Mythology and allegory in drama:A comparative study of Ben Jonson and Wole Sonyinka
Loading...
Date
2012-01-24
Authors
Moyo, Moffat
Journal Title
Journal ISSN
Volume Title
Publisher
Abstract
This study compares the use of allegory and mythology in the drama of Wole Soyinka and Ben Jonson with special focus on The Strong Breed and Death and the King’s Horseman by Soyinka and Pleasure Reconciled to Virtue and The Golden Age Restored by Jonson.
The study uses close textual analysis through the Psychoanalytic Literary Criticism and New Historicism approaches to show that these two dramatists have used mythology in their texts extensively.
Wole Soyinka has used both ancient Greek and African mythologies while Ben Jonson has used ancient Greek mythologies only. The myths used by Soyinka include those that refer to the beginning of eternal death, those about the god Ogun, and ancient Greek ones such as the myths of Prometheus, Atlas, Cinderella, Osiris, and the Phoenix.
Apart from the myths discussed, the study has also shown that both authors have made use of allegory in the dramas. Soyinka has applied allegories of the politics in Nigeria. He has tyrants, dictators, who are not ready to listen, featuring in form of colonialists in Death and the King’s Horseman. Because of his dual cultural makeup, he also has images of biblical characters such as Jesus Christ in his drama, specifically in The Strong Breed. Soyinka has also used an allegory of himself in the texts where he is represented by characters as in Death and the King’s Horseman. Ben Jonson on the other hand has employed classical myths which include the myths of the Golden age, Pallas, Cronos, and Zeus. There is also the use of the myths of Atlas, Hercules, Antaeus, the Hesperides, Mercury, the pigmies, and Daedalus.
Jonson, whose role as a masque writer is to elevate the king, in his masques, shows the king, in the image of Pallas, to be the judge of all England, the bringer of an ideal world in The Golden Age Restored. In Pleasure Reconciled to Virtue, Jonson shows himself to be a great artist, in the form of Hercules, but teased by nonentities in drama represented by the dwarfed pigmies. This is in relation to the many other dramatists who argued with the short-tempered and proud, learned Jonson. In the masque, Jonson has also brought in his architect, unsurpassed in skill by anyone of the time, Inigo Jones, in the form of the greatest architect in Greek mythology, Daedalus, Icarus’s father.
The study concludes that while both artists use mythology in their texts, it is only Soyinka who combines African with Greek mythology as Jonson uses Greek mythology only. In the use of allegory, both authors portray the societies they live in, and, interestingly, both reflect the way they have been treated as individual artists in these societies.Finally, the study suggests that further study could be carried out in the reasons why playwrights use mythology in their works. Other areas of further study identified are: the use of the archetypes in literature, and whether European dramatists use African myths and if they do the extent to which they do so.I dedicate this work to my mentor and lecturer, the late Professor Mapopa Mtonga. His work still lives on. I also dedicate it to my beautiful daughter Nthangana Thembani waZalilo. You inspire me to work harder every passing day.
Description
Keywords
Drama , Mythology