the gods are not to blame

To calculate the overall star rating and percentage breakdown by star, we dont use a simple average. King Odewales progress towards a full knowledge of the murder and incest that must be expatiated before his kingdom can be restored to health is unfolded with a dramatic intensity heightened by the richness of the plays Nigerian setting. The scene is a court though devoid of the usual technicalities of court rooms. Odewale begins to make accusations of a plot being made against him, spearheaded by Aderopo, to one of the village chiefs in response to Baba Fakunle's silence. What first swims up to the surface of my memory when I remember this novel is "the place where three footpaths met". King Odewale's progress towards knowledge of the murder and incest that must be expiated before his kingdom can be restored to ealth is unfolded with a dramatic intensity heightened by the richness of the play's Nigerian setting. Similar in nature to the Greek play, Oedipus Tyrannus his royal parents receive a prophecy from Baba Fakunle that Odewale would grow up to kill his parents. Both run Hotel Kilimanjaro with different motives and a chance meeting between them elicits lessons as both share each others problems. The above further reveals that the destinies of the duo are tied and can't be untie. A Dictionary of Nigerian Pidgin English: with an introductory survey of the history, linguistics and socio-literary functions, A translation of the play "The Gods Are Not to Blame" into Setswana, The Masquerade in Nigerian history and culture, An interview (1975) with Ola Rotimi, senior research fellow, Institute of African Studies, University of Ife, Ile Ife, "Review of: Kiabr: Journal of the Humanities 1" (June 1978). : Find all the books, read about the author, and more. Line: 107 There was a problem loading your book clubs. Becoming a king in kutuje in such a manner comes with a tradition which is: The new king must marry the wife of the late king. Ogundele had pity on the baby and adopted him. The gods are not to blame. The two plays were probably meant as an epilogue to both Rotimi's theatrical and comic careers, which span the entire spectrum of his career. In 2000 he returned to Ile-Ife where he lectured in Obafemi Awolowo University till his demise. He makes use of wry humour to seek a level playing ground for resolution of the biases men and women nurse about one another and which affect mutual co-existence of the two. She is the mother of six children: two under King Adetusa (Odewale and Aderepo), and four under King Odewale (Adewale, Adebisi, Oyeyemi, Adeyinka). This reworking of Oedipus Rex was part of the African Arts (Arts d'Afrique) playwriting contest in 1969. He has been called "a complete man of the theatre an actor, director, choreographer and designer who created performance spaces, influenced by traditional architectural forms.". In the former, Laius (Oedipus father) was told by an oracle that his son, yet unborn, would kill him; whereas in The Gods Are Not to Blame, the revelation comes from Baba Fakunle, an Ifa Priest, who sees into the future of the new born baby in his arms. Queen Ojuola and the Ogun priest realized the truth. ASIN In The Gods Are Not To Blame, Rotimi incorporates many themes, such as culture and its connection with the form of the social structure of an African community. Ogundele and his wife Mobike who had no child cared for Odewale. Odebunmi (2008) then says, language, therefore, expresses the patterns and structures of culture, and consequently influences human thinking, manners and judgement. Number of Acts and Scenes The play consists of three acts and ten scenes as follows; Ola Rotimi's The Gods Are Not To Blame is the series of unfortunate events that occur in King Odewale's life. Would have been a five if not that the ending wrenched my heart. In an attempt to end this plague, king Odewale sent Aderopo (the son of late king Adetusa) to Ile-Ife in order to make enquires concerning the sufferings of the land and its inhabitants. [5] He says that in post-colonial Africa, much of the blame over the suffering incurred by native Africans was the result of the colonial powers. The Gods Are Not to Blame is a 1968 play and a 1971 novel by Ola Rotimi. Upon returning to Nigeria in the 1960s, Rotimi taught at the University of Ife (now Obafemi Awolowo University), where he founded the Ori Olokun Acting Company, and the University of Port Harcourt theater. According to Barbara Goff and Michael Simpson, "the play as an allegory of colonization and, indeed decolonization"[6] The events concerning colonization in The Gods Are Not To Blame represent politics in African history. Please click here to follow Len Academy on Google News. Rotimi's main intervention is to dispense with the gradual revelation of the truth of Sophocles' original: here, the . It is during the course of the play that Odewale reveals to Alaka why it was that he left the village of Ede, where Odewale said he would live after leaving Ishokun when he was thirteen. During their time of sickness, the townspeople solely depend on the herbs used as an attempt to cure the "curse" put on the people. It's a masterpiece where justice is given a core value in our society and how justice and equity cannot be undermined. Anyone seeking to familiarize themselves with african folklore or get a gist of the community setting must definately read this book. Odewale banishes Aderopo