Existential Crisis in Wole Soyinka’s The Road

Wole Soyinka’s The Road is an absurdist play where Professor, the protagonist of the play seeks a ‘Word’. Throughout the play Professor’s searching for the ‘Word’ implies various interpretations regarding what this ‘word’ means, as in the play neither Professor nor Soyinka makes it clear.  Professor’s search for the ‘Word’ actually is a trope of searching his existential crisis. The play is not just a drama, but a philosophical statement on the problem of existence. The writings of Wole Soyinka define life as a void in search of meaning. As human’s existence is meaningless so we find Professor’s searching for the ‘Word’ comes in vain and its end with his death where the finding of ‘Word’ or meaning of existence remains an unfolding question.

Prior to our textual analysis we must have a clear conception about Wole Soyinka’s existential views. Wole Soyinka is regarded as more a thinker than a writer. The writings of  Soyinka define life as a void in search of meaning which man can only accomplish through the affirmation of the will to live, freedom and conquest.

In this regard there is a similarity between Wole Soyinka and Nietzsche. In the first place the two thinkers define life and meaning in terms of the will to action. In his theory of will, Nietzsche opines that at the root of our existence there is a will or will to overpower that creates drive in individuals and when an individual becomes aware of this will, he or she can uplift his or her position. This will is also responsible for creating a sense of affirmation in us. Wole Soyinka holds almost the same view about the overpowering nature of will. Moreover, both of the thinkers hold the view that through the sheer power of will, pessimism can be overcome in our life.

A number of Soyinka’ s works especially those dedicated to the Ogun deity who, for Soyinka serves as a moral standard for mankind, to illustrate how the same quest for vitality and affirmation of the human essence runs through his works.  Soyinka’s humanism which is route to understand the basis of  his existentialist convictions. Soyinka’s works define life in terms of quest for the autonomy of the individual. His existentialist conviction upholds the will and says that every other item or value: culture, institution, constitution, agencies, government, etc, should be negotiated to its favour. Apart from this , Soyinka also has portrayed the fact that the persisting belief in will can surmount the sickening pessimism that lies coiled in the heart of the modern people.

With the above information now it will be a bit easier to analyze the text The Road. At the very beginning of the play we see the professor so much eagerly seeks for a ‘Word’, as if it is the ultimate aim of his life. Throughout the play professor does not provide any definition of this ‘Word’ but he gives so many features of this word so that the reader can guess what it could be. So, to go before our analysis we must know what the professor says about the ‘Word’. Here one thing can be noticed that most of the time in the play the word “Word” is capitalized which indicates that it must have some important meaning. In the play, the professor describes the word as “companion not to life, but death”. To him it is a powerful thing that “can crack [any one’s] bones in a hundred splinters” He may consider word, which is the basic component in writing process, as a dead entity that when it comes out of mind and mouth or once being written down on the paper, it becomes stable, unchangeable and dead. To him word is nothing but a “key” to control of the universe. So in order to search the ‘word’ he goes to several stages.

As the ‘word’ actually indicates human existence so Professor does not find ‘word’ in Bible or church. He goes to church thinking that he will find ‘word’ in Bible. But he does not find it in Bible. 

The Existential Crisis in Wole Soyinka’s The Road

Wole Soyinka’s The Road is an absurdist play where Professor, the protagonist of the play seeks a ‘Word’. Throughout the play Professor’s searching for the ‘Word’ implies various interpretations regarding what this ‘word’ means, as in the play neither Professor nor Soyinka makes it clear.  Professor’s search for the ‘Word’ actually is a trope of searching his existential crisis. The play is not just a drama, but a philosophical statement on the problem of existence. The writings of Wole Soyinka define life as a void in search of meaning. As human’s existence is meaningless so we find Professor’s searching for the ‘Word’ comes in vain and its end with his death where the finding of ‘Word’ or meaning of existence remains an unfolding question.

Prior to our textual analysis we must have a clear conception about Wole Soyinka’s existential views. Wole Soyinka is regarded as more a thinker than a writer. The writings of  Soyinka define life as a void in search of meaning which man can only accomplish through the affirmation of the will to live, freedom and conquest.

In this regard there is a similarity between Wole Soyinka and Nietzsche. In the first place the two thinkers define life and meaning in terms of the will to action. In his theory of will, Nietzsche opines that at the root of our existence there is a will or will to overpower that creates drive in individuals and when an individual becomes aware of this will, he or she can uplift his or her position. This will is also responsible for creating a sense of affirmation in us. Wole Soyinka holds almost the same view about the overpowering nature of will. Moreover, both of the thinkers hold the view that through the sheer power of will, pessimism can be overcome in our life.

