I loved the way Soyinka dealt with honour and culture in this text. He didn't make it a simple comparison piece between British and Yoruba cultures. He really took the time and space to focus the conflict within the mind and spirit of one man, and to expand that consciousness to encompass an entire town. I found the poetry lyrical and stunning, and the way it contrasted with the sharp speech of British characters was fascinating. Truly a work of art and a drama that will endure throughout the decades.

Book one for Cross Cultural lit. More thought-provoking than I originally expected. True story of "fatal call of duty". I particularly liked the discussion on Elesin's flaws and how his hesitation in taking his place may have had something to do with the metaphysical, though not obvious at first. It certainly wasn't obvious to me, and I had a new appreciation for Soyinka afterwards.

This book should be required reading for all involved in politics...and all of humanity.

University reading. An interesting play revolving around Yoruba culture based on a true story. I found some of the dialogue difficult to read but it would be an AMAZING play to see live.

Very nicely written out. Definitely does leave the reader with a thought in mind and Soyinka's intent to de-colonize the mind, is seen. I had to read this for one of my classes and we all, the students, had something to say. Not usually something I would pick up, but nevertheless, it was a good read.

What a delight to read a play again, after quite a while!

Death and the King's Horseman is a classical tragedy, with a distinct dramatic event that triggers the plot. Set in colonial Nigeria, the external conflict circles around the two different value systems of British administrators and local dignitaries. However, Wole Soyinka himself insists in an interview accompanying the play that the setting is secondary, and the individuals are at the centre of attention. The drama could unfold without the intrusion of the British Empire, as it is human, not cultural, in essence.

According to Yoruba belief, the King's horseman has to commit ritual suicide after the king has died, in order to guide the king properly to the next world. In exchange for this community duty, he lives a life of luxury and privilege. Elesin, the main character, however, is prevented from doing his duty during the burial rites for the deceased king, partly because the British administration intervenes, but mostly because he himself hesitates and has a moment of weakness.

His estranged son, who returns from studies in England, commits suicide in his place to restore order in the community, while Elesin kills himself in shame.

So far so good, a classical antigonesque plot: ancient rites versus new government, common laws versus religious duties, family members in disgrace that need to be restored to the way of the ancestors, bravery and cowardice, ... I see many parallel storylines between Sophocles' famous play set in Ancient Greece and Wole Soyinka's modern African version.

The characters have strengths and weaknesses, they all have a point, even though some characters come across as more sympathetic than others. They are fully fleshed out, complete human beings, not stereotypes.

Even the British administration is shown from various angles, demonstrating different levels of understanding. Wole Soyinka makes a clear statement against black and white characters, who are either completely right or wrong. He argues that it depends on his own mood how he judges his own main character, as he can see the actions from different perspectives. This clearly brings Antigone in Sophocles' interpretation to mind. Creon and Antigone are both given the opportunity to develop their thoughts, and both could possibly have acted differently and been justified to do so.

The most interesting character, in my opinion, is Olunde, the Horseman's son, who has spent four years in England to train as a doctor, and who comes back with the idea that he wants to support his old Yoruba tradition. My favourite part of the play is his dialogue with Jane, the most nuanced British character, who tries to understand at least partially how the Yoruba think:

"Olunde (mildly): And that is the good cause for which you desecrate an ancestral mask?

Jane: Oh, so you are shocked after all. How disappointing.

Olunde: No I am not shocked, Mrs Pilkings. You forget that I have now spent four years among your people. I discovered that you have no respect for what you do not understand."

This strikes me as the most significant difference between the British colonisers and the educated Yoruba: while Olunde has spent his four years trying to see and grasp the British way of life so that he will be able to judge it according to his own knowledge and convictions, the Pilkings and their friends remain childishly ignorant of the real life of the people they claim to rule and educate. They challenge deeply rooted fears and beliefs and cause harm, even within their own community, because they don't understand, and therefore do not respect the thoughts of the people with whom they share their space.

