IBADAN UNIVERSITY LIBRARY
THE GLOOM AND THE RAY
A COLLECTION OF POEMS
Gill Oluwatosin Adekannbi
IBADAN UNIVERSITY LIBRARY
THE GLOOM AND THE RAY
Published by:
OPUTORU BOOKS IBADAN, BOMADI, OLEH, UGHELLI, 
ASABA
Area Offices and Deports:
Asaba Office:
Dr. Job Akpodiete 
Senior Staff Quarters 
Senior Taff Quarters 
Anwai Campus, Asaba 
Delta State University:
Ughelli Office: No. 4 Amakata Street, Ughelli.
Series Editor: Egbe Ifie
Assistant Editors:
T, O, Onduku (zon)
Alex Akpodiete (General)
E. E. Kpeke English)
Assistant Adviser: Professor Dapo Adelugba
GILL OLUWATOSIN ADEKANNBI 2002
ISBN: 978-8014-01-1
All rights reserved. No part of this may be reproduced, stored in 
a retrieval system, adapted or transmitted in any form or by 
any means electrical, mechanical, photocopy, recording, or 
otherwise, without the written permission of the publishers.
Printed in Nigeria by: Rubbyless Nigeria Limited, S : 08034051060
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Preface
A lot of inquiry has gone into interrogating ancient Greek 
and Latin literature in terms of reception, adaptation, 
interpretation and representation from the critical 
perspectives. Classical Reception, a rapidly developing 
field of research, has influenced the thoughts of scholars 
in different fields of studies to the extent that the 
perception of issues in modern cultures is illumined by 
many ancient concepts. Situated within a largely Classical 
milieu, The Gloom and the Ray (Tenebria et Raia) portrays 
life as a coin which can flip at us its dark and bright 
sides. Overall, it is an attempt to revitalise the classical 
tradition which should be an integral part of the learning 
culture in ivory towers especially.
As with every creative exercise, there always are 
inherently the beautiful imperfections. The author fully 
understands and appreciates this fact. Hence, the attempt 
to interweave allusions of classical origins with those 
drawn from Biblical and Yoruba cosmological allusions 
should be seen as a creatively conscious innovation 
towards preserving the classical tradition. The author 
therefore hopes that the manner of couching the imagery 
may be seen for what it is intended: a novel attempt to 
reach a wider audience in a contemporary society where 
everyday happenings can hardly be divorced from the 
mythological events from which it has so distanced itself, 
wittingly and unwittingly.
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This collection, containing fifty poems, is a revised edition 
of THE GLOOM AND THE RAY that was published in 2000. 
Many of the poems as found in the first edition have been 
embellished with some completely transformed. New 
poems were also added to this revised version as a breath 
of freshness. Freshness to this edition is also its division 
into sections or parts based on content and thematisation 
that collectively explore the modes by which notions and 
experiences of classical origins manifest with poignancy 
as commonplace beliefs and events in our contemporary 
world. Part one, “Enduring Hope” has 13 poems, themes 
as it explores theme. The second section, “Leadership 
Woes”, has 12 poems which delve largely into crisis in 
governance. Section three, “Time and Tide”, with another 
12 poems, speaks different sides of socio-religious issues. 
The last 11 poems of section four, “The Ray Triumphs” 
imbue all sense of ultimate victory. In the subsequent 
paragraphs of this preface, examples of such intersections 
of ancient themes which recur in the interpretation of 
current issues are highlighted to give readers a glimpse 
into the pieces of poems in this edition.
The Roman belief in omens speaks well to the dark side of 
human life, that fear of the unknown. Similarly, the 
activities of ambitious politicians in Africa who seek power 
by all means often evoke scenes of violent gladiatorial 
shows in Rome; while the lives of greedy leaders who 
‘devour’ the purse of the state bring to mind how the 
exploitative Roman upper class merged the lands of the 
impoverished citizens together and turned them into
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latifundia (large farm estates). Sallust’s Jugurtha 
epitomises the havoc corruption wreaks as the 
demagogues’ desperate quest for power in the base court 
of the people mirrors the mounting woes of the people. 
Plutarch’s Life of Nicias, beyond presenting a story of a 
military misadventure in Athenian history, furnishes an 
example of precarious leadership by a General whose 
rootedness to superstition brings about a downfall when 
stratagem should have displaced contortions of fear.
It may be general knowledge that ‘January’ is derived 
from ‘Janus’, the Roman god associated with beginnings 
and endings. In the past, it was reminiscent of the 
festivity at the beginning of a Roman year, a time that was 
sacred to Janus. Today, Janus still visits many homes, as 
it were, on the first of January. Sana mens in corpore 
sano’ (a sound mind in a sound body) which usually 
connotes physical wellness as the outcome of seeking 
medical help, may also leave the thought that ‘a sound 
mind’ is a desirable product of physical well-being. In 
other words, the treatment of the body must also be most 
agreeable to the mind. The ancient Hippocratic Oath still 
impresses on medical doctors the need to use their 
knowledge and training to attend to the patient, the 
classic connotation of one who is ‘suffering’ (patior) as 
well as in need of the help of a sympathetic doctor who 
can dignify him or her as a guest (hospes) at the hospital.
Helen, Menelaus’ wife, inspires lines on the snares of a 
beautiful but fickle minded woman. Zeus’ escapades when
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he elopes with charming Europa to the island of Crete 
provide insight into the psyche and subliminal 
motivations, not only of kidnappers, but also that of 
rapists even in ‘the holy place’ who portray themselves as 
angels simply to get the better of the fairer sex without 
any regard for age or vulnerability. Like Zeus, who plays 
on Europa’s naivete, appearing in the form of an 
extraordinary bull in order to deceive her, regaining his 
human form, and then violating the hapless princess, 
these ones manifest degrees of perversion concealed in 
deceptively innocuous overtures. In the Nigerian filmic 
context, the playboy character popularly dubbed “Yoruba 
demon”, the euphemism for purported ritualists who are 
said to prey on young maidens, is but one among 
numerous associations that can be drawn from the 
classical allusion of Zeus and Europa. To the universal 
context, that the name Europe is derived from Zeus’ 
abducted bride—Europa— is another significant
association from the allusion. Could we construe the new 
highs and lows of socio-political and socio-economic 
crises emanating from Europe and spreading like cancer 
to other parts of the world as mere coincidences or 
renewable parallels? Well, the argument is best left open 
to imagination.
The Erinyes or the Furies, deities of torments, are usually 
depicted with snake-like hairs and eyes dripping blood. 
The menacing appearance mirrors the wanton relish they 
derive as they punish retr'ibutively for ‘all crimes’ by 
.grotesquely tormenting the culprit. The hideous torment
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can be likened to the pain and misery meted out by 
modern day terrorists who conceal their sadism behind 
the mask of punitive ideologies that are used to justify 
dastardly acts of terror committed with impunity. The 
Martial Festival brings to mind the period of incessant 
military coups and uprisings, intermittent civil wars, 
increasingly endless factional strife, inter and intra ethnic 
disputes and feuds, hate crimes and religious violence 
common to Africa, Asia and beyond. The hunter-poet, 
Pliny, the Elder, relieves with some lines on the naturalist 
atmosphere that is best suited for a creative work which 
the Fulani boy evokes as he plays music in the company 
of his droves. Nemesis portends the uneasy blending of 
joy and sorrow, the presence of misery in the midst of 
prosperity that leaves man with no uninterrupted 
happiness. There is the allusion to Asclepius, the ancient 
great physician and surgeon, who was determined to 
bring relief to the human, endless search for a cure to all 
sorts of grievous ailments. Yet, Philippides, with the 
cheering news of victory, sets all his eyes on Athens from 
Marathon and, to the last drop of his blood, he epitomises 
endurance in the course of honour.
The climax is heralded by the Chorus, signaling tentative 
expectation, a dangling between despair and a longing for 
hope for our globalised city space with growing challenges 
defying that clear-cut panacea. Thus, gliding towards 
Catharsis or purgation after engaging the tropes, imagery 
and allusions drawn from the classical age, the Holy book 
and the Yoruba worldview is a logical way to conclude this
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collection of poems which adopts ‘experimental’ 
thematization. To make for the ease in penetrating 
mythical events in particular, there is the inclusion of in- 
text footnotes to help the reader achieve a literary and 
exploratory reading experience. In the course of attaining 
those goals, the author believes that the reader will also 
gain insight into classical learning, and be left with a 
consciousness that would usher in the ray of triumph 
over the gloom, that gloom, whatever its appearance; the 
waiting for relief that is sure to come along with the ‘Lord 
of Oils’—the Balsam in Gilead!
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Part 1
ENDURING HOPE
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1. Hope
Our woes
Arrows from our foes
Cascading tidal waves
In the throes of sorrows
Eyes stare at tomorrow
Darkness triumphs over light
Beyond Goliath’s might?1
Dread exists no where
When zeal matches as a martyr
Never to be weary like a tire
Hope retires with the fading full-moon
In the strength of the blooming dawn
Enclosing gloom
Thunders doom
The clouds on the horizon darkens 
Gathering storms of tears 
Flickering rays 
Dampening days 
We refuse to stagger 
Goaded by brimming hope .
Resisting a submission to rope
1 Goliath is biblical allusion to the David-versus-Goliath scenario. The glory of the 
might of the giant champion of the Philistine army, who taunted the battle line of 
the Israelites, faded away like race medals. A shepherd boy humiliated him in no
time.
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2 Where is the Guardian Spirit?2
Figurines of Lares 2 3 
Treasures of the cupboards 
The forbears still carry torches 
At nuptial games 
Honoured in anniversaries 
Bequeathing on birth day 
Wishes, gifts and songs 
The spirit of vigilance 
Pervasive, hovering over 
From the cradle to the grave 
To repulse mis-fortunes4
2 Guardian Spirit. The ancient Romans believed in a guardian spirit whose duty was 
to protect an individual right from birth. Guardian spirits in Roman times were held 
to be tutelary deities who served as patrons or protectors not only for individuals, 
but also for cities and places of great importance. A person or a city could have as 
many as tutelary deities considered necessary, upon whom all honour was 
bestowed, to guarantee safety. The belief, similar to belief in guardian angels, was 
principal in Roman religion and particularly relevant to the people in times of war 
and crisis.
3 Lares. These were guardian deities in ancient Roman religion that were associated 
with hearth, fields, boundaries or fruitfulness and other activities and locations. 
They are also sometimes viewed as ancestor-deities. The guardian spirits were 
expected to closely keep an eye on events in their jurisdiction, safeguard and 
maneuver happenings in the interest of their adherents. The statues and presence 
of the Lares were ubiquitous: they were seen during family meals and were believed 
to be on hand at important family functions.
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Leaving countless puzzles 
Where do you fix attention?
When drought visits 
Where do you place interest? 
Does misery come in your, siesta? 
O Lares, behold afflictions 
Making cries to soar high 
And Whys descending 
Your votive
A statute of immanence 
The song of young and old 
Filling the air constantly 
Bewails of promise miscarriages 
Lamentations of interrupted joys 
Questions rise everywhere 
Bumper is the harvest of whys 4
4 Mis-fortunes. The prefix, mis-, just like 'mis-' has 'ill' as one of its meanings. It also 
conveys the sense of 'bad'. 'Misfortune' then literally means 'ill' or 'bad' fortune. 
