Death is a central theme of the play, as demonstrated in the title of the play, which refers to a Yoruba custom, a ritual sacrifice that must happen one month after the king’s death, wherein the king’s horseman becomes honour-bound to commit suicide and follow the king to the afterlife. Soyinka’s play explores how the protagonist’s lust for life hinders an honourable death.
Knowledge and evidence:
- The play opens as Elesin, the king’s horseman and protagonist of the play, prepares for a ritual suicide in order to follow the king into the afterlife
- Soyinka creates a vibrant and noisy mood in the marketplace:
- The praise-singer, Elesin and women in the market-place sing, chant, dance and exchange light-hearted banter
- This signifies that the village sees the occasion as significant and celebratory
- In this way, Soyinka introduces Yoruba beliefs about death:
- It is part of an important tradition, which the people welcome
- Nevertheless, the play’s conflict, and the means by which Soyinka explores life and death, is presented through Elesin’s obvious hesitation to die:
- Elesin, the play’s tragic hero, is introduced as honourable and he reassures the village he is ready for death:
- He tells a story about the Not-I bird who visits living beings at their moment of death and says he told the bird he was prepared to die
- Yet the praise-singer shows doubt, and Elesin’s distractions with women in the marketplace introduces his fatal flaw: his love for life and earthly pleasures:
- He revels in attention from the women and exploits his high status
- He asks to have sex with a young woman as his final act on earth
- Elesin’s hesitation to die foreshadows the tragedy
- Soyinka illustrates how Elesin’s love for the material and fleeting pleasures of life reduces Elesin as a valued member of society
- Soyinka uses the symbol of Elesin’s suicide to represent the “death” of the culture:
- He shows how crucial the custom is to the continued existence of Yoruba culture:
- Elesin is warned of the consequences repeatedly, with dark imagery about a “void” and an “abyss”
- They insist he must die in order to save the village from disorder
- They urge him to honour the Yoruba beliefs to prevent their community’s destruction
- Soyinka’s play examines different cultural attitudes to death:
- Both Simon and Jane Pilkings (British Christians) are horrified by the custom
- They believe the ritual suicide is “barbaric” and work to prevent it from happening
- However, Olunde, Elesin’s son, draws attention to the parallels between British patriotism and Yoruba tradition
- In particular, Olunde refers to World War II as “mass suicide”
- By the tragedy’s resolution, Elesin, inevitably, is doomed for failing to die honourably:
- His son’s sacrificial death causes him so much shame that Elesin strangles himself with his chains
- The play’s ending implies the “death” of the king’s horseman in more ways than one:
- Olunde and Elesin’s death marks the end of the line of king’s horsemen, too
- Iyaloja delivers the play’s conclusion about life and death:
- She admonishes Simon for his refusal to accept death, saying that just by being alive does not mean “the stain of death will not cling”
- She exits with Elesin’s pregnant bride and turns her attention to the “unborn”, those who are not living or dead
What is Soyinka's intention?
- Soyinka challenges attitudes to death by making a Yoruba custom the focus of the play’s action
- By setting the play at the time of British rule and World War II he is able to highlight hypocritical reactions to cultural beliefs about death
- Soyinka uses the form of a tragedy to raise questions about honourable deaths and dishonourable lives
- His sympathetic tragic hero examines the human instinct for life