A number of Soyinka’ s works especially those dedicated to the Ogun deity who, for Soyinka serves as a moral standard for mankind, to illustrate how the same quest for vitality and affirmation of the human essence runs through his works.  Soyinka’s humanism which is route to understand the basis of  his existentialist convictions. Soyinka’s works define life in terms of quest for the autonomy of the individual. His existentialist conviction upholds the will and says that every other item or value: culture, institution, constitution, agencies, government, etc, should be negotiated to its favour. Apart from this , Soyinka also has portrayed the fact that the persisting belief in will can surmount the sickening pessimism that lies coiled in the heart of the modern people.

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With the above information now it will be a bit easier to analyze the text The Road. At the very beginning of the play we see the professor so much eagerly seeks for a ‘Word’, as if it is the ultimate aim of his life. Throughout the play professor does not provide any definition of this ‘Word’ but he gives so many features of this word so that the reader can guess what it could be. So, to go before our analysis we must know what the professor says about the ‘Word’. Here one thing can be noticed that most of the time in the play the word “Word” is capitalized which indicates that it must have some important meaning. In the play, the professor describes the word as “companion not to life, but death”. To him it is a powerful thing that “can crack [any one’s] bones in a hundred splinters” He may consider word, which is the basic component in writing process, as a dead entity that when it comes out of mind and mouth or once being written down on the paper, it becomes stable, unchangeable and dead. To him word is nothing but a “key” to control of the universe. So in order to search the ‘word’ he goes to several stages.

As the ‘word’ actually indicates human existence so Professor does not find ‘word’ in Bible or church. He goes to church thinking that he will find ‘word’ in Bible. But he does not find it in Bible.  

The Swamp Dwellers' Attitude to City as Expressed in Wole Soyinka's Play The Swamp Dwellers

The Swamp Dwellers by Wole Soyinka is placed in a backward village of Nigeria in the Delta region. But the characters of the play often have important interactions with the town life. Typical to the people of a poverty ridden village, the town is a place of money, and luxury to the Swamp dwellers. To the older generation of the swamp dwellers however, the town is the symbol of corruption. Here the attitudes to the city life are mainly expressed by Alu, Makuri, Igwezu, and Kadiye.

The older generations’ views to the city are expressed through Alu and Makuri. Alu and Makuri have two sons- Awuhike and Igwezu. Both of their sons went to the city for better prospects.

But Awuchike attracted by city cuts of all his relation with his parents. This ungratefulness even more consolidates Alu and Makuri’s prejudice against the city. In the opening scene of the play Makuri says to Alu that Awuchike went to the city because he had go sick of the Swam. Moreover, Makuri says that the young men go to the big town in order to make money. But most of them forget their folk and cut their relation with the roots, says Makuri.

To Makuri the city is the place of immortality and corruption. Some of the events confirm Makuri’s views. For example, Desala who had gone to the city with her husband Igwezu left him and went with Auchike who had more money. Gonushi’s son is another example of the victim of city. He also went to the city and cut off his relation with wife and children.

All the Swamp Dwellers consider city as the place to make money. This view is expressed through the Kadiye. As soon as Igwezu returns home from the city the Kadiye visits Igwezu’s house. But Igwezu is still outside. The Kadiye wants to know from Makuri if Igwezu had made a fortune in the city. According to Kadiye all can make money “in the city”.

In his conversation with Igwezu, the Kadiye asks Igwezu repeatedly about how much money he did make in the town. The Kadiye thinks that Igwezu had made enough money to buy the whole village. When Igwezu talks about his final restrain, the Kadiye doesn’t believe it. To him it is impossible for a man who went to city to be in debt or financial constrain.

But the real picture of city is expressed by Igwezu. In his conversation with Makuri, Igwezu says that the city is the place where only money matters. Money makes a man important and big in the city. On the other hand people without money have no place in a city.

Thus we see that the Swamp Dwellers have mixed feelings about the city. To most of the Swamp Dwellers city is the place of comfort, money and luxury. But there are also some people who have a very negative view towards the city life. Still there are men like Igwezu who hate the city life but is forced to go to the city.