'Fortune' comes from the Latin word 'Fortuna', the name of the goddess of fortune 
and representation of luck or chance in Roman religion 'mistaken'. The goddess is 
portrayed as veiled and blind, playing ambivalent roles of bringing good and bad. 
Hence, 'misfortune' then refers to calamities originating from the goddess of luck, 
Fortuna. While the Romans would seek favour from Fortuna, in all spheres of their 
daily life, they sought protection against the calamity the goddess might wreck from 
the. Lares.
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3. Ode to Jerusalem
Even after Masada5 
A song I sing 
For you I sing
0 Jerusalem!6 
Darling Jerusalem
From the Artie to the Amazon 
From the Sahara to the Everglades 
You tower above the heights 
Above the peak of peaks 
My hand I raise in haste 
The right and strong hand
1 stretch it for you, oh Zion!
I deride food of shame 
Awful banquet set before me 
By swarming fans of gluttony 
Eating the meal of tomorrow
5 Masada. This is the Hebrew word for fortress or fortification. Historically, it came 
to be known as the final stronghold or the last pocket of Jewish resistance against 
Roman invasion after the destruction of the temple that was rebuilt by Herod the 
great in 70 CE. The Romans took Masada desert fortress in 74 CE and this really 
meant the decisive end of the ancient city, Jerusalem.
6 Jerusalem. The name Jerusalem is used symbolically in the Bible. The Christian 
Apostle Paul refers to a 'Jerusalem above,-' (Galatians 4:25, 26). Revelation 3:12 also 
mentions Jerusalem in a grand ethereal setting as 'New Jerusalem'. The contexts of 
the foregoing references depict a Jerusalem that is, far from being under any siege, 
radiantly poised to record a glorious decisive victory and usher in untold blessings.
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Saying aha, aha as I stumble 
But I rise, to undaunted position 
In the strength of Judge of all 
Charming Zion, splendid splendour 
Entrances my resolute heart 
Arrests my resilient soul 
By thy brilliant constellations 
Beloved city of the great kings 
Your unfading beauty and radiance 
Makes me daily a joyful captive 
My eyes glued, mouth ever agape 
Weightless and sleepless, all day long 
At the sight of your magnificence 
Eternal in glory, beloved Jerusalem 
You triumph against king’s enemies 
I dare all and proudly boast 
Your light shall lead forever!
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4. Eclipse of the Star
Your beaming smile 
Ushers in the dawn 
And with a shrill voice 
You utter good morning
To a crowd chanting hope 
Joy illumines new abode 
Sole horn for the dynamos7 
The fountains of prowess
Great overflow for new gem 
From Centuries’ trees, shelters 
Whence then the viral foe? 
Legions8 pouncing on vitality
One and then the other 
Now the berceuse from Hades9 
For the timid snow-heads 
As the sky hastens to turn dark
Strangely you are strong
7 Dynamos. This is the plural of the word dynamo that is fittingly used for a person 
that is full of youthful vigour, having the physical strength at its peak
8 Legions. See footnote 11
9 Hades. See footnote 4
* ••
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Your head no more dejected 
The summoned solace comes 
Strength to go on springs up
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5. Release
Good! The fruit turns sour 
Bitter leaves of garden plant 
Sooth the yearning palates 
So well feels the farewell .
Sweet indeed the great pain 
It comes at the swift escape 
Of love in deep sore distress 
An outstay of prized welcome 
From heart in dismal bondage 
Already singing innocent blues 
In taking daily allegiance oath 
No advocate would plead 
A course nobler and more just 
Just once comfort, quick succor 
Release! Release! Release!
Throw behind of a masquerade 
Of pieces joined by a fashioner 
Cast aside portion of yesterday 
Forgone like forgotten ancestors 
Those measuring upon measure 
Commands then, demands now 
The gates presently wide open 
Grand departure’s very long due 
Shut-up heat quits for breeze 
Allies join jolly celebration 
Loyal and beside to say bye-bye 
To plaster the wounds, to heal 
Gather together scattered bones
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Rebuild dented weary frames 
Restore networks of muscles 
Strained by pointless struggles 
Weakened in fight over words 
No one can tell the story better 
Night muses over faultless dreams 
Safely closing eyes, bringing sleep 
At last, free, set free 
From all anxious care 
Over vexing Quadratilla10 
The exit of pungent affection
10 Quadratilla. Ummidia Quadratilla was a wealthy and influential Roman woman 
who was known for luxurious lifestyle common to the upper classes. Without any 
intended allusion to her personality, her name is simply used for the overbearing 
character of the poem.
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6. Nocturnal Flight
They cross six rivers 
And then another seven 
Respite beckoning at a distance 
Eight mountains swiftly evolves 
Yet, ebbing energy is summoned 
Men forge ahead with hopes 
Since Hercules11 completed tasks 
Descending and ascending 
Contemning unending valleys 
Loyal panorama begins to fulfil 
Promise of relief for weary souls 
In the sight of desirable terminal 
Where somnus12 valiancy endows 
Now the militants lay the ambush 
Winged creatures, Pteroids 
With famous loathsome songs 
Brandishing weapons 
Making infusions 
Bringing dread to nocturnal treat 
With sudden profane transfusion 
The obnoxious gift for the helpless
11 Hercules. In Greek mythology, Hercules, a demi-god is the son of Zeus and a 
mortal woman, Alcmene. He is famed for performing extraordinary tasks, which 
included wrestling with Death and visiting the underworld twice, during his difficult 
life course.
12 Somnus is the Latin word for sleep.
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Heading back to the tropical sun 
With pitiable battered body 
Clambering more hills, more Alps 
After awful plaguing encounter 
Of harrying midnight flight
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7. Dirge for the Fallen Flesh
O mighty Flesh 
So, you crash 
In a flash!
Solomon the wisest 
Craved exotic thighs!
Mystery of flesh direful 
Leaves me rather fearful!
In agora13 he stands 
Basking in the glory 
Of his meager props 
His door hastily opens 
See, he is how earnest! 
Memory of the bad damns 
Virtue with passion extols 
Who does not admire Jehu?14
Agora was one of the prominent features of the ancient Greek polis. It was the 
township-centre where many of the people, especially the nobles, usually resided. 
The town square was an open space or, according to the literal meaning of the 
word, a 'gathering-place' with easy access to all citizens when meetings were called. 
An 'agora' was also known as a centre for sports, entertainment and political life of 
the city-state.
14 Jehu, the son of Jehoshaphat, in the biblical account received the commission to 
spearhead the elimination of the whole house of Ahab, including Jehoram and 
Jezebel. This was at the time when the nation of Israel was under the wicked 
influence of Jezebel who promoted the Baal cult, killed God's prophets and 
corrupted the people with her 'fornications' and 'sorceries'. (2 Ki. 9:22; 1 Ki. 18:4,
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But, hear, O brethren 
Dirge for the fallen flesh 
The Song for a Solomon 
Recall the repeated odes 
For the crumbling stars1*3 
13) Jehu, characteristic of his disposition, wasted no time in carrying out the 
execution. Jehu was known for driving furiously as he zealously carried the
assignment (2 Ki. 9:20). However, the house of Jehu would be held as bloodguilty 
(Ho 1:4). Paradoxically, it is sobering to note that, despite his faithfully carrying out 
his commission, Jehu's tolerance for calf worship resulted in a lot of bloodshed (2Ki 
10:29, 31).
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8. Pliny to the Fulani Boy
can life be any easier 
more than he sees it? 
safe in his world 
under a mighty tree 
the Fulani boy sits 
with able woman’s skill 
busy with strings 
partnering a puny calabash 
even in a solitary world 
he refreshes with music 
intently musing over 
a faithful favorite cow 
its nunu,15 breaks his fast 
the calf soon becomes his 
hmm, the Fulani boy 
see Pliny16 in the woods
Nunu or, in full, Fura de nunu is a popular local drink made from unpasteurized 
cow milk, common in the northern part of Nigeria. The dairy remains the delight of 
many homes in the north and in other places among the Fulani herders.
16 Pliny. Linking nobility with virtuous past, the Roman elite extolled activities 
relating to rustic life, especially hunting. A Roman going on a hunting expedition was 
not merely looking for game. That kind of activity was viewed as a form of recess 
and escape from troubles. Pliny describes the atmosphere as best suited for a 
creative work when he says: 'the poems ... are perfected most easily in the woods 
and groves (Pliny Ep. 9.10). In this situation, he would have 'a pen and writing 
tablets...thinking about something and writing it down, so that, if [he] came home
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keep his company a little 
will you share his stylus? ■ 
will you desire those tablets? 
would you set heart at task 
and teach your hands his arts 
of more bumper harvests? 
the Fulani boy 
therein lies the lesson 
that you take to your hut 
dearth fulfillment is in bites 
greater is the bliss of food 
when return comes from stylus 
this, Omoluabi17 well knows
empty-handed, nevertheless, [he] would bring back full notebooks'(Pliny Pliny Ep.
1.6).
17 Omoluabi. This Yoruba philosophical and cultural notion is used to describe a 
person of honour. It conveys the thought of moral excellence that is not only 
manifest in good conducts but also in display of intelligence.
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9. What is never in Vain?
Male dogs 
He-goats 
Do relish
Pleasant transience 
Fleeting fruition 
Butterfly
Radiant with wings 
In passing glory 
Salacious nectar 
Eagerly enjoys 
Feat of termite?
Legendary hard-work 
Mighty, massive 
Then, crumbles 
Puffy Agama-lizard 
Snooty red head 
Boasting every second 
Crushed by junior hunter 
The mortal subdues 
Puts behind all odds 
Cling feathers to his bodies 
Wearing caps in colours 
Listed in the hall of renown 
From summit of Everest 
The next day he plunges 
And he licks the dust 
What is never in vain? 
What rests with Eternity?
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Consumed with joy today 
Savoured with passion tomorrow 
Water from eternal spring 
Soothing, inspiring strength 
Dwelling in vivid memory 
In archives of treasures 
Ad infinitum are its marks 
Imprints ever on the rock 
If it is never in vain 
It is forever a gain
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10. The Dawn Arrives in Triumph
Darkness
you depart like a horse 
trotting after a fruitful campaign 
galloping in style to a halt
i behold Today ascending 
parting ways with Yesterday 
with a banner Tomorrow rises 
flaunting crystal-silver lining
sighted in Africa, yes, seen 
in the Far East, in the Antarctic 
transcendent Dawn is a victor 
the conquering Dawn is here.
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11. Search for Cure
Whence this heat?
Burning vituperations 
If from Mount Olympus 18 
Would that host of votive 
Besiege the Olympia!
