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 EX LIBRIS

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PACE PLAZA
NEW YORK
 Digitized by the Internet Archive
in 2023 with funding from
Kahle/Austin Foundation

https://archive.org/details/ifadivinationoboeO000unse
IFA DIVINATION POETRY
TRADITIONAL AFRICAN LITERATURE
General Editor: Kofi Awoonor
Chairman, Comparative Literature Program State University
of New York, Stony Brook
GUARDIANS OF THE SACRED WORD: Ewe Poetry
KOFI AWOONOR
The Calabash of Wisdom and Other Igbo Stories
ROMANUS EGUDU
Ifa Divination Poetry
WANDE ABIMBOLA
 IFA
DIVINATION POETRY

Translated, edited and with an introduction by

WANDE ABIMBOLA

NOK Publishers Ltd

NEW YORK - LONDON : LAGOS
 First published by NOK Publishers, Ltd.
150 Fifth Avenue, New York, N.Y. 10011

© Copyright by Wande Abimbola 1977

ALL RIGHTS RESERVED. No part of this
publication may be reproduced or
transmitted in any form or by any means,
electronic or mechanical, including photocopy,
recording, or any information storage or
retrieval system, without permission in
writing from the publisher.
Library of Congress Catalog Card Number
73-86025
International Standard Book Number
0-88357-023-8 Cloth
0-88357-047-5 Paper

lv
 PREFACE

Ifá is an important system of divination found in many cultures of

West Africa. In Yorubaland where Ifa is a major divinity, this
fascinating system of divination has been closely identified with
Yoruba history, mythology, religion and folk-medicine. The Yoruba
regard Ifa as the repository of their beliefs and moral values. The
Ifá divination system and the extensive poetic chants associated with
it are used by the Yoruba to validate important aspects of their
culture. Ifa divination is therefore performed by the Yoruba during
all their important rites of passage such as naming and marriage
ceremonies, funeral rites and the installation of kings. In traditional
Yoruba society, the authority of Ifá permeated every aspect of life
because the Yoruba regard Ifa as the voice of the divinities and the
wisdom of the ancestors.
This work presents sixty-four poems of Ifa from the major sixteen
Odu (categories) of Ifá literary corpus. The work is in two parts. The
first part is the introduction which covers the mythology of Ifa, his
instruments of divination, the training of Ifa priests, the process of
Ifa divination and an evaluation of the position of this divinity and
his elaborate system of divination among the Yoruba people. The
introduction also deals with the significance of the Odi as the most
important point of reference within the whole corpus. The last section
of the introduction presents a structural, stylistic and thematic
analysis of Ifa divination poetry.
The second part of the work is a presentation of textual material.
A total of sixty-four poems of Ifa are presented both in their Yoruba
original version and in English translation. Four poems are presented
from each of the major sixteen Odi. Each poem in the English ver-
sion is provided with a title which sums up its subject-matter. The
English translation is also accompanied with adequate notes designed
Vv
to elucidate cultural and linguistic details not covered by the trans-
lated text.
This book is designed to meet the needs of the general reader as
well as the specialist who wants to inform himself about the richness
of African oral poetry. The reader will see from the introduction
how the Yoruba have attempted to use a poetic genre as a vehicle
for the preservation and development of their culture. The Ifa system
of divination and its fantastic corpus of poetic chants show clearly
the ingenuity of non-literate peoples to develop, preserve and dis-
seminate the ingredients of their own culture even without knowing
the art of writing.
INDIANA UNIVERSITY BLOOMINGTON MARCH 1973

vi
 ACKNOWLEDGMENTS

All the sixty-four poems presented in this work were collected from
Oyedele Isola, of Beesin Compound, Paakoyi, yẹ, Western N igeria.
The poems were collected at various times between 1963 and 1970.
Some of the tape-recordings of Oyedele’s chants are deposited in the
University of Lagos Library, Lagos, Nigeria, but the bulk of the
extensive materials collected from this renowned Ifa priest are in
my keeping. Oyedele is widely known in Ọyọ area for his wonderful
memory and his rich chanting voice. He also practises as a physician.
I am grateful to Oyedele for all I have learnt from him during the
last ten years.
I am also grateful to the following Ifa priests who have helped
with the interpretation of parts of the material collected from Oyedele
and from whom I have also made recordings of Ifa materials not
covered by this work: (a) Awòôtúnde Aworindé, Ilé. Ọlẹ̀bẹ̀dú,
Osogbo, (b) Adéjare Kékeré-awo, Ilé Beesin, Pààkòyí, Oyd, and (c)
Chief Fadayifré, Oliwo of Akeétan, Oyé.
I am highly indebted to my late father, Chief Abimb6la Ìròkò, the
late Asipadg (Chief of Hunters) of Ọyọ from whom as a child I first
learnt about Ifá divination and who was my pillar of support and
fountain of inspiration throughout the years of my research into Ifa
divination. Chief Abímbélá Ìròkò, a renowned Ifa priest, hunter,
herbalist and veteran of the First World War, died in November,
1971.
I am also grateful to the Institute of African Studies, University of
Ibadan, where I started my research into Ifa between 1963 and
1965. I am equally grateful to the School of African and Asian
Studies, University of Lagos and the West African Linguistic Society
for the provision of funds which have been used to collect part of
the material covered by this work.
vii
 Finally, I must express my appreciation to my mother, Sangddayd
Awélé, who helped with the interpretation of difficult words and
on whom I always relied for the verification of many other aspects
of Yoruba culture.

viti
 CONTENTS
Page
INTRODUCTION
I THE IFA DIVINATION SYSTEM

(a) The Mythology of Ifa

(b) The Paraphernalia of Ifá Divination
(c) The Process of Ifa Divination
(d) The Training of Ifa Priests
(e) The Place of Ifa In Yoruba Traditional Religion
II THE ODU OR CATEGORIES OF IFA DIVINATION

III THE ESE OR POEMS OF IFA LITERARY CORPUS

(a) The Structure of Ese Ifá

(b) Aspects of Style in Ese Ifa
(c) The Content of Ese Ifá
NOTES
THE PRINCIPAL SIXTEEN CATEGORIES OF IFA
DIVINATION POETRY
I Eji Ogbeé
II Ọyẹ̀kú Méji
III Iwori Méji
IV Odi Méji
V Ìrosùn Méji
VI Owonrin Méji
VII Obara Méji
VIII Okanran Méji
IX Ògúndá Méji
X Osa Méji
XI Ìká Méji
XII Òtúúrúpòn Méji
 Page
XIII Òtúá Méji 126
XIV Ireté Méji 134
XV Osé Méji 142
XVI Òfún Méji 150
Notes 154
Bibliogrophy 169
 INTRODUCTION
I. THE IFA DIVINATION SYSTEM
(A) THE MYTHOLOGY OF IFA
According to Yoruba belief, Ifá (otherwise known as Qninmild) was
one of the four hundred and one divinities! who came from prun
(heaven) to ajé (earth). Oládùmarò, the Yoruba High God, charged
each one of these divinities with a particular function to be per-
formed on earth.? For example, Ògún? was put in charge of all things
related to war and hunting and the use of iron implements while
Òòṣàálát was charged with the responsibility for moulding human
beings with clay. Éyà? was the universal policeman and keeper of
the àṣẹ, the divine power with which Olddimaré created the universe
and maintained its physical laws. Ifá was put in charge of divination
because of his great wisdom which he acquired as a result of his
presence by the side of Oládùmarò when the latter created the uni-
verse. Ifá therefore knew all the hidden secrets of the universe.
Hence, his praise-name Akéréfinisogbgn (the small one whose mind
is full of wisdom). al
The Yoruba believe that the four-hundred and one divinities
mentioned above descended from the skies® into the city of [f?.7 At
that time there were no creatures of any kind on the earth. The
divinities were therefore the first inhabitants of the earth, and Jf?
was the first place on earth inhabited by human species.
When the divinities arrived on earth, they found that planet com-
pletely covered up with water. But before they left grun, Oládùmarò
gave them a basket-full (or calabash-full?) of sand, a hen with five
fingers® and a camelion.!° Before the divinities landed, they sent the
hen down to Jf? with the parcel of sand. The hen scattered the earth
and solid earth appeared. The camelion then walked on it to find
out how solid it was. The divinities then descended upon solid earth

[1]
and pitched their camps in different parts of /f?. The hen and the
camelion thus became the first creatures to live upon the moulten
primordial earth and the divinities were the first beings to live upon
solid land.
After the arrival of the divinities, human population developed at
If? in two different ways. The divinities married among themselves
(there were male as well as female divinities) and gave birth to a
lineage of men who later became the divine rulers" of the Yoruba.
Furthermore, Olédimaré with the help of Odsadld created the human
beings proper who became the subjects over whom the divinities and
their descendants ruled. Out of the descendants of the divinities, the
children of Odiduwad became the most important politically, and
they eventually formed the bulk of the ruling dynasty of the most
powerful Yoruba kingdoms.!? The culminating point in the power
of these divine rulers was achieved in the imperial organisation of the
old Ọyọ Empire.
At If? Òrúnmìlà settled in a place known as Oke Ìgẹ̀tí.1? He lived here
for many years. At first he was childless but later he had eight male
children.1" He later left Ifẹ for Adé where he spent the remainder of
his life. Hence, the saying, Adé nilé Ifá (Adé is the home of Ifa).16
While on earth, Qrinmila employed his timeless wisdom to organise
human society on an orderly basis. He also taught his disciples the
secrets of divination. But, like the other divinities, Oninmila returned
to grun after he had accomplished his tasks on earth. His return to
grun was, however, caused by a quarrel which occurred between him
and one of his children, Q/éw), his last-born son. The details of that
quarrel between father and son are given in /wéri Méji.17 According
to the story in Jwéri Méji, one day, Òrúnmìlà invited his eight children
to celebrate an important festival with him. As each one of them
arrived, they bowed down and saluted their father with the words
àbọrúbọyò bọ ṣíṣẹ (may the sacrifices be accepted and blessed) as a sign
of their respect and obedience to him. But when it came to the turn
of Qljwp, he stood still and said nothing. A dialogue then ensued
between father and son during which Qninmila ordered Oléw) to give
the salute already given by his brothers. But Qlgw) refused to give
the salute pointing out that as he was a crowned head like his
father, it was degrading for him to bow down to anyone. When
Oninmila heard this, he became annoyed and he decided to return
to prun.18
Immediately after the departure of Qninmild, the earth was thrown

[2]
into chaos and confusion. The cycle of fertility and regeneration
both in nature and in human beings collapsed. Human society
moved dangerously close to anarchy and disorder as everything was
faced with imminent destruction. The state of confusion and un-
certainty on earth, after the departure of Qninmild, is depicted in the
following poem.

Aboyún 6 bi mọ
Agan 6 tọwọ ala bosùn.
Òkùnrùn 6 dìde.
Akeremọdòô wẹ̀wù ìràwé.
Àtò gbẹ mé ọmọkùnrin ní ìdí;
Obinrin ò rí às€ẹ rẹ̀ mo.
Iṣú peyin 6 ta;
Àgbàdò tàpé 6 gbé;
Eréé yọjú ẹ̀pọlẹ.
Òjò páápààpáá kán sílẹ̀,
Adìé ṣà á mì.
A pon ẹbẹ sílẹ̀,
Ewuré mú un jẹ.!?

(Pregnant women could not deliver their babies;

Barren women remained barren.
Small rivers were covered up with fallen leaves.
Semen dried up in men’s testicles
Women no longer saw their menstruation.
Yam formed small but undeveloped tubers;
Corn grew small but unripened ears.
Scattered drops of rain fell down,
Chicken attempted to eat them up:
Well-sharpened razors were placed on the floor,
And goats attempted to devour them.?°)

When the earth no longer had peace, it was decided that the children
of Òrúnmìlà should go to grun and persuade their father to return to
the earth. Accordingly, the eight children of Qninmild went to prun
where they met their father at the foot of ‘‘the much-climbed palm-
tree which branched here and there and had sixteen hut-like
heads.??21 They persuaded their father to return to the earth but
he refused, and instead, he gave each one of them sixteen palm-
nuts and said:
[3]
 Bé e ba délé,
Bé ẹ ba foôwoô ni,
Eni téé mọọ bi nù un.
Bé ẹ ba délé,
Bẹ ẹ ba fayaa ni,
Eni téé mọọ bi nù un.
Bé e ba délé,
Bẹ ẹ ba fọmọọ bi,
Eni téé mọọ bi nù un....
Ire gbogbo té ¢ bá féé ní láyé,
Eni tee. mọọ,bf BU un... ose
(When you reach home,
If you want to have money,
That is the person you should consult.
When you reach home,
If you want to have wives,
That is the person you should consult.
When you reach home,
If you want to have children,
That is the person you should consult....
Any good thing you wish to have on earth,
That is the person you should consult . . .).
When the children of Òrúnmìlà returned to the earth, they started to
use these sixteen palm-nuts as instruments of divination to find out
the wishes of the divinities. Qninmild replaced himself here on earth
with the sixteen palmnuts known as zkin and from that time those
sixteen sacred palmnuts became the most important instrument of
Ifá divination.

(B) THE PARAPHERNALIA OF IFA DIVINATION

(2) Ikin (The Sacred Sixteen Palmnuts)

Ikan is regarded as the most ancient and most important instrument
of Ifa divination. It consists of sixteen palmnuts taken from a special
palm-tree known as 9 Ifá (Ifá palm-tree). Each fruit of this palm-
tree has four eye-lets on its thick bottom edge. The Yoruba believe
that this type of palm-nut is sacred to Ifá and should not be used for
making palm-oil.
The sixteen sacred palm-nuts are kept in a lidded and decorated

[4]
Ifá bowl which is made of metal or wood. This bowl is kept in a
corner of a room inside the house where the Ifa priest lives. Prayers
and sacrifices are made to it in that location which can be regarded
as the Ifa shrine of that particular priest. The sacred palm-nuts are
hardly ever removed from that location except for ‘‘washing’’ or
purification which is performed occasionally both to clean it of dirt
and to reinforce its divine potency. But when the Ifa priest dies, the
ikin can be removed from its resting place and transferred to a
relation of the deceased. The transfer often involves the offering of
sacrifice and another purification ceremony. Some people prefer to
bury the sacred palm-nuts with the dead to free themselves from
performing this rather elaborate and costly obligation.
The sacred palm-nuts are employed for divination on rare and
important occasions such as public divinations of high ritualistic
significance like the divination performed when installing a new
king. The Ifa priest also uses the sacred palm-nuts when he is con-
sulting Ifa on behalf of himself or very close members of his family.
Whenever he employs the sacred palm-nuts for divination, the Ifá
priest must use them alongside with the sacred powder of divination
as described below.
The sacred powder of divination is kept inside a carved Ifa tray
and placed in front of the diviner who keeps the sixteen palm-nuts
inside one of his palms and tries to take them all at a single stroke
with his other palm. If two palm-nuts remain in his palm, he makes
one vertical mark on the powder of divination. If one palm-nut
remains, he makes two marks below the first mark. But if he
succeeds in taking all the palm-nuts at once so that none remain
in his palm, he will make no marks at all. In the same way, if
more than two palm-nuts remain inside his palm, he will not
make any marks on the powder of divination. The Ifa priest
must make such marks four times on the right and four times on
the left. The result will give him the signature of an Oda (chapter
or category of Ifa literary corpus). If, for example, he makes one
mark four times on the right and four marks four times on the left,
the signature is that of Lyi Ogbé whose pattern will appear as
follows:
| |
| |
| |
|
[5]
If he makes two marks four times on the right and four times on the
left, the signature is that of Qy?ki Májì which will be as follows:
|| li
|| [|
|| ||
|| ||
There is a total of 256 patterns of the kind described above in Ifa
divination.?3 Each pattern is known as Odi or category of Ifa divina-
tion poetry. It is believed that each Odi contains 600 ¢s¢ or poems of
Ifá. The Ifá priest learns as many poems as possible from each of
the 256 Odi and recites these to his clients in the manner described
in detail below.

(ii) Ọpẹ̀lẹ̀ (The Divining Chain)

Another important instrument of Ifá divination is known as 9pél?, the
divining chain. This chain, which has two open ends at the bottom
part, is made either of metal or cotton string. Four half-nuts of the
opel? fruit?f are attached to each half of the chain (both on the right
and left). Each of these half-nuts (which resemble the kolanut) has a
smooth (outside) surface and a rough (inside) surface. If the chain
is made of metal, the half-nuts are also made of metal in such a way
that they look like the 9p¢/? half-nuts.
The Ifa priest holds the chain in the middle of its top region and
throws it away from himself. When the chain falls on the ground,
each of the four half-nuts on either side will present its outside or
inside surface upwards. There are 2° possibilities of this form of
presentation each time the Ifa priest throws his chain. Each of these
possibilities of presentation is known as an Odi or chapter in the Ifá
divination corpus. The whole corpus contains 256 (2°) chapters. The
chapters have names which are exactly the same as the names
ascribed to the patterns printed on the powder of divination when
the sixteen sacred palm-nuts are used for divination. For example,
when all the eight nuts present their inside surface upward, that
pattern is known as Eji Ogbé and when they present their outside
surface, the signature is that of Oppki Méji.
The Ifa priest keeps the divining chain inside a leather or cotton
bag known as apd Ifá which he hangs on one of his shoulders and
which forms part of his outfit whenever he is going outside the house.
It is due to the habit of hanging this bag on the shoulders that the
Ifa priest is known as akáfò (carrier of Ifá bag).

[6]
 The divining chain is used more frequently than the sacred palm-
nuts for purposes of divination. The Ifá priest uses the divining
chain for most of his day-to-day divination involving his numerous
clients and reserves the sacred palm-nut for more important occa-
sions. This is due to the importance of the sacred palm-nuts as the
most ancient symbol of Ifa which cannot be moved about for
all occasions of divination. Furthermore, the divining chain is easier
to manipulate so that the Ifa priest can obtain the signature of an
Odi more easily by making use of it.

' (iii) Ìbò (Instruments for Casting Lots)

eg

When an Odi has been found and the client has recognised the poem
which applies to his own problem, the Ifa priest then makes use of
the ibd to find out further details reggarding the interpretation of the
poem which has been identified. For whom is the message of Ifa
intended, the client or one of his relations? How is the sacrifice which
the client has been asked to offer to be disposed of? These and other
problems are solved by the use of the ibd.
The basic instruments in the ibd are a pair of cowry shells tied
together and a piece of bone. The cowry shells stand for an affirma-
tive reply while the bone stands for a negative reply from the divinity
in respect of every question posed. But several other instruments are
also used as part of the ibd to symbolise different things. For example,
a piece of rock stands for good health while the black ake-apple nut
represents Qrinmila himself.
The belief of the Ifa priest and his client regarding the use of the
ibd is that Ifa will speak to the client through the ìbò instruments in
order to explain the details of a poem which has already been identi-
fied as the appropriate poem having direct bearing to his problem.
The Ifa priest asks the client to keep the bone in one palm and the
pair of cowry shells in the other palm. The client can keep any of the
two objects in any palm, left or right. The priest then poses a question
to the divinity, such as: "Ifá you say that you see ill-health. Who is
the person involved? Is it the client's wife?" The priest then mani-
pulates his divination instruments twice. If the Odi which he sees the
second time is senior to the one which he sees the first time, the priest
will ask the client to declare the contents of his right hand; but if the
Odù seen the second time is junior to the first one, he will ask for the
contents of the left hand. If, for example, the content of the right
hand is the piece of bone, it means that the answer to the original

[7]
question is negative. In that case, the name of another relation of the
client or the client himself is substituted, the question is posed again,
and the divination continues until an affirmative answer is obtained.
The ìbò are therefore used to find answers to the problems which
may arise in the process of interpreting an Ifá poem. They act as a
means of quick communication between Ifa and the client. Without
the ibd, it will be impossible to determine all the minute ramifications
of each divination. But the client is interested in these minute details
in order to gain the satisfaction and confidence that he has identified
his problem and offered the right solution.

(iv) Ìyẹ̀ròsùn (Divination Powder)

When the Ifá priest uses the sacred palm-nuts for divination, as ex-
plained above, he prints the single or double marks obtained during
each manipulation on the sacred powder of divination known as
ìyẹ̀ròṣùn. This whitish (or yellowish) powder is obtained from the
irosun tree or from dry bamboo eaten up into powder by termites.
The powder is put inside gpgn Ifa (the carved wooden tray)
and the Ifa priest makes marks on it as he manipulates the sacred
palm-nuts.
The powder of divination is highly regarded by Ifa priests as a
sacred symbol of Ifa. Particles of this powder are sprinkled on sacri-
fices to insure acceptance by the divinities. The client is also some-
times asked to swallow some of the powder and rub it on his head to
forge a bond of unity between him and the divinities so that he
may get the satisfaction that the divinities are in support of his cause
and have approved of his action.

(v) Ìrẹ̀ké (Carved Wooden Or Ivory Object Used To Invoke Ifá)

While performing divination, the Ifa priest strikes the divining tray
repeatedly with the irgk¢ to call [fa to be present at the divination
exercise. Trainees or subordinates of important Ifa priests carry the
irgk¢ in front of their masters whenever they go out to attend any
important ceremony. The irék¢ is therefore a symbol of the authority
and supremacy of the Ifa priest concerned.
The irgk¢ is carved with ivory or wood in small and large sizes. On
some irgk¢, a human figure or the head of a human being is carved.
The upper part of the irgk¢ is carved in a long, sharp and conical
shape. The bottom part is thick so that it can support the upper part
when the instrument is made to stand erect. The Ifa priest holds the

[8]
irgk¢ at this thick bottom part while he strikes the long upper part
against the divining board during the process of divination.

(vt) Opén Ifa (The Divining Tray)

As mentioned above, the Ifa priest prints his marks on a wooden tray
when he uses the sacred palm-nuts for divination. The divining tray
is carved into different shapes and sizes. The edges of each tray are
dominated by intricate patterns of different objects such as birds,
reptiles, tortoises, and wild animals. The middle of the top section is
usually reserved for the image of Eyi (the trickster divinity who keeps
the àṣẹ). From this position, the image of Eyi faces the Ifa priest as
if he is directing or watching the divination exercise. The inside of
the tray itself is either circular or square.

(Cc) THE PROCESS OF IFA DIVINATION

Ifa priests attend to several clients every day. These clients have
different kinds of problems ranging from advice on whether or not
to go on a journey to matters of life and death involving a sick person
on behalf of whom a close relation consults Ifá. Some clients also
consult Ifá at critical moments of their lives involving marriage,
divorce, change of profession or place of abode.
When the client enters the house of the Ifa priest, he salutes him
and expresses a wish to “talk with the divinity.’’ The Ifa priest then
takes out his divining chain and lays it on a mat or a raffia tray in
front of the client. The client whispers his problem to a coin or a
cowry shell and drops it on the Ifa instruments. Alternatively, the
client could pick up the divining chain or the ibd and whisper his
problem to it directly. In either case, it is believed that the wishes of
the client's orí?5 (God of predestination who knows what is good for
every person) have been communicated to Ifa who will then produce
the appropriate answer through the first Odi which the Ifa priest
will cast when he manipulates his divining chain.
The Ifa priest then picks up the divining chain after offering a few
words of salute to Ifá. He urges Ifa to provide the appropriate
answer to the client’s problem without any delay. The Ifa priest
then utters the 7bda?* (permission from authorities) to 2/7?” (the earth),
Olédimaré (the Almighty God), and his masters in the art of divina-
tion. He throws the divining chain in front of himself and quickly
reads and pronounces the name of the Odi whose signature he has

[9]
seen. The answer to the client’s problem will be found only in this
Odi.
The Ifa priest then begins to chant verses from the Odi which he
has seen while the client watches and listens. The priest chants as
many poems as he knows from that Odi until he chants a poem
which tells a story containing a problem similar to the clent’s own
problem. At that stage, the client stops him and asks for further
explanation of that particular poem. The Ifa priest will interpret
that particular poem and mention the sacrifice which the client
must perform.
Sometimes during the process of divination, the client will recog-
nise certain poems the content of which contain problems similar to
the problems of certain members of his family. He may also recognise
a poem which relates to other personal problems of his own different
from the original one on account of which he has consulted Ifa. It
may also happen that the client does not know which poem to choose
out of the poems chanted by the Ifa priest. In all these cases,
the ibd will be used to clarify and elucidate the actual message
of Ifa.
If, however, the client feels that none of the poems chanted by the
Ifá priest has anything to do with his own problem, the Ifá priest will
continue to chant more and more poems until one will be found
which will satisfy the client. But if the Ifa priest has exhausted his
stock of Ifá poems, he will politely ask the client to come back the
following day or at any other appointed time to continue the divina-
tion. Meanwhile, the Ifa priest will learn more poems from the
original Odz in question and when his client comes back, if at all,
he will chant the new poems in the hope that the client will this time
be satisfied. In traditional Yoruba society, Ifa priests are freed from
this embarrassment due to a system whereby diviners practised as a
group consisting of two or more priests. When Ifá priests practise in
this form, it is easier to satisfy their clients since one priest will take
over when his colleague exhausts his stock of poems or simply cannot
remember more poems at that particular time.
When the client is completely satisfied with both the poem he
picked for himself as well as its interpretation, he proceeds to per-
form the stipulated sacrifice. If the materials required for sacrifice
cannot be found within the immediate vicinity of the place of
divination, or if the client has no money to buy the materials at that
particular time, the sacrifice can be postponed until a time when the

[10]
 client is ready with the materials. In certain cases, the client may
leave a sum of money which is considered sufficient to buy the
materials with the Ifá priest who will buy the materials and per-
form the sacrifice on behalf of his client. If the client is a poor
man, he may offer a fraction of the stipulated materials.
The important point, however, is that whatever happens, the
client must make sure that he performs the prescribed sacrifice. The
Ifá divination system condemns in very strong terms those people
who evade the sacrifices stipulated for them. It is believed that such
people open themselves to the attack of the qogun?* without any help
or protection from the divinities. A man can, therefore, never hope
for success in any endeavour on which he has consulted Ifa unless he
has performed the prescribed sacrifice. Offering of sacrifice means
that the divinities have sanctioned whatever the client plans to do
and the client himself derives immense psychological satisfaction
from the realisation that the divinities and the ancestors are in sup-
port of his plan. Furthermore, sacrifice provides the Ifa priest with a
good part of his daily bread since he is allowed to retain certain parts
of the offerings made by his clients for his own purposes. Whenever
he is in doubt as to what part of any sacrifice he can reserve for
himself, he can always use his ibd to achieve clarification.
Sacrifice is therefore central to Ifa divination and to Yoruba
religion as a whole. Sacrifice keeps the belief system going and links
the client, the diviner, the divinities and the ancestors together
through a system of service and reward. When the client refuses to
perform sacrifice, he makes it impossible for this system of action and
reaction to be completed. Such a client therefore commits a rape of
the belief system since he has exploited the divinities by inviting
them to identify and solve his problem for him without providing
them with their stipulated reward. Hence, not only will the divinities
cease to support him, they may also punish him for his shameless
exploitation.

\.)(D) THE TRAINING OF IFA PRIESTS

In the traditional Yoruba society, Ifa priests were the physicians,
psychiatrists, historians, and philosophers of the communities to
which they belonged. It is therefore not surprising that an elaborate
system of training involving so much time and patience is marked
out for all who aspire to become Ifa priests. The result is that the

[11]
percentage of people who successfully complete the long and arduous
training is usually very small.
Most people start their training at an early age, usually between
ten and twelve, and they remain with their master for the next ten or
fifteen years before the first part of their training is completed. In
most cases, the trainees live with their master and help him do some
work both at home and on his farm (if the master-priest has a farm)
or in his garden.
The beginning of the training consists in the teaching of the novice
how to manipulate both the divining chain and the sacred palm-
nuts. The trainee learns, in this part of the training, the signatures
and the names of each of the 256 Odu. This takes at least two or
three years. It is a basic part of the training which requires a good
memory and a lot of patience and dedication on the part of the
trainee.
After the trainee has mastered the names of the Oda and their
signatures, he then learns step by step the poems that belong to each
Odu. The master-priest recites several lines of a poem at a time while
the trainee parrots him. In this way, one short poem can be learnt
each day while a long poem may take several days to learn. The
trainee spends several hours by himself each day trying to remember
the poems which he learnt from his master. This refreshes his memory
and helps him to know what he has completely mastered and what
he has forgotten.
A good part of the Ifá priest’s training is, however, informal. The
trainee learns a lot while sitting by his master watching how he manipu-
lates the Ifá instruments and how he chants the Ifá poems to his clients.
The trainee sometimes helps his master to prepare some medicine or
to look for the materials required for sacrifice. In this way, the would-
be Ifa priest gains re-inforcement in respect of the things he has
already learnt and learns new poems and new medicinal formulae.
Another important part of the training of the Ifa priest consists of
the learning of the sacrifices which go with each poem. Here, the
trainee must learn minute details such as the names of the materials
needed for sacrifice and how the materials should be prepared for
sacrifice: whether they are to be burnt, deposited at the shrine of a
particular divinity, thrown into the river or left at a crossroad.
As mentioned above, the would-be Ifa priest learns a little about
folk medicine from his master. This is an extremely important part
of the training of every Ifa priest and, as will be shown below, some

[12]
Ifa priests choose to develop this field for their post-initiation special-
isation. But even before initiation, the would-be priest must learn
something about medicine so that he could cure his clients of minor
ailments. No Ifa priest can have a successful practice if he does not
know anything about medicine since many people go to Ifa priests
to seek help in curing their ailments.
When the master-priest is satisfied that his trainee has learnt
enough of the various things listed above, he allows the would-be
priest to present himself for initiation. Initiation forms the climax
of many years of hard work and it is usually celebrated with the
pomp and dignity that it deserves. The would-be priest is taken into
the forest where high-ranking Ifa priests examine him on the differ-
ent fields in which he has received instructions. They also caution
him to adhere strictly to the ethics and secrets of his profession. He
emerges from the forest as a full-fledged Ifa priest and he is known
to everyone in the community as babaldwo (father of the secrets of
divination). He can set up his own practice alone or in collaboration
with his colleagues.
Initiation is not, however, the end of the training of the Ifa priest;
for the education of a true babaldwo is a life-long process. Post-
initiation training is highly regarded by all Ifa priests. This part of
the Ifa priest’s training involves specialisation usually in a field of
medicine or in the learning of more poems in areas not covered by
his previous training. This aspect of the Ifa priest’s training some-
times takes him to distant places away from his home town. If, for
example, the most famous Ifa priest in a field of medicine lives two
hundred miles away, the post-initiation trainee must go there and
spend some years with that specialist in order to learn the secrets of
that branch of medicine.
Post-initiation training therefore usually takes the Ifa priest outside
his home environment and in this way he learns more about other
people and makes more friends in distant lands. This gives the Ifá
priest a polished and refined personality which marks him out from the
generality of his fellow men as a well-informed, well-travelled and
highly-disciplined individual.
Through the systematic and long years of training described above,
Ifa priests have succeeded in transmitting the most important in-
gredients of their repertoire from one generation to another without
adulteration. This shows that non-literate societies can develop, pre-
serve and transmit bodies of academic knowledge without knowing

[13]
the art of writing. Ifá priests can be said to be the traditional intel-
lectuals of this oral system and their long years of training mark
them out from the rest of society as knowledgeable, patient, dutiful
and humble carriers of Yoruba tradition. The survival of the in-
gredients of Yoruba tradition through the many turbulent years
of that culture depends to a very large extent on this hard-core
of disciplined and well-informed fathers of the secrets of Ifa
divination.”

