Abstract
Caribbean drama, Scars of Conquest/Masks of Resistance, references Nietzsche's pronouncement in analyzing death dance in Wole Soyinka's Death and King's Horseman. Olaniyan, who calls Soyinka's play the most powerful evocations in contemporary African drama of a classical African ritualistic sense of space (52), reminds us of Soyinka's exhortation that play Death and King's Horseman can be fully realized only through an evocation of music from abyss of transition (author's note). While centuries and cultures separate Archilochus,' a seventh-century lyric poet and inventor of iambic meter, subject of Nietzsche's comments, and Wole Soyinka's play, argument of music's effect on written word is still a modern one.
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