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32 pages 1 hour read

Wole Soyinka

A Dance of the Forests

Fiction | Play | Adult | Published in 1963

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Part 2Chapter Summaries & Analyses

Part 2 Summary

As Murete gets ready to attend the village festival, he is accosted by an irate Eshuoro. The angry god vows to punish the humans himself for desecrating the forest as he believes that Aroni, who plans to judge the humans’ guilt, will let the humans go alive. Murete insults Eshuoro, who then tries to kill him. Murete flees, leaving Eshuoro alone with his rage.

In another part of the forest, the Orisha assemble. The Forest Head turns back time to eight centuries ago, and the setting changes to the Court of Mata Kharibu. The previous incarnations of the human characters from Part 1 are all played by the same actors in Part 2. Mata Kharibu and his queen, Madame Tortoise (the previous incarnation of Rola), preside over the court. Mata Kharibu is furious; Madame Tortoise is in a good mood. Madame Tortoise forces the Court Poet (Demoke’s previous incarnation) and his apprentice to fetch her missing canary from the roof; the Court Poet is apprehensive, having heard of a man who recently fell off the roof and died.

The Warrior, who is the living version of the Dead Man from Part 1, enters in chains. Mata Kharibu is furious with the Warrior for refusing to lead his men into battle over what the Warrior thinks is an unjustified matter: Determined to start a war, Mata Kharibu stole another king’s wife and now demands her possessions as a dowry. The Court Physician attempts to convince the Warrior that it is a matter of honor, but to no avail. The Warrior’s refusal risks not only his own life, but also that of his wife (the Dead Woman from Part 1) and his soldiers.

The Court Historian (Adenebi’s previous incarnation) enters, telling Mata Kharibu that there is no precedent for a soldier refusing to fight, so the Warrior must be a traitor. Mata Kharibu agrees. The Soothsayer (Agboreko’s previous incarnation) enters, warning of much bloodshed on both sides, should Mata Kharibu decide to go to war. However, Mata Kharibu calls for the Dead Man and his soldiers to be enslaved. Mata Kharibu exits after being assured by the Soothsayer that the future holds nothing for men like the Warrior.

The Court Physician argues with the Slave-Dealer about the conditions on the slave ship; The Court Physician thinks it would be a mercy if the Warrior’s soldiers were killed instead of enslaved. The Slave-Dealer secretly bribes the Court Historian to say that he has visited the slave ship and that the conditions are not bad.

The Court Poet returns with Madame Tortoise’s canary. The Court Poet’s apprentice fell off the roof and broke his arm. Madame Tortoise dismisses the Court Poet, waits until the court clears, and then summons the Warrior to her side. Madame Tortoise offers to save his life and have the Warrior take Mata Kharibu’s place as king. The Warrior cries out for guards, but his cries summon his pregnant wife instead. Angry upon being spurned, Madam Tortoise sends the Warrior off to be castrated and sold into slavery as a eunuch. The Warrior’s pregnant wife dies soon after out of despair.

The Forest Head and Aroni watch the spectacle of the past play out. Eshuoro enters, calling the Warrior a fool. Eshuoro complains that he has been wronged by the murder of Oremole and the carving of his tree, and that the Forest Head has done nothing to rectify it. Ogun enters, and Ogun and Eshuoro fight until the Forest Head breaks it up. The Forest Head admonishes the two Orisha for behaving like humans. Aroni, still intending to judge the humans himself, will not allow Eshuoro vengeance for Oremole, nor will he listen to Ogun and let Demoke go free.

The scene shifts back to the forest in the present. The Forest Head sits on a large stone with the Questioner—who is really Eshuoro in disguise—standing beside him. Aroni and the other spirits and humans are gone. The Questioner asks the Dead Woman why she did not live for the child growing inside her. The Dead Woman responds, “I was a woman. I was weak” (69).

The Dead Man enters, and Forest Head addresses him by his real name, Mulieru. The Dead Man lived three reincarnated lifetimes after the death of the Warrior. The Questioner cruelly presses the Dead Man about why he seemed to learn nothing in those generations of wandering. Aroni appears and rips off the Questioner’s mask, revealing Eshuoro. Eshuoro flees. The Forest Head is amused. The god Oro—one aspect of the hybridized Orisha Eshuoro—enters, claiming he has played fair the whole time. The Forest head shrugs this off and summons the living humans of the present and the Interpreter, who is secretly Eshuoro’s attendant, the Jester, in disguise.

Demoke, Rola, and Adenebi enter, led by the Interpreter. They are given masks to wear, bearing the same expression of resignation that their faces show. The dead couple are led offstage, and the Dead Woman returns shortly, having finally given birth to the Half-Child. The Forest Head calls forth a procession of spirits who each interact with the Half-Child. One of the spirits, a Figure in Red, plays a game with the Half-Child as the other summoned spirits chant. When the Figure in Red wins the game, Aroni worries that the Figure in Red may be Eshuoro in disguise again, but the Forest Head holds him back.

