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The Death and the King’s Horseman play is based on a real incident that took place in Nigeria when it was under the British colonial rule, where a Horseman of a Yoruba King was prevented from committing ritual suicide by the colonial authorities. In growth to the British interference, Soyinka calls the Horseman’s own fervour toward suicide into enquiry, posing a trouble that throws off the community’s balance.
Through the play of Soyinka I would try to analyse the Rasa theory. By the means and use of images and suggestions resulting in the flavour of unboundedness and bliss. The image of a Not I bird which appears where early in the play and has been elaborated about by Elesin to the Praise singer invokes a Karuna rasa as the bird symbolises death and separation from the near and dear ones, which has become the faith of Elesin who is supposed to embrace death because of the age old tradition followed in the village.
The Horseman Elesin is a man full of love and zeal who believes in the celebration of life and is in love with a girl whom he also desires to marry. This image arouses Sringara rasa in the readers where the love of life is tremendous, which is acted out by anubhavas or bodily movemets as in a dance. Unfortunately this happy rasa is accompanied by pathos or karuna rasa as Elesin has to give up his life and embrace death.
The very thought of death invokes fear in the hearts of people around Elesin which can be seen as an appropriate example of Bhayanaka rasa. The fear of death is so strong in people that they even avoid talking about it. On the other hand Elesin is brave enough to stand alone and face death which can also be casted as an example of Veer rasa which is presented in people of valour. This act of dying in the name of honour is surely an example enough of veer rasa where honour has a higher stature in comparison to death.
All the incidents and quotations of the play majorly invoke Karuna rasa as Elesin has to undertake death even in the face of zest towards life. Another rasa which can be seen to be aroused is that of Bibhasta which can be said to be an outcome of the emotion aroused by something unpleasant and undesired. This rasa is invoked in the readers or even the actors around Elesin which is caused as a resultant of Elesin’s lust towards women even when he is standing on the threshold of death. Elesin’s desire for a young betothed woman arouses bibhasta rasa.
Another striking example of bibhasta rasa is noticed by Elesin in the eyes of his son Olunde when he did not dies out of the traditional ritual.
In spite of the tragic end of the play, Soyinka focuses on the new life that is yet to come in the world in the form of the unborn child carried by the young bride. The Natyashastra is all about a celebration of life and so is the pattern of the conclusion of the play. The pain and sorrow experienced by the audience towards the destiny of the scapegoat invokes Karuna rasa majorly. Soyinka plays are said to be social plays with a vision.
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