Untitled - Memorial University of Newfoundland

two daughters are introduced on stage in the prologue and seen interacting with both
parents throughout the drama. By having his children around. Rotimi establishes the
cultural milieu, Odewale's social status and the benevolence of the gods in prospering
him with wealth and children. Rotimi also uses the parents ' interaction with the
children to portray Ojuola's ambivalence towards her husband and children . In Act
two, after Odewalc 's quarrel with Aderopo, Ojuola reads the four children a story of
Olurombi and sings the corresponding song in Yoruba, to which the children join in
the chorus (36) . Akanji Nasiru, in "Cia Rotimi's Search for a Technique," suggests:
[11he context of the song makes is clear that the playwrigh t intends
more than [the} depiction of a commonplace event. It comes from the
story of a woman who swears to give anything as reward to the itaim
spirit if she hasa successful venture in the market. The request is
granted. but she realizes her foUy when the spiri t demands her only
child . Rotimi skilfully brings in the song to forebode disaster . •• (26) .
Rotimi uses the corresponding African folk tale of King Midas whose wish that
anything he touched turned to gold proved to be disastrous when he touched his only
daughter. He appropriately integrates the theme of this common folklore into the
drama, which foreshadows the tragedy, after OdewaIe predicts his own destruction by
biting the sword of Ogun and saying: -May my eyes not see Aderopo again till [ die!"
(3S). The use of the story also lends credibility to the African oral tradition that
existed prior to European colonization.
Another important addition to the play is Alaka, who not only corresponds to
Sophocles' Corinthian messenger and the one who received Oedipus from the Theban
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