o it p ir c s e d e h t s w o h s d n a y r o t s e h t n i s t n e v e e v it u c e s n o c s e t u ti t s n o c h c i h w
y e l d a r
B states t hat t heplot i n t he rtagedy roughly can bedivided i nto t hree ;
n o it i s o p x
e ,confilc tandcatasrtophe( Bradley ,1991:40) .Heconitnuest ha ttherei s
o s t c il f n o c e h t n i s i s ir c
a late rhe divide sShakespearean plot i nto ifve t hey are;
d n a n o it c a g n il l a f , x a m il c , t c il f n o c f o t n e m p o l e v e d d n a e s ir , n o it i s o p x e
. e h p o rt s a t a c
a g n i n r a e
L bou tShakespearean plo tby referirng to Bradley’ snoiton abou t
, t o l
p p lotoft heDeathandt heKing sHorsemancanbes eenasf ollow .s
.
1 Exposi iton I or ntroduciton
n i a l p x e y e l d a r
B s tha texposiitonexpoundst hestiuaiton o fstateo raffarif rom
r i e h t ; s n o s r e p f o d lr o w e h t s e c u d o rt n i t i t a h t s e d i s e B . s e s ir a t c il f n o c h c i h w
s ri e h t f o g n i h t e m o s d n a , r e h t o n a e n o o t n o it a l e r ri e h t ,s e c n a t s m u c ri c r i e h t , n o it i s o p
e b ir c s e d o s l a t I . s r e t c a r a h
c st he stiuaiton which t hreaten sconfilc tbu tno tone o f
) 1 4 : 1 9 9 1 , y e l d a r B ( s t c il f n o
c . T ehe xposiiton o fthe play can be descirbed a s
s w o ll o
f .
s n e p o y r o t s e h
T in marke tplace; severa lwomen go back home atfe rdoing
t e k r a
m acitvtiy .Elesin enters the marke tplace and followed by drumme rand
r e g n i S e s i a r
P .A thi sfris tappearance ,Elesin i sdescirbed as a humorous person
o h
w speaks ,dances ,andsin s g wtih grea tenjoymen.tElesinand t hePraiseSinge r
e g n a h c x
e to sing each othe rabou tthepassaget ha tElesin will t akeatfe rhedies .
s e i d e h n e h
W ,Elesin w ill be remembered and glo ir ifed by entrie commun tiy
. N I S E L
E …Myf ame ,myhonourarel egaciest ot he ilvings taybehindand tl e s
p il r u o y m o r f y e n o h s ti p i s d lr o w e h t
. R E G N I S E S I A R
P You rname wli lbe ilke the swee tberry a chlid place s l li w d lr o w e h T . d o o f e h t f o e g a s s a p e h t n e t e e w s o t e u g n o t s i h r e d n u
t u o t i ti p s r e v e
n (DKH , 2.i3 - )3 . 6
s e d i s e
B speaking abou t the passage ,Praise Singe ralso talks abou t the
. w e i v s ’ a b u r o Y n i e fi l f o y h p o s o li h
p I tis told tha tYoruba people are really
o t d e t c e n n o c y l e s o l
c thei rancestors .Shechantst hatt herewillbeamiseryt o t he
f i y ti n u m m o c e l o h
w death r tiual i sfaliedto do o rElesini sunablet o performt he
.l a u ti r
T . R E G N I S E S I A R
P herei sonlyonehomet o t hel fieo fa irve rmusse;lt here ;
e s i o tr o t f o e fi l e h t o t e m o h e n o y l n o s
i there i sonly one wo lrd t o t he n o d e h s a m s d n a e s r u o c s ti s e v a e l d lr o w t a h t f I . e c a r r u o f o t ir i p s
e s o h w , d i o v t a e r g e h t f o s r e d l u o
b wo lrd wli lgiveu sshetler? (DKH, i . 1
6 - )6 6
g n il l e t r e tf
A abou tthe signiifcance o fthe rtiua lto Yoruba people through
S e s i a r
P inge,r thestorydevelopest o astagewhich Elesin seemsafraid t o hi sup
. l a u ti r g n i m o
c He chanted Not- Ib rid a sa manfiestaiton o fhi sfear .The Praise
Singerf eelsconfusedaboutt hebridanda skshisr eadinesst operformt her tiual .
a h o l a y I f o r e t c a r a h c e h t , t n e m o m e m a s e h t t
A and Women a er inrtoduced
l a ti c e r s ’ n i s e l E h ti w g n o l
a . I yaloha is thel eade roft her tiualo rknowna smothe r
f
o themarket .WomenandPraiseSinge raredancingandsinging aboutt her tiual .
m e h t f o l l
A a skElesin’sr eadines sandremind mh bi a outt hes igniifcanceofr tiual.
g n i v a
H been quesitoned by the communtiy fo rhi sreadiness ,Elesin frimly
ll i w e h t a h t s e t a t
s nott urnasidet of acet her tiual ; he isr eadyf orther tiual .When
e h
t peopleheardElesin’ scommtimentt ocarryt her tiua,lt heymanagethemselves
e r a p e r p o
, l a u ti r e h t f o n o it a r a p e r p e h t g n ir u
D Elesin cracksaj okeby pretendingto be
n e h w d e t a ti r
ri Women hali him a sthe man o fhonour .He argue stha the ha s
s r a e h h g u o n
e hist irbes ’compilments towardhimandhewantstoheari tnomore .
