Scene Three

A swelling, agitated hum of women's voices rises immediately in the

background. The lights come on and we see the frontage of a converted
cloth stall in the market. The floor leading up to the entrance is covered
in rich velvets and woven cloth. The Women come on stage, borne
backwards by the determined progress of Sergeant Amusa and his two
constables who already have their batons out and use them as a
pressure against the Women. At the edge of the cloth-covered floor,
however, the Women take a determined stand and block all further
progress of the men. They begin to tease them mercilessly.
Amusa - I am tell you women for last time to commot my road. I am here
on official business.
Woman - Official business you white man's eunuch? Official business is
taking place where you want to go and it's a business you wouldn't
understand.
Woman (makes a quick tug at the constable's baton) - That doesn't fool
anyone you know. It's the one you carry under your government knickers
that counts. (She bends low as if to peep under the baggy shorts. The
embarrassed constable quickly puts his knees together. The Women
roar.)
Woman - You mean there is nothing there at all?
Woman - Oh there was something. You know that handbell which the
white man uses to summon his servants ...?
Amusa (he manages to preserve some dignity throughout) - I hope you
women know that interfering with officer in execution of his duty is
criminal offence.
Woman - Interfere? He says we're interfering with him. You foolish man
we're telling you there's nothing to interfere with.
Amusa - I am order you now to clear the road.
Woman - What road? The one your father built?
Woman - You are a policeman not so? Then you know what they call
trespassing in court. Or (Pointing to the cloth-lined steps.) do you think
that kind of road is built for every kind of feet.
Woman - Go back and tell the white man who sent you to come himself.
1
Amusa - If I go I will come back with reinforcement. And we will all return
carrying weapons.
Woman - Oh, now I understand. Before they can put on those knickers
the white man first cuts off their weapons. Woman What a cheek! You
mean you come here to show power to women and you don't even have
a weapon.
Amusa (shouting above the laughter) - For the last time I warn you
women to clear the road.
Woman - To where?
Amusa - To that hut. I know he dey dere.
Woman - Who?
Amusa - The chief who call himself Elesin Oba.
Woman - You ignorant man. It is not he who calls himself Elesin Oba, it
is his blood that says it. As it called out to his father before him and will
to his son after him. And that is in spite of everything your white man can
do.
Woman - Is it not the same ocean that washes this land and the white
man's land? Tell your white man he can hide our son away as long as he
likes. When the time comes for him, the same ocean will bring him back.
Amusa - The government say dat kin' ting must stop.
Woman - Who will stop it? You? Tonight our husband and father will
prove himself greater than the laws of strangers.
Amusa - I tell you nobody go prove anyting tonight or anytime. Is
ignorant and criminal to prove dat kin' prove.
Iyaloja (entering from the hut. She is accompanied by a group of young
Girls who have been attending the Bride) - What is it Amusa? Why do
you come here to disturb the happiness of others.
Amusa - Madame Iyaloja, I glad you come. You know me, I no like
trouble but duty is duty. I am here to arrest Elesin for criminal intent. Tell
these women to stop obstructing me in the performance of my duty.
Iyaloja - And you? What gives you the right to obstruct our leader of
men in the performance of his duty.
Amusa - What kin' duty be dat one Iyaloja.

2
Iyaloja - What kin' duty? What kin' duty does a man have to his new
bride?
Amusa (bewildered, looks at the Women and at the entrance to the hut)
- Iyaloja, is it wedding you call dis kin' ting?
Iyaloja - You have wives haven't you? Whatever the white man has
done to you he hasn't stopped you having wives. And if he has, at least
he is married. If you don't know what a marriage is, go and ask him to
tell you.
Amusa - This no to wedding.
Iyaloja - And ask him at the same time what he would have done if
anyone had come to disturb him on his wedding night.
Amusa - Iyaloja, I say dis no to wedding.
Iyaloja You want to look inside the bridal chamber? You want to see for
yourself how a man cuts the virgin knot?
Amusa - Madam...
Woman - Perhaps his wives are still waiting for him to learn.
Amusa - Iyaloja, make you tell dese women make den no insult me
again. If I hear dat kin' insult once more...
Girl (pushing her way through) - You will do what?
Girl He's out of his mind. It's our mothers you're talking to, do you know
that? Not to any illiterate villager you can bully and terrorise. How dare
you intrude here anyway?
Girl - What a cheek, what impertinence!
Girl - You've treated them too gently. Now let them see what it is to
tamper with the mothers of this market.
Girl - Your betters dare not enter the market when the women say no!
Girl - Haven't you learnt that yet, you jester in khaki and starch?
Iyaloja - Daughters.
Girl - No no Iyaloja, leave us to deal with him. He no longer knows his
mother, we'll teach him.
With a sudden movement they snatch the batons of the two constables.
They begin to hem them in.

