SUICIDE IN OLA ROTIMI’S KURUNMI
5.8. The ‘class conflict’ and ‘clash of interest’: Kurunmi’s suicide in perspective Societies and humanity in general have always been at the cross roads of
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empowered Kurunmi to challenge the decision of the King and also proceed to declare war which at the end led to his defeat and resultant suicide.
Kurunmi’s suicide forecloses his need to bury in him the trauma of losing all his children, his army and his history as a warlord of his ‘kingdom’.
5.8. The ‘class conflict’ and ‘clash of interest’: Kurunmi’s suicide in perspective
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of Ibadan was also growing, and its political system favoured military expansion. Initially, relations between the two cities were cordial but rivalries soon developed. The rivalry started to develop when the Alaafin’s health began to worsen. At this point, the Alaafin knowing of his limited chances of survival reminded the people of Ibadan of the new law he had promulgated regarding royal succession. According to the law, Aremo Adelu (crown prince) was no longer required to commit suicide upon his father’s death. This sanction was upheld by the leaders of Ibadan who enthroned the crown prince as the next Alaafin after the death of his father in 1859 (Ebewo, 2005)
Despite the acknowledgement of Adelu as the Alaafin of Ibadan by the people of Ibadan, Kurunmi refused to recognize such succession. Kurunmi believed that Alaafin Adelu’s succession was a breach of custom and he (Kurunmi) wanted a prince of the royal family at Igboho or Kihisi to succeed Alaafin Atiba.
Due to this, Kurunmi never returned to Oyo to pay homage to the new Alaafin as custom dictated despite the Alaafin’s attempts at reconciliation.
However, the ideology behind Kurunmi’s support for tradition is questionable.
It is questionable because his intention was different. Tradition was only a tool he wanted to use to achieve his political goals. This ideology is also similar to today’s politics because politicians during campaigns say what the people want to hear and not necessarily, what they have in mind to do. Kurunmi therefore suggestively uses tradition as a campaign strategy to woo and get supporters.
Kurunmi in the process also gained alliances with other neighbouring communities like the Abeokuta to support him. He strengthens his alliance by promising the neighbouring communities things they would stand to benefit from if he wins their support.
Returning to history, we need to be reminded of the fact that a situation arose when the property of a wealthy woman was scheduled to be given to the Crown due to the fact that she had no heir. The confusion as to who should take over the inheritance raised the intense controversy between Kurunmi and the crown prince. However, the town of Ijanna was under direct control of Ijaye. The inhabitants were confused as to what to do; loyalty to the Crown dictated they
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gave the property to the Alaafin; however, they were also worried about the military might of Ijaye (Shaka, 2000).
The historical perspective here is intended to inform the ideological clash, political clash and the class struggle of Kurunmi that resulted in his suicide.
Both historically and textually, Rotimi has demonstrated his zealous adherence to the class conflict in his play. He does this by singularly focusing on the character of Kurunmi to the exclusion of the myriad of individuals who are predominantly peasants. Some of his characters who are killed and rendered homeless are not given recognition; the focus is on members of the ruling class.
This goes to affirm the popular saying that when two elephants fight, the grass suffers. Rotimi therefore ignores the conditions of the common people in society and concentrates his story on what happens to the bourgeoisie families.
Kurunmi’s suicide therefore emphasizes the quest for authority and control that centres on the clash of succession and interest over Oyo’s dynastic structure wherein Kurunmi has a major personal interest. It is appropriate perhaps at this point to recall what has already been stated about conflict. Conflict refers to a clash of rigidly held and opposing ideas and interests. According to Ayobade, (2008) conflict is a state of discord usually caused by the actual or perceived opposition of needs, values and interests. Conflict can be internal (within oneself) or external between two or more individuals). Conflict can therefore be used to explain certain aspects of social life such as social disagreement, conflict of interests, and fights between individuals and groups. This definition of Ayobade clearly defines the conflict of Kurunmi. The conflict first begins within Kurunmi on the internal ideological basis when he felt that he would not stand to benefit if he supports the decision of the late King. The external conflict was predicated on the fact that, his political interest and standing will diminish with time if he plays to the politics of the Ibadan people (Illah, 1983).
Added to this is the fact that, playwrights often apply dramatic conflict in a play just to create disagreement between characters. Dramatic conflict describes the opposition between characters or forces in a work of drama, such that it propels the action of the plot. It draws from a much deeper vein as rooted in the association of central characters in a play and is driven by fundamentally
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opposing desires. The conflict in Kurunmi is entrenched at the beginning of the play in Kurunmi’s compound on the occasion of the feast of Ororun which he, Kurunmi had set aside to feast all the children of Ijaye. In the course of the festivity, Kurunmi storms in with his five sons, just back from the meeting in Oyo, where he opposed the decision to install Adelu as the Alaafin after his father’s death. Kurunmi’s anger and opposition is captured in his speech to his people on this occasion when he says;
Kurunmi: my people…we are seated. Oba Atiba came down from his high throne. In his right hand the sword of Ogun; in his left hand, the bolt of Sango. He came towards us: “swear, my people,”
said he, “swear to Ogun and to my forebear, Sango, that my son, Adelu will be king after me…”
‘Clown,’ I yelled, out of my cursed sight!’ (Spits)
‘I shall be no party to perversion and disgrace.’ I picked up my staff and walked out (Rotimi, 1971, pp.16-17).
Suicide even in modern times is influenced by frustration, lack of accomplishment of life’s goals and desperation. Kurunmi as a character builds upon those factors that have become socially out of reach, culturally unachievable and politically impossible for him. Knowing that he has failed to achieve his ambition coupled with his investment of resources, both human and material it becomes frustrating. In addition, with the news of the death of his five sons, life becomes meaningless. As he takes poison, he curses the people of Ibadan and advises that his body should not be left for the vultures of Ibadan to peck at.
Class conflict and a clash of interest enable an understanding of the significance of Kurunmi’s suicide. Several reasons therefore culminate to render an individual susceptible to suicide. It therefore stands to reason that the understanding of suicide in traditional Africa especially the traditional Yoruba people of South-West Nigeria depends not only on the question of culture but on the personal interest of members of the ruling class. The interest is what drives them to do what they do. However, instead of a suicide that occurs as a result of a failed interest, the community members are ignorant of such political ideologies. They sympathize with and glorify a member of the upper class when he commits suicide.
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