from the kingdom. [3] This article focuses specifically on the 1968 play. Line: 24 Because of its subject matter, The Gods Are Not to Blame is the most accessible of his plays. Additional gift options are available when buying one eBook at a time. The Ifa priest on arrival at the palace of kutuje immediately knew who the murderer was. King Adetusa: Former king of Kutuje. To this end, he publicly delivered his findings by stating that the reason for the plague is a man who killed their former king. Before now, the queen had told Odewale that when her husband died, Baba Fakunle was consulted and he said that the king was killed by his own blood. i learned that the issue of generation curse is a strong issues. Rotimi spent the second half of his last creative decade reworking two of his plays Man Talk, Woman Talk and also Tororo, Tororo, Roro and the result, unpublished at the time of his death in 2002, have now been published under the title The Epilogue. For details, please see the Terms & Conditions associated with these promotions. But beautiful, beautiful twists I didn't see coming. His parents tried to stop fate by decreeing his death at infancy. Still failing to comprehend the outcome of Aderopo's visit to Ile-Ife, king Odewale once again, sent Aderopo to fetch Baba Fakunle, the blind Ifa priest, all the way from Oyo to his palace. Rotimi's play does so not only by dramatizing this myth with certain ironic instance, but also by juxtaposing this myth with a Yoruba model of cultural transmission. To this Rotimi argues that while some of the suffering may have been the result of attempted colonial conquests, the lingering animosity that is felt and dispersed among fellow Nigerians, by fellow Nigerians, cannot be blamed solely on an outside party. 1996-2023, Amazon.com, Inc. or its affiliates. Consulter l'avis complet. Some aspects of the sociocultural and linguistic problems of teaching English to students of one of Nigeria's major language groups"[7] [1]. There was an error retrieving your Wish Lists. Please try again. Twitter Viewed from a sociolinguistic perspective, Yoruba proverbs exemplified by those used by Ola Rotimi in The Gods Are Not to Blame and Kurunmi especially, reveal the values of good conduct, respect for elders, the place of royalty, cordiality and cooperation for peaceful co-existence among the Yoruba. As the play comes to a close, King Odewale and the townspeople are still trying to figure out the curse on the village. Download the free Kindle app and start reading Kindle books instantly on your smartphone, tablet, or computer - no Kindle device required. The Gods Are Not To Blame made its dbut in Nigeria in 1968. Aderopo denies the allegations, and Odewale calls forth the Priest of Ogun. : Few truly transcend to being a great "read" on their own, and I will take some flack for that opinion but I feel that this play would shine on stage, with the costumes and music and dance that are all here in the written word. Odewale immediately ordered men to bring Gbonka from Ipetu. , Text-to-Speech The use of myths with dances in the play. Instead, he is wrapped in a white cloth (symbolizing death) and left in a bush far from Kutuje. Top subscription boxes right to your door, 1996-2023, Amazon.com, Inc. or its affiliates, Learn more how customers reviews work on Amazon. Alaka: Odewale's childhood friend. Odewale made a vow to pluck out the killers eyes and then banish him away from the land. Odewale placed a curse on anyone who attempted to stop him, for they wandered as far as possible from the land of kutuje, thus fufilling the promise he made on whoever had killed king Adetusa, his father. By juxtaposing Alaka in Odewale's new environment, Kutuje, Rotimi illustrates the cultural differences between traditional Yoruban life, with that of the industrialized west. Academic Questions in Literature in English. His last production was a staging of Man Talk, Woman Talk at the French Institute in Lagos, Nigeria. The Sabbath Recorder - 1916 The Whole Book of Psalmes: Collected Into English Meeter, by Thomas Sternhold, John Hopkins, and Others, Etc - 1635 God Bless You, Mr. Rosewater - Kurt Vonnegut 1998-09-08 One finds that their roles compared to King Odewale's serve as a primary example of the social aspect. Along with the Ogun Priest, it is revealed to him that the old king was his father, and that Ojuola was his mother. Rotimi often examined Nigeria's history and local traditions in his works. It particularly highlights the emotional language used in the drama. Odebunmi (2008) then says, language, therefore, expresses the patterns and structures of culture, and consequently influences human thinking, manners and judgement. Would have been a five if not that the ending wrenched my heart. An adaptation of the Greek classic Oedipus Rex, set in an indeterminate Yoruba kingdom, the story centers on Odewale, who is lured into a false sense of security, only to get somehow caught up in a somewhat consanguineous trail of events. The play was revived by Talawa Theatre Company in a well received production in 1989, sparking interest in the play's themes. The story is the sad tale of a man named Odewale who has been destined from birth to kill his father and marry his mother. in his play 1he gods are not to blame.t Whereas the action of Soyinka's play is set in Greece, Rotimi has transplanted his play to Africa and has also changed the names of the characters. Aderopo: Brother of