Comparison and Contrast of Characters in Wole Soyinka’s 'The Swamp Dwellers': Art of Characterization in 'The Swamp Dwellers'

The characters in The Swamp Dwellers fall into three groups: the parents Makuri and Alo-conservative, the corrupt priest Kadiye, who beguiles his superstitious followers; and the two positive individuals Igwezu and the Beggar, moving, wondering, seeking and then uncertain what they have found. It is a play of mood and atmosphere, constructed so as to provide the audience with ample opportunity to make comparisons and reach judgment. Soyinka makes his points through implied contrasts and comparisons. In the play, there is contrast between twin brothers, father and son, between mother- in –law and daughter- in- law, between the Beggar and host, comparison between Igwezu and the Beggar and the final contrast between the Beggar and the Priest Kadiye.

Two Brothers

The most obvious contrast is that between the twins brothers, who look alike but behave differently Awuchike has left home for ten years and lives in town. There he deals in timbers and thrives fast. But he never thinks of his poor old parents. Besides, he does not even communicate with his parents, as a result his mother thinks that, he died in swamp drowning, though his father knows that he is still alive in town and earning money there. He is dead to his parents and family responsibility/ whereas, Igwezu is quite opposite to him. He also goes to town with his wife to seek his fortune. He promised that, with first earned money, he will send a swivel chair for his father and he fulfils his promise. He communicates with his parents and looks after them. After all, Awuchike is callous, self centered, egoster, nonchalant, unmindful, undutiful ad disobedient towards parents but Igwezu is obedient, dutiful towards his parents.

Contrast between mother- in –law and daughter- in- law

There is a contrast between the women in the family. Igwezu’s mother Alu is faithful and loyal to his father Makuri. Alu and Makuri lead their conjugal life in subsistence level. Makuri makes basket with rushes and Alu works at her “adire’ cloth. Makuri is also an occasional barer. After all, they live from hand to mouth. In youth, Alu was very beautiful. A group of crocodile traders visited the Swamp and offered Alu to leave for city with them but Alu checked the temptation and rejected their offers. Throughout her life, she shares the well and woe of her husband and remains faithful. Makuri never feels tension for her sake. Besides, she loves the swamp region and never expresses any wish to leave for city. But Igwezu’s wife is reversed to Alu. Her condition before wedding was that, she must have to be taken to town after marriage. She does not like rustic life, careless about Igwezu’s parens. Besides, whenever he begins their urban life, Igwezu’s wife leaves him for wealthy Awuchike. The contrasting point between these two women is that, one is faithful and consistent to husband and another is inconsistent and unfaithful, one is materialistic, another is simple and honest.

Beggar in comparison to Igwezu

The blind beggar offers a comparison to Igwezu. The beggar loses his crops to locust and leaves his home in Bukanji, walks to the south passing through the city, searching for land to cultivate. Igwezu also loses his crops to flood leaves his home in Swamp and takes shelter in town. That is both experience misfortune but both are resolved to earn their livelihood by labor. They are unlike Awchike and Kadiye.

Contrast between Makuri and the beggar

There is a contrast between Makuri and the beggar. Though Makuri has eyesight, he cannot detect the mystery that his family is being beguiled, deceived by the corrupt Priest. But though the beggar is deprived of eyesight, his spiritual light is so powerful and penetrative that, he can detect the bulk of the Priest out of his voice. This means that, he can guess that the Priest is consuming their fresh crops by means of false rituals.

Beggar contrasts to the Priest Kadiye

The blind beggar also offers a contrast to the Priest Kadiye. Though he is regarded as beggar, actually, he does not believe in begging. Rather he believes in the virtue of diligence- this is how he leaves his home and gets out in search of a cultivable land. When the servant of the priest gives a coin, the beggar keeps his bowl upside down. The beggar is not superstitious. He can not believe that, there is any supernatural being in the name a serpent God, who possesses land. But, the priest whose head is bold, skin-tender, looks like greasy porpoises begs his in sophisticated form. He takes goats, ores and other sacrifices offered by the simple minded villagers. They offer the sacrifice to appease the God and want protection at their lives and crops. But the priest consumes when Igwezu asks,” Why are you so fat?” He leaves Makuri’s house. After all, the beggar wants to earn his livelihood by labor while the priest earns his livelihood by false bait and deception. The Beggar deceives none rather raises optimistic views in Igwezu but he priest deceives all.

Contrast between town and country

Finally there is a contrast between town and country. Life in town is source of pain, disappointment and frustration. It is a greed dominated place and only hard- hearted people prosper. But life in country is blend & sorrow and happiness. In village, the family is integrated, people are simple minded, hospitable, capable of being deceived very easily. Besides, the country people are the puppet at the hand of nature. Nature shatter their hope again offers the victim an optimism.

To conclude, through the typical characterization Wole Soyika brings to our notice the attitude, culture and life style of Nigerian people. Besides he shows how the overall economic growth affects the subsistence economy of Nigeria.