Delphi19 receives pilgrims 
Bringing and bestowing gifts 
Asclepius20 now prophesies
18 Mount Olympus in Greek mythology is the abode of the twelve Olympians: Zeus, 
Hera, Poseidon, Athena, Apollo, Artemis, "Hestia, Demeter, Hermes, Aphrodite, Ares 
and Hephaestus. Their dwelling was established after the Olympians defeated the 
Titans. In Homeric literature, the Olympian Apollo and his twin sister Artemis, with 
the use of their arrows, are often symbolised as harbingers of sudden breakout of 
diseases. Hence, Mount Olympus becomes a source of sickness or plagues. The 
earliest example of disease appears in the Iliad when Agamemnon insults Chryses as 
the priest seeks to ransom his captured daughter. As punishment, Apollo brings a 
highly communicable disease to the Greek camp by shooting his arrows, first at 
mules and dogs, and then later at the soldiers (Iliad l.9ff)
19 Delphi was a prominent ancient religious sanctuary; sacred to the god Apollo and 
central TO the Greek world. According to Greek mythology, Delphi was the point at 
which the two eagles released by Zeus met after encircling the world. City-states 
and individuals regularly visited Delphi where they obtained enigmatic predictions 
and guidance from the oracle of Apollo. Besides, Delphi always played host to the 
PanHellenic Pythian Games
20 Asclepius is spelt in Greek as 'Asklepios' and in Latin, as 'Aesculapius'. He was the 
Greek god of medicine, the personification of the Divine Healer or miracle working
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Unbending rage of a Titan 
Hail his skilful manoeuvres 
To spare vibrant plants 
Bounded by militant worms 
Hygeia21 voices sanitary
physician. Greek mythology presents Asclepius as the first product of Caesarean 
section. Through an act of medical intervention, Apollo cut open the womb of 
Coronis and freed the baby Asclepius from his mother's womb as the god punished 
the mother with death on a funeral pyre. Subsequently, Asclepius learnt the art of 
healing from a centaur, Chiron, who was assigned to raise him up. Besides, Asclepius 
practised healing through use of the art of divination, obtaining responses from 
Apollo through oracles. Asclepius became a great physician and surgeon and was 
credited with attainments of landmarks in ancient Greek medicine. Practice of 
medicine and religion in his instance went hand in hand since Asclepius obtained his 
knowledge of drugs, herbs and the nature of many things, with which he treated 
diseases, from auguries. He passed on his knowledge to his sons and students whom 
he had in his apprenticeship. The symbol of a staff with a serpent coiled around it in 
medicine today is reminiscent of the attribute of Asclepius who was often depicted 
as standing, dressed in a long mantle and with bare chest.
21 Hygeia. In Greek mythology, Hygeia was a daughter and attendant of Asclepius 
her father; the goddess to whom was attributed good health, sanitation and 
hygiene. Her office of welfare and prevention of disease which worked in 
conjunction with 'Panacea' (remedy) and 'laso' (recuperation from illness), her 
sisters, was an indication of the close relationship between cleanliness and health in 
ancient times. Hygeia, along with Asclepius and Panacea are specifically mentioned 
in the age-old Oath of Hippocrates that calls on all the gods and the goddesses to 
witness regarding a doctor's displaying proper conducts and faithfully fulfilling his 
medidal obligations. 'Salus', the corresponding Roman name of the goddess, has the
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As sanity for Panacea 22 
At no cost of a journey 
To Epidaurus’23 sanctuary 
Hippocrates comes from Cos 
With oath learnt by heart 
To break mystery’s fetters 
Asclepius temple endures 
Beheld by leisure travellers 
Still standing monument 
To the quest for respite 
Now resident in capsules 
Epics of the past
English derivative, 'salubrious' or ‘salutary*; words that point to healthy, health­
giving or healthful condition.
22 Panacea. See footnote 24.
23 Epidaurus. The presence of a sanctuary dedicated to Asclepius the god of 
medicine brought the ancient Greek city-state, Epidaurus, into limelight. Epidaurus 
became highly so famed as a healing centre that the Romans after coming in contact 
with the Greek world imported a statue of Asclepius as well as one of his sacred 
snakes that had been tamed to their territory and built a temple to the god of 
medicine. The practice of medicine at Epidaurus was a mix of the paranormal and 
science as evidenced by surgeons' utilising scientific skills and interpretation of 
dreams in treatment. The temples and hospital buildings devoted to the Epidaurean 
deities remain until now monuments to the healing cults that persisted in the 
Greco-Roman world. Today, as a tourist centre, the site of the ancient Greek 
sanctuary, its architectural edifices .as well as cultural and archaeological park 
receive hundreds of thousands of visitors each year.
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Forlorn hope 
Unending hunt
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12. The Race To Win
Who doesn’t know Philippides? 24 
Who never heard his story?
The strides, his strength 
Obdurate will growing inside 
Deterred by no daredevil 
Stoic Polynices and Eteocles25 
Setting eyes to mutual destruction 
Glow, spirit of fire 
shine on! Shine on!
Leave Marathon26 at once
24 Philippides was reportedly the great-news bearer in 490 BC, who covered the 
distance of about 26 miles (in about 3 hours) by running to deliver at Athens the 
message of Athenian significant victory over the Persians at Marathon. He died after 
saying: 'Nev iki'ikcihev ' ('Nenikikamen': We have won). Philippides is believed to have 
performed his first athletic feat at the time when Athens wanted Sparta's help in 
the former's impending encounter with the Persians at Marathon. Miltiades, an 
Athenian general, sent a professional runner (understood to be Philippides) to make 
a 140-mile run to Sparta to solicit for assistance in executing the war. After making 
the trip in about 36 hours, the trained runner needed to run another 140 miles to 
Athens to inform the Athenian generals that the Spartans, regrettably, for religious 
reasons could not provide the much desired support (Herodotus, The Persian Wars, 
VI, 106). The will power and endurance that were attributed to Philippides, 
especially in the heroic race from Marathon to Athens, constitute the spirit behind 
the modern Marathon sporting event.
25 Polynices and Etiocles. See endnote 48 above
26 Marathon. See footnote 27
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With glorious victory news 
Ever fresh in comely heart 
Run the race to win 
In competition with none 
With message so dear 
Utter no greetings on the way 
Look neither to left nor right 
Give your eyes to nothing vain 
Submit to no lure of canaries 
Fight urges for pleasure 
Defy games of treachery 
With heroic tenacity 
Hold the glowing touch 
Kept fervently burning 
Then, at Athens, the ultimate 
Spurt out tidings not quantified 
Engraved on a golden tablet 
The deed is done, die fulfilled
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Part 2
LEADERSHIP WOES
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13. Lordship of Omens
Tens of ships battle ready 
Hoplites27 in thousands march 
Young men eager for gains 
Vote in unison for Syracuse 
With spurs of Sicilian mines 
Three officers, three schemes 
With all arsenals to unleash 
Surmounted mountains and 
Rivers, wild roars not deter 
Falcons flap in frightful flight 
No more an aviation delight 
Illustrious Generals shiver 
Troops march with trembling 
Caught in frozen frenzy 
Is it a terror of a humbling? 
Gazing at the strange moon 
Commander peers at Dis-aster 28 
Nicias in freezing confusion 
Stratagem beckons
27 Hoplites were the Greek soldiers with heavier armours who, by 8th century BCE, 
fought in close formation and gave foot soldiers stronger protection.
28 Dis-aster. Dis- is a Latin prefix that expresses negation. In the English language 
word disaster, it combines with astrum (Latin) to convey an astrological or augural 
meaning of imminent misfortune; rendered 'bad star'. '0153516? is now generally 
used without astrological connotation to express a great loss or catastrophe.
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But augury censures 
Catastrophe looms 
At Sicily29
Soldiers become immobile 
Singing victory in mono tone 
At the spectacle of scientific portent 
Spirit of Triumph succumbs 
Valor vanishes from brave hearts 
In wait for blood and deaths 
Munitions enjoy all leisure and 
Mediterranean knows it well 
The doom of revered army and navy 
Finally, without glory, they bow 
In total submission 
To the Lordship of Omens
29 Sicily. By 750 BC, Phoenician and Greek colonies occupied this expansive island in 
the Mediterranean Sea. Sicily was the scene of the Greek-Punic wars (First: 480BCE, 
Second: 410BCE) as well as the wars between the Romans and the Carthaginians 
(264 BCE and 146 BCE). Of particular interest was Athens' aggression when she 
embarked on the great expedition against Sicily between 415-413. This turned out 
to be the worst misadventure in Athenian history. According to Plutarch (Life of 
Nicias, 23), the sudden appearance of the moon eclipse caused superstitious fear in 
the Athenian General, Nicias, and resulted in demobilisation that led to the greatest 
casualty. This is a historical instance of how a superstitious leader can ruin blind 
follo4wers.
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14. Civil Predators
Singing, drumming 
Chuckling, giggling 
Dangling hope with dance 
Before the faithful hopeless
See the vultures!
With mosaic of crafted truths 
Waving land mine manifestoes 
Visioning of ills by bulging eyes
Our gold, diamond,
Uranium, acacias and mahogany
Joyful gladiators
Make Epicurean30 pot bellies
Eyes glued to scenes of horror 
Of constant clashing arms 
Roman games at the arena31
30 Epicurean. This an individual who subscribes to the philosophy of Epicurus who 
saw the greatest good in human life as happiness that is attainable through pleasure
seeking.
31 Roman games. The games refer to violent gladiatorial shows which the Romans 
used supposedly to reenact or relieve vicious war experiences, even in times of 
peace. With gory scenes at the theatre, the Romans through their entertainment 
depicted the vicious human nature that'manifested in the Romans' treatment of 
captives and political opponents.
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Blameless ears filled with tinnitus
A trophy for the victor 
No odes from Italian farmers’32 
As fields of toils lay bare 
Alas, Hannibal ad portas!33
Pillagers finish the meat 
Lick the pot with big tongues
32 The Italian farmers. The enlistment of many Roman civilians for the Hannibalic 
War as well as other second century Roman conquests greatly diminished the 
agricultural workforce, especially in small farms. The peasants fell into debts, 
became impoverished and were subsequently compelled to sell or abandon their 
lands. The exploitative upper class, having merged together and turned the lands 
into latifundia (large farm estates), ploughed the wealth from war spoils into them. 
The unemployment among poor farmers was made worse by the influx of captive 
slaves who provided cheap labour on the farms.
33 Hannibal ad portas. In the Hannibalic War, also known as the Second Punic War, 
Rome got what she least expected from Hannibal. The Carthaginian general struck 
terror in the hearts of the inhabitants of southern Italy and caused incessant panic 
in many homes at Rome. Hannibal being full of surprises became so elusive that his 
defeat was not as easy as the Romans had anticipated and the psychological impact 
of his presence in Italy remained indelible in the minds of the Romans for 
generations. Hannibal instilled so much fear in the heart of the Romans that Roman 
parents would use the Latin expression, 'Hannibal ad portas' (Hannibal is at the 
door) to bring their erring children back to their senses.
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Innocent tummy rumbles all night 
In all-night measuring of roofs
Who frees pitiful souls from 
Immortalised metrical lines 
Sung by bards for generations? 
Ubiquitous epigraphs of distress
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15. Plea for Panacea34
the war you saw 
says thoughts must be fought 
while vessels are at shore 
Ares34 5 plans not yet wrought 
anger do bend, lest it rends, 
arrays of men 
whose blood became flood 
gratify the thirsty gods! 
frenzy story urging to Troy36 
pride, ambition, driving wild 
pushing aside intentions wise - 
and they rise in thousands 
blind to everything but right 
tell, please, who desires streams 
of fluid rippling and chilling? 
sanguis37, not of altar lambs 
of mortals with hot affection
34 Panacea. See footnote 24
35 Ares, known in Greek mythology as the god of war, is well known for his 
uncontrolled anger, aggressiveness and undying thirst for war.
36 Troy. See footnote 50
37 Sanguis. This is the Latin word for blood. Here, the form is either nominative or 
vocative case, while the genitive singular form is 'sanguinis'. When 'is' of the 
genitive ending is removed, what remains is 'sanguin'; the combining form for 
wofds such as 'sanguine', 'sanguinary' then becomes obvious.
