1

Kristine Pukka Tackie

CLAS 231
Final Paper
Professor Winkle
THE TALE OF TWO HEROES
Introduction
I remember standing in line at the bookshop waiting to collect my English literature
books. My entire year group stood in that same line. We all had the same expressions, nonchalant, even students studying Literature had no enthusiasm. As expected, the books
handed over to us written were by African writers- a class of people we generally had no
respect for. I moved up the line and the bookshop keeper handed over three books to me.
The smallest of them fell on the ground, as he had hastily delivered the books into my open
hands. It was a brightly colored yellow book with a very bad font print of the title. I knew
this title, I could remember faintly it was a play- the gods are not to blame. My memory
failed me on the intricate details; but along with the title I remembered a hot tempered
main character- Odewale. I took the book off the ground and along with the rest of my
other books and stacked it under my chop box. That was where I put all the books I had no
intentions of reading. It was when my final year exams were approaching, 3 years later that
I retrieved it and dusted the cover to study for my exam. The play was as I expected it to
be- the main motif was, the African warrior with a tragic ending. This kind of story were
very common in in West Africa, so it came as no surprise when the author of this play
wrote is piece with the same motif.

2
Years later, when I read the Odyssey, I experienced a moment of epiphany. There
was a striking resemblance between the main character of the Odyssey and that of the gods
are not to blame. They almost seemed like twins separated at birth. On a broad scale, there
also seemed to be a special affinity between ancient Greek culture and the Yoruba culture
of Western Nigeria.1 It was as this thought settled that I realized that I had been I had
initially been plagued with the danger of the single story. 2 Before my realization, my
perception of African stories was narrow and unchallenged.
I began to ask questions about both characters. Though these two men represent
different times and cultures, they fit a generic description of heroism accepted by both
Yoruba(tribe in Nigeria this play is based on) cultural tales and Greek mythology. With this
fact established in my mind, the daunting question that began to loom in my mind was, if
they bare such strong similarities , what peculiar differences defined their very opposite
ends. It is in an attempt to answer this question that I formed a thesis argument. I would
argue in this paper that the difference in the denouement of both narratives is a
consequence of their respective character which saves on and destroys the other. I intend
to build this argument by first giving a summary of both narratives. After which I would
prove that the similarities between the characters out weigh the differences, hence prove
that the singular feature of character is what determined their end results.
Summary of the Odyssey.

1 Conradie, 27
2 This phrase was adopted from a ted talk by an African writer, Chimmamanda Ngozi Adichie.

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The Odyssey is an epic with complex themes, created and recited by Greek Poet,
Homer. Its rich content is layered with many minor stories within the overarching story.
This feature provides detailed and insightful knowledge about the world of the narratives
characters.
The narrative captures a snapshot of a period of about nineteen years of the life of
Odysseus. At the commencement of this twenty year period, Odysseus leaves Ithaca ,
where he reigns as King, and also his family- his wife Penelope and his new born sonTelemachus a to fight in the Trojan war. After a heated seven year battle, he makes his way
home as a victor. His journey back which the major focus of the poem, proves to be the
most tumultuous of his entire journey. The various challenges he encounters, lengthens
the time of his trip back home which has a ripple effect on his family. Odysseus home is
swamped by a band of suitors who are seeking to marry his wife. Their presence in the
house becomes a nuisance when they over stay their welcome in making their visits a daily
affair. Worst still, they feast daily on Odysseuss flock, cutting short his wealthTelemachuss inheritance.
Greek myth is incomplete until the presence of the gods is felt. In this narrative
there are a host of supernatural beings that play major roles, especially in Odysseuss trip
back home. Noteworthy ones are Athena, who plays the role of mentes in helping
Telemachus on a journey he embarks on to find information about his missing father. She
also is an aide to Odysseus on his return home. Poseidon, god of the sea is the primary
antagonist. There is Poseidon, who is the main instrument in disrupting Odysseus from