Kadiye in Sawmp Dwellers: A Symbol of Religious Hypocrisy

Wole Soyinka’s Swamp Dwellers, a play built on the rural setting, is a blunt exposition of the religious hypocrisy,typical in a culturally and economically backward society in any parts of the world. Wole Soyinka, the most distinguished playwright of Africa, exposes the irreligious acts of the religious men in a very Chaucerean way.The character through which he dose it is obviously the Kadiye who reminds us about Chaucer’s religious character in his The Canterbury Tales The Summoner.

The Kadiye,the religious figure in Wole Soyinka’s Swamp Dwellers,is masterfully portaryed and is very covincing.Kadiye is portrayed in this drama as the main priest of the sawmp dwellers.Though he is a priest by his profession ,he is anything but pious.He is essentially a corrupt and self-centered person.But Kadiye is not the sole example of his type.There are many kadiyes in every part of the world.There are some hypocrites who trade religion and live on it.This typical feature of Kadiye makes him more convincing.

The physical feature of Kadiye indicates that he is more like a villain than to be a religious person.He is fat like a blood-swollen insect.He is a monstrous looking person.He is described as ’a big ,voluminous creature of about fifty.’He is smooth-faced and his head is shaved clean.He is bare above the waist and at least half of his fingers are ringed.This physical look suggests something ugly about his moral nature.Kadiye is very rich and has a good control over the swamp like a Godfather featued in the western films.Kadiye destroys people wearing the mask of religion.

The Kadiye betrays the the trust of the villagers by encouraging them to indulge in meaningless cult.The Kadiye is the priest of the Serpent.The villagers give of their harvest to the Kadiye so he can appease the serpent. No one questions where the goods go, because it is almost blasphemous to do so.

But it seems that the dramatist is very critical to the Kadiye and Kadiye’s real nature is exposed through the confrontation between the Kadiye and Igwezu. The protagonist of the play, Igwezu, an ideal son of the Swamps who is loyal to tradition, has performed all the necessary rites required by the deity to ensure a good harvest and a happy life with his wife. The impotence of this god gradually creeps into his awareness from several inexplicable mishaps that confront him, both in the city and the Swamps. In his short stay in the city to try his hands at making money, his twin brother,Awuchike, seduces his wife, contrary to the spiritual values of theSwamp. Much frustrating, he fails in his commercial enterprise.Igwezu's tragedy is more severe when he returns to the Swamps with the hope of recovering from his despair by harvesting his crops.But he discovers with utter disappointment and disbelief that the floods had ruined his farm and "the beans and the corn had made an everlasting pottage with the mud.’

Igwezu’s reliance on the omnipotence of the Serpent begins to abate on being puzzled why

he should be so righteous yet so forsaken. His contempt is explicit when he requires the Priest of the Serpent - the Kadiye, to give meaning to what seems "dark and sour.” He achieves this through a

series of clarification questions:

Igwezu: Did I not offer my goats to the Priest? …

And made it clear - that the offering was from

me? That I demanded the protection of the

heavens on me and my house, on my father

and on my mother, on my wife, land and

chattels?

Kadiye: All prayers were repeated.

Igwezu: And ever since I began to till the soil did I not

give his due? Did I not bring the first lentils to

the shrine, and pour the first oil upon the altar?

Kadiye: Regularly.

Igwezu: And when the Kadiye blessed my marriage

and tied the heaven-made knot, did he not

promise long life, did he not promise

happiness?....

Kadiye: [Does not reply this time]

Doubts of divinity of Kadiye’s competence to save humanity from the vagaries of life are revoked in his further questions:

"If I slew the fatted calf, Kadiye, do you think the

land may breathe again? If I slew all the cattle in

the land and sacrificed every measure of

goodness, would it make any difference to our

lives, Kadiye? Would it make any difference to

our fates?".

The Kadiye, thus trapped and humiliated, leaves the scene threatening blood. But Igwezu's mind is now open. He has emancipated himself from the manacles of deceit, realising in a consolatory stand. "I know that we can appease the Serpent of the Swamps and kiss the Kadiye's feet, but the vapours will still rise and corrupt the tassels of the corn".Thus through the disillusionment of Igwezu the dramatist also exposes the real nature of the Kadiye.

But due to the Kadiye’s threat Igwezu has to leave the village.In this way the Kadiye brings the final tragedy to Igwezu’s life.

The Kadiye is dramatized as a very convincing character.Though the Kadiye is portrayed in a Nigerian setting,but he can be trasported to an Indian village,Bangladeshi or Irish village where the religious Sadus exploit the general people in the name of religion.