3
Girl - What next? We have your batons? What next? What are you
going to do?
With equally swift movements they knock off their hats.
Girl - Move if you dare. We have your hats, what will you do about it?
Didn't the white man teach you to take off hats before women?
Iyaloja - It's a wedding night. It's a night of joy for us.
Peace...
Girl - Not for him. Who asked him here?
Girl - Does he dare go to the Residency without an invitation?
Girl - Not even where the servants eat the left-overs.
Girls (in turn. In an 'English' accent) - Well well it's Mister Amusa. Were
you invited? (Play-acting to one another. The older Women encourage
them with their titters.)
- Your invitation card please?
- Who are you? Have we been introduced?
- And who did you say you were?
- Sorry, I didn't quite catch your name.
- May I take your hat?
- If you insist. May I take yours? (Exchanging the policemen's hats.)
- How very kind of you.
- Not at all. Won't you sit down?
- After you.
- Oh no.
- I insist.
- You're most gracious.
- And how do you find the place?
-The natives are all right.
- Friendly?
- Tractable. [good, obedient]
- Not a teeny-weeny [very small; tiny] bit restless?

4
- Well, a teeny-weeny bit restless.
- One might even say, difficult? Indeed one might be tempted to say,
difficult.
- But you do manage to cope?
-Yes indeed I do. I have a rather faithful ox called Amusa.
- He's loyal?
- Absolutely.
- Lay down his life for you what?
- Without a moment's thought.
- Had one like that once. Trust him with my life.
- Mostly of course they are liars.
- Never known a native to tell the truth.
- Does it get rather close around here?
- It's mild for this time of the year.
- But the rains may still come.
-They are late this year aren't they?
-They are keeping African time.
- Ha ha ha ha.
- Ha ha ha ha.
- The humidity is what gets me. -It used to be whisky.
- Ha ha ha ha.
- Ha ha ha ha.
- What's your handicap old chap?
- Is there racing by golly [used for expressing surprise]?
- Splendid golf course, you'll like it.
- I'm beginning to like it already.
- And a European club, exclusive.
- You've kept the flag flying.
- We do our best for the old country.
- It's a pleasure to serve.

