4 Wole Soyinka

The Strong Breed

Nigeria

Introduction English-language theatre in the region. His

vast dramatic output since the late 1950s has
To introduce any play by Wole Soyinka is a included such social satires as The Trials of
formidable task, necessarily invoking both Brother Jero (1960), Opera Wonyosi (1977) and
the astounding achievements of this 1986 A Play of Giants (1984), though he is better
Nobel prize-winner and the extensive critical known for his predominantly tragic ritual
debates they have spawned. Undeniably dramas, including A Dance of the Forests
Africa’s most prolific, prominent and (1960), Kongi’s Harvest (1964), The Road
versatile playwright, Soyinka has influenced (1965) and Death and the King’s Horseman
at least a generation of dramatists, not only (1975). During this time he has been an
in Nigeria but also in other parts of Africa as active participant in Nigerian social and
well as in the African diaspora in the political life, a regular commentator in the
Caribbean and the United States. He has Nigerian media and an outspoken critic of
gained widespread international recognition political tyranny. In 1967, during the
for his work and provoked no small degree of Nigerian–Biafran War, he was imprisoned on
controversy, whether about his work or his political grounds for 26 months, much of
political activism. In the role of academic and which was spent in solitary confinement.
teacher, having worked variously in Nigeria, From this experience, he produced the play
London, the United States, Ghana and other Madmen and Specialists (1971), the poems of
African nations, Soyinka has also bestowed a A Shuttle in the Crypt (1973), the novel Season
considerable intellectual and pedagogical of Anomy (1973) and the prison notes The
legacy on his students and colleagues. Man Died (1972).
Born to Yoruba parents in Nigeria in 1934, This abbreviated résumé can only begin to
Soyinka received a largely Western-style suggest the remarkable variety of Soyinka’s
education, before entering the University work. As well as being Africa’s most
College in Ibadan. After two years he successful playwright, he has a considerable
transferred to the University of Leeds in reputation as a poet and novelist, and has
England where he studied Western literature explored other media, such as radio,
and also took a course on world drama. While television, records and film, for the
in England, he worked for the Royal Court dissemination of his ideas. He is also highly
Theatre as a script reader and participated in respected for his critical and philosophical
dramatic improvisations. Some of his early analyses of African culture, having published
plays were written during this time, notably two major books of essays in this field, Myth,
The Swamp-Dwellers, staged at the University Literature and the African World (1975) and
of London Drama Festival in 1958, and The Art, Dialogue and Outrage (1988). To add to
Lion and the Jewel (1959). Soyinka returned to this diversity, he has worked as an editor, a
his homeland in 1960, the year Nigeria theatre manager, an actor and a translator,
achieved independence from Britain, and while continually being active in public
rapidly became the driving force of his affairs.
country’s theatre, as well as holding various Soyinka’s creative writings in all genres
university teaching posts. He established two draw upon both Western and Nigerian
theatre companies, the 1960 Masks and the traditions, and his theatre work can be seen
Orisun Theatre, to promote his own and as a synthesis of Yoruba and European
other African plays, thereby vitalising performance idioms and philosophical
48
 THE STRONG BREED

concepts. Many of his most compelling the violence, showing how easily the ritual
tragedies explore the connection between may be compromised, and also extending the
ritual and theatre in a postcolonial context. play’s thematic and philosophical exploration
While Death and the King’s Horseman, about of intersections between will and destiny in
the intervention of colonial administrators in the Yoruba world-view. Eman’s eventual
a mourning ritual, is the only one to deal sacrificial death does not appear to satiate the
directly with colonisation, part of Soyinka’s villagers but rather evokes their horror, dread
theatrical project has been to address the and guilt. The tone of moral disgust that
schism that Western theorists have permeates the play gives it an uncertain and
constructed between ritual and theatre. ambiguous feeling, leaving the audience
The Strong Breed, published in 1963 and first unsure as to whether the community has
performed in 1964, gives extended play to a been purified by the sacrifice or not. In this
theme obsessively reworked in Soyinka’s respect, the cynicism of the manipulative
drama: the need of societies to sacrifice one village elders, and their mechanisation of the
of their own to bring about purgation and carrier ritual, seem to undo the potential for
rejuvenation of the community. However, healing. However, the tragic events also set
the value placed on such sacrifice is up the conditions for remorse; hence, the
characteristically complex and open-ended. villagers’ disinclination to rejoice over
The narrative of The Strong Breed begins in Eman’s death presages a degree of spiritual
an atmosphere of foreboding as Sunma urges redemption and communal gain.
Eman, who is a stranger to her village, to Paradoxically, the ritual may thus be
leave before evening. Her reason, revealed rendered more valuable in its violation than
only gradually to both Eman and the in its adherence.
audience, is that the village has an annual The play is not based on any existing
New Year purification rite in which the sins ritual, and exhibits none of the performance
and guilt of the villagers are heaped on a codes of African ritual. There is no singing or
‘carrier’ or scapegoat – a stranger – so that dancing and, in the stage directions, Soyinka
the community may regain spiritual health insists on relentless dialogue-driven action,
for the following year. The dramatic action claiming that scene changes or a break (other
revolves around Eman’s decision to be that than the one indicated) would be ‘ruinous’.
scapegoat, even if he is not initially aware The ritual of purification, moreover, is never
that this is his task, or cognisant of its shown, but its brutality is indicated by both
implications. Through a series of flashbacks Eman’s and Ifada’s terror. The Strong Breed is
that gives the play a complex temporal therefore best seen as a generalised
structure with constant shifts between the examination of ritual and its role in a
past and present, he comes to understand his community context. As Soyinka has noted,
role in relation to this ritual. These glimpses
The theme of the carrier . . . is common
of Eman’s past establish that his home village
enough to every human community,
engaged in a similar practice, but always
though the expression itself ‘the carrier’
using a member of their own community as
may be at first unfamiliar. The carrier is
scapegoat, unlike Sunma’s people. Eman’s
simply a cleansing device – it’s the ritual of
family, the ‘strong breed’ of the title, had the
purification for the community at the turn
task of symbolically bearing the evil of his
of the year. The carrier is in its original
village in a vessel set adrift each year in the
sense, the scapegoat.
river. Eman had renounced his role as the
(quoted in Katrak 1986: 111)
next carrier, becoming estranged from his
father; yet, as the play makes clear, he has a While the particular enactment of the ritual
destiny that he must eventually accept. in The Strong Breed makes its potential for
To complicate the issue of destiny, The cruelty obvious, Soyinka does not indict the
Strong Breed also addresses questions of free carrier ritual itself as mythopoeic mumbo-
will, since Eman actively decides to stay in jumbo, unlike Femi Osofisan who has found
the village and take on the role of sacrificial Soyinka’s ‘unprogressive’ and ‘sentimental’
victim, substituting himself for the idiot boy, immersion in Yoruba cosmology problematic.
Ifada. As the ritual proceeds, however, Eman Instead, the play seems to suggest that death
learns that it is easier to choose his destiny is a crucial marker in the struggle between
than to live it. His attempts to escape escalate individual will and community wholeness: if
49
WOLE SOYINKA

