Basic inadequacies of Clark and Soyinak; the need for a New Drama

Full text

er e. Th on-g n9 rch a "ong
c
rtain rican atist
TH
Mod rn amatic cr tivity in Niq ria (and ind d in
me
t of x-col i
1
Afrlca)
w
t
d
flr tly, nd
chiefl , by th
1
ulsle t 1mltat 1m ort
d
forms nd models
for truly African
f
rm of the ~, for auth ntI lly
0:.
indig nou. idiom of r. entation, is in t ~ reaction
q
in t thi initial t ndency.
tv n mor dlor bl than the qu tion of for
s
th_ que tlon of ur
s
:
dr a
W
initially conc_lv
d,
also
In th t ril tradi i n
\of
h d i
bib d ,
m dlum for
rovidl
q'
v
cuou
sntert.ainmen t to full of
soc
f
1
r_tenc - th tit bourg lsip th erq nt
Ii
t
for how long
c
n this go on? The it
s
them IVe h v
d
v loped
a moral at;e'itude
th t is
b
91.,nlng to Inclin thmto ards the
jority.
W
it r too, rul ,
b glnnlnq to jolt th m Iv out of th ir initlal lassituae
vi -a-vis th corom nIt
0
n~
to th IVe
clo r to th lr root •
It i
0
course true that
d
v
10
in c untries, hurrying
to catch up on v Iou of tw nti th
c
ntury lif , ar
b
coming
0
nd
r
1m ti ntly ut
it
1
h
v
lu of
1

very oinql activity to how uc:h it c
nt nd
contri
t,
in angib e
o
•
Viewed against this r lativi ing t nd ncy
~r
ma c n hardly
bo st of
y
s r~ u
iqnific ce. dition
o so
h
5
b
n
n\Jrtur d and su ain d in
1q
ria which
s
s dr
a
pur Iy a
a
thin to
II
ati with". uch
s
eciali
t
in the f1
1d
woul
11k
to think to the c
n
ry, th
ordinary i9 -rian
1
ay-w atcher
1
sees
ama
aOf
u rfici
1
ntertainm nt - rioheral ctivity th
t
ociety can co fort biy
0
away with.
E
ly enough in the hi tory
0
modern i rt
n
r at
-,.
for iqn cri tic
d
litt rat ur beg n th unh althy
tradition of atronising our budgeonin writ r nd art!
t
t
inrtain ca
e
a1
0
t pr criptiv y, th reby tultifying
th ir n tural owth. Quit naturally our young writ rs
uccu d and ha their impr sionable inds fill
d
with
11
kin of ali n doctrin about liter ture nd cr ativlty.
No snaly 1 of mod rn dr in
1
E"rla
c n
t
ail
to
t
into const r tion the f ct th t mo t of our
1
y riqht
h ve been through
a
formal Univ ity cduc tion in lit ra-
tur a. ConsequentlY
1. I
u e the word •
1
V-watch r' consciously, op os
, 1
y-goe "
bc u
he la ter
s m
to to
i ly olidly-built th tre-houses w
th
r ertory
comr ni s continuously en g~d in roducti n.
w~
do
not
y
t
hay th her.
2

pro oS'ty to it a1
n
r-tl nally
t
outt n ,to
op
te
0
tt
e
b _
i
of inte1l
,tu
1
y acquire prlnclpl
b.
Th
c
ha
led to oe1e
y
and
cert 1n oh nOIl1_n th
y
haY
Cl
t mpt
d
to int rpr
t
an
refl ct..
Suza nK. Lang rts ob rv t1 n dec de go,
a1
1t
1n
a
it differ nt c nt
xt,
s
to h v distur 1n9
rtinenc to y premi e. She tri d to xamin what
hap pen to art when cr t1v ty tran pires from •sava
t
r tional on
:
th vi"ion mbo 1 d f rth by the
writ r vi -a-vis
c euat
h nomen acquires
-
lse
dg
u
to iv 1~tel1ectu 1 aw
.
.
t•••• '
h
n
h
from
ld
d1 cur 1v an· r10u rtes to
copy ore accur-tely; . d the ~bition or
n tur 1i tie, l1t ral repr. entati~~,
£0
.•.ational t-ndar
of
art, oral i.ter r a-
tons, n so
0
th, confu hi in uiti n
nd
r his visual apor h 10ns.
tt
2
'S
vag •
her is of cource fr e from its u ual d
q
tor connot. tion. It sim ly m ns pr -r tion 1, wh n
m
is ov d to cr ativity y 1m ul e mor enuinely
r 1at d to hi strug 1 for urviv
1.
ut thi 1s not
implyinq that the ole aim of art h u1d be
m
t
ri
1
tl
e
faction, but h t
::tu
1
ne s ity
- n
1
ly
2.
w,
Key
(H
Yard) ,
•
252.
3