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going home. Hermes, the messenger god also plays an active role as he gives Odysseus
relevant information that saves his mortality.
Based on the general summary of the narrative. The theme can be appropriated to
be that of the warrior and wanderer, battle- scarred and tempest- tossed, who finally gains
the quietude of safe return to the loving arms of a faithful wife 3. A more simplistic way
to describe it would be to categorize it into four main themes: the wanderings of
Odysseus, his return home, the crimes of the suitors and his vengeance upon them 4 Based
on what this paper seeks to achieve, the theme of the vengeance Odysseus has upon the
crimes of the suitors is of major interest. This theme is pertinent because of the
controversy it causes. The vengeance of Odysseus is so extreme and graphic that there are
questions raised. Some scholars are of the opinion that the action of Odysseus is
completely unexpected and not in sync with the rest of the poem. Levy in his article The
Odyssean Suitors and the Host- Guest Relationship alludes to this supposition of deviation
in writing the thoughts of an unnamed Greek scholar. He writes The extreme bitterness of
this denouement, and its disharmony with the tone of the rest of the epic has troubled a
recent critic.5
On the other hand, there are scholars who are of the opinion that the vengeance of
Odysseus is justified and evident in the text. F. W Jones in his article the formulation of the
Revenge motif in the Odyssey writes the tale of the revenge itself was not to be began until
fully half the recitation was over, and yet the whole poem aspired to that consummation. 6.

3 Levy, 145
4 Jones, 195
5 Levy, 195.
6 Jones, 195

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Of the two positions, I stand in support of the second. This position as will be elaborated on
subsequently will justify Odysseus appropriate behavior which gives him the better ending
as compared to Odewale.
Summary of the gods are not to Blame.
The gods are not to blame is an African play by Ola Rotimi based on Sophocles play
Oedipus Tyrannus. The narrative was smoothly transplanted to into the African milieu,
giving the characters their own uniqueness. Rotimi could not, of course, assume prior
knowledge of the story on the part of the audience, and therefore the events preceding the
beginning of the play are related and mined in a prologue, partly by a narrator and partly
by Odewale.7 The play is set in three acts with ten scenes: two scenes in the first act and
four each in the second and third.
The prologue begins with the birth of a son to King Adetusa and Queen Ojoula of
the land of Kutuje. These are the equivalents of King Laius and Queen Jocasta of Thebes in
Sophocles play. The village soothsayer Baba Fakunle who is the equivalent of Tiresias tells
of the fate of the son, Odewale (Oedipus)born to them, Baba prophesies that the childs
fate is to kill his father and marry his mother. There is a reason for the fate of the child to be
presented early in the play. In his article, Ola Rotimis Version of the Oedipus Myth,
Conradie claims, Teresa Njoku suggests a reason for beginning with the birth of the child:
in Africa, the heroic career starts right from infancy.8 Since the child had an evil fate, he

7 Conradie, 27
8 Conradie, 27

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was to be killed in a forest away from the land. King Adetusa instructed Gbonka , his special
messenger to carry out this action.
After this tragic loss, Queen Ojuola has a second child, Aderopo whose role is similar
to that of Creon, though Creon is Oedipus brother- in law. This deviation is also a cultural
adaptation. In the patrilineal society it is unusual for the brother of a wife to succeed the
throne after the death of his sisters husband. 9In later years, King Adetusa dies
mysteriously. With no leader heading the affairs of the land, the neighboring people of
Ikolu attack the land of Kutuje. Odewale, a wandering man from the Ijekun Yemoja tribe
comes to the aid of the people. The people of Kutujie make him king after he leads them to
victory. This part of the narrative is another indicator of a deviation from Oedipus Tyrannus
where Oedipus contends with a sphinx to save the Thebian people. Odewale is made king
of Kutujie. Though the kingship of a stranger is not particularly common in many African
tribes, there are some instances of such practices in the Yoruba tribe. Rotimi confirms this
when he states Yoruba History abounds in heroes venturing to other lands, proving their
mettle, and becoming leaders of those landsOgunmola became Bashorun- Prime Minister
of Ibadan in the nineteenth century. 10. Odewale marries the widow queen and rules they
have four children. In the eleventh year of his reign, a plague breaks out in the land. Act
one begins when the plague outbreak is severe. The people of the village cry for in the
sorrows of their affliction. They accuse King Odewale of taking no action to solve their
plague problem. Odewale responds in telling them the actions he has taken, which includes