5
- Another whisky old chap?
- You are indeed too too kind.
- Not at all sir. Where is that boy? (With a sudden bellow.) Sergeant!
Amusa (snaps to attention) – Yes sir!
The Women collapse with laughter.
Girl - Take your men out of here.
Amusa (realising the trick, he rages from loss of face) - I'm give you
warning..
Girl - All right then. Off with his knickers! (They surge slowly forward.)
Iyaloja - Daughters, please.
Amusa (squaring himself for defence) - The first woman wey touch me.
Iyaloja - My children, I beg of you...
Girl - Then tell him to leave this market. This is the home of our mothers.
We don't want the eater of white left-overs at the feast their hands have
prepared.
Iyaloja - You heard them Amusa. You had better go. Girl Now!
Amusa (commencing his retreat) - We dey go now, but make you no
say we no warn you.
Girl - Now!
Girl - Before we read the riot act [to speak angrily to someone about something
they have done and warn that person that they will be punished if it happens again] -
you should know all about that.
Amusa - Make we go. (They depart, more precipitately.)
The Women strike their palms across in the gesture of wonder.
Women - Do they teach you all that at school?
Woman - And to think I nearly kept Apinke [one of her daughters] away
from the place.
Woman - Did you hear them? Did you see how they mimicked the white
man?
Woman - The voices exactly. Hey, there are wonders in this world!
Iyaloja - Well, our elders have said it: Dada may be weak, but he has a
younger sibling who is truly fearless.
6
Woman - The next time the white man shows his face in this market I
will set Wuraola on his tail. ["Wuraola" is a Yoruba name commonly given to
girls, and it carries a significant meaning. In the Yoruba language, "Wuraola" can be
broken down into two parts: "Wura" means "gold," and "Ola" means "wealth" or
"riches." Therefore, "Wuraola" can be interpreted to mean "gold of wealth" or "gold of
riches." In this case, Wuraola is being figuratively portrayed as a force or agent who
will actively engage with the white man, likely in a confrontational or assertive
manner.]
A Woman bursts into song and dance of euphoria [the experience (or affect)
of pleasure or excitement and intense feelings of well-being and happiness] 'Tani
l'awa o l'ogbeja? Kayi! A l'ogbeja. Omo Kekere l'ogbeja. The rest of the
Women join in, some placing the Girls on their back like infants, others
dancing round them. The dance becomes general, mounting in
excitement. Elesin appears, in wrapper only. In his hands a white velvet
cloth folded loosely as if it held some delicate object. He cries out.
Elesin - Oh you mothers of beautiful brides! (The dancing stops. They
turn and see him, and the object in his hands. Iyaloja approaches and
gently takes the cloth from him.) Take it. It is no mere virgin stain, but the
union of life and the seeds of passage. My vital flow, the last from this
flesh is intermingled with the promise of future life. [He says that a union of
death and new life has been made through their marriage.] All is prepared.
Listen! (A steady drumbeat from the distance.) Yes. It is nearly time. The
King's dog has been killed. The King's favourite horse is about to follow
his master. My brother chiefs know their task and perform it well. (He
listens again.)
The Bride emerges, stands shyly by the door. He turns to her.
Elesin - Our marriage is not yet wholly fulfilled. When earth and passage
wed, the consummation [the act of making
a marriage or romantic relationship complete by having sex ] is complete only when
there are grains of earth on the eyelids of passage. Stay by me till then.
My faithful drummers, do me your last service. This is where I have
chosen to do my leave-taking, in this heart of life, this hive which
contains the swarm of the world [be abuzz ] in its small compass. This is
where I have known love and laughter away from the palace. Even the
richest food cloys [disgust or sicken (someone) with an excess of sweetness]
when eaten days on end; in the market, nothing ever cloys. Listen. (They
listen to the drums.) They have begun to seek out the heart of the King's

7
 favourite horse. Soon it will ride in its bolt of raffia with the dog at its feet.
[The use of "bolt of raffia" suggests a traditional Yoruba funerary custom, where the
deceased is carried in a shroud made of raffia palm fibers. This emphasizes the
cultural richness and specificity of the ritual surrounding death in the Yoruba
tradition.] Together they will ride on the shoulders of the King's grooms
[manservant] through the pulse centres of the town. They know it is here I
shall await them. I have told them (His eyes appear to cloud. He passes
his hand over them as if to clear his sight. He gives a faint smile.) It
promises well; just then I felt my spirit's eagerness. The kite makes for
wide spaces and ….
"Who says we haven't a defender? Silence! We have our defenders. Little children
are our champions.'
….the wind creeps up behind its tail; can the kite say less than thank
you, the quicker the better?
1. ["The kite makes for wide spaces": This suggests that when the kite is flown, it
moves into open areas where there is plenty of room for it to glide freely.
2. "And the wind creeps up behind its tail": Here, the wind is depicted as gently
pushing the kite forward from behind, propelling it through the air.
"Can the kite say less than thank you, the quicker the better?": This line expresses a
sense of gratitude from the perspective of the kite towards the wind. The kite cannot
literally speak, but the idea is that it "says thank you" by flying gracefully and
efficiently, utilizing the wind's force to stay airborne. The phrase "the quicker the
better" implies that the kite appreciates the wind's assistance in allowing it to fly
swiftly and smoothly.]
But wait a while my spirit. Wait. Wait for the coming of the courier of the
King. Do you know, friends, the horse is born to this one destiny, to bear
the burden that is man upon its back. Except for this night, this night
alone when the spotless stallion will ride in triumph on the back of man.
In the time of my father I witnessed the strange sight. Perhaps tonight
also I shall see it for the last time. If they arrive before the drums beat for
me, I shall tell them to let the Alafin know I follow swiftly. [Alaafin, or The
custodian of the Palace in the Yoruba language, is the title of the king of the
medieval Oyo empire and present-day Oyo town of West Africa. It is the particular
title of the Oba of the Oyo. It is sometimes translated as "emperor" in the context of
ruler of empire. ] If they come after the drums have sounded, why then, all
is well for I have gone ahead. Our spirits shall fall in step along the great
passage. (He listens to the drums. He seems again to be falling into a
state of semi-hypnosis; his eyes scan the sky but it is in a kind of daze
[shock]. His voice is a little breathless.) The moon has fed, a glow from its

