Please try again. Reviewed in the United States on March 2, 2018, Good historical novel by a great writer. The gods and supernatural beings in the invisible realms claim foreknowledge of the fate which the tragic hero brings into the world, yet do not influence the fate-holder in the winding trail of life to the fulfillment of tragic fate. Baba Fakunle tells him that the source of the kingdom's ails lay with him. 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. Want to Read. The King expresses sympathy to the townspeople for the illness that has been plaguing them. His book African Dramatic Literature: To Be or to Become? Line: 24 When Odewale became an adult, an uncle of his told him of his cursed destiny in a proverbial manner. She is the mother of six children: two under King Adetusa (Odewale and Aderepo), and four under King Odewale (Adewale, Adebisi, Oyeyemi, Adeyinka). 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. The most popular is "The Gods Are Not To Blame", a book well-read by many Nigerian secondary school kids. 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. As the queen of the kingdom of Kutuje, she finds herself serving as Odewale's conscience, calming him when he begins to act irrationally. 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. 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. She is the mother of six children: two under King Adetusa (Odewale and Aderepo), and four under King Odewale (Adewale, Adebisi, Oyeyemi, Adeyinka). Stephen (Rasheed's version of Oedipus) has been raised in the USA and sent to fight in Afghanistan before he decides to travel to Nigeria in search of his origin story. The King expresses sympathy to the townspeople for the illness that has been plaguing them. Aderopo is also accused of spreading the rumor that Odewale was the one who murdered the old king, Adetusa. Odewale married queen Ojuola who had four children for him. I think that this play is an interesting play which teaches a person of not trying to hide or run away from their destiny. During their time of sickness, the townspeople solely depend on the herbs used as an attempt to cure the "curse" put on the people. 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. Line: 192 Would have been a five if not that the ending wrenched my heart. The radio play Everyone His/Her Own Problem, was broadcast in 1987. 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. Line: 107 Odewale narrated the story of how he killed a man who insulted the homeland he came from by calling them a bush tribe, while also attempting to steal from his farmland. At this point we are introduced to Alaka, who claims to have known King Odewale since before he came to conquer Kutuje. Odewale was in touch with his supernatural side, and was quick to call on Ogun, going so far as to swear on the deity which eventually led to his downfall. "The Gods Are Not to Blame" is a modern updating of the ancient story of disgraced Theban King Oedipus. His later dramas include The Gods Are Not to Blame (produced 1968; published 1971), a retelling of Sophocles' Oedipus Rexin imaginative verse; Kurunmi and the Prodigal (produced 1969; published as Kurunmi, 1971), written for the second Ife Festival of Arts; Ovonramwen Nogbaisi (produced 1971; published 1974), about the last ruler of the Benin empire; and Holding Talks (1979). Published Feb 4, 2018. In 1965, he married Hazel Mae Guadreau, from Gloucester Massachusettes; Hazel also studied at Boston University, where she majored in opera, voice and music education. On Kindle Scribe, you can add sticky notes to take handwritten notes in supported book formats. It particularly highlights the emotional language used in the drama. Each chapter will include a brief sketch of the authors life, a resume of the plays, and the development of major and minor characters. She further narrated how Baba Fakunle had prophesied that her first son would kill his father and marry her. In the Yoruban culture, like many others, have symbolic. 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. renowned book. Rotimi's play has been celebrated on two counts: at first scintillating as theatre and later accruing a significant literary aura. It was through this book that I first became acquainted with Oedipus' tale. 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. Be My rating reflects the level of service I received - not the item itself. One finds that their roles compared to King Odewale's serve as a primary example of the social aspect. Ola Rotimis works are also a social satire and this publication will spur renewed interest in his satires. 4TH CHIEF: It is so, the blood of youth has left the head, the mind is weak. At this moment, Aderopo came in and Odewale apologized for his wrong accusations against him. After a dispute, Baba Fakunle calls Odewale a "murderer," alluding to the assault that occurred on the yam patch in Ede, in which Odewale kills King Adetusa, unknowingly his father. I am a teacher and have my MFA in playwriting, so I feel strongly that plays are meant to be performed. The scene is a court though devoid of the usual technicalities of court rooms. Some aspects of the sociocultural and linguistic problems of teaching English to students of one of Nigeria's major language groups"[7] [1]. He could not, of course, assume prior knowledge of the story on the part of the Before the arrival of Gbonka, Alaka told Odewale of his fathers death. He further said that he was the servant of Ogundele (Odewales foster father); and on that fateful day when Odewale was rescued from death in the bush, both of them were together; for they had gone hunting. He is consistently accused by Odewale of having ulterior motives to take the throne from him, going