9 Conradie, 28
10 Conradie, 28

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sacrifices to the gods and the sending of Aderopo to consult the oracle at Ile-Ife. Odewale
rebukes the people for their complaints and instructs that they be more aggressive with
the use of herbs to cure their illnesses.
When Aderopo returns from the oracle at Ile Ife, he hesitated to share the news he
had received with Odewale and the elders. This angers Odewale. Aderopo still hesitating,
insists on telling Odewale the information in private but this only makes Odewale angrier.
Aderopo finally reveals what the oracle says, that the land of Kutujie is unclean because a
murderer lives amongst them-the murderer of King Adetusa. Upon receiving this
information, Odewale calls upon the town people and informs them about the information
received from the oracle. He also makes them know his trust for them has been severed.
He concludes that the murderer probably seeks to kill him too. He emphasizes that his
insecurity is valid because he is from Ijekun- (hes a foreigner). In anger Odewale swears
that when he finds the murderer, the culprits eyes would be gorged out and he will be
banished from the land. This ends the first act.
The second act commences with the arrival of Baba Fakunle. Baba Fakunle has been
called upon to reveal the identity of the murderer. Odewale acknowledges his presence but
moves from compliments to insults when the soothsayer calls him bed sharer. Odewale
accuses Baba of being bribed and sends him away in anger. Odewales insecurity heightens
and he begins to accuse Aderopo of an evil plot against him, together with the rest of the
people of Kutujie. His accusations stir up an argument between he and Aderopo. Ojuola
comes in to settle the argument. She enquires about the cause of the argument but
Odewale refuses to answer her. Alaka an old friend of Odewale joins the scene. Alaka plays

8
the role of the messenger from Corinth .However because in this play these men have a
platonic relationship, they were intimate, shared laughs and conversed about past
experiences. Alaka enquires about why Odewale left Ede. Odewale confides him about
killing an old man. The detailed narration of this event reveals Odewale killed this old man
with magical powers. He killed the old man because he had insulted his tribe. This detail
emphasizes the presence of ethnic conflict amongst tribes. Odewale expresses remorse for
his actions as he admits it to have been a hasty reaction due to anger.
After this encounter, Odewale finally tells Ojuola about the conflict that he had
earlier with her son. Ojoula as a supportive wife comforts her husband and assures him
that Baba Fakunle is ineffective in giving prophesies. She further recounts the birth of her
first son, for which she mentioned Babas prophecy, that he would kill his father and marry
his mother. However according to Ojoula this was not the case. As she soothes her
husband, the elders enter and she questions them on why they still summon Baba Fakunle
for prophecies. She reminded them of another prophecy he gave, where he mentioned
that King Adetusa would be killed by his own relative. However this had proved not to be
true as King Adetusa was killed near Ede. When Odewale heard this, he was alittle alarmed
as he himself had killed a man near Ede. Odewale then summoned King Adetusas
bodyguard.
Alaka, who had exited re-enters the scene and reports the original reason for his
visit to Kutujie. Alaka tells Odewale that his father Ogundele had died. Odewale enters a
reflective moment. He begins to recount the reason for his departure from his village,
Ikejun. He mentioned that the priest of Ifa had told him that he would kill his father and

9
marry his mother. He was relieved to have beaten fate as his father didnt die at his own
hands. However his joy is cut short when Alaka reveals that he is not the legitimate son of
Ogundele. Ogundele found him in a bush tied up. Ojoula working the puzzle realizes
Odewale is her son, so she tries to stop him from making further enquires but Odewale
keeps probing. King Adetusas bodyguard, Gbonka arrives and reports on the details of the
murderer. There is clarity revealed here that Odewale is the murderer. Ojoula commits
sucide in despair. Odewale also out of despair takes out his own eyes and leaves the land
of Kutujie with his children.
The turn of events in the life of Odewale is interesting because just like Odysseus his life is
firmly determined by the fate pronounced by the gods. However unlike Odysseus,
Odewales character is impatient and hot tempered which eventually costs him as it does.
Through out the scenes, there is hope of a near escape for him but as he doesnt heed to
the subtle nudges, he ends up causing his own tragedy.
Differences between Odysseus and Odewale.
Both summaries have shown that there are evident differences in the lives of the main
characters being discussed. Differences that shaped the courses of their lives but arguable
are not as significant as be reason for the opposing results of their lives. Nevertheless they
are noteworthy for contemplation.
The first difference is the culture. In the narratives, this difference in culture is
highlighted in play out particularly with the issue of host- guest relationships. In the
Odyssey, there are many pointers to appropriate hospitality shown to strangers and
visitors. One instance that depicts this hospitality is in book three, when Telemachus goes