(E) THE PLACE IN YORUBA TRADITIONAL RELIGION

The training of Ifá priests and the mythology of Ifa described above
gives that divinity a unique position among the countless divinities in
Yoruba traditional religion. Hence, he is referred to by Ifá priests as
gbarisa (the king of the divinities). This kingly position which Ifa
occupies among the Yoruba divinities is the result of several factors.
In the first place, Ifa is the mouth-piece of the divinities and the
ancestors. It is through the Ifa divination system that human beings
can communicate with the divinities and the ancestors. Without him
and his system of divination, human beings would find it difficult to
reach the heavenly powers and tap their resources of divine power
in the hours of need.
Furthermore, Ifa represents a special branch of Yoruba religion
because of its intellectual outlook and its stock of traditional academic
men. In this sense, Ifá is more than a branch of Yoruba religion. Ifa
is the means through which Yoruba culture informs and regenerates
itself and preserves all that is considered good and memorable in
that society. Ifá is Yoruba culture in its true dynamic and traditional
sense. If4 is a means whereby a non-literate society attempts to
keep and disseminate its own philosophy and values despite the
lapses and imperfections of human memory on which the system is
based.
It is therefore not surprising that Ifá means so much to the Yoruba
people. In traditional Yoruba society, the life of every man, from
birth until death, is dominated and regulated by Ifá. No man takes
any important step without consulting the god of wisdom. All the
important rites of passage such as naming ceremonies, installation of
kings and burial ceremonies have to be sanctioned and authenticated
by Ifa, the voice of the divinities and the wisdom of the ancestors.
This is the meaning of the following lines of poetry:

[14]
 Ifa 16 lòní,
Ifá 16 lola;
Ifá 16 lotunla pélu é.
Orunmila 16 nijẹ méréérin òòṣá dá 'áyé.2?
(Ifá is the master of today,
Ifá is the master of tomorrow;
Ifá is the master of the day after tomorrow;
To Ifá belongs all the four days created by the divinities
on earth)
But Ifá is more than a Yoruba system. Traces of this fascinating
system could be found in several other cultures of West Africa,
namely among the Edo, Igbo, Ewe, Fon, Nupe, Fukun, Borgu and other
ethnic groups of West Africa. A detailed study of Ifá and Ifa-related
systems of divination among these cultures of West Africa is yet to be
undertaken. What we now know is that among the Yoruba Ifa has
been so closely identified with the mythology, folklore, folk-medicine,
history, religions and value system of that culture as to be almost
synonymous with it.

II. THE ODU OR CATEGORIES OF IFA

DIVINATION
As mentioned above, there are 256 categories of poetry in the Ifa
literary corpus. Each of these cateiories is known as Odi. Each Odi,
as will be shown below, has its own distinct signature and character.
The job of the Ifa priest involves the recognition of the signature of
each Oda and the interpretation of its character from a literary,
mythological and religious stand-point.
The Yoruba believe that the Oda are divinities in their own right
and they, like the other divinities, descended from run into the city of
Ifẹ̀. It is also believed that the Odà were sent by Olddimaré (the
Yoruba High God) to replace Qninmila on earth after the return of
the latter to grun. Each Odi has 600 ẹsẹ (poem) which identify it and
give it a distinct character. It is part of the training of Ifa priests to be
able to distinguish between the ¢s¢ which belong to different Odu
without making the mistake of mixing them up.
The names of the 256 Oda are based on 16 generic names from

[15]
which the names of all the Odà are derived. Each of these 16 basic
names corresponds to one of the 16 possible patterns of divina-
tion on one arm of the divining chain or one side of the marks made
on the yellow powder of divination. Since both the divining chain
and the printed marks are read from right to left, like Arabic, the
patterns on the right-hand side are considered basic and it is upon
them that the 16 generic names are based. The following are the
16 basic patterns of the printed marks arranged in order of seniority.*°
| | | | li
li | if |
|
|| | |
| | |
| | || | [|
bara (8) Okanran (9) Ògúndá, (to) Ọsá, (ii) Ika
|| | | | [|
li || | || |
| | Ni | ||
li | li |
(12) Otuiripon (13) Òtúá, (14) Ireté (15) Osé (16) Òfún
The 256 Odu derived from the 16 generic patterns are arranged in
two sets. The first and most important set are the Oj Odi (principal
or major Odi). They are 16 in number and are based on a duplication
of each of the 16 generic patterns above. Hence, the word Eji or
Méi (Two) which accompanies each of their names either as a prefix
or suffix. Thus we have Eji Ogbò (Two Ogbé patterns) which is a
duplication of pattern 1 above. In other words, when we see the
same generic pattern both on the right and left, the signature is that
of one of the Ojá Odi to which a name Eji+X or X-+ Méji will be
ascribed. The complete list of the names of the principal 16 Odz in
order of seniority is given below.
1. Eji Ogbé 2. Ọyẹ̀kú Méji
3. Ìwòrì Méji 4. Òdí Méji
5. Ìrosùn Méji 6. Owénrin Méji
7. Obara Méji 8. Okanran Méji
9. Ògúndá Méji to. (sá Méji
ti. Ìká Méji 12. Òtúúrúpọòn Méji
[16]
 13. Òtúá Méji 14. Ìrẹtẹ̀ Méji
15. Osé Méji 16. Ofin Méji
*Where X=the name of any of the patterns in 1-16 above.
The second set of the Odz patterns are referred to as Ọmọ Odi
(children of the Odà or junior Odi) or Àmúlù (mixed patterns). These
are based on the arrangement of any two of the 16 generic patterns
side by side. Thus, if we take pattern 1 as the starting point on the
right and put each of the other 15 patterns by its side on the left, we
would have the signature of 15 separate junior Odw. Similarly, if we
take pattern 2 as the starting point and arrange each of the other
15 patterns (including pattern 1) on its left-hand side, this will yield
for us the signature of 15 other junior Oda. If we do this with each
of the 16 generic patterns in such a way that no pattern appears
more than once on the right-hand side, we will arrive at a total of
240 junior Od.
As in the case of the principal 16 Odi, there is a strict order of
seniority among the junior Odi. The names of the first so most
senior Ọmọ Odi are given below in their order of seniority.
1. Ogbéyéku 2. Oyékulogbe 3. Ogbéweyin
4. Iworibogbé 5. Ogbédi 6. Idingbé
7. Ogbérostn 8. Ìrosùngbẹ̀mí 9. Ogbehunlé
ro. Ow6nrinsogbé II. Ogbébara 12. Obarabogbé
13. Ogbékanran 14. Okanransodé 15. Ogbéyénu
16. Ògúndábẹ̀dé 17. Ogbérikusa 18. Osdlogbé
19. Ogbékarelé 20. Ikagbémi 21. Ogbétémoepon
22. Otturupongbé 29. Ogbéalara 24. Ottdorikd
25. Ogbéaté 26. Iréntegbé 27. Ogbésé
28. Oséogbé 29. Ogbéfin so. Ofinnagbé
Each of the 256 Odi has a distinct character associated with it.
For example, ji Ogbẹ̀, the first and most important Odi, is believed
to signify good luck while ìrẹlẹ Méji, the fourteenth Odi, signifies
death. The thirteenth Odi, Otid Méji, on the other hand, tells mainly
the history of Islam and the introduction of that religion into
Yorubaland.*! Most of the poems in each Odi contain stories related
to the character or theme of the Odz concerned. Thus, there are 256
major characters in the Ifa literary corpus. But there are some poems
in each Odi which may have nothing to do with the major theme of
the Odz concerned. Thus, in £ji Ogbé, not all poems will contain the
theme of good luck, and in Otid Méi, not all poems will relate stories
about Islam.
[17]
 Each of the 256 Odi is believed to bear some relationship with one
of the divinities. The Odz which relates to a particular divinity is said
to be ''owned"? by or to “‘belong”’ to that divinity. What this actually
means is that the myths of that divinity are contained in its Odi so
that many poems in the Odù concerned will relate stories about that
divinity. Furthermore, when the signature of an Odu which belongs
to a particular divinity is seen, the client will be told to offer sacrifices
to that divinity. Thus, when the signature of Ogdndé Mé@i, the ninth
Odà who is believed to be ‘“‘cowned”’ by Ògún (the war and hunting
divinity), is found, the client must offer certain sacrifices to Ògún.
The belief of the Ifá priest and his client is that Ògún will aid the
client to solve his problem provided the client performs the pre-
scribed sacrifices.
One can therefore say that the Odu help to give meaning and
clarity to the thousands of poems (256 x 600) believed to be in the
Ifa literary corpus. Without the Odi, it would be difficult to cate-
gorise the important themes found in these numerous poems.
Furthermore, by linking each Odi with a particular divinity, the
whole corpus is brought much closer to the Yoruba religious and
belief system in such a way that every divinity in the elaborate
pantheon of Yoruba mythology can then “‘talk’’ to the client through
the Oda which “‘belongs’’ to him. This then carves a place for each
divinity in the Ifa literary corpus thereby making Ifa the true voice
of the divinities.

III. THE ESE OR POEMS OF IFA LITERARY

CORPUS
(A) THE STRUCTURE OF Ese [fd3*
As already mentioned, each Oda contains many poems known to the
Yoruba as ¢s¢. Some of these poems are long while others are very
short. But whether long or short, there is a definite order of sequence
in the arrangement of the elements of each Ifá poem. This sequential
arrangement of elements is what I have termed structure.
Each Ifa poem has a maximum of eight and a minimum of four
structural parts. The poems which have four parts are usually very
short and stereotyped. They are referred to by Ifa priests as “Ifa
kéékeekéé”’ (small poems of Ifá). They are, in actual fact, shortened

[18]
forms of longer poems. Most of the poems found in the Ifá literary
corpus, however, usually have more than four structural parts.
Among this large group of poems which have more than four parts,
there are some in which parts iv—vi have been unusually elongated.
This type of ẹsẹ Ifá is known as //fá Nldédld** (long poems of Ifa).
Every ẹsẹ Ifá begins with a presentation of the names of the Ifá
priest(s) who are believed to have performed in the past the divina-
tion which forms the subject-matter of the poem. These names are
usually nick-names or praise-names of the Ifa priests concerned. This
first part (i) of the structure of ẹsẹ [fad is highly regarded by the Ifa
priests since without the invocation of the names of these past
authorities, the Ifá poem is devoid of its mythical importance. This
section of ẹsẹ Ifá therefore gives authenticity to each poem as a “‘true”’
account of what actually happened in the past.
The names mentioned in part (i) may not, however, be the names
of human beings. They may be the names of animals or plants which
are, for the purposes of the story in the Ifa poem concerned, per-
sonified so as to be able to narrate a coherent story which will fit into
the overall structure of ẹsẹ /fá. Thus, when Ifa priests refer to the
names found in this part of ẹsẹ /fá as names of past Ifa priests, we
may regard their claim as true in the spiritual or symbolic sense only.
Part (ii) of the structure of ẹsẹ Ifá mentions the name(s) of the
client(s) for whom the diviners in (i) above performed divination.
The client mentioned here may be a human being or a whole
community. Like in part (i) above, these names of clients may be
names of actual (historical) or mythical persons or places. But since
the Ifa priest believes these personal or place names to be true names,
this portion of the Ifá poem strengthens the authenticity claimed by
the Ifa priest for his repertoire.
The third part (iii) of ẹsẹ /fá mentions the reason or occasion for
the past divination in question. This portion of the repertoire of Ifa
priests deals with the motive of the past divination and enhances the
mythical value of the Ifa poem.
The fourth part (iv) of ẹsẹ [fd tells us what the client in the past
divination was asked to do. This section usually includes such
details as the sacrifices, taboos and any other advice which the client
was asked to observe. Furthermore, the things listed for the client to
use for the prescribed sacrifice may also be named. This section of the
Ifá poem refreshes the memory of the Ifá priest as to what sacrifices
he should ask his client to perform and what advice he should give.
[19]
Furthermore, this part justifies the Ifá priest when he later lists for his
client the sacrifices that he has to perform, and the realisation by the
client that these items have been offered for sacrifice by other people
makes him believe in the efficacy of the sacrifice.
Part (v) deals with whether or not the client complied with the
advice given to him in (iv) above. For example, did the client offer
the prescribed sacrifice? To what extent did he observe the advice
given to him by the Ifa priest. It is necessary to spell out these details
here in order to justify the result of the divination in (vi) below.
Part (vi) tells us the result of the past divination. For example, if
the client performed sacrifice and did all the other things he was told
to do, what then happened to him? Did he achieve his purpose as
stated in (ili) above? What usually happens is that if the Ifa priest
performed sacrifice and observed all the other do’s and don’ts, this
section of the poem will state that he achieved his original goal; but
if he failed to perform sacrifice, he will fail to achieve what he
originally set out to achieve. This portion of ẹsẹ [fd therefore provides
a concrete example to people as to what the consequences of neglect
of sacrifice usually are and what rewards await the faithful ones who
performed sacrifice.
Part (vii) gives us the reaction of the Ifa priest to the outcome of
the divination. Thus, if the result of the divination in (vi) is favour-
able to the client, he will react with joy but if the result is unfavour-
able, his reaction would be one of regret. This part of the structure of
the Ifa poem is important because it provides us with the client’s
evaluation of his own action and strengthens our belief in the need
of the individual to perform sacrifice.
Part (viii) is usually presented in the form of a conclusion to the
whole story. This section of the Ifa poem may stress the theme of the
story or mention the importance of sacrifice. In a way, this portion is
the Ifa priest’s evaluation of what he considers important or memor-
able in the whole story. Hence, part (viii) is usually presented in
didactic terms.
What has emerged so far is that ẹsẹ Ifá is a type of “‘historical”’
poetry.*4 Every poem of Ifá is an attempt to narrate, through the
peculiar structure of Ifa divination poetry, things which the Ifa priest
has been taught to believe actually happened in the past. By narrating
these stories of the past, the Ifa priest believes that his client can then
pick situations similar to his own and advise himself of the best thing
to do in the light of the precedent which has been cited for him. Ifá

[20]
divination poetry is regarded as a record of the activities of the divin-
ities and the ancestors on earth. In a culture whose political and social
structure is based on divine kingship and the wisdom of the elders,
such activities of the past are highly valued and regarded by all.
All the parts of ẹsẹ Ifá described above could be chanted or recited
by the Ifa priest during the process of divination. Part eight (viii) is
almost invariably presented in chanted form. This part could be
chanted even by the client and the trainees of the master-priest
present during the process of divination.
While chanting or reciting any Ifá poem, the Ifa priest tries to keep
as close as possible to the original form of parts (i—iii) and part (viii)
as given to him by his own teacher. He is not allowed to add his own
words or to subtract anything from this part of his repertoire. He is,
however, at liberty to use his own language while rendering parts
(iv—vil) as long as he keeps in mind the main plot and the characters
of the whole story and keeps to its original theme. Thus, while the
Ifa priest is not allowed to innovate in certain parts of his repertoire,
he is allowed some measure of creativity in others.
The short poems of Ifa (Ifa kéékeékéé) mentioned above usually have
four parts, namely (i), (ii), (iii) and (vii). All other ẹsẹ [fd make use
of all or some of the eight structural parts listed above. But nearly
all Ifá poems will contain parts (i-iii) as well as part (viii). Thus, in
the frame-work of Ifa divination poetry, we can say that parts (1-iii)
and (viii) are obligatory while parts (iv—vii) are optional.
The following ẹsẹ [fd is presented in order to show an example of
the eight-part structure of Ifá divination poetry as analysed above.

Part (1) Gbodnkdloyo;

Part (ii) A díá fún ode
Part (iii) Ti nregbd ’je,
Ìlùjù ’je.
Part (iv) Wẹn ni kò ribo àlọ,
Kò rúbọ abo.
WQn ní pípọ ni ìṣégun fún un.
Part (v) Osi ribo
Part (vi) Ìgbà tò ribo tan.
O ségun sí ẹ̀tún,
O ségun sf òsì.
O kò ẹrú,
Ô sì kò ẹrù.

[21]
 Part (vil) O ni béé gégé
Ni àwọn awo òún fsenu rereé pe Fa.
Part (viii) E se ọdẹ ní hin,
Haa hiin.
Ọdẹ hiin,
Haa hiin o.??
Part (i) The Ifá priest named Ghénkéléyo
Part (ii) | Performed Ifa divination for the Hunter
Part (iii) Who was going to hunt inside seven forests
And seven wildernesses.
Part (iv) He was told to perform sacrifice for safety to
And from the expedition.
Part (v) And he performed sacrifice.
Part (vi) After he had performed sacrifice,
He conquered his enemies on the right,
He defeated his enemies on the left.
He captured slaves,
And gathered a lot of booty.
Part (vii) He said that was exactly
How his Ifa priest employed his good voice in praise
of Ifá.
Part (viii) Welcome the hunter with acclamation.
Welcome the hunter with praise.
Hunter, we salute you.
We welcome you with approval.

(B) ASPECTS OF STYLE IN Es¢ Ifá

Ẹsẹ Ifá is very rich in language and stylistic features. A detailed
account of all the features of style and language in this rich poetic
genre cannot be attempted here for reasons of space limitation. It
will suffice, here, to mention some of the most important poetic
devices and discuss one of them.
Some of the most characteristic features of style found in ẹsẹ Ifá are
repetition, word-play, personification, lexical-matching, metaphor,
parallelism and onomatopaea. A detailed account of the modes of
occurrence of these stylistic features has been attempted elsewhere.**
It is the view of the present investigator that repetition is the most
important stylistic feature found in Ifá divination poetry. A detailed
account of that stylistic feature now follows.

[22]
 There are five types of repetition found in Ifa divination poetry,
namely, (i) structural repetition, (ii) thematic repetition, (iii) linear
repetition, (iv) lexical and syllabic repetition, (v) alliteration and
assonance. As will be evident from the following pages, several of
these forms of repetition often occur together. However, in order to
achieve clarity, each of the five types listed above will now be treated
separately.

(7) Structural Repetition

One of the commonest instances of the occurrence of repetition in Ifá
divination poetry is the repetition of parts of the structure of ẹsẹ Ifa.
As stated above, ẹsẹ Ifá has an eight-part structure. Structural repeti-
tion comes into the repertoire of the Ifa priest after he has delivered
the seventh part of his material. Structural repetition often involves
parts (i), (ii), (111) and sometimes any or all of (iv), (v) and (vi)
before the Ifa priest finally chants part (vii). Thus, structural repeti-
tion involves the re-statement of some or all of the first six parts of
ẹsẹ Ifá in between the last two parts (i.e. vii and viii).
Whenever structural repetition occurs in ẹsẹ Ifá only parts (i)—(iii)
are constant; parts (iv)—(vi) may or may not be included at all.
Furthermore. when parts (iv)—(vi) are included, the grammatical
structure of the sentences involved may be changed to suit the pur-
poses of achieving a good chanting voice. Therefore, the Ifa priest
may or not repeat parts (iv)—(vi) word for word. This is not
surprising since, as we stated earlier, parts (iv)—(vi) form the
dynamic portion of the structure of ẹsẹ [fd where the Ifa priest is
allowed to use his own language. Thus, in the example below, line
7 is dropped from the material when the Ifa priest is repeating his
material.
The following example shows the repetition of parts (i)—(vi) in one
ese Ifá.
Part (1) Onikéké login,
Alabaja logboén,
Oníkolo laadéta.
Part (ii) A dia fan Oduinmbaku
Tif ṣọmọ bíbí inú Agbonnirégiin.
(iii) .Wọn ní 6 rúbọ nítorí ikú.
& (iv). Wúòn ní ọ fadìẹ ìrànà kan rúbọ.
(v) .Oseé,
(si

[23]
Part (vii) Ijò ní nyo,
Ayọ ní nyo.
O nyin àwọn awoo rẹ̀,
Àwọn awoo rẹ̀ niyin 'Fá.
O ya ẹnu kétd,
Orin awo 16 bé sí i lénu.
Ẹsẹ̀ ti 6 na,
Ijo fa a.

Part (i) O ní onikéké logun,

Alabaja logbon,
Onikolo laadéta.
Part (ii) A dia fan Odinmbaku
Tif somo bíbí inú Agbennirégun.
Won ní 6 rúbọ nítorí ikú.

O ṣe é,
Ikú ẹ̀ pa á.

Ọdún mba ku, ©

Eji¢ ti gbádìẹẹ̀ mi lo.
Adieé mi,
Adieé ’rana,
Ti mo fí lẹ̀,
Lejié gbé lo.”
Part (i) There were twenty people with kék¢ facial marks.55
There were thirty people with abaja facial marks.
There were fifty people with kolo facial marks.
Part (ii) Ifá divination was performed for Qdunmbdaku*®
Who was the son of Agbgnnirégin.
Part (ii). He was told to perform sacrifice to prevent imminent
& (iv) death.
He was told to offer sacrifice with ìrànà hen.*°
Part (v) He did as he was told
Part (vi) And he did not die.
Part (vii) He was dancing,
He was rejoicing
He praised his Ifa priests
While his Ifa priest praised Ifá
As he opened his mouth a little,

[24]
 The song of Ifa entered therein.
As he stretched his legs,
Dance pulled them.

Part (i) | There were twenty people with k¢ék¢é facial marks.
There were thirty people with dbaja facial marks.
There were fifty people with kolo facial marks.
Part (ii) Ifa divination was performed for Ọdúánmbáká
Who was the son of Agbgnnirégin.
Part (iii) He was told to perform sacrifice to prevent imminent
(iv) death.
Part (v) Heduid as he was told
Part (vi) And he did not die.

Part (viii) The year I would have died,

Death took away my hen.
My own hen.
My irana hen,
Which I offered for sacrifice,
Was taken away by death.

(w) Thematic Repetition

Thematic repetition involves the constant repetition of the subject-
matter of an Ifá poem in several places within the same poem for
purposes of emphasis. This type of repetition features prominently in
Ifá Nládlá (long poems of Ifá) which is usually long and disjointed
both in theme and manner of presentation. The value of thematic
repetition in this type of poetry therefore is to identify for us by con-
stant re-statement the point which appears to the Ifa priest to be
most important in his material so that we are left in no doubt of his
message.
Thematic repetition usually occurs within parts (iv)—(vi) of the
structure of ẹsẹ /fá. As already mentioned, these are the creative and
dynamic parts of Ifa divination poetry.

(i) Linear Repetition

Linear repetition is by far the most important type of repetition found
in Ifá divination poetry. Two types of linear repetition can be identi-
fied in ẹsẹ Ifá, namely, complete and partial.
Complete linear repetition involves the repetition of one or more

[25]
lines of ẹsẹ Ifá. This type of repetition is used both for emphasis and to
satisfy what the present investigator has described elsewhere* as “‘the
myth-making factor’? in Ifa divination poetry. As the Ifa priest
learns ẹsẹ Ifá, during his long years of training, he also learns at the
same time which part of his repertoire should be repeated two, three,
four or more times. Whenever he comes across any such material, it
is obligatory for him to repeat the line(s) involved in the manner
specified by the tenets of his belief.
We therefore find that complete linear repetition often involves the
repetition of one or more lines for any number of times ranging from
two to sixteen. The repeated lines may follow one another directly
in the text or they may be interspersed with other lines. Hence, the
line(s) involved may be repeated every third, fourth, fifth or sixth line.
The following example shows the repetition of a group of lines
fifteen times. Altogether, this involves forty-five lines of poetry which
forms more than half of the total number of lines in this ẹsẹ /fá.

“Nigba ẹ̀kíní,
Mo wolé Onikadmogin.
Emi 6 bá Oníkàámògún lé.
Nígbà ẹ̀kejì,
Mo wọlé Oníkàámògún.
Emi ò bá Oníkàámògún nlé.
Nígbà ẹ̀kẹta,
Mo wọlé Oníkàámògún.
Emi 6 bá Onílàámògún ile.
Nígbà ékerin,
Mo wolé Onikaamogtn.
Emi 6 bá Oníkàámògún nlé.
Nígbà ékaarun,
Mo wolé Oníkàámògún.
Emi 6 bá Onfkadmogin rlé.
Nigba ékefa,
Mo wolé Onikaamogun.
Emi 6 bá Oníkàámògún lé.
Nígbà ẹ̀keje,
Mo wọlé Oníkàámògún.
Emi 6 bá Oníkàámògún rlé.
Nígbà ẹ̀kẹjọ,
Mo wọlé Oníkàámògùn.
[26]
Emi 6 bá Oníkàámògún nlé.
Nígbà ékesaan,
Mo wolé Oníkàámògún.
Emi ò bá Oníkàámògún nlé.
Nígbà ẹ̀kẹwàá,
Mo wọlé Oníkàámògún.
Emi 6 bá Oníkàámògún nlé.
Nígbà ẹ̀kọkànlá,
Mo wọlé Onikaamogun.
Eni ò bá Oníkàámògún lé.
Nígbà ẹ̀kejílá,
Mo wọlé OÒníkàámògùn.
Emi ò bá Oníkàámògún nlé.
Nígbà ẹ̀kẹtàlá,
Mo wolé Oníkàámògún.
Emi 6 bá Oníkàámògún lé.
Nígbà ẹkẹrínlá,
Mo wọlé Oníkàámògún.
Emi 6 bá Oníkàámògún lé.
Nígbà ẹ̀kẹẹ̀édògún,
Mo wọlé Oníkàámògún,
Emi 6 bá Oníkàámògún nlé.
Ọ wáá kù dẹ̀dẹ̀
Kí nwo kaa kẹrìndínlògún.
Mo wáá bá Oníkàámògún.
O káwéò Ifá,
O fi lérí.
© faṣọ aka bora... .’’42

On the first occasion,

I went to the house of Onikadmogtn.**
I did not meet Oníkàámògún at home.
On the second occasion,
I went to the house of Oníkàámògún.
I did not meet Oníkàámògún at home.
On the third occasion,
I went to the house of Ontkadmogiin.
I did not meet Onikddmégin at home.
On the fourth occasion,
I went to the house of Oníkàámògún.

[27]
 I did not meet Oníkàámògún at home.
On the fifth occasion,
I went to the house of Oníkàámògún
I did not meet Oníkàámògún at home.
On the sixth occasion,
I went to the house of Onikadmogin.
I did not meet Oníkàámògún at home.
On the seventh occasion,
I went to the house of Oníkàámògún.
I did not meet Oníkàámògún at home.
On the eighth occasion,
I went to the house of Oníkàámògún.
I did not meet Oníkàámògún at home.
On the ninth occasion,
I went to the house of Oníkàámògún.
I did not meet Oníkàámògún at home.
On the tenth occasion,
I went to the house of Ontkadmégtin.
I did not meet Oníkàámògún at home.
On the eleventh occasion,
I went to the house of Oníkàámògún.
I did not meet Oníkàámògún at home.
On the twelfth occasion,
I went to the house of Onikadmégin.
I did not meet Oníkàámògún at home.
On the thirteenth occasion,
I went to the house of Oníkàámògún.
I did not meet Oníkàámògún at home.
On the fourteenth occasion,
I went to the house of Oníkàámògún.
I did not meet Oníkàámògún at home.
On the fifteenth occasion,
I went to the house of Ontkddmégiin.
I did not meet Oníkàámògún at home.
But just as I was going
To enter the sixteenth palace apartment,
I met Oníkàámògún.
He placed a handful of divination instruments
On his own head.
He covered himself with àká cloth*!

[28]
Incomplete linear repetition features the repetition of part of one or
more lines for emphasis. Repetition may occur at the beginning, in
the middle, or at the end of the line(s) concerned. Furthermore, the
repeated line(s) may be interspersed with other lines so that we have
incomplete repetition in every alternative, fourth, fifth or sixth line.
In the following example, the words 6 ní in line 1 are repeated in
line 4, while the items la jọ ns could be found in lines 1, 4 and 7. The
first two words in the second line, 7ẹ̀fẹ̀ mgg, are repeated in lines 3, 5,
6, 8 and 9.

O ni Awa agba la jọ risegbo.

Tete, mfọ rin,
Tete, mfọ yan.
O ní awa ìjòkùn la jọ /íyṣọdan.
Tẹ̀tẹ̀, mfọ rin,
Tẹ̀tẹ̀, mfọ yan.
Àwaa keekéẹ̀ la jọ risQyo Àjàká.
Tẹ̀tẹ̀, mde rin,
Tẹtẹ, még yan... .45

He said that he and agba lived in the forest.

Tẹ̀tẹ̀, walk about freely.
Tẹ̀tẹ̀, walk about in peace.
He said that he and ijokun lived in the grassland.
Tẹ̀tẹ̀, walk about freely,
Tẹ̀tẹ̀, walk about in peace.
He and keekéé lived at Ọyọ Ajaka.
Tét?, walk about freely,
T¢t?, walk about in peace.

(iv) Lextcal and Syllabic Repetition

Lexical repetition in ẹsẹ [fé involves the repetition of single words
while syllabic repetition involves single syllables. These forms of
repetition may be used for emphasis, to embellish the rhythm of the
poetry, or to achieve word play. Both forms of repetition sometimes
occur together.
The following example shows lexical and syllabic repetition in the
items underlined.
Ká fefun tlé ajé,
Ká fosùn télé ìlẹ̀kẹ̀.

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 Akéda orí kif gbal? ọjà gbé si.
A dia fEji Obara
Nijé ti won alg 1éé ṣẹ̀bọ suru suru
Nilé Ol¢fin.
Bji Obara ká orí,
0 tẹ̀ ẹ moyé.
O ni dun le rire
Nilé Ọlẹfin bayii?**
Let us paint the house of money with chalk,
Let us paint the house of beads with camwood ointment.
The first orí to be created does not stay in the deep part of the
market without good luck.
Ifa divination was performed for Bji pdara.
On the day they were going to offer plenty of sacrifise
In the household of Olgfn.
Ejì Òbàrà placed Ifá divination instruments on the head.
And printed [fa marks on the powder of divination.
He asked whether he could become prosperous
In the household of Olé$£ín.
The word Ad in the first line of the Yoruba text above is repeated
in lines 2 and 7 while the word ##/¢ occurs in lines 1 and e. The word
orí in line 3 is repeated in line 7. The third person singular é in line 8
occurs in identical position in line 9. The syllable /? in ike (line e)
is repeated in gbal? (line 3). The syllable lọ in alg in line 5 occurs
also in Ol¢fin. Lines 5 and 6 feature the syllable xf in xflé and sí).