the death of the individual initiates traditional Yoruba ritual, especially those in
community redemption, or prompts the honour of Ogun, explore the nature of this
villagers towards heightened self-awareness, abyss (which Soyinka terms ‘the fourth
the individual has not sacrificed his or her stage’), an intermediary realm between the
life in vain. three co-existing realms of the unborn, the
This is the premise that underlies living and the dead. The abyss, characterised
Christianity as well, and it may be no by chaos and formlessness, is a field of
accident that the play evokes connections transformation that is both creative and
with this creed since Soyinka was brought up destructive. Eman’s transformative power as
as a Christian after his parents’ conversion. carrier situates him in the abyss, a position
The death of Eman and the closing image of emphasised through the recurring motif of
the hanging effigy bear a striking interrupted rituals. In his home village, Eman
resemblance to the crucifixion of Christ, has broken off his initiation, which means
which is, in the New Testament, the principal the communal ritual carried by his family
reflection of Christianity’s adherence to the will no longer be continued. In his new
concept of self-sacrifice for the larger good. village, he escapes during the preparatory
There are several other parallels. Eman phase, and is killed, so the ritual cannot be
thirsts, as Jesus did; he is a teacher who successfully completed. The motif of the
assists the down-trodden such as Ifada; and interrupted ritual, which occurs in several of
he is eventually betrayed, as Jesus was. Prior Soyinka’s dramas, suggests the ‘difficult
to his death, Eman arrives at a state of processes of cultural and social transition’
transcendental knowledge and acceptance of being undertaken by postcolonial societies,
his role in the village’s cycle of purgation and while the abyss becomes a stunning
renewal – not unlike Christ on Calvary. ‘theatrical metaphor for a social and spiritual
Tellingly, both Eman and Christ are state where old traditions are no longer
earmarked by their lineage for the task of completely intact’ (Balme 1999: 80).
self-sacrifice, and both eventually embrace Many commentators have noted the
their fate as members of the strong breed ambivalent representations of women in The
after displaying initial doubt and intense Strong Breed. Certainly, the play emphasises
anxiety. Finally, Eman, like Christ, dies to the supposed attributes of masculinity and
redeem the faults of others. the rejection of womanish behaviour
The play’s emphasis on the tension necessary for members of the strong breed.
between individual will and tragic destiny Yet, this portrayal is complicated by the fact
also reflects Soyinka’s interest in Greek that the original sacrifice through which the
tragedy, which is manifest in his highly community’s sin is expiated is made by a
acclaimed 1973 adaptation of Euripides’ The woman, since ‘no woman survives the
Bacchae. In this reading, Eman is also an bearing of the strong ones’. Moreover, the
Oedipus figure moving relentlessly towards representations of both Sunma and Omae are
self-knowledge. By trying to avoid his destiny more complex than they might at first seem.
as a member of the strong breed, he ends up Omae is the traditional, faithful wife who
stumbling across it, and living it even more gives her life bearing Eman’s child; yet it is
violently than had he stayed in his home her interference that leads him to break off
village. Similarly, it is only by turning his his first initiation when his tutor, like Jaguna
back on his father’s tradition that he fulfils and Oroge, is revealed to be a hypocrite.
that tradition. Like Oedipus, Eman, who Sunma, although presented as selfish and
shares the hubris of tragic heroes, finds individualistic at the play’s beginning, is
himself doing exactly that which he sought simultaneously portrayed as a daughter
resolutely to avoid. willing to challenge her father’s authority. At
At another level, Eman is associated with the same time, Sunma reveals the process
the Yoruba deity, Ogun, ‘patron saint’ of craft- through which the village comes to disavow
workers and god of creation and destruction. the stranger within. In this respect, her
In Yoruba mythology, Ogun, distressed by references to Ifada as useless are ultimately
the separation between gods and mortals, disingenous, for she is fully aware of the
throws himself into the dividing abyss to indefensible way that he will be put to use for
build a bridge toward humanity. Soyinka’s the community’s greater good. As Wright
theoretical statements on the nature of asserts, Sunma ‘is going through the ritual
50
 THE STRONG BREED

motions and mechanics of insult and Introduction to Post-Colonial Theatre,

anathematization, the process of redefinition Cambridge: Cambridge University Press,
by dissociation that will rid her of her 78–95.
personal share in the collective guilt and Gates, H.L. (ed.) (1991) The Essential Soyinka:
purchase a token, theoretic innocence’ A Reader, New York: Pantheon.
(Wright 1993: 59). Gibbs, J. (ed.) (1980) Critical Perspectives on
Soyinka is one of the most outspoken of Wole Soyinka, Washington, DC: Three
African artists in consistently arguing for Continents Press.
political commitment among writers, and in Katrak, K.H. (1986) Wole Soyinka and Modern
his analysis of writing as an inherently Tragedy: A Study of Dramatic Theory and
political act. In his view, any writing which Practice, Westport, CT: Greenwood Press.
has ceased to engage with external political Larsen, S. (1983) A Writer and his Gods: A
realities has lost touch with its vital audience, Study of the Importance of Yoruba Myths
but writing which serves only the and Religious Ideas in the Writing of Wole
propagandist purposes of political regimes Soyinka, Stockholm: University of
has sacrificed all pretence to the status of art. Stockholm.
Soyinka’s incarceration, and his exile during Lyonga, L. (1977) ‘The theme of sacrifice in
particular periods of tumult in Nigeria, Wole Soyinka’s The Strong Breed’, Ngam
demonstrate the personal price he has paid in (Université de Yaounde) 1/2: 140–54.
following his artistic vision. Osofisan Moody, D. (1992) ‘The prodigal father:
intriguingly compares Soyinka to Eman in discursive rupture in the plays of Wole
commenting on his inhuman experience of Soyinka’, Ariel 23, 1: 25–38.
solitary confinement at the hands of the Ndiaye, M. (1993) ‘Female stereotypes in
Nigerian junta: ‘At that harrowing cost, he Wole Soyinka’s The Strong Breed and The
has emerged as one of the Strong Breed, Lion and the Jewel’, Bridges: An African
those pathetically heroic characters who Journal of English Studies 5: 19–24.
haunt his plays as self-appointed scapegoats Obiechina, E. (1994) ‘The theme of
of the relentless ritual of communal victimization in select African plays and
purification and rejuvenation’ (Osofisan 1978: novels’, in K. Ogbaa (ed.) The Gong and the
153). This backhanded tribute forcefully Flute: African Literary Development and
expresses both the awe and the profound Celebration, Westport, CT: Greenwood
discomfort that has sometimes characterised Press, 149–83.
responses to Soyinka’s controversial work. Osofisan, F. (1978) ‘Tiger on stage: Wole
Soyinka and Nigerian theatre’, in O.
Ogunba and A. Irele (eds) Theatre in
Production history Africa, Ibadan: Ibadan University Press,
The Strong Breed was first performed in 1964 151–75.
in Ibadan. It has also had productions in Soyinka, W. (1976) Myth, Literature and the
London (1966) and New York (1967). African World, Cambridge: Cambridge
University Press.
Wright, D. (1993) Wole Soyinka Revisited, New
Select bibliography York: Twayne.
Balme, C. (1999) Decolonizing the Stage:
Theatrical Syncretism and Post-Colonial
Drama, Oxford: Clarendon Press.
Audiovisual resources
Booth, J. (1992) ‘Human sacrifice in Wole Soyinka: A Voice of Africa (1990)
literature: the case of Wole Soyinka’, Ariel Produced by Colin Napthine, Nobel Prize
23, 1: 7–24. Series, Los Angeles, CA: Trans World
Crow, B. and Banfield, C. (1996) An International and IMG Educators.

51
The Strong Breed
Wole Soyinka

Characters front of the house. The man has a small raffia

sack, the woman a cloth-covered basket. The
EMAN a stranger
man enters first, turns and urges the woman
SUNMA Jaguna’s daughter
who is just emerging to hurry.)
IFADA an idiot
A GIRL SUNMA (seeing them, her tone is more intense)
JAGUNA Eman, are we going or aren’t we? You will
OROGE leave it till too late.
Attendant stalwarts EMAN (quietly) There is still time – if you
The villagers want to go.
SUNMA If I want to go . . . and you?
From EMAN ’s past: (EMAN makes no reply.)
OLD MAN his father
OMAE his betrothed SUNMA (bitterly) You don’t really want to
TUTOR leave here. You never want to go away –
PRIEST even for a minute.
Attendants (IFADA continues his antics. EMAN
The villagers eventually pats him on the head and the boy
grins happily. Leaps up suddenly and returns
The scenes are described briefly, but very with a basket of oranges which he offers to
often a darkened stage with lit areas will not EMAN .)
only suffice but is necessary. Except for the
one indicated place, there can be no break in EMAN My gift for today’s festival enh?
the action. A distracting scene change would (IFADA nods, grinning.)
be ruinous.
EMAN They look ripe – that’s a change.
SUNMA (She has gone inside the room. Looks
A mud house, with space in front of it. EMAN ,
in light buba and trousers stands at the window, round the door.) Did you call me?
looking out. Inside, SUNMA is clearing the table EMAN No. (She goes back.) And what will
of what looks like a modest clinic, putting the you do tonight Ifada? Will you take part in
things away in a cupboard. Another rough table the dancing? Or perhaps you will mount
in the room is piled with exercise books, two or your own masquerade?
three worn text-books, etc. SUNMA appears (IFADA shakes his head, regretfully.)
agitated. Outside, just below the window
EMAN You won’t? So you haven’t any? But
crouches IFADA . He looks up with a shy smile
you would like to own one.
from time to time, waiting for EMAN to notice
him. (IFADA nods eagerly.)
EMAN Then why don’t you make your own?
SUNMA (hesitant) You will have to make up
your mind soon Eman. The lorry leaves (IFADA stares, puzzled by this idea.)
very shortly.
EMAN Sunma will let you have some cloth
(As EMAN does not answer, SUNMA you know. And bits of wool . . .
continues her work, more nervously. Two SUNMA (coming out) Who are you talking to
villagers, obvious travellers, pass hurriedly in Eman?
52
 THE STRONG BREED