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to visit Nestor. All around him were men preparing for the feast/ Skewing meat on spits
and roasting it/ But when they saw the new arrivals, they all/ crowded around, clasping
their hands in welcome.11 It is important to note here that as at when Telemachus sees
Nestor, Nestor doesnt recognize him as Odysseus son but attends to him quickly. Another
interesting scenario depicting the importance of good hosting is when Odysseus, disguised
as an old man meets Eumaeus. Eumaeus speaking says But come with me. Lets go to my
hut, old man, so that you, when you have had your fill of food and wine, can tell me your
story- where you are from, and all the suffering you have endured.12. Beyond these two
examples, there are many other instances where hosting was proven as important. With
this understanding, one must note then that the suitors though were guests in Odysseuss
home were no more viewed as strangers at a point, hence the right host- guest relationship
was not required. In Charles Fuquas Proper Behavior of in the Odyssey He highlights some
words used through out the poem that denote the inappropriate stay of the suitors in
Odysseuss home. Fuqua suggests the use of the word nemesis(Book 22, 40). He writes,
Nemesis is directed outward and conveys a sense of how an individual feels about an act
of another. In its simplest form nemesis conveys a sense of moral indignation. 13 Harry Levy
also suggests a similar notion in his Odyssean Suitors, He states the following, I suggest,
with the courtly tradition of the warrior prince for whom lavish and open-handed
hospitality was a dominant cultural mode. The wasters could thus no longer be present as
mere guests but had been assigned a different role.14

11
12
13
14

The Odyssey,Book 3 (35-38). All quotes from the Odyssey are taken from the translation by Stanley Lombardo.
The Odyssey Book 14 (49-43)
Fuqua, 51
Levy, 147.

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On the other hand gods are not to blame shows that special attention given to
strangers is but a luxury. This is evident in the singular host- guest event when Alaka goes
to visit Odewale at the beginning of Act 3, Scene :
I must see him. I must let. Go of me! I say I will see the King!(Two BODYGUARDS
tumble in, and in their midst ALAKA, a scrawny looking old man in weather beaten.
BODYGUARDS swoop down on him to force him out of the compound, but just then
OJUOLA appears.)
OJUOLA: Stop that! (BODYGUARDS leave man sprawled on the ground, groaning.)
Are there not enough troubles in the land without you starting your own? FIRST
BODYGUARD: This madman, your highness, he forced his way in here. SECOND
BODYGUARD: He says he wants to see the King! FIRST BODYGUARD: A madman
wanting to see the King! The world, indeed, is mad. OJUOLA : How do you know he is
a madman? SECOND BODYGUARD: He is not a man of our tribe, your highness.
OJUOLA: Therefore he is a madman? ABERO: The King asks what is your name?
ALAKA: Go back to him, tell him the Farmer wants to see the Scorpion! ABERO[lost]:
The Farmer wants to see the Scorpion! ALAKA: That is all.15
Alaka was clearly mistreated by the bodyguards. After which though Ojoula, a
woman with a good heart receives him, Alaka is not granted an audience with Odewale
until he tell who he is, that is, is relation to Odewale. Based on this one can then suggest
that the later killing of Adetusa is some what justifiable because people of different tribes
are not warm to each other. However, there is a minor detail present when Odewale
narrates the story of how he kills the unnamed old man(Adetusa). Unlike Odepius in
Sophocles play, Odewale expresses remorse for his actions, blaming it on his hasty hottemperedness. Conradie notes this in writing, It is important to note that Odewale unlike
Oedipus, feels guilty about killing a man, even before he discovers the real identity of the
victim. This is the reason he flees from Ede and finally comes to Kutujie: The whole world

15 Rotimi, Ola, 1938-2000,The Gods Are Not to Blame Electronic Edition by Alexander Street Press, L.L.C.,
2015 . Ola Rotimi, 1968. Also published in The Gods Are Not to Blame, Oxford University Press, London,
England, 1971. (All quotes on The gods are not to blame are from this edition of the play)