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myriads forward marching 
under the shield of Nemesis38 
if only they part at Aulis 
all may know no misery 
but tunes of bliss 
someone must ask 
whose delight 
is Rwanda’s plight 
tearing brothers asunder 
and glorifying blunder 
quickly offer up hubris 
hurry to ease grief
Nemesis in Greek mythology is the goddess that personifies indignation against 
evil deeds and retributions when fortune favours a person who does merit it. 
Nemesis as the goddess of vengeance represents the feeling of resentment that 
surfaces when crimes that are committed seem to go unpunished or the fortune 
acquired is viewed as excessive or undeserved. Nemesis determines the measure of 
happiness and unhappiness humans get, striking the equilibrium and making sure 
neither is in excess. Hence, she is seen 'balancing' joy with sorrow, bringing losses 
and suffering amidst surplus, denoting prosperity.
d
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16. The Few Win
Shareholders of filth 
Bask in the strength of vile 
Boast that they are sly 
Pride in ambitus39 
Saddled with largitiones40 
Sage night flyers 
Bats, blind with gifts 
Breed loathsome brags 
Stride on with taunts 
To tame roaring crowds 
Hail deafening lyrics 
To assemble forces 
In the mame of Sword 
The few pronounce justice
39 Ambitus in ancient Roman law refers to an electoral corruption, a crime which 
involved a candidate using bribery or other unethical means to make the outcome 
of an election favour him.
40 Largitiones, the plural of the word largitio, is used for the various forms that 
electoral bribery may take in ancient Rome. As part of the attempt to influence 
electoral results, politicians resorted to distribution of dole and various expressions 
of generosity, particularly by the time of election.
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17. SANA MENS41
Dear disciple of Hippocrates41 2 
Novel and darling snow 
Enviable are your robes 
With Olympian wreath glory 
Le Professeur beseeches Apollo43 
Calling Asclepius44, next, Hygeia45,
41 Sana mens. The Latin phrase, 'sana mens in corpore sano', is usually rendered 'a 
sound mind in a sound body' or 'a healthy mind in a healthy body'. This suggests 
that physical wellness is not just the end of seeking good health. It could also be 
understood that 'sana mens', 'a sound mind', is a desirable outcome of a physical 
well-being; hence, in the treatment of the body respect should be shown for 
principles that are amiable to the mind. Otherwise, a sound body may not have a 
sound mind.
42 Hippocrates, born on the island of Cos, off the southwest coast of Asia Minor, is 
generally believed to be the founder of medicine as a rational science. He is 
credited with the departure of medical science from the magic, superstition and the 
supernatural. Although his approach to medicine initially had several serious flaws, 
he however advocated a rather more objective diagnosis of the patient to ensure an 
accurate assessment ailment place the treatment on a sound footing. Hippocratic 
Oath represents a physician as an individual who is sworn to employing all the 
knowledge of his calling, not only to serve and save, but to keep the dignity of his 
patient intact in the course of doing these.
43 Apollo, the multifaceted Greek god is known as the god of medicine and healing. 
See footnote 21
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Then Panacea4 56, all to witness 
Thy hand, raised to the sky 
Of gusto to save the worthless 
The vow to provide refuge and 
Harm none called mendicant47 
So, now, plunge in a dagger 
Dislodge a nagging mass 
And it is no cause to shiver 
Neither thy desire for pecunia48
44 Asclepius is the son of Apollo, the god of many sanctuaries many ancient Greeks. 
See footnote 23
45 Hygeia. See footnote 24
46 Panacea. See footnote 24
47 Medicant. The present participle of the Latin word, mendico (to beg or to ask for 
alms) is mendicans. The word is the root of the English word, 'mendicant'. 
'Mendicant' could be used to designate a member of a religious order who by 
choice leads a life of self-deprivation or austerity. However, the mien of a person 
who solely relies on begging or on charitable gifts for a living may sometimes 
illustrate the level of self-esteem of a patient who is desperate for a cure when 
appearing before a doctor.
48 Pecunia is generally translated as money; but when consulting a doctor, as is 
intended here, the word may also convey the sense of property, opulence or 
abundance of material possessions. Practice of medicine by an individual could 
sometimes be driven by the desire for any of these or simply result in them. Even 
when this is the situation, it may not raise any issue when no medical ethics are 
compromised
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But take your oath again 
With this corpus outstretched 
Before your scalpel plunges in 
Pledge not to violate 
Nor defile the soul you slice 
Muse over sana mens ryhme 
Leave the laurels unsoiled 
Honours not diminished by venoms 
Issuing forth from connubial crisis 
Nay, a drum beaten by hubris49 
Obstruct the spewing 
Oozing from immaculate iatros50 *
49 Hubris in modern usage is often associated with arrogance or a lack of humility. It 
is also used to designate rash behaviour stemming from pride or presumptuousness 
and insolence that belies lack of good judgment. In Greek mythology, such conduct 
is often portrayed as intended at disparaging the gods or humans. Retributions 
usually follow. Hubris in Greek tragedy is often the major flaw in the heroes who 
tend to see themselves as superior to every other person, including immortals. This 
is reflected in the way they perceive and handle matters at crucial points. With the 
inflated, super arrogance that obscures virtues in them, they unwittingly set the 
stage for the precipitous downfall that elicits emotion of pity. Therein lies the 
tragedy.
50 Iatros. The Greek word means 'healer' or 'physician', 'latro-', its combining form 
may bring to mind an English derivative, 'iatrogenic', which relates to sickness that 
results from medical examination or how a doctor manages a patient. Another 
combining form of 'iatros' is '-iatric' which functions as a suffix.
4
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Your guest come for hospitium51 
Banish vituperata52 
Gaze at me in faith 
Keep promise safe in loyal heart
51 Hospitium. The meaning of the Latin word 'hospitium' goes beyond what its 
derivative, 'hospital' means. It implies understanding the right and responsibility of 
a patient and a healthcare worker respectively at a hospital. Display of hospitality 
was believed to be a divine obligation in the Greco-Roman world; hence, providing 
good reception from a stranger was commonly viewed as a form of piety. A guest 
usually enjoyed meals at the expense of-the host under whose protection he had 
come and may further enjoy the generosity of the host who may eagerly present 
him with gifts at his departure. When a host fulfilled his duty toward the guest, he 
expected divine blessings. When he did not, he expected dire wrath or worse 
punishment if he maltreated him. Interestingly, the English word 'patient' is from 
the Latin word 'patior' which means 'I suffer' 'I endure'. Therefore, when a patient 
who suffers some afflictions or infirmities visits a doctor or a healthcare provider, 
the roots of 'hospital' and 'patient' should evoke the thought of being at a place to 
receive kind and warm treatment. Nurses as healthcare providers are specially 
trained to meet these needs.
52 Vituperata. This is the accusative neuter plural of the Latin word 'vitupero': 'I
censure' 'I scold', 'tell off', 'blame' 'I disparage', 'find fault with'. The English
derivative of the word is 'vituperate', which means verbal use of strong or violent
expressions to blame or insult someone. This may regrettably be the lot of a patient
seeing a superb doctor (perhaps, 'superbus', the Latin word for 'proud' or 'arrogant'
is intended) who chastises lambastes, reprimands, castigates, scolds or resorts to
any other use of words that may demean the patient, extinguishing self-esteem. The
irony today is that patients are often exposed to 'vituperata' when they deserve
'hospit*ium'.
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And I shall return home 
Whole worth untouched
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18. Martial Festival53
puh! puh! pah! pah!
it is their leisure again
idle boys, no prophecy to fulfill
defeating the law of humanity
subject all to inhumanity
puh! puh! pah! pah!
their memories spring back
to the festival of extravagancy
of blood of the innocent
puh! puh! pah! pah!
participants are dancing
with absolute vigour
keen spectators are content
silence is ordained as a new priest
puh! puh! pah! pah!
what hot affection of adherents
eaten up by zeal!
to set sail with Iphigenia53 4 blood
53 Martial Festival. Martial is derived from the genitive of the Latin Mars (Martis). 
Mars is the Roman God of war and the expression, martial festival, evokes the 
incessant military coups, civil wars as well as bloody factional strives in Africa.
54 Iphigenia. According to Greek mythology, at Aulis, the Greeks could not obtain a 
favourable wind to set sail to Troy during the Trojan War. Calchas the seer on being 
consulted identified the cause of the Greeks' plight as Agamemnon's provoking the 
goddess Artemis when he killed a sacred deer. The goddess decided to stop all 
winds and the seer told Agamemnon that he would have to sacrifice his daughter,
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see the participants descending
in tens, in hundreds, in thousands
returning to the dust
puh! puh! pah! pah!
oh, what a spillage, in this age!
two rams lock horns,
two elephants enter a duel,
who consoles the grass?
puh! pah!
the festival is ending
the high priest says a blessing
promising peace, prosperity
for all eternally
but do not say I told you
martial festival comes at leisure!
Iphigenia, to appease the goddess. After initial reluctance, Agamemnon employed 
deceit to bring Iphigenia to Aulis, telling her and Clytemnestra his wife that 
Iphigenia was to marry Achilles before the departure to Troy. Confronted with the 
truth at Aulis, Iphigenia unreservedly considered it a path of honour to volunteer 
herself for the sacrifice. The myth has it that Artemis at the very point of sacrifice, 
substituted Iphigenia with a calf and transferred Agamemnon's daughter to Tauris 
where she was compelled to spend the rest of her life as a priestess of Artemis. 
Afterwards, the Greeks got the right wind to set sail to the bloody Trojan War. 
However, sacrifices could be made to avert wars rather than pursuing it.
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19. Oil
Oil, Oil, Oil 
Who lifts our oil?
Who sells our oil?
Who buys our oil?
What fouls our soil?
If Jugurtha55 is a prophet 
To the first bidder it goes 
Game of fathomless sleaze 
Leisure of the nation’s fathers 
Patriots with plastic skins 
Offer up Justitia56 at once
55 Jugurtha was an ancient North African prince who came in close interaction with 
the Roman soldiers when he served under Gaius Marius at the siege of Numantia 
between 134-133 BC. During this time and subsequently during the Jugurthine War 
of 112-106 BC, he became so much aware of the Romans' susceptibility to bribery 
that he described Rome as 'urbem venalem et mature perituram, si emptorem 
invenerit' ('a city put up for sale and ready for destruction, if it finds a buyer', 
Sallust, Jug. 35.10). Interestingly, corruption was particularly rife in the Roman 
senate in the last century of the Republic and always ranks high among the factors 
that contributed to the collapse of the republic. Under-development in present 
times is still frequently blamed on political corruption in.
56 Justitia is the Roman goddess of Justice (Themis is her Greek equivalent 
goddess). She is depicted as blindfolded, carrying a balance in her left hand and a 
double-edged sword in her right hand. This posture symbolises her impartial power 
of Reason and Justice. Sometimes, her wearing a blindfold is used to depict
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On the altar of Avarice 
Cold and zealous procurators 
Teaming up with Publicani57 
Voracious Vultures full of life 
Scatter with chicken feet 
Hastily devouring the estates 
Of forsaken am ha-’a'rets,58 
Pillaging and fanning wails 
Night, day, saving bloody tears 
In the delta of Niger, and soon 
The session hastily ends 
Choirs sing filthy melodies 
Priests pray in soiled garments
objectivity as she renders justice on no account with fear or favour. In parts of the 
world, the cry for justitia persists amidst the interfering Jugurthine influence.