8
full stomach fills the sky and air, but I cannot tell where is that gateway
through which I must pass. My faithful friends, let our feet touch together
this last time, lead me into the other market with sounds that cover my
skin with down [The phrase "cover my skin with down" could suggest a sense of
comfort or protection provided by these sounds] yet make my limbs strike earth
like a thoroughbred. Dear mothers, let me dance into the passage even
as I have lived beneath your roofs.
He comes down progressively among them. They make way for him, the
drummers playing. His dance is one of solemn, regal motions, each
gesture of the body is made with a solemn finality. The Women join him,
their steps a somewhat more fluid version of his. Beneath the Praise-
Singer's exhortations [an address or communication emphatically urging someone
to do something ] the Women dirge [a funeral song or tune, or one expressing
mourning in commemoration of the dead. ] Ale le le, awo mi lo'.
Praise-Singer - Elesin Alafin, can you hear my voice? [Praise-Singer
speaks like Alafin i.e. the dead King]
Elesin - Faintly, my friend, faintly.
Praise-Singer - Elesin Alafin, can you hear my call?
Elesin - Faintly my King, faintly.
Praise-Singer - Is your memory sound Elesin? Shall my voice be a
blade of grass and Tickle the armpit of the past?
Elesin - My memory needs no prodding [the act or an instance of poking] but
What do you wish to say to me?
Praise-Singer - Only what has been spoken. Only what concerns
The dying wish of the father of all.
Elesin -
It is buried like seed-yam [Yam seeds are gotten from Yam (Dioscorea spp.) —
a major staple and cash crop for millions of households in West Africa, Elesin says
that my duty is buried in my mind like seed of yam] in my mind.
This is the season of quick rains, the harvest
Is this moment due for gathering.
Praise-Singer – (as Alafin)
If you cannot come, I said, swear

9
 You'll tell my favourite horse. I shall
Ride on through the gates alone.
Elesin -
Elesin's message will be read
Only when his loyal heart no longer beats.
Praise-Singer -
If you cannot come Elesin, tell my dog.
I cannot stay the keeper [of the gates of heaven] too long
At the gate.
Elesin -
A dog does not outrun the hand
That feeds it meat. A horse that throws its rider
Slows down to a stop. Elesin Alafin
Trusts no beasts with messages between
A king and his companion.
1. ["A dog does not outrun the hand that feeds it meat": This line highlights the concept
of loyalty. Just as a dog does not betray the person who provides it with food,
individuals or entities are expected to remain faithful to those who support or sustain
them. It speaks to the idea that loyalty is ingrained and instinctual, especially when
there is a clear provider-beneficiary relationship.
2. "A horse that throws its rider slows down to a stop": This metaphor suggests that
when a horse disobeys or rejects its rider, it ultimately ceases its movement or
progress. In this context, it implies that when an individual or entity rebels against its
authority or responsibility, it brings about stagnation or failure. The horse's action
symbolizes a disruption in the established order, leading to a loss of momentum or
direction.
3. "Elesin Alafin trusts no beasts with messages between a king and his companion":
Here, the character Elesin Alafin is portrayed as someone who is cautious and
discerning in his communication. He understands the importance of trust and
reliability in conveying messages between individuals of high stature, such as a king
and his companion. By stating that Elesin "trusts no beasts," it suggests that he
prefers direct and secure channels of communication, avoiding intermediaries or
unreliable messengers.]
Praise-Singer -
If you get lost my dog will track
The hidden path to me.
Elesin -