It made me think of society in Europe in the 18th century, when Kant proclaimed that enlightenment was man's release from self-incurred tutelage.

The British colonisers' refusal to make use of knowledge and understanding weakens them, and Elesin's refusal to think things through to the bitter end and see the ultimate consequences of his choices triggers his disgrace and painful, late death.

Olunde symbolises practical reasoning and ability to see which actions lead to specific results. His choices are enlightened, he acts with responsibility and awareness. The message of the play seems to be that each human being will face the consequences of his or her actions, and that childish refusal to see beyond the surface will lead to destructive events.

I thoroughly enjoyed this African take on classical drama, and Wole Soyinka clearly demonstrates his own rootedness both in Western and Yoruba tradition. The paly ends on a hopeful note, with the strong Yoruba woman Iyaloja in charge of the closing remarks:

"Now forget the dead, forget even the living. Turn your mind only to the unborn."

Outlook on the future. That is a modern take on tragedy.

A kind of African version of classical Greek plays set in times of colonization.

A good book, but not particularly engrossing... I didn't feel the need to turn the page.

Reminded me a bit of 'Things Fall Apart' and I loved every minute of it. I relished the suspense, wanting desperately for Elesin Oba to die at the time of his choosing. I lamented that it did not go according to plan, even when I suspected it. Olunde's death was indeed tragic because I felt he had such promise. It is ironic though, that the promise I focused on was the fact that he was going to be a doctor, that he spoke as well as the English man and crossed the boundaries of culture in a seamless fashion. I guess, Soyinka is presenting the conflict of the modern 'African', highlighting his desire to integrate into European culture yet remain at heart, a complete African.

I didn't like this while I was reading it but my opinion has improved upon reflection. I think it would be better to see this play rather than read it.

“Life is honor. It ends when honor ends." (2.5 stars)

I never would have read DEATH AND THE KING’S HORSEMAN if I were not about to see it in professional performance in a few days. I am glad that I am seeing a production, which I am hoping will only enhance my appreciation of the text. As it stands today, I am not sure what I think about this play. I freely admit that there are moments in it that I am sure went right over my head.

The plot in brief- a Yoruba tribal king has died. His horseman is supposed to commit ritual suicide 30 days after the death. The colonial forces in Nigeria get wind of it, and attempt to stop it.

I feel this piece is metaphysical, maybe a bit political. It definitely deals with the idea of the traditional, and its power. I am just not sure I cared all that much for the mash up. At least as it was done in this text.

Quotes:
•t“What a thing it is, that even those we call immortal should fear to die.”
•t“Who does not seek to be remembered?”
•t“Because he could not bear to let honor fly out of doors, he stopped it with his life.”
•t“Should voyagers not travel light?”

The ending of the play is quick, and theatrically efficient. I’m not sure what I think of it (noticing a theme here) but it does seem appropriate.

Once I see this in performance, I think my feelings about DEATH AND THE HORSEMAN, either positive or negative, will be more settled.

POSTSCRIPT-I have now seen the play in performance. I was not a fan of the production, and it actually decreased my appreciation for the text. I am going to forget the production and try to remember the read.

basically brilliant. crazy insane batshit ending. it's a tough opening, act i is hard to follow and soyinka refuses to provide handholds - he wants a culture shock. but you don't win a nobel prize for nothing (nor does the nobel committee casually mention one of your plays in their citation without good reason). every character feels human, no one is perfect, no one is right, no one proclaims an obvious agenda. just death and life, and misunderstanding and pain. a play you want to discuss, and to see a real production of.

I have no father, eater of left-overs.

Our world is tumbling in the void of strangers, Elesin.

I enjoyed reading this book as much as watching the play - where plays are concerned one should always do both, it doesn't matter which comes first in my opinion. This play's major themes are of the Yoruba's (a Nigerian tribe) understandings of death and spirit, and looks at colonial intervention in other cultures.