1
«1
on to
it
1 nlfle: n> c
tl
n n
1: '::'
o
c::
t
ic of art:
J.
•
C
- k.'
ncy
cIa
c
1
in
h
dr
i~
nub
r
un
t
cs~ty
'1ur:at inn
h
vy
Ph ic
1
civi
iz tion,
C
tr
c
a
ic
1
ltu
vi
t
i
'e
•
n
t
y
at
t vi on,
t.~oy
y
y~u
th
Cl lc
o cr
tlv
H
or
t
v n
to
h
'I
x
tin
t
h" ti
h
1y
or
hwhlle
pI
ywr
hi
31
1
t.nd
ncy of
t:I
""v
bl
nk
t
1
y
pi c
of
by
A.+'-:-tc""'n
mt
or.
J;'r
t
v ntH:i
u
t
the by
crlt
c
,
h
n
th
1.:
tr
le
lly.
Cl
h
~
c
- 1ng
...
3.
5~.

r
o.
0
in
n ~ ~~
r
1
v
i
tic
Or
'fhl
i
tip
ic:1ty.
t
r
rt t
t:
th
r urr
ct
d S nho
3
!F;
G
r ','
R:
eriv
•
to
ro
lly
tru
L1rst two
01
y
which tro
Ii
g
~i h ~hv .in cIa
ic
1 uth
i
of -staq in a
\rl
V
t
f
r
h .
0
t
r·
.•t.!
f'n
1
I( l
wI, th
C
no s
.•-'. ., t:
•
t
id, th
~I·
.4
4.
(o.
U• .)
t . .."
3-44 •
5

c.,
v
rs 19
inJ
u
t
e
try
Hi
ri
lnt th
1
Y
ms
h
n
y
ruth
q
hat)
e
uJ.
e
~
nflic",
1n
r
m
ti.-:
.~
!l. j
or
t
C,'It"k
h".
b
; 4
-
r a
l
'y
0
.,
tic in
ut
n
1
e
~h.
t.n.?
p
(It
'i
15
n'l
j'J.,t
it '. t"Y'1. he
m
':t
,.
~"
r
.
lr
t:h
f
c~
"hi!
th
t· ....
<.'~
I
~
r:J
Ie
al'"',.
(')ffi:~r
,11
'Y :1
n
e!nn
o nn ,
t::oc
s1
."
1n:-
",':)n
.
-
ers
-1.::>-'
,,)p
~1~n
tqal
wlth
~-1h
rn
on
c
n
Po
•
I
0
of
n~ri
'ru
f
,
far rom
ly
Ie
roo
,
t.:!l'\ly
suecp
nr.D
er
''I
lu.-iirrou
.
t
t"t
b
Y th
of
1s
..i
c
e
g1v
u
D
verh
1
.n'
t
,,9
rs
.1
wa
.r
-'n
n
in fr
thp.
e
f.
occu:-1...•;
t
h
r'
human 'in
th
p
tic
th
(')ltraq
d
riddle,
ction:
5.
6