57 Publicani. Roman firms of publicani got the contract of collecting taxes from the 
state. The tax collectors made an investment by paying the state a fixed amount as 
up front and sought to make profit from the taxes they would collect from the 
provinces. Since procurators (governors) could take money from the publicani in 
carrying out provincial administration, they had the record of taking bribes and then 
turning blind eye when the publicani exploited the provincials. The publicani, 
seemed to have a free rein since, unlike the senators, they could not be prosecuted 
in the extortion court.
58 Am ha»'a'rets. While the Hebrew expression may simply mean 'the people of the 
Land' or 'the general citizenry', it is used as an expression of disdain for lowly, poor 
people who were not learned in the Law or who did not live by the rabbinic man­
made traditions (Mt 15:1, 2; John 7:49).
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Plunderers reverently close one eye 
Keep vigil over loot with the other 
Solemnity ends abruptly 
Amen! Amen! Amen!
Session for booty is over 
But miserable worshipers linger 
And service song continues 
Oil, Oil, Oil,
Greed lifts our oil 
Oil, Oil, Oil,
Sleaze sells our oil 
Oil, Oil, Oil,
Vulture buys our oil 
Oil, Oil, Oil,
Venal is our soil
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20. The City of Gloom
Dogs do not bark 
Tails droop 
The furs asleep 
Lizards resent motion 
Heads remain stiff 
Birds deny songs 
Wings cease to flap 
Air still, wind lifeless 
No spirit in men 
And I want to cry 
But my eyes are dry 
Trees cease to dance 
Leaves extol gloom 
Sun hides her fresh face 
Loathing joyful duty 
Ashes are sprinkled 
I want to cry 
But my eyes are dry 
It is a gory tale 
Of a living dead city 
District of Dark Ages59
59 Dark Ages. Also known as the Homeric Age, usually dated between c.ll00-c.800 
BC, Dark Ages is typically viewed as 'dark' in the sense that very little is known about 
it. The period was generally characterised by illiteracy, the fall of the centres of 
power, continuous petty warfare and migrations of tribes. However, oral epic 
poetry that events of the time was composed, recited and transmitted by illiterate
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Where Hitler reigns
Behind sinister shades
I want to cry
But my eyes are dry
The loyal traitors
Pay visits like bats
Return with crafty sacks
Breaking news news of justice
Written in another ink
Published by a novel author
Sharers of pot of villainy
Pledge allegiance of Esau
I want to cry
But my eyes are dry
but professional bards. The poem alludes to the atmosphere of the military regime 
in Nigeria from 1993 -1998.
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21. They have crossed the Rubicon60
they damn the price 
the loathsome loafers 
the Yoruba Demon60 1
60 Crossed the Rubicon. Julius Caesar was born into a society with keen spirit of 
political competition among the nobles. With unrestrained political determination, 
by 59 BC, he had maneuvered his way to the position of consul of Rome. As 
governor of Gaul, he did not only exhibit outstanding military skills in subduing the 
native Celtic and Germanic tribes but also got the opportunity to amass wealth. 
However, his rising political profile among the people in no time began to constitute 
a threat to the Senate's authority and to Pompey who were in control of Rome. 
Hence, Caesar was ordered by the Senate to resign as army general and disband his 
soldiers or otherwise be declared an 'Enemy of the State'. Since Caesar was not 
willing to comply, he positioned him against Pompey who was assigned to enforce 
the edict. A civil war became imminent. In January 49 BC, while in the northern 
Italian city of Ravenna, Caesar was confronted with either yielding to the Senate's 
command or moving southward to face Pompey and begin a brutal civil war. Even 
when doing so was a treasonable offence, Caesar settled for the latter option after a 
moment of indecision, and crossed the Rubicon River. Thus, 'Crossing the Rubicon' 
is now a modern equivalent of 'passing the point of no return', a point when 
decision is deemed irreversible.
61 Yoruba demon. The term, which came into use around the year 2015, is used to 
describe young men from South-Western Nigeria who are in the habit of breaking 
hearts of ladies. In the contemporary society, such men, often with the appearance 
of opulence and also known as masters at deception, they are purported to be 
ritualists who use intercourse with young ladies as means of consolidating their 
wealth. This expression may simply be understood as a playboy of Yoruba origin.
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basking in overnight opulence 
sealed deals with blood 
from fresh skulls of 
babies, maidens, mothers, 
paterfamilias disappear 
they summon a feast 
after crossing the Rubicon 
flies feed fat
their white agbadas62 overflow 
praise singers drum 
For the deaf 
with blind open eyes 
honey is the song of Sirens63 
so the lyrics of Thanatos64
52 Agbadas here refer to Yoruba traditional garments symbolising high social status.
63 Sirens. The hero of Homer's Odyssey, Odysseus, when setting sail towards the 
island of the charming Sirens, heeds Circe's earlier counsel to plug his men's ears 
with beeswax while he himself is bound to the mast of the ship to prevent any of 
them being lured away by the seductive song of the Sirens. Odysseus, who alone 
listens to the alluring song on getting to the island, finds the song so appealing that 
he begs his comrades to set him free from the fetters in order to head for the 
source of the flowing song. However, the loyal comrades rather bind him more 
securely.
64 Thanatos. In ancient Greek mythology, Thanatos is the son of Nyx (night) and 
Erebos (darkness). He has a twin brother, Hypnos (sleep). The picture of gloom and 
silence that the family tree epitomises is complete with Thanatos (Death). Similar to
d
other family members whose names represent their roles, Thanatos is the
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no wax congeals delight 
a sanguinary covenant sealed 
after crossing the Rubicon 
with insatiable demons 
with rabid principalities 
hope burns like a candle in the wind 
manicured fingers 
bread palms
gluttons of overnight opulence 
gallop to meet doomsday 
after crossing the Rubicon
personification of death. Interestingly, in psychoanalysis, Sigmund Freud has chosen 
the name in advancing the theory that every human has a death instinct or drive.
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22. Lactating Africa
Darling Africa, the granary 
In Joseph's world of famine 
Shelter to the merchant Punics65 
When Campania66 failed
65 Punics is from the Latin word, 'punicus'; 'punici' in plural. The ancient Romans 
would call the Carthaginians by this name. Sometime around 813 BCE, the Punic 
descendants of the Phoenicians founded the city of Carthage in the area that is now 
known as Tunisia in North Africa and maintained the maritime tradition of their 
ancestors in the region. Their presence in North Africa increased when, after the 
fall of the Phoenician city of Tyre to Alexander the Great in 332 BCE, rich Tyrians fled 
to Carthage with their wealth and used considerable means to turn Carthage into 
the new centre of Phoenician trade. The Carthaginians displaced the native Africans, 
enslaved many of them and made others to pay tributes. The Punics had 
established a flourishing sea trade and produced a mercantile society; rising from a 
small port on the coast that was a stop-over for Phoenician traders to re-supply or 
repair their ships to a most powerful city in the Mediterranean that incited Rome to 
fear and jealousy.
66 Campania. The First Samnite War resulted in the Roman acquisition of the rich 
land of Campania, a region in southern Italy, with its capital at Capua. The Romans 
rose in defence of the Capuans against the aggression of the Samnites who coveted 
fertile Campania. In classical antiquity, it is noteworthy that Rome had to turn to 
other parts of Italy to meet the need for grain supply since this could not be met by 
the countryside regions. Therefore, Rome was actually securing a notable source of 
grain supply when she established a colony at Gales in Campania supposedly to 
protect the Capuans. By the first century CE, however, North Africa became chief 
sourpe of Rome's grain supply.
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You were much celebrated 
As breadbasket to the Quirites67 
Home to Roman veterans68 . 
Your blood inundates the West 
Acres of money plantations 
The sweats of your fingers nuture 
Your soil's honey ever flows 
Your daily lactating breasts
Quirites. The singular form of the word, ‘Quiris' is rendered 'the inhabitant of 
Cures', the capital of the Sabines('Quiris' also means 'spear'). Quirites was used as a 
name for the civic populace of ancient Rome, especially in early times, and may also 
be used for men devoid of class or rank.
68 Veterans. Roman expansion into North Africa started in an atmosphere of uneasy 
relationship between two super powers along the Mediterranean, Rome and 
Carthage. The jealousy and the unhealthy rivalry that existed between them 
culminated in a series of three wars known as Punic Wars which began by 264 BCE. 
At the end of the wars in 146 BCE when Carthage was destroyed, Rome became the 
undisputed master of the world and took" over control of Carthaginian territories in 
Spain and established its first African colony, Africa Vetus, in the most fertile part of 
what was formerly Carthaginian African territory. Although the remaining territory 
of Africa was left under the Numidian client King Massinissa, the freedom of rule of 
his successors began its final journey to the end after the Jugurthine War in 106 
BCE. Upon the death of Jugurtha, much of his African territory was placed under the 
control of King Bocchus of Mauritanian, a Roman client. Roman foothold in Africa 
was made stronger when at the same time Rome gave land to the veterans of 
Marius1 Legions, settling them along the Numidian territory. Thus, a solid foundation 
was laid for the Romanization of the Africa that was to become the granary of the 
Roman Empire, paving way for colonialisation.
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Clung to by teeming mouths 
From the orient to the Occident 
Now, they shed tears for thy wards 
Barely propped by lean frames 
Despair engraved on their foreheads 
Your eyes fatally sunken in 
'Any more milk to drink?'
Your master keeps asking
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23. Demagogues69
They sit at tables 
Meditating gleefully 
Hatching brazen lies 
For exhausted ears 
O, shame affects me 
Pity affects me 
Sheep nudge their legs 
Yet, their hearty laughter
Demagogues. Demagogue, as a term, is a fusion of two Greek words, 'demos', 
the people, and 'agogos', leader. The concept originated from ancient Athens, the 
cradle of Democracy. Historically, demagogues have been described as people who 
undermine the existence and stability of democracy which they claim to champion 
its interest. They do this by turning the people among whom they have gained 
popularity against each other. At Athens, the demagogue was perceived not just a 
leader of people, but as a leader who led by using bullying, coaxing and rhetorical 
appeal to emotion to gain power. Later, the term came to have a pejorative 
meaning representing deceptive populist who secures trust, particularly among the 
lower classes, and ends up misleading them. It is in this light Aristotle portrays a 
certain tanner, Cleon, who rose to a position of leadership at Athens: 'He was the 
first who shouted on the public platform, who used abusive language and who 
spoke with his cloak girt around him, while all the others used to speak in proper 
dress and manner'(Ath. Pol. 28.3). In the context of the poem, demagogues might 
be seen as individuals who in their desperate quest for power turn to the base court 
of the people and consequently use the power obtained to tyrannically exploit the 
people. The description is apt for the political class who make empty promises to 
the electorate.
d
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Increases with flowing tears 
Kingly rabble-rousers 
Looking the crowd in the eye 
They swear by the Olympians 
Men of scarce culture 
Best at Trump-ups 
With no insignia of value 
The fat ones of Bashan70 
Offer no balsam for wounds 
Yet, pretty well we know 
Tomorrow shall come 
Breeze shall bare pudenda71 
O, Shame affects me 
Pity affects me...
70 Bashan. Here is an allusion to some Biblical references to Bashan. This region in 
ancient times was well-known for its extensive fine pasture-land and throve in 
powerful young bulls and other livestock, such as sheep and goats. Due to its 
fertility, grain was produced in abundance and it became known as a source of rich 
supply of milk and butter; a veritable breadbasket (Jeremiah 50:19; Micah 7:14; 1 
Kings 4:7,13; Psalm 22:12).