(v) Alliteration and Assonance

Some of the types of repetition discussed above often involve repeti-
tion of consonants and vowels. Alliteration and assonance can, how-
ever, occur in positions where the other forms of repetition discussed
above are absent. These two forms of repetition enrich the rhythm of
the part of ẹsẹ Ifá where they occur. Furthermore, the repeated con-
sonants and vowels give prominence to the sullables and words of
which they form a part and may therefore serve to emphasise such
lexical items.
In the example given under lexical and syllabic repetition above,
the labio-dental voiceless fricative (f) occurs twice in the same word
Jefun (line 1) and once in the word fosdn (line 2). The same con-
sonant can be found in the personal name Qléfin (line 6) and in
[30]
FfÉjì (line 4). In line 3, the voiced labio-velar consonant (gb) occurs
in gbalé and gbe (line 3).
The following example shows the use of assonance in ẹsẹ [fd
1): kìí ja,
Ká gbádá.
Tji kit jà,
Ko gbél¢ . . .47

The whirlwind does not blow

And carry away the mortar.
The whirlwind does not blow
And carry away the grinding stone.
In the example above, there is a deliberate concentration of (i)
sounds in lines i and 3, (6) sounds in line 2, and (9) (which can be
transcribed phonetically as loj) sounds in line 4.

(C) THE CONTENT OF Es¢ Ifá

As we have already mentioned, ẹsẹ /fá is an attempt by a non-literate
people to develop, preserve and disseminate the ingredients of their
own culture. The Yoruba regard ẹsẹ Ifá as the store-house of their
culture. They believe that ẹsẹ [fd contains the accumulated wisdom
of their ancestors throughout history. Ẹsẹ Ifá therefore contains
everything that is considered memorable in Yoruba culture through-
out the ages.
We are therefore not surprised that the content of ẹsẹ [fd covers the
whole range of Yoruba culture. In the following pages, we will
identify and discuss some of the most important themes found in Ifa
divination poetry.
The Yoruba regard ẹsẹ Ifá as a body of historical poems in which
the ‘‘true’”’ facts of Yoruba culture are preserved. An evaluation of
ese Ifá as sources for historical evidence has been attempted else-
where*® by the present investigator who states that Ifa divination
poems contain important allusions to facts of Yoruba history. The
historian must, however, find corroboration for these facts elsewhere
in Yoruba oral history or by comparing different versions of the same
story collected from several diviners. Esg Ifá is especially important
as a source of information on Yoruba cultural history which is often
neglected by the Western-trained historian who is more concerned
with political and economic history.

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 Ẹsẹ Ifá is our main source of information about Yoruba mythology.
As we have already mentioned, there are certain Odi whose ẹsẹ con-
tain the myths of some Yoruba divinities. For example, Qkanran Májì
contains the myths of $angé, while Ògúndá Méi contains the myths of
Ògún. These Odi tell us about the life of these divinities when they
were here on earth, their relationship with the other divinities and
their importance to Yoruba traditional culture. The divinities are
depicted in ẹsẹ [fé as benevolent powers who are always ready to
help man solve his problems. The divinities stand for order, authori-
ty, discipline and the perpetuity of the values of Yoruba culture.
They are, however, sometimes angry with man when he goes against
the rules of the divinely-sanctioned moral values. But generally, Ifá
divination poetry presents us with a body of myths which depict
Yoruba divinities as friends of man.
Ifá divination poems also tell us about conflict between the divini-
ties and the ajogun, a collective name used to describe the malevolent
powers. Among these powers are Ikú (Death), Ariin (Disease), Of6
(Loss), Épò (Curse), Ẹgbà (Paralysis), Oran (Trouble), Ewjn (Im-
prisonment) and Eye (Affliction). These eight things which human
beings dread are personified in ẹsẹ Ifá as supernatural powers whose
main function is to negate the desire of the divinities and the ances-
tors to enrich human life. Since the plan of the ajogun over human
beings is to see their complete ruination, the former are always in
conflict with the divinities whose function is to protect human
beings. Many Ifá poems deal with the inevitable conflict between
these two groups of supernatural powers over the interests of human
beings.
Another important aspect of the conflict between the ‘‘evil’’ and
the “‘good”’ supernatural powers is the struggle between the divinities
and the ae (the witches). The àjá, who are also known in ẹsẹ Ifá as
eleye or entydn, are on the side of the ajogun in this eternal conflict.
One ẹsẹ Ifá mentions that it was Olédimaré himself who gave to the
àjẹ their evil powers. Therefore, against the evil machinations of the
aj¢ human beings have little protection even from the divinities who
themselves are sometimes molested by the witches.
When a person is therefore troubled by the dj, he is encouraged to
call on his own orí (personal divinity who determines human fate).
Each individual has his own ort (orí literally means ‘‘head’’) which
he chose for himself shortly before he left run (heaven) for the earth.
Those people who chose good orí will, if they work hard and perform

[32]
the sacrifices stipulated for them, become successful and will not be
subdued by the ajogun and the aj¢. But those who selected bad orí for
themselves in grun are doomed to failure in life except they can per-
form sufficient sacrifices and work very hard. The content of many
ẹsẹ Ifá deals with this interesting concept of predestination which
forms an important aspect of the Yoruba belief system.
Ẹsẹ Ifá also contains Yoruba belief concerning ẹbọ (sacrifice). Al-
most every ẹsẹ [fd contains in part (iv) of its structure, exhortations
to the clients to perform sacrifice. It is compulsory for every indivi-
dual to perform sacrifice no matter whether the orf he chose in
heaven is good or bad. The divinities will not support anyone who
refuses to offer sacrifice since this is their only reward for their cease-
less watch over human life. As for those people who selected bad ori,
sacrifice is particularly important since it is the only element which
can repair their ill-fated choice. Thus, sacrifice is presented in ẹsẹ /fá
as the means whereby a man makes his peace with the divinities and
improves upon the defects inherent in his own life.
Furthermore, in ẹsẹ Ifá, sacrifice is depicted as a means whereby a
man uses material things in exchange for his own life. Thus, we see
in many ẹsẹ Ifá that when certain material things are offered to the
ajogun in form of sacrifice, they would take those things and leave
the supplicant untouched. Sacrifice is therefore a means whereby
man can influence the supernatural powers so that the “‘good’’
powers may co-operate with him and the “‘evil’’ powers will leave
him alone in the execution of his plans on earth.
Another important aspect of the content of ẹsẹ [fa is the concept of
iwa (character). The Yoruba believe that it is not enough to have a
good orí and offer sacrifice. In addition to these two concepts which
deal with the relationship of man with the divinities, a man must
also struggle to improve his relations with his fellow men. In order to
do this, he must improve his iwa from day to day. Furthermore, the
Yoruba believe that whatever may be the achievement of any man
on earth, if he does not have good iwd to go along with it, that
person has actually achieved nothing. Many Ifá poems therefore
mention the importance of iwd to human life. Indeed, Ifa divination
poetry states that a person who does not have good iwd while on
earth, will be punished in prun after his death. The offering of sacri-
fice does not absolve one from the obligation of showing good iwd to
one’s fellow men because it is the wish of Oládùmarò and the ancestors
that human beings should uphold the moral values of the society.

[33]
This is the reason why the Yoruba say: ‘“‘Iwa lésin.”” (Good charac-
ter is the essence of religion.)
But just as the Yoruba value iwd as a desirable attribute which
endows man’s life with dignity and nobility, they also value money
as an instrument with which one can endow oneself with the good
things of life. For the Yoruba, three things are the most important
accomplishments of life, owé or ajé (money), ọmọ (child or children)
and diké or àlàáfíà (long life or good health). These three things are
the most important ire (good things of life). The possession of owd
helps a good person to be kind and benevolent to his fellow men just
as the lack of it devoids a good person of his usual warmth. Hence
the saying:
Bow6 ba tan Ild6w6 oniwa,
A dòsônú
(When money finishes in the hands of a good person,
He becomes unsociable).

Many poems of Ifá mention the importance of owd as one of the most
important ire which every person desires for himself in life.
Ọmọ (child or children) is also very highly rated in ẹsẹ Ifá as an
important ire. Indeed it is rated above owé as an achievement in life.
To the Yoruba, a life or a marriage without ọmọ is an unsuccessful
one. Since Yoruba traditional society was an agricultural one, chil-
dren formed an important labour force to anybody who possessed
them to increase his productivity. Furthermore, in a society where
old-age pension and social security are unknown, children are a
man’s insurance against old-age and infirmity. Money is not an
adequate substitute for the care and love which one’s own children
can bestow on one in old age. Indeed, the Yoruba still regard a life
blessed with money but devoid of children as a waste. The divinities
themselves stand for fertility. Thus Qsun and Oge are primarily con-
cerned with the unpleasant condition of barren women who are
encouraged to worship these divinities in the hope that they will
have children.
Of the three things which constitute tre mentioned above, dikd (long
life endowed with good health) is regarded as the most important.
If a man has money and children and he dies young or lives in ill-
health, the Yoruba believe that he has not lived an ideal life. But if
a man lacks money and children and he has good health and long
life, perhaps he may still be able to regain those things which he

[34]
originally lacked. Thus dikué is regarded as the most important
attribute of life:
Ire àíkú pari ìwà
(The blessing of long life is the greatest achievement of life.)
Another reason why the Yoruba value dikié above all the other ire
is that in their hierarchical system of authority here on earth, old age
is a qualification for holding important offices such as the position of
badlé (household head). A man who dies young misses an oppor-
tunity to hold such an important position. Furthermore, if he dies
very young, he cannot become an ancestor and, for this reason, he
will not be buried in the ancestral home.
The divinities themselves value áìká as an important achievement
of life and they will endow those people who lead-good and moral
lives with that ive. Odùdutùà, the great ancestor of the Yoruba was
himself very old in life before he died. Ifa divination poetry refers
to him as
Ọlọfin ori ogbo
Ọlọfin kaakaa woo...
Ọlọfin tí wọn lá won ô fi lédù oyẹ̀,
T6 gbo gbòô gbò,
T6 si dota mọ wọn lọwọ.??

(Oléfin who was destined to live long.

Ọláfin the rugged one...
Qléfin whom they planned to install as a king
Who was very very old
To the extent that he looked like a piece of rock.)
But the content of ẹsẹ Ifá does not deal only with history, mythology
and belief. An important theme running through many ẹsẹ Ifá deals
with the Yoruba view of the world around them. Thus, we have
meticulous observations in ẹsẹ Ifá about objects and creatures of
nature which are to be found in the Yoruba country. Many Ifa
poems tell stories about hills, rivers, forests, wild and domesticated
animals, birds, insects and plants. The characteristics of these objects
are meticulously recorded for us in ¢s¢ Ifá in such a way that one
marvels at the high sense of appreciation of nature which existed in
traditional Yoruba society.
Furthermore, each object or creature mentioned in ẹsẹ [fd is per-
sonified in order to allow the Ifa priest to deal with it within the
[35]
framework of ẹsẹ Ifá already discussed just as he deals with human
beings. Each personified object or creature is made to be symbolic of
some kind of good or evil attribute which the Ifa priest wants to
eulogise or condemn. In this way, the Ifa priest builds up a powerful
satire on human society by telling stories of non-humans. The end-
product of his story about objects and creatures of nature is therefore
meant for human beings. If, for example, ẹsẹ /fá wants to condemn
unfaithfulness in Ifá divination practice, it will tell the story of
àgòìgbò, a bird believed to be originally an unfaithful Ifá priest. When
the Ifá priest wants to eulogise the importance of long life, he will
tell the story of the hill, which in ẹsẹ [fa is symbolic of power and
long life. Hence the hill is nick-named “‘eni-apa-0-ka”’ (he who cannot
be subdued or the impregnable one).
The aspects of the content of ẹsẹ [fd so far discussed are broad
themes which could be found in more than one particular Odu. It
should, however, be pointed out that the Ifa priests believe that each
Odu has its own theme which identifies it and separates it from the
others. Thus, many poems found in Qbérd Méji, the seventh Odi, tell
the story of a man who was very poor but who suddenly became
prosperous and important in society. Òífáá Méji, the thirteenth Odù,
tells the story of the coming of Islam into Yorubaland. This is the
reason why Otid Méjiis known as Bàbá Mole®* (The Muslim Old Man).
Some of the specific themes found in each of the 256 Odi cut across
the broad themes we have already discussed. Thus, Ọsá Méji which
is known as (sd Eleye (Qsd of the witches) tells the story of the conflict
between the àjé and the divinities.
We can therefore conclude that the content of ẹsẹ [fé is very broad
indeed. It covers Yoruba history, mythology, belief and value sys-
tems as well as the Yoruba appreciation of the world in which they
live. We are therefore not surprised that Ifá divination poems are
highly valued by the Yoruba as the guardian of Yoruba culture, the
wisdom of the ages and the teachings of the ancestors and the
divinities.

[36]
 NOTES

1. The number of divinities in the Yoruba pantheon is variously put at

401 and 201. Most of these divinities are minor gods worshipped in small
towns and villages. Some myths emphasise that the divinities came to the
earth in waves.
2. For details about the funtions of the major divinities, see Idowu, E. B.,
Olédimaré, God in Yoruba Belief, Longmans, 1962.
3. Ògún is the Yoruba war and hunting divinity. His symbol is iron, and
he is worshipped by hunters, farmers, blacksmiths and others whose occupa-
tion involves the use of iron implements.
4. Òòṣàálá who is also known as Qbdtdld is the divinity responsible for
creation. Because he could be found in almost every Yoruba town and be
cause of his important function of creation, Jdowu in his book, Oládùmarẹ̀, God
in Yoruba Belief, regards Odsadld as the Yoruba arch-divinity.
5. Éyù or Elggbara is the trickster divinity who keeps the àṣẹ with which
Olédiumaré created the universe and maintained its physical laws. Further-
more, Éyà acts as a policeman for Olédimaré to enforce compliance with the
ethical values of the universe.
6. There is another myth which states that the divinities came overland
from Ọrun, which was then part of another territory. At this time in Yoruba
mythology ayé (earth) and Qrun (heaven) formed part of the same planet.
But Orun later moved away skywards due to the dirty habits and insults which
human beings gave Olfrun (another name for Olédimaré which means “‘lord
of Qrun’’) every day.
7. If? is an important Yoruba city. It is the spiritual centre of the Yoruba.
It is believed that a shrine is kept at Ífẹ̀ for every Yoruba divinity. Jf?
was also the intellectual centre of Yoruba traditional society. This ancient
rain-forest city which now houses the University of Ife can be regarded as
the Mecca of the Yoruba. It is, however, not certain whether the Jf? of
mythology where the divinities landed is present-day Ile-Ifẹ̀. There are several
If? known to Yoruba historians, but the one in which the divinities landed
from heaven is known as /fẹ̀-Oòdáyá.
8. The Yoruba people believe that Jf? is the cradle of humanity. /f? is
therefore to the Yoruba what the Garden of Eden is to Jewish mythology.

[37]
 g. This probably explains why the hen is used more than any other creat-
ure as an offering to Ifá. The hen was the first messenger of the divinities and
therefore can be trusted as a means of sending messages through ẹbọ (sacrifice)
to the divinities. Hens which have five fingers are regarded by the Yoruba as
strange creatures. They are therefore used in the preparation of important
medicines.
10. The camelion is a sacred creature to the Yoruba. In traditional
Yoruba society, it was forbidden to kill camelions except for medicinal or
ritualistic purposes. The Yoruba regard the camelion as ajáògùn (the one who
makes medicines potent). The camelion is therefore usually included in many
important medicinal preparations in order to increase their potency.
11. Many of the ruling dynasties of the numerous Yoruba kingdoms trace
their origin to Odiduwa, also known as Q/¢fin, who is believed to be the great
ancestor of the Yoruba people. The present ruling dynasty in the important
city of Òyé is directly descended (through Qrddnydn, one of the grandsons of
Odiuduwa) from Qléfin. Therefore, the government of Yoruba traditional
society was based on divine right of kings.
12. For detailed discussion about the history of Yoruba kingdoms, see
Smith, R. S., Yoruba Kingdoms, Methuen, London, 1969.
13. The old Qy¢ empire was the largest and most important of the Yoruba
political groupings before its destruction in the late 1930’s. The power of
the king was based on extensive trade relations with the Sudanese states and
the forest kingdoms of the coast. The king also kept a large standing army
based on a cavalry of archers led by the Oníkòyí, and the Kakd-nfo.
14. Ìgẹ̀tí is the name of a place in If? believed to be the first dwelling place
of Òrúnmìlà on earth.
15. Other myths mention other children of Qninmild apart from the eight
male children referred to by this myth.
16. We do not know whether Adé here refers to Adé-Ekiti, which is in the
north-east or Adé-Awéye, which is in the west of Yorubaland.
17. See Abimbola, Wande, Ìjìnlẹ̀ Ohùn Ẹnu Ifá, Apé Kiint, Collins, Glasgow,
1968, pp. 43-7.
18. Most of the divinities are believed to have left the earth for jrun with-
out dying like ordinary human beings.
19. Abimbola, Wande, Jjinl? Ohùn Ẹnu Ifá, Apá Keji, Collins, Glasgow,
1969, pp. 87-98.
20. The goats attempted to eat the razors because they thought that they
were edible. This exaggeration only shows the height of the famine which
raged on earth as a result of the departure of Òrúnmìlà.
21. A similar palm-tree known by Ifá priests as 9p? àsùnká which has an
unusually large head is used by Ifa priests today as a symbol of Ifa.
22. Abimbola, Ljinl? Ohùn Ẹnu Ifá, 1969, pp. 142-1 57.

[38]
 23. For details about the Odi, see section II of this introduction.
24. Opel? is the name of a tree which grows wild in the forest.
25. For details about orí as a theme in Ifá divination poetry, see section
III (c) of this introduction.
26. The iba constitutes the first part of the chant of the Ifa priest and the
1jdlá (hunter’s poetry) artist. It is a salute to the earthly authorities such as
the elders and the witches and an invocation of the divinities to be present at
the chanting of the artist’s repertoire so that he may sustain no harm.
27. The Yoruba regard 7/? (the earth) as a divinity. This divinity is
worshipped by the Ogdéni, the most important of the Yoruba secret societies.
28. For further details about the ajogun, see section III (c) of the intro-
duction.
29. Abimbola, Ìjìnlẹ̀ Ohùn Ẹnu Ifá, 1968, p. tor.
30. Although Ofin is the last and therefore the most junior in this hier-
archy, Ifa priests believe that he was originally the most important of the
Odà. Hence whenever an Ifá priest wants to chant a poem from Ofin Méji
he will drink a little palm-oil and hail Ofin as a king with the words héepa Odu
(I salute the king of the Od).
31. See Abimbola, Wande, “Ifa Divination Poems And the Coming of
Islam Into Yorubaland’’, Pan-Africana Journal, New York, 1972, pp. 440-454.
32. For details about the structure of Ẹsẹ Ifá, see Abimbọla, Wande, ''An
Exposition of Ifá Literary Corpus’’, Ph.D. dissertation, University of Lagos,
Nigeria, 1970.
33. cf. Abimbola, Ljinl? Ohùn Ẹnu Ifá, 1969.
34. cf. Abimbola, Wande, “‘Ifa Divination Poems As Sources for Historical
Evidence’, Lagos Notes and Records, Vol. 1, January, 1967.
35. Abimbola, [jinl? Ohùn Ẹnu Ifá, 1968, p. 143.
36. Abimbola, An Exposition of The Literary Corpus, 1970.
37. Abimbola, Ljinl? Ohùn Ẹnu Ifá, 1968, pp. 71-2.
38. K¢k¢ is a type of Yoruba facial mark which runs into the head. Abaja
and kolo are names of other facial marks.
39. Odúnmbáká. A personal name which means “‘the year I would have
died”’.
40. Irand hen. A sacrificial hen killed on the grave of the dead immediately
after burial.
41. Abimbola, Wande, “‘Stylistic Repetition In Ifá Divination Poetry”’,
Lagos Notes and Records, Vol. 3, No. 1, January, 1971.
42. Abimbola, Ljinl? Ohùn Ẹnu Ifá, 1969, pp. 92-93.
43. Ontkadmégin is the name of the paramount chief of the city of Ìká.
44. Aké is a cloth used in ancient times by important kings.
[39]
 45. cf. Ìwòrì Méj in III (d).
46. Abimbola, Ìjìnlẹ Ohùn Ẹnu Ifá, 1968, p. 82.
47. Abimbola, Ljinl? Ohùn Ẹnu Ifá, 1968, p. 111.
48. Abimbola, “Ifa Divination Poems As Sources for Historical Evidence’’,
1967.
49. Collected from Oyedele Isola, Ile Beesin Paakoyi, Ọyé June, 1972.
50. Abimbola, “Ifa Divination Poetry and the Coming of Islam Into
Yorubaland’’, 1972.

[40]
THE PRINCIPAL SIXTEEN
CATEGORIES OF IFA
DIVINATION POETRY
 Ota gba;
Arira gbá;
Oké se ribiti sori ṣonṣo;
A díá fún Ọrúnmìlà,
Ifá rṣawoô ròde Ìlá Ọbamowô.
Wen ni Òrúnmìlà 6 jéré ní Ìlá Ọbamowô.
Ṣùgbọn kò rúbọ.
Ô sì rú u.
O sì kérẹ̀ délé.
Ijò ní rjò, 10
Ayo ní fy.
O ni ota gba;
Arira gba;
Oké se ribiti, sorf ṣonṣo;
A dia fin Ọrúnmìlà, {5
Ifá riṣawoô rode Ìlá Obamowé.
Adéẹké lọmọ Ifá.
Érẹ̀ lọmọ Ọòni.
Ọrúnmìlà jé nmérẹ̀ délé kokooko.

(2)
Ohun egbéé mí rṣe,
Bí n ò ṣàì ṣe é;
A díá féyin adie
Tí òun kànàkàná jọ nsoré
Àwọn méjééji igbdégutin lọ sí Ìgbòmokò Eségi
Won ní káwọn méjééji ô rúbọ.
WQn ní kéyin adie 6 mọ lọ.
Ṣùgbọn ẹyin adìé ní òun 6 lọ
Bí wọn ti dé bode.
Wọn bẹ̀rẹ̀ síí jd. 10
Nibi ti kànàkàná bá kùn lo,

[42]
 I Eji Ogbẹ̀
(a) Oranmila, The First Ifá Priest, Goes On Divination Practice
Thunder stones! are powerful;
Arira,? the powerful one;
The mighty hill which has a conical apex.
Ifá divination was performed for Qrénmila
When he was going to practise divination in the city of Ìlá 5
Obamows.*
Qninmila was assured of a gainful practice in that city.
But he was also told to perform sacrifice,
And he performed it.
And he succeeded in bringing all his gains home.
He started to dance, 10
He started to rejoice.
He said, ‘“Thunderstones are powerful;
Arira, the powerful one;
The mighty hill which has a conical apex.
Ifá divination was performed for Qrinmila 15
When he was going to practise divination in the city of Ìlá
Obamowé.
Adégké4 is the name of Ifa’s son;
Eré® is the name of the son of Ọọni.9
Ọrúnmìlà, let me carry my gains home unfailingly.”

(b) Chicken Egg In The Battle of Ìgbòmokò Eségi.

Whatever my colleagues are doing,
I must do.
Ifá divination was performed for Chicken Egg
Who was a friend of Kanakana}
Both of them were going to wage war against the city of
Ìgbòmokò Eségi.? 5
They were asked to perform sacrifice.
Chicken Egg was warned not to go.
But he said that he would go.
As soon as they arrived at the city gates,
They started to dance. 10
Wherever Kdndkana went, it was with full force

[43]
Ibéé di ona.
Ẹyin adie náàá ní oun 6 se bẹ̀ẹ̀?.
Bayif ni ẹ̀yin adie se bẹ sile
Ti 6 si fẹ. 9
Ayinddi ní nyin àwọn awoo rẹ̀.
O ní ohun egbéé mi nse
Bi n 0 sai se é;
A dia féyin adie
Ti òun kanakana jo nsore. 20
Àwọn méjẹ̀ẹ̀jì ngbégun lọ sí Ìgbòmokò Eségi.
eu A 94

Kéé pé o,
Kéé jina,
E waa ba ni laruuségun.

(c)
Mo sipa,
Mo yanngede;
A dia fan Ọrúnmìlà,
Won ni baba ò nif leé rẹrùu rẹ̀ dalé.
Won ni kf Òrúnmìlà 6 ribo,
Osi rú u.
Apa àwọn òtáa rẹ̀ ko si leé ka a mọ.
O ni mo ṣípá,
Mo yanngede;
A dia fan Òrúnmìlà, Io
Won ni baba ò nif leé rẹrùu rẹ̀ dalé.
Emi nikan ni n 6 rẹrùù mi dalé,
Mo sipa,
Mo yanngede.

(4)
Pàkelemò, babaláwo orí,
Lo dia £férí,
Orí nsunkún oun ko laya;

[44]
That he made a way for himself.
As Chicken Egg attempted to do the same thing,
He fell down,
And was broken up into pieces.
It was with regret that he started to praise his Ifa priests.
He said, “‘Whatever my colleagues are doing,
I must do.
Ifá divination was performed for Chicken Egg
Who was a friend of Kanakana 20
Both of them were going to wage war against the city of
Ìgbòmokò Eségi.
It is not a long time,
It is not a distant date;
Come and see us conquering with sacrifice.”

(c)I Lift Up My Arms In Foyful Satisfaction

I lift up my arms
In joyful satisfaction.
Ifá divination was performed for Òrúnmìlà;
The father was told that he would not carry his responsibilities
to the end of his life.?
Òrúnmìlà was told to perform sacrifice,
And he performed the sacrifice.
As a result he became impregnable.
He said, "I lift up my arms
In joyful satisfaction.
Ifá divination was performed for Qrinmila;
The father was told that he would not carry his responsibilities
to the end of his life.
I will carry my own responsibilities to the end of my life.
I lift up my arms
In joyful satisfaction.”

(d) Head, Chest and Genital Organs

Pàlelemẹ̀,! Ifa priest of Head,?
Performed Ifá divination for Head,
When Head was weeping because he had no wife.

[45]
Pakelemo, awo aya,
Lo dia faya,
Aya risunkún oré;
Pakelemo, awo ìdí,
Lo dia fún ìdí,
Idi nsunkún àìròmọbí.
Won ní káwọn métééta 6 ribo IO
Won si rú u.
Gbogbo ire naa ni won si rí.
Won ni Pakelemod, baba Pakelemo,
O sé o.
Àyá rúbọ, Te
Aya yanré.
Pakelemo, baba Pakelemo,
O sé o.
Ìdí rúbọ.
Ìdí rémo bí. ao
Pàkelemò, baba Pàkelemò,
O ṣé o.

l461
Pakelemp, Ifá priest of Chest,
Performed Ifa divination for Chest,
When Chest was weeping because he had no friends.
Pakelemp, Ifá priest of Genital Organs,
Performed Ifa divination for Genital Organs,
When they were weeping because they had no children.
The three of them were asked to perform sacrifice.
They performed sacrifice,
And had all the good things they lacked.
They said, ‘‘Pakelemp, the good father,
We thank you.
Chest performed sacrifice,
And Chest made friends.
Pakelemp, the good father,
We thank you.
Genital Organs performed sacrifice,
And they produced children. 20
Pakelemp, the good father
We thank you.”

[47]
 II Oyékia Méji
(a)
Ìwọ Oye,
Emi Ọyẹ̀;
Won ṣe bôjúmọ ní nmọ;
A dia féja
Tif somo won lálẹ̀ odo.
Won ni kéja 6 ribo.
Wọn ni pipo nire ọmọọ rẹ̀,
Ṣùgbọn kò rúbọ aráyé.
Kò rú. IO
Ô ní báwo làwọn òtá
Ṣe leẹ̀ ríran ráwọn ọmọ òun lálẹ̀ odò?
Ô pawo lékéé,
O péÉṣù lélẹ̀,
O wòrun yànyàn bí ẹni tí ò níí kú, o
Ô kọtí ogboin sébo.
Negba tomo aráyé dìde,
WQn nawé he ọkẹ, ada ati ogbuin;
Won sé odò,
Won si béré síí gbdén on,
Ìgbà tí omí tán léyin ẹja àti àwọn ọmọọ rẹ̀ 20
Ni àwọn ọmọ aráyé bá mú wọn,
Wọn si fi wọn lérí iyán,
Ase Est: ni kò jé kí
Àwọn ọmọ ẹja 6 leé tán láyé. 25
Ṣùgbọn títí dòní oldnif,
Àwọn ọmọ aráyé nkò àwọn ọmọ ẹja ni.

(6)
Opa gbòrigbò nif ṣaájú agbdoni;
Atélesé méji
Won a jijadt ona gborogan, gborogan;
A dia fún érinldjo aso

[48]
 II Ọyẹ̀kú Májì
(a) The Consequences of Neglect of Sacrifice
You are Qy?};
I am also Ọ)ẹ̀;
Daylight is just appearing in the skies
But people thought it was already morning.
Ifa divination was performed for Fish
Who was an offspring of the river bed.
Fish was told to perform sacrifice.
They told her that she would have many children,
But she was warned to perform sacrifice to prevent attacks of
human beings.
She did not perform sacrifice.
She said that it was not possible for enemies.
To see her children at the bottom of the river.
She took her Ifa priests for liars,
She called Éyà a thief?
She looked fearfully to heaven as if she would never die.
She turned a deaf ear to the warning concerning sacrifice.
When human beings got up,
They took hoe, cutlass and ggbin.*
They dammed the river,
And started to drain off its water. 20
When there was no water left on top of Fish and her children,
Human Beings took them,
And put them on top of pounded yam."
It was the commandment of Éyà
Which prevented the complete annihilation of all species of 248)
Fish from the earth.

(b) Red Cloth Is Never Used To Cover The Dead

A small walking stick goes in front of he who wades through a
foot-path on a wet day.’
The two soles of the feet,
Struggle persistently for possession of the narrow path.?
Ifá divination was performed for one hundred and sixty four
cloths

[49]
Ti won ntikolé ọrun bo wáyé.
Won ni ki gbogboo won 6 rubo.
Kẹ̀lẹ̀ nikan lò rú.
Ô rúbọ tán,
Ayé bẹ̀rẹ̀ síí yẹ ẹ̀.
Bí wọn bá lo é, lo 6, lò o, Io

Bò bá dọjọ ikú,
Wọn a ní kí won 6 mú un kúrò lára òkú.
Aṣọ funfun àti aṣọ mìíì níí bá òkúú dọrun,
Aṣọ pupa kò gbodo bá a lo.
Kélé 16 rú o, o
Kelé lo tu.
Aso pupa kif bokuu dọrun.
Bi won ba toku je tan,
Won a pada séyin.

(6)
Àtàtà tanìntanìn;
A díá fỌlọmọ, ìyan, ìyan gìdìgbí.
Gbogbo ajogun gbogbo ní ndooyif ká Ọlọmọ
Ti wọn nféé pa a.
Won ni ẹbọ ní 6 ru.
O si rú u.
Ni ọjẹ kan,
Iku, àrùn ati òfô dìde,
Wọn nṣíguún lọ sílé Ọlọmọ.
Won bá Ìùṣù lôjúde. LỌ
Bí wọn bá ti féé wọlé Ọlọmọ.
Es ṣáà rhbu iyefun élubd6 sí won lénu ní,
Béé ni gbogbo ajogun ko gbọdò fẹnu kan iyéfun élubd
Igba ti iyefun ẹ̀lùbẹ kan àwọn ajogun lénu,
Omfif ku, òmíìí si ṣàárẹ̀ nínúu won, 15
Ṣùgbọn ko si ẹ̀yí tí 6 leé wolé Ọlọmọ nínúu won.
Igba ti inú Ọlọmọ dùn tan,
Orin awo ni nko.
Ô ní Àtàtà tanìntanìn;
A díá fỌlọmọ, ìyan, ìyan gìdìgbí. 20

[50]
When they were coming from heaven? to earth.
All of them were told to perform sacrifice.
But only Red Cloth performed sacrifice.
After performing sacrifice,
He started to have honour and respect.
After a man has used Red Cloth for a long time,
On the day the man dies,
Red Cloth is removed from his corpse.
Only white and other shades of cloth go with the dead to
heaven.
Red Cloth must never go with him.
Only Red Cloth performed sacrifice, 9
Only Red Cloth offered sacrifice to the divinities
Red Cloth does not go to heaven with the dead.
After deceiving the dead for a little while (on earth),
It turns away from him (on the road to heaven).