Tuf 1n thi s to nticipat not r ch
ct
r
in
1
t
r
an
tot
lly
. ff
r nt p1 y by anoth r ,ig
rL.n
1
y-
wrlqht. ulu Sof
Th
lnt nslty of
lolco •
fltnq
in
his findl
p
Ch
idis ip te
hY
n
obS
'VI
h v_r
1
nd th
~d-r
ult
ir
5
in
Di
c
of
ntlm nt
1
n I1ty:
"OVer an ar un 11 too
ther
r
e utlfying
s
."6
h
t
11
th
irit
of
hi
eA
wife
who'..;:
h
1m
tnes
1
hov ring
0"1
.
Th
of S
f
1
1.
tnt r
t
f
t h t th tradition
0
our e
rll
pi
lng i.r,
boUl'l
to
(
n
1in f ct qinnin
to)
h v
an
t
0
ur
n
w
t:
pl
ywr ght
e,
In
1n it th
fir
t
t
0
Ie
1n us
t
ex
r.t
a tril
y
1n th Gr·ek
menn
r
t
th r
is
sh r
v e
in
1n th third
1
y. 'l'
th m
tic
thee
th t
conne
tand
The Ma
i
br k
n,
and
h v • n \II
cone
rn 1n
The
ft.
It is
po
t
but
not c1 s.slc
1.
h
pl aY'...,ri
ht
ploys
l'!l
c
1
ym l,
th
f
111
tabl
u in riverine
cf
a
fl0
t
ng
rnft,
'"Iich
com
in handy in po
tic
b
c
U'"
it
t
fro
t1l
re t
5
off
throu h th
four
ch
t:
rs
n
or' t"
ook
t
nu.
f"r
•
Zulu So! 1 ,

of eli jointed
1
"'h
mo-
t
co.
n
lnt
.rpr.
t
t1
n
1
th
t
the r
ft
1
a bymbol
'1
ria,
n w n
1
n, 1n
s ~
ch of
i
ntlty. If
0,
r oiv n
ictur
c u••e the r 1.
nto Qr
con u
i
net
in
ain
eher ac r 1>- in to
s e hop •
critic 1ik to
10
Ie at it in les oeM.
t
rm ; 1
tis,
t
of
t
c . c cantu 1 n
w
th
th
w
1 fl0
tin ~
l~ssly.
Innot
.f
ur,
b
n1
th
t
th
Y
1
Yi·
fu
1
1ri
as,
ut,
th
y
ar
m
e
intriguing
th
they
re
prof
und.
In
Ozid1,
Cl
r
•
1a
t
1
h
ms to
\rJ
e
0
,
~
th critic!
S 0
H
aw
y
fr the
tr
It-j
k
tlnq influ nc
0
hi.
P
end ,
in
to
o
-:
or
,
ri
t
r
k
or
,.
ic
u
wlnq'n
th
o
h_r
xtr m
Cl
s
for
th
t
b
iqnor
s th
siqnl
1
of
nt.•.
7
H
.tv
nc con
s
u.
10
in
hi
b
Ie
Vi
n
h
t
lk
th
so-c
11
d
1it
r
ry
th
f
iq
ri
movl"l!'
to
th
'cnmro!':ite
of
folk
C Uf;••••
or
it
inclu
1
n
of
on
rl
ell, in Oz
rl1
nf
So
and
d
c
s
n
th
t
psti
-
at
171
0
pher@
which
0
7.
I do
Vi th
s:
f
11-
y,
that
for
8.
J.P. Cl (Longm
)
,
•