EMAN Ifada. I am trying to persuade him to EMAN That wasn’t his fault. I should first
join the young maskers. have asked him if he was fond of farming.
SUNMA (losing control) What does he want SUNMA Oh, so he can choose? As if he
here? Why is he hanging round us? shouldn’t be thankful for being allowed to
EMAN (amazed) What . . . ? I said Ifada, live.
Ifada. EMAN Sunma!
SUNMA Just tell him to go away. Let him go SUNMA He does not like farming but he
and play somewhere else! knows how to feast his dumb mouth on the
EMAN What is this? Hasn’t he always played fruits.
here? EMAN But I want him to. I encourage him.
SUNMA I don’t want him here. (Rushes to the SUNMA Well keep him. I don’t want to see
window.) Get away idiot. Don’t bring your him any more.
foolish face here any more, do you hear? EMAN (after some moments) But why? You
Go on, go away from here . . . cannot be telling all the truth. What has he
EMAN (restraining her) Control yourself done?
Sunma. What on earth has got into you? SUNMA The sight of him fills me with
(IFADA , hurt and bewildered, backs slowly revulsion.
EMAN (Goes to her and holds her.)
away.)
What really is it? (SUNMA avoids his eyes.)
SUNMA He comes crawling round here like It is almost as if you are forcing yourself
some horrible insect. I never want to lay to hate him. Why?
my eyes on him again. SUNMA That is not true. Why should I?
EMAN I don’t understand. It is Ifada you EMAN Then what is the secret? You’ve even
know. Ifada! The unfortunate one who played with him before.
runs errands for you and doesn’t hurt a SUNMA I have always merely tolerated him.
soul. But I cannot any more. Suddenly my
SUNMA I cannot bear the sight of him. disgust won’t take him any more. Perhaps
EMAN You can’t do what? It can’t be two . . . perhaps it is the new year. Yes, yes, it
days since he last fetched water for you. must be the new year.
SUNMA What else can he do except that? He EMAN I don’t believe that.
is useless. Just because we have been kind SUNMA It must be. I am a woman, and these
to him . . . Others would have put him in things matter. I don’t want a mis-shape
an asylum. near me. Surely for one day in the year,
EMAN You are not making sense. He is not a I may demand some wholesomeness.
madman, he is just a little more unlucky EMAN I do not understand you. (SUNMA is
than other children. (Looks keenly at her.) silent.) It was cruel of you. And to Ifada
But what is the matter? who is so helpless and alone. We are the
SUNMA It’s nothing. I only wish we had sent only friends he has.
him off to one of those places for creatures SUNMA No, just you. I have told you, with
like him. me it has always been only an act of
EMAN He is quite happy here. He doesn’t kindness. And now I haven’t any pity left
bother anyone and he makes himself for him.
useful. EMAN No. He is not a wholesome being.
SUNMA Useful! Is that one of any use to (He turns back to looking through the
anybody? Boys of his age are already window.)
earning a living but all he can do is hang SUNMA (half-pleading) Ifada can rouse your
around and drool at the mouth. pity. And yet if anything, I need more
EMAN But he does work. You know he does
kindness from you. Every time my
a lot for you. weakness betrays me, you close your mind
SUNMA Does he? And what about the farm
against me . . . Eman . . . Eman . . .
you started for him! Does he ever work on
it? Or have you forgotten that it was really (A GIRL comes in view, dragging an effigy by
for Ifada you cleared that bush. Now you a rope attached to one of its legs. She stands
have to go and work it yourself. You spend for a while gazing at EMAN . IFADA , who has
all your time on it and you have no room crept back shyly to his accustomed position,
for anything else. becomes somewhat excited when he sees the
53
WOLE SOYINKA

effigy. The girl is unsmiling. She possesses, in EMAN Why not? I hardly ever use it.
fact, a kind of inscrutability which does not SUNMA Just the same don’t give it to her.
make her hard but is unsettling.) She is not a child. She is as evil as the rest
GIRL Is the teacher in?
of them.
EMAN What has got into you today?
EMAN (smiling) No.
SUNMA All right, all right. Do what you
GIRL Where is he gone?
EMAN I don’t really know. Shall I ask?
wish. (She withdraws. Baffled, EMAN returns
GIRL Yes, do.
to the window.)
EMAN Here . . . will this do? Come and look
EMAN (turning slightly) Sunma, a girl outside
wants to know . . . at it.
GIRL Throw it.
(SUNMA turns away, goes into the inside EMAN What is the matter? I am not going to
room.) eat you.
EMAN Oh. (He returns to the girl, but his GIRL No one lets me come near them.
slight gaiety is lost.) There is no one at EMAN But I am not afraid of catching your
home who can tell me. disease.
GIRL Why are you not in? GIRL Throw it.
EMAN I don’t really know. Maybe I went (EMAN shrugs and tosses the buba. She takes
somewhere. it without a word and slips it on the effigy,
GIRL All right. I will wait until you get back. completely absorbed in the task. EMAN
(She pulls the effigy to her, sits down.) watches for a while, then joins SUNMA in the
EMAN (slowly regaining his amusement) So inner room.)
you are all ready for the new year.
GIRL (without turning around) I am not going GIRL (after a long, cool survey of IFADA ) You
to the festival. have a head like a spider’s egg, and your
EMAN Then why have you got that? mouth dribbles like a roof. But there is no
GIRL Do you mean my carrier? I am unwell one else. Would you like to play?
you know. My mother says it will take (IFADA nods eagerly, quite excited.)
away my sickness with the old year.
GIRL You will have to get a stick.
EMAN Won’t you share the carrier with your
playmates? (IFADA rushes around, finds a big stick and
GIRL Oh, no. Don’t you know I play alone? whirls it aloft, bearing down on the carrier.)
The other children won’t come near me. GIRL Wait. I don’t want you to spoil it. If it
Their mothers would beat them. gets torn I shall drive you away. Now, let
EMAN But I have never seen you here. Why
me see how you are going to beat it.
don’t you come to the clinic?
GIRL My mother said No. (She gets up, and (IFADA hits it gently.)
begins to move off.)
GIRL You may hit harder than that. As long
EMAN You are not going away?
as there is something left to hang at the
GIRL I must not stay talking to you. If my
end. (She appraises him up and down.) You
mother caught me . . .
are not very tall . . . will you be able to
EMAN All right, tell me what you want
hang it from a tree?
before you go.
GIRL (Stops. For some moments she remains (IFADA nods, grinning happily.)
silent.) I must have some clothes for my
GIRL You will hang it up and I will set fire
carrier.
to it. (Then, with surprising venom) But just
EMAN Is that all? You wait a moment.
because you are helping me, don’t think it
(SUNMA comes out as he takes down a buba is going to cure you. I am the one who will
from the wall. She goes to the window and get well at midnight, do you understand? It
glares almost with hatred at the girl. The girl is my carrier and it is for me alone. (She
retreats hastily, still impassive.) pulls at the rope to make sure that it is well
By the way Sunma, do you know who that attached to the leg.) Well don’t stand there
girl is? drooling. Let’s go.
SUNMA I hope you don’t really mean to give (She begins to walk off, dragging the effigy in
her that. the dust. IFADA remains where he is for some
54
 THE STRONG BREED

moments, seemingly puzzled. Then his face SUNMA I swear to you, I do not mind what
breaks into a large grin and he leaps after the happens afterwards. But you must help me
procession, belabouring the effigy with all his tear myself away from here. I can no
strength. The stage remains empty for some longer do it by myself . . . It is only a little
moments. Then the horn of a lorry is sounded thing. And we have worked so hard this
and SUNMA rushes out. The hooting past year . . . surely we can go away for a
continues for some time with a rhythmic week . . . even a few days would be
pattern. EMAN comes out.) enough.
EMAN I have told you Sunma . . .
EMAN I am going to the village . . . I shan’t
SUNMA (desperately) Two days Eman. Only
be back before nightfall.
SUNMA (blankly) Yes.
two days.
EMAN (hesitates) Well what do you want me EMAN (distressed) But I tell you I have no
to do? wish to go.
SUNMA The lorry was hooting just now. SUNMA (suddenly angry) Are you so afraid
EMAN I didn’t hear it. then?
SUNMA It will leave in a few minutes. And EMAN Me? Afraid of what?
you did promise we could go away. SUNMA You think you will not want to come
EMAN I promised nothing. Will you go home back.
by yourself or shall I come back for you? EMAN (pitying) You cannot dare me that
SUNMA You don’t even want me here? way.
EMAN But you have to go home haven’t SUNMA Then why won’t you leave here,
you? even for an hour? If you are so sure that
SUNMA I had hoped we would watch the your life is settled here, why are you afraid
new year together – in some other place. to do this thing for me? What is so wrong
EMAN Why do you continue to distress that you will not go into the next town for a
yourself? day or two?
SUNMA Because you will not listen to me. EMAN I don’t want to. I do not have to
Why do you continue to stay where nobody persuade you, or myself about anything. I
wants you? simply have no desire to go away.
EMAN That is not true. SUNMA (His quiet confidence appears to
SUNMA It is. You are wasting your life on incense her.) You are afraid. You accuse me
people who really want you out of their of losing my sense of mission, but you are
way. afraid to put yours to the test.
EMAN You don’t know what you are saying. EMAN You are wrong Sunma. I have no
SUNMA You think they love you? Do you sense of mission. But I have found peace
think they care at all for what you – or I – here and I am content with that.
do for them? SUNMA I haven’t. For a while I thought that
EMAN Them? These are your own people. too, but I found there could be no peace in
Sometimes you talk as if you were a the midst of so much cruelty. Eman,
stranger too. tonight at least, the last night of the old
SUNMA I wonder if I really sprang from year . . .
here. I know they are evil and I am not. EMAN No Sunma. I find this too distressing;
From the oldest to the smallest child, they you should go home now.
are nourished in evil and SUNMA It is the time for making changes in
unwholesomeness in which I have no part. one’s life Eman. Let’s breathe in the new
EMAN You knew this when you returned? year away from here.
SUNMA You reproach me then for trying at EMAN You are hurting yourself.
all? SUNMA Tonight. Only tonight. We will come
EMAN I reproach you with nothing. But you back tomorrow, as early as you like. But let
must leave me out of your plans. I can us go away for this one night. Don’t let
have no part in them. another year break on me in this place . . .
SUNMA (nearly pleading) Once I could have you don’t know how important it is to me,
run away. I would have gone and never but I will tell you, I will tell you on the way
looked back. . . . but we must not be here today. Eman,
EMAN I cannot listen when you talk like do this one thing for me.
that. EMAN (sadly) I cannot.