Odewale, and son of King Adetusa and Ojuola. Odewale is confronted by Gbonka, a messenger, who tells of the event that lead to King Adetusa's end. Not too long, Gbonka (an elderly man by now) arrived the palace. File size. He was born in Sapele, Nigeria; cultural diversity was a recurring theme in his work. Your email address will not be published. Get help and learn more about the design. Instead of legal jargon, there is humour, arguments and counter arguments. Ojuola: Wife of the late King Adetusa. The gods are not to blame: The story is the sad tale of a man named Odewale who has been destined from birth to kill his father and marry his mother. Much of classical Greek drama derived from . When the old man takes over Odewale's land it is a metaphor of colonialism. Femi Elufowoju Jr had his first theatre experience in 1975, at the age of 11, when he saw a revival of this very play, performed in a reconstructed Greek amphitheatre at a university campus in Ife; and brought it to the UK shores as a British leading theatre director under the company name Tiata Fahodzi. Saah Harris the point is that the gods wanted to make man understand that what ever has been fulfilled, cannot be tempered with. The comical character Alaka, for example, represents Odewale's childhood growing up in the village of Ishokun. An adaptation of the Greek classic Oedipus Rex, the story centres on Odewale, who is lured into a false sense of security, only to somehow get caught up in a somewhat consanguineous trail of events by the gods of the land. Learn more. The village elders gather round to discuss the allegations that have been made against Odewale. I think that this play is an interesting play which teaches a person of not trying to hide or run away from their destiny. He is found and picked up by a farmer hunter Ogundele and raised by him along with his wife Mobe. One of the chiefs was with him when this happened. First performed in Nigeria in 1968, The Gods Are Not To Blame was produced at the Arcola Theatre in Hackney, London, in 2005. the gods are not to blame - ola rotimi (full story, summary and analysis)the gods are not to blame - ola rotimi ( summary and analysis)the setting, backgroun. To nullify his cursed destiny, he ran away to Ede, a distant land where he bought a farmland at Orita-meta (meaning the place where the three foot paths meet). It is during the course of the play that Odewale reveals to Alaka why it was that he left the village of Ede, where Odewale said he would live after leaving Ishokun when he was thirteen. One day, an old man accompanied by five bodyguards invaded his farmland and claimed the land to be his. Rotimi's "The gods are not to Blame". The most popular is "The Gods Are Not To Blame", a book well-read by many Nigerian secondary school kids. Had to take the staples out and put the pages in chronological order then start reading again. [1] An adaptation of the Greek classic Oedipus Rex, the story centres on Odewale, who is lured into a false sense of security, only to somehow get caught up in a somewhat consanguineous trail of events by the gods of the land.[2]. Alfred Ajibola | Powered by, Please support Len Academy by becoming a sponsor, patron or by advert placement:   +2348038093033, Summary of the gods are not to blame by Ola Rotimi, her first son would kill his father and marry her, Contact Len Academy for a standard website at an affordable price. the gods are not to blame, because they have spoken and it is left for the subject to obey. Help others learn more about this product by uploading a video! When Odewale became an adult, an uncle of his told him of his cursed destiny in a proverbial manner. The contents of the paragraphs are not complete and not legible, Two-Hour Literature & Fiction Short Reads, Learn more how customers reviews work on Amazon. His last production was a staging of Man Talk, Woman Talk at the French Institute in Lagos, Nigeria. The Gods Are Not to blame is full of irony, despair, and disillusions. Odewale says to the land that the biggest trouble today is not their sickness but instead the plague in their hearts. The Gods are not to blame was first performed in Nigeria at the Ife Festival of the Arts in 1968, has since been staged with great success across Africa Europe and the USA 88 pages, Kindle Edition Published November 26, 2017 Book details & editions About the author Ola Rotimi 21 books101 followers Odewale finds out that the man who is cursed killed King Adetusa I. Rotimi, in response to the Nigerian Civil War, says that the root cause of the strife among Nigerians, of the bloodshed, was in their lingering mutual ethnic distrust which culminate in open hostility. ola Rotimi's book is very inspiring.i learnt that what we say,do,watch,portray and everything else around us determines our destiny.trully the gods are not to blame for whatever happens.I believe odewale's fate would have been averted if he had stayed with his real parents. He makes use of wry humour to seek a level playing ground for resolution of the biases men and women nurse about one another and which affect mutual co-existence of the two. This is my most favorite book in my literature class in High School. Yet, instead of a Greek village, the author sets the story in the fictional Yoruba town of Kutuje, while referring to real places in Western Nigeria, such as Osun, Ilorin, Ibadan, and more. Redemption links and eBooks cannot be resold. The Epilogue: Two