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ceased to be. OgunI have used your weapon and I have killed a man. Ogun! With my
own handswith my own hands I have killed.16. This suggests that though the Yoruba
culture does not demand hospitality, Odewales actions were extreme.
As noted above the differences identified indicate that cultural differences fall short
of excusing the actions of both men, especially for Odewale.
Similarities between Odysseus and Odewale.
The similarities between both Characters however solidifies reasoning for why both
these man should have both had a gracious ending
First, they both have fates determined by the gods. For Odysseus, his fate initially seems
muddied, as different gods desire different end results for him. Poseidon desires that he
doesnt return home, whiles Athena with the blessing of Zeus desire the opposite. However
in the battle of the wills, Athenas supersedes her uncles though it doesnt guarantee a
smooth path for Odysseus. This is confirmed by Tiresias when Odysseus goes to the
underworld. and even if you/ yourself escape, you will come home late/and badly having
lost your companions/ and in another ship. 17 In Odewales case there is clarity of fate for
which Baba Fakunle gives- to kill his father and marry his mother. Odewale also hears this
same prophecy from the Priest of Ifa.
The second similarity is that they both have characteristics of heroes and hence
their lives follow the path or journey of a hero. According to Powells Classical Myth, there
are certain motifs associated with Heroes in Greek mythology, eight of which would be

16 Conradie, 30
17 The Odyssey, Book 11 (111-113)

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discussed . The first point to note is that both men were born of royalty, though they dont
have divine roots. Their royal roots still put them at a supreme level above the average
person. Following this point, the next motif suggested is the hero birth is miraculous or
usual.18 As known of Odewale, at his birth, it was discovered that the had a bad fate by
Baba Fakunle. As for Odysseus, his grandfather Autolycus named him Odysseus- son of
pain, in relation to Autolycuss life situation. Daughter and son-in-law of mine/ Give this
child the name I now tell you./ I come here as one who is odious, yes/ hateful to many for
the pain I have caused/ All of the land. Let this child, therefore/ Go by the name of
Odysseus.19 The third motif suggested is: the hero has great strength and is a menace to his
compatriots as well as others. This motif is evident in both the lives of the two men as they
demonstrate strength and bravery as warriors. Odewale, single handedly delivered the
people of Kutujie from destruction whiles Odysseus succeeded as a victor in the Trojan
war. The fourth motif on Powells list is subtle in Odewales life, which states that, the heros
truest companion is another male. This is in the person of Alaka. In Odysseus case he had
many companions- his crew men, who journeyed with him back home. The fifth motif : the
hero falls under an enemys power and is compelled to perform impossible labors. This is so for
Odysseus when he falls under the curse of Poseidon, as a result he spends ten years
wandering through many obstacles. Odewale, upon hearing his fate from the priest of Ifa,
had to leave his home to be a wanderer. The sixth motif is for the hero to break a taboo for
which a terrible price is demanded. Odysseus this when he angers Poseidon. As for Odewale,

18 Powell, 333 All other motifs quoted in this section would be in reference to Powells list on pgs. 333- 334
19 The Odyssey, Book 19 (443-448)

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he pays his price a little later in the narrative when Kutujie suffers a plague because of his
presence. Following along to the seventh motif which is only peculiar to Odysseus, suggests
that the hero resists the temptations of an enticing but dangerous woman. Odysseus has to
overcome such temptations with Circe and Calypsos enchantments. The eight motif
requires: the hero to be responsible for the death of a companion. This is true of Odysseus as
he losses all his companions because of the curse on his life by Poseidon. Odewales
companions, who can be represented as his townspeople, dont die but are plagued
because of his deed.
Cause for opposing Denouement
Based on the conclusions from previous chapters, there is one paramount feature
that sets them apart distinctly. This is is their character, particularly in relation to their
reverence for the gods.
Through out the Odyssey, there is evidence that Odysseus along with his family
reverence the gods, especially Athena. There are over twenty instances where Athena
relates to Odysseus or his family, where they are either praying to her or receiving advice
or strength from her. In all of these cases they are obedient to her instructions and council.
Four separate instances of these relations are outlined as follows:

Telemachus invites Athena and clasps her right hand20

Athena orders Odysseus to stay his hand and make the strife of equal war to
cease.21

Athena speaks and Odysseus obeys, and is glad at heart 22

20 Book 1 (118)
21 Book 24(541)
22 Book 24 (545)

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Penelope prays to Athena 23

A noteworthy point, is that his commitment to Athenas guidance further justifies

Odysseuss revenge on the suitors as he has her blessing. More so Athena prophesies this
revenge before it happens which proves her approval.24 Jones in his article the revenge
motif in the Odyssey puts it better when he suggests, In the ensuing conversation, the
stranger (Athena, as Mentes), takes up the vision of vengeance and enriches it with
details25

On the other hand, Odewale,

doesnt show reverence for the gods. He tries to beat his fate, even onto the point where
when he realizes his misdeed, he blames himself without admitting the absence of the
gods in his life. He says my people, learn from my fall. The powers would have failed if I
did not let them use me. They knew my weakness26 He is right when alludes to the fact
that fate is alterable- this is true of Yoruba culture which is represented in the play.
Conradie in his article states, The Yoruba have a less rigid concept of fate Except for the
appointed day upon which an individuals several souls must return to haven, destiny is not
fixed and unalterable27. Beyond this point, Odewale missed the fact the though destinies
can be altered, it is only the divine that can alter a destiny. Hence in running away from his
initial destiny, his problem of ill fate was not permanently rectified. Conradie refers to this
in the same paragraph when he quotes, a diviner explained that an individual cannot
basically change his own destiny.28

23 Book 4 (761)
24 Book 1 (252)
25 Jones, 196
26 Rotimi, 71
27 Conradie, 33
28 Conradie 33

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Lastly their(Odysseus and Odewale) lives ended as they did because
one was patient whiles the other wasnt.
Odysseus at the end of his difficult and long journey, reaches Ithaca, tired
and weary, however he is patient enough to tactfully re-enter his home. He first gains
knowledge on who he can trust and who he cant. When an opportunity presented itself
right, with the help of his accomplices and Athena s blessing, he slays the suitors.
Odewale doesnt show this virtue of patience. His
hot- temperedness, which he admits led him to kill a man. "The whole world ceased to be.
Ogun ... I have used your weapon and I have killed a man. Ogun ... ! with my own hands ...
with my own hands I have killed.29 He also insults Baba Fakunle when Baba gives him a
prophesy he loathed.

Another proof of his impatience is when he

proposes the punishment for the murderer Aderopo mentions is present in the land. He
shall be put to lasting darkness, his eyes tortured in their living sockets until their blood
and rheum swell forth to fill the hollow crushed eyeballs30 He says this forgetting that he
himself had been guilty of this crime in his own land and runs away in fear, he was only
concerned that the murderer had caused him immediate displeasure. From the moment of
epiphany I had and through the entire journey of seeking answers to questions raised in
the lives of both heroes, the fact stated above stands true. The unfortunate end of one and
the happy ever after of the other suggest that character determines success in the most
universal sense.

29 Rotimi, 49
30 Rotimi, 26

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WORKS CITED
Conradie, P.j. ""the Gods Are Not To Blame" - Ola Rotimi's Version Of The Oedipus Myth."
AKR Akroterion (2014). Print
Fuqua, Charles. "Proper Behavior in the Odyssey." Llinois Classical Studies 16.1/2 (1991): 4958. Print.
Jones, F. W. "The Formulation of the Revenge Motif in the Odyssey." Transactions and
Proceedings of the American Philological Association: 195. Print.

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Levy, Harry L. The Odyssean Suitors and the Host-guest Relationship. Vol. 94. [American
Philological Association], 1963.
Lombardo, Stanley. Odyssey. Indianapolis: Hackett Pub., 2000. Print.
Powell, Barry B. "Introduction to Heroic Myth: The Mesopotamian Legend Of Gilgamesh."
Classical Myth. 8th ed. Pearson, 2015. 333-334. Print.
Rotimi, Ola, 1938-2000,
The Gods Are Not to Blame Electronic Edition by Alexander Street Press, L.L.C., 2015 .