55
WOLE SOYINKA

SUNMA (suddenly calm) I was a fool to think SUNMA Some day you will wish that you
it would be otherwise. The whole village went away when I tried to make you.
may use you as they will but for me there EMAN Are we going back to that?
is nothing. Sometimes I think you believe SUNMA No. I promise you I will not recall it
that doing anything for me makes you again. But you must know that it was also
unfaithful to some part of your life. If it for your sake that I tried to get us away.
was a woman then I pity her for what she EMAN For me? How?
must have suffered. (EMAN winces and SUNMA By yourself you can do nothing
hardens slowly. SUNMA notices nothing.) here. Have you not noticed how tightly
Keeping faith with so much is slowly we shut out strangers? Even if you lived
making you inhuman. (Sees the change in here for a lifetime, you would remain a
EMAN .) Eman. Eman. What is it? (As she stranger.
goes towards him, EMAN goes into the house.) EMAN Perhaps that is what I like. There is
SUNMA (Apprehensive, follows him.) What peace in being a stranger.
did I say? Eman, forgive . . . forgive me, SUNMA For a while perhaps. But they would
forgive me please. reject you in the end. I tell you it is only I
who stand between you and contempt. And
(EMAN remains facing into the slow darkness
because of this you have earned their
of the room. SUNMA , distressed, cannot decide
hatred. I don’t know why I say this now,
what to do.)
except that somehow, I feel that it no
I swear I didn’t know . . . I would not have longer matters. It is only I who have stood
said it for all the world. between you and much humiliation.
EMAN Think carefully before you say any
(A lorry is heard taking off somewhere
more. I am incapable of feeling indebted to
nearby. The sound comes up and slowly
you. This will make no difference at all.
fades away into the distance. SUNMA starts
SUNMA I ask for nothing. But you must
visibly, goes slowly to the window.)
know it all the same. It is true I hadn’t the
SUNMA (as the sound dies off, to herself) What strength to go by myself. And I must
happens now? confess this now, if you had come with me,
EMAN (joining her at the window) What did I would have done everything to keep you
you say? from returning.
SUNMA Nothing. EMAN I know that.
EMAN Was that not the lorry going off? SUNMA You see, I bare myself to you. For
SUNMA It was. days I had thought it over, this was to be a
EMAN I am sorry I couldn’t help you. new beginning for us. And I placed my fate
wholly in your hands. Now the thought will
(SUNMA , about to speak, changes her mind.)
not leave me – I have a feeling which will
EMAN I think you ought to go home now. not be shaken off, that in some way, you
SUNMA No, don’t send me away. It’s the have tonight totally destroyed my life.
least you can do for me. Let me stay here EMAN You are depressed, you don’t know
until all the noise is over. what you are saying.
EMAN But are you not needed at home? You SUNMA Don’t think I am accusing you. I say
have a part in the festival. all this only because I cannot help it.
SUNMA I have renounced it; I am Jaguna’s EMAN We must not remain shut up here.
eldest daughter only in name. Let us go and be part of the living.
EMAN Renouncing one’s self is not so easy SUNMA No. Leave them alone.
– surely you know that. EMAN Surely you don’t want to stay indoors
SUNMA I don’t want to talk about it. Will you when the whole town is alive with
at least let us be together tonight? rejoicing.
EMAN But . . . SUNMA Rejoicing! Is that what it seems to
SUNMA Unless you are afraid my father will you? No, let us remain here. Whatever
accuse you of harbouring me. happens I must not go out until all this is
EMAN All right, we will go out together. over.
SUNMA Go out? I want us to stay here.
(There is silence. It has grown much darker.)
EMAN When there is so much going on
outside? EMAN I shall light the lamp.
56
 THE STRONG BREED

SUNMA (eager to do something) No, let me do She fiddles with the lamp, looks vaguely round
it. (She goes into the inner room.) the room, then goes and shuts the door,
bolting it. When she turns, it is to meet
(EMAN paces the room, stops by a shelf and EMAN ’s eyes, questioning.)
toys with the seeds in an ‘ayo’ board, takes
down the whole board and places it on a SUNMA There is a cold wind coming in.
table, playing by himself. The GIRL is now (EMAN keeps his gaze on her.)
seen coming back, still dragging her ‘carrier’.
IFADA brings up the rear as before. As he SUNMA It was getting cold.
comes round the corner of the house two men (She moves guiltily to the table and stands by
emerge from the shadows. A sack is thrown the ‘ayo’ board, rearranging the seeds. EMAN
over IFADA ’s head; the rope is pulled tight remains where he is a few moments, then
rendering him instantly helpless. The GIRL brings a stool and sits opposite her. She sits
has reached the front of the house before she down also and they begin to play in silence.)
turns round at the sound of scuffle. She is in
time to see IFADA thrown over the shoulders SUNMA What brought you here at all, Eman?
and borne away. Her face betraying no And what makes you stay?
emotion at all, the GIRL backs slowly away, (There is another silence.)
turns and flees, leaving the ‘carrier’ behind.
SUNMA enters, carrying two kerosene lamps. SUNMA I am not trying to share your life. I
She hangs one up from the wall.) know you too well by now. But at least we
have worked together since you came. Is
EMAN One is enough. there nothing at all I deserve to know?
SUNMA I want to leave one outside. (She EMAN Let me continue a stranger –
goes out, hangs the lamp from a nail just especially to you. Those who have much to
above the door. As she turns she sees the give fulfil themselves only in total
effigy and gasps. EMAN rushes out.) loneliness.
EMAN What is it? Oh, is that what frightened SUNMA Then there is no love in what you
you? do.
SUNMA I thought . . . I didn’t really see it EMAN There is. Love comes to me more
properly. easily with strangers.
(EMAN goes towards the object, stoops to pick SUNMA That is unnatural.
it up.) EMAN Not for me. I know I find
consummation only when I have spent
EMAN It must belong to that sick girl. myself for a total stranger.
SUNMA Don’t touch it. SUNMA It seems unnatural to me. But then I
EMAN Let’s keep it for her. am a woman. I have a woman’s longings
SUNMA Leave it alone. Don’t touch it Eman. and weaknesses. And the ties of blood are
EMAN (Shrugs and goes back.) You are very very strong in me.
nervous. EMAN (smiling) You think I have cut loose
SUNMA Let’s go in. from all these – ties of blood.
EMAN Wait. (He detains her by the door, SUNMA Sometimes you are so inhuman.
under the lamp.) I know there is something EMAN I don’t know what that means. But I
more than you’ve told me. What are you am very much my father’s son.
afraid of tonight?
SUNMA I was only scared by that thing.
(They play in silence. Suddenly EMAN
There is nothing else. pauses, listening.)
EMAN I am not blind Sunma. It is true I EMAN Did you hear that?
would not run away when you wanted me SUNMA (quickly) I heard nothing . . . it’s
to, but that doesn’t mean I do not feel your turn.
things. What does tonight really mean that EMAN Perhaps some of the mummers are
it makes you so helpless? coming this way. (EMAN , about to play,
SUNMA It is only a mood. And your leaps up suddenly.)
indifference to me . . . let’s go in. SUNMA What is it? Don’t you want to play
any more?
(EMAN moves aside and she enters; he
remains there for a moment and then follows. (EMAN moves to the door.)
57
WOLE SOYINKA