(c) Death Does Not Eat Yam Flour

The Ifa priest named Atdtd-tanin-tanin'
Performed Ifa divination for Qlomg?, the mighty one.
All the ajogun? surrounded Ọlọmọ
In order to kill him.
He was told to perform sactifice,
And he performed sacrifice.
It happened one day,
Death, Disease and Loss stood up,
And went to attack the house of Ọlọmọ.
They met Esa outside the house." IO

As they were trying to enter the house,

Esi poured yam-flour into their mouths.
Since the ajogun must not taste yam-flour,®
When yam-flour touched their mouths,
Some of them died and some became sick, TO
But none of them was able to enter the house of Ọlọmọ.
When Ọlọmọ became happy,
He started to chant the song of Ifa priests.®
He said, ‘“The Ifa priest named Atata-tanin-tanin,
Performed Ifa divination for Ọlọmọ, the mighty one. 20

[51]
Iku tò l6un 6 pawo.
Kò leé pawo mọ,
Ikú ti yẹ̀ lúrí awo.
Ikú éé jẹ̀lùbẹ;
Bíkú bá pôun 6 jẹ̀lùbẹ̀, So
Ẹnuu rẹ̀ a kù,
Ẹnuu wọn a fún tuuru.
Àrùn tò lôun 6 ṣawo
Kò leẹ̀ sawo mọ
Ikú éé jẹ̀lùbọ; 30
Bíkú bá pdun 6 jẹ̀lùbọ,
Ẹnuu rẹ̀ a kù,
Ẹnuu wọn á fun tuuru.
Ajogun gbogbo to loun 6 ṣawo,
Kò leẹ̀ ṣawo mọ. SO
Ikú eé jélubd;
Bíkú bá pdun 6 jẹ̀lùbẹ̀,
Ẹnuu rẹ̀ a kù,
Enuu wọn a fún tuuru.

(4)
Ori tí 6 ò dádé,
Nínú agoroodẹ nfí tif yod wá;
Ọrùn tí 6 léjigbaaléke,
Nínú agoroodẹ nif tif yod wa;
Beébeéédi ti 6 lo médsaaji,
Aso ọba tò kona yanran yanran,
Nínú agoroodẹ níí tif yod wá;
A díá fún Ikúṣàánú
Tif ṣàrẹmọ Alápà.
Ikú ṣàánú ò, IO
A ò pé o mọ pa ni.
Àrùn ṣàánú ò,
A ò pé o mọ ṣe ni.
Gbogbo ajogun, ẹ ṣàánú ò,
A ò pé ẹ mọ ṣe ni.
Wo)
E bá ṣàánú,
E relé míì.

[52]
Death, who boasted that he would kill Ifá priest,
Can no longer kill him.
Death has shifted away from the head of Ifa priest.
Death does not eat yam-flour.
If Death attempts to eat yam-flour, 25
His mouth would collapse,
His mouth would be tightly compressed.
Disease, who boasted that he would attack Ifa priest,
Can no longer attack him.
Death does not eat yam-flour. 30
If Death attempts to eat yam-flour,
His mouth would collapse,
His mouth would be tightly compressed.
All evil things who wanted to attack Ifá priest
Can no longer attack him. 39
Death does not eat yam-flour.
If Death attempts to eat yam-flour,
His mouth would collapse,
His mouth would be tightly compressed.”

(d) Death, Have Mercy On Us

The head who will wear a crown,
Is chosen before birth by the divinities.?
The neck who will wear a crown,
Is chosen before birth by the divinities.
The hips who will use mésdaji,?
Garment of kings which is very warm,
Is chosen before birth by the divinities.
Ifá divination was performed for [kisadénu®
Who was the first-born son of Aldpa.4
Death. have mercy on us.
We are not saying that you shouldn’t kill.
Disease, have mercy on us,
We are not saying that you must not attack people.
All ajogun, have mercy on us,
We are not saying that you shouldn’t attack people.
But, please, have mercy on us,
And go to another land.

[53]
 III [wort Meji
(a)
Ògòdò dwt soké odò,
Payin kekeeke sdloko;
A dia fin Alantaakuin,
Ọmọ asohun gbogbo
Bí idán bí idán.
Ifa, bí idan, bi idan
Ni o seree témi fémi.
Ògòdò owt sòkẹ̀ odò,
Payín kekeeke sdloko.

(2)
Ọgán dádé
Béé ni kò gbọdò jọba;
Orúrù nff wẹ̀wù ẹ̀jẹ̀ kanlẹ̀;
Orubu ẹfún balẹ̀,
Ô kò rúmú rùmù rúmú;
A díá fún àsé tééré,
Omobinrin òrun;
A bù fún àtò tééré,
Ọmọkùnrin ìsálayé.
Àsé tééré, TO
A wá ọ kù,
O ò dé mọ;
O lawọ laṣẹ̀,
Lo dọmọ.
Gbẹ̀jẹ̀bí,
A fé ọ kù,
O ò dé mọ;
O lawọ lasẹ̀,
Lo bá dọmọ.

(541
 III Iwori Méji
(a) A Prayer To Ifá
When the farmer looks at cotton wool on the other side of the
river,
It seems to open its white teeth smiling joyfully.
Ifá divination was performed for the Spider,?
Offspring of those who do all things
In a wonderful way. 5
Ifa, in your own wonderful way,
Bring all good things to me.
When the farmer looks at cotton wool on the other side of the
river,
It seems to open its white teeth smiling joyfully.

(b) Slender Menstrual Flow And Slender Semen

When the top of an ant-hill is broken,
It retains water inside its trunk?
Ortri? tree wears a garment of blood all over.
When powdered chalk falls on the ground,
It scatters all over in fine particles. 5
Ifa divination was performed for slender Menstrual Flow,
Who was a girl of heaven.
Ifa divination was also performed for slender Semen,
Who was a boy of this earth.
Slender Menstrual Flow, 10
We sought you in vain,
You refused to come back.
But you grew hands and feet,
And turned into a baby.
You, offspring of blood; 15
We saw you no more.
You did not return.
But you grew hands and feet,
And turned into a baby.

[55]
 (6)
Pá, bí ọsán já;
Ọsán já,
Awoo won léde Itéri;
Akatanpo jakin,
O dobiiri kale,
A dia fan Ọrúnmìlà
Ifa nlo tayé Olúúfẹ̀, Oro, sọ,
Bi eni ti nsogba
Ta nf 6 waa ba ni
Tayée wa wonyi so? 10

Ewé opepe tilẹ̀ so.

Òrúnmìlà ni 6 6 waa bá ní
Tayée wa wonyi so,
Ewé opépé tilé so.

(d)
Gbalukogun, gbalukogun,
Ipakoo ?gún jéru aaké
Bẹ̀ẹ̀ ni ko seé kégi;
A dia fÉjì Iwori
Ey{ ti 6 6 kéta Odù wáyé.
Won ni níbo ni yoo gbé durd?
O nf sebf òun ni dun fodd ribo.
Won ni níbo ni yoo gbé telé?
O nf òún da irúu tété sílẹ̀.
WQn ní kò gbodo dédee baba enikdédkan. IO
O ní ṣojú onflé ni tẹ̀tẹ̀hpònlá fif gbale.
O ní awa agba la jo riṣegbò.
Teté méo rin,
Teté mọọ yan.
O ní awa ìjòkùn la jo nsddan, 19
Tete mọọ rin,
Teété még yan.
Awaa keekéé la jo nsOyd Ajaka;
Teté mọọ rin,

[56]
 (c) Orinmila Will Help Us Mend Our Lives
Sudden as the snap of leather string.
Leather-string-snaps,
Their Ifá priest in the city of /téri.
When akatanpé* loses its string,
It runs all over the ground. 5
Ifá divination was performed for Orinmila
When he was going to mend the life of the king of If?
As one mends broken calabash.
Who then will help us
Mend our lives? 10
It is Ọrúumìlà who will help us
Mend our lives.
The palm-tree grows leaves from its tender age.

(d) Iwori Méji The Third Odù To Appear on Earth

Ugly, clumsy and crooked
The occiput of the vulture resembles the handle of an axe.
Yet it cannot be used in cutting a tree.
Ifá divination was performed for Eji [wéri}
Who was the third Odi to come down to earth. 5
They asked him where he planned to stay.
He answered that he had already performed sacrifices with a
mortar.
They asked him where he planned to tread the land.
He answered that it was he who spread fẹ̀fẹ̀? species all over the
earth.
They asked him never to go in front of another man’s house. 10
He said that it was in the presence of the owner of the land that
tetenponld* covers up the land.
He said that he and agba? lived together in the forest.
T¢t?, walk about freely;
T?t?, move about in peace.
He said that he and ijdkin® lived together in the grassland. 15
T?t?, walk about freely;
T?t?, move about in peace.
He said that he and keekée* lived together at Oyf Ajakd.’
T¢t?, walk about freely;

[57]
Teté mọọ yan. 20
Kò sí onílẹ̀ tò lẹ̀ pé tete 6 mọ tele.
Tete mọọ rin,
Tete mọọ yan.

[58]
T?t?, move about in peace. 20
There is no landowner who can prevent fẹ̀fẹ̀ from flourishing on
his land.
Tẹ̀lẹ̀, walk about freely;
Tẹ̀tẹ̀, move about in peace.

[59]
 IV OdíMeji
(a)
A k6élé bíríkòtúò,
A lÒòṣà 6 gbà 4;
BOosa ò ba gbà 4,
Kò régbé réé saké
Kò rodan réé hokun,
Ko ri i bagara seé da ni;
A dia fún Asamo,
A bù fOdimd
Níjọ tawon mejeejii ntorun bo wáyé.
Won ni kÁsámò 6rúbọ, fo

KOdimo náà 6 rú
Won si ru u.
Wọn rúbọ tan ni ajogun gbogbo
Kò bá lẹ̀ déẹdòọ wọn mọ.
WQn ní a kọẹlé bíríkòtú, 15
A lÒòṣà 6 gbà 4;
BO6sa 6 ba gbà 4;
Kò régbé réé saké,
Kò rodan réé họkùn,
Ko ri i bagara seé da ni; 20
A dia fin Aṣámò,
A bù fOdimd
Níjọ tawon TEJeeji?ntorun bẹ̀ wáyé.
Òdìmò, dímò, rere ò,
Òdìmò, dímò rere. 25
Ò bá dímò fúnkú,
Kò o dímò fárùn,
Òdìmò, dímò rere.
Òṣìnà, sínà rere ò,
Òṣìnà, sínà rere. 30
Ò bá ṣínà fájé,
Kò o ṣínà fáyà,
Osina, sina rere.

[60]
 IV Odi Májì
(a) Gateman, Open The Gate Intelligently
We build a tiny house,
And ask a divinity to accept it as his dwelling place.
If the divinity refuses to accept it,
Let him go into the forest to cut building poles,
Let him go into the grassland to fetch building ropes,
And see for himself the difficulties involved.
Ifa divination was performed for he who cuts palm fronds,
Ifá divination was also performed for he who ties palm fronds
together,
On the day both of them were coming from heaven to earth.
The cutter of palm fronds was told to perform sacrifices, Io
The one who ties palm fronds together was also told to perform
sacrifice.
Both of them performed sacrifice.
After they had performed sacrifice, all evil things
Could no longer go to them.
They said, ''We build a tiny house,
And ask a divinity to accept it as his dwelling place.
If the divinity refuses to accept it,
Let him go into the forest to cut building poles,
Let him go into the grassland to fetch building ropes,
And see for himself the difficulties involved. 20
Ifa divination was performed for he who cuts palm fronds,
Ifa divination was also performed for he who ties palm fronds
together,
On the day both of them were coming from heaven to earth.
You, who tie palm fronds together, tie them securely.
Tie them securely against death, 25
Tie them securely against disease.
You, who tie palm fronds, tie them well.
Gateman, open the gate intelligently.
Gateman, open the gate intelligently.
Open the gate for money, 30

Open the gate for wife.

Gateman, open the gate intelligently.

[61]
 (2)
Mo déere,
Mo riinre;
Emi nìkan ni mo mòrìn arinkodrin;
A sẹ̀sẹ̀ nkéhun ọrọọ 'lẹ̀
Ní ino wọlé wéré bí ọmọ olôòhun;
Emi éé ṣọmọ olôhun,
Ìrìn àrìnkò ni mo mọọ rìn;
A díá fájògì gòdògbò
Eyi tí 6 wọlé wéré
Nijé ti won npinro obaa ’Bini. Io
Ajogi gòdògbò rìṣawoô rédeé Bint,
Lo ba mééji keéta,
O looko alawo,
Won ni ajo yoo dara fún un.
Sugbon ko rubo. 493
Ìgbà 6 ribo tan,
Lò ba kori séna Ibini.
Wiwo to wo ’Bint,
O ṣàkòkò ikú obaa won.
O ni njé 6 ye ki òun àgbà awo 20
O mé loo ki won báyìí.
Bi won se npinrd ọba ni ajogi wolé dé,
Béé ni bi won ba pínrò naa tan,
Apa kan rẹ̀, ajogi ni wQọọn kò o 6 fún.
Ni àwọn ara ode Ìbíní 25
Ba ko apa kan ohun ord naa fun ajogi gòdògbò.
Rírọ tajogi rẹ gbogbo nùkan ọrò tan,
Ilé 16 kori sí.
O wáà nyin àwọn awoo rẹ̀,
Àwọn awoo rẹ̀ niyin "Fá. 30
Wo6n sopa sáràn,
O mú tinúu rẹ̀ jáde,
Esé ti yo na,
Ijo fa a.
O ya ẹnu kotd,
35
Orin awo lò bọ sí i lénu.

[62]
(b) The Important Stranger In The City of Benin
I arrive well,
I travel well.
I am he who usually travels and comes across fortune.
Just as they were laying down riches,
I entered unannounced like the owner’s son.
I am not the owner’s son,
I only know how to travel and come across fortune.
Ifá divination was performed for the important stranger
Who would enter the city unannounced
On the day they were sharing the wealth of the king of Benin.} Io
The important stranger was going to the city of Benin on
divination practice.
He added two cowries to three,
And went to consult another Ifá priest.
He was told that the journey would be good for him.
But he was told to perform sacrifice.
After he had performed the prescribed sacrifice,
He went on the road to Benin.
The time he entered the city,
Happened to be the time their king died.
He wondered if he, an experienced Ifa priest, 20
Should not go and sympathise with them.
The important stranger entered just as they were dividing the
properties of the dead king.
And after they finished dividing the property,
A portion of it usually went to a stranger.
The citizens of Benin aD
Therefore gave a portion of the riches to the important stranger.
As soon as the important stranger gathered all the riches,
He went back to his own town.
He started to praise his Ifa priests,
And his Ifa priests praised Ifa. 30
They applied drumstick to dran,?
And it brought forth its pleasant melodies.
As he stretched out his legs,
Dance caught them.
As he opened his mouth, 35
The song of Ifa came out therefrom.

[63]
O ní béé gégé ni àwọn awo òún wí:
Mo déere,
Mo rìinre;
Emi nìkan ni mo mòrìn àrìnkòô rìn; 40
A ṣẹ̀ṣẹ̀ nkòhun ọròọ 'lẹ̀
Ni mo wọlẹ̀ wéré bí ọmọ olôòhun;
Emi é&é somo oldhun.
Irin arinko ni mo mòọ rin,
A dia fajogi godogbo, 45
Eyi ti 6 wolé wéré
Níjẹ̀ tí won fpinro obaa ’ Bini.
Ta ni 6 waa ba ni tun ’le yi se?
Ajogi gòdògbò
Ni 6 waa ba ni tun ’le yi se.

(6)
Idi méjẹẹ̀jí to olúwaarẹ̀€ jòkòé;
A dia fonibodé Ajẹ̀hgbẹ̀rẹ̀ Mogun,
Eyi ti 660 gbdju kan rire gbogbo.
Ko sí isé ti Onibodé ò se tan,
Okan ò pé e nibé.
Oun leé rire báyìí?
Ni Onibodéé dafa sí.
Won ni ebo ni 6 waa ru.
O si rú u.
Igba 6 rubo tan, IO
Lo ba di pé bdldko ntokoô bo,
Bọlọnà ntonaa bod,
Won nfún Onibodé
Ní orisirfsif nìkan
Bí àgbàdo àti iṣu. ag
Bonibodéé bájẹ, to yo tan,
A sì tún tà nínú nhkan wọnyí.
Bẹ̀ẹ̀ ni Oníbodeé ṣe ti 6 fi dolôwò.
Ìgbà tí inúu rẹ̀é dùn tán,
Orin awe ní nko. 20

l641
He said it happened exactly as his diviners predicted.
“T arrive well,
I travel well.
I am he who usually travels and comes across fortune. 40
Just as they were laying down riches,
I entered unannounced like the owner’s son.
I am not the owner’s son,
I only know how to travel in order to come across fortune.
Ifá divination was performed for the important stranger 45
Who would enter the city unannounced
On the day they were sharing the wealth of the king of Benin.
Who then will help us improve this city?
It is the important stranger
Who will help us improve this city. 50

(c) The Gate-keeper Of The City of Ajehgbéré Mògún

The two halves of the buttocks are enough support for one to sit
upon.
Ifa divination was performed for the gate-keeper of the city of
Ajengbér? Mògún,1
Who would stay in one place and there have all good things.
There is no type of job which the gate-keeper had not done.
But he prospered in none of them.
Could he possibly come across fortune?
That was the question he asked from Ifa.
He was told to perform sacrifice,
And he performed it.
After he had performed sacrifice,
Whenever farmers were returning from their farms,
Whenever travellers were returning from their travels,
They gave the gate-keeper
Different kinds of products
Like maize and yams.
After the gate-keeper ate to his satisfaction,
He would sell the remainder of the products.
That was how the gate-keeper became a rich man.
When he became a happy man,
He started to sing the song of Ifa priests. 20

[65]
O ní ìdí méjẹ̀éjí tôlúwaarẹ̀€ jOkOd;
A díá fOnibodé Ajẹ̀hgbẹ̀rẹ̀ Mògún,
Eyi tí 6 ò gbôjú kan rire gbogbo.
Ero Ìpo,
Ero Ofa, 25
E waa ba ni ní jẹ̀bútú ajé suuru.

(4)
Adindi Òdí,
Adindi Òdí;
A díá fÉjì Òdí
Tí lọ sôjà Ejigbomekun,
O yrsunkun aláìlébìnrin.
Won ní kí Eji Odi 6 rúbọ.
Kin ni oun 6 ha rú báyìí?
Won ni ki 6 rú Opolopo oyin.
O si rú u.
Ninu oyin ti 6 rú naa,
Ni àwọn awoo réé ti mu
Ti won fi se [fa fún un.
Bi Eji Òdí ti dẹjà Éjìgbòmẹkùn,
Ìyálọjà 16 k6é dìgbò lù,
Ô sì ta ẹ̀kan nínú àwọn ìgò oyin
Ti wọn fi ṣe Ifá fún un sí i nídìí.
Léyin náà 16 bá ìyálọjà lò po.
O sì gbádùun rẹ̀ pípò.
Lo bá di pé Opo òẹ̀yàn bẹ̀rẹ̀ síí jìjàdù
Láti bá ìyálọjà lò pọ. 20
Ìgbà tí inúu gbogbo wn dùn tán,
Orin ni wén nkọ.
WQn wí pé
Lyaldja ṣe ká lọ,
Oyinmọmọ 25
Kò mé jé 4 lọ léjà,
Oyinmọmọ.

(66)
He said, “The two halves of the buttocks are enough support for
one to sit upon.
Ifa divination was performed for the gate-keeper of the city of
Ajẹìgbẹ̀rẹ̀ Mogun
Who would stay in one place and there have all good things.
Travellers to the city of Jpo,?
Travellers to the city of Ofa,3 25
Come and find us with plenty of money.”

(d)Odi Makes Love With The Head of The Market Women

The very big and powerful Odi,
The very strong Odi.
Ifá divination was performed for Eji Òdí!
Who was going to the market of Éjìgbòmẹkùn?
Weeping because he had no wife. 5
Eji Òdí was told to perform sacrifice.
What should he offer for sacrifice?
He was told to perform sacrifice with plenty of honey.
He performed it.
Out of the honey which he offered for sacrifice, IO
His Ifá priests took a little,
And with it, made the medicine of Ifá for him.
As soon as Eji Òdí arrived in the market of Ejigbdmekiun,
He got hold of the head of the market women,?
And he poured honey from one of the bottles 15
Which contained the Ifá medicine into her private part.
It was after that that he had sex with her,
And he enjoyed her exceedingly.
The result was that many other people started to struggle
To have sexual intercourse with the head of the market women. 20
When they all became happy,
They started to sing.
They were saying,
‘The head of the market women, let us go.
Sweet honey 25
Does not allow us to leave the market.
Sweet honey.”

[67]
 V Irosun Meji
(a)
Irinò ẹfẹ̀n,
Ẹgbẹ̀rin ìwo;
Onlénu ẹfẹ̀n
Níí rìn waara waara létí ọpa;
A díá fún Ọlégbun Àyíkú.
WQn ní kí 6 ribo,
Won ní àwọn ota féé pa a lẹdún náà.
Wọn ní ki 6 lo di mọ Sangé.
O si se gbogboo rẹ̀.
Ibi ti àwọn òtáa re gbé npétepéro, Io
Pé àwọn 6 pa a,
Ni Sang6 ba 106 sọ ẹdùn aara sí aarin won.
Ìgbà tí 6 ségun àwọn òtáa rẹ̀ tán,
O wáà njò,
O nyo,
O ní béé gégé ni àwọn awo oun wi.
Irind efon,
Egberin iwo;
Onlénu efon
Nif rin waara waara léti ọpa: 20
A dia fún Ọlégbun Àyíkú
Eyi tí 6 dOlégbun Àyílà
Gbiri gbiri lori ota.
Érò Ipo,
Ero Ofa; 25
E waa ba ni láìkú kangiri,
Aiki kangiri là 4 bòkẹ̀.

(2)
Ìbabúrú,
Awoo wọn lIdéde Ìbabúrú;
Ìbabùrù,

[68]
 V Trositn Májì
(a) Sango Saved Ol6gbun From Imminent Death
Four hundred bush cows,
Eight hundred horns;
Four hundred and eighty bush cows
Go fearlessly in front of hunting staff.
Ifa divination was performed from Oljgbun® who would have — 5
rolled into death.
He was asked to perform sacrifices.
They told him that his enemies wanted to kill him during that
year.
They told him to go and cling to Sangé° for support,
And he did everything.
In the place where his enemies were deliberating 10
To kill him,
Sango threw his thunder stone amongst them.
After Qlégbun had defeated his enemies,
He started to dance,
And he started to rejoice. 15
He said that was exactly what his Ifa priest predicted.
‘Four hundred bush cows,
Eight hundred horns;
Four hundred and eighty bush cows,
Go fearlessly in front of hunting staff. 20
Ifá divination was performed for Q/égbun who would have rolled
into death;
But who later became Qlégbun who rolled
And survived with the aid of thunder stone.
Travellers to the city of Ipo,
Travellers to the city of Ofa, 25
Come and see us enjoying our long lives with perfect health
The hill is for ever immortal, firm and strong.”

(b) History and Culture At Old Ọyé

The Ifá priest known as Jbabiri,}
Who was their Ifá priest in the city of /babiri:
The Ifá priest known as Ìbabùrà,
[69]
Awoo won léde Ìbabùrù;
Ìbabùrù,
Awo òde Ìbarakata;
A díá fún Ìgbà
'Tí riṣawoô ròde Ọyò.
Gbogbo ilé Ìgbà 16 gbéna
'Tọmọtọmọ, tobinrintobinrin. Io
Won ní Ìgbà 6 ribo
Kara 6 lẹ̀ baa tù ú.
O rúbọ tan,
Ni ara waa béré síí tu ú.
O ni Ìbabúrú, 15
Awoo won léde Ibaburu;
Ìbabùrù;
Awo òde Ìbabùrù
Ìbabùrù
Awoo òde Ìbarakata. 20
A díá fún Ìgbà
T{ fiṣawoô ròde Oyé.
Ìgbà, mo ṣẹbọ ila tútù;
Ìgbà, mo ṣẹbọ ẹ̀sùn tútù
Mo waa mu BEgiri Ald tán, 25
Ara tù mí niniini.

(6)
Ọgẹ̀dẹ̀ àgbagbà
Abéso kòkòẹ̀kò;
A díá fún Pòrò
Tí úsunkún òun 6 rọmọ bí.
Wọn ní kí Pòrò ô rúbọ,
Ô sì rú u.
Ô rúbọ tán,
Lò bá bí ọmọ méta.
O ṣaájò, ṣaájò,
Kò bí jù béé lọ mé.
Àwọn ọmọ méta tí 6 bí náà
Ni 6 fi nyin àwọn awoo rẹ̀.
O ní béé gégé ni àwọn àwọn oun wi.
Ọsgẹ̀dẹ̀ àgbagbà
[70]
Ifá priest of the city of /babara;
The same ìÌbabùrù, F
Who was also their Ifa priest in the city of /barakata,
Performed Ifá divination for /gbd*
When he was going to the city of Old (yé6% to practice divination
Everybody in the household of Ìgbà was very feverish
Including the children and the wives. 10
Ìgbà was told to perform sacrifice,
So that he might have peace.
After performing the sacrifice,
He started to have peace.
He said, ''The Ifá priest known as Ìbabúrú, 15
Who was their Ifa priest in the city of [babiri;
The Ifá priest known as Ìbabùrù,
Ifá priest of the city of Ìbabàrù
The same Ìbabùrù,
Who was also their Ifá priest in the city of [barakata, 20
Performed Ifa divination for [gba
When he was going to the city of Old Qy¢ to practice divination
After I offered sacrifice with fresh okro,
After I offered sacrifice with fresh Qsin* vegetable,
And gave all of them to Erigi Àlé,5 25
I became very happy, peaceful and contented.”

(c) Poro and Her Three Children

The Plantain plant
Which bears very big fruit.
Ifá divination was performed for Pòròl
Who was weeping because she had no children.
Pòrò was told to perform sacrifice, 5
And she performed it.
After she had performed sacrifice,
She had three children.
She did everything in order to have. more,
But she did not have any more. 10
It was because of the three children that she had
That she praised her Ifa priests.
She said that was exactly what her Ifa priests predicted.
‘“‘The Plantain plant

[71]
Abéso kòkòọòkò; I5
A dia fin Poro,
Ti sunkún oun 0 ròmọ bí.
Ìgbà tí Pord 6 bit
O bard.
Ìgbà tí Pord 6 tùún bi, 20
O bAasa.
Ìgbà tí Pord 6 tùún bí,
O bÒdòjé,
Eyi tif ṣọmọ ìkẹyìin won lérje lérje.
Ero Ipo, 25
Ero Ofa,
E waa wofa awo ki
Bo ti nse.
Ifa dé, alase,
Ebora abise,
Ope, abise wara. 30

(4)
Iná kú feérú bojú,
Òṣùpá ku, 6 firawd6 lẹ̀,
Ìràwò saasaa nif salatiléyin fòṣùpá;
A dia fún Òrúnmìlà
Ifá úṣawo, rnṣàpọn.
Òún leé Idébinrin báyìí?
Ni Ọrúnmìlà bẹ̀ẹ̀rẹ̀ sí.
Won ní ki 6 ribo.
O ribo tan,
Kẹ̀ẹ̀ pẹ, 10
Kéé jina,
O rí obìnrin tí yo ba a gbégba obi.
O si bímọ tí yòò bá a gbégbá ata.
Opé lò bẹ̀rẹ̀ síí du
Lọdò àwọn awoo rẹ̀. a5
O ní bẹ̀ẹ̀ gégé ni àwọn àwọn òún wí.
Iná kú feérú bojú,

(721
Which bears very big fruit. 15
Ifa divination was performed for Péré
Who was weeping because she had no children.
When DPòrò first had a child,
She had Aré.?
When she had a child again, 20
She had Aasd.$
When she had a child the third time,
She named him Odòjé,?
Who was the very last of them all.
Travellers to the city of Ìfo, 25
Travellers to the city of Òfà,
Come and watch how the prediction of Ifá priest
Quickly comes to pass.
Ifá comes, the great authority;
Divinity whose prediction always comes true. so
Palm-tree, whose prediction comes true quickly and unfailingly.”

(d) The Wife Carries The Kolanut Container, The Child Carries
The Pepper Calabash
When fire dies, it covers itself with ashes;
When the moon dies, it leaves the stars behind;
Few are the stars who shine with the moon.
Ifá divination was performed for Qrinmila
When he was practising divination without a wife. 5
Could be possibly have a wife?
That was why he performed divination.
He was asked to perform sacrifice.
After he had performed sacrifice,
Before long, 10
And at no distant date,
He had a wife who helped him carry the calabash of kolanuts,
And he had a child who helped him carry the calavash of
pepper.
He started to give thanks
To the Ifa priests who performed divination for him. 15
He said that was exactly what his Ifa priests predicted.
‘“When fire dies, it covers itself with ashes;
[73]
Òṣùpá ku, 6 firawdd le.
Ìràwò saasaa níí salatiléyin fôòṣùpá;
A díá fún Ọrúnmìlà, 20
Ifa nsawo, nsapdn,
Won ni 6 káakí Mole,
O jare,
Ẹbọ ní 6 se.
Aya lonigba obi, 25
Ọmọ lonígbá ata.
Báyaá ti ngbégba obi,
Lomo rgbégbá ata.

(741
When the moon dics, ?fleaves the stars behind;
Yew are the ffar$ th2t thine with the moon.
J££ divwinatsom was pertormed for Crimi
Whea he was practuing divination without a wile.
He was 0d to take care of the diwirm3ifáes,
And was 3G that ne would do weil,
If be performed sacrifice.
The whe i$ the keeper of the calabash of kolanuts, 25
The chdld is the carrier of the calabash of pepper.
As the wile carties the calabash of kolaznuts,
The chdld carries the pepper calabash.”

