The drama of Wole Soyinka is the creative mixing of Yoruba rituals, dramatic techniques, music and dance with the foreign language, English. The rites, rituals, gestures, music and dance are some of the nonverbal techniques Soyinka employs in order to achieve his dramatic effect. The language is full of wit and graphic insult. Language is not the only thing Soyinka relies on for effective theatre but also on so many techniques. This is an attempt to discuss these techniques in some important plays of Wole Soyinka.
The Road is Soyinka’s writing on the nation’s wall. He draws a society that is on the road to death and dissolution, a society for which there seems no hope. Perhaps, like Professor, who speaks of death as the moment of our rehabilitation, this society will have to die before it learns the truth. (Roscoe, p. 281). The Road is Soyinka’s most mature work. He displays in this play his usual ability to create living characters, which unlike the rest are more diverse and more deeply explored. In this play songs present life’s progress towards death that reduces everything into nothing. It is a skillfully handled play with fine use of songs. The very first song reveals the quest of man for the essence of death, which alone will explain the meaning of life. It also brings out the truth that loss of belief and conviction has produced a society in a state of transition.
The Road begins and ends on several occasion is punctuated by the rhythmic presence of masque for the dead. The driver’s dirge is sung on the occasion of death, provide a thematic chorus. It comments on the central idea of death and disobedience towards God. All these songs are sung in Yoruba, which underlines their traditional value and customary strength and the...
... middle of paper ...
...pecially the politicians of the time is vividly shown in his plays. His restless strive for the universal human rights always praised by his audience.
Works Cited
Gibbs, James. Wole Soyinka, London: Macmillan, 1986.
Gibbs, James. Ed. Critical Perspectives on Wole Soyinka, London: Heinemann, 1981.
---. Collected Plays 1, Oxford: OUP. 1973
---. Collected Plays, Vol.2, Oxford: OUP. 1974
---. Six Plays, London: Methuen, 1984
---. The Bacchae of Euripides in Collected Plays, Vol.1, Oxford: OUP. 1973.
Essays, Autobiographical And Other Important Publications
Myth, Literature and African world, London: Cambridge University Press, 1976.
The Man Died: Prison Notes of Wole Soyinka, Harper, 1972.
Ake: The Years of Childhood, Random House, 1981.
Before the blackout (Ibadan, n.d.), (Preface, cited in James Gibbs, Study Aid to Kongi’s Harvest) London: Rex Collings, 1973.
Fundamental to our understanding of El Médico de su Honra, and of any other play is the notion that it was for performance and not intended for reading. Therefore, the action, text and spectacle all work together in producing an overall effect upon the audience. Calderón is described as a `craftsman' of drama and is famous for the dramatic devices which appeal to the various senses in order to convey the play's message with greater profundity. However, the seventeenth century playwright was limited by the facilities available to him. The rudimentary nature of their theatres affected the way in which a play was staged and therefore its interpretation. Public theatres were situated in courtyards, or `corrales', surrounded on three sides by private dwellings. A basic, but nevertheless important point is that theatres were generally exposed to the elements. By necessity, plays were performed during daylight hours and inevitably this would affect the presentation of the play. Atmosphere and mood were of paramount importance in a play, and this is of particular significance in El Médico de su Honra, where darkness is crucial both to the plot and the underlying themes.
Hamlet makes extensive use of the idea of theatrical performance; from revealing characters to not be what they seem - as they act to be - to Hamlet’s play The Mousetrap and his instruction of acting to the players. The extensive use of the stage in the stage directions, as well as numerous monologues and asides, have Hamlet itself acting as a literary device for the motif of theatrical performance.
In The Road McCarthy establishes a post-apocalyptic world in which the majority of population are cannibals. It is established that the public (majority) is hazardous to the two protagonist of the novel. The father and son are forced to kill or be killed. By thrusting the father and son into a world with their actions are predicated by the actions of the public, McCarthy is attempting to illustrate the significant influence one’s environment has on an individual. When the father and son are together in seclusion McCarthy showcases maturity in each of the characters. The conversations they have become more philosophical.
Poetry is a form of art in which an exclusive arrangement and choice of words help bring about a desired emotional effect. Robert Frost said that a poem is formed when “an emotion has found its thought and the thought has found words.” His popular poem, "The Road Not Taken," like any other poem, has as many interpretations as it has readers. Using rhetorical analysis, one can break down the meaning(s) of this seemingly simple poem.
In an attempt to overcome writers’ block, Jack Kerouac, alongside Neal Cassady, explored the American West in a series of adventures that spanned from 1947 to 1950. On the Road is the “lovechild” of Kerouac and Cassady’s escapades, fueled by jazz, poetry, and drug use. Its political and aesthetic dimensions are thoroughly complex, yet intertwined. On the Road portrays the story of a personal quest in search of meaning and belonging in a time when conformity was praised and outsiders were scorned. It was during this ...