11
b:.
id••..
tlf
c
",~t
Afri
It-
bout
th"
.ory
~its s
nlflcznc
7
hutho
lk
n r 1y
b ut hi
thing:
i
st
r;y
0
a
po thumcus
up
th
r
t
avonc
d
t
,
I
m
n
by
.h
•
19nific
ce
con
t
nt'
h
t
h
think
t: m
es
Tf
h1s
a rial.
el
mfi
to
ve
_ade
n .th.nq of
Ozldl'
1-1
nly
mz
to
h
v
b
n
con
rn
Ii
tn
ocu
n
f
dyin
f
lk
p
rform
c
•
Th
r
i
h
dly
any
t
focu th
.·tcry
,,0
c
yr_ lity
-
it
ju t
0
n
uni ped
•
A
=>1
e
1
cr1tlc1...m
i
oE
er
d
throuQh
t
ME'djurn
of
di'
at_~n
t.
hut
j
doe
no
v
Cl
k
fr
c
p.
0
qy.
1t1
d
Y
h_sk" ,
ay- he ttond
ne, ""1a":- all
0
1
0
1e y
y:~ay
d
m
y
Vi
b
lck
n",r
d
or
r
r
ut
1n
1
t
•••
.,
n
-
v
·u
t'!
V
i
·c
'~'lt
th
yth
a1
wor11
In
Ozldi,
Clark
r
t\
ins
.
un ~
listie;
vis-
:>
,t.
,.
M
os
1
ilitie
;:s
h..
'.1
as
if)
i·
par
r
T
•.h
---
9.
J.
p.
C
"
Th
•..
",
n.84
- t
9

ley
0
y
n
ce to
hi~
. wh
t
h
a
ont; of
1
i
1
d 1
•
sh
f
r
pl
h
If
Ii
t
ha"
in
j
<'Iin
hf':
.~
11
t
n
oft
n
f;
tht-o
cr
nhi&tic~ted '
rt.
t
r
.
1
ly
hr
u
h
th
'<lU'
wh
h
I-1n'"
Ij
1
Hri
t
!r'
i
in
y
w
y
n.
ch"
1
n
h
s
(\
s
th
r
t
aw
1
wr!
inr.
thE'!
on,
'n
Ii
h,
~
t
.l.
•
A
.r
"i
c
'0<
«
.
)
.1it:i
cn
,
th
it
'n°
v
t
to
~f
"ho
0
y
u
t
o
h
d
Y
.
ly
r
L.
4C-
rfl.
:;tlo~
t
f
-"chn
ca
!:ic!)h1~
c.
tir.
.
rh-~,..,
. 1nc :t
..,~
..
-
,.
1-
nee
:-:'y
y
th!"r
I
:h
it 'j
c
it.
,
10.
J.P.
Cl
k,
Oz1di"
•
113.
1

poetic
lly.
t
h
t
uld
1
c
1
at
v
p
at
f"
oV
f
Ol'il
lur c:
t
Th
i
gner
lly
!"
Y
tic.
t.
e
m~r
effectiv
s
.t:.
d
caY
h
I;
!")
or.
t
o i
1
0
i
n
th
1
Y
i
11
of the
cund
' f
t
of
P
hi
,
n
'II
y
in
th
,
ird
t
f'V
n f)lotu' s
'H
,
h
P.
I
c
tt
th
1
c.
-
11
tn
5
w
ii
.b
v_
-:y
alum
th
t
drc""
i
on'y
n
,tl
n
can then
1
t
to tl
lot
0
vd su e.l
0
d
t
11
.
In th
ov
raIl
pict.ur
1
i ~
s:
n (
Clark •
un
eol
-
t
h
9-
en.
-
tho
do
not tel
IT
n
i"l
n.
M
tin
h
tTI
ptl'
!:u
hi
• r •
,.,.
.oiT:_0
Clar .
"I ~of
f
milt
.J,.
0
t:
,
,.
It
C
1.(:,
h
t.
<.:
-
.;.'
co
b:
~
1 •
, r-
1qer
loan
D
rn
I:>
7,
Ju
y
11

i
~
n'tion ir
rruch
.
r
~u
tt}
t
1
i
loth
r'.,ic
nn
o·t:
i
nocu
n
nrt16
,
'oy
nk
i
ov
r-z
louG
1
.os
.
T.
h
a too
mu
h
th
tr
to
hi
~.;r
gon
un'"
th
iel
_l.'
t-
l~ttl
.
S
11
lt
o
r
b
n
t
r
h
b
n
i
ri
of
h
1C
1
.lie
h
~
-,
hd
h d
the
ar
icul- ly un
nvf,
x
~r
nc
oJ.:
If-
x11
.
His
r) 01
arisen
main
y
tr
m
1
vi
t
t
r
1
~oci
-
n
~
to
pi
thn
.•2.
n
•