SUNMA No. Don’t go out Eman. EMAN Stop talking like that.
EMAN If it’s the dancers I want to ask them SUNMA He could have run into the bush
to stay. At least we won’t have to miss couldn’t he? Toad! Why must he follow us
everything. with his own disasters!
SUNMA No, no. Don’t open the door. Let us VOICES OUTSIDE It’s here . . . Round the
keep out everyone tonight. back . . . Spread, spread . . . this way . . . no,
head him off . . . use the bush path and
(A terrified and disordered figure bursts
head him off . . . get some more lights . . .
suddenly round the corner, past the window
and begins hammering at the door. It is (EMAN listens. Lifts IFADA bodily and carries
IFADA . Desperate with terror, he pounds him into the inner room. Returns at once,
madly at the door, dumb-moaning all the shutting the door behind him.)
while.)
SUNMA (Slumps into a chair, resigned.) You
EMAN Isn’t that Ifada? always follow your own way.
SUNMA They are only fooling about. Don’t JAGUNA (Comes round the corner followed by
pay any attention. OROGE and three men, one bearing a torch.)
EMAN (Looks round the window.) That is I knew he would come here.
Ifada. (He begins to unbolt the door.) OROGE I hope our friend won’t make
SUNMA (pulling at his hands) It is only a trouble.
trick they are playing on you. Don’t take JAGUNA He had better not. You, recall all
any notice Eman. the men and tell them to surround the
EMAN What are you saying? The boy is out house.
of his senses with fear. OROGE But he may not be in the house after
SUNMA No, no. Don’t interfere Eman. For all.
God’s sake don’t interfere. JAGUNA I know he is here . . . (to the men)
EMAN Do you know something of this then? Go on, do as I say. (He bangs on the door.)
SUNMA You are a stranger here Eman. Just Teacher, open your door . . . you two stay
leave us alone and go your own way. There by the door. If I need you I will call you.
is nothing you can do.
(EMAN opens the door.)
EMAN (He tries to push her out of the way but
she clings fiercely to him.) Have you gone JAGUNA (Speaks as he enters.) We know he
mad? I tell you the boy must come in. is here.
SUNMA Why won’t you listen to me Eman? I EMAN Who?
tell you it’s none of your business. For your JAGUNA Don’t let us waste time. We are
own sake do as I say. grown men, teacher. You understand me
and I understand you. But we must take
(EMAN pushes her off, unbolts the door.
back the boy.
IFADA rushes in, clasps EMAN round the
EMAN This is my house.
knees, dumb-moaning against his legs.)
JAGUNA Daughter, you’d better tell your
EMAN (Manages to re-bolt the door.) What is it friend. I don’t think he quite knows our
Ifada? What is the matter? ways. Tell him why he must give up the
boy.
(Shouts and voices are heard coming nearer
SUNMA Father, I . . .
the house.)
JAGUNA Are you going to tell him or aren’t
SUNMA Before it’s too late, let him go. For you?
once Eman, believe what I tell you. Don’t SUNMA Father, I beg you, leave us alone
harbour him or you will regret it all your tonight . . .
life. JAGUNA I thought you might be a
hindrance. Go home then if you will not
(EMAN tries to calm IFADA who becomes
use your sense.
more and more abject as the outside voices get
SUNMA But there are other ways . . .
nearer.)
JAGUNA (turning to the men) See that
EMAN What have they done to him? At least she gets home. I no longer trust her. If
tell me that. What is going on Sunma? she gives trouble carry her. And see that
SUNMA (with sudden venom) Monster! Could the women stay with her until all this is
you not take yourself somewhere else? over.
58
 THE STRONG BREED

(SUNMA departs, accompanied by one of the JAGUNA (advances aggressively) That is a

men.) quick mouth you have . . .
OROGE Patience Jaguna . . . if you want the
JAGUNA Now teacher . . . new year to cushion the land there must be
OROGE (Restrains him.) You see, Mister no deeds of anger. What did you mean my
Eman, it is like this. Right now, nobody friend?
knows that Ifada has taken refuge here. No EMAN It is a simple thing. A village which
one except us and our men – and they cannot produce its own carrier contains no
know how to keep their mouths shut. We men.
don’t want to have to burn down the house JAGUNA Enough. Let there be no more talk
you see, but if the word gets around, we or this business will be ruined by some
would have no choice. rashness. You . . . come inside. Bring the
JAGUNA In fact, it may be too late already. boy out, he must be in the room there.
A carrier should end up in the bush, not in EMAN Wait.
a house. Anyone who doesn’t guard his
door when the carrier goes by has himself (The men hesitate.)
to blame. A contaminated house should be JAGUNA (hitting the nearer one and propelling
burnt down. him forward) Go on. Have you changed
OROGE But we are willing to let it pass. masters now that you listen to what he
Only, you must bring him out quickly. says?
EMAN All right. But at least you will let me OROGE (sadly) I am sorry you would not
ask you something. understand Mister Eman. But you ought to
JAGUNA What is there to ask? Don’t you know that no carrier may return to the
understand what we have told you? village. If he does, the people will stone
EMAN Yes. But why did you pick on a him to death. It has happened before.
helpless boy? Obviously he is not willing. Surely it is too much to ask a man to give
JAGUNA What is the man talking about? up his own soil.
Ifada is a godsend. Does he have to be EMAN I know others who have done more.
willing? (IFADA is brought out, abjectly dumb-
EMAN In my home, we believe that a man
moaning.)
should be willing.
OROGE Mister Eman, I don’t think you quite EMAN You can see him with your own eyes.
understand. This is not a simple matter at Does it really have meaning to use one as
all. I don’t know what you do, but here, it is unwilling as that?
not a cheap task for anybody. No one in his OROGE (smiling) He shall be willing. Not
senses would do such a job. Why do you only willing but actually joyous. I am the
think we give refuge to idiots like him? We one who prepares them all, and I have
don’t know where he came from. One seen worse. This one escaped before I
morning, he is simply there, just like that. began to prepare him for the event. But
From nowhere at all. You see, there is a you will see him later tonight, the most
purpose in that. joyous creature in the festival. Then
JAGUNA We only waste time. perhaps you will understand.
OROGE Jaguna, be patient. After all, the EMAN Then it is only a deceit. Do you
man has been with us for some time now believe the spirit of a new year is so easily
and deserves to know. The evil of the old fooled?
year is no light thing to load on any man’s JAGUNA Take him out. (The men carry out
IFADA .) You see, it is so easy to talk. You
head.
EMAN I know something about that.
say there are no men in this village
OROGE You do? (Turns to JAGUNA who
because they cannot provide a willing
snorts impatiently.) You see I told you so carrier. And yet I heard Oroge tell you we
didn’t I? From the moment you came I saw only use strangers. There is only one other
you were one of the knowing ones. stranger in the village, but I have not heard
JAGUNA Then let him behave like a man
him offer himself. (Spits.) It is so easy to
and give back the boy. talk is it not?
EMAN It is you who are not behaving like (He turns his back on him. They go off, taking
men. IFADA with them, limp and silent. The only

59
WOLE SOYINKA

sign of life is that he strains his neck to keep arm, drags him off.) Take me there at once.
his eyes on EMAN till the very moment that he God help you if we are too late. You
disappears from sight. EMAN remains where loathsome thing, if you have let him suffer.
they left him, staring after the group.) (Her voice fades into other shouts, running
footsteps, banged tins, bells, dogs, etc., rising
(A blackout lasting no more than a minute.
in volume.)
The lights come up slowly and IFADA is seen
returning to the house. He stops at the (It is a narrow passage-way between two
window and looks in. Seeing no one, he bangs mud-houses. At the far end one man after
on the sill. Appears surprised that there is no another is seen running across the entry, the
response. He slithers down on his favourite noise dying off gradually. About half-way
spot, then sees the effigy still lying where the down the passage, EMAN is crouching against
GIRL had dropped it in her flight. After some the wall, tense with apprehension. As the
hesitation, he goes towards it, begins to strip it noise dies off, he seems to relax, but the alert
of the clothing. Just then the GIRL comes in.) hunted look is still in his eyes which are
ringed in a reddish colour. The rest of his
GIRL Hey, leave that alone. You know it’s
body has been whitened with a floury
mine.
substance. He is naked down to the waist,
(IFADA pauses, then speeds up his action.) wears a baggy pair of trousers, calf-length,
and around both feet are bangles.)
GIRL I said it is mine. Leave it where you
found it. EMAN I will simply stay here till dawn. I
have done enough. (A window is thrown
(She rushes at him and begins to struggle for
open and a woman empties some slop from a
possession of the carrier.)
pail. With a startled cry EMAN leaps aside to
GIRL Thief! Thief! Let it go, it is mine. Let it avoid it and the woman puts out her head.)
go. You animal, just because I let you play WOMAN Oh, my head. What have I done!
with it. Idiot! Idiot! Forgive me neighbour. . . Eh, it’s the
carrier! (Very rapidly she clears her throat
(The struggle becomes quite violent. The GIRL
and spits on him, flings the pail at him and
is hanging on to the effigy and IFADA lifts her
runs off, shouting.) He’s here. The carrier is
with it, flinging her all about. The girl hangs
hiding in the passage. Quickly, I have
on grimly.)
found the carrier!
GIRL You are spoiling it . . . why don’t you
(The cry is taken up and EMAN flees down
get your own? Thief! Let it go you thief!
the passage. Shortly afterwards his pursuers
(SUNMA comes in walking very fast, throwing come pouring down the passage in full cry.
apprehensive glances over her shoulder. After the last of them come JAGUNA and
Seeing the two children, she becomes OROGE .)
immediately angry. Advances on them.)
OROGE Wait, wait. I cannot go so fast.
SUNMA So you’ve made this place your JAGUNA We will rest a little then. We can do
playground. Get away you untrained pigs. nothing anyway.
Get out of here. OROGE If only he had let me prepare him.
JAGUNA They are the ones who break first,
(IFADA flees at once, the GIRL retreats also,
these fools who think they were born to
retaining possession of the ‘carrier’. SUNMA
carry suffering like a hat. What are we to
goes to the door. She has her hand on the door
do now?
when the significance of IFADA ’s presence
OROGE When they catch him I must
strikes her for the first time. She stands rooted
prepare him.
to the spot, then turns slowly round.)
JAGUNA He? It will be impossible now.
SUNMA Ifada! What are you doing here? There can be no joy left in that one.
(IFADA is bewildered. SUNMA turns suddenly OROGE Still, it took him by surprise. He was
and rushes into the house, flying into the not expecting what he met.
inner room and out again.) Eman! Eman! JAGUNA Why then did he refuse to listen?
Eman! (She rushes outside.) Where did he Did he think he was coming to sit down to
go? Where did they take him? (IFADA a feast? He had not even gone through one
distressed, points. SUNMA seizes him by the compound before he bolted. Did he think
60
 THE STRONG BREED

