The Road

by Wole Soyinka

Although somber in nature, this play contains many scenes that demonstrate Soyinka's great gift for comic dialogue.

• Format: Paperback
• Language: English
• ISBN: 0199110840
• ISBN13: 9780199110841
• Release Date: December 1965
• Publisher: Oxford University Press, USA
• Length: 110 Pages
• Weight: 0.26 lbs.
• Dimensions: 0.2" x 4.6" x 7.3"

Customer Reviews

Splendid

Nigerian-born Nobel Literature Prize Laureate (1986) Wole Soyinka's The Road is a quasi-realistic play which incorporates elements from the theater of the absurd. It is a comedy of sorts, not exactly a comedie noire, as the French say, but with similar satirical intent. It is also a deeply symbolic play. The action comprises a single day, from 5 a.m. to 5 p.m. The scene is a road-side shack presumably in Nigeria with a church close by, parts of which are also on stage. Part of the shack is a used parts store, and there is a dilapidated "mammy waggon" downstage and to the side opposite the church. The central character is the PROFESSOR who stands for civilization and literacy. He has the power of the Word, and this power sustains him above his fellows. The PROFESSOR uses his literacy to forge documents such as driver's licenses. This too is part of his power. He is a contradictory character, and the Word is slippery and is not always an embodiment of the truth. The PROFESSOR stands in opposition to the Church and its Bishop. SAMSON is the tout for the "No Danger, No Delay" lorry service. A tout is one who finds customers for the company, who seats them and maybe carries their luggage and flatters them. SAMSON is a practical man. KOTONU is a driver who works with SAMSON. SALUBI is a driver trainee, a superstitious man. MURANO, whom Soyinka says represents the suspension of death, is a mute and personal servant to the PROFESSOR. PARTICULARS JOE is a cop who always wants the "particulars" of the case. He apparently lives as much on the bribes he receives as he does on his salary. SAY TOKYO KID is the leader of the thugs and a driver. The hangers-on and such serve as a musical and dancing chorus throughout the play. They sing dirges and act out tribal dances sometimes using the Mask which may hide the god of death, or as Soyinka has it, the Mask represents "a religious cult of flesh dissolution." Throughout there are references to Orgun, the tribal god of iron and war. During the Festival of the Drivers, there is the "Feast of Orgun, the Dog-eater" with the idea that the Road eats dogs that get in the way of the wheels of the lorries. The characters in the play make their living from the road and its traffic. Some of them even chase after accidents and remove things of value from the vehicles--even the clothes of the dead--and sell them in the "Care of Accident Supply Store." The central element is the road of course, the road like a river that runs through their lives and through their civilization, a road that lies flat and then, like a coiled snake, snaps up and brings to death by accident those who travel on its back. The road is also that which transforms the forest, as they take its timber, into the hard concrete and asphalt of the city. It is the road that transforms the life of the tribesman into that of the city dweller. One might compare the Road to the Way of the Taoists, but of course here the road is active