crt n
·tlr ~
r •.•..
'\0
t.n ..••
t ...
r.'.e
1
of
h
t
ti..t
c
h
C
d " Y
.iorl
ry
ro".
H .•
rol'"
-lil.
tl1
I:.h
t
of
Oq • -
Yorub
ntr
d
ctor
P
.r'
dio",
foY.'
f!
Lc
"1
r
'i:t
in hi~ th
i
au ~
t
on n :
tr _
m
Arti •.
t
1,
i••
of eDward! ~
ori tJhl11
ti-
- con:
Hi
"r
l
1::;0'" •..•.~
c{>r.pl:o-
bI
000-
t
rll.rt
y
i
14.
1::('
(196), .•5.•
13

T
u.
h
'~!t
o
h
v_
or
o-r
V
ful
11
c!
h
iv
r
le in
Sr>C
"
n
<::1:
n.
b
cc
v_
i
c,...
• t'
ut t~
rot ••.
uf
••
.r1
C
r
cc
cd
1r ,.
to
h
it
gh_1"h
~
1n
..cy
a"
Cln
ry
q
H
nd
11
tno
•
0
n
tr.
in
e.t'
r@
cont
nor
ry
hum
n
t
r
0
tt
my
h
1
r-
nd
.
x
hi
c
n
rn in
1
t
t1
y?
tlTh
C
n
cnt
n
1n
h
y
-,
tli
ly
cent
,
1n
.h
h1
wh
t:h
sin
n
th
un
hp
i
v~
Ot
,
nd
th
un
orn •
t
"lunlnnu
ch
11 11:
tr~
.-i
ti
n.
tl
To
P-
nl
ywr
i
xt
]
.
to
.l-
l,
C
till
tI
Y
thrnu hn
IOC
tion
o
ur ac
y!--.
:15
.I.'h
c
act ••.r ...
t!1u
!'~cr~
I"
Jn
in
-
uz
i
q
th
y, in
-t
t
.&.~
i
icule
a
n
S.
:01
~. yl:'llC_,
(Mothu
)
,
1

u
t ..•
_r1;.
J
•
c
••••
m
t
_-hy.
.
-
f

rol. o~
yth
nd
rl
ual ••
ot
eft
" oveJ!'-
ph
al.ed
in dr
a,
'd nalvely
opl.
t
n
to tht that
y
atteapt. at
the
!m;or or t10n
Of
d.tuel
in dr a
e
010
d
1
, f
r
ex
pl.,
always 1n t.er
of
80 ditty
II
iDly
••
It
olv
liar
cS
t
rituel
of
u
vor
1\1p.
i
in
arc!
0
ytb.
for:
plat
whlch
yink
em
loy
ytel
I
1y, •
0
I'
of
its rolo
in '-_en
clet1es
1.
n e••
y.
II
tal for
1tl
II
of
people of •• partU::Ul~
culture
'b certain
II
a',"
0#
t~ 1r de 10
ht
n
t
y
1
II
t
ell
e
t.o
t.h
.t • -
r tional
t
which
scel.
Y
h. rl
ed.
to
.~t
apt
an orient.
of t'eople
0
the
y
terl
II
of
8
le.a and 1•••
bo he~
_Y the
rAY
terl.
reed
n
illpor
ee.
And
ho e
at'
th
t
eont.
fX)I"
y
Nl
_i
)'thin
but:
ystleel.
Cen
I.
<rl
MiDi1!
y t
1ft
aec:ul __
tnt
Tb
r
ore
\!In
n
play
ob
sed
With
Y¥llah
1
nd.
dtrl
0
p
oy
t.h
1n ••
pi
tn1'
•
1 ty
h
t
111
tot 1y

