ENG 482: Poetics of Relation Research Guide: The Road

As we as a class observed in Death and the King’s Horseman, Soyinka uses language as a vehicle to illustrate a juxtaposition between colonial and African influences. Although characters in The Road do not represent such stark differences as say Simon Pilkings in Horseman, there is definitely evidence of colonial culture creeping into many of the characters. One example that stood out most to me was the description of the Professor’s outfit (part of the stage direction, a very important portion of The Road): “Professor is a tall figure in Victorian outfit—tails, top-hat, etc.,—all thread-bare and shiny at the lapels of much ironing” (8). In a play situated in Nigeria in the 1960s, this outfit strikes me as a hilarious combination with the Yoruban population who do not identify with Victorian shininess. Alongside the Professor’s character, Samson’s constant change of language throughout the play, from a refined English to a broken one filled with “wey” and “dey[s],” demonstrates the divergences between an English and non-English society (18). Yet, I cannot continue to assess this text without revealing my many doubts and points of confusion throughout the play. Although I cite British influences in two of Soyinka’s characters, I question, where did they learn to speak that way? I can determine that the Professor is not British because he can speak in Yoruba.  However, where is this knowledge coming from? Unlike Horseman where the Colonial and African characters are vividly defined (with the exception of Olunde), in The Road, I do not know where Samson learns to speak a refined English.

-Catherine O’Donnell ‘15

The Road by Wole Soyinka is a play that tip toes on the line between comedy and tragedy. Countless comedic moments with a grim undertone creates this effect in this classic Soyinka play. The purpose of this play is not very different than that of his other plays, or all African theatre for that matter. This is not to say that the themes and tropes are the same, but rather the play wishes to make a statement about Nigerian culture, life, colonial influence, etc. There are a host of tropes and themes such as: death, institutionalized corruption, destruction, juxtaposition between Nigerian culture and colonial British rule, hypocrisy, fear, and masks.

Similar to his 1960 A Dance of Forests (where he examined the future of the newly independent state of Nigeria) I think Soyinka indirectly and subtly predicts the massive massacre of the Nigerian Civil war which occurs only two short years after this play is produced and published. It is clear to anyone who reads this play that death is perhaps the most prominent theme in The Road. Although there is no concrete textual evidence, considering the fact that Nigeria succeeded in filing for independence in a bloodless conflict, Soyinka might be saying that war is inevitable after a period of peace just as death is inevitable after a period of life.

There is a plethora of symbolism in The Road, enough symbolism to cause confusion for the reader/audience. Nigerian culture is heavily reliant on symbolism. Masks and concealing one’s true identity plays a major role in this play. However the symbolism behind it is so intricate and convoluted that it causes confusion for the reader. There is a scene in the play were a mask is removed from someone yet we never get to know who the mask was originally on. 

-Javier Robles 15'  

Catherine O'Donnell 15' and Javier Robles 15' provide a presentation on the major themes, tropes, and characters of Soyinka's The Road. Presentation also includes quotes, questions, and background information.