as far as to say that Aderopo had bribed the soothsayer, Baba Fakunle, of giving a false account of what is to come. Full content visible, double tap to read brief content. The Gods are Not to Blame Ola Rotimi Oxford University Press, 1985 - African drama (English) - 72 pages 5 Reviews Reviews aren't verified, but Google checks for and removes fake content when it's. It's about having power over the land and Odewale no longer has the power because the old man took it from him, which is why he turns a hoe, which is a gardening tool, into a sword. The radio play Everyone His/Her Own Problem, was broadcast in 1987. Reviewed in the United States on October 8, 2005. Although he is a custodian of culture who inspires people, he does not actively participate in their struggles. He was born in Sapele, Nigeria; cultural diversity was a recurring theme in his work. The Gods Are Not to Blame is a 1968 play and a 1971 novel by Ola Rotimi. Finally, she stated that Gbonka was the person who witnessed king Adetusas death. 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. It is an adaptation of the Greek classic Oedipus Rex. He is summoned by Odewale to ask of a way to rid the suffering of his kingdom. Rotimi was one of the clutch of prominent Nigerian playwrights who emerged in West Africa in the 1960s, the most notable being Soyinka. Meanwhile, Alaka told him that the people he thought were his parents were not his real parents. Instead, our system considers things like how recent a review is and if the reviewer bought the item on Amazon. By juxtaposing Alaka in Odewale's new environment, Kutuje, Rotimi illustrates the cultural differences between traditional Yoruban life, with that of the industrialized west. Odewale learns that there is a curse on the land, and in order for the sickness to stop going around the curse has to be purged. : The Gods Are Not to Blame Book Review. Your email address will not be published. In Ola Rotimis version of the Greek mythology about cursed Oedipus, we see a relatable Yoruba man named Odewale a strong willed man who becomes the very thing he ran away from. SUMMARY gods are not to blame BY OLA ROTIMI GODS ARE NOT TO BLAME, a play written by Ola Rotimi and first published in 1971, is the tragic story of a prince who grew up to kill his father and marry his mother. : King Odewale's 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 play's Nigerian setting. Rotimi was the son of Samuel Gladstone Enitan Rotimi a Yoruba steam-launch engineer (a successful director and producer of amateur theatricals)and Dorcas Adolae Oruene Addo an Ijaw drama enthusiast. a very interesting novel, a story of a man who killed his father and married his mother, this is something which does not happen very often. Rotimi, a patriot who shunned the attraction of the West and Europe and returned home to contribute his own quota to nation building, was a rare breed. The Gods are not to blame was first performed in Nigeri .more Get A Copy Kindle Store $5.00 Amazon Stores It reminded Nigerians of one of its most . File size. Download the free Kindle app and start reading Kindle books instantly on your smartphone, tablet, or computer - no Kindle device required. Redemption links and eBooks cannot be resold. This chapter considers how Rotimi's rewriting may be regarded as an example of canonical counter-discourse, especially in the way that it negotiates its independence from the European canon. Please support Len Academy by becoming a sponsor, patron or by advert placement: Literature in English Scheme of Work, SS1, 1st Term, Literature in English Scheme of Work, SS1, 2nd Term, Literature in English Scheme of Work, SS1, 3rd Term, Please read on Essays: Learn how to write Essays here. Man Talk, Woman Talk is humorous, as quintessential comedies from the author can be. This reworking of Oedipus Rex was part of the African Arts (Arts d'Afrique) playwriting contest in 1969. The culture represents "the way of life for an entire society", as noted in Pragmatic Functions of Crisis Motivated Proverbs in Ola Rotimi's The Gods Are Not to Blame. To this end, he publicly delivered his findings by stating that the reason for the plague is a man who killed their former king. It also analyzed reviews to verify trustworthiness. 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. Customer Reviews, including Product Star Ratings help customers to learn more about the product and decide whether it is the right product for them. In the last part Odewale leaves. Out of fear and respect, Aderopo having got answers from the shrine of Orunmila in Ile-Ife was reluctant to tell the king about the outcome of his findings in public. During their time of sickness, the townspeople solely depend on the herbs used as an attempt to cure the "curse" put on the people. : was published in 1991. [13], File: /home/ah0ejbmyowku/public_html/application/views/user/popup_modal.php Why, I have not killed you yet; I have not even touched you and you call me - BABA FAKUNLE: Go on, touch me. Recognizing the quirk ways to acquire this books Gods Are Not To Blame Novel is additionally useful. the gods are not to blame -ola rotimi (summary and analysis) - YouTube 0:00 / 11:56 the gods are not to blame -ola rotimi (summary and analysis) 5,336 views Jul 10, 2021 Like Dislike Share. Please try again. Baba Fakunle: A blind, old man, Baba Fakunle serves as a soothsayer to those who seek him. By juxtaposing Alaka in Odewale's new environment, Kutuje, Rotimi illustrates the cultural differences between traditional Yoruban life, with that of the industrialized west. Additional gift options are available when buying one eBook at a time. Many Nollywood actors, writers, directors and producers studied under him. We are sorry. Odewale