differ
t
nd
cb
a ter
fr
on
that
f!IV
1
•
Y
•
m1
1_
.
,
18
••
ntS.al
v
1
t
dOllin
.ood of
he
1
••
Soy1nk
1.
c
.t
1y
•. lng
r an
1~
vId
her.
1e
here.
.1
•
w •
the
ira'
c •
ly
0
It\ldiests to
iea.
11
al
.ricl!
th
11"
private
a.
n his
a
st
ok
0'
••• ay
it
\
oy1rl
1
t
1."•• stro to
t
li.f. of hia
rG'r!!
n
to
o-ealled ••
1v rsal
",
he at
tc carY
•
ub
et.
1ft
try1D9
Un, fo
ex
l.t
is
to
J
Thi. 1
0
ur
c1
••
r
1
•
1.
no
ou
h
ul"ur
,
it
asn
41
t1
v
e.
H
8t
g1n
hhi
orld

pro
id
e him
with
a fr work of
ld
a. for
ex 1n1ng
d
n phenomen
hi
attention.
t
xc salve
relianee
on cult~ c
,rat
r
tr
nc;th,
author'.. •
Oft
ith yi k
tJhnt
l.perils
his'
coapr.h
n.ion
by
other.
is not.
only
hi.
xc .slv
ployaent
of
e1 nt.
fro
Yoruba
culture,
n1.
extr ••
1y
erbitrary
and
lnt
lict 81
interpretation
O'E
he.
C
Itural
symbol
co
e
person
1 symbols end the
alre
y
qlv n
COmIftUnic.
1 n ap
tw
n writ rand
audienc
))eco a
oh
Ill.
h
US
al
argu_n
y
a st
te
ls
th
• laywr
ht is und r no . obIt ation to
tJal
~ul
to
hi.
scure
St
rtd
thiS
hId
to
any an
artis
lc:
night_ •.
e.
'her
st.
li.lt
to
which pI
~i
ht
can
Play
aro
d
With
hI..
8
ureea
in th indul
c.
of M
personal
lant 1•••
Anum r of
crl
ie.. the
oat
consplcuous of
whom 1 n
1
8.
th Pr ••
sor Idred Jones,
b.lleve
\h t"so kn
w-
ledge
0'
Yuba eultur 1. n
ee.sary fry
serious at
y.
of 80Yinka'.
war •
and
they
h v
ICcord1nly
tr a h1.
play.
11k eultural
cro••••
word usBI s
by
enuaeratl
pickin
out e1
expl&1n1n
he.
1n
eultur I er
'ft\1.
sor
of approeeb
1.
sattsfying,
I
sur,
nd
1s
fr u ht with
pitfalls
and
t.
Ie to interpr
t
1••
blunders. It
i.
howeverone of the
any
re ~lons to the
puszling ar 15tle 1
gacy
olfered us
by
Soylnt •
1

In his artistic confrontation with ociety, Soyink
has tended to be too high-hand d. riter who tea
p Ipably superior stanc vi -a-vi oci ty nor ally mbrac
pe
imi., c s, di nosin from a 'divine' platform,
society's ills
use
pp
ar
doubly
co
Le sal. Their dOft\1nant
concern becom
s
s t
r
xc:1ting
1
ughter by causing pa1n.
And much
a
s tire is concern
d
with corr etion its
essential st nc i8 biased and is bas
d
upon belief of
the reV
1
n • of evil. In
A
Dance of the orest,
Soyinka's most c ntral play, pessimi8 reigns s pr m •
At the nd of the play For
t
H d has see nough of
hu an pettiness nd despairingly,
h
pronOUnc~s his
judgement in a olc whic i un ista
a
ly t
pI
1
t'
I
"•••The fool ri s of being who
I
hav
fa hion
d
c10s r to w ary nd distress e.
Yet
I
st p rsist, knowin tha nothing is
ever altered.n17
In spite of ht the conv nt onal pontifs of our dr a
would ake
s
believ • this i what is liek y to be
pick
d
up by an udi nc., pronounced
s
it
war
with a
rious solemnity.
q
e tion of Dem~ke
the
art
c
<t
s
the index of hop
1.
c
s
for
p
c1 1st who 1ke to
indulge 1n literary wi hful-thlnking. ritt
n
on th
17.
wol
oyinka, C 11 cted Plays, I, o. 71.
19