[75]
 VI Owonrin Mey
(a)
Agada-ngba Ostmaré;
A dia fún Ìròkò Igbo,
Nígbà ti nije nirogbun ota.
Àwọn ota ni nda Ìròkò Igbo láàmú.
Lo bá mééji kééta,
O looko alawo.
Won ni ẹbọ ni ki 6 waa ru.
O si ri u.
Ìgbà tí 6 ribo tan,
Ni Est bá 106 pe àwọn agbé wá,
Pé kí won 6 maa san igbd
Ti Irdko mbe ninuu rẹ̀.
Gbogbo àwọn igi ti ìbá Ìrokòò ṣọtá
Ni àwọn agbé bé lulẹ̀.
Ìgbà tí wQn dé ìdí Irdko,
Est ní wọn kò gbọdò gé e
Nítorí pé igi abàmì ni.
Ìgbà tí IrdkO6 ṣẹgun àwọn otda rẹ̀ tán,
O ní bẹ̀ẹ̀ gégé ni àwọn awo oun wí.
Agada-ngba Òṣùmàrẹ̀; 20
A díá fún Ìrékò Ìgbò,
Nígbà tí újẹ nfrogbun ọtá.
Igbò kìí dí gángán,
Kí ô dí gàngàn,
Kéni mọ mòròkò. 25
Mo yagada-ngba Òṣùmàrẹ̀.

(b)
Kò o,
N ò ko;
A díá fún Ako, alawordnpapa,
Ekun ọmọ níí sun.
Won ní kí Aké 6 ribo.

[76]
 VI Owégnrin Méji

(a) The Forest Cannot Be So Full Of Trees As To Make Impossible

The Recognition of Ìròkò Tree
The great Rainbow,
Performed Ifá divination for the Ìrúákò! tree of the city of /gbd?
When he was living in the midst of enemies.
Enemies were worrying the /réké tree of the city of Ìgbò.
He therefore added two cowries to three,
And went to an Ifá priest for divination.
He was told to perform sacrifice,
And he performed it.
After he had performed sacrifice,
Éyù went and called farmers, Io
And ordered them to start clearing the forest
Inside which the Ìrúkò tree was.
All the trees which were the enemies of Ìrákò
Were cut down by the farmers.
But when they got to the foot of the Ìrákò tree,
Éṣù commanded that they must not cut him
Because he was not an ordinary tree.
When /réké defeated his enemies,
He said that was exactly what his Ifa Basis predicted.
“The great Rainbow, 20
Performed Ifa divination for the Jréké tree of the city of Ìgbò
When he was living in the midst of enemies.
The forest cannot be so full or trees,
The forest cannot be so crowded with trees,
As to make impossible the recognition of J6ké trec. 25
I have become a great Rainbow.”

(b) Aké, The Restless One, Who Had No Children

Gather it,
I will not gather it.
Ifá divination was performed for Aké,? the restless one,
Who was weeping because she had no children.
Aké was told to perform sacrifice.
[77]
Ìgbà 6 ribo ran,
Ko mú oṣù maa je tí 6 fi loyun.
Laipé, 6 si bímọ.
Ìgbà tí inúu réé dùn tan,
O ní béé gégé ni àwọn awo oun wí.
Kò o,
N ò ko;
A dia fún Aké, aláwòròhpàpà.
Ekun ọmọ nff sun.
Aké aja kif pé Idde;
Waraja,
N 6 relé 106 gbémg.
Waraja.

(6)
Eni 6 rin ni là 4 rin;
Eéyan tí 6 rin ní,
A a gbodo rin;
Erin dí méji, a dija;
A dia fún Erintindé,
Ọmọ Elériin Sajéjé.
Won ni 6 ribo
Nítorí amoniseni.
O si rú u.
Ìgbà 6 ribo tan 10
Lo waa béré síí sé¢gun àwọn otaa rẹ̀.
Ìgbà tí inúu réé dùn tan,
O ní béé gégé ni àwọn awo òún wí
Eni 6 rin ni là 4 rín;
Eéyan tí 6 rin nf,
A a gbodo rin;
Erin di méji a dija;
A dia fún Éríntúndé,
Ọmọ Elériin Sajéjé.
WQn ni 6 ribo nítorí amoniseni. 20
Érò Ipo,
Erd Ofa,
Erin waa yo léraan témi.

[78]
After she had performed sacrifice,
She became pregnant the same month.
Before long, she delivered a baby.
When she became happy,
She said that was exactly what her Ifa priests predicted. 10
''Gather it,
I will not gather it.
Ifá divination was performed for Aké, the restless one,
Who was weeping because she had no children.
A mother dog does not keep long away from home. 15
In great haste,
I will return home to carry my children.
In great haste.”

(c) When Two People Laugh At Each Other, It results In A Quarrel

We laugh at those people who laugh at us;
As for those who do not laugh at us,
We never laugh at them;
When two people laugh at each other, it results in a quarrel.
Ifá divination was performed for Ertntindé,!
Offspring of Elérin? in the city of Sajéé.
He was told to perform sacrifice
Because of people who know one and yet harm one
And he performed the sacrifice.
After he had performed sacrifice, 10
He started to triumph over his enemies.
When he became happy,
He said that was exactly what his Ifa priests predicted.
‘‘We laugh at those people who laugh at us;
As for those who do not laugh at us, 15
We never laugh at them; i
When two people laugh at each other, it results in quarrel.
Ifá divination was performed for Frintindé,
Offspring of Elfrin in the city of Sajéé.
He was told to perform sacrifice because of people who know
one and yet harm one. 20
Travellers to the city of /po,
Travellers to the city of Òfáà,
There is nothing in my own life to be laughed at."
[79]
 (d)
Okita la pad mé ṣẹ̀jẹ̀;
A dia fin Janjasa,
Tif se oléri egbé lérun.
Won ni ki Janjasa 6 múôjú tò àwọn egbée rẹ̀.
Igbaa Janjasa se bée,
Lo ba di wi pé 6 ndara fún un.
O ní Okuta là pad mẹ ṣẹ̀jẹ̀
A díá fún Jàùjàsá
Tif ṣe olérí ẹgbé lẹrun.
Érò Ipo, 10
Ero Ofa,
Egbéogba ni wọọn bo nibe
Bo ba bf ni.

[80]
 Janjasa, The Leader of Comrades In Heaven
The stone breaks suddenly but it does not bleed.
Ifá divination was performed for Fanjasd}
Who was the leader of a group of comrades in heaven.?
Janjasé was told to take care of his comrades.
When he did as he was told,
It was well for him again.
He said, ‘“The stone breaks suddenly but it does not bleed.
Ifa divination was performed for Fanjasd
Who was the leader of a group of comrades in heaven.
Travellers to <he city of Ìpo,
Travellers to the city of Òfà,
It is Egb¢pgba® who should be propitiated
Whenever that divinity is in one’s family.”

[81]
 VIL Obara Mei
(a)
Gúnugún 6 torí abe rarf;
Eré, awo Agbaale;
Alagbéde 6 fogun 6 tan layé;
A dia fEji Obara
Tif ṣọmọ ikeyiin won lérije lénje.
Níjẹ tí won flo
Léé sébo suru suru nílé Oldfin.
Àwọn méréérin yìí níí máaá ṣawo
Fún Ol6fin ní isiisán
Bí wọn bá wá, IO
Ọlẹfin a fún won ní ìjẹ ati imu.
Nígbà tí 6 di ọjọ kan,
Ni Ol6fin bá mú elégédé mẹta,
O là won,
O ro kìkìdá ow6 sinu Okan; 15
O ro iléké okùn àti iyùn sínú Okan;
O ro laaranginkan aso ọba sínú éketa;
O ro akonkotan chun ord nifé sind ékerin.
Ìgbà ti 6 se bée tan,
Ni Esti bá fow6 nu ojú 20
Ibi ti wén ti pa àwọn elégédé wọnyí 1dju,
Ni ojú obé ba paré laraa won.
Ìgba tí Obara ati àwọn Orée réé dé,
Ol6fin 6 fin won ldnje bif tif se ri.
Léyin ti wọn ti j6k06 fún ìgbà pipé, 25
Ni Ol6fin toô fún enikodkan won nf elégédé kòòkan.
Awon méta ìyòkùú ní kin ni àwọn 6 waa
Fi elégédé se o.
Won ni “Obara, o 6 lo kò o nile”.
Bayif ni gbogbo wọn se, 30
Ti wọn ti gbogbo elégédé náà sf Obara.
Ìgbà tí Obara délé,
Ò kò àwọn elégédé wònyí fún ìyàwúo rẹ̀.

(82)
 VII Obara Meji
(a) Obara, What Did You Sell That Made You So Rich?
Ordinary Pumpkin
The vulture was bald not because of fear of razor;
Python, Ifa priest of Agbdal?;1
The blacksmith does not want war to be eliminated from the
face of the earth.?
Ifa divination was performed for Eji Obdra,3
The very least of them all,
On the day they were going
To perform divination in the household of Qléfin.‘
These four people always perform Ifa divination
For Oléfin every nine days.®
Whenever they came,
QOl¢fin usually gave them food and drinks.
But, one day,
Ọláfin took four pumpkins, ®
And opened them up.
He poured money inside one of them.
He poured okùn and iyiin’ beads inside another one.
He put /daranginkan,® the cloth of kings inside the third one,
And he put other valuable things of the city of Jf¢ inside the
fourth.
After he had finished his operation, 20
Esa rubbed his hands on the marks
Created by knife on the surface of the pumpkins,
And the marks disappeared.
When Q¢fin and his friends arrived,
Qléfin did not give them food as he used to do.
After they had sat down for a long time, 25
Qléfin gave each one of them a pumpkin.
The other three wondered what they would
Use the pumpkins for.
They said, “‘Obdara, why don’t you gather all of them?”
That was how all of them 30

Pushed the pumpkins to (bara.

When he got home,
He gave the pumpkins to his wife,
[83]
Pé ki 6 log sé won.
Ṣùgbọn obìnrin rẹ̀ náàá ní 90
Kin ni àwọn 6 fi elégédé ṣe?
Òun náà kọ àwọn elégédé náà sí Ọbàrà lérùn
Ìgbà tí ebi ò jé kí Obara 6 gbádùn,
Lò bá bò sí ìdí ààrò,
O gbé ikòkò, dri iná. 40
Ìgbà tí yòô dobe dé Okan nínú àwọn elégédé náà,
Ogédé owò lò dà sílẹ̀ yiin.
Ìgbà tí 6 gé méta yòôkù,
Ô bá gbogbo dúkìá tí Ọlọfin rọ sínúu wọn.
Báyìí ni Obara ṣe ti 6 fi di olôwòô. 45
Nígbà tí ọjọ kẹẹ̀sán
Ti won 6 tùún lọọlé Oldfin 6 fi pé,
O ti béré sif kdlé,
O fé obìnrin kan sf i,
O ra ẹṣin dúdú kan, 50
O si ra pupa kan peli.
Okiki Obara waa kan ká gbogbo ayé.
Ijo ni rjò,
Ayo ni nyo.
Agogo n Ípòôrò, 55
Aran níkijà,
Ọpá kugúkugù lòjúde Ìsẹrimogbe.
Ọbàrà wáà nyin àwọn awoo rẹ̀,
Àwọn awoo rẹ̀ nyin ’Fa.
O yanu kot6, 60
Orin awo lò bé sf i Pénu.
Ô ní bée gégé ni àwọn awo oun
Nsenu rerée pefá.
Gunnugun ò tori abe rarf;
Eré, awo Agbaale; 65
Alagbéde 6 fégun 6 tan layé;
A díá fÉjì Obara
Éyí tif se ọmọ ikeyiin won lénje lénje.
Níjẹ tí won nlọ.
Léé ṣẹ̀bọ surusuru nílé Ol6fin. 7O

[84]
And asked her to cook them.
But his wife also said, 35
“What are we going to do with pumpkins?”
She too rejected the pumpkins and left them for Qbdra.
When hunger did not allow Qbara to rest,
He went into the kitchen,
And put a pot on fire. 40
When he sliced one of the pumpkins,
Money poured out in great quantity.
When he sliced the other three,
He found all the valuable things which Q/gfin had kept inside
them.
That was how Qbdré became a rich man. 45
Before the end of another period of nine days,
When they were due to go to the house of Ql(fin again,
He had started to build a house,
And he married a new wife.
He bought a black horse, 50
And he bought a red horse as well.
Òbàrà became a famous man all over the world.
He started to dance,
He started to rejoice.
Gongs were sounded at /pé6ré6,° 55
Aran drum was beaten at /kija,!°
Drumsticks were ceaselessly applied to different kinds of drums
in the city of Ìṣẹrimogbe.11
Qbara started to praise his Ifa priests,
And his Ifa priests praised Ifa.
He opened his mouth a little, 60
The song of Ifa entered therein.
He said that was exactly how his Ifa priests
Employed their good voices in praise of Ifa.
‘The vulture was bald not because of fear of razor;
Python, Ifa priest of Agbdal?; 65
The blacksmith does not want war to be eliminated from the
face of the earth.
Ifá divination was performed for Eji Qbara,
The very least of them all,
On the day they were going
To perform divination in the household of Q/¢fn. 70

[85]
Won 6 le tÉjì Obara séyin mú ò,
Iwájú lò gbé.
Eji Obara, gbẹṣin dúdú
Éjì Ọbàrà, gbẹsin pupa.
Élégédé mere, 75
Eji Obara kin lo ta
T6 o fi dolow6?
Elégédé mere.

(2)
Agilinti a bìba gùgú.
Erinmi lò ta sàràsàra gòkẹ̀;
A díá fin Ona Opénpén
Ti fménu ẹkúún sérahtn ọmọ.
Won ni ki 6 ribo.
O si rú u.
Ìgbà ti 6 ribo tan,
Lo ba béré sif bímọ.
O ní béé gégé ni àwọn awo oun wi.
Agilinti a biba gugu, IO
Erinmi lo ta sarasara gòkẹ̀;
A dia fún Ona Oponpén
Ti nménu ẹkúún sérantin ọmọ
Ogún ọmọ nìmò bí.
Akankatan lọmọdéé kẹyọ ọkà. 15
Ogbon ọmọ nÌmò bí,
Akankatan lomodéé keyo oka.

(6)
Keesekeese lẹ ti nrí,
Kaasakaasa mbo léyìn,
Kaasakaasa babaa keesekeese;
A dia fagbigbo niwonran
Eyi tí nṣawoô lo silé Onikoromébf,
Onikoromébi abayaa doko.
Aya Onikoromébi ndọkọ, 16 bééré sí.

[86]
They could no longer push Òbárà to the back seat.
He was in the fore front.
Eji Obara, take a black horse.
Eji Ọbàrà, take a red horse.
Ordinary pumpkin. 75
Eji Ọbàrà, what did you sell
That made you so rich?
Ordinary pumpkin.”’

(b) Imé Was The Mother Of Twenty Children

Agilinti: hides in its resting place puffed up with pride;
The hippopotamus climbs up the river banks speedily.
Ifa divination was performed for Qnd Opénpgn?
Who was weeping because she had no children.
She was asked to perform sacrifice,
And she performed it.
After she had performed sacrifice,
She started to bear children.
She said that was exactly what her Ifa priests predicted.
*‘Agilinti hides in its resting place puffed up with pride. Io
The hippopotamus climbs up the river banks speedily.
Ifá divination was performed for Ọnà Opénpén
Who was weeping because she had no children
Imé* was the mother of twenty children.
A child cannot count the number of seeds produced by millet. BS
Imé was the mother of thirty children.
A child cannot count the number of seeds produced by millet.”

(c) Agbigboniwonran, The Unfaithful Ifá Priest

You have been seeing bad things,
Worse things are yet to come;
Worse things, the father of bad things.
Ifá divination was performed for Agbighdniwonran}
Who was going to the house of Ontkorom@¢bi? to perform
divination;
Ontkorom¢bt, husband of an adulterous wife.
It was because of the incessant adultery of his wife that
Ontkoromebt performed divination.
[87]
Ìgbà tí 6 fiya je obìnrin naa tan,
O gbé e ju, agbala,
O si dé é ldkin mdle. Io
Ní àgbàlá ni Onikoromébi fi iyawoo rẹ̀ sf,
Ti 6 fí lo sôdò Agbigboniwonran.
Lo léé bIfá léẹ̀rẹ̀.
Agbigbo ni kí Onikoromébi 6 se si
O ni ẹni ti 6 torfi rẹ̀ blIfá lééré 15
Mbe loridé nínú àgbàlá.
Ìgbà tí Onfkoromébi gbẹ,
Ojú tì í,
Kò leé lọ tú iyawoo rẹ̀ sílẹ̀ mọ,
O ní kf Àgbígbò 6 lọ bá òun tú u sílẹ̀. 20
Ìgbà tí Àgbígbò débẹ,
Dípòò kí 6 tu obìnrin náà sílẹ̀
Fifé ní nfé ẹ.
Ni aya Oníkoromẹ̀bí bá mékun,
Ô fi dígbe; 25
O fi ìyẹ̀rẹ̀ ṣohùn aro;
Awo kìí sunkún ìpín làlúú já.
O ní keesekeese le ti nrí,
Kààsàkààsà mbo léyìn,
Kààsàkààsà babaa keesekeese; 30
A dia fágbìgbò niwonran
Éyí ti nṣawoô lo sílé Onikoromébi.
Onikoromébi abayaa kọkọ.
Fifé ní nf mi o,
Fifé ní nfé mi, 35
Àgbìgbò niwonran 6 tú mi sílẹ̀,
Fífé ní nf mi.

(4)
Omii ṣẹlẹ̀rú ò mu kénhgbé;
A díá fún Àgbìgbò niwonran
Tif se ọmọkùnrin igbépésf.
Bi Agbigbo ba gbé pòsí kalé tan,
Ojude ẹni ti 6 ba gbé e sf,

[88]
After he had punished the woman,
He dumped her into his backyard,
And tied her down there with a rope.
It was there in the backyard that Ontkorom@bt left his wife,
And he went to see Agbigbdniwpnran
In order to perform divination.
Agbighd warned Ontkorom@bi to be careful.
He said that the person on account of whom divination was
performed 15
Was inside the backyard tied down with a rope.
When Onáíkoromẹ̀bí heard this,
He was ashamed,
And he could not untie the woman by himself.
He therefore begged Agbighd to help him untie her. 20
When Agbighé got there,
Instead of untieing the woman,
He started to cohabit with her.
The wife of Oníkoromẹ̀bí wept
Instead of crying aloud. 25
She chanted iver? instead of wailing loudly;
Ifa priests do not chant the dirges of destiny? across the city.
She said, ““You have been seeing bad things,
Worse things are yet to come.
Worse things, the father of bad things. 30
Ifá divination was performed for Abighéniwpnran
Who was going to the house of Onikorom¢bi to perform divination.
Ontkoromébt, husband of an adulterous wife.
He is having sex with me.
He is having sex with me. 35
Abighoniwpnran does not untie me.
He is having sex with me.”

(d) Agbigboniwonran, The Maker of Coffins

Spring water cannot cover up a water gourd.
Ifá divination was performed for Agbigbéniwpnran
The strong man who carved coffins.?
After Agbighé had finished carving a coffin,
He would go and place it outside a man’s house.

[89]
Ikú ní láti pa olúwaarẹ̀.
Ìgbà ti Agbìgbò nìwònràn gbẹ̀ púsí tán,
Lo bá gbé e,
O di ẹ̀nà ilé Ọrúnmìlà.
Ọrúnmìlà lálàá ikú múọjú ọjé náà. IO

Lé bá gbé Ifáa rẹ̀ kale,

O bi í léẹ̀rẹ̀ nípa àlá tí 6 lá,
Ifá ní kí Ọrúnmìlà 6 sáré rúbọ.
Ìgbà tí ô rú u tán, 45
Won gbé ẹbọ náà lọ sí ìdí Éṣù.
Láìpé, Àgbìgbò gbé pòsí dé ojúde Ọrúnmìlà.
O bá Éṣù léjúde.
Éṣù nf kin ni Àgbìgbò 6 ki sínúu púsí náà.
Àgbìgbé dáhùn pé Ọrùnmìlà ni.
Esti waa bi í léẹ̀rẹ̀ pé, 20
Kin ní ohun oro tí yòò gbà
Tí kò fi níí mú Ọrúnmìlà lọ.
Ô ní òun ô gba eku àti ẹyẹ àti ẹran.
Esti dá a lôhùn pé gbogboo rẹ̀ náà
Ni Ọrùnmìlà ti fi kún ẹbọ rú. 25
Ni Est bá kò gbogboo rẹ̀ jáde fún Àgbìgbò
Hàùn tí Àgbìgbò kò gbogboo rẹ̀,
Lo bá gbé pòôsíi rẹ̀ nile,
O sì kori sí ònà ibòmfì.
Ìgbà tí 6 lọ tán, 30
Est: ní kò gbọdò sọ pési náà kalé mọ láéláé.
Titi di òní oldnif,
Pòsí náà ribẹ lérí Àgbìgbò.
Ìgbà tí inú Ọrúnmìlà dùn tán,
Ijò ní njo, 35
Ayo ní nyo.
O ní béé gégé ni àwọn awo òún wi.
Omi: sẹlẹ̀rú 6 mu kéngbé,
A dia fin Agbigbo niwonran,
Tif se omokunrin ìgbépúsí. 40
Béku lo 6 baa gba,
O gbeku,
O maa yara lo.
Agbigbo niwonran,

[90]
The result would be that that man would die.
When Àgbìgbò finished carving a coffin,
He carried it,
And went to Orunmila’s house.
That night, Òránmìlà dreamt of death.
In the morning, he took his divination instruments,
And inquired about his dream.
Ifá warned Òrúnmìlà to perform sacrifice immediately.
After he had performed sacrifice,
He carried it to the shrine of Esa. i)
Before long, Agbighd arrived in Ortnmila’s house with his coffin.
And he met Eyi outside the house.
Éyù asked him what he intended to put inside the coffin.
And Agbighé replied that Orinmila was the one.
Then, Éyàù inquired further from him 20
What things he would like to have
So that he would leave Òránmìlà untouched.
He said that he would take a rat, a bird and an animal.
Éyṣù replied that all those things
Were included in Ortnmila’s sacrifice. 25
Éṣù then brought those things out for Agbighd,
Who gathered the materials hurriedly,
Lifted up his coffin,
And went to another place.
When he was out of sight, 30
Éṣù commanded that he should never be able to put down the
coffin.
Up till this very day,
The coffin is still on Agbigbd’s head.
When Qrtinmila became happy,
He started to dance, 35
He started to rejoice.
He said that was exactly what his Ifa priests predicted.
“Spring water cannot cover up a water gourd.
Ifá divination was performed for Agbighéniwpnran
Who was the strong man who carved coffins. 40

If it is a rat that you would take,

Take the rat,
And go away.
We implore you, Agbigbéniwpnran,
[91]
Gbért e, 45
Gbérù e,
Awa 0 ra.
Béja lo 6 baa gba,
O gbeja,
O maa yara lo. so
Agbigbo niwonran
Gbért e,
Gbéru e,
Awa ò ra.
Béran lo 6 baa gba, 55
O gberan,
O maa yara lo.
Agbigbo niwonran
Gbérù ẹ o,
Gbérù ẹ, 6o
Àwa ò rà.

(se)
Take away your load. 45
Take away your load.
We will have nothing to do with it.
If it is a fish that you would take,
Take the fish,
And go away. 50
We implore you, Agbigboniwpnran,
Take away your load.
Take away your load.
We will have nothing to do with it.
If it is an animal that you would take. 55
Take the animal,
And go away.
We implore you, Agbigboniw)nran,
Take away your load.
Take away your load. 6o
We will have nothing to do with it.”

[93]
 VIII Okanran Meji
(a)
Orata gíégí€;
A díá fákùkọ gàgà,
Ô jí ní kùtùkùtù,
Ò fomi ojúú ṣògbére aya.
Òún le ríre obìnrin báyìí?
Ni akuk6 dáfá si.
Won ní ki 6 rúbọ.
Ìgbà ti 6 ribo tan,
Kẹ̀ẹ̀ pé,
Kéé jina,
Lé ba pàdé agbébo lẹ̀nà,
Ní wọn ba fé araa won.
Ìgbà tí inúu réé dùn tán,
O ní Otata giégié;
A dia fakiko gaga,
O ji ní kùtùkùtù,
O nfomi ojúú sogbéré aya.
Kẹ̀ẹ̀ pẹ,
Kẹ̀ẹ̀ jìnà,
Ewaa bá ni lárùúṣẹ̀gun. 20

(2)
Bélẹ̀bọ ò pe ni,
Àsẹ̀fín ò yẹ ni;
Oran tí ò sunwòn,
Konko hsojui;
A did fÉjì Okanran
Ti nrelé Ìilẹ̀.
Won ní kí Eji Okanran 6 ribo.
Nipa nkan babaa rẹ̀ kan
Ti won féé gba léwéo rẹ̀.
O si rú u.
Ìgbà 6 ribo tan,
O si ní iségun.
O ní béé gégé ni àwọn awo oun wi.
[94]
 VIII Okanran Meji
(a) The Tall Cock, Husband of Hen
The fast-moving but powerless one,
Performed Ifa divination for the tall Cock
Who woke up early in the morning
Weeping because he had no wife.
Could he possibly have a wife?
That was why he performed divination.
He was told to perform sacrifice.
After he had performed sacrifice,
Before long,
At no distant date,
He met the Hen on the road,
And they married each other.
When he became happy,
He said, ‘“The fast-moving but powerless one,
Performed Ifa divination for the tall Cock
Who woke up very early in the morning
Weeping because he had no wife.
It is not a long time,
It is no distant date,
Come and find us conquering with sacrifice. 20

(6) Eji Okanran. The Landlord Of Ìtilẹ

If the host does not invite one to his party,
It is not an honourable thing to be present;
When a man does a shameful thing,
He wears a hard and shameless face.
Ifá divination was performed for Eji Ọkànràn!
Who was going to the city of /tl?
Eji Ọkànràn was told to perform sacrifice
Because of a certain thing belonging to his father,
Which they wanted to snatch away from him.
And he performed sacrifice.
After performing the prescribed sacrifice,
He triumphed over his enemies.
He said that was exactly what his Ifa priests predicted.
[95]
Bélébo 6 pe ni,
Aséfin 6 ye ni;
Oran tí 6 sunwon,
Konko hsoju;
A dia fún Eji Okanran
Ti nrelé Ìilẹ̀.
E saa jé 6 moo rin, 20

E jẹ 6 mọọ yan,
Eji Okanran donifle.
Ẹ jẹ 6 moo rin,
E jé 6 méo yan.

(6)
Ò ròmi níwájú tẹsẹ̀ bẹrẹ̀;
A dia fún ìyáláde Ìpo.
O yàgàn,
O yapata,
O rémo léyin adie,
O bú pura sékún.
Won ní iyaldde Ipo 6 bifme,
Sugbon ki 6 ribo.
O ribo,
O si bf ẹ̀pòlọpò ọmọ. Io
Ijò ní rjé,
Ayọ ní riyd;
nyin àwọn awoo rẹ̀,
Àwọn awoo rẹ̀ nyin Ifá.
O ní béé gégé ni àwọn awo òun
Nṣẹnu rereé pefá.
Ò rémi níwájú tẹsẹ̀ bẹrẹ̀
A díá fún ìyáléde Ìpo.
O yagan,
O yapata, 20
O rẹmọ léyin adie,
O bú púrú sékún.
Kéé pé o.
Kẹ̀ẹ̀ jìnà,
E waa bá ni ní màrínrín ọmọ.
25

[96]
“Tf the host does not invite one to his party,
It is not an honourable thing to be present. 15
When a man does a shameful thing,
He wears a hard and shameless face.
Ifa divination was performed for Eji Okanran
Who was going to the city of /zil?
Just let him walk in peace, 20
Let him move freely with pride.
Eji Okanran has become a landlord.
Let him walk about in peace.
Let him move freely with pride.”’

(c) The lyAléde Of The City Of Ìpo Who Was As Barren As Rock
He who sees water in front and dips his feet into the mud,
Performed Ifa divination for the [ydléde' of the city of Ìfo.
She was barren;
Barren like rock
Yo the extent that when she saw chicks with a hen, 5
She burst into tears.?
The /ydléde of the city of Jpo was told that she would have
children
But she was warned to perform sacrifice.
She performed sacrifice,
And had very many children. 10
She started to dance,
She started to rejoice.
She praised her Ifa priests,
And her Ifa priests praised Ifa.
She said that was exactly how her Ifá priests 15
Employed their good voices in praise of Ifa.
‘He who sees water in front and dips his feet into the mud,
Performed Ifá divination for the /ydléde of the city of Òfo.
She was barren;
Barren like rock 20
To the extent that when she saw some chicks with a hen,
She burst into tears.
Before long,
At no distant date,
Come and find us amidst plenty of children.” 25

[97]
 (d)
Okanran kan nfhifn,
Okanran kan lòhùún,
Okanran di méji, a dire;
A dia fan Ṣàngò, Oludrdjo,
"Bambi, ọmọ Arigboota-ségun.
Nígbà ti nlọ gbOya nfyaw6.
Won ní ki Sango 6 se sùúrù o.
Won ní obìnrin ti 6 nlog fé.
Ní kadara ju oun gaan alara lo.
Sango ní oun ò nff ribo.
O ní bdo ni kadara obìnrin oun
O se ju ti oun lọ.
Bí Sango ba ti ju edun sí ibi kan,
Gbogbo aráyé a si figbee rẹ̀ bonu.
Ṣùgbẹn bi Oya, obìnrin re, 9
Ba pa ééyan méji 1dj6 kan soso,
Eni kan ko nif gbọ.
Bi 6 wt ú,
A fé lu igana,
A wo pa ééyan mole. 20
Bò wù ú,
A wo igi pa ééyan lọ bẹẹrẹ.
Ṣùgbọn bi Sango bá pa ẹyọ eni kan ṣoṣo,
Gbogbo aráyé ni 6 gbòọ.
O ní béé gégé ni àwọn awo òún 25
Nsenu rereé pefa.
Okanran kan nfhifn
Okanran kan lòhùún
Okanran di méji, a dire;
A dia fún Ṣàngò, Olúòròjò, 30
"Bambi, ọmọ Arígbọọta-ṣégun,
Nígbà tí nleo gbOya nfyawé.
Aya roro joko lo 6,
Aya roro joko lo.
Ọya lò roro ju Sango, 35
Aya roro jọkọ lo.

