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and assume power over the land? (64).
Rotimi refen to both English history and African mythology to provide preced ents in
support of his makin g Odewale.the supposed strang er, king of Kutuje .
The Nigerian audience and critics are famili ar with British and European
history beca use it has been part of their educational curriculum since co lonization.
Rotimi is able to dra w from his own educational background to substantiate the plot of
his drama. Of equal importance is the parallel in Afri can mythology and history.
Rotimi makesuse of his dual heritage to his advantage in presen ting a postcolonial
ideology rooted in the fact that. although the colonized wereand are influenced by
Europeandomination , the Africans can still portray their rich ancestry prio r to
colonization. like all societies. those of Africa are organized and have their own fully
developed culture . history. mythologies, rituals and religious ceremonies. In the
prol ogue and thro ughout [he play this intersecti on of cultures is exhi bited and
presentedwithin the socialand political context of contemporary Nigerian society ,
Rotimi's replacement of Sophocles' Creon. locasta's brother, with Queen
Ojuola's and King Adetu.sa's 500. Aderopo. reflects the African palrilineal tradition. In
such a system, a wife's brother cannot be eligi ble for the throne becauseroyal
success ion is passed down from the male members of the family. The oldest son is
usually considered the first in line of inheriting the throne and if there are no sons, the
oldest of the king's brothen is considered. Rotimi intensifies the dramatic irony by
adding the character of Aderopo, the younger brother, because OdewaIe being the
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