storms Kutuje with his chiefs flanking by his side, and is declared King by the town's first chief. Follow authors to get new release updates, plus improved recommendations. November 26, 2017. [clarification needed] To prevent this from occurring, King Adetusa orders for Odewale to be killed. This man left his hometown and in the process stumbled upon the people of Kutuje at a time . The novel is set in an indeterminate period of a Yoruba kingdom. But it is set at an undetermined time in the Yoruba culture of Nigeria. Read more. The scene is a court though devoid of the usual technicalities of court rooms. , File size : What the author arrives at is not to prove which gender is superior but to show the complementary roles of men and women. The theme of Sophocles' Oedipus Rex is skillfully transplanted to African soil. The gratifying 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. The names of the children are: Adewale, Adebisi, Oyeyemi and Adeyinka. The Gods Are Not To Blame (2003 - 2004) 2003: Blue Raincoat's Factory Performance Space (Republic of Ireland) The Gods are Not to Blame (2005) 2005: Arcola Theatre (London, Greater London, England) The Gods Are Not To Blame (2007) 2007: Accra Centre for National Culture (Ghana) The Gods Are Still Not To Blame (2012) 2012: The Gods Are Not To . 'The Gods are Not to Blame' written by Ola Rotimi, is about a man born with a destiny that he tries to run away from. Rotimi often examined Nigeria's history and local traditions in his works. The comical character Alaka, for example, represents Odewale's childhood growing up in the village of Ishokun. Ojuola: Wife of the late King Adetusa. Top subscription boxes right to your door, 1996-2023, Amazon.com, Inc. or its affiliates, Learn more how customers reviews work on Amazon. 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. He is summoned by Odewale to ask of a way to rid the suffering of his kingdom. Ogundele had pity on the baby and adopted him. There was a problem loading your book clubs. [nb 1]. The practices exhibited in Yoruban culture show the structure of both a social and economical factors. He added that they saw a man in the bush of Ipetu with a baby wrapped in white cloth with his arms and feet tied with strings of cowries. Aderopo gives good news to Odewale from Orunmila concerning the sickness going around the kingdom, but along with the good news comes the bad. What first swims up to the surface of my memory when I remember this novel is "the place where three footpaths met". The use of myths with dances in the play. Barbara Goff and Michael Simpson 2007: c2 92-93. Twitter Line: 208 He named him Odewale. Full content visible, double tap to read brief content. Written by Otun Rasheed in 2011, the theatrical adaptation The Gods Are Still Not to Blame brings Rotimi's drama to the twenty-first century. The comical character Alaka, for example, represents Odewale's childhood growing up in the village of Ishokun. Try again. In the Yoruban culture, like many others, have symbolic. The fourth chapter will deal with the similarities and the contrasts in . Odebunmi (2008) then says, language, therefore, expresses the patterns and structures of culture, and consequently influences human thinking, manners and judgement. : Print length. Call up your raw anger, and in the blind-ness of it, strike me dead! [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. Odebunmi (2008) then says, language, therefore, expresses the patterns and structures of culture, and consequently influences human thinking, manners and judgement. Something went wrong. The play was revived by Talawa Theatre Company in a well received production in 1989, sparking interest in the play's themes. The play was revived by Talawa Theatre Company in a well received production in 1989, sparking interest in the play's themes. Please try again. There is a great deal of wit in the work and the setting here is the university environment where the youthful contenders are idealistic. King Adetusa: Former king of Kutuje. 'The Gods Are Not To Blame' is a 1968 play and a 1971 novel by Ola Rotimi. 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. (1985) Hopes of The Living DeadRotimi here depicts a different kind of leader: a selfless, result-oriented, committed leadership complemented by a followership that believes in the good of the generality of its members through the application of itself to the cause that is beneficial. Please try your request again later. 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. The old man happens to also be his father, though Odewale is not aware of this at the time. 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 Instead of declaring the murderer openly, he indirectly accused king Odewale by calling him a bed-sharer. 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. Function: _error_handler, Message: Invalid argument supplied for foreach(), File: /home/ah0ejbmyowku/public_html/application/views/user/popup_modal.php [8] Odebunmi" Language,Culture and Proverbs". 840 Ratings. In this play the theme of Sopocles' Oedipus Rex is skillfully transplanted to African soil. 