DEATH![](flame.gif) and the KING'S HORSEMAN
Week #9 |
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A sight to dream of,
not to tell!
Samuel Taylor Coleridge, 1772-1834.
EXTRA...EXTRA WORTH A LOOK
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- What is behind Soyinka warning in his prefatory note to Death and the King's Horsemanabout the facile tag of "clash of cultures?"
- In looking at a play that is based on an actual historical incident, it's always interesting to look at what the writer has changed or added. Why, for instance, did he add Elesin's taking of the bride?
- Other artistic touches to the real event were the introduction of the Prince and the setting of the drama in war time. What is the significance of these details?
- What's the point of the ship captain episode?
- What is the significance of the houseboy's name--Joseph?
- What's the significance of the names Jane and Simon?
- Jane and Simon are myopic, cultural chauvinists. What are some examples of their chauvinistic behavior?
- We learn in the play that Elisin's son, Olunde is off studying to become a physician. Apparently, this detail was not part of the actual, historical incident upon which Soyinka based his play. Of all the professions that Soyinka could have picked for Olunde, why did he pick the profession of physician for this character? In other words, what dramatic purpose does this choice of profession serve?
- Why does Soyinka have Jane and Simon doing the Tango?
- What's the irony of Pilking's saying that the European club dance is going to be a "rather special occassion?"
- There is a great deal of racist behavior in the play--some subtle, but most very obvious. What are some examples?
- Why in the last scene does Elesin repeatedly call Simon the "ghostly one?"
- At the end of the play the necessary ritual action (Elesin's death) is finally performed. But at this point, does it have any meaning?
- What, then, is the final feeling we have at the end of the play?
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