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The gods are not to blame by Ola Rotimi is an interesting story whose core value is placed on justice,equity and fairness. The leadership in the play forms a comparison to that of the King and many of the townspeople. What the author arrives at is not to prove which gender is superior but to show the complementary roles of men and women. Function: view, File: /home/ah0ejbmyowku/public_html/index.php The play was revived by Talawa Theatre Company in a well received production in 1989, sparking interest in the play's themes. By juxtaposing Alaka in Odewale's new environment, Kutuje, Rotimi illustrates the cultural differences between traditional Yoruban life, with that of the industrialized west. The Gods Are Not To Blame is a 1968 play and a 1971 novel by Ola Rotimi. as mission from the gods to carry out on earth (The gods are not to Blame, 2). Odewale finds out that the man who is cursed killed King Adetusa I. I believe this scholar is claiming to the idea that proverbs deal with issues in the Yoruban culture. Aside this amazing influence, it was basically Oedipus Rex, with some slight changes. [3] This article focuses specifically on the 1968 play. First performed in Nigeria in 1968, The Gods Are Not To Blame was produced at the Arcola Theatre in Hackney, London, in 2005. , Language I think that this play is an interesting play which teaches a person of not trying to hide or run away from their destiny. 1ST CHIEF: Your Highness, the man does not know what he says. Why, I have not killed you yet; I have not even touched you and you call me - BABA FAKUNLE: Go on, touch me. 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. Ogundele and his wife Mobike who had no child cared for Odewale. [11][12] It was in a 2005 performance at the Arcola Theater in London, however, that brought with it renewed discussion.[13]. 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). This is a play of three acts and ten (10) scenes (act 1: 2 scenes, act 2: 4 scenes, act 3: 4 scenes). 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.. One of the great dramas held me captivated. Simply suggest, the use of language is part of culture. At this point we are introduced to Alaka, who claims to have known King Odewale since before he came to conquer Kutuje. When the old man takes over Odewale's land it is a metaphor of colonialism. 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. Ojuola: Wife of the late King Adetusa. 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. 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. Full content visible, double tap to read brief content. Because of its subject matter, The Gods Are Not to Blame is the most accessible of his plays. Help others learn more about this product by uploading a video! Gbonka: The former messenger of the late King Adetusa. Alaka: Odewale's childhood friend. Akin Odebunmi in Motivated Proverbs In Ola Rotimi's "The Gods Are Not To Blame" uses myths and dances established in Yoruban culture that helps serve as the basis of the play. Odewale brings real facts to the people of the land. The Gods Are Not To Blame made its dbut in Nigeria in 1968. Two examples of the way proverbs do this can be cited from the Yoruba culture", Dictionary of Literary Biography Complete Online, "Preview: The Gods Are Not To Blame, Arcola Theatre, London", "Ola Rotimi: The Man, The Playwright, and the Producer on the Nigerian Theater Scene", https://en.wikipedia.org/w/index.php?title=The_Gods_Are_Not_to_Blame&oldid=1101435945, Plays based on ancient Greek and Roman plays, Short description is different from Wikidata, Wikipedia articles needing clarification from July 2015, Creative Commons Attribution-ShareAlike License 3.0, This page was last edited on 31 July 2022, at 01:20. The play was revived by Talawa Theatre Company in a well received production in 1989, sparking interest in the play's themes. There is a great deal of wit in the work and the setting here is the university environment where the youthful contenders are idealistic. 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. Page Flip. As the play comes to a close, King Odewale and the townspeople are still trying to figure out the curse on the village. The most popular is "The Gods Are Not To Blame", a book well-read by many Nigerian secondary school kids. There is a great deal of wit in the work and the setting here is the university environment where the youthful contenders are idealistic. 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. The Gods Are Not to blame is full of irony, despair, and disillusions. Anyone seeking to familiarize themselves with african folklore or get a gist of the community setting must definately read this book. Odewale brings real facts to the people of the land. Sorry, there was a problem loading this page. It was launched again in February 2004, Bisi Adigun and Jimmy Fay's Arambe Productions presenting what Roddy Doyle described as an exhilarating and exciting version of the play to the O'Reilly Theatre. The scene is a court though devoid of the usual technicalities of court rooms. The play is very rich with oral traditions. In 1966 he obtained an MA from Yale School of Drama, where he earned the distinction of being a Rockefeller Foundation scholar in playwriting and dramatic literature. It was launched again in February 2004, Bisi Adigun and Jimmy Fay's Arambe Productions presenting what Roddy Doyle described as an exhilarating and exciting version of the play to the O'Reilly Theatre. Contact Len Academy for a standard website at an affordable price. 8 years ago June 26, 2013. (1966) Our Husband Has Gone Mad Againdepicts the cocoa farmer and businessman Lejoka-Brown as a self-seeking, opportunistic leader who could make better contributions to his country outside of the political arena. Diminutive in size but a giant in drama in Africa, he was one of the best things that could have happened to the literary community. Baba Fakunle tells him that the source of the kingdom's ails lay with him. The Ifa priest on arrival at the palace of kutuje immediately knew who the murderer was. 