The Forest Head questions some of the spirits, including the Spirit of the Volcanoes and the Ant Leader. Eventually, the three humans are unmasked, and three spirits, the Triplets, are summoned. The first of the Triplets represents the End that justifies the Means, the second Triplet represents the Greater Cause, and the third Triplet represents Posterity.

The Figure in Red reveals himself to be Eshuoro, who tries to take the Half-Child. With the help of his Jester, disguised as the Interpreter, Eshuoro snatches the child and throws him to the Triplets, who toss the Half-Child back and forth, keeping him away from Demoke, who tries to help the Half-Child. Ogun intervenes, catching the Half-Child and giving him to Demoke. After some hesitation, Demoke gives the Half-Child to the Dead Woman. The Forest Head, Aroni, and the other spirits leave. Eshuoro shouts triumphantly.

Eshuoro and his Jester lead Demoke to the village idol in a Dance of the Unwilling Sacrifice. Demoke climbs the totem, and Eshuoro sets it on fire, but Ogun catches Demoke as he falls from the totem tree. Eshuoro vents his rage to the Jester.

At dawn, the Old Man, Murete, and Agboreko enter. The Old Man is delighted to see that his son, Demoke, is alive. They all realize that Obaneji must have been the Forest Head in disguise, and that Aroni punished the villagers for wronging the Dead Man and Dead Woman in their past lives. The Old Man asks if Demoke learned anything about the future from his experiences, but Demoke is unable to give a straight answer.

Part 2 Analysis

**Characters as masks

Although Soyinka chose to write A Dance of the Forests in English, the play is deeply steeped in Yoruba tradition and spiritualism. This is not unusual for Soyinka, whose most famous play, Death and the King’s Horseman, largely deals with the immiscibility of the Christian ideology of the British colonizers and the pagan Yoruba traditions they sought to quash. The shift in time to the Court of Mata Kharibu, sometimes referred to as the “play within the play,” re-emphasizes the Yoruba notions of the reincarnation of the soul that have been hinted at in Part 1 via Rola/Madame Tortoise and Aroni’s prologue. In traditional Yoruba spirituality, the soul can be reincarnated after death. Rather than the reincarnated soul being a “blank slate,” the reincarnated Yoruba soul is able to pass on wisdom from one incarnation to the next. This is one of three types of resurrection/reincarnation present in the play and is represented by Demoke, Rola, Adenebi, and Agboreko, who are each represented by the same actor in both the past and present scenes of the play.

The Dance of the Dead scene is presented as a masque, a narrative kind of masked dance, rooted in the stylized rituals, dances, and costumes of Yoruba tradition. Performed for the Nigerian independence celebrations, the Dance of the Dead section of the play was meant to be a spectacle. Soyinka’s masque involves complex choreography and relies heavily upon stage directions with little explanation, such as the Dance of the Unwilling Sacrifice performed when Eshuoro and his Jester force Demoke up the idol tree—the climactic scene in which Demoke is redeemed through the intervention of Ogun. Masks, and masked dance rituals, are also essential to Yoruba traditions and many other spiritual ideologies of West Africa. The Yoruba in particular used masks in ritual dances, some of which reenacted past events. Soyinka combines these Yoruba traditions with Western narrative dramatic structure to present a new kind of post-colonial masquerade, in which the characters literally reenact their own history, inviting meta-theatrical considerations of the various degrees of performance in the play on the part of the actors portraying the characters, the characters inhabiting their past lives, and the many disguises of the various Orisha.

Part 2 of A Dance of the Forests demonstrates Soyinka’s cynical view of newly independent Nigeria. The Forest Head, the invented supreme god of Soyinka’s Orisha pantheon, abandons the trial of the humans, complaining, “Trouble me no further. The fooleries of beings whom I have fashioned closer to me weary and distress me” (82). This reflects Soyinka’s view that the warnings of A Dance of the Forests will fall on deaf ears. Aroni, Eshuoro, and Ogun are left to play out their own independent ideas of justice, to ambiguous results. Oremole’s murder is not avenged, and Demoke is unable to say what, if anything, he has learned from his experiences. The Dead Woman gives birth at last, but her child is cursed. The political corruption of the village council remains entirely unchecked. Ultimately, Soyinka’s misgivings for the future of Nigeria, and his concerns that the glorification of Nigerian history would lead its citizens to repeat past mistakes, both illustrated in A Dance of the Forests, were all too prescient. A violent military coup d’état would take place just three years after independence, and the Nigerian Civil War would break out soon after, largely motivated by political tensions between the federal government and Yoruba peoples. 

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