10
The seven-way crossroads confuses
Only the stranger. The Horseman of the King
Was born in the recesses of the house. [In a room, a recess is part of a wall
which is built further back than the rest of the wall]
["The seven-way crossroads confuses only the stranger": This line suggests that the
complexity or significance of the seven-way crossroads is clear and understandable
to those familiar with the cultural context. The phrase "only the stranger" implies that
those who are not part of the community or culture may find the crossroads
confusing or difficult to comprehend. This implies that the crossroads hold deep
cultural or symbolic significance that is known and respected by locals but may be
misunderstood by outsiders.
"The Horseman of the King was born in the recesses of the house": This line
emphasizes Elesin's deep connection to his role as the King's Horseman. It suggests
that his identity and purpose are deeply rooted in his cultural upbringing and familial
lineage. The phrase "recesses of the house" could symbolize the hidden or sacred
aspects of his heritage, implying that Elesin's duty as the King's Horseman is not just
a superficial role but something inherent to his being, passed down through
generations within his family.]
Praise-Singer -
I know the wickedness of men. If there is
Weight on the loose end of your sash, such weight
As no mere man can shift; if your sash is earthed
By evil minds who mean to part us at the last...
["I know the wickedness of men": The Praise-Singer begins by acknowledging his
awareness of the capacity for evil within human nature. This sets the tone for his
subsequent cautionary words.
"If there is weight on the loose end of your sash, such weight as no mere man can
shift; if your sash is earthed by evil minds who mean to part us at the last": Here, the
Praise-Singer uses metaphorical language, referring to the sash worn by Elesin as a
symbol of his responsibility and role. The "weight" on the sash symbolizes burdens
or obstacles that could hinder Elesin's fulfillment of his duty as the King's Horseman.
The Praise-Singer warns of potential interference by malicious individuals who seek
to disrupt their plans, possibly leading to dire consequences.]
Elesin -
My sash is of the deep purple alari;
It is no tethering-rope. The elephant
Trails [to pull or be pulled along behind somebody/something] no tethering-rope;
[a line (as of rope or chain) by which an animal is fastened so as to restrict its range
of movement]
that king

11
 Is not yet crowned who will peg an elephant-
Not even you my friend and King.
["My sash is of the deep purple alari; it is no tethering-rope": In response, Elesin
reassures the Praise-Singer by asserting the strength and significance of his role. He
compares his sash to the deep purple alari, emphasizing its regal and ceremonial
nature. By stating that it is "no tethering-rope," Elesin implies that he cannot be
easily restrained or controlled by external forces. This assertion of his autonomy and
determination reflects his confidence in his ability to fulfill his duty despite potential
challenges.
"The elephant trails no tethering-rope; that king is not yet crowned who will peg an
elephant - not even you my friend and King": Elesin further reinforces his point by
using the metaphor of an elephant, a powerful and majestic creature that cannot be
easily subdued. He suggests that no one, not even the King, has the authority to
constrain or control him in his role as the King's Horseman. This statement
underscores Elesin's sense of autonomy and his commitment to carrying out his duty
according to his own principles and convictions.]
Praise-Singer -
And yet this fear will not depart from me,
The darkness of this new abode is deep –
Will your human eyes suffice?
Elesin -
In a night which falls before our eyes
However deep, we do not miss our way.
Praise-Singer – [Praising Elesin]
Shall I now not acknowledge I have stood
Where wonders met their end? The elephant deserves
Better than that we say 'I have caught
A glimpse of something'. If we see the tamer
Of the forest let us say plainly, we have seen
An elephant.
1. ["Shall I now not acknowledge I have stood where wonders met their end?": The
Praise-Singer begins by questioning whether he should deny or downplay the
significance of the extraordinary events he has witnessed. By referring to these
events as "wonders," he suggests that they were remarkable and awe-inspiring,
perhaps even supernatural or transcendent in nature. The phrase "where wonders
met their end" implies that these extraordinary occurrences came to a conclusion or
reached a climax at the place where he stood.
2. "The elephant deserves better than that we say 'I have caught a glimpse of
something'": Here, the Praise-Singer uses the metaphor of an elephant to symbolize