...eye’s blindness – and he consistently lived his life in connection with his views on freedom. He strived, even while he worried about class struggles, to be an “authentic man,” the ultimately free man of his early plays.
The structure and language used is essential in depicting the effect that the need for survival has had upon both The Man and The Boy in The Road. The novel begins in media res, meaning in the middle of things. Because the plot isn’t typically panned out, the reader is left feeling similar to the characters: weary, wondering where the end is, and what is going to happen. McCarthy ensures the language is minimalistic throughout, illustrating the bleak nature of the post-apocalyptic setting and showing the detachment that the characters have from any sort of civilisation. Vivid imagery is important in The Road, to construct a portrait in the reader's mind that is filled with hopelessness, convincing us to accept that daily survival is the only practical option. He employs effective use of indirect discourse marker, so we feel as if we are in the man’s thought. The reader is provided with such intense descriptions of the bleak landscape to offer a feeling of truly seeing the need for survival both The Man and The Boy have. The reader feels no sense of closu...
...ny listeners and pupils that agreed with his philosophy. He did not make any actions against the democracy that he despised so greatly.
In the Novel The Road, by Cormac McCarthy, survival becomes the biggest quest to life. The novel is set to be as a scene of isolation and banishment from people and places. The author uses the hidden woods as a set of isolation for the characters, in which creates the suspense of traveling to an unspecified destination near the shore. Cormac McCarthy creates a novel on the depth of an imaginative journey, which leads to a road of intensity and despair. The journey to move forward in an apocalyptic world transforms both of the main characters father and son tremendously as time progress. In particular, the boys’ isolation takes him from hope to torment, making him become fearful and imaginative. The images indicate that McCarthy’s post apocalyptic novel relies on images, particular verbal choices, and truthful evidence to how isolation affected the son emotionally and physically.
The diction is descriptive and illustrates the disparities and the images of the two roads. The storyteller has to make a choice between two roads, he considers the pros and cons of each one of them, regretting the fact that he cannot travel both of them simultaneously. In the end, he decides that the second one may be better because it’s been only taken by a few. Nonetheless, the narrator explains that he will recall this cherished incident in the future, and states that the decision he made will have a huge impact on his life. After reading the poem, the reader is confronted with the choice of either conforming to society or defying it like Frost did by taking a less stable profession.
Choices are the main theme of this poem. The speaker realizes the choice he is about to make is going to affect his future. The point of this poem is that the speaker will not know his future until it happens. Nature and roads are said to be symbols that are very important to the speaker. It helps the reader understand why he choose the path he took. The fork at the road represents the speaker’s life. The title “The Road Not Taken” means that not all choices that one comes to are going to be easy and not all are going to be the right choice, but one has to make them at some point in life. When it comes to difficult situations like this it its not always best to take the one more traveled but the one best for them, but choose wisely.
Choices are never easy, facing hundreds upon thousands of them in our lifetime, man has to make decisions based upon these choices. Some decisions are clear while others are sometimes not clear and more difficult to make. The poem "The Road Not Taken" by Robert Frost is a prime example of these choices in life. This poem is a first person narrative that is seen by most people as being told by Frost. The poem opens up with the narrator encountering a point in the woods that has a trail diverge into two separate paths. In the poem Frost presents the idea of man facing the difficult predilection of a moment and a lifetime. I believe this idea in the poem is embodied in the fork in the road, the decision between the two paths, and the decision to select the road not taken.
The poem entitled “The Road Not Taken” by Robert Frost is perhaps one of the most well-known poems to date. Frost’s poem explores the different paths and choices individuals are presented with throughout their life, which can later influence their lives significantly more than originally anticipated. Specifically, Frost describes a fork in the road at which the narrator must choose between two very different paths with varying outcomes. “The Road Not Taken” emphasizes the importance of taking the less traveled road through Frost’s usage of a wide range of literary devices. “The Road Not Taken” suggests that individuals should fully experience the process of making a choice before reaching a decision as that one single choice may later have
Robert Frost’s “The Road Not Taken” is a symbolic poem of the complications people must face in the course of their lives. Although it is not difficult to understand the meaning of the poem through it’s title, it is however hard to interpret what the author means when he describes the roads. Throughout the poem, the two roads appear similar at times and different at others. He uses free imagery to make his poem more complex for the audience.
Above all, 'The Road Not Taken'; can truly be interpreted through much symbolism as a clear-sighted representation of two fair choices. The two roads in the poem, although, 'diverging,'; lead in different directions. At the beginning they appear to be somewhat similar, but is apparent that miles away they will grow farther and farther away from each other. Similar to many choices faced in life. It is impossible to foresee the consequences of most major decisions we make and it is often necessary to make these decisions based on a little more than examining which choice 'wanted wear.'; In