71 Pudenda. The singular form of the word is pudendum. While 'pudenda' is used to 
refer to the external genital organs, the derivative form of the Latin word, 'pudere' 
means to be ashamed. Hence, 'pudenda' may represent objects of shame or 
anything reproachful. The aphorism, 'afefe ti fe, ati ri furo adiye' in Yoruba, 
translated in English as 'the wind has blown and the anus of a chicken is now 
exposed', apparently captures a similar sense.
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24. WOE- MAN
why so enthralled by 
rose in pink Helen72 
nesting in thorns? 
honeycomb mouth drips 
belly filled with wormwood 
dicey charming cleavages 
wily step by step with 
winsome suppliant eyes 
churning innocent pleas 
writhing, the twisting snake 
wine, red in the face 
making appeal to Paris 
in dire wants of heart 
artfully ravages the soul 
sorely drives sleep away 
from eyes of the Greeks 
brings Troy to naught 
wo[e to the ]man!
7‘ Helen. The extraordinarily beautiful ancient Greek woman, Helen, is usually 
portrayed as a good looking woman who dresses attractively. While one myth has it 
that she was abducted to Troy by Paris who was captivated by her beauty, another 
myth has it that she is a fickle minded woman who was persuaded by Paris to 
abandon her matrimonial home, including her nine-year old daughter. This act 
enraged Menelaus her husband who summoned all the Greeks to the legendary 
Trojan War that drenched the earth with the blood of many heroes. In 
contemporary society, amorous, or extramarital relations are formed and marriages 
broken for the slightest of reasons.
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25. Painful Days
Grandma
longing for yesterday
contending with solitude
as trembling hands
break melon shells
with long stick in hand
she herds goats to a spot
she dishes out portions
calling in vain to wards
son comes blaming lapses
out he goes, new orders gives
then, madam arrives
pity mama the more
nothing she ever does well
what can the white hair really-do?
a fact she silently accepts
however strong her wishes
gone are the days
when she mapped the way
yet, the truth she knows
they beg for her days
what they are she was
what she is they shall be
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Part 3
Time and Tide
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26. Year Cycle
The Italian Janus73 
Arrives with heavy keys to 
Gates, Doors and Beginnings 
Foremost Guardian of homes 
Poises this way, turns that way 
Caesar sets the cornerstones74 
Barbarians75 revel in your honour 
Waving bye-bye to woes and
73 Italian Janus. Janus was the Roman god after whom the month of January was 
named. The god was associated with beginnings and endings as well as with gates 
and doors having two sides. With this appearance, it was reasoned that a phase of 
life must end before another begins; no middle ground. Janus similarly had two 
faces: the one looking backward depicted his leaving behind the events of the past 
year, while with the face looking forward he envisions a prosperous year. The 
beginning of the day, month, and year were believed to be sacred to him, hence, it 
became a time of making out gifts and expressing wishes of good fortune for the 
year ahead.
74 Caesar sets the cornerstones. Julius Caesar in 46 BCE, with the introduction of the 
Julian calendar, established January 1 as the New Year in the Roman world.
75 Barbarians. The New Year festival that lasted for three days in spheres of Roman 
influence was an occasion for slaves and masters to temporarily set aside their 
social differences and dine together. As they laid aside societal discriminatory rules, 
individuals of various social backgrounds could then do they pleased by engaging in 
licentiousness. Similar activities of modern New Year celebrations are testimonies to 
how far reaching the spirit has become.
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With fervent imploring eyes 
Beseech you for tomorrow 
O bumper, copious harvest 
Fortuna76 is filled to the brim 
Dim light commands, booze 
Men and women cross the Tiber77 
Young and old in cross-over 
Flashing the sky with sparks 
Pious recount of endless joys 
Triumphant, refuting misery 
Binging befriends Boozing 
Summon hazy swollen eyes 
License is at Festival’s door
Fortuna. Fortuna was the goddess of fortune and epitome of either good or bad 
luck in Roman religion. It was believed that, similar to that of her father, Jupiter, her 
office catered for the Romans who desired bountiful harvest during the New Year. 
Hence, the people supplicated her for protection of their grain supplies. However, in 
their expectations, the believers also took cognizance of the uncertainty the 
goddess foreboded as a symbol of the life changes that constantly alternated 
between success and calamity.
77 Cross the Tiber. This expression is used to refer to what happened during the 
festival in honour of Anna Perenna (the Roman goddess of long life and 
regeneration, health and abundance), which held on the first day of the year (then, 
March was regarded the first month of the year). Both men and women engaged in 
profligate activity and there was that practice of crossing the Tiber River and going 
abroad to a place such as Etruria in order to picnic in makeshift shelters. This 
offered opportunities for indulging in gluttonous consumption of alcohol after 
which inebriated Romans groped their way back home.
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Bacchus78 leads Great Merry 
Journey back home begins 
Lamps here, wreaths there 
Hardly the city gate closes 
Mothers raise sad lullabies 
Mixed with smokes of requiem 
Janus turns his back again 
Devotees, back to toils, moan 
Pitiable with imploring gazes 
Long for the coming of the First 
It staggers the tender mind 
Why Janus with hopes always goes 
And leaves behind painful throes
7S. Bacchus was the Roman god of wine, merrymaking or revelry. Ancient Greeks 
knew him by the name Dionysius. The festival of Bacchanalia that was held in his 
honor often led to debauchery and was a harbinger of all forms of crimes and 
political disturbances in Italy. Bacchanalia, (see footnote 92) the festivals of the 
Greco-Roman god were known as Bacchanalia. The events, also called Dionysia, 
were occasions for Roman, licentiousness and intoxication. In 186 BC, the festivals 
became so ill-famed for orgies that the Roman Senate outlawed the Bacchanalia in 
the whole of Italy.
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27. Time, P-l-e-a-s-e, Come!
Time
Come
Run do not walk 
Mountains are crumbling 
Trees are shivering 
Masquerades are threatening 
It’s getting too late 
For the melting spirit 
Fly, fly, and do fly 
Mount with eagle's wings 
Bring to me my Blue Eye 
Fulfill my undying longings 
Book no other appointment 
Enter quickly unannounced 
See no other agent of relief 
Time, Come now and with you 
Invaluable soothing oil 
Ease my slender gentle heart 
Remember, never come alone 
I beg thee, P-l-e-a-s-e 
Come with my Blue Eye 
Before Hope becomes edgy 
And disengage from fortitude 
Come, come, come 
P-l-e-a-s-e
I am waiting too long
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28. When the wind blows
When by the wind a dry leaf is borne 
Up and up it goes like a kite 
Lo! Wings of a bird it does not have 
To the law of force it is sure to bow 
Brief indeed the story goes 
Bound to come is the villain's end 
When the wind will surely blow 
Even the blind will get know
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29. Those Who Are About to Die Are Saying 
Greetings
They greeted you 
Just now 
Now, now
Where are they going?
Heading the same path
Are more still greeting
Full of hope
Full of life
But let them bend
Nothing they can mend
What is man’s essence?
Dew that settles in the morning 
Leaves before the noon, or 
With trouble in the evening 
Turn around and see champions 
Blossoming and holding sway 
Gallants are their passes 
Swift like an eagle they dribble 
Deluge the net with goals, and 
After trophy utters somersaults 
Pitch quickly turns desolate 
The stage performance so shqrt 
When victors say greetings 
Pleasant and full of smile 
Reminisce the glorious time 
Make merry over the feat 
Refrain from boundless thrill
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It shreds the heart like a paper 
Jolly troupers come today 
Will they be here tomorrow? 
Soothe the imminent pains 
Recall the ancient truth 
Handed down for millenniums 
Morituri te salutant79
Morituri te salutant. The expression, 'Ave, Imperator, morituri te salutant' (Hail, 
Emperor, those who are about to die salute you) is foremost credited to the 
historian, Suetonius (De Vita Caesarum, 'The Life of the Caesars' 21.6,) These were 
reportedly the desperate words of captives and criminals who were condemned to 
die..
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30. Theft in the Sanctuary
seat of treachery
monster's heart
offspring of Eros80
gets trust with ploys
induced to action
by the cruel darts
of the blindfolded god
with screened surges
of distressing urges
show untamed symptoms of anguish
glutton plucks budding fruits
of nurslings, blameless seedlings
mothers and even grandmothers
tailing seeds in infant garbs
so perfect the infamous arts
leaves the lowly lonely
leaves the weeping wounded
leaves the experienced exploited
leaves the righteous ruined
ah, a shepherd has the desire?
father Zeus81 ravishes Europa82
Eros. According to Greek mythology, Eros, the son of Aphrodite the goddess of 
love is known for mischievously bringing both gods and mortals together in illicit 
'love' affairs. Eros and his Roman counterpart, Cupid, could be used to exemplify 
sexual power or desires that may become unguided.
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puts sheep in sacrilegious trance 
a night of unholy purification 
ordained by the priest of Zeus 
prophet bound to odious desire 
sowing the seeds of rifts 
fo the holy matrimony 
with bitter anointment 
in the land of wandering flocks 812
81 Zeus. The Greek mythology contains several stories of the Olympian chief god, 
Zeus, with a reputation of engaging in licentious activities. One of Zeus' sexual 
escapades involved a Phoenician maiden, Europa who became an object of his 
untamed lust. In another bizarre example of 'sex crime' in Greek mythology, Zeus 
adulterous desire led him to Leda, the wife of King Tyndareus. This time, he turned 
himself into a swan, came to Leda supposedly for protection against an eagle and 
then perfected his art.
82 Europa. Zeus was so struck by Europa's striking beauty and charming look that, at 
first sight of her, he was obsessed with sexual desires towards her. Zeus 
immediately took to scheming how he would fulfill the passion without incurring the 
wrath of his eagle-eyed jealous wife, Hera, Hence, he transformed into a lovely 
white bull that fascinated Europa while she was gathering flowers. Unwittingly, the 
maiden began to caress 'the bull' and finally got onto its back. Zeus then 
'kidnapped' Europa and swam to the island of Crete where he disclosed his true 
identity, raped and impregnated her. Some contemporary instances of rapes 
sometimes suggest superhuman influence in rape stories. As a form of lateral 
thinking, the 'shame' tale of the almighty Greek god raping a Phoenician woman 
explains modern nocturnal cases of religious leaders who 'ensnare and hover over' 
both spinsters and married women when they are unable to tame their sexual 
desires.
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suppliants in search of a saviour 
cry eternally in vain for succour 
lick their hearts and taste bile 
thieves are not lunar visitors, 
trusted foes are not from the mars 
sham ardent love they show 
in stealthy quest for the pride 
Did beast affection come from Olympia?
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31. Choking Care
Could he be a friend?
Always eager to know 
Press hard to unearth 
Are you awake or asleep?
Prodding with constant eyes 
Faithfully monitoring steps 
Obliged to offer counsels 
Entrenched in all privacy 
Prompt in Hermes' service 
At the sight of a cockroach 
War cries ascend and split air 
Alarmed at little faltering 
Ready to regulate native smile 
Every utterance, every deed 
Stands only after vetting 
Tears mopped before dropping 
Yearns eternally for attention 
Sordid affection smolders 
Intense care suffocates 
Thinking for you, speaking for you 
Narrows the space to gasp 
Petty flaws become crimes 
Constant unwanted care persists 
Choking endearment endures 
And flame of life is fading away
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32. Aversion
Drainage ends 
Black gutters begin 
Aroma of stench diffuses 
Foraging pigs bathe in rubbish 
Where open faeces are neighbours 
Even when men with brains think 
They cover no face to deface 
Do they really love what is right? 