12
 the enormity and majesty of the experiences he is describing. He suggests that such
remarkable experiences deserve to be acknowledged and described in a manner
that truly reflects their significance, rather than being dismissed or trivialized with
vague or ambiguous language like "I have caught a glimpse of something."
3. "If we see the tamer of the forest let us say plainly, we have seen an elephant": The
Praise-Singer advocates for honesty and clarity in describing extraordinary
encounters. He suggests that when one encounters something truly remarkable, like
seeing the "tamer of the forest," they should not shy away from acknowledging the
enormity of the experience. Instead of using vague or euphemistic language, he
insists on stating plainly and directly what was witnessed, in this case, "an elephant,"
representing the true nature of the encounter.
Elesin - (his voice is drowsy)
I have freed myself of earth and now
It's getting dark. Strange voices guide my feet.
Praise-Singer -
The river is never so high that the eyes
Of a fish are covered. The night is not so dark
That the albino fails to find his way. A child
Returning homewards craves no leading by the hand.
Gracefully does the mask (used to commune with the ancestors) regain his
grove(heaven) at the end of the day...
Gracefully. Gracefully does the mask dance
Homeward at the end of the day, gracefully..
[Yoruba mask also has a force that extends to the world of spirits and gods. These
masks also have the dual effect of transforming the wearer and the ambivalence of
serving good and evil ends.]
1. ["The river is never so high that the eyes of a fish are covered": This metaphor
suggests that even in the most challenging or turbulent times, individuals possess
innate abilities or qualities that enable them to navigate their surroundings. Just as a
fish's eyes are not covered by even the highest river, implying that the fish can still
see and navigate, people have the capacity to persevere and find their way.
2. "The night is not so dark that the albino fails to find his way": Similar to the previous
metaphor, this line emphasizes the resilience of individuals. It suggests that even in
moments of darkness or uncertainty, represented here by the night, people possess
the inner strength and resourcefulness to overcome obstacles and find their path
forward. The mention of an albino, who may have difficulty seeing in darkness due to
their lack of pigmentation, highlights the universal nature of human resilience and
adaptability.
3. "A child returning homewards craves no leading by the hand": This line celebrates
the independence and self-assurance of individuals, particularly symbolized by a
child returning home. It suggests that even the most vulnerable among us have an

