Life Cycle
In numerous African cultures, such as the Yoruba, there is a fundamental belief that life is an unbroken continuum. The deceased are not forgotten but revered as ancestors who serve as guides and companions. The unborn are also cherished, with the belief that newborns could be ancestors returning to the physical realm. The key moments in the life cycle are transitions between different states of existence, like birth into the physical world and the passage into death. Elesin, as the king's horseman, holds the duty of ritualistically transitioning from life to death, reminding the community through his sacrifice that life is continuous.
The theme of death is a pervasive element in the play. Elesin and the village women are preparing for his imminent death. The Pilkingses wear outfits taken from a group participating in the egungun celebration, a ritual where men dress as ancestors to engage with the living. The masqueraders approach the ritual with solemnity, reminding everyone of the constant presence of ancestors. Even the Muslim character Amusa respects the stolen garments. However, Simon and Jane Pilkings fail to understand the Yoruba's peaceful acceptance of death and their reverence for ancestors. They ridicule the egungun ceremony, try to stop Elesin’s death, and label Olunde as "callous" and "unfeeling" for not grieving his father’s passing.
As someone in transition, Elesin has special powers and privileges. His sudden request for the Bride must be respected because "the claims of one whose foot is on the threshold of their abode surpass even the claims of blood." Iyaloja knows that the child born from Elesin and the Bride will be extraordinary, "neither of this world nor of the next. Nor of the one behind us. As if the timelessness of the ancestor world and the unborn have joined spirits."
In the end, Elesin fails to complete his transition. Olunde sacrifices himself in Elesin’s stead, and witnessing the turmoil caused by this role reversal, Elesin takes his own life. Simon and Jane are appalled, but Iyaloja and the Bride remain calm and accepting. Iyaloja scolds Simon for his panic, and the Bride "walks calmly into the cell" to close Elesin’s eyes in the proper ritualistic manner. The play’s final line, spoken by Iyaloja to the Bride, reinforces the idea of life’s continuum: "Now forget the dead, forget even the living. Turn your mind only to the unborn."
Culture Clash
Western audiences approaching Death and the King’s Horseman with limited understanding of Yoruba culture often concentrate on the theme of cultural conflict. It's clear that while Yoruba and British cultures coexist in the same location, their emotional and spiritual realms are vastly divergent. For example, in Acts 2 and 4, the British characters enjoy tango and orchestral music, while the persistent beat of African drumming echoes in the background. Both groups gather on the same night: the British for a costume ball attended by the prince, and the Yoruba for the ritual suicide of the king’s ornately dressed horseman and the king's burial. Despite these fascinating differences, the two communities remain separate and do not influence each other.
Simon and Jane Pilkings fail to grasp African beliefs, dismissing what they don't understand as “nonsense,” “barbaric,” and “horrible custom.” They find no issue in wearing sacred egungun attire to a costume party and ridiculing the ceremonial dance, even after Amusa and Olunde point out their disrespect. Elesin’s dedication to tradition is so strong that he is willing to die for it. In contrast, Simon’s Christianity seems trivial to him, as he mocks Joseph’s sincere faith in “that holy water nonsense.” Yet, this...
(This entire section contains 346 words.)
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man of little faith feels justified in calling Elesin an “old pagan.” Simon neither comprehends nor respects Elesin’s culture and only intervenes to prevent embarrassment while the prince is visiting.
It might be tempting to blame Simon for Elesin’s failure to complete his duty, viewing the cultural clash as the force disrupting the universe. However, in an Author’s Note accompanying the play, Soyinka expresses his dissatisfaction with this interpretation, calling it “facile.” For Soyinka, while Simon’s ignorance is apparent, the play’s focus is on the consequences for the universe when duty is neglected. Simon serves merely as an instrument or a “catalytic incident merely.” Those familiar with Yoruba beliefs can easily perceive the metaphysical struggle within the play. However, for most Westerners, the more identifiable conflict lies between two religions, two races, two communities, and two cultures.
Duty and Responsibility
As Elesin nears death, he is fulfilling a significant duty. Throughout his life, he has enjoyed the king’s presence, the finest clothing, and "the choicest of the season’s harvest." He has always known that his fate is to accompany the king into the afterlife. As a man of honor, he claims he is prepared for death and "will not delay." He comprehends his responsibility and embraces it. However, he becomes distracted by the temptations of the physical world. Rather than distancing himself from it, he clings even more tightly, desiring finer garments and one last intimate encounter.
This distraction leads to his downfall. The ritual suicide is delayed while Elesin consummates his marriage, giving Simon enough time to arrest him. Although Elesin tries to blame the "alien race" for his failure, the responsibility is his own, not Simon's. Iyaloja challenges Elesin’s accusation, suggesting that if his spirit were strong enough, Simon could not have stopped him from completing his duty. Elesin is surrounded by people who honor their obligations: Iyaloja offers her son’s fiancée to Elesin, Olunde returns from England to perform his father’s burial and sacrifices himself in his stead, and the bride closes her late husband’s eyes. Elesin alone fails, and the repercussions of his failure are profound.