he was taken round the people to be could not delay it. You know I must have
blessed? A woman, that is all he is. all my strength. But I sit here, feeling it all
OROGE No, no. He took the beating well eaten slowly away by my unspoken grief.
enough. I think he is the kind who would It helps to say it out. It even helps to cry
let himself be beaten from night till dawn sometimes. (He signals to the ATTENDANT
and not utter a sound. He would let himself to leave them.) Come nearer . . . we will
be stoned until he dropped dead. never meet again son. Not on this side of
JAGUNA Then what made him run like a the flesh. What I do not know is whether
coward? you will return to take my place.
OROGE I don’t know. I don’t really know. It EMAN I will never come back.
is a night of curses Jaguna. It is not many OLD MAN Do you know what you are
unprepared minds will remain unhinged saying? Ours is a strong breed my son. It is
under the load. only a strong breed that can take this boat
JAGUNA We must find him. It is a poor to the river year after year and wax
beginning for a year when our own curses stronger on it. I have taken down each
remain hovering over our homes because year’s evils for over twenty years. I hoped
the carrier refused to take them. you would follow me.
EMAN My life here died with Omae.
(They go. The scene changes. EMAN is
OLD MAN Omae died giving birth to your
crouching beside some shrubs, torn and
child, and you think the world is ended.
bleeding.)
Eman, my pain did not begin when Omae
EMAN They are even guarding my house . . . died. Since you sent her to stay with me
as if I would go there, but I need water . . . son, I lived with the burden of knowing
they could at least grant me that . . I can be that this child would die bearing your son.
thirsty too . . . (he pricks his ears) . . . there EMAN Father . . .
must be a stream nearby . . . OLD MAN Don’t you know it was the same
with you? And me? No woman survives the
(As he looks round him, his eyes widen at a
bearing of the strong ones. Son, it is not the
scene he encounters: An OLD MAN , short and
mouth of the boaster that says he belongs
vigorous looking, is seated on a stool. He also
to the strong breed. It is the tongue that is
is wearing calf-length baggy trousers, white.
red with pain and black with sorrow.
On his head, a white cap. An ATTENDANT is
Twelve years you were away my son, and
engaged in rubbing his body with oil. Round
for those twelve years I knew the love of
his eyes, two white rings have already been
an old man for his daughter and the pain of
marked.)
a man helplessly awaiting his loss.
OLD MAN Have they prepared the boat? EMAN I wish I had stayed away. I wish I
ATTENDANT They are making the last never came back to meet her.
sacrifice. OLD MAN It had to be. But you know now
OLD MAN Good. Did you send for my son? what slowly ate away my strength. I
ATTENDANT He’s on his way. awaited your return with love and fear.
OLD MAN I have never met the carrying of Forgive me then if I say that your grief is
the boat with such a heavy heart. I hope light. It will pass. This grief may drive you
nothing comes of it. now from home. But you must return.
ATTENDANT The gods will not desert us on EMAN You do not understand. It is not grief
that account. alone.
OLD MAN A man should be at his strongest OLD MAN What is it then? Tell me, I can
when he takes the boat my friend. To be still learn.
weighed down inside and out is not a wise EMAN I was away twelve years. I changed
thing. I hope when the moment comes I much in that time.
shall have found my strength. OLD MAN I am listening.
EMAN I am unfitted for your work father. I
(Enter EMAN , a wrapper round his waist and
wish to say no more. But I am totally
a ‘danski’ over it.)1
unfitted for your call.
OLD MAN I meant to wait until after my OLD MAN It is only time you need son. Stay
journey to the river, but my mind is so longer and you will answer the urge of
burdened with my own grief and yours I your blood.
61
WOLE SOYINKA

EMAN That I stayed at all was because of limps in and comes face to face with EMAN ,
Omae. I did not expect to find her waiting. as carrier, who is now seen still standing
I would have taken her away, but hard as beside the shrubs, staring into the scene he
you claim to be, it would have killed you. has just witnessed. OROGE , struck by the look
And I was a tired man. I needed peace. on EMAN ’s face, looks anxiously behind him
Because Omae was peace, I stayed. Now to see what has engaged EMAN ’s attention.
nothing holds me here. EMAN notices him then, and the pair stare at
OLD MAN Other men would rot and die each other. JAGUNA enters, sees him and
doing this task year after year. It is strong shouts, ‘Here he is’, rushes at EMAN who is
medicine which only we can take. Our whipped back to the immediate and flees,
blood is strong like no other. Anything you JAGUNA in pursuit. Three or four others
do in life must be less than this, son. enter and follow them. OROGE remains where
EMAN That is not true father. he is, thoughtful.)
OLD MAN I tell you it is true. Your own
JAGUNA (re-enters) They have closed in on
blood will betray you son, because you
him now, we’ll get him this time.
cannot hold it back. If you make it do less
OROGE It is nearly midnight.
than this, it will rush to your head and
JAGUNA You were standing there looking at
burst it open. I say what I know my son.
him as if he was some strange spirit. Why
EMAN There are other tasks in life father.
didn’t you shout?
This one is not for me. There are even
OROGE You shouted didn’t you? Did that
greater things you know nothing of.
catch him?
OLD MAN I am very sad. You only go to give
JAGUNA Don’t worry. We have him now.
to others what rightly belongs to us. You
But things have taken a bad turn. It is no
will use your strength among thieves. They
longer enough to drive him past every
are thieves because they take what is ours,
house. There is too much contamination
they have no claim of blood to it. They will
about already.
even lack the knowledge to use it wisely.
OROGE (not listening) He saw something.
Truth is my companion at this moment my
Why may I not know what it was?
son. I know everything I say will surely
JAGUNA What are you talking about?
bring the sadness of truth.
OROGE Hm. What is it?
EMAN I am going father.
JAGUNA I said there is too much harm done
OLD MAN Call my attendant. And be with
already. The year will demand more from
me in your strength for this last journey.
this carrier than we thought.
A-ah, did you hear that? It came out
OROGE What do you mean?
without my knowing it; this is indeed my
JAGUNA Do we have to talk with the full
last journey. But I am not afraid.
mouth?
(EMAN goes out. A few moments later, the OROGE S-sh . . . look!
ATTENDANT enters.)
(JAGUNA turns just in time to see SUNMA fly
ATTENDANT The boat is ready. at him, clawing at his face like a crazed
OLD MAN So am I. tigress.)

(He sits perfectly still for several moments. SUNMA Murderer! What are you doing to
Drumming begins somewhere in the distance, him. Murderer! Murderer!
and the OLD MAN sways his head almost (JAGUNA finds himself struggling really hard
imperceptibly. Two men come in bearing a to keep off his daughter; he succeeds in
miniature boat, containing an indefinable pushing her off and striking her so hard on
mound. They rush it in and set it briskly the face that she falls to her knees. He moves
down near the OLD MAN , and stand well on her to hit her again.)
back. The OLD MAN gets up slowly, the
ATTENDANT watching him keenly. He signs OROGE (comes between them) Think what
to the men, who lift the boat quickly onto the you are doing Jaguna, she is your daughter.
OLD MAN ’s head. As soon as it touches his JAGUNA My daughter! Does this one look
head, he holds it down with both hands and like my daughter? Let me cripple the harlot
runs off, the men give him a start, then follow for life.
at a trot. As the last man disappears OROGE OROGE That is a wicked thought Jaguna.