13
 inherent sense of direction and capability, exemplified by the child's ability to find
their way without needing guidance or assistance.
4. "Gracefully does the mask regain his grove at the end of the day... Gracefully.
Gracefully does the mask dance homeward at the end of the day, gracefully": The
repetition of "gracefully" emphasizes the elegance and poise with which individuals,
represented here metaphorically as a mask, are able to adapt and find their way
back to a place of familiarity or comfort. This imagery suggests that despite the
challenges and uncertainties of life, there is a sense of harmony and balance in the
way individuals navigate their experiences.]
Elesin's trance appears to be deepening, his steps heavier.
Iyaloja -
It is the death of war that kills the valiant,
Death of water is how the swimmer goes.
It is the death of markets that kills the trader
And death of indecision takes the idle away.
The trade of the cutlass [a short sword with a slightly curved blade, formerly
used by sailors.] blunts its edge
And the beautiful die the death of beauty. Death has spiritual, physical and
social significance. Yoruba's do
It takes an Elesin to die the death of death... not see death as the end of life.
Only Elesin... dies the unknowable death of death... It is believed that there is
transformation from one form of
Gracefully, gracefully does the horseman regain existence to another.
The stables at the end of day, gracefully..
1. ["It is the death of war that kills the valiant, death of water is how the swimmer goes":
These lines establish a metaphorical framework for understanding different types of
death. The death of war symbolizes the demise of brave warriors, while the death of
water represents the fate of swimmers who drown. Each metaphorical death
corresponds to a particular circumstance or context, illustrating the diverse ways in
which individuals meet their end.
2. "It is the death of markets that kills the trader and death of indecision takes the idle
away": Here, Iyaloja extends the metaphor to include the death of livelihoods and
purpose. The death of markets signifies the downfall of traders who depend on
economic activity, while the death of indecision implies the loss of opportunities and
potential for those who fail to take action. These forms of death emphasize the
consequences of inaction and stagnation.
3. "The trade of the cutlass blunts its edge and the beautiful die the death of beauty":
These lines explore the concept of metaphorical death in relation to skills and
qualities. The trade of the cutlass refers to the use of a blade, suggesting that
repeated use dulls its sharpness over time. Similarly, the death of beauty suggests
the fading or loss of attractiveness and vitality. These forms of death highlight the
transient nature of abilities and aesthetics.

14
4. "It takes an Elesin to die the death of death... Only Elesin... dies the unknowable
death of death": In contrast to the previous examples of death, Elesin's impending
death is depicted as unique and incomprehensible. The phrase "the death of death"
suggests a profound and mysterious departure from life. By emphasizing Elesin's
singular ability to undergo this type of death, the passage underscores his
exceptional role and significance in the narrative.
5. "Gracefully, gracefully does the horseman regain the stables at the end of day,
gracefully": The repetition of "gracefully" reinforces the elegance and dignity with
which Elesin approaches his fate. Despite the gravity of his impending death, he
maintains a sense of poise and composure, symbolized by the graceful return to the
stables. This imagery encapsulates Elesin's acceptance of his destiny and his
willingness to face it with dignity.]
Praise-Singer - How shall I tell what my eyes have seen? The
Horseman gallops on before the courier, how shall I tell what my eyes
have seen? He says a dog may be confused by new scents of beings he
never dreamt of, so he must precede the dog to heaven. He says a
horse may stumble on strange boulders and be lamed, so he races on
before the horse to heaven. It is best, he says, to trust no messenger
who may falter at the outer gate; oh how shall I tell what my ears have
heard? But do you hear me still Elesin, do you hear your faithful one?
Elesin in his motions appears to feel for a direction of sound, subtly, but
he only sinks deeper into his trance-dance.
Praise-Singer - Elesin Alafin, I no longer sense your flesh. The drums
are changing now but you have gone far ahead of the world. It is not yet
noon in heaven; let those who claim it is begin their own journey home.
So why must you rush like an impatient bride: why do you race to desert
your Olohun- iyo?
1. ["I no longer sense your flesh": This line suggests that the Praise-Singer
perceives Elesin's impending departure from the physical world. It conveys a sense
of spiritual awareness or intuition regarding Elesin's transition.
2. "The drums are changing now but you have gone far ahead of the world": The
drums changing symbolizes a shift in the ritual or the spiritual atmosphere. Despite
this change, Elesin is portrayed as already being spiritually advanced beyond the
earthly realm, indicating his readiness for the ritual suicide.
3. "It is not yet noon in heaven; let those who claim it is begin their own journey
home": This line speaks to the belief in an afterlife. The Praise-Singer suggests that
Elesin's departure from the earthly realm is premature, as he has not yet reached his
destination in heaven. It's a metaphorical way of urging Elesin to complete his earthly
duties before transitioning to the afterlife.
4. "So why must you rush like an impatient bride: why do you race to desert your
Olohun-iyo?": The Praise-Singer questions Elesin's haste in carrying out the ritual
suicide. The comparison to an "impatient bride" suggests that Elesin's eagerness to
depart is akin to rushing into a significant life event without due consideration.
"Olohun-iyo" is the praise-singer himself, but it refers to the world of the living,