Bold still to mess the earth?
Who killed their shame and 
Handed them over to gabbage? 
Partying and ruining their homes 
Who veils the face of honour 
And mystifies anguishes?
No guilt troubles dirty hearts
No painful regret hunts
Who pulls the wool over the eyes?
In squalid course is pious exultation 
Knife eagerly destroys its abode 
And seeks in vain the culprit 
Redeemable rudder is so nigh 
To steer the ship to safety 
Even in the plague of poverty 
When chamber of water is luxury 
The Ancient peg is at service 
Protection waits at the harbour 
Soap gives handshake to Water 
With revulsion for odious scents
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With yearning for sanity 
Face becomes averse to shame 
Then Legions shall rise 
To terminate the lease of filth
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33. Terror
Behold sons of Erinnyes83 
Galloping in full range 
Dashing against Furies 
In pursuit of neighbour 
In hot chase of brothers 
Branded as villains 
Menace is their breath 
Jubilant in the zestful song 
Ruin! Ruin! Ruin!
Waste! Waste! Waste! 
Mercy-no-mercy!
They castrate boys 
They maim virgins 
They pound babies
Erinnyes. In Greek mythology, Erinnyes are the three female goddesses, Alecto 
(the unceasing), Megaera (the grudging) and Tisiphone (the vengeful destruction), 
collectively known as 'the Angry Ones'. The use of 'Furies' to represent them in 
Roman mythology as well as the background to their birth may add to the 
understanding of the fearful goddesses' activity of avenging. According to the Greek 
mythology, the Titan Cronus 'harvested' the genitalia of his father, Uranus, and 
threw it into the sea. The drops of blood-from the mutilation of Uranus (known as 
the Sky) fell on Gaea (known as the Mother Earth), impregnated her and, thus, the 
Erinnyes were born in an atmosphere of brutality. With snakes as their hairs and 
blood dripping from their eyes, the Furies present awful, menacing appearance, and 
would punish all crimes without mercy. They are also known as tormentors of the 
underworld who would not be swayed by any amount of prayer, sacrifice or tears. 
These attributes of the Furies provide a context for the English words 'furious' and 
'infuria ted'. Erinnyes are used to char.acterise some of the traits in acts of terrorism.4
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Promise flames are extinguished 
In the middle of sweet dreams 
Words have failed 
Daggers now sway 
Forest forbidden to tourists 
Host the sons of Erinnyes 
Sanguine agents brimming Ares84 
From failed mission homes 
Furnished for lovers of suicide 
The seven against Thebes85
84 Ares is the god of war and one of the prominent Olympian gods of the Greeks. In 
contrast with Athena, another deity of war who represents thoughtfulness and 
wisdom in the affairs of war and whose protection men sought over their abodes 
during ravages, Ares is the personification of outright use of force and strength; the 
raw violence and untamed acts that occur in wartime. Fighting wars simply gratifies 
him, and in war situations, his delight is'in uproar, confusion and terror. Din and 
roar of battles, slaughter of men and the destruction of towns fulfil his heart. He is 
loathed by the other gods and his own parents for his violent and sanguinary 
character (II. v. 889-909).
85 Seven against Thebes. Eteocles and Polynices, the two sons of Oedipus, took 
over from their father when he stepped down as king of Thebes and the two 
decided to rule on the understanding that they would alternate the throne every 
year. However, Eteocles held on to power after the first year and forced Polynices to 
go on exile at Argos. With the support of the Argive king Adrastus, Polynices 
assembled a force under seven captains or leaders. In Seven Against Thebes, 
captains constitute the seven who come under different resolute banners, believing 
justice to be on their side, to devastate Thebes. Eteocles similarly appoints Theban 
commanders who are believed to be effective matches for Polynices' seven 
attacking leaders to defend the seven gates of the city. The determination of the
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Carrying banners of Justice 
To shatter all in a flash 
Deft with Poseidon’s trident86 
Value no name of Zeus 
But filled with foul bliss 
Of mundane future pleasure 
They sharpen skills with vigour 
Place heads severally on guillotine 
Decapitate with blunt blades 
Inundate oceans with bloody tears 
Who has got the utterance of PLEASE? 
Who gets the rod to shatter sinful gods?
seven is expressed with different boasting words, and of particular interest is the 
boast of Capaneus who by his threats dares Zeus to prevent him from razing down 
the city. Eteoclus would similarly spitefully challenge Ares to hurl him from the 
battlements. With their frenzied minds, the rest of the seven make grandiose boasts 
against the city.
86 Poseidon's trident. According to Greek mythology, this was a weapon and 
symbol of authority of the Greek god of the sea and patron of the seafarers. With 
the instrument that was only second to Zeus' thunderbolt, Poseidon, a quarrelsome 
personality among the gods, could accomplish his will; favouring his own and 
thwarting the efforts of his foes. The god caused devastations and wrecked havocs 
with the weapon. Causing of tsunamis and waves; producing sea foam and calming 
the water or making it roar were all the activities of the signature power of the god. 
When earthquake occurred, it would be credited to the trident.
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34. Flame of Jealousy
smiling adversary spurs on 
waves of plaguing doubts 
wrecks self-image first 
moves on to erode unions 
enriches soil of distrust 
seeps out to vanquish allies 
unmask the critics at once 
displace shield of pretense 
veneer of possessiveness 
parent of pregnant anger 
great uncle of misgivings 
prosecutor of every motive 
inventory keeper of each step 
stealthy in show of insecurity 
lodged in enclave of dented will 
forcing faith to a retreat 
clips the the wings of ardent will 
tears apart Jack and Jill 
a slave loyal to anxious care 
conquered by rope of melancholy 
Is she the daughter of Hera?87 
Spiral, unstoppable in downfall
87 Hera. The wife of Zeus in Greek mythology, although generally known as goddess 
of marriage and childbirth, never had a peaceful home. Her husband's cases of 
extramarital affairs brought out the worst part of her as she was involved in many 
stories that earned her the reputation of a troublesome, jealous and vengeful 
woman.
j
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35. This Means our Lives
Persian fleets arrayed in myriads 
In formidable march against freedom 
Trusting in archers and cavalry charge 
At the pass of Thermopylae88 men stand 
Leonidas’89 spirited men unyielding 
The few in dare of menacing numbers 
Dense formation of armoured phalanx 
To fight till the last drop of blood 
Under the shade of arrow-darkened sun 
Firm in position against the Immortals 
We shall fight, against grander spirit 
Opposed to Desire and Vice in council 
Merrymaking over abhorrent weapons 
Laying siege to our precious inheritance
88 Thermopylae, a site of several battles fought by the Greeks in antiquity, was the 
strategic mountain pass where the Greeks chose to encounter the invading Persians 
soldiers in 480 BCE.
89 Leonidas. Leonidas (c. 530-480BCE) was a king and military commander of Sparta. 
Despite the formidable appearance of the Persians, the Greeks, particularly the 
Spartans under the leadership of Leonidas, rather than feeling inferior to their 
enemies held the narrow strait of Thermopylae for three days with a small force of 
Greek hoplites. Although the Greeks were defeated in the battle, the heroic feat of 
Leonidas and the 300 Spartan soldiers, who fought to the last drop of their blood in 
defence of the freedom of the Greeks, remained legendary to later generations of 
Greeks. The role of modern day activists in defending human rights against abuse is 
reminiscent of action taken by Leonidas at Thermopylae.
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Our breastplate and the shining helmet 
Our shield and the burning arrows 
With abounding vigour are deployed 
To unshackle our prized souls 
From claws of unforgiving vain master 
Then, Dove of Liberty, prompt in service 
Fill us with passion to loathe Bad 
Enroll in joyful mission to .Good 
Why so much passion?
Why the zest?
Why the ceaseless vigor?
No truth is daily dearer 
It means life at its peak 
It deserves all exertion
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36. The Strife
Alabaaru90 
Ha! Relax now 
Ease my mind 
filled with wonderment 
Your bones at dawn 
Flaunt thy strength 
Despaired?
No, push! Plain ahead,
Oh, sorry, valley in sight 
Alabaaru, you are strong O! 
Your network of muscles 
A fountain of inspiration
90 Alabaaru. This is the Yoruba word for market porters or load carriers who make 
their livelihood by offering to carry different sizes of loads at local markets for those 
who purchase wares. They are also found at motor parks where they help 
passengers with their baggage. Even when a few Alabaciruu use carts in carrying 
loads, the work is generally considered socially demeaning as well as an evidence of 
setback in life. Some of these workers are'muscular, strong enough to carry loads of 
various weights; while others literally or figuratively groan under the heavy weight 
of how they make a living. The derisive and figurative expression, Alci&aru, 
suggesting being weighed down by life's burden, was formerly used in referring to 
the same people. The form, Alcibaaruu, which literally means someone who assists 
in carrying one's load, tends to be rather dignifying, hence its preference over 
Alaaaru. However, while the work brings the money needed to get by, the carrying 
of both light and heavy loads on head by these workers could be understood as a 
symbol of hard life.
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Your spread out chest 
A mystery of endurance 
But, yield, please, to my pleas 
Calm down. So cruel the day 
Setting on you tortuous eyes 
Frying, baking and roasting you 
Is your spirit ever undaunted?
Has respite become a weakness?
Your face offers no mercy
Consolation also in the blues
Aha! Calm down, calm down and smile
Mountains is soon to vanish
And your sweat you will eat
Are your teeth still in set?
Alas, Alabaari), your lips are miming 
Your eyes sunken fast 
No, rise, please Alabaari)
In the spirit of the noon 
In the spirit of haughty muscles 
Patrons expect you tomorrow 
To hasten oblivion with onus 
Oh, Alabaari), If someday 
If again, your strength revisits 
Will you shoulder the world?
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37. Nuptials
they come
voices of nightingales 
pleasant beggars 
in vino spirit
they hop and hop 
air becomes a cloud 
they begin to sneeze 
their ardour infects us
like rapid pestilence 
morbid and contagious! 
vivacious, in ecstasy 
in waist-twists, breathless
just before bacchanalia91 
suddenly, the cloud departs 
alas! Our Rebekah is gone 
victims in merry tempo
boys we are, handed toys 
is she gone to Abraham? 
is our festival an error? 
we shall not repent
91 See footnote 79
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Let the drummers come 
ushered in their droves 
for Rebekah is gone 
to the house of Isaac
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38. Liberated
Burden 
Growing wings 
Threatens to fly 
May it fly?
Bye bye 
Away, let it fly 
Quit at once!
I am a prey 
Trapped snake 
In tight grips 
In eagle’s claws 
I writhe 
Glow of life 
Virtually gone 
Burden
Are you growing wings? 
Make it fast 
Rise from slumber 
Fly away 
Quick! Quick!
... And away it flew!
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Part 4
The Ray Triumphs
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39. My Penelope
Men of Dulichium 
Same, Zacynthus, Ithaca92 
Let me speak to men 
Kinsmen with hearts 
Is it while I sail to Troy 
To redeem stolen treasure 
Of the royal son of Atreus93 
You besiege my vessel?