a h o l a y I d n a r e g n i S e s i a r P , n a m o W , e s ir p r u s r i e h t o
T a reconfusedabou tElesin’ s
g n i g n a h
c atttiudeandf eelsorry fit heyhavemadeamistake. Theyaresoafraid i f
y e h
t hur tElesin’sf eeilng .Theya skapologizefromElesin .Therir equesti ss eeni n
Iyaloha’ss tatemen.t
. A H O L A Y
I I f we offended you now we have moritifed the gods .We . y a rt s a t n e w e w e r e h w s u l l e t ,l l a s u f o r e h t a F . fl e s ti n e v a e h d e d n e f f o
(Shekneel ,st heothe rwomenf ollow). (DKH ,.i250-253) .
r e tf
A Elesin hearsIyaloha’ ssoilctiaiton above ,hel aughs ta h erandf orgive s
o d e h t a h t s y a s e H . m e h
t e sno tmean ti .Next , alloft hemf eelr eilvedandmanage
e p o
t rformt her tiual .Elesint hani sadornedwtih irchclothes ,capands hawl.
e r a y ti n u m m o c f o s r e b m e m e l o h w e h
T in agrea thappines sat t ha tmomen t
e s u a c e
b thei ritmet ot her tiuali sr eallyclose .Womens tatrtodancearoundElesin
i n i s e l E t u
b sdisrtacted by t hebeauty o fa young gri lwho entersthemarket .He
s k s a n e h
t Iyaloha to marry tha tgi lr .A tthi spoint ,Elesin create sa dissiden t
a a h o l a y I n e e w t e
b ndt heWomenbecauset hegilri sbertothedt oI yaloha’ss on.
. N I S E L
E …do me cred ti .And do me honour . Iam grided fo rthe route e h t t e L . t h g il l e v a rt e m t e l n e h T . g n i g n o l d n a e t s a w f o s n e d r u b d n o y e b
e b n i a m e r y a w e h t n o h c a m o t s e h t e v r e s t o n l li w t a h t d e e
s hind .Let i t
c i o h c y m f o h tr a e e h t n i t o o r e k a
t e ,in thi seatrh I leave behind (DKH ,.i435-442) .
. m i h l l e T . n o s n w o r u o y o t d e h t o rt e b s i e h s t u B . N A M O W
e b n a c s s o l e h t , m i h r o f g n i k s a e h t d i d I . e n i m s i h s i w n o s y M . A H O L A Y I
e r l li w o h w t u B . d e i d e m e
r medy t hebilgh to fclosed hand son t heday r u o y s i o h w m i h o t y a r p u o y .. . ? t h g il d n a s s e n n e p o e b d l u o h s l l a n e h w
d lr o w r e h t o e h t o t r o s s e c r e t n
i —don’ tsett hi swo lrd ad ir tfi n you rown e
. N A M O
W No tmanymenwli lbravet hecurseo fadispossessedhusband. .
A H O L A Y
I Only the curse s o f the depatred are to be feared… (DKHi.i447-458) .
d n a a h o l a y I , t n e m u g r a g n o l a g n i v a h r e tf
A theWomen permti him t o marry
lr i g g n u o y e h
t .A sa consequence, death rtiual w ill be pefrormed a tfer Elesin’s
e g a ir r a
m then sh i b irde will lay hi sshroud atfe rhe dies. Yoruba people then
e u n it n o
c to dance and s ing wh lie drum sar e played aloud to welcome Elesin’ s
l a u ti r h t a e d d n a e g a ir r a
m .
Whlie the marirage preparaiton i son the way, i n the ac ttwo ,character so f
n o m i
S P likings ,hi swfie; Jane ,Amusa (a naitve sergeant )and Joseph (a naitve
) y o b e s u o
h are inrtoduced .I ti sstated tha tSimon P likings (westerner) who i s
r e c if f O t c ir t s i
D dancing wtih Jane ,hi swfie, wea irng engungun ;a death cul t
. m r o fi n
u They are pracitcing dancing using tha t“fancy-dress” to welcome the
f o l a v ir r
a Brtiannia P irnce in Afirca. Based on naitve’ s rtadiiton ,engungun i s
. y n o m e r e c h t a e d n i t p e c x e n o i s a c c o y n a n i r a e w o t n e d d i b r o f
s i h g n i e e
S Distirc tOf ifcer i sweairng engungun ,Amusa i sshocked and
g n i g g e
b Simon t ot akei toff .Simon thenfeel sconfused andsaysto Amusawha t
s n a e m e
h .Amusa explain stha the wli lbe cursed i fhe wears engungun .Simon
s k s a d n a d e t a ti r ri s m e e
s Amusa to stop hi snonsenset alking . tIi shard f o rSimon
d n a t s r e d n u o
t tha tthe unfiorm will b irng abad fate only by weairng .ti Pliking s
s r e d r o n e h
t Amusa t o repor teverything happensin t hei rdist irct to welcome t he
e c n ir
P .
s e k a m t n a e g r e s e v it a n a g n i e
B Amusa naturally percepitve wtih hi s
s m u r d f o d n u o s e h t g n ir a e h g n i d u l c n i g n i d n u o r r u