15
implying that Elesin is abandoning his responsibilities and connections in the earthly
realm prematurely.]
Elesin is now sunk fully deep in his trance, there is no longer sign of any
awareness of his surroundings.
Praise-Singer - Does the deep voice of gbedu [Gbedu literally means "big
drum" and is a percussion instrument traditionally used in ceremonial Yoruba music
in Nigeria and Benin.] cover you my then, like the passage of royal
elephants? Those drums that brook no rivals [to not allow or accept
something], have they blocked the passage to your ears that voice passes
into wind, a mere leaf floating in the night? Is your flesh lightened Elesin,
is that lump of earth I slid between your slippers to keep you longer
slowly sifting from your feet? Are the drums on the other side now tuning
skin to skin with ours in osugbo [is a fraternal institution indigenous to the Yoruba-
speaking polities]? Are there sounds there I cannot hear, do footsteps
surround you which pound the earth like gbedu, roll like thunder round
the dome of the world? Is the darkness gathering in your head Elesin? Is
there now a streak of light at the end of the passage, a light I dare not
look upon? Does it reveal whose voices we often heard, whose touches
we often felt, whose wisdoms come suddenly into the mind when the
wisest have shaken their heads and murmured, It cannot be done?
Elesin Alafin, don't think I do not know why your lips are heavy, why your
limbs are drowsy as palm oil in the cold of harmattan [a very
dry, dusty easterly or north-easterly wind on the West African coast, occurring from
December to February.].
I would call you back but when the elephant heads for the jungle, the tail
is too small a handhold for the hunter that would pull him back. The sun
that heads for the sea no longer heeds the prayers of the farmer. When
the river begins to taste the salt of the ocean, we no longer know what
deity to call on, the river-god or Olokun [Olokun is the goddess/god of the sea].
No arrow flies back to the string, the child does not return through the
same passage that gave it birth. Elesin Oba, can you hear me at all?
Your eyelids are glazed like a courtesan's [prostitute, particularly one with
wealthy, powerful, or influential clients.], is it that you see the dark groom and
master of life? And will you see my father? Will you tell him that I stayed
with you to the last? Will my voice ring in your ears awhile, will you
remember Olohun-iyo even if the music on the other side surpasses his
mortal craft? But will they know you over there? Have they eyes to
gauge your worth, have they the heart to love you, will they know what
thoroughbred prances [to move about with quick, high steps, often because you
feel proud or pleased with yourself] towards them in caparisons
[an ornamental covering spread over a horse's saddle or harness ] of honour?
16
"Have they eyes to gauge your worth": This part questions whether the ancestors
in the world of dead have the ability to perceive or understand the true worth or value
of Elesin. It's asking whether they possess the insight or discernment to recognize
Elesin’s qualities and contributions.
"have they the heart to love you": This line delves into the emotional aspect,
asking whether the ancestors in the world of dead have the capacity for genuine
affection or appreciation towards Elesin. It suggests that it's not just about
recognizing worth intellectually but also about feeling a deep sense of connection or
admiration.
"will they know what thoroughbred prances towards them in caparisons of
honour?": This metaphorical imagery likens Elesin to a prized horse
("thoroughbred") adorned with symbols of respect and distinction ("caparisons of
honour"). It questions whether the ancestors will recognize and appreciate the
inherent nobility and dignity of Elesin, acknowledging his excellence and
accomplishments.

If they do not Elesin, if any there cuts your yam with a small knife, or
pours you wine in a small calabash [a container made from a gourd from the
calabash tree], turn back and return to welcoming hands. If the world were
not greater than the wishes of Olohun-iyo, I would not let you go...
He appears to break down. Elesin dances on, completely in a trance.
The dirge wells up louder and stronger. Elesin's dance does not lose its
elasticity but his gestures become, if possible, even more weighty. Lights
fade slowly on the scene.

17