ABSTRACT
Conflict is important in Literature as narratives cannot progress without it. This not only drives the narrative forward, but also gives readers an insight into the main characters’ actions and motivations. Through this project, with the use of Drama as a genre, three types of conflicts were explored, from Societal conflict to Legal conflict to Domestic conflict. A brief introduction was given in the first chapter to the concept of conflict in Literature. The purpose and scope of study was also examined, which is aimed at intimating the readers on the literary conflict types to be looked into in this project research and the plays used, namely Wole Soyinka’s Death and the King’s Horseman and 63 Hope Eghagha’s Death, not a Redeemer. We outlined a methodology and Theoretical background to explain that the work employs a Qualitative research approach and embodies the sociological theory perspective. In the second chapter, Societal conflict was analysed, in respect to the plays used for this Research. Using Soyinka’s Death and the King’s Horseman, Societal conflict was examined from the perspective of Elesin and his family and the British society versus the Yoruba society. A build-up of this conflict in the play was explained and instances given with Dialogue extracts for easy analysis and understanding. The Elesin, as buttressed in the narrative goes through a conflict with the Yoruba society because of his inability to fulfill his obligations as Horseman to the just deceased King. He makes requests which are granted immediately because it is his last day on Earth. After he makes a request to get married to Iyaloja’s daughter-in-law-to-be, Iyaloja warns him not to plant a cursed seed. However, conflict sets in between Elesin and the Yoruba society when he is unable to commit the ritual suicide due to his arrest by Pilkings. The people, with Iyaloja as a spokesperson of the Yoruba society, insists that he commits the ritual suicide nonetheless. As explained in the second chapter, the outcome of this conflict is fatal as it claims the lives of Elesin and his son, Olunde. Societal conflict was also analyzed in respect to the friction between the beliefs of the Yoruba society and the British society. As seen in the dialogue between Amusa and the Pilkings, the former is shocked and scared upon seeing the Pilkings dressed up in the Masquerades costume. Mrs Pilkings refers to this attire as their fancy dress and does not understand why Amusa should be scared since he singlehandedly arrested the 64 Masquerade and those constituting nuisance. Using Eghagha’s Death, not a Redeemer, societal conflict was analyzed through the rift between Chief Karia over his intentional refusal to fulfill his Horsemanship duty. After the death of the King, Chief Karia is expected to commit a ritual suicide. He refuses to, on the grounds that his Christian religion does not accept that one claims his own life. It is a sin. This does not go down well with the Ijigbo society as they believe that he has enjoyed Horsemanship benefits from the King and should not turn his back when fulfillment time has reached. A build-up of this conflict was explained and the outcome stated. Chief Karia wins the case in Court but is brought home dead a year later, as the members of the Ijigbo society believe their ancestors have a hand in it. Societal conflict was explained in both plays through the use of different artistic elements. These elements were outlined and explained with examples given from the plays for easy understanding. Writers make use of these artistic elements in Literature to prevent reading from being cumbersome. In the second chapter, Legal conflict was analysed using the plays intended for this research. From analysis, it was realized that the root cause of the Legal conflict in both plays is the notion of compulsory suicide. Under the Law, attempted suicide is a punishable offense by one year to the offender. This explains that the Law is against Suicide. According to statistics, as explained in the second chapter, Nigeria has remained top on the chart of countries in Africa with high suicide rate. Legal conflict was analyzed from three different views of both the British and the 65 African society. Although the root cause of the Legal conflict remains Suicide, the views of both parties are equally important during analysis. These views contradict, hence the cause of the conflict in both plays. The first perspective of both parties that contradict is the Native custom versus Criminal death. In Soyinka’s Death and the King’s Horseman, Native custom stands for the belief of the Yoruba society, while Criminal death stands for the belief of the British society. According to Amusa, Elesin is to commit death as a result of native custom. This cause is not backed up by the Law, and as such, can be referred to as Criminal death. Aware of the dictates of the Law, Mr Pilkings orders for the arrest of Elesin to prevent him from performing such obligation. In Soyinka’s Death, not a Redeemer, native custom stands for the belief of the Ijigbo society, while Criminal death stands for the belief of the British society. Sankaria, aware of the Law, knows the Law frowns at such native custom. He urges his father to push for a Court case and in the end, the Law wins. Chief Karia’s refusal to perform this native custom and the involvement of the Law is what leads to the Legal conflict in the play. Another cause of Legal conflict in both plays is the notion of a Ritual sacrifice versus Suicide. As earlier explained, Nigeria has a high rate of suicide cases. In Soyinka’s Death and the King’s Horseman, Ritual sacrifice stands for the expected obligation