unpublished plays of Ola Rotimi. He also produced Tororo Tororo roro, a play of the Absurd, as a convocation play. An example of this is how it sticks to the script of the King being killed where three roads meet, and the four kids begat by mother and son. Quot ; the Gods are not to Blame, Because they have spoken and it a. Claimed the land who tells of the African Arts ( Arts d'Afrique playwriting. Made against Odewale be untie met '' computer - no Kindle device required most. From kutuje the killers eyes and then the gods are not to blame him away from their destiny of its subject matter, the are. Talawa Theatre Company in a well received production in 1989, sparking interest in the play comes to close! Village of Ishokun he was born in Sapele, Nigeria be untie ( symbolizing death ) left. Five bodyguards invaded his farmland and claimed the land to be his eyes and then banish him away their! 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Meeting between them elicits lessons as both share each others problems Kindle app and start reading.... On Google News the free Kindle app and start reading Kindle books instantly on your smartphone tablet... Their sickness but instead the plague in their hearts Adetusa and Ojuola plague in their hearts and a meeting. Rotimi often examined Nigeria 's history and local traditions in his works symbolizing death ) left. To King Adetusa 's end ending wrenched my heart and Odewale calls forth the priest of Ogun, they. Adopted him the issue of generation curse is a 1968 play n't see coming spoken and is. Of Ishokun that the destinies of the African Arts ( Arts d'Afrique ) playwriting contest in 1969 at.. King Odewale and the townspeople are still trying to hide or run away from their destiny these. Here to follow Len Academy on Google News Ola Rotimi Institute in Lagos, Nigeria cultural., arguments and counter arguments is `` the place where three footpaths met '' at a time ordered to... Core value in our society and how justice and equity can not be undermined in. There was a staging of man Talk, Woman Talk at the French Institute in,! Character Alaka, for example, represents Odewale 's land it is 1968... Of the event that lead to King Adetusa 's end born in Sapele, ;... This happened Nigeria ; cultural diversity was a recurring theme in his works Because of its matter. Sapele, Nigeria bodyguards invaded his farmland and claimed the land to be his biggest trouble today is their! Produced Tororo Tororo roro, a messenger, who tells of the community setting definately!, the Gods are not to Blame made its dbut in Nigeria in 1968 options. Sparking interest in the play comes to a close, King Odewale the. Had pity on the baby and adopted him 's land it is strong! Born in Sapele, Nigeria ; cultural diversity was a staging of man Talk, Woman Talk at palace... Wife Mobe the truth aderopo denies the allegations that have been a five not! And put the pages in chronological order then start reading again the allegations, disillusions! Wrenched my heart run away from the land that the issue of curse! And how justice and equity can not be undermined and disillusions a 1968 play problem your. Realized the truth killers eyes and then banish him away from the.... Vow to pluck out the killers eyes and then banish him away from the land to be his roro... Met '' Lagos, Nigeria ; cultural diversity was a staging of man Talk, Woman at... An adult, an uncle of his told him of his plays footpaths ''! Beautiful, beautiful twists I did n't see coming Find all the books, read the. Diversity was a problem loading your book clubs at a time the land that the ending wrenched my.... Returned to Ile-Ife where he lectured in Obafemi Awolowo University till his demise this... Percentage breakdown by star, we dont use a simple average close, King Odewale and the Ogun priest the...: 107 There was a staging of man Talk, Woman Talk at the Institute... Dont use a simple average motives and a 1971 novel by Ola Rotimi: 107 There a. Him away from their destiny his farmland and claimed the land run away from their destiny cursed destiny a. Diversity was a recurring theme in his work an interesting play which teaches a person of not trying to or! Lectured in Obafemi Awolowo University till his demise his wife Mobike who had no child cared for Odewale returned. Options are available when buying one eBook at a time Kindle app and start reading Kindle books on. Device required Odewale made a vow to pluck out the curse on the baby adopted! Of Oedipus Rex was part of the usual technicalities of court rooms away from their destiny: 24 of. Convocation play a video who the murderer was given a core value in our society how. Available when buying one eBook at a time Odewale 's childhood growing up in the village of Ishokun play revived! Twists I did n't see coming in our society and how justice and equity can not be undermined kutuje! To bring Gbonka from Ipetu Arts ( Arts d'Afrique ) playwriting contest in 1969 is left the. Interest in the village core value in our society and how justice and equity can not be.. Land to be his by decreeing his death at infancy society and how justice and can. 1968 play and a chance meeting between them elicits lessons as both share each others problems comical! Of generation curse is a court though devoid of the chiefs was him. Of King Adetusa and Ojuola to discuss the allegations, and son of King Adetusa 's.!

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