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. Odewale says to the land that the biggest trouble today is not their sickness but instead the plague in their hearts. Goff, Barbara & Simpson, Michael, Back to the Motherland: Crossroads In The Black Aegean (97). Read more. Would have been a five if not that the ending wrenched my heart. 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. Odewale's horrible fate, whether it had been the Seer being silent, or even his parents not ordering his death. , Word Wise Man Talk, Woman Talk is humorous, as quintessential comedies from the author can be. His first plays, To Stir the God of Iron (produced 1963) and Our Husband Has Gone Mad Again (produced 1966; published 1977), were staged at the drama schools of Boston University and Yale, respectively. The Summary of the Gods are to blame is about boy who was born and was fore seen to end up killing his father as to marry his mother,but he wasn't aware of that fact,until he ended up killing his father in a bush part and married his own mother ,then calamity befell the village ,when he became the king and all his children fell sick at the verge of dieing. What really stricks me about this book now is the title Rotimi chose. In the economic structure, one observes the resources the Yoruban culture considers vital to maintain wellness and health. He comes to Kutuje to tell Odewale that the man he called father had passed two years prior and that his mother, though old, was still in good health. What the author arrives at is not to prove which gender is superior but to show the complementary roles of men and women. 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. 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 closes the play by stating, the gods have lied Nathaniel. 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. Many Nollywood actors, writers, directors and producers studied under him. Write your thoughts. Despite his best efforts to curb the prophecy that his child, Odewale, would grow up to take the throne by murdering him, he is inevitably slain when he encounters his son, now fully grown, in the village of Ede. Gbonka was present when King Adetusa was slain at the hands of Odewale. Full content visible, double tap to read brief content. Things Fall Apart (African Trilogy, Book 1). Although a tragedy but still very entertaining .May the soul of Prof Ola Rotimi rest in peace, Reviewed in the United Kingdom on September 20, 2019. Had to take the staples out and put the pages in chronological order then start reading again. Are his parents able to thwart the heavy sentence pronounced on them from the world beyond? There was an error retrieving your Wish Lists. "Proverbs deal with issues that border on the values, norms, institutions and artifacts of a society across the whole gamut of the people's experiences. 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. Ishokun, in the play, is a small farming village, wherein Odewale learned to harvest yams. When the old man takes over Odewale's land it is a metaphor of colonialism. The comical character Alaka, for example, represents Odewale's childhood growing up in the village of Ishokun. that we shld not let our temper let us into other bad things that we are going to regret later in the future because it is going to affect us very badly like Odewale's temper lead him to his grave that should not happen to any reasonable humanbeign who have consience. 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. Publication date. Page Flip is a new way to explore your books without losing your place. The Epilogue: Two unpublished plays of Ola Rotimi. Each chapter will include a brief sketch of the authors life, a resume of the plays, and the development of major and minor characters. Ogundele had pity on the baby and adopted him. 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. Please try again. But it is set at an undetermined time in the Yoruba culture of Nigeria. This Gods Are Not To Blame Novel Bing , as one of the most on the go sellers here will entirely be accompanied by the best options to review. Abstract. Some aspects of the sociocultural and linguistic problems of teaching English to students of one of Nigeria's major language groups"[7] [1]. The Gods Are Not To Blame made its dbut in Nigeria in 1968. [4] In his work, Rotimi took traditional Yoruban myths, songs, and other traditional African elements, and applied it to the Greek tragedy structure. The village elders gather round to discuss the allegations that have been made against Odewale. Additional gift options are available when buying one eBook at a time. Alaka hails from the village of Ishokun. These ebooks can only be redeemed by recipients in the US. The Oracle of Ifa at the shrine of Orunmila after consultations told Aderopo (who had come to make enquires) that the cause of sickness and death was the murderer of the late king, who now live peacefully in the land of kutuje. She is the mother of six children: two under King Adetusa (Odewale and Aderepo), and four under King Odewale (Adewale, Adebisi, Oyeyemi, Adeyinka). The fourth chapter will deal with the similarities and the contrasts in . Aderopo denies the allegations, and Odewale calls forth the Priest of Ogun. 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. The book is a great read, one that will have you envisioning every aspect of it, making it seem that you are actually watching a theatre performance. 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 Gods Are Not To Blame is a 1968 play and a 1971 novel by Ola Rotimi. Not too long, Gbonka (an elderly man by now) arrived the palace. Court though devoid of the land farming village, wherein Odewale learned to harvest.. Trouble today is not to prove which gender is superior but to show the complementary roles of men and.! Have known King Odewale since before he came to conquer Kutuje tap to read content... Was slain at the hands of Odewale, directors and producers studied under him calls the. Producers studied under him the scene is a metaphor of colonialism its dbut in Nigeria in 1968 on arrival the! Read this book now is the university environment where the youthful contenders are.! 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