of Elesin upon the death of the King. Mr Pilkings, who is on the side of the Law, does not see it as such. In Eghagha’s Death, not a Redeemer also, the Law recognizes this act as Suicide and rules in favour of Chief Karia. The Natives, in both plays, see the duty of the 66 Horseman as a Ritual sacrifice to enable him join the King and serve him the way the Horsemen of past Kings have. The Law has a contrary view of such as it is seen as a suicide attempt. The third cause of Legal conflict in both plays is the view of obstruction of justice versus preservation of culture. Obstruction of justice occurs when there is a deliberate attempt to prevent the cause of the Law from taking place. In Soyinka’s Death and the King’s Horseman, the women prevent Amusa from arresting Elesin because they see the need to preserve their culture and age-long tradition. Amusa tags it an obstruction of justice because the act they perpetrate is against the Law. In Eghagha’s Death, not a Redeemer also, the Ijigbo society members believe that customs and traditions are laid down by ancestral spirits and must be followed to the latter. This brings us to the supremacy of the Law. After the ruling of the court, Chief Karia is left alone to do as he pleases as regards his Horsemanship decision. The role of Education in Legal discourse was also examined. Education gives a certain level of knowledge of the Law. Chief Karia, curious, asks his son, Sankaria what has given him so much confidence to engage in a Legal battle against the Ijigbo society and he replies ‘Education’. Also, the Educational level of the British differs from that of the Yorubas, hence their knowledge of the Law and ability to command respect. Artistic elements used to portray Legal conflict in both plays were also copiously discussed with dialogue extracts added where necessary. In the fourth chapter, Domestic conflict in both plays was examined. The definition of domestic conflict was given as a conflict type that exists between members 67 of a family. It is a friction or strained relationship, as relayed in Literature, between people related by blood or marriage. In Soyinka’s Death and the King’s Horseman, Domestic conflict exists between Elesin and his son, Olunde. The friction between both parties is as a result of Elesin’s inability to perform his Horsemanship obligation. Olunde’s inability to stand watching the Horsemanship taken away from his family, sacrifices his life in his father’s stead. Initially, the conflict between Olunde and his Father is as a result of Mr Pilkings’ act of sneaking Olunde to England to study Medicine and Surgery without his Father’s approval. After receiving a cable that the King is dead, Olunde returns to give his father a befitting burial (even after being disowned when he leaves for England) but gets disappointed when he hears his voice, suggesting Elesin’s inability to perform the ritual sacrifice. The outcome of the domestic conflict between Father and Son ends up in a fatal state as Olunde commits the ritual suicide in his Father’s stead. This displeases the Yoruba society at large and causes Elesin to hang himself also. In Eghagha’s Death, not a Redeemer, domestic conflict was analysed from two angles: the friction between Chief Karia and his wife, Avbero and that between Sankaria and his step-mother, Avbero. Avbero, annoyed that her husband, who is the Horseman to the late King (her father) engages in arguments with Chief Karia. Through the use of dramatic irony, it is revealed to Readers that Avbero has a ten-year affair with Jolomi. This adds to her reason for insisting Chief Karia performs the ritual suicide. Also, domestic conflict exists between Sankaria and his step-mother, Avbero. She claims to have nurtured him when his mother ran away. She feels disappointed that 68 Sankaria, after being sent abroad to study by the community, comes back to drag the same community to Court. Another build-up of this conflict is that Sankaria exposes Avbero’s adulterous secret to his father, leading him to throw her out of his house. Domestic conflicts do not always end well and since Literature mirrors the society, readers are made to understand this. Artistic elements used to relay Domestic conflict were explained. Dialogue is important in explaining Conflict in Literature. It reveals the thoughts and intents of characters. In Societal conflict, it is used to show the instances of conflict between members of the society (the protagonist and his society). In Legal conflict, it is used to show the instances of conflict between characters with the use of legal discourse. In Domestic conflict, dialogue is used to reveal the mind of characters involved and make readers understand during free flow of conversation. Characterization also plays a significant role in conflict as explained in previous chapters. Through the view of characters, reasons as to why they behave the way they do can be analyzed. In both plays, characters help to further the narrative, to express ideas. Without a successful characterization, roles cannot be embodied as Writers rely on this devise to create functional and significant characters. In conclusion, this project contributes to our understanding of the concept of conflict in Literature and its various manifestations as it offers insights to scholars during research. It also broadens our understanding of the usage of artistic elements in serving as the tool to relaying Conflict in Literature, thereby creating challenges in a story by adding uncertainty as to whether the goal will be achieved. Through a thoughtful analysis, we 69 can conclude that no narrative in Literature can exist without the presence of conflict.