[98]
 (d) Oya Is More Dangerous Than Sangé; The Wife Is More
Dangerous Than The Husband
When we see one Qkdnran this way,
And we see another Qkdanran that way,
The signature is that of Ọkànràn Méji which means good luck.
Ifá divination was performed for Sangé, nick-named Olúáòrájò.1
’Bambt,? offspring of those who use two hundred thunder stones
to defeat their enemies.
When he was going to marry Oya? as a wife.
Sangé was told to be very careful
Because the wife he was going to marry
Would be more successful than he.
But Sdngé refused to perform sacrifice.
He wondered how his own wife
Could be more successful than himself.
If Sangé threw thunder stones into any place,
Everybody would start shouting his name.
But if Oya, his wife,
Killed two people the same day,
Nobody would hear of the incident.
If she liked,
She would blow a strong wind against a wall,
And the wall would fall on people and kill them. 20
If she liked,
She would fell trees on many people, and kill them.
But if Sangé kills only one person,
All the world would hear of the incident.
He said that was exactly how his Ifa priests 25
Employed their good voices in praise of Ifa.
“When we see one Qkanrdan this way,
And we see another Qkdnran that way,
The signature is that of Qkanran Méji which means good luck.
Ifá divination was performed for Sdngé, nick-named OÒlúáòrájò, 30
" Bámbí, offspring of those who use two hundred stones to defeat
their enemies.
When he was going to marry Qya as a wife.
The wife is more dangerous than the husband.
The wife is more dangerous than the hundred.
Ọya is more dangerous than $angé. 35
The wife is more dangerous than the husband.”
[99]
 IX Ogunda Múáji
(a)
O ṣe fírí kọjánà;
A díá fún Òrúnmìlà,
Ifá nlo léé gbOjontarigi,
Obìnrin Ikú.
Ojontarigi nìkan náà ni obìnrin Ikú.
Ọrùnmìlá si féé gba á lọwọ Ikú.
Won ní kí Òrúnmìlà 6 ribo.
O sì rú nu.
Ìgbà tí 6 rúbọ tán,
Lo bà gba Ojontarigi lẹwọ Ikú.
Ni Ikú bá mú kùmòọọ rẹ̀,
Ô kọrí sílé Ọrúnmìlà.
O sì bá Est lôjúde.
Éṣù ní "lé o,
Ikú, Òjẹ̀pé, aláṣọ ostin’’.
Ìgbà tí wọn kí araa wọn tán,
Esti ní "níbo lò nled?”
Ikú ní oun Alo ilé Ọrúnmìla ni.
Esti ní ‘kin 16 dé?”
Iku ní 6 gba oun lobinrin ni,
Lonif ni oun 6 si pa a.
Ni Esti bá ní kí Ikú 6 jòkòò.
Ìgbà tí ô jékòò tán,
Ni Ìṣú bá fún un ní jíjẹ àti mímu.
Ìgbà tí Ikú jẹun ti 6 yo tán,
Ô dìde,
O mú kùmọọ rẹ̀,
O nlọ.
Esti ní 'níbo 16 da?”
Ikú ní òun ùlọ ilé Ọrúnmìlà ni.
Esti ni 'à maa jeun eni tan, ka tun pa ni?
O 6 mẹ pé onje Ọrúnmìlà lo je yìí???
Ìgbà tí Ikú ò mọ ohun tí yòô se mé,
O ní "Sọ fún Òrúnmìlà kí 6 méo mú obìnrin nda.”

[100]
 AI Ogunda Mfjì
(a) Ojontarigi, The Wife Of Death
He who dashed suddenly across the road,
Performed Ifá divination for Ọrúánmìlà
Who was going to snatch away Ojontarigi,!
The wife of Death.
Ojontarigi was the only wife of Death.
Yet Òrúnmìlà wanted to snatch her away.
Ọrúnmìlà was told to perform sacrifice,
And he performed it.
After he had performed sacrifice,
He snatched Ojéntarigi away from Death.
Death then took his club,
And went towards Orunmila’s house.
He met Éyà in front of the house.
Esu said, ‘How are you,
Death, nick-named Qjép?, whose garment is dyed in osiin.®”
After they had exchanged greetings,
Éyṣù asked from him, ‘“‘Where are you going?”
Death answered that he was going to Ọrúnmìlà's house.
Esi asked, ‘‘What is the matter?”
Death said that Orinmila took his wife, 20
And he must kill Ọrúnmìlà that very day.
Esi then implored Death to sit down.
After he had sat down,
Éyṣù gave him food and drinks.
After Death ate to his satisfaction, 25
He stood up,
Got hold of his club,
And started to go.
Then Esa asked again, ''Where are you going?”’
Death answered that he was going to Orunmila’s house. 30
Then Éyà said, ““How can you eat a man’s food and turn round
to kill him?
Don’t you know that the food you have just eaten belongs to
Òrúnmìlà???
When Death did not know what else to do, 35
He said, ''T'ell Ọránmìlà that he can keep the woman.”
[101]
Ijé ni Ọrùnmìlà rjò,
Ayo ni nyọ.
O ni 6 se firf kọjánà;
A dia fan Òrúnmìlà,
Ifá rilọ léé gbOjontarigi,
Obìnrin Ikú.
Oran té ẹ rọ kẹ̀kẹ̀ sí,
Alé àná ni mo fi ṣọtí
Ni mo fi mu.
Gbẹrẹfu,
A fẹ̀ràn yí mu tábà.
Àwá foran yí mu taba,
A ò kú mé.
Gberefu,
A foran yi mu taba.

(2)
Gbongbo ṣe wòròkò fi wordko jana;
A díá fékùn
Níjọ tí nlọ oko ọdẹ.
Oko ọdẹ tí òun nlọ yìí,
Oun lẹ̀ ríṣe bò rhbẹ̀?
Ni ẹkun dáfá sí.
Won ní ki 6 rúbọ elénìní.
Ẹkùn ní ta nf 6 ṣelénìní òun ẹkùn?
Ô ní òun ò níí rú.
Láìpẹ, ẹkùn kọrí sôko ọdẹ.
Ìṣú di atégùn,
Ô tẹ̀lé e.
Ìgbà tí ẹkùún déòôko ọdẹ.
Lo bá ri ira,
O si pa 4.
Njé kí ẹkùn 6 máa dá ira ní inú lu,
Ni Est bá já ẹ̀so igi àfòn kan,
O so 6 mú ẹkùn ní bàrá ìdí.

[102]
 QOrinmila started to dance, 35
He started to rejoice.
He said, ‘‘He who dashed suddenly across the road,
Performed Ifá divination for Orinmila
When he was going to marry Ojontarigi,
The wife of Death. 40
The matter over which you made a lot of noise,
It was last night that I put it in wine,
And drank it away.
Just like that.
We smoked this matter away with tobacco. 45
We smoked this matter away with tobacco,
We will not die again.
Just like that.
We smoked this matter away with tobacco.”

(b) The Lion Refused To Perform Sacrifice

The twisted wooden stump which crosses the road in a crooked
way.
Ifa divination was performed for the Lion,
On the day he was going into the forest to hunt for animals.
He asked whether the hunting expedition to which he was 5
going
Would give him abundant rewards.
He performed divination because of that.
He was asked to perform sacrifice so that he might triumph
over his enemies.
But the Lion boasted that nobody was bold enough to work
asainst his interest.
He said that he would not perform sacrifice.
Before long, the Lion went into the forest to hunt.
Esau turned himself into wind,
And followed him.
When the Lion got into the forest, 15
He saw one ird,'
And he killed it.
But as he was trying to open up its internal organs,
Esu plucked a fruit of the afpn? tree,
And threw it against the Lion’s hips.
[103]
Bi 6 ti ba ẹkún ní bara ìdí tan,
Esékesé ni ẹkùn sa lo. 20
Kí 6 té6 pada dé,
Esti ti gbé eran lo.
Ìgbà ti ẹkùn pada dé,
Ti 6 wa ira títí, tí ko rf i,
Lo ba tun wa eran mifi lo, 25
Sugbén bákanáà lo ja sf.
Ìgbà tí ebí waa béré sff pa ẹkùn,
Eré 16 sa ribo.
Ìgbà ti 6 ribo tan,
O tún pada lo sí oko ọdẹ, 30
Est ko si dért ba 4 mọ.
Ijò ni nj,
Ayo ní nyo.
O ni gbongbd se woroko fi wordk9 jana.
A dia fékin 35
Níjọ ti nlo oko ode.
Won ni 6 kaaki Mole,
O jare,
Ẹbọ ni 6 se.
Kéé pé o, 40
Kẹ̀ẹ̀ jìnà,
Ẹ wáá bá ni ní tìṣégun.

(6)
Ògúndájì, awo ìbọn,
Lo dífá fún 'bọn.
Ibén nje nirogbun ota.
Won ni ki ibon 6 ribo,
Ki 6 si maa fọhùn akin jade lénu.
O si se bée.
Igba ti ibén rúbọ tan,
Lo ba béré síí pa àwọn otda rẹ̀
Bi a nperan.
O ní Ogundaji, awo Ibon, Io

[104]
As soon as it landed on his hips,
The Lion ran away. 20
Before he returned,
Éṣù carried away the animal.
When the Lion returned,
And searched for a long time without seeing the animal,
He looked for another animal. 25
But the same thing happened.
When the Lion became very hungry,
He hastened to go and perform sacrifice.
After he had performed sacrifice,
He went back into the forest to hunt for animals, 30
And Éyà did not frighten him again.
He started to dance,
He started to rejoice.
He said, ““The twisted wooden stump which crosses the road in
a crooked way.
Ifa divination was performed for the Lion 35
On the day he was going into the forest to hunt for animals.
He was told to take care of the divinities.
He was told that it would be a good thing,
If he performed sacrifice.
It is not a long time, 40
It is not a distant date,
Come and meet us in conquest.”’

(c) It Is The Mouth With Which The Gun Speaks That He

Conquers His Enemies
Ògúndájì,1 Ifá priest of the Gun,
Performed Ifá divination for the Gun
When he was living in the midst of enemies.
The Gun was told to perform sacrifice.
He was also told to speak always like a brave man. 5
And he did so.
After the Gun had performed sacrifice,
He started to kill his enemies
As one kills animals.
He said, ‘“‘Ogdndéji, Ifá priest of the Gun, 10

[105]
Lo dia fúnbọn.
Ibdn njẹ nfrogbun ota.
Ẹnu tí ibén fi ffohtn,
Lo fi nségun.

(d)
Pémú pòmú sigi sigi sigi pomu pomu;
A did fún Ọrúnmìlà,
Ifa ò tafà,
Yoô pakú loko.
Nnhkan lò dérù ba Ọrúnmìlà,
Lo ba wálé,
O bi oké Iporfi rẹ̀ léẹ̀rẹ̀ wo.
Won ni ẹbọ ni 6 rú.
O si rú u.
Ìgbà ti 6 rúbọ tan, IO
Ni àwọn awoo rẹ̀ ba fún un ni ofa méta.
Won ni ki 6 maa ta 4 kaakiri okoo ré.
Ìgbà tí okan nínú àwọn ofa náà é lo,
Lo bá kọlu Ikú,
Láyà lé gbé bá Ikú. 19
Gbìì tí Ikú lulẹ̀ báyìí,
Lo bájade láyé.
Láti oko ni Ọrúnmìlà ti kò ijo wálé.
O ní béé gégé ni àwọn awo òún wí.
Pòmú pòmú sigi sigi sigi pomu pòmú, 20
A dia fún Ọrúnmìlà,
Ifa 6 tafà,
Yoô paku ldko.
Olonifmoré tafà,
O paki léko. 25
Pémú pomii sigi sigi siri pomu pòmú.

[106]
Performed Ifa divination for the Gun
When he was living in the midst of enemies.
It is the mouth with which the Gun speaks
That it conquers its enemies."

(d) Oranmila Shot An Arrow And Killed Death

The Ifa priest named Pomu-pomu-sigi-sigi-sigi-pomu-pému!
Performed Ifá divination for Òrúnmìlà
When he shot an arrow
And killed Death on the farm.
Something frightened Òrúnmìlà on the farm.
He therefore returned home,
And inquired about it from his Ifa divination instruments.
He was told to perform sacrifice.
And he performed it.
After he had performed sacrifice, 10
His Ifa priests gave him three arrows,
And asked him to shoot them all about his farm.
When one of the arrows was shot,
It hit Death.
It hit Death on the chest. 8,
Death fell down with a loud noise,
And he went out of the earth.?
It was from that farm that Òrúnmìlà danced homewards.
He said that was exactly what his Ifa priest predicted.
‘The Ifá priest named Pomu-pdémit-sigi-sigi-sigi-pomu-p6mu 20
Performed Ifá divination for Òrúnmìlà
When he shot an arrow,
And killed Death on the farm.
Olénitmoré? shot an arrow,
And killed Death on the farm. 25
We give praise to Pémti-pému-sigi-sigi-sigi-pomu-pdmuv”’

[107]
 X Osa Men
(a)
Pòòkọ nídìí,
Ô fiha jòkòé;
A dia FOge,
O sunkún omé rode Igbénna.
Ogé ní dun le rẹmọ bi lode Ìgbénna bayif?
Won ni ko rubo,
O si rú u.
Ìgbà tí 6 bímọ tan léde Ìgbònná,
Ti inúu réé dùn tán,
O ní béé gégé ni àwọn awo òún wí. Io
Pòòkọ nídìí,
O fìhà jòkòé;
A dia fOge,
O tsunkun ọmò ròde Ìgbénná.
Yoô gbẹ̀ yín o, 15
Òge,
Bi a sai gbọmọọ rẹ̀ jééjéé.

(2)
Oldséé, awo oko;
A dia fowtu,
Ey{ tí 6 maa fi gbogbo ọmọ ṣòwò àbígbìn.
Òwú ní báwo ni òun 6 ṣe máa bí àbíyẹ̀ báyìí,
'Tí ayé kò sì fi níí ríran rí òun?
Won ní ki 6 rúbọ.
Ìgbà tí 6 ribo tan,
Ni won ba ran Eji wéréwéré
Pé ki 6 lo pa owt,
Ati àwọn omoo rẹ̀. IO
Nígbà náà ni òÒwú waa béré sff rú.
Won waa ran Iri wowd

[108]
 AK Osa Méji
(a) Oge, The Goddess Of Barren Women
Pọòkí! has a bottom part,
But it rests on its sides.
Ifá divination was performed for Oge®
When she was weeping because of lack of children to the city of
1gbfnnd.?
Òge asked whether she could ever have a child. 5
She was told to perform sacrifice.
And she performed it.
After she had had children in the city of [gbgnnd,
And she became happy,
She said that was exactly what her Ifa priests predicted. 10
““P69k¢é has a bottom part,
But it rests on its sides.
Ifá divination was performed for Oge
When she was weeping because of lack of children to the city of
Ìgbánná.
She will bless all of you. I5
Òge will bless you.
She will not fail to bless her children with ease.''

(6) The Cotton Plant

Olés¢é,) Ifa priest of farmland,
Performed Ifa divination for the Cotton Plant
Who was losing all her children by premature death.
The Cotton Plant inquired from her Ifa priests what she must
do in order that her children might survive.
And so that the inhabitants of the earth would not give her any
trouble. 5
She was told to perform sacrifice.
After the Cotton Plant performed sacrifice,
Her enemies sent small particles of rain
To go and destroy her,
As well as her children. 10
But it was at that particular time that the Cotton Plant started
to produce new leaves.
Her enemies then sent severe dew-drops

[109]
Pé ki 6 log pa òwú.
Nígbà naa ni owt waa bére sff bímọ.
Léyin naa ni wQn waa ran òòrùn ‘>
Pé ki 6 leg pòwú.
Igba tí òòrùn npòwú
Ní òwú wáá bẹ̀rẹ̀ síí là.
O ní bée gégé ni àwọn awo oun wí.
Oldséé, awo ako; 20
A díá fòwùú
Tí nfi gbogbo ọmọ ṣòwò abígbìn.
Wọn réji wéréwéré
Pé 6 106 pòwú o,
Òwú rú. 25
Won ránrì wòwọ
Pé 6 106 pòwú o,
Òwú rnpalàbà.
Won roorun
Pé 6 106 pòwú o, 30
Owt nlà.
Òwú nrú o,
Owt nlà.
Ní ṣojú ẹlẹyẹ lòwú seé là.

(6)
Ọsá yòôò, babalawo ayé,
Lo dífá fayé.
Won láyé 6 fẹbọ ọlàá lẹ̀,
Ẹbọ ajogun ní 6 ṣe.
Njé awa mbe,
A mbé.
Awa mò mò mbẹ láyé o,
Ayé ò níí parun.

(d6)
Erin 16 kú,
[110]
To go and destroy her.
But that was exactly when she started to produce new flowers
and seeds.
At last, they sent the sun 15
To go and destroy the Cotton Plant.
But as the sun was shining on the Cotton Plant,
She started to open up her buds.
She said that was exactly what her Ifa priests predicted.
““Olgse¢é, Ifá priest of farmland, 20
Performed Ifa divination for the Cotton Plant
Who was losing all her children by premature death.
They sent small particles of rain
To go and destroy the Cotton Plant.
But she was growing new leaves. 25
They sent severe dew-drops
To go and destroy the Cotton Plant.
But she started to produce new buds and leaves.
They sent the sun
To go and destroy the Cotton Plant. 30
But she opened up her wool.
The Cotton Plant is producing new leaves.
She is producing more wool.
It is in the presence of birds that the Cotton Plant opens up her
wool.’’2

(c) We Are Pleading That The Earth May Not Be Destroyed

Ọsá,1 the brightly shining one, Ifá priest of the Earth,
Performed Ifa divination for the Earth.
The earth was told to stop performing sacrifices intended to
make him wealthy,
But to perform instead the sacrifices which would protect him
against his enemies.
We are certainly alive,
And we are pleading
That as long as we remain on the earth,
The earth may never be destroyed.”

(d) Ifá And His Three Enemies

When the elephant died,
(rr
A méyfin rẹ̀ gbéke;
Efon 16 ku,
A mawoo rẹ̀ tẹ poolo;
Ogbogbo ira lò kú,
A muwoo re kun léstn gburu gburu;
A did fa Ortnmila,
Ifá mbẹ laarin ota méta.
Erin, efon, ati ira.
Ota Orunmila ni woôn se. 10

Igba tí Òrúnmìlà ribo tan,

Laisaisan, erin kú.
Ọrúnmìlà ni ki won 6 yo eyfin rẹ̀ wa.
Oun ni Ortnmila fi se irdké.
Ìgbà tí efodn ku. mS
Orunmila ní ki won 6 106 tọ awoo rẹ̀ wa,
Oun ni Ọrúnmìlà fi lé Est: ldw6,
Ti 6 fi nṣe ijamba fún àwọn ẹranko yooku.
Ìgbà ti ogbogbo ira ku,
Ọrúnmìlà ní kí won 6 kun iwoo rẹ̀ lôsùn, 20
A
Oun ni won sọ di Òòṣà,
Ti wọn npé ní Oge.
Gbogbo obìnrin ti kò ba rẹmọ bi,
Bí wọn bá ti bẹ̀ é
O di kí won 6 máa bímọ. 25
O ní bẹ̀ẹ̀ gégé ni àwọn awo òún wí.
Erin lò kú,
A méyfin rẹ gbéke;
Efon lò ku,
A mawoo rẹ̀ tọ poolo; 30
Ogbodgbdo ira 16 ku,
A múwoo re kùn lòsùn gburu gburu;
A díá fún Òrúnmìlà,
Ifá mbẹ láàrin ota méta.
Erd Ìpo, 35
Ero Ofa,
Ogédéngbé nIfá 6 fòtá awo se.

[112]
We used its tusks to carve delicate objects.
When the bush-cow died,
We used its hides to make pddld.1
When the young ird died,?
We took its horns and rubbed them thoroughly with camwood
ointment,
Ifa divination was performed for Qrinmila
When he was surrounded by three enemies.
The elephant, the bush-cow and ird
Were the enemies of Òránmìlà. IO
After Qrinmila had performed sacrifice,
The elephant died without even falling sick at all.
Orinmilé then commanded that its tusks should be removed;
And with it, he carved irgké.®
When the bush-cow died, LN
Ọrúnmìlà ordered that part of its hides be cut.
He then handed it to Esa
Who used it* to endanger the lives of other animals.
When the young ird died,
Òrúnmìlà ordered that its horns be rubbed with camwood
ointment, 20
And they became the symbol of a divinity
Who is known as Oge.5
Whenever all women who have no children
Prayed to this divinity,
They would have children. 25
He said that was exactly what his Ifa priests predicted.
‘‘When the elephant died,
We used its tusks to carve delicate objects.
When the bush-cow died,
We used its hides to make pddlo 30
When the young ìrá died,
We took its horns and rubbed them thoroughly with camwood
ointment.
Ifá divination was performed for Qrinmila
When he was surrounded by three enemies.
Travellers to the city of /po, 35
Travellers to the city of Qfa,
Ifá will pull down his priest’s enemy flat on the ground.”

[113]
 XI Lka Mej
(a)
Òkúta ni ò seé ṣàlégbé ;
A díá fún yindinyindin
Tí nfomi ojúú sogbéré ọmọ.
W6n ní yindinyindin 6 rúbọ,
WQn ní ẹ̀pò nire ọmọ fún un.
Ô sì rú u.
Ìgbà ô rúbọ tán,
O ní bẹ̀ẹ̀ gégé ni àwọn awo òún wí.
Òkúta ni kò ṣeé ṣàlégbé;
A díá fún yindinyindin,
Òun s4 ni tìdin
Aya momo mbi o,
Okoo rẹ̀ pon
Yindinyindin sa ni tidin.

(2)
Ká fagba fà á,
Ká fìpẹ̀tì fà á;
A díá fún ọkò
Tif ṣe obìnrin Olúẹri.
Àtagba, àtìpẹ̀tì,
E waa bá ni méòkò fÚlúẹri.

(6)
Ìwọ lo relé ìká,
Ìwọ lo tòdò Ìká bò;
A díá fún sééré
Tif se obinriin Sango.
WQn ni Sango 6 ribo,
WQn ní opd ni ire ọmọọ rẹ̀.
Ô sì rú u.

[114]
 XI Ìká Méji
(a) Yindinyindin, Mother Of Countless Children
The stone is not a suitable support for an art object which is
being served.
Ifá divination was performed for Yindinyindin®
Who was weeping because she had no children.
Yindinyindin was told to perform sacrifice.
She was assured that she would have many children.
She performed sacrifice.
After she had performed sacrifice,
She said that was exactly what her Ifa priests predicted.
‘The stone is not a suitable support for an art object which is
being carved.
Ifa divination was performed for Yindinyindin Io
Who was a relation of maggot.
The wife is bearing children,
And the husband is mounting them on his back.
Yindinyindin is certainly the relation of maggot.”

(b) The Canoe, Wife Of Olver.

Let us pull it with agba! rope;
Let us pull it with ip@ti? rope.
Ifa divination was performed for the Canoe
Who was the wife of Olderi®
Both agba and ipéti,
Come and help us take the Canoe to Olderi.

(c) Sééré, The Wife Of Sango

You went to the house of /kd;1
You returned from Ìká's abode.
Ifá divination was performed for Sééré?
Who was S$ango’s wife.
Sééré was told to perform sacrifice.
She was assured that she would have many children
She performed the prescribed sacrifice.

[115]
Ìgbà tí séeré rúbọ tán,
Lò bá bẹ̀rẹ̀ sí ọmọọ bí.
O ní béé gégé ni àwọn awo òun Io

Nṣẹnu rereé pefá,

Ìwọ lo relé Ika,
Ìwọ lo todo Ìká bò;
A dia fún sééré
Tif se obinriin Sango. ei
Ero Ipo,
Ero Ofa,
Sééré waa fidi bale,
Ọmọ lò nkòô jo.

(4)
Ká gbà á níbùú,
Ka gba á lòòré;
A díá fáàsẹ̀ gàgà
Tí flo ogun Ìlúrin.
Won ní kí Aasé 6 rúbọ.
O ka,
Ko rú.
Laipé ni aaré ba ko lù ú.
Ìgbà ti 6 di pé kò leé dìde mé,
Lo ba 106 sáré ribo. IO
Won ni ki 6 rú orukood kan,
Ati sérin mérin.
Sérin naa ti 6 ru
Ni àwọn awoo rẹ̀ kò sí i lara
Ti mbẹ laraa rẹ̀ dòníolònìí. 15
Ô ní ká gbà á níbùú,
Ka gbà á lôòré;
A dia fáàsẹ̀ gaga,
Ti nloogun Ìlúrin
Gbarin kò o dìde, 20
Ààsẹ̀ gaga,
Gbarin kò o dìde.

[116]
After she had performed sacrifice,
She started to have many children.
She said that was exactly how her Ifa priests
Employed their good voices in praise of Ifa.
‘You went to the house of ìká;
You returned from Ìká's abode.
Ifa divination was performed for Sééré
Who was the wife of Sangé.
Travellers to the city of [po,
Travellers to the city of Ofa,
Sééré sat down in contentment,
And started to produce many children.”’

(d) The Door And Its Nails

Let us travel along its breadth;
Let us travel along its length.
Ifa divination was performed for the very tall Door?
Who was going to war in the city of iron.
The Door was told to perform sacrifice.
He refused.
He did not perform sacrifice.
Before long, he became very sick.
When he could no longer get up,
He hastened to perform sacrifice. ITO
He was told to offer one he-goat,
And four pieces of iron for sacrifice.
The pieces of iron which he offered for sacrifice
Were nailed to his body
And they are still there till today.
He said, ''L,et us travel along its breadth;
Let us travel along its length.
Ifá divination was performed for the tall Door
Who was going to war in the city of iron.
Take a piece of iron and get up, 20
The very tall Door,
Take a piece of iron and get up.”

[117]
 KII Otuurupon Mei
(a)
Paaka seyin kúngíí,
O hogoji ne;
A díá fún enfyan,
A bù féniyan.
Wọn ni ki àwọn méjòéjì 6 rubo.
Éníyán ní bi oun ba délé ayé,
Oun 6 maa ba ti gbogbo éniyan jé ni.
Eniyan náàá ní bi oun ba délé ayé tan,
Ohun tí 6 ba wu òun ni oun 6 maa se.
Won ní ki oun naa 6 ribo.
Ko rú,
Ìgbà tí àwọn méjẹ̀ẹ̀jí délé ayé tán,
Lé bá di wí pé bí ẹ̀éyàn bá bímọ sílẹ̀ tan,
Enfyan 6 pa á.
Gbogbo nùkan ti éniyan nf, ao
Ni awon enfyan mba 4jé.
Ni éniyan ba pada lo sí oko alawo.
O106 ribo.
Won ni ki 6 106 da eégtin.
Ni 6 ba bò sinu éku, 20
O nlọ koroô mé àwọn eníyán.
O nf béé gégé ni àwọn awo oun wí.
Paaka séyin kúngfí,
O hogdji ile;
A dia fún enfyan, 25
A bù féniyan.
Àwọn méjééji ntikolé drun bd wáyé.
Enfyan ni,
Eniyan ni.
Enfyan won 6 jéniyan 6 nfsimi. 30

(0)
Àrẹ̀jẹ̀rẹjẹ ewé,

[118]
 XII Òtúáúrupẹn Méji
(a) The Witch And The Human Being
The padkd! masquerader with a lump on the back
Picked up forty cowries from the floor.?
Ifá divination was performed for the Witch.®
Ifá divination was also performed for the Human Being.
Both of them were told to perform sacrifice.
The Witch said that whenever she arrived on earth,
She would destroy the handiwork of the Human Being
The Human Being also said that whenever he arrived on earth,
He would do all those things that pleased nim.
He too was told to perform sacrifice. ie)
But he refused.
When both of them arrived on earth,
If the Human Being produced a child,
The Witch would kill the child.
All the things owned by the Human Being +9
Were being damaged by the Witch.
Then, the Human Being went back to his Ifa priests,
And performed the sacrifices which he had neglected.
He was also told to go and make Egingitin.*
He then entered into the robes of the masquerader, 20
And he started to sing using indirect language against the
Witch.
He said that was exactly what his Ifa priests predicted.
“The padkd masquerader with a lump on the back
Picked up forty cowries from the floor.
Ifá divination was performed for the Witch; 9
Ifa divination was also performed for the Human Being;
When both of them were coming from heaven to earth.
It is a Witch,
Though in the form of a Human Being.
The Witch does not allow the Human Being to rest.” 30

(b) What A Happy Coincidence. The Wife Meets Her Husband

On The Road
The very tough leaf;
[119]
Aròjòròjò imd;
Osisé bale ré;
A díá fún Géléldse
Tí riṣawoô ròde Apini.
Won ní Gélélúṣe 6 ò ríre obìnrin lôde Àpíni,
Ṣùgbẹọn ki 6 rúbọ.
Ô sì rú u.
Ìgbà ô rúbọ tán,
Ô sì bá ire obìnrin pàdé lôde Àpíni.
O ní bẹ̀ẹ̀ gégé ni àwọn awo òún wi.
Aréjéréjé ewé,
Aròjòròjò imd;
Osisé bálẹ̀ ré;
A díá fún Géléldse
Tí nsawo6d ròde Àpíni.
Gélélése gégé,
Iyaw6 pàdé ọkọọ rẹ̀ lẹ̀nà.

(6)
Pẹ̀pé, awo ilé;
Òtìtà, awo òde;
Alapaandédeé lô kọẹlé tan,
Lò kọjúu rẹ̀ sôdòòdo,
Kò kanmi, kò kànkẹ̀.
O waa kọjúu rẹ̀ sôdòòdo;
A dia fún Oyéépolu,
Ọmọ ìṣòrò nífẹ̀,
Eyi tí ìyáa rẹ̀ 6 fi sílẹ̀
Ní òun nìkan ṣoṣo lénje lérje. Io
Ìgbà tí Oyeépolú dàgbà tán,
Kò mọ ohun orò ilée babaa rẹ̀ mọ.
Gbogbo nùkaan rẹ̀ wáá dàrú.
O wá obìnrin, kò rí;
Bẹ̀ẹ̀ ni kò rí ilé gbé. +5
Lo bá mééji kééta,
Ò looko aláwo.
Won ní gbogbo nùkan oro ilée babaa rẹ̀
T6 ti gbàgbé

[120]
The very tough palm frond;
He whose foot-prints quickly disappear on sand.
Ifá divination was performed for Géléléye}
Who was going to perform divination at Apini.? 5
Gélélése was told that he would have a wife at Aptni
But he was warned to perform sacrifice.
And he performed the prescribed sacrifice.
After he had performed sacrifice,
He had a wife at Apini. 10
He said that was eaxctly what his Ifa priests predicted
“The very tough leaf;
The very tough palm frond;
He whose foot-prints quickly disappear on sand.
Ifa divination was performed for Gélélése 15
Who was going to perform divination at Apini.
What a happy coincidence.
The wife meets her husband on the road.”

(c) Oyéépolu, Offspring Of Those Who Perform The Ancient

Rites of the City of Ife
Pépé,) Ifa priest of the inside of the house;
Otita,? IfÁ priest of Outside;
It is the sparrow which builds its own nest
And puts its entrance face-down in a curve;
The nest neither touches water nor rests on dry land; 5
But its entrance points down in a curve.
Ifa divination was performed for Oyeépoli,®
Offspring of those who perform the ancient rites of Ifẹ;
Whose mother left all alone
When he was very young. 10
When Oyéépoli grew up,
He did not know all the rites of his family.
His life became unsettled.
He sought a wife to marry but found none.
And he did not have peace in his own home. 15
He therefore added two couries to three
And went to an Ifá priest to perform divination.
He was told that it was because of the ancient rites of his family
Which he had forgotten
[121]
Lo nda 4 láàmú. 20
WQn ni ki 6 lo
Sí ojú odri àwọn babaa rẹ̀
Ki 6 máa 1o6 júbà.
Ìgbà ti 6 se béé tan,
Lé waa béré síí gbádùn araa rẹ̀. 25
O nlajé,
O lòbìnrin,
O si bímọ pẹ̀lú.
O ni béé gégé ni àwọn awo oun wi.
Pépé, awo ilé; 30
Otita, awo òde;
Alapaandéde 16 kẹlé tan,
Lo kọjúu rẹ̀ sôdòòdo;
Kò kanmi, kò kànkẹ̀,
O waa kọjúu rẹ̀ sôdòòdo. 35
A dia fOyéépolt,
Ọmọ isoro nífe,
Oyéépoli 6 mokan.
Bépo lẹ̀ é kẹọ taálẹ̀ ni,
40

Boti lẹ̀ -€ kd6

Yo taa le ni ..
A,
Emi ò mò.
Oyéépolu 6 mẹ̀kan. 45
Gbogbo isoro orun,
E suré wa,
E waa gboro yí se.