62
 THE STRONG BREED

JAGUNA Don’t come between me and her. OMAE None. I just wanted to see you.
OROGE Nothing in anger – do you forget EMAN (His mimicry is nearly hysterical.)
what tonight is? ‘None. I just wanted to see you’. Do
JAGUNA Can you blame me for forgetting? you think this place is the stream
(Draws his hand across his cheek – it is where you can go and molest innocent
covered with blood.) people?
OROGE This is an unhappy night for us all. I OMAE (coyly) Aren’t you glad to see me?
fear what is to come of it. EMAN I am not.
JAGUNA Let’s go. I cannot restrain myself in OMAE Why?
this creature’s presence. My own daughter EMAN Why? Do you really ask me why?
. . . and for a stranger . . . Because you are a woman and a most
troublesome woman. Don’t you know
(They go off, IFADA , who came in with anything about this at all? We are not
SUNMA and had stood apart, horror-stricken,
meant to see any woman. So go away
comes shyly forward. He helps SUNMA up. before more harm is done.
They go off, he holding SUNMA bent and OMAE (flirtatious) What is so secret about it
sobbing.) anyway? What do they teach you?
(Enter EMAN , as carrier. He is physically EMAN Nothing any woman can understand.
present in the bounds of this next scene, set at OMAE Ha ha. You think we don’t know eh?
the side of a round thatched hut. A young girl, You’ve all come to be circumcised.
about fourteen, runs in, stops beside the hut. EMAN Shut up. You don’t know anything.
She looks carefully to see that she is not OMAE Just think, all this time you haven’t
observed, puts her mouth to a little hole in the been circumcised, and you dared make
wall.) eyes at us women.
EMAN Thank you – woman. Now go.
OMAE Eman . . . Eman . . . OMAE Do they give you enough to eat?
EMAN (testily) No. We are so hungry that
(EMAN , as carrier, responds, as he does
when silly girls like you turn up, we eat
throughout the scene, but they are unaware of
them.
him.)
OMAE (feigning tears) Oh, oh, oh, he’s
EMAN (from inside) Who is it? abusing me. He’s abusing me.
OMAE It is me, Omae. EMAN (alarmed) Don’t try that here. Go
EMAN How dare you come here! quickly if you are going to cry.
OMAE All right, I won’t cry.
(Two hands appear at the hole and pushing
EMAN Cry or no cry, go away and leave
outwards, create a much larger hole through
me alone. What do you think will happen
which EMAN puts out his head. It is EMAN as
if my tutor turns up now?
a boy, the same age as the girl.)
OMAE He won’t.
Go away at once. Are you trying to get me EMAN (mimicking) ‘He won’t’. I suppose you
into trouble! are his wife and he tells you where he
OMAE What is the matter? goes. In fact this is just the time he comes
EMAN You. Go away. round to our huts. He could be at the next
OMAE But I came to see you. hut this very moment.
EMAN Are you deaf? I say I don’t want to see OMAE Ha ha. You’re lying. I left him by the
you. Now go before my tutor catches you. stream, pinching the girls’ bottoms. Is that
OMAE All right. Come out. the sort of thing he teaches you?
EMAN Do what! EMAN Don’t say anything against him or I
OMAE Come out. shall beat you. Isn’t it you loose girls who
EMAN You must be mad. tease him, wiggling your bottoms under his
OMAE (Sits on the ground.) All right, if you nose?
don’t come out I shall simply stay here OMAE (going tearful again) A-ah, so I am one
until your tutor arrives. of the loose girls eh?
EMAN (About to explode, thinks better of it and EMAN Now don’t start accusing me of things
the head disappears. A moment later he I didn’t say.
emerges from behind the hut.) What sort of a OMAE But you said it. You said it.
devil has got into you? EMAN I didn’t. Look Omae, someone will

63
WOLE SOYINKA

hear you and I’ll be in disgrace. Why don’t instantly and flees, landing straight into the
you go before anything happens. arms of the returning TUTOR .)
OMAE It’s all right. My friends have TUTOR Te-he-he . . . what have we here?
promised to hold your old rascal tutor till I What little mouse leaps straight into the
get back. beak of the wise old owl eh?
EMAN Then you go back right now. (Going
(OMAE struggles to free herself, flies to the
in) I have work to do.
opposite side, grimacing with distaste.)
OMAE (Runs after and tries to hold him.
EMAN leaps back, genuinely scared.) What is TUTOR I suppose you merely came to pick
the matter? I was not going to bite you. some fruits eh? You did not sneak here to
EMAN Do you know what you nearly did? see any of my children.
You almost touched me! OMAE Yes, I came to steal your fruits.
OMAE Well? TUTOR Te-he-he . . . I thought so. And that
OMAN Well! Isn’t it enough that you let me dutiful son of mine over there. He saw you
set my eyes on you? Must you now totally and came to chase you off my fruit trees
pollute me with your touch? Don’t you didn’t he? Te-he-he . . . I’m sure he did,
understand anything? isn’t that so my young Eman?
OMAE Oh, that. EMAN I was talking to her.
EMAN (nearly screaming) It is not ‘oh that’. TUTOR Indeed you were. Now be good
Do you think this is only a joke or a little enough to go into your hut until I decide
visit like spending the night with your your punishment. (EMAN withdraws.)
grandmother? This is an important period Te-he-he . . . now now my little daughter,
of my life. Look, these huts, we built them you need not be afraid of me.
with our own hands. Every boy builds OMAE (spiritedly) I am not.
his own. We learn things, do you TUTOR Good. Very good. We ought to be
understand? And we spend much time just friendly. (His voice becomes leering) Now
thinking. At least, I do. It is the first time this is nothing to worry you my daughter
I have had nothing to do except think. . . . a very small thing indeed. Although of
Don’t you see, I am becoming a man. For course if I were to let it slip that your
the first time, I understand that I have a young Eman had broken a strong taboo, it
life to fulfil. Has that thought ever worried might go hard on him you know. I am sure
you? you would not like that to happen, would
OMAE You are frightening me. you?
EMAN There. That is all you can say. And OMAE No.
what use will that be when a man finds TUTOR Good. You are sensible my girl. Can
himself alone – like that? (Points to the you wash clothes?
hut.) A man must go on his own, go OMAE Yes.
where no one can help him, and test his TUTOR Good. If you will come with me now
strength. Because he may find himself to my hut, I shall give you some clothes to
one day sitting alone in a wall as round wash, and then we will forget all about this
as that. In there, my mind could hold no matter eh? Well, come on.
other thought. I may never have such OMAE I shall wait here. You go and bring
moments again to myself. Don’t dare to the clothes.
come and steal any more of it. TUTOR Eh? What is that? Now, now, don’t
OMAE (this time, genuinely tearful) Oh, I make me angry. You should know better
know you hate me. You only want to drive than to talk back at your elders. Come now.
me away. (He takes her by the arm, and tries to drag
EMAN (impatiently) Yes, yes, I know I hate her off.)
you – but go. OMAE No no, I won’t come to your hut.
OMAE (Going, all tears. Wipes her eyes, Leave me. Leave me alone you shameless
suddenly all mischief.) Eman. old man.
EMAN What now? TUTOR If you don’t come I shall disgrace
OMAE I only want to ask one thing . . . do the whole family of Eman, and yours too.
you promise to tell me?
(EMAN re-enters with a small bundle.)
EMAN Well, what is it?
OMAE (gleefully) Does it hurt? (She turns EMAN Leave her alone. Let us go Omae.
64
 THE STRONG BREED

TUTOR And where do you think you are OMAE But Eman . . .
going? EMAN I haven’t finished. You will go and
EMAN Home. live with him till I get back. I have spoken
TUTOR Te-he-he . . . As easy as that eh? You to him about you. Look after him!
think you can leave here any time you OMAE But what is this journey? When will
please? Get right back inside that hut! you come back?
(EMAN takes OMAE by the arm and begins to EMAN I don’t know. But this is a good
walk off.) moment to go. Nothing ties me down.
TUTOR Come back at once. (He goes after OMAE But Eman, you want to leave me.
him and raises his stick. EMAN catches it, EMAN Don’t forget all I said. I don’t know
wrenches it from him and throws it away.) how long I will be. Stay in my father’s
OMAE (hopping delightedly) Kill him. Beat house as long as you remember me. When
him to death. you become tired of waiting, you must do
TUTOR Help! Help! He is killing me! Help! as you please. You understand? You must
do as you please.
(Alarmed, EMAN clamps his hand over his
OMAE I cannot understand anything Eman.
mouth.)
I don’t know where you are going or why.
EMAN Old tutor, I don’t mean you any Suppose you never came back! Don’t go
harm, but you mustn’t try to harm me Eman. Don’t leave me by myself.
either. (He removes his hand.) EMAN I must go. Now let me see you on
TUTOR You think you can get away with your way.
your crime. My report shall reach the OMAE I shall come with you.
elders before you ever get into town. EMAN Come with me! And who will look
EMAN You are afraid of what I will say after you? Me? You will only be in my way,
about you? Don’t worry. Only if you try to you know that! You will hold me back and I
shame me, then I will speak. I am not shall desert you in a strange place. Go
going back to the village anyway. Just tell home and do as I say. Take care of my
them I have gone, no more. If you say one father and let him take care of you. (He
word more than that I shall hear of it the starts going but OMAE clings to him.)
same day and I shall come back. OMAE But Eman, stay the night at least. You
TUTOR You are telling me what to do? But will only lose your way. Your father Eman,
don’t think to come back next year because what will he say? I won’t remember what
I will drive you away. Don’t think to come you said . . . come back to the village . . . I
back here even ten years from now. And cannot return alone Eman . . . come with
don’t send your children. (Goes off with me as far as the crossroads.
threatening gestures.)
(His face set, EMAN strides off and OMAE
EMAN I won’t come back.
loses her balance as he increases his pace.
OMAE Smoked vulture! But Eman, he says
Falling, she quickly wraps her arms around
you cannot return next year. What will you
his ankle, but EMAN continues unchecked,
do?
dragging her along.)
EMAN It is a small thing one can do in the
big towns. OMAE Don’t go Eman . . . Eman, don’t leave
OMAE I thought you were going to beat him me, don’t leave me . . . don’t leave your
that time. Why didn’t you crack his dirty Omae . . . don’t go Eman . . . don’t leave
hide? your Omae . . .
EMAN Listen carefully Omae . . . I am going
(EMAN , as carrier, makes a nervous move as
on a journey.
if he intends to go after the vanished pair. He
OMAE Come on. Tell me about it on the
stops but continues to stare at the point where
way.
he last saw them. There is stillness for a
EMAN No, I go that way. I cannot return to
while. Then the GIRL enters from the same
the village.
place and remains looking at EMAN . Startled,
OMAE Because of that wretched man?
EMAN looks apprehensively round him. The
Anyway you will first talk to your father.
GIRL goes nearer but keeps beyond arm’s
EMAN Go and see him for me. Tell him I
length.)
have gone away for some time. I think he
will know. GIRL Are you the carrier?
65
WOLE SOYINKA

