Blending The Traditional With The Modern In John Pepper Clark’s Plays

In his very life Clark embodies this uncomfortable combination of the conventional and the advanced. In presenting his volume of sonnets A REED IN THE TIDE he views himself as:

 

…….. that trendy social wonder they call ‘mulatto’ – not in tissue but rather at the top of the priority list! Happening to an antiquated various stock in the Niger Delta zone of Nigeria from which I have never fully felt myself cut off, and experiencing the typical instructive plant with the normal granulate of English school at its end, I once in a while can’t help thinking about what in my make-up is ‘conventional’ and ‘local’ and what ‘determined’ and ‘present day’. Visit – ประเพณีที่น่ากลัว

 

J.P. Clark encapsulates in his work a wide scope of impacts from antiquated and present day western sources to the fantasies and legends of his Ijaw individuals. In spite of the fact that he writes in English so as to contact the vastest conceivable crowd, African pictures, topics, settings and discourse designs are at the focal point of his work.

 

Conceived in 1935 in Nigeria, Clark alongside Wole Soyinka is one of Nigeria’s chief screenwriters and artists. His enthusiasm for verse began while he was learning at College in Ibadan. There he likewise co-altered THE HORN, an undergrad magazine distributing sonnets, surveys and articles by youthful African journalists. In 1964 he distributed his disgusting work on American culture AMERICA THEIR AMERICA dependent on his encounters while learning at Princeton University. He worked quickly at the Daily Express and co-altered BLACK ORPHEUS with Abiola Irele. He has composed a few volumes of sonnets and plays and created two narrative movies The OZIDI OF ALONZI and The GHOST TOWN. He has since 1968 been showing African Literature and English at the University of Lagos and is the head of the Repertory Theater there.

 

The customary and the advanced are quite often mixed in Clark’s plays in subjects, mentalities and methods as they are in a portion of Soyinka’s initial plays. His initial two plays SONG OF a GOAT [performed in 1961] and The MASQUERADE [performed in 1965] contain components of traditional Greek and Shakespearean dramatization, the graceful plays of T. S. Elliot and the society writing of the Ijaw individuals which Clark says shares much for all intents and purpose with old style dramatization. In SONG OF A GOAT a desolate lady talks with a masseur and imagines a youngster by her significant other’s sibling. Unfit to acknowledge this circumstance, both the spouse and his sibling end it all. The youngster, developed to masculinity and unconscious of the conditions of his introduction to the world, is the lamentable legend of THE MASQUERADE. He voyages from his local town and connects with a delightful, solid willed young lady. At the point when the youngster’s experience is uncovered the young lady’s dad prohibits her from wedding him, yet she won’t submit to his choice. In the brutal conclusion every one of them kick the bucket. The two plays are written in refrain and offer a persevering air of fate, with neighbors working as theme remarking on the appalling happenings.

 

A SONG OF A GOAT shows well how the two components – the cutting edge and the conventional – blend or strife. Be that as it may, the entire social circumstance of the play is basically conventional. . The mentality of the characters in this manner keep carefully in accordance with the social ethos of the world made inside the play. These are ethos and customs authorized by the divine beings themselves. The individuals who set themselves in opposition to it are viewed as defying the traditions endorsed by the general public and the divine beings themselves. In this way because of opposing those traditions. Zifa has a doomed fight to upset the revile perpetrated on him.