(d)
Ọlọgbọn kan 6 ta kéké omi sétí aso,
Omoran kan 6 moye éépée le;
A dia fort,
A bù fanwa.
Orí ni ire gbogbo lẹ̀ tò dun lẹwọẹ báyìí?
Won ní 6 ribo.

[122]
That he was in such confusion. 20
He was told to go
To the graves of his fathers,
And ask his ancestors for power and authority.
After he had done so,
He started to enjoy his own life. 29
He had money,
He married a wife,
And he produced children as well.
He said that was exactly what his Ifa priests predicted.
'íPòfé, Ifá priest of the inside of the house; 30
Otita, Ifá priest of Outside.
It is the sparrow which builds its own nest
And puts its entrance face-down in a curve;
The nest neither touches water nor rests on dry land;
But its entrance points down in a curve. 35
Ifa divination was performed for Oyéépoli,
Offspring of those who perform the ancient rites of Ífẹ̀;
Oyéépolu did not know anything.
If oil is the first thing to be poured on the ground,
I do not know. 40
If kolanut is the first thing to be put on the ground,
I do not know.
If wine is the first thing to be poured on the ground,
I do not know.
Oyéépolé did not know anything. 45
All the divinities and ancestors of heaven,
Hasten here,
And help us perform this ritual.”’

(d) Ori, The Divinity Responsible For Predestination

No wise man can tie water into a knot on the edges of his
garment.
No sage knows the number of the grains of sand on the earth.
Ifá divination was performed for O7i,
Ifá divination was also performed for Character.
Ort asked from his diviners whether he could have all the good
things of life.
He was asked to perform sacrifice,

[123]
O si rú u.
Ìgbà tí 6 ribo tan,
O si ní gbogbo ire ti 6 nfẹ.
O ni béé gégé ni àwọn awo òun IO
Nṣẹnu rereé pefá.
Ọlọgbẹn kan ò ta kôòkò omi séti aṣọ,
Omoran kan 6 moye éépée "lẹ̀;
A dia forf,
A bù fúnwà. 15
Ori pelé o,
Ori abfye.
Eni orí ba gbẹbọọ rẹ̀,
Kò yo.

[124]
And he performed it.
After he had performed sacrifice,
He had all the good things that he wanted.
He said that was exactly how his Ifa priests 10
Employed their good voices in praise of Ifa.
'íINo wise man can tie water into a knot on the edges of his
garment.
No sage knows the number of the grains of sand on the earth.
Ifa divination was performed for Ori.
Ifá divination was also performed for Character. 15
Ori, we hail you;
You are the one who allows children to be born alive.
A person whose sacrifice is accepted by Ori
Should rejoice exceedingly.”

[125]
 NITI Oere Mazz
a

batt
emu 2 Gee.

Ẹnu afGre oni 2etdre,

Rau O EE ON
.A dia tim Gere

Wen a & Gere o =r

Nitert me emun rẹ̀ WO OM
Won m GOT ne ney T 2Qewee Olhun Te ÒNÀ TE
Se fin San me
Okere 2 ze.
Ìgbà te,

Ìgbà mnu Okẹme Gm an.

Te di ge kan,
O at Okere ame me,

Ẹ wà wad wẹ Qd
Ìgbà 2 àwọn aye gbe,
Wen va bọ snu ìgbe,

Wen
= ti = wa.
Ìgbà t wọn ò dee imi Fé òkẹr,
Wen 24 ọmọ mei to ht nnà
Ni wọn Se mu wee le sé
Ìgbà t àwọn ame aye dele,

Wen
= ba ọẹ̀ẹ̀ lọ.

Na

PBẹ̀rẹ̀mẹ̀rẹ̀ nt > nni sẹ̀;

tusi
 XII Òtáá Méji
(a) Squirrel, The Talkative
The slippery mouth;
The mouth that cannot keep secrets;
The trap set by mouth never fails to catch victims;
It is the mouth of the talkative which kills the talkative;
It is the mouth of he who talks at large which kills he who talks
at large; 5
It is talking too much which kills the eavesdropper.
Ifá divination was performed for the Squirrel
Who built a nest near the road.
Thd Squirrel was warned to be very careful
Because he could not keep secrets. 10
They warned him not to tell everything that he saw
To other people.
But the Squirrel did not heed the advice.
It then happened
That the Squirrel’s wife had two children at the same time. 15
When he became very happy,
On a certain day,
He said, ““The Squirrel had two children,
The house is full of children.
All travellers going on the road, 20
Come and see.1
When human beings saw this,
They stepped into the bush,
Got hold of the Squirrel’s nest,
And examined it. 25
When they looked inside,
They found the two young ones,
And took them home.
When they got home,
They put the children of the Squirrel on top of pounded yam, 30
And they disappeared with soup.”?

(b) How Òtúá Became A Rich Man

It is not today that dew started to fall.
[127]
A dia fún Òtúá
Ti nsawod rode Ìpàpôú.
Òtúá ní òún le là
Ní ibi tí òun nlọ báyìí?
WQOn ní bí ô bá leẹ̀ rúbọ dáadáa.
Ola ni 6 kòô bo níbi ti 6 nlọ.
Ìgbà tí 6 rúbọ tan,
O ṣì rí gbogbo ọlà náà.
O ní bẹ̀ẹ̀ gégé ni àwọn awo oun wi. 10

Pẹ̀rẹ̀pẹ̀rẹ̀ ni ò tòní sẹ̀;

A díá fún Òtúá
Tí úṣawoô ròde Ìpàpo.
Kùtùkùtù òní o,
Ire Ọsẹ̀ẹ̀rẹ̀mòọgbò. 15
Àgbà Òtúá wáá ráhun méjì
Nípàpôo "lé;
Òtúá waa ráhun méji,
Ò là yẹbẹyẹbẹ.

(6)
Pansiki, pansiki ni wọQỌn sínwò orí;
Wojowogjo là á sínkùn ọlà
Bí mo bá là, ma lalamo.
A díá fún Nàná Aáyì
Tíí ṣe ìyá Ìmòle.
Won ní kí Ìmòle 6 máa tọjú Aáyì dáadáa o.
Kò gbẹ.
Ìgbà tí ebí pa Nàná Aáyì tán,
Ni Imole ò bá rí ojútùú òràan rẹ̀ mò.
Nígbà ti Oran náà ò wò mọ, 10
Ni Ìmòle bá mú eéjì kééta,
Ô looko aláwo.
Won ní Ìmòle 6 gbọdò jẹun.
Tí ilé ọjọ náà 6 fi ṣú.
Won ní ọgbòn ọjẹ ni £5
O ní lati fi gbààwẹ̀.
Imdle si se bée.
Ìgbà ti 6 se béé tán,

[128]
Ifá divination was performed for Otid}
Who was going to the city of /pdpé? to perform divination.
Òtúá asked whether he could become rich
Where he was going.
He was told that if he performed sufficient sacrifice,
He would return from his journey with plenty of riches.
After he had performed sacrifice,
He had all the riches promised him.
He said that was exactly what his Ifa priests predicted.
“It is not today that dew started to fall.
Ifá divination was performed for Òfáá
Who was going to /papé to perform divination.
This early morning,
I pray for the blessing of Os?¢r¢mpgbd3 a
Òtúá, the old man, picked up two tortoises
In the city of [papé.
Òtúá picked up two tortoises,
And became a very rich man.”’

(c) Why The Muslims Fast

The cowries tied to Ori! are closely fastened together;
The okùn? beads of a rich man are made into a long dangling
chain;
If I become rich, I will make my relations rich as well.
Ifá divination was performed for Nand Adyi,’
Who was the mother of the Muslim.
The Muslim was told to take care of Adyi
But he did not heed the advice.
After Nand Adyi had died of hunger,
The life of the Muslim fell into confusion
When the matter became very bad,
He added two cowries to three,
And went to an Ifá priest to perform divination.
The Muslim was told not to eat anything
Until the end of the day.
He was also told that for thirty days,
He must continue to fast.
And the Muslims did so.
After he had done so,

[129]
Lé bá béré síí dara fún un.
O ní pansik{, párìsíkí ni wédn sinwo orf; 20
Wojowodjo là 4 sinkun ola,
Bi mo ba là ma lalamd;
A dia fún Nana Aayi
Tif se ìyá Imodle.
Nana o, 25
Iwo lo jare.
Nana, iye aafaa.
Nana, ìwọ lo jare.
Imole,
L6j6 wo le ha gbẹkú Ọlẹrun Oba? 30
Ekée yin o,
Tẹ e fi ngbaawe.

(4)
Bí ojú bá rí,
Ẹnu a wá;
Bi ẹnú bá wi,
Ẹnu a sì ya pààrà paara bí aṣọ;
A díá fún Aádùláì
Tí riṣawoô ròde Ìlá.
WQn ní kí àwọn ará òde Ìlá 6 rúbọ, olẹ̀.
Won sì rú u.
Ìgbà tí 6 yá,
Ni àwọn Aádùláìí bá ta ẹ̀wòn wá láti òde òrun. 10
Kí ilé 6 tôô mọ,
Àwọn Aádùláìí ti kò òrúnlá àwọn ará òde Ìlá lọ.
Ìgbà tí ẹ̀ràn náà sú wọn,
Ni wọn bá lọ sí oko aláwo.
Won ní ki 6 ribo. 15
Igba tí won rubo tan,
Ni Esti waa so fún àwọn ara òde Ìlá
Pé aajin ni kí won 6 dìde,
Ki won 6 lo sf ibi ẹ̀rúnláa won
Pélu ada léwé. 20
Won si se bée.

[130]
Things became better for him.
He said, '"T'he cowries tied to Orí are closely fastened together; 20
The okùn beads of a rich man are made into a long dangling
chain;
If I become rich, I will make my relations rich as well.
Ifá divination was performed for Nand Adyi
Who was the mother of the Muslim.
Nand, we salute you. 25
Your cause is just.
Nand, mother of the Muslim priest.
Nand, your cause is just.
All Muslims,
When did you hear of the death of the Almignty God? 30
You liars;
Or what else makes you fast (for so long).”

(d) Abdullah And His Gang Of Thieves

What the eye sees,
The mouth talks about.
When the mouth talks,
It is torn widely open like a piece of cloth.
Ifa divination was performed for Addildi}
Who was going to practise his trade in the city of Ìlá?
The people of Ìlá were told to perform sacrifice to prevent an
impending attack of thieves.
And they performed sacrifice.
When the appointed time came,
The Adduldi gang descend on a chain from the sky.
Before day dawned,
They had stolen away the dried okro® of the people of Ìlá.
When the people of Ìlá became alarmed,
They went to an Ifa priest.
They were told to perform sacrifice.
After they had performed sacrifice,
Éyà told the people of the city of Ìlá
To wake up in the middle of the night,
And go to the place where they kept their dried okro
Cutlass in hand. 20
They did as they were told.
[131]
Laipé, àwọn Aadulai so kale.
Ìgbà tí won rí àwọn ará òde Ìlá,
Ni wọn bá fiyaraa fò mọ ẹ̀wòọn wọn.
Ni àwọn ará òde Ìlá 25
Ba gé ẹ̀wòn àwọn Aádùlàì sí méjì
Pẹ̀lú àdá.
Àwọn tí kò tíì gòkẹ̀ tán nínúu wọn di mímú.
Àwọn ará òde Ìlá wáá nà won, na won,
Won sì féeé di funfun, 30
Won sì tún fi eérú kùn wQn lara.
Won ní béé gégé ni àwọn awo àwọn wi.
Bí ojú bá rí,
Ẹnu a wí,
Bí ẹnu ò bá wi, 35
Ẹnu a sì ya pààrà paara bí aṣọ;
A díá fún Aádùláì
Tí nsawo ròde Ìlá.
O ní kékeé Ìlá nà "un nà ’un,
Àgbà Ìlá nà 'un nà 'un, 40
Won kùn 'un léérú.

[132]
Before long, the Adduldi gang of thieves descended.
When they saw the people of Ìlá,
They hurried to climb their chain back again.
But the people of Ìlá 25
Cut the chain into two
With their cutlass.
Those who had not climbed too far among them were arrested.
The people of Ìlá then beat them so thoroughly
That they almost turned white. 30
The people of Ìlá then painted them with ashes.4
They said that was exactly what their Ifa priests predicted.
‘‘What the eye sees,
The mouth talks about.
When the mouth talks, 35
It is torn wide open like a piece of cloth.
Ifá divination was performed for Adduldi
Who was going to practise his trade in the city of Ìlá.
He said that the young people of Ìlá beat him and beat him;
The old people of Ìlá beat him and beat him 40

And painted him with ashes’’.®

[133]
 4
XIV Prete MI. J d
ge

(a)
Àjàlú yékeyéke
Lo dia fún Yanrìn, ọmọ Osun,
Àjàlú pẹ̀tẹ̀pẹ̀tẹ̀
A díá fún Ẹrẹ̀, ọmọ Àbàtà.
Kàkà n ò tẹ̀tẹ̀ mò,
Mba ṣẹbọ àjàlú soorosaa;
A dia ran kannkan
Ti nlooko alero ọdún.
Won ni ki àwọn métééta 6 ribo.
Yanrin ò ru, 10
Eré ò ru,
Kannkan nìkan lo ru.
Ati Eré ati Yanrin,
Won ò leé da àkankan se,
Ṣùgbọn bi Kannkan ba wẹ̀, tò kùn tan, Mo
A ní n ò ṣẹbọ ajalu soorosaa.
Ô ní Àjàlú yékeyéke
Lé díá fún Yanrìn, ọmọ Ọṣun;
Àjàlú pẹ̀tẹ̀pẹ̀tẹ̀
Lo did fún Ẹrẹ̀, ọmọ Abata; 20
Kàkà n ò tẹ̀tẹ̀ mò,
Mba ṣẹbọ àjàlú soorosáà;
A dia fún Kannkan
Ti nlooko àlerò ọdún.
Érò Ipo, 25
Ero Ofa,
E waa ba ni lárùúṣégun.

(5)
Bùtùbútù ona Ìjẹ̀ṣà lomedéé fit seré,

[134]
 XIV Ìrẹtẹ̀ Májì
(a) Sponge, An Instrument Of Cleanliness
The very smart and clean one
Performed Ifa divination for sandy soil, offspring of Osun’ river;
The very rough and wet one,
Performed Ifa divination for wet humus soil, offspring of
marshland;
If I had known,
I would have performed sacrifice so that after bathing I would
jump up with joy.?
Ifá divination was performed for Sponge®
Who was going on his annual visit to the farm.
The three of them were told to perform sacrifice.
But the sandy soil did not perform sacrifice.
The wet humus soil also refused to perform sacrifice.
Only the Sponge performed the prescribed sacrifice.
Both the sandy soil and the wet humus soil
Were unable to get anything done.
But after the Sponge bathed and rubbed herself (with nice
ointments),
She would make a joyful sound.
She said, ‘““The very smart and clean one,
Performed Ifa divination for the sandy soil, offspring of Osun
river;
The very rough and wet one,
Performed Ifá divination for the wet humus soil, offspring of
marshland; 20
If I had known,
I would have performed sacrifice so that after bathing I would
jump up in joy;
Ifá divination was performed for the sponge
Who was going on his annual visit to the farm.
Travellers to the city of [po, 25
Travellers to the city of Ofa,
Come and meet us in conquest.”’

(6) Moranin, A Wife Of Orinmila

The fine sand which children play with on the road to Jjsa,}

[135]
Bi 6 bá kọmọ ní rfrin ẹsẹ̀,
A kémo ní yíyan;
A díá fún Òrúnmìlà,
Ifá nlọ léé fé Moranin.
'Tíí se ọmọ Odsa Ìgbòwújìn.
'Teégún, tòòṣà ní ìdú Mọranín.
Ọrúnmìlà ní òun ni òun ô fẹ ẹ.
Won ní ẹbọ ní 6 rú.
Ìgbà tí Ọrúnmìlà rúbọ tán, 10
Ọwọọ rẹ̀ ni Mọranín já mọ.
Ìgbà tì inúu rẹ̀é dùn tán,
O ní béé gégé ni àwọn awo òún wí.
Bùtùbútù ona Ìjẹ̀ṣà tẹmọdéé ffi seré,
Bi ò bá kọmọ ní rírìn ẹsẹ̀, Ru
A kémo ní yíyan;
A díá fún Ọrúnmìlà,
Ifá nlo lé fé Moranin,
Tíí ṣe ọmọ òòṣà Ìgbòwújìn.
Moranin 6 pada waa fé mi,
Àyàmò se bí n 6 soyùn môòkô. 20
Tinttéyin ni labalábáá fii hOlédùmarẹ̀.
Mọranin 6 pada waa fé mi.
Àyàmò se bí n 6 soyùn moké.

(6)
Gbése légi,
Gbéseé lé gbongbo;
A dia fin Aduké,
Ọmọ olore atijdtijd,
Aséwa ẹ̀sòsò ríwà.
Ô jí ní kùtù,
O nfomi ojúú ṣògbérẹ̀ ire.
WQn ní kí Àdùké 6 ribo.
O sì ṣe bée.
Ìgbà tí ô rúbọ tán, 10
Ô sì lélá,
Ô léwé léwé.
Gbogbo ire tí 6 ìwá pátápátá

[136]
Teaches some children how to walk,
And other children how to move gracefully.
Ifa divination was performed for Ọránmìlà
When he was going to marry Moranin,
The daughter of Òòsà Igbdwijin?
All the divinities scrambled to marry Moranin
But Ọrúnmìlà said that he would be the one to marry her.
He was told to perform sacrifice.
After Qrinmila had performed sacrifice, 10
He succeeded in marrying Moranin.
When he became very happy,
He said that was exactly what his Ifa priests predicted.
‘The fine sand which children play with on the road to ìòyà,
Teaches some children how to walk,
And other children how to move gracefully.
Ifa divination was performed for Òrúnmìlà
When he was going to marry Moranin,
The daughter of Odsa Igbdwijin.
Moranin will come back and marry me. 20
I have decorated my private part with ?yànô beads
The butterfly shows its abdomen and its back to Olédimaré4
Moranin will come back and marry me.
I have decorated my private part with zyiin beads.

(c) Aduké, Offspring Of Kind-hearted People

He who rests his feet on logs of wood;
He who rests his feet on stumps.
Ifá divination was performed for Adik?},
Offspring of kind-hearted people of ancient times,
Who cooked maize and beans together in order to live a better
life.
She woke up early in the morning
Weeping because she lacked all good things.
Àdùkẹ was told to perform sacrifice,
And she did so.
After she had performed sacrifice,
She became an important person.
She had money.
All the good things she sought after
[137]
Ni 6 tẹ̀ é lọwọ.
O ní bét gégé ni àwọn awo oun 5
Nsenu rereé pefa.
Gbésé légi,
Gbésẹ̀ lé gbongbo;
A dia fÁdùké,
Ọmọ oloore atijotijd, 20
Aséwa. 0soso riwa.
O jí nf kùtù,
O nfomi ojúu sogbéré ire.
Ewa 6s0s0 la sé,
Niré kúnlé piti. 25

(4)
Pááfà tééré;
A dia fún Eléméré
Tif se oré Agbonnirégtin.
Wọn ṣawo lo si apa òkun, ilaji Osa.
Won 6 ri nnkan je,
Béé ni ebi si npa wọn.
Ni won ba 106 sun ilé kan.
Eléméré ni oun 6 daa nkan silé o;
Lo ba ti ọwọ bo apo,
O yo ofa éree rẹ̀, 10
Lò ba ta 4 mô ewúré kan nínú ilé naa.
Mẹ̀ẹẹ̀, meééé ti ewúré náà ndún,
WQn ní ẹ tẹ̀tẹ̀ dú u,
Ẹ mọjẹ̀é kí 6 kú sí gíífà.
Ni wọn bá pa á, 3
Won sì pín in je.
Bí wọn ti pín in jẹ tán,
Ni àrùn àti airdju bá dé bá wọn.
Ìgbà tí gbogbo ilé náà ò gbádùn,
Ni won bá sá tọ Ẹlémẹ̀rẹ̀ lọ. 20
Ô ní béẹ̀ gégé ni àwọn awo oun wí.
Were attained by her.
She said that was exactly how her Ifa priests
Employed their good voices in praise of Ifa.
'rIHe who rests his feet on logs of wood,
He who rests his feet on stumps;
Ifa divination was performed for Adiké,
Offspring of kind-hearted people of ancient times. 20
Who cooked maize and beans together in order to live a better
life.
She woke up early in the morning,
Weeping because she lacked all good things.
When we cooked maize and beans together,
All the good things of life fill up our home.”’ 25

(d) Eléméré And His Poisoned Arrow

Pááfà,1 the tall and slender one,

Performed Ifá divination for Elémér¢?
Who was a friend of Aghonnirégin®
Both of them went to a distant place to practise divination.
But they had nothing to eat,
And they were hungry.
They then slept in a certain house.
Elémér@ said that he would create a problem for the inmates of
the house.
He dipped his hands into his pocket,
Took out his poisoned arrow, IO

And shot it against a goat in that house.

When the goat started to shout m@¢¢, me¢e,
The inmates said, ‘‘Let us kill it quickly
Before it dies without the Muslim blessings.’’4
They therefore killed the goat, TO
Divided it up among themselves and ate it.
Immediately after they ate it,
Diseases and other problems descended upon them.
When the whole house became unwell.
They went to Elémé@r? in great haste. 20
He said that was exactly what his Ifa priests predicted.
'íPááfà, the tall and slender one,

[139]
A díá fin Eléméré
Tif se oré Agbonnirégun.
Ero Ipo, 25
Ero Ofa,
Aláìkú akapo ni [faa se.

[140]
Performed Ifa divination for Eléméré
Who was a friend of Agbgnnirégin.
Travellers to the city of fo, 25
Travellers to the city of Ofa,
Ifa is the immortal diviner.”’

[141]
 XV Ose Mdi
(a)
Òjììji ò bẹ̀rù ẹ̀fìn;
A díá féwé
Ti nil lé gbdbi níyàwòú.
Ìgbà tí 6 yá,
Ewé ní òun ò fẹ obi mọ.
Lé bá ko obi iyawoo rẹ̀ sílẹ̀.
Ìgbà tí obìí lọ tán,
Lò bá bẹ̀rẹ̀ síí gbẹ.
Ìgbà tí Oran naa Ò wo mé,
Ni obif ba tún pada waa f€ ewé,
Nígbà naa ni 6 toô waa bẹ̀rẹ̀ síí ye €.
O ní Ojiiji 6 bẹ̀rù Ofin;
A dia féwé
Tí nlo gbdobi nfyawo.
Ero Ipo, 15
Ero Ofa,
Ìgbà obif l6un 6 féwé mẹ,
Se bí gbígbẹ ni ngbẹ.

(0)
O sé kòlé,
O gbokod;
O na gbaja,
O gbogdji;
Kò tòô dalẹ,
N 6 gbẹgbàá ẹyọ;
A díá fún Olékun, Àjíbáajé.
Ojú ní npẹn Olòkun.
O nf oun le là báyìí?
Won ní kí 6 tọjú àwo ẹ̀kuru méjé. TO
Ati òpò owò àti eyelé.
Àwọn awoo rẹ̀é ní
Kí 6 gbé àwo ẹ̀kuru mérin
Lọ sí alé.
W6n ní kí 6 gbé e

[142]
 AV Osé Mei
(a) Kolanut, The Wife Of Leaf
The shadow does not fear a deep pit.
Ifa divination was performed for Leaf
Who was going to marry Kolanut.}
After some time,
Kolanut said that she did not want to marry Leaf any more.
She then divorced Leaf.
After Kolanut had left Leaf,
She started to dry up.
When the matter became unbearable,
Kolanut returned to Leaf. I0O
It was then that her life became good again.
She said, ““The shadow does not fear a deep pit.
Ifa divination was performed for Leaf
Who was going to marry Kolanut.
Travellers to the city of Ìfo,
Travellers to the city of Ofa,
It was when Kolanut divorced Leaf
That she started to dry up.”’

(b) How Olokun Became Very Rich In Cowries

He bent himself double,
And received twenty cowries;
He stretched himself flat on the ground,
And received forty cowries;
Before nightfall,
I will receive two thousand cowry shells.
Ifá divination was performed for Olákun! nick-named Ajtbdajé.?
Olékun was in dire want.
She asked from her diviners whether she could become rich.
She was told to perform sacrifice with eight plates of ékuru,®
Plenty of money and one pigeon.
Her Ifa priest told her
To take four of the eight plates of ékuru
To her own house.
She was told to place them

[143]
Lo sí ékulée rẹ̀.
Ìgbà tí ileé mé,
Ti 6 dé ẹ̀kùlée rẹ̀,
O ba ajé tí 6 fa kale,
Ti 6 ko okiti lo ranmu ranmu. 20
Lo ba béré síí gbọn on
Sinu ilée rẹ̀.
Ô ni 6 sé kdl,
O gbogun;
O na gbaja, =)
O gbogòjì;
Kò tòô dalé,
N 6 gbẹgbàá ẹyọ;
A díá fún Olékun, Àjíbáajé.
Kẹ̀ẹ̀ pé o, 30
Kẹ̀ẹ̀ jìnà,
Ajé waa jẹ dékulé awo.

(6)
Ka gbon ọn gbén,
Ka bú u bú;
A dia fún Olasf,
Olasi nlooko àlerò ọdún.
Ìgbà tí won digun yí Ọláṣí poo,
Lo bá sá lọ sí oko.
Ìgbà tí iná ote náàá kò,
Tí kò kú mọ,
Ni Ọláṣí ba duro sí oko,
Kò wálé mọ.
Ibẹ̀ ni gbogbo iré sì mba a.
Sugb6n láti ìgbà tí Ọláṣí ti kúrò nílé,
Ara ò rọ ẹnìkan.
Aboyún ò bí,
Àgàn ò tọwọ àlà bosùn. wi
Nígbà tí Oran náà 6 wò mọ,
Ni gbogbo ará ìlú bá dìde,
Won ni 6 yẹ kí àwọn mú Ọláṣí wálé,

[144]
At the back of her house.
The following morning,
She went to the back of her house,
And found countless live cowries*
Gathered together in heaps all over the place. 20
She then started to gather them
Into the house.
She said, ''He bent himself double,
And received twenty cowries;
He stretched himself flat on the ground, 25
And received forty cowries;
Before nightfall,
I will receive two thousand cowry shells.
Ifa divination was performed for Olékun nick-names Ajthdajé.
Before long, 30
At no distant date,
Money made its way into the back of Ifa priest’s house.”

(c) How Odsaoko Became A God Of The Farm

Let us gather it together;
Let us break it into pieces.
Ifa divination was performed for Qldst
Who was going on his annual visit to the farm.
When people hatched a plot against Ọláṣí 5
He ran away to the farm.
When the intensity of the plot continued
Without diminishing,
Ọláṣí decided to remain on the farm,
And he no longer returned to the city. 10
While on the farm, he had all the good things of life.
But since the time Ọláṣí left the city,
Nobody was at peace.
Pregnant women could not be delivered of their babies.
Barren women did not dip their white hands in camwood
ointment. 15
When the matter became unbearable,
All the inhabitants of the city got up,
And said that it was time they brought Ọláṣí back into the city,

[145]
Ki ara 6 le baa ro àwọn.
Ọláṣí ní bí oun 6 baa tun pada walé, 20
Oun 6 jẹun yo tété,
Oun 6 mu amuyé,
Oun 6 si gesin,
Tilutifon ni won 6 si fi mú oun wold.
Béé gaan náà ni won si se mu Olasf wold. 25
Ìgbà ti 6 dé ìlú tan
Ni ara tôô béré síí ro àwọn ara ilu.
, ,
Lédooditn, bi àkòkò ti wọn mu Ọláṣí wolt b a pe;
Tilutifon ni gbogbo àwọn ara ìlú
Fif se irantfi rẹ̀. 30
O ní ká gbọn on gbén,
Ká bú u bú;
A dia fún Olasi,
Olasi flooko alero ọdún.
Ero Ipo, 35
Ero Ofa,
E waa ba ni lárùúṣégun.
A ase mo Olasi,
Ni à npé ni Odsaoko.

(d)
Agbaa lake, lalé;
A dia fún Ọrúnmìlà,
Yòò ségun ayé,
Yoô sì ṣé tòrun.
Won ní kí Òrúnmìlà 6 rúbọ.
Won ni yoo ṣégun Ootaa rẹ̀.
Ìgbà ti 6 ribo tan,
O si nf iségun.
Ô ní bée gégé ni àwọn awo òun
Nsenu reé pe "Fá. 10
Àgbàrá lake lalẹ̀;
A dia fún Ọrúnmìlà,
Yoòò ṣẹgun ayé,

[146]
So that they could have peace.
But Ọláṣí said that if he would ever return to the city, 20
He would eat to his satisfaction,
He would drink sufficient wine,
And he would ride on horse-back.
Furthermore, they should accompany him with drums and
trumpets.
That was exactly how they brought him back into the city. 25
It was after he returned into the city
That the townspeople started to have peace.
Every year, whenever the exact date of Olasf’s return to the
city came,
It was with drums and trumpets that the townspeople
Remembered him. 30
He said, ‘“‘Let us gather it together;
Let us break it into pieces.
Ifá divination was performed for Qlést
Who was going on his annual visit to the farm.
Travellers to the city of [po, 35
Travellers to the city of Òfà,
Come and see us conquering with sacrifice.”
Who is the person known as Ọláṣí?
That is the name of Odsdoko.1

(d) Ifá Conquered His Enemies On Earth And In Heaven

The torrent breaks through hills and valleys.
Ifá divination was performed for Qrinmila
Who would conquer his enemies on earth
As well as in heaven.
Ọrúnmìlà was told to perform sacrifice.
He was told that he would triumph over his enemies.
After he had performed sacrifice,
He was victorious.
He said that was exactly how his Ifá priests
Employed their good voices in praise of Ifa.
“The torrent breaks through hills and valleys.
Ifá divination was performed for Òrúnmìlà
Who would conquer his enemies on earth

[147]
YOÔ si sé torun,
Ero Ipo, a5
Ero Ofa,
E waa ba wa lárùúṣégun.
Artségun lawa wa.
x

[148]
As well as in heaven.
Travellers to the city of po, 15
Travellers to the city of Òfà,
Come and find us conquering with sacrifice.
We are in a position where we conquer with sacrifice."