EMAN Yes. I am Eman. (An overgrown part of the village. EMAN

GIRL Why are you hiding? wanders in, aimlessly, seemingly uncaring of
EMAN I really came for a drink of water . . . discovery. Beyond him, an area lights up,
er . . . is there anyone in front of the revealing a group of people clustered round a
house? spot, all the heads are bowed. One figure
GIRL No. stands away and separate from them. Even
EMAN But there might be people in the as EMAN looks, the group breaks up and the
house. Did you hear voices? people disperse, coming down and past him.
GIRL There is no one here. Only three people are left, a man – EMAN –
EMAN Good. Thank you. (He is about to go, whose back is turned, the village PRIEST and
stops suddenly.) Er . . . would you . . . you the isolated one. They stand on opposite sides
will find a cup on the table. Could you of the grave, the man on the mound of earth.
bring me the water out here? The water- The PRIEST walks round to the man’s side
pot is in a corner. and lays a hand on his shoulder.)
(The GIRL goes. She enters the house, then, PRIEST Come.
watching EMAN carefully, slips out and runs EMAN I will. Give me a few moments here
off.) alone.
EMAN (sitting) Perhaps they have all gone PRIEST Be comforted.
home. It will be good to rest. (He hears (They fall silent.)
voices and listens hard.) Too late. (Moves
cautiously nearer the house.) Quickly EMAN I was gone twelve years but she
girl, I can hear people coming. Hurry waited. She whom I thought had too much
up. (Looks through the window.) Where of the laughing child in her. Twelve years
are you? Where is she? (The truth I was a pilgrim, seeking the vain shrine of
dawns on him suddenly and he moves secret strength. And all the time, strange
off, sadly.) knowledge, this silent strength of my
child-woman.
(Enter JAGUNA and OROGE , led by the PRIEST We all saw it. It was a lesson to us;
GIRL .)
we did not know that such goodness could
GIRL (pointing) He was there. be found among us.
JAGUNA Ay, he’s gone now. He is a sly one EMAN Then why? Why the wasted years if
is your friend. But it won’t save him for she had to perish giving birth to my child?
ever. (They are both silent.) I do not really know
OROGE What was he doing when you saw for what great meaning I searched. When I
him? returned, I could not be certain I had found
GIRL He asked me for a drink of water. it. Until I reached my home and I found
JAGUNA her a full-grown woman, still a child at
Ah! (They look at each other.)
OROGE heart. When I grew to believe it, I thought,
OROGE We should have thought of that. this, after all, is what I sought. It was here
JAGUNA He is surely finished now. If only all the time. And I threw away my new-
we had thought of it earlier. gained knowledge. I buried the part of me
OROGE It is not too late. There is still an that was formed in strange places. I made a
hour before midnight. home in my birthplace.
JAGUNA We must call back all the men. PRIEST That was as it should be.
Now we need only wait for him – in the EMAN Any truth of that was killed in the
right place. cruelty of her brief happiness.
OROGE Everyone must be told. We don’t PRIEST (Looks up and sees the figure standing
want anyone heading him off again. away from them, the child in his arms. He is
JAGUNA And it works so well. This is surely totally still.) Your father – he is over there.
the help of the gods themselves Oroge. EMAN I knew he would come. Has he my
Don’t you know at once what is on the path son with him?
to the stream? PRIEST Yes.
OROGE The sacred trees. EMAN He will let no one take the child. Go
JAGUNA I tell you it is the very hand of the and comfort him priest. He loved Omae
gods. Let us go. like a daughter, and you all know how well
66
 THE STRONG BREED

she looked after him. You see how strong EMAN But you said . . .
we really are. In his heart of hearts the old OLD MAN I take the longer way, you know
man’s love really awaited a daughter. Go how I must do this. It is quicker if you take
and comfort him. His grief is more than the other way. Go now.
mine. EMAN No, I will only get lost again. I shall
go with you.
(The priest goes. The OLD MAN has stood
OLD MAN Go back my son. Go back.
well away from the burial group. His face is
EMAN Why? Won’t you even look at me?
hard and his gaze unswerving from the grave.
OLD MAN Listen to your father. Go back.
The PRIEST goes to him, pauses, but sees that
EMAN But father! (He makes to hold him.
he can make no dent in the man’s grief.
Instantly the OLD MAN breaks into a rapid
Bowed, he goes on his way.)
trot. EMAN hesitates, then follows, his
(EMAN , as carrier, walks towards the strength nearly gone.) Wait father. I am
graveside, the other EMAN having gone. His coming with you . . . wait . . . wait for me
feet sink into the mound and he breaks slowly father . . .
on to his knees, scooping up the sand in his
hands and pouring it on his head. The scene (There is a sound of twigs breaking, of a
blacks out slowly.) sudden trembling in the branches. Then
silence.)
(Enter JAGUNA and OROGE .)
(The front of EMAN ’s house. The effigy is
OROGE We have only a little time. hanging from the sheaves. Enter SUNMA , still
JAGUNA He will come. All the wells are supported by IFADA . She stands transfixed as
guarded. There is only the stream left him. she sees the hanging figure. IFADA appears to
The animal must come to drink. go mad, rushes at the object and tears it
OROGE You are sure it will not fail – the down. SUNMA , her last bit of will gone,
trap I mean. crumbles against the wall. Some distance
JAGUNA When Jaguna sets the trap, even away from them, partly hidden, stands the
elephants pay homage – their trunks GIRL , impassively watching. IFADA hugs the
downwards and one leg up in the sky. effigy to him, stands above SUNMA . The GIRL
When the carrier steps on the fallen twigs, remains where she is, observing. Almost at
it is up in the sacred trees with him. once, the villagers begin to return, subdued
OROGE I shall breathe again when this long and guilty. They walk across the front,
night is over. skirting the house as widely as they can.
(They go out. Enter EMAN , as carrier, from No word is exchanged. JAGUNA and OROGE
the same direction as the last two entered. In eventually appear. JAGUNA, who is leading,
front of him is a still figure, the OLD MAN as sees SUNMA as soon as he comes in view. He
he was, carrying the dwarf boat.) stops at once, retreating slightly.)

EMAN (joyfully) Father. OROGE (almost whispering) What is it?

JAGUNA The viper.
(The figure does not turn round.)
(OROGE looks cautiously at the woman.)
EMAN It is your son. Eman. (He moves
nearer.) Don’t you want to look at me? It is OROGE I don’t think she will even see you.
I, Eman. (He moves nearer still.) JAGUNA Are you sure? I am in no frame of
OLD MAN You are coming too close. Don’t mind for another meeting with her.
you know what I carry on my head? OROGE Let’s go home.
EMAN But Father, I am your son. JAGUNA I am sick to the heart of the
OLD MAN Then go back. We cannot give the cowardice I have seen tonight.
two of us. OROGE That is the nature of men.
EMAN Tell me first where you are going. JAGUNA Then it is a sorry world to live in.
OLD MAN Do you ask that? Where else but We did it for them. It was all for their own
to the river? common good. What did it benefit me
EMAN (visibly relieved) I only wanted to be whether the man lived or died? But did you
sure. My throat is burning. I have been see them? One and all they looked up at
looking for the stream all night. the man and words died in their throats.
OLD MAN It is the other way. OROGE It was no common sight.

67
WOLE SOYINKA

JAGUNA Women could not have behaved so (They go off. SUNMA , IFADA and the GIRL
shamefully. One by one they crept off like remain as they are, the light fading slowly on
sick dogs. Not one could raise a curse. them.)
OROGE It was not only him they fled. Do
you see how unattended we are?
JAGUNA There are those who will pay for Note
this night’s work!
OROGE Ay, let us go home. 1 A danski is a brief Yoruba attire.

68