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. Odewale brings real facts to the people of the land. Ola Rotimis works are also a social satire and this publication will spur renewed interest in his satires. Your curiosity about this PDF will be solved sooner in What the author arrives at is not to prove which gender is superior but to show the complementary roles of men and women. First performed in Nigeria in 1968, The Gods Are Not To Blame was produced at the Arcola Theatre in Hackney, London, in 2005. Odewale is confronted by Gbonka, a messenger, who tells of the event that lead to King Adetusa's end. Please like and follow our official facebook page here for great educational write-ups. Along with the Ogun Priest, it is revealed to him that the old king was his father, and that Ojuola was his mother. Page Flip. Odewale immediately ordered men to bring Gbonka from Ipetu. Gbonka, however went back home to continue his service as the kings messenger. Unable to add item to List. Line: 478 Along with the Ogun Priest, it is revealed to him that the old king was his father, and that Ojuola was his mother. Odewale became so furious, angry and distressed to an extent that even his wife, queen Ojuola was unable to calm him. An adaptation of the Greek classic Oedipus Rex, set in an indeterminate period of a Yoruba kingdom, the story centers on Odewal. Odewale's horrible fate, whether it had been the Seer being silent, or even his parents not ordering his death. So begins the tragic tale that leads to heartaches, deaths and sorrows, which will have readers asking whos to blame?. Learn more. Later plays, such as If: A Tragedy of the Ruled (1983) and Hopes of the Living Dead (1988), premiered at the University of Port Harcourt and was a common play in OAU Drama Department. The Gods Are Not to Blame is a 1968 play and a 1971 novel by Ola Rotimi. Odewale closes the play by stating, the gods have lied Nathaniel. Brian Tamaki has once again blamed a natural event on the wrath of God, this time telling his followers that Cyclone Gabrielle was brought to Aotearoa by porn, abortion and gay rights. Odewale learns that there is a curse on the land, and in order for the sickness to stop going around the curse has to be purged. The Gods Are Not to Blame is influenced by Yoruba and Yoruban culture. Rotimi's "The gods are not to Blame". Les avis ne sont pas valids, mais Google recherche et supprime les faux contenus lorsqu'ils sont identifis. It's about having power over the land and Odewale no longer has the power because the old man took it from him, which is why he turns a hoe, which is a gardening tool, into a sword. 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. One of the things I loved the most about Rotimis version was the infusion of the Yoruba culture, and how parables and incantations were stated. The old man happens to also be his father, though Odewale is not aware of this at the time. (1979) If: A Tragedy of the Ruledin If, the young firebrand Hamidu is nowhere to be found when a real commitment is required. 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. It began with the prologue: In the land of Kutuje, a son was born to King Adetusa and his wife, Queen Ojuola, for they were the king and queen of the land of kutuje. I am so glad this story was set in a period during the Yoruba Kingdom, because this is the sort of thing that I grew up with, as a Cuban, it is a part of every ethnic group's culture, one of the many things that threads us together. He brings his sick children for the town to see, that way they know that his family is also suffering. [3] This article focuses specifically on the 1968 play. Line: 479 Sadly, I prefer Sophocles' writing much more than Ola Rotimi's. Page Flip is a new way to explore your books without losing your place. Rotimi is sure to be remembered as a model in the literary genre whose views have shaped the conduct of the theatre and whose plays have demonstrated the power of drama to shape the thinking of the society and attempted to solve some of the problems encountered in everyday living. Who is to blame in the play? Odewale: The king of Kutuje, who had risen to power by unknowingly murdering the old king, King Adetusa, whom, also not to his knowledge, was his father. All the messages conveyed, although bring the play together and provide the audience with insightful readings, the play may also serve as a symbol as to how some of the African societies model the structure presented in the play. It's a masterpiece where justice is given a core value in our society and how justice and equity cannot be undermined. My feelings are torn here for reasons of theater only. [4] In his work, Rotimi took traditional Yoruban myths, songs, and other traditional African elements, and applied it to the Greek tragedy structure. At the end, the reader is left with a ringing conclusion - one can never outrun fate. In fufillment to their custom, the son was taken to the priest of Ifa to tell what the boys future would be. 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. At birth his parents' joy was cut short when they find out from the oracle. BadlyThe Gods Are Broken!Against the GodsThe Gods are Not to BlameAmerica's Four GodsAnalysis and Interpretation of Ola Rotimi's The Gods are Not to BlameThe Gods are Not to Blame, a PlayTheatre of the GodsThou Shalt Have No Other Gods Before MeMen and GodsMagicians of the GodsThe Food of the GodsWhom the Gods Would DestroyThe Epic of . Hi members please help me on this question: You are Ogun priest after you discover that Odewale is the boy that was to be sacrifificed in the evil grove. A blind soothsayer, Baba Fakunle, is brought in to share with Odewale the murderer of the old king. create no mistake, this wedding album is truly recommended for you. acquire the Gods Are Not To Blame Novel member that we nd the money for here and check out the link. Would have been a five if not that the ending wrenched my heart. Ishokun, in the play, is a small farming village, wherein Odewale learned to harvest yams. 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. ASIN Odewale's horrible fate, whether it had been the Seer being silent, or even his parents not ordering his death. Perhaps my imagination is not strong enough to see the dimensions, or perhaps too strong. 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