[149]
 XVI Ofun Mei
(a)
Àtélẹsẹ̀ abara pélébé;
A díá fún ẹni-apáòká.
Ẹni-apáòká lorúkọ à á pòkẹ̀.
Ogún ọdún òní o,
Òkẹ̀ rhbe láìkú gbọingbọin.
Gboingboin mò ni tòkẹ̀,
Òkẹ̀, òkẹ̀ gbọingbọin.
Ogbon ọdún òní o,
Oké rhbẹ láìkú gbọingbọin.
Gboingboin na tòkẹ̀, Io
Òkẹ̀, òkẹ̀ gbọingbọin.

(6)
Adéyẹrí lawo Alaraan;
Adétutù lawo Ajiforogbogbola ;
A dia fún Òrúnmìlà,
O jí ní kùtù,
O nlọ léé gbòlòmítútù níyàwò.
Ayé Ifá tutù joma lọ.
Ayé Ifá tutù jomi lọ ò,
Ayé Ifá tutù jomi lọ.
Afédéfeyo 16 gbdlomitutt níyàwôú,
Ayé Ifá tutù jomi lo.

(6)
Bágbọn 6 ṣoro, a tìdí bọlé;
Bídà 6 ṣoro, a tẹ̀òékù bakd;
Korowo àgbagbà ni wọn dífá fún,
Nígbà tí njẹ nírògbun ota.
Won ní kí àgbagbà 6 rúbọ.
Ô sí rú u.

[150]
 XVI Oftin Méji
(a) He Who Cannot Be Subdued
The sole of the feet is always flat.
Ifa divination was performed for he who cannot be subdued.
He who cannot be subdued is another name for the hill.
Twenty years from today,
The hill remains alive and as strong as ever. 5
The hill is always found to be as strong as ever.
The hill, the hill, who is strong and firm.
Thirty years from today,
The hill remains as strong as ever.
The hill is always found to be as strong as ever. 10
The hill, the hill who is strong and firm.

(b) Iff's Life Was Cooler Than Water

Adáyẹrí,1 Ifá priest of Aldradn,?
Adátutù,? Ifá priest of Ajifprpgbogbola,*
Performed Ifá divination for Òrúnmìlà
Who woke up early in the morning,
And was going to marry she who bathes only with cold water. 5
Ifa’s life was cooler than water.
Ifa’s life was certainly cooler than water.
Ifa’s life was cooler than water.
The speaker of all languages® was the one who married she who
bathes only with cold water.
Ifa’s life was cooler than water. 10

(c) The Tall Plantain Living Among Enemies

When the wasp wants to sting, it dips its anus into its hive;
When the sword wants to strike, its handle points in the
direction of the scabbard;
Ifá divination was performed for the tall Plantain Plant
When he was living among enemies.
The Plantain was told to perform sacrifice, 5
And he performed sacrifice.
[151]
O si ségun àwọn òtáa rẹ̀.
O wáà nyin àwọn awoo rẹ̀.
Àwọn awoo rẹ̀ nyin 'Fá.
O ní bágbén 6 ṣoro, IO
A tìdí bọlé;
Bida 6 ṣoro,
A téékt: bako;
Korowd agbagba ni won dífá fún,
Nígbà ti nje nírògbun ota. 15
Orunmila 16 dòsùrùàsùrù,
Ọba Aladé ntorí otaa bomi.

(4)
Opé tẹnu kẹkòòkẹ̀,
Tenu bodo,
Ténu boko;
A dia fOrangun ilé,
A bu fOrangtin oko.
Won ni ki àwọn méjẹ̀éjì 6 ribo.
Won si ru u.
Igba ti won rubo tan,
Ni wọn waa béreé sff rí oríṣìíríṣìí ire.
Won ni òpẹ̀ tenu kokookd IO
Tenu bodo,
Tenu boko.
A dia fOrangun ilé,
A bù fOrangun oko.
Ero Ipo, fe
Ero Ofa,
Ìgbà Òràngún di méji
La doníre.

[152]
 As a result, he conquered his enemies.
He praised his Ifa priests
And his Ifa priests praised Ifá.
He said, ''When the wasp wants to sting, it dips its anus into its
hive; 10
When the sword wants to strike, its handle points in the
direction of the scabbard;
Ifá divination was performed for the tall Plantain Plant
When he was living among enemies. 15
Ọrúnmìlà said that he would repeatedly dip into water,
The head of the enemy.”’

(d) Orangin Méji, The Sign Of Fortune

The palm trees which are so conspicuously bent
That some dip their heads in water,
And others dip their heads inside farmland.
Ifá divination was performed for Qrangin! who lived in the city;
Ifá divination was also performed for Qrangtin who lived in the
village. 5
Both of them were told to perform sacrifice,
And they performed :t.
After they had performed sacrifice,
They started to have different kinds of good things.
They said, ‘““The palm-trees which are so conspicuously bent 10
That some dip their heads in water,
And others dip their heads inside farmland.
Ifá divination was performed for Òràngún who lived in the city.
Ifá divination was also performed for Òràngún who lived in the
village.
Travellers to the city of fo, 15
Travellers to the city of Ofa,
When we see Òràngún Méji,
We begin to have fortune.”

[153]
 NOTES
I Eji Ogbẹ̀
(a)
1. Thunder stones refer to the ancient stone axes sacred to the worshippers
of Sangé, the Yoruba thunder and lightning divinity. The Yoruba, like all
other peoples to whom these ancient stones are sacred, believe that these
stones were hauled down the sky during thunder whenever S$dngé was angry.
According to Yoruba belief, Sdngé is the enemy of thieves, liars and traitors
and whenever he detects them, he throws thunder stones at them. When
hauled by force from the sky, these stones are believed to be so powerful that
they could destroy a whole building in a single stroke. The thunder stones
may also set buildings on fire, wound and/or kill the inhabitants. When there
is any incidence of lightning affecting people in any place, the Sangé priests
are called upon to remove the thunder stone which caused the destruction
and to perform all the traditional rites stipulated for such occasions.
2. Arira. This is a praise name for Sangé which depicts his extraordinary
strength.
3. Ìlá Ọbamotùé. This is an obscure place name.
4. Adéẹkẹ. A shortened form of the name Adéseéké which means ‘‘Crown is
something of value which should be highly regarded and petted like a child.”
5. Eré. A Personal name which literally means “‘Gain’’.
6. Opn. This is the title of the king of the ancient city of Jf? which the
Yoruba people believe to be their ancestral home and the cradle of humanity.

(0)
1. Aànàkànà. Any tool that can be used to fling an offensive weapon such
as a rubber catapult.
o. Ìgbòmokò Eségi. Name of a place usually mentioned in connection with
a battle which is believed to have taken place in ancient times. The present
writer has not been able to locate this city which has probably been destroyed.

(6)
I. To the Yoruba, it is an important thing for a man to live a long and

[154]
uselul lile, 1 his 1s the result of the hierarchical system of authority based on
age and divine kingship. Furthermore, anyone who dies young cannot be-
come an ancestor and is therefore considered as having failed to live a full
life. Living a useful life, to the Yoruba, also includes being able to carry one’s
responsibilities (catering for one’s wives, children and other members of the
extended family system) until full maturity when one’s children normally
take over the responsibilities.

(d)
1. Pakelemp. This personal name is probably an obscure appellation for
Ọrúnmìlà.
2. The three parts of the body mentioned in the poem, Head, Chest
and Genital Organs are of symbolic importance to the Yoruba people. Head
is the symbol or predestiny; Chest is the symbol of a good and warm life filled
with lovers and friends while the genital organs symbolise reproduction or
fertility which is the most important thing necessary for the continuation
of the whole culture.

IT Ọyẹ̀kú Májì
(a) ;
1. O)ẹ̀. This is a shortened form of the name Qy@ki, the second principal
Odù of the Ifá literary corpus from which this poem is extracted.
2. Éyù is the divinity who receives all sacrifices on behalf of the other
divinities. Fish therefore called Es a thief in this story because she thought
that she was being asked to offer an unnecessary sacrifice to Éyù.
3. Ọgbún. A hollow calabash used for collecting and throwing off water
from a river which is being drained of its contents. Its hollow shape allows
quick and easy drainage of water without too much strain.
4. This line actually means that after catching the fish, human beings
cooked and ate it with pounded yam, a favorite Yoruba food.
5. The commandment of Éyà referred to here is an allusion to the power
of that divinity as keeper of àsẹ, the divine and highly potent power with
which Olédimaré created the universe and maintains its physical laws. Eyu is
believed to be the keeper of a copy of that power, and with it, he and other
divinities (who usually borrow the power from him) could perform super-
natural deeds. It was by the use of this power therefore that Es commanded
that the species offish should continue to thrive on earth despite the constant
attack of human beings.

(6)
1. The walking stick is used to shake off water which has gathered on the
[155]
leaves on both sides of a narrow farm path so as to prevent the clothes of the
person passing through the path from getting wet.
2. Most of the roads leading to Yoruba village settlements and farms are
narrow foot-paths. Some of these paths are so narrow that one foot has
literally to struggle with the other in order to pass through them.
3. Heaven is here used as an English equivalent of the Yoruba term prun
which refers to the place into which dead people go after their deaths. Ọrun
is the abode of the divinities and the ancestors. However, the Christian
(Western) conception of heaven is not exactly the same as that of Yoruba
prun.
4. The Yoruba do not use red cloth to cover up the dead. To them, red
signifies danger and restlessness. Since what the dead need is peace, it is not
surprising that the Yoruba will not cover the dead with a cloth that has any
red colour whatsoever. The dead is first wrapped in white cloth and covered
again with layers of other shades of cloth apart from red.

Q)
1. Àtàtà-tanìn-tanìn. This is the name of an Ifa priest. The name probably
refers to his extraordinary strength. All Ifá priests bear nick-names in addition
to their regular names. When they are among their fellow 1f priests, they are
called by their nick-names.
o. Ọlọmọ. This is another name for the hill or mountain. To the Yoruba,
the hill is a thing of wonder probably because the greater part of their country
is an undulating plain broken only by a few rocky hills which dominate the
landscape like a giant among men. The strength and seeming immortality of
the hill forms the subject of many Ifa poems.
3. Ajogun. A collective name for all malevolent supernatural powers which
could fight against man (e.g. Death, Illness and Loss). These “‘evil’* powers
are all personified in Ifa divination poetry. To the Yoruba, the ajogun are a
counter to the benevolence of the divinities and the ancestors. Thus, while
the latter can be seen as friends of man, the ajogun are the avowed enemies of
man, bringing him unhappiness, sorrow and death.
4. Éṣà always sits outside the house of anybody who is to be attacked by the
ajogun provided that person has performed sacrifice. Whenever the ajogun
find Éyà in this position, they are always made powerless. Éyà will only per-
form this policeman’s duty for anyone who has offered sacrifice; hence the
saying ẹni 6 ribo lÉṣùú gbé” (Éṣà favours only those who have offered
sacrifice). As keeper of Ol6dimare’s àṣẹ, he (Éyà) has power over both the
benevolent and the malevolent powers. Indeed, some If& poems refer to the
ajogun as the disciples of Eyz; and, as already mentioned, the divinities can-
not do anything without Esa since they have to make use of his ase whenever
they want to perform supernatural deeds. From this point of view, Éyà can

[156]
be said to be the super-divinity of the universe. Without him, there can be no
order, balance or justice. In other words, without Esa, there can be no moral
values, no culture and no God.
5. This is the only poem collected by this investigator which tells of the
power of yam-flour as a counter against the attack of the ajogun. However,
the medicinal and food value of yam-flour has been known to the Yoruba for
many centuries. Food made out of yam-flour forms an important part of
Yoruba diet.
6. The song of Ifa priests here refers to iy¢r? which is a type of Ifá divination
poetry in chanted form.

(d)
1. These lines refer to Yoruba belief concerning predestination. For full
explanation, see introduction.
2. Mésdaji. This is believed to be a garment used by kings in ancient
times. The cloth is believed to be very costly, light and very warm.
3. Ikusadni. A personal name which means “‘Death, please have mercy on
99
us.

4. Aldpa. This title is traditional to the city of /rawé, a small town in Oy¢
division.

II Twori Meéji
(4)
I. The spider is the subject of several Ifá poems which marvel at its
expertise in spinning its thread into different artistic shapes.

(6)
1. An ant-hill which has lost its top becomes a mere receptacle for water.
Ant-hills could be found all over the Yoruba tropical rain-forest and savanna
regions. Some of these ant-hills are very big and as tall as ten feet or more.
2. Orúrù is a common tree in most parts of Yorubaland. Its flowers which
are bright red are referred to in this poem as “garment of blood.”

(6)
1. Ìlári. An Ẹgbá town on the Lagos—Abgokuta motor road.
2. Àkàtààbá. A Yoruba traditional hunting implement.

(4)
1. Eyi Iwori. The same as Ìuòrì M@i, the third of the principal sixteen
categories of Ifa literary corpus.
[157]
 . /$lẹ. A vegetable of the spinacn Class whicn people Cat.
. Tetenponld. A vegetable of the same species with fẹ̀fẹ̀.
. Agba. A tough climbing stem used as rope.
. Ìjòkùn. Another climbing stem..
N
CO
SP
no. Keekée. A climbing stem found only in deep forests.
. Oyé Àjàká. This is another name for Oy6-ilé (Old Oy) founded by
AÌjàká, one of the son’s of Qradnyan who is considered to be the first king in the
Qy¢ ruling dynasty.

IV Òdí Májì
(a)
1. The shrines of some Yoruba divinities are built outside the house or in
the bush with mud walls and thatch roof. Some of these shrines are usually
very small houses inside which the paraphernalia of the divinity are kept.
The shrines of some other divinities are situated inside the homes where their
devotees live. When this happens, a special part of the house is set aside for
the iconography and other instruments of the divinity involved.

(6)
1. The city of Benin which is now the capital of the Mid-west State of
Nigeria features prominently in Yoruba folklore. Indeed, Yoruba mythology
claims that the present ruling dynasty in Benin descended from Odiduwa.
Yoruba mythology refers to Benin as “‘the city of money” ( Ìbíní ilé owd)
because of the presence of the Portuguese, who brought cowry money into
Africa, in that city.
2. Aran. An important drum used mainly in the worship of Ifa.

(6)
1. Ajẹ̀ìhgbẹ̀rẹ̀ Mdògún. This place name features prominently in several Ifá
verses. ‘The city is reputed to have had the Yoruba traditional wall and moat
and a city gate watched by a regular gate-keeper. Gate-keepers known to
the Yoruba as “‘onibode”’ collect tolls from people who move goods shrough
the city gates. Such tolls form an important part of government revenue in
traditional Yoruba society.
o. Ipo. A town in the northern part of Yorubaland (Kwara State).
3. Ofa. An important Yoruba farm in the Kwara State of Nigeria.

(4)
1. Òdí, The fourth of the sixteen principal categories of Ifa literary corpus.

[158]
 2. Lyigbomekun. ‘This is believed to be a famous market town near Old Qy¢.
Many myths concerning markets and trade centre around this market town.
3. The head of the market women known in Yoruba as “‘tydlgja”’ is usually
chosen by the ruler of each town from among the best known market women
who have qualities of leadersnip. The regulation of the complicated business
of the market is carried out by the ipdl@ja.

V Ìrosùn Méji
(a)
1. Bush-cows are to be found in large numbers in the savanna forests of
parts of Yorubaland. These bush-cows go together in large numbers at the
same time. When they are so many, they move about with so much group
confidence that it can be said that they do not fear the hunter and his
implements.
2. Olégbun. A personal name which can literally be translated as ““Owner of
the deep pit.”
3. Sang. The Yoruba thunder and lightning divinity. See I (a) 1.

(6)
1. Ìbabúrú. This word is used here to denote the name of an Ifa priest as
well as the name of a city. Here, as well as in the following two names in this
poem, what the poet wants to achieve is a play on the words Jbabiri, Ìbabùrù
and /barakata. These names are otherwise meaningless.
2. Ìgbà. This word which can literally be translated as ‘“Time’’, can also
mean “‘History.’’ The whole message of this poem centres around a personifi-
cation of “‘History’’ which it attempts. What the poem attempts to say is that
History went to the city of Qyf and made it famous as a centre of life and
culture.
3. Qyg. The ancient Yoruba city which was the headquarters of the Old
Qyg empire. The city was destroyed in the 1830's. At the apogee of the Old
Oy¢ empire, the city of Oy was the measure of Yoruba culture and civilization.
4. Òsùn. A vegetable which has a fresh and satisfying taste.
5. Erigi AlA. Another name for Òrúnmìlà.

C
ifẹ Jn A personal name.
2. Ará. Indigo dye. This is an important Yoruba traditional dye-stuff pre-
pared with indigo and other chemicals.
3. Aasd. This is a personal name given mainly to women. It is also the
name of a minor divinity.
[159]
 4. Odòjé. Another personal name rarely used nowadays.

d
Es et last two lines of this poem explain the importance of a wife and
children to any man in Yoruba traditional society. The wife helps with the
harvesting and marketing of such products as kolanuts while the child helps
with the preparation of food items such as grinding of pepper.

VI Owjnrin Májì
(a)
1. Ìrákò. The African teak. One of the tallest and most precious West
African hardwoods. /rékd grows abundantly in the luxuriant Yoruba rain
forest. Its giant size and imposing height make it easily the most distinct tree
in the forest. The Yoruba believe that /réké is not an ordinary tree because
supernatural powers dwell inside its trunk.
2. Ìgbò. Name of an ancient town which features prominently in Yoruba
mythology.

(2)
1. Aké. A personal name for a woman. When the name is used for a dog,
it refers to a dog which has just delivered young puppies. Áko also refers to
a naturalistic burial effigy found in several parts of Yorubaland especially
at Ọwòọ.

c
1, n A personal name which means ''Joy (Laughter) has come
again."
2. Ẹlẹrìn. The king of the ancient city of Erin.
3. Sajéjé. An important place name in the kingdom of Erin.

(d)
1. Janjasd. A personal name.
2. ‘The Yoruba believe that each person has comrades in heaven just as
he has here on earth. Furthermore, there are certain people who, before their
births, were leaders of their own comrades in heaven. It is believed that
unless plenty of sacrifices are made for such people, they would be recalled
to heaven by their comrades. To prevent the premature death of such
people, the divinity known as Egb¢)gbd is propitiated with sugar-cane,
groundnuts and other things which children like to eat.
[160]
 3. Ẹgbáògbà. A divinity worshipped mainly by women. It is believed to be
connected with witchcraft.

VII Obara Májì

(a)
1. —Àgbàalẹ̀. A personal name.
2. The blacksmith does not want war to be eliminated on earth because it
will affect his industry of making war implements such as spears, arrows and
cutlasses. Even in modern times, we know that the manufacturers of war
armaments do not always want to see an end to war which yields profits to
them through the manufacture of war planes, guns, tanks, etc.
3. Éjì Ọbàrà. The seventh of the sixteen principal Odà of Ifá. He was
believed to be a very poor person before he suddenly became very rich and
famous.
4. Qléfin. Another name for Odiduwa, the great ancestor of the Yoruba
people.
5. The odd numbers three, five, seven, nine and seventeen are very im-
portant to the Yoruba. Most markets are held every fifth, ninth, or seven-
teenth day while in mythology most of the important events take place on
the third or seventh day.
6. The Yoruba eat pumpkin but it is usually regarded as a poor man’s
food.
7. Okùn and iyùn are costly beads used by chiefs and women of high social
status.
8. Láàràngúnkàn. This cloth is believed to be a very costly one used only by
kings.
9. Ipéré. An Egbé village. The gongs mentioned here are used by Ifa
priests as instruments of a special type of music characteristic of the Ifa cult.
10. Ìkijà. Another Egbd village. Aran is also an important Ifá drum.
II. Iserimogbe. An ancient town not too far away from Lagos.

(5)
1. Agélintt. A type of bush lizard whih has very coarse body. When it
breathes, its throat makes noise and its body puffs up.
o. Ọnà Opgnpgn. A personal name.
3. Imé. Another personal name.

(c)
1. Agbighéniwpnran. A bird which has a fat head and a tuft of hair in the
[161]
miaqaie OF the necad, it ls DCMCVCA Ullal Ulls DITU Was dii BLA JPIILOL AE EAGAL Tie
was unfaithful to his clients. As a result of his unfaithfulness, he became a
bird of the forest.
2. Oníkoromẹ̀bí. This is believed to be the title of a chief.
3. Ì)ẹ̀rẹ̀. Ifá divination poetry in chanted form and usually with the
accompaniment of music.
4. The dirges of destiny. This refers to iygr?, one of the most important
themes of which is predestination.

d
is oe Yoruba use gourds or clay pots to draw water from rivers and
springs which formed the main sources of drinking water in traditional
Yoruba society. As spring water is usually very shallow, it is not possible to
immerse a water gourd completely in it when drawing water.
2. After Àgbìgbò became a forest dweller according to the myth mentioned
in VII (c) 1 above, he visited human society occasionally in order to cause
trouble. He joined the gang of the ajogun and allied himself with death so that
he might be able to kill human beings. He assisted death in carving coffins
inside which death put all his victims. He would carry the coffin to the house
of anyone marked down by death for killing. When he tried to do this with
Òrúnmìlà, Eṣù commanded that the coffin should for ever stick to his head.
That coffin is represented on Agbigbo’s head by the tuft of hair which could
be seen in the middle of his head.

VIII Ọkànràn Méji

(4)
1. Éjì Okanran. The eighth of the principal sixteen Odù Ifá.
o. Ìtilẹ̀. This is the name of a place famous in mythology as the home of
Ọkànràn. Several Ifá poems refer to a long struggle which Qkdnran had with
his enemies before he regained /til? from them. But after this victory of
Qkanran, he became the unchallenged overlord of his father’s domain.

(6)
1. Ìyáláde, An important title held only by women.
2. She probably wept because the hen had had so many chicks while she
had no children.

(d)
1. Oláúòrájò. A praise name for Sangé which means “King who must not see
[162]
rain.” This name is given to him because he fights his enemies with thunder-
stone during rain.
2. 'Bámb(í. Another praise name for Sangé. The complete form of the
name is Olúbámbí which means “The Almighty God helped me before I had
this child.”
3. Oya. One of the three wives of Sdangé. She is the divinity responsible for
storms and strong winds.

IX Ògúndá Májì
(4)
ip Ojontarigi. The mythical wife of death who is believed to be a very
powerful and fearful woman.
2. Osin. A reddish substance extracted from a tree which bears the same
name. This substance is available in a powderish or moist form. Women use
the moist form as an ointment which they rub on their bodies. The powder
is used for making a dye-stuff which Sangé devotees use to dye their clothes.

(5)
1. Ird. A wild animal which resembles the horse. Its horns are used as part
of the paraphernalia of Oge, a minor divinity worshipped mainly by barren
women.
2. Afpn. A tree which thrives near river valleys. Its fruit is a big pod which
contains edible seeds.

(c)
1. Ogdnddji. The full form of this name is Ògúndá Méi which is the ninth
of the principal sixteen Odù of Ifá. The Odu belongs to Ògún (the Yoruba war
and hunting divinity) and is therefore related to implements of war.

d
ia ae onomatopaeic expression imitating the sound of arrows which
Ọrúnmìlà shot at death on the farm, is presented here as the name of an Ifa
priest.
2. This means that he died. But in Yoruba mythology, it is believed that
in ancient times, it was possible for people to leave the earth temporarily
for heaven or vice versa. It can therefore be said that after the temporary
absence of death from the earth, he later returned.
3. Olénitmoro. A praise name of Qninmila.

[163]
 X Ọsá Májì 4
(a)
1. Pọọkẹí. A calabash or coco-nut shell container in which camwood oint-
ment is kept.
2. Oge. A minor divinity worshipped mainly by barren women in the
expectation that they would thereby have children. See IX (b) 1.
3. Ìgbínná. The name of a place believed to be the original home of Oge.

(5)
1. Qlgs?¢. A personal name.
2. Birds cannot eat cotton wool although its white colour may attract
them.

(6)
1. Ọsá? The tenth of the principal sixteenth Odà of Ifá.

d
i oy An animal trap made with leather.
2. Ird. See IN (6) 1.
3. Ìrẹkí. A carved Ifá object made either with ivory or wood. It is used
as a rattle to invoke Ọránmìlà during the process of divination.
4. This refers to podld (See 1 above.)
5. Oge. See X (a) 2.

XI Ìká Méji
(a)
I. An art object which is being carved with a sharp instrument should
not be placed on a stone so that the stone support may not make the carving
instrument blunt when the latter hits the stone.
2. Yindinyindin. A house of ants made with solid earth and buried inside
the soil. All the young ants which are not fully developed live there until they
become mature and then come to the surface. A single ant house contains
thousands of eggs and young undeveloped ants. The undeveloped young
ants are white in colour and therefore resemble maggot.

(2)
1. Agba. See III (d) 4.
o. Ippti. A type of very tough rope which is used to tie down the canoe to
the shore.

[164]
 3. Olúẹri, This is a divinity believed to be the divinity who controls all
rivers. He dwells in the deepest part of the river.

(6)
1. Ìká. The eleventh of the principal sixteen Odi of Ifá.
2. Sférí. A gourd with a very long neck which is used as a rattle for Sangé.

(4)
1. Yoruba traditional doors known as dds? are broad slabs of ìrúkò tree to
which many sharp pieces of iron are nailed.

XII Òtúúrápọn Méji

(a)
1. Pààká. A type of Egúngún masquerader which does not carry any art
object on its head.
2. These forty cowries must have been thrown to him as a present from
the crowd watching his artistic display of dances and recitation of poetry.
3. Belief in witches, (known to the Yoruba as Aj¢, Eléye or Entydn) is an
important part of Yoruba thought. The Yoruba believe that the witches
acquired their power from the Almighty God himself shortly after they were
created in heaven.
4. Egúngún. The Yoruba ancestor divinity. The cult of Egdngun probably
started as a counter against the power of the witches. Indeed, in ancient
times, Egúngún was used for catching witches.

(4)
1. Gélélése. A personal name which means literally “It worked out exactly
according to plan’’.
2. Àfíni. A compound in (y¢ where the palace of the Aldpiini is situated.
The Alépiini is the official head of the cult of Egángún. See (a) 4 above.

(6)
1. Pépé. An elevated part of the floor of the house used as stool for people
to sit upon.
2. Otita. A wooden stool on which people sit outside the house.
3. Oyeépoli. A personal name.
[165]
 d
Ta vhs The Yoruba divinity responsible for predestiny. To the Yoruba,
what brings success in life is a combination of several factors including pre-
destination and character (good and moral life). Out of all these factors,
predestination is the most important. For full details see Instruction.

XII Otid Májì

(a) '
1. This is (in its original Yoruba form) an imitation of the cry of the
squirrel.
2. This means that the young ones of the squirrel were cooked and eaten
up with pounded yam.

b
ly We The thirteenth Oda of Ifa. This Odi narrates the myths associated
with the coming of Islam into Yorubaland.
2. Ipapd. An ancient town in Qy¢ division.
3. Oseerempgbd. Another name for Òòyádlá, the Yoruba divinity responsible
for creation.

C
Ty we The symbol of the Yoruba divinity responsible for predestination.
The divinity himself is known by the same name. Cowry shells are fastened
in horizontal rows to this conical instrument. For details about Ori as a god
of predestiny, see introduction.
2. Okùn. A costly bead used as a chain by rich people.
3. Nand Adyi. One of the wives of tne prophet Mohammed who was
believed to have had little attention from the prophet. After her death, she
became a heroine of all Muslims who fondly refer to her as ‘‘mother.”’
(Nand in Arabic means “‘mother.’’)

(d)
1. Addildi. A Muslim name which corresponds to Arabic Abdullah. The
grandfather of prophet Mohammed is known as Abdullah.
o. Ìlá. An ancient Yoruba city and capital of the Ìlá kingdom. Qrangun,
the king of Ìlá is believed to be one of the grandsons of Oduduwa.
3. Dried okro known as $rinlé is an important article of trade in most
Yoruba markets especially in the savanna areas where okro is planted in
abundance. Fresh okro is cut into tiny pieces and dried in the sun before
marketing. The dried okro is used as a soup ingredient.
[166]
 4. To sprinkle or rub someone with ashes denotes for the Yoruba an act of
rejection and degradation. In traditional Yoruba society, people rub thieves
and adulterers with ashes.
5. The Yoruba original of these lines is an imatation of the Arabic sentences
uttered by Yoruba Muslims which to the ordinary Yoruba seem to have
many nasal and meaningless sounds.

XIV Iret? Méji

(a)
1. Qsun river. An important Yoruba river. This river is believed to be
originally one of the wives of Sdngé. She is still actively worshipped today,
especially at Qyogbd, as one of the most important Yoruba divinities.
2. The Yoruba version of this line is an imitation of the sound made by
the straw sponge when it is vigorously shaken to remove the water on it
after it has been used for bathing.
3. The Yoruba use a straw sponge to bathe. After bathing, the water on it
is vigorously shaken off to prevent it from getting damp.
4. When one uses the sponge to bathe, the water that falls away makes
sandy and humus soil wet from time to time and therefore makes the soil
rough while the sponge remains clean.

b
i JN A Yoruba dialect group who inhabit the territory east of the city
of Ifẹ. The capital city of the Ìjẹ̀ṣà is known as Iléṣà which is twenty miles
east of [f?.
2. Odsd [gh dwijin. Another name for Oddsdld, the Yoruba creation divinity.
3. Lyin. A costly bead.
4. Oládùmarẹ. The Yoruba Almighty God who is believed to be in grun
which is up in the skies.

(<)
1. Adiuké. A woman’s praise name. The name means “‘She who everyone
wants to pet.”

(d)
1. Pááfà. A personal name.
2. Elémer?. A personal name.
3. Àgbọnnìrògún. A praise name of Qninmila.

[167]
 4. The inmates of the house were probably Muslims who would not eat
any animal on which the normal Muslim prayers have not been said before
the animal is killed.

XV Os¢ Májì
(a)
I. Kolanut is an important Yoruba farm product. T'he nuts are wrapped
with leaves so as to keep them fresh.

b
a o The Yoruba goddess of the sea.
2. Ajibdajé. A praise name of Oldékun which means ‘“The one who wakes up
to find money.”
3. Ekuru. A popular food prepared with beans.
4. The Yoruba, like several other African peoples, used cowry money
introduced into Africa by the Portuguese. The cowries are obtained from
the shells of dead cowries which could be found inside the sea.

(6)
1. Odsdoko. The divinity is responsible for the fertility of all farm products.
The devotees of this divinity must not eat fresh yams until the annual rites in
honour of the divinity have been performed.

XVI Òfún Méji

(2)
1. Adáyẹrí. A personal name which means ‘“The crown fits the head."
2. Aldraén. The king of rán, an important Yoruba kingdom. The
descendants of the drdn lineage are responsible for making the AEgúngún
masqueraders’ variegated costume which traditionally includes velvet.
3. Adétutu. A personal name which means, ““The crown is very cool.”
4. Àjífòrògbogbolà. A personal name which means ''He who wakes up in
order to make profit out of everything.”
5. Some children who are believed to have been born through the help
of Odsadlé are not allowed to bathe with hot water.
6. Òrúnmìlà is believed to be a polyglot who understands all human
languages.

(d)
1. Òràngún. The sixteenth of the principal sixteen Odi of Ifa.
[168]
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[170]
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