C. O. AJIDAHUN 3
Babalawo’s shed in Twingle-Twangle: A Twynning Tayle (1995)
is a metaphor for wretchedness, poverty and vulnerability. Oth-
ers are the public square of Twingle-Twangle, A Twynning Ta-
yle (1995; the public square of Tegonni: An African Antigone
(1999); the Beachside of No More the Wasted Breed; the hotel
of Midnight Hotel (1986) and the open space showing the tem-
porary tents of the old markets built of wooden and bamboo
stakes, and straw roofs, in which the women are being kept in
Women of Owu (2009). They depict the struggling, poverty,
depravity and the decadence that are often associated with the
poor and the downtrodden.
Even the D. O’s office in Tegonni: An African Antigone
(1999), which is up the hill side gives one the image of tough-
ness, tyranny and oppression. The market of Once upon Four
Robbers (1980), Fires Burn and Die Hard (1990) and Yungba-
Yungba and the Dance Contest (1993) represents the world in
African metaphysics where everybody comes to struggle, tra-
vail and trade. While some succeed, some fail depending on
several factors like destiny, perseverance, wisdom and so on.
As the market women return home at the end of each market
day, eventually, everybody will one day return to the ancestors
at the end of his or her journey to this world which the market
represents.
Osofisan also uses quest motif to symbolize man’s struggles
and travails in the world. Sango in Many Colours Make the
Thunder King (1999) is in search of how he can excel and sur-
pass his father’s achievements and be a man. In the course of
his search, he runs into trouble. He later misuses his position.
Taye and Kehinde in Twingle-Twangle, A Twynning Tayle
(1995) embark on a journey of life which symbolizes man’s
struggles, and the need for man to have patience and persever-
ance. Through the metaphor of the motif, Osofisan shows that
man in his search for happiness, hope and achievement and
fulfilment will experience difficulties in life which could in-
volve oppression. All that he needs are patience and persever-
ance.
Even the titles of some of his plays are symbolic of the suf-
ferings of the poor masses. For instance, A Restless Run of Lo-
custs (1975) shows the hardships and the devastation the politi-
cians and the ruling class brings upon the land through their
careless display of power and lust for money and position.
Also, the title of the play The Chattering and the Song (1976)
is Sontri’s belief that the chirruping of birds is called a song
while the weaverbirds’ chatter in chorus is also called a song.
The title will then become a symbol of liberty and freedom
which birds generally experience but which is elusive to man
because of the oppressive apparatuses in the society which are
perpetrated by the ruling class and the wealthy capitalists.
Other titles like Once upon Four Robbers (1980), Fires Burn
and Die Hard (1990), No More the Wasted Breed (1983), Red
Is the Freedom Road (1983), Farewell to a Cannibal Rage
(1986) and Esu and the Vagabond Minstrels (1991) are sym-
bolic of poverty, deprivation, suffering and oppression. “Rob-
bers” are a nuisance and outcasts in the society. Fires devour
and consume. “Red” is a symbol of danger. The danger in the
text could mean that any attempt made by the poor to liberate
themselves from the hands of the oppressors could be very
bloody. Truly, the attempt made by Akanji in the text ends in
tragedy both for the oppressed and for the oppressors.
“Cannibal Rage” symbolizes rivalry, strive and absence of
peace which the poor always experience in the hands of the
Adiguns of the society. “Vagabonds” stands for the level of
dehumanization and deprivation the society has created for the
downtrodden. For instance, the vagabonds in Esu and the Vaga-
bond Minstrels (1991) refer to themselves in powerful meta-
phors of poverty as “living corpses” and “furnace of rioting
embers” (p. 6) while the victims of Rwandan war in Reel,
Rwanda (1999) are referred to as “floating corpses” (p. 179)
and “rotting corpses” (p. 187).
Osofisan also uses songs, dances, riddles, parables and
games as metaphors for instance, the “Dance of the Crawling
Things” and “The Farmers” Anthem” in The Chattering and the
Song (1976) indict the bestial nature of the ruling class and call
for the unity of the masses in the dethronement of oppression
and exploitation. “The story of Stomach and the Limbs” in
Yungba-Yungba and the Dance Contest, (1993) “The Song of
the Market Women” in Once upon Four Robbers (1980), “The
story of Simbi and the Stranger” in Farewell to a Cannibal
Rage and “The riddles of Ant” in Many Colours Make the
Thunder-King (1999) portray the awful condition of the poor
caused by the recklessness and misuse of power by the capital-
ists in the society. Games, like the card game played by Leje
and Mokan in The Chattering and the Song (1976), are used as
a dramatic metaphor and a transistor device to re-enact the past
and project the future.
Conclusion
Metaphor, therefore, to Osofisan is a formidable and indis-
pensable literary apparatus for lampooning and chastising the
oppressive structures in the society and for enlightening and
exposing the true conditions of the masses with a view to pro-
voking them to stand in unity for their liberty and total emanci-
pation. Metaphors have therefore been adequately deployed by
the playwright to strengthen the theme of oppression that is
prevalent in his plays.
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