My walls remain fortified 
You insist on drinking 
Only from my cistern 
Be worthy Danaans 94
92 Dulichium, Same, Zacynthus and Ithaca. The suitors of Penelope, the wife of 
Odysseus, when it was believed that Odysseus would not return, came from these 
islands that were believed to be part of Odysseus Kingdom and persisted in asking 
for the hand of the unwilling woman in marriage. These were the sons of prominent 
families in the kingdom. The suitors were altogether 98 in number; 52 from 
Dulichium, 24 from Same, 20 from Zacynthos and 12 from Ithaca.
93 Atreus was the king of Mycenae in the Peloponnese and, in Greek mythology; 
Agamemnon readily comes to mind when the expression, son of Atreus is used. 
However, the Commander-in-chief of the Achaean forces to the Trojan War had a 
brother by the same parents, Menelaus. Menelaus was the king of Sparta who was 
aggrieved by Paris' abducting his wife, Helen, to Troy, hence, a principal character in 
the Iliad narration of Homer. Menelaus is here referred to by the designation, the 
son of Atreus, more as an epithet.
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Lay hold of the plough 
Till and plant vineyards 
Toil not with hands slack 
Thrust out your sickle 
And pluck from bouquets 
The choicest dates of Hellas 
Then, you will know 
Joy of labour is yours 
Now, flee, wrath looms 
Wild fire ready to devour 
Tomorrow comes with me 
To set my Penelope free 
From visionless hunters 49
94 Danaans. In referring to the forces from mainland Greece and neighbouring 
islands such as Crete that went on the military expedition to Troy, Homer uses 
'Achaeans', 'Danaans' and 'Argives', synonymously; implying the federation of the 
Greeks.
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40. Sour Pleasure
where is the man 
who visited with lures 
to invest my energy 
in seifs pleasure ? 
where is the soulmate 
who led to countryside 
and deserted midnight? 
aching is daily 
mixed with nostalgia 
of great blisses 
now, I fall behind 
bills mounts, pains rise 
one-time pleasure is sour 
grief greets regrets 
shadow of a murky future 
a lovebird makes me shiver 
bubbles dance in my heart 
held from floating to my head 
then, amidst the blues 
relief comes for my agony 
a new chick grapples the void 
Telemachus95 longs for lilts
95Telemachus, Odysseus's son, who is about twenty at the beginning of the story, 
was an infant when Odysseus departed to Troy. He has grown without the training 
and experience engendered by father-son relationship. Although he manages to 
muster up courage, tact and good heart to constitute an obstacle to the suitors' 
despe'rate efforts to woo his mother, his initially lack of poise and confidence to
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forlorn hope, futile cries 
yet, he holds out future 
announcing a new season 
when no despair bends head 
lifted up by pleasant tears 
propelled by morning rays 
that escorts me by the day 
instilling faith by the night 
tell all I am strong 
I no longer moan 
I am not alone 
I am complete
oppose them may be seen as a gap in his upbringing since this is not characteristic 
of his father. He would evidently have gained more with Odysseus present. The 
same can be true of children of 'baby mamas' or those raised by single parent, 
withput gender bias.
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41. Laugh of Yeye96
An enjoyable laugh 
Of a young man in the street 
Dances with no caution 
Mucus at his door 
Mouth bubbles loud forth 
Bitter sweet words 
Refuge is behind a needle 
Feet with grips of an ant 
Proud of butterfly wings 
Chameleon cheerfully talks 
Light up faces with smile 
The deft actor speaks 
All laugh with their hearts 
What smile?
What Laugh?
Who is fooled?
Laugh of yeye 
Smile of pele96 7
96 Yeye. This Yoruba word is used to express ridicule, mockery, sarcasm or derision. 
While other meanings of the word are discernable in the poem, the sense of 
sarcasm as a form of outward praise that masks a contemptuous feeling is more 
intended.
97Pele. The expression in Yoruba is often used to express 'sympathy' or 'fellow 
feeling' to someone who is experiencing some difficulties, or who has just suffered 
an injury or other discomforts. It may also sometimes be used sarcastically to 
suggest pathetic view of the action of someone who thinks he is clever.
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Scene of ete98 
What a pity!
98 Ete. This word means 'shame' or 'disgrace' in Yoruba. A Yoruba axiom goes thus: 
ete lo ngbeyin oro, 'shame comes as the outcome of a matter'. 'Matter' in this 
context usually means a wrong deed that is ostensibly concealed from others only 
for the wrongdoer to realise it has become a public knowledge while he is still 
dwejling in false security. This outcome is &te.
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42. True Friendship
What a fray 
Man lives a day 
Feeble dream 
Disappears like steam 
There are tears for him 
Drops from branches of fear 
Grieve yet finds rewards 
Am icus" listens with Soft moans 
Springing from sympathy 
Not shoulder of apathy 
Others First, amicus comes next 
Daring even grievous text 
True friendship remains rooted 
Like the sun
Unbroken in faithful service 
Keeping it dry and then 
Restoring water for planters 
Bringing food to tables 
Filling hearts with cheers
Amicus is a Latin word that means 'friend' 'a loved one' or 'loving one'. 'Amicus' 
has a range of English derivatives that really convey a deep sense of friendship. For 
example, 'amity', is the kind of friendship that exists, not only between people, but 
may also found in animals' world. 'Amity' connotes cooperation and support that 
are engendered by mutual affection and respect founded on good knowledge that 
the individuals in a relationship have about each other. In crisis situation, such 
elements of 'amity' are expected to be displayed.
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Causing faces to shine 
Infusing vital vigour 
The will to go on 
Like the moon 
Wavering not even once 
Bringing reminders of tales 
Ingrained lessons of old 
Longings for folk songs 
Sticking clans together 
Seemly urging children on 
So royal and loyal 
Ever darling 
Ageless in loving art 
Very well I know 
True friendship survives 
Life’s poisoned arrows
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43. Confidence Do Not Desert
Mighty trees crashing 
My heart pounding 
Savage creatures 
Ravenous wolves 
Eaters of hope 
Licensed bullies 
In brazen quest 
For our souls 
Bounteous booties 
Shared by scavengers 
Cling to the sterling ray 
With all keen rapture 
To steer your course 
My will, stay 
Never stray 
Will thou?
Will thou?
Yes! Yes! Yes!
To dishonor deserters 
Do not kotow 
Make your head erect 
Trap the glow 
Remember the vaunts 
The parades in streets 
Shut out raucous shrieks 
And sayings of aha- aha 
Cling to the sterling ray 
With all keen rapture
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To steer your course 
Noise frightens 
Noose tightens 
Path becomes slippery 
Share the spark 
With celebrants of honour 
Visioning day of glory 
Confidence, do not falter 
Let the ember glow 
Cling to the sterling ray 
With all keen rapture 
To steer your course
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44. What is your Name?
All contestants are present 
Roll call begins in earnest 
Greeted by ovations and boos 
First, the men leading polis100 
Wise or rather full of wiles 
Bringing gains of prizes or 
Passing pains round as succour 
Their cenotaphs fill squares 
Next are the explorers 
Valiant itinerant Phoenicians 101 
With goods, troops, and arms 
Apt to litter streets with alms 
For countless victims of harms 
Then those who tune hearts 
Setting props, keeping tracks 
Cynosures of all keen watchers 
Made to see only their guises 
Never inferior are the inquirers 
Ever search new lands and paths 
To make many sights stronger 
In quest for new lease of life 
Opening pages of minds and 
Enriching with many thrills
100 Polis. This is what a Greek city-state was called. It was a typical place for ancient 
Greek community life.
101 See footnote 66
d
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Visionaries are not the least 
Experts at multicolour views 
Leaders in many directions 
Queried in sundry perversions 
Teeming are their tenacious fans 
Ready to clap, also eager to jeer 
After the proverbial stories close 
Festival with odes commence 
Rhythm of dirges fouls the air 
Somber is the demeanor of all 
And the whisper enters my ear 
What is your name?’
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45. Succour
I have seen in her beauty
Heart-pouring smile
Yes, her words soothes
Heart a deep well
She seems always near
Aeneas102 leaves after many days
Confines Dido103 to eternal gloom
If this track she's set to tread
When she’s so much present
My grief is not to be brief
The crave is in vain for succour
If she comes to stay
And virtue she treasures
More than life
Tell it in the open
Carry it fast with the wind
102 Aeneas is a Trojan hero in Greek mythology that was born by the goddess 
Aphrodite to Anchises, the herdsman. Zeus makes Aphrodite to fall in love with 
Anchises as a punishment for making all Greek gods fall in love with mortal women. 
According to the Iliad, Aeneas led the Trojan Dardanians and was Hector's right 
hand man. Having been protected throughout the war by Aphrodite, he is next 
found in the Roman literature by Virgil, the Aeneid, travelling to Italy where he 
settled in the region that his descendants, Remus and Romulus founded Rome on.
103 Virgil, in the Aeneid relates the story of a Phoenician woman, Dido, falling in love 
with Aeneas when he landed in Africa in the course of his journey. At the command 
of Jupiter, Aeneas jilted Dido and she consequently committed suicide.
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To hills and mountains 
She is the apple 
Delight of all times 
In tender-loving heart 
Her lodging shall ever be
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46. The Love of My Life
Are they bastards?
Do they have any rights? 
Infatuation crowned as love? 
The word makes me weary 
The thought is my groan 
Tell me no more 
And I shall not ask again 
Oh, no, I speak yet of it 
It’s more than looks 
Far grander than steps 
Word that humbles heart 
So, tell me loud, clear 
That you love me 
I want nothing more 
Tell me your breath is mine 
And I give my heart 
Tell me you like to sing 
Drummers are summoned 
Tell me you want to dance 
I’m the Bata.104 of Dance 
Why wouldn’t I sing?
Why wouldn’t I dance?
For the breath of my life
104 Bata. Yoruba word for shoe.
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47. Ki)ki)te105
Kukute!
You remain valiant 
As they rush on you 
From nooks and crannies 
Devious, endlessly relentless 
Igba oko10 506, Igba 'add107 
All set to harass you 
Firm your course remains 
Mountain that never shifts
105 Kukute is the Yoruba word for a 'stump'. The Yoruba axiom, 'e ni mi kukute ara e 
lo mi', (anyone who shakes a stump is in reality shaking himself) conveys the sense 
of a person being unassailable, unmovable, unwavering. A tree may be uprooted 
when strong wind blows. Kukute is different. After a tree is cut down, removing the 
small part of the trunk with the roots still in the ground is another huge task. Some 
make use of a stump grinder, while others use stump remover. When stump 
remover that is mostly made of powdered potassium is used, it would require 
drilling holes in the stump and pouring the granules in the holes and filling the holes 
with water. After four to six weeks, an ax is used to break the rotten wood. Another 
method which could complement the foregoing is pouring kerosene or fuel on the 
drilled stump and setting it on fire. When this method is used, the stump smolders 
and leaves charcoal in the ground. Such are the strenuous efforts required to uproot 
the kukute. Unlike a tree, it can never be blown over by the wind.
106 Igba pko is a Yoruba expression that means ‘two hundred hoes'
107 Igba 'ada is a Yoruba expression that means 'two hundred cutlasses'. Igba pko, 
Igba )ada, as used in the poem suggests an overwhelming attack.
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Before the king’s adversaries 
With boasting threats flying 
Face betrays no trembling 
Hot chase refuses to cease 
Neither the executioner’s heat 
Yet, your life is unreachable 
No blinking, no swerving, Sun 
Steadfastly you shall stand 
Not for six but seven days 
To cover boundaries of loyalty 
Kukute does not yield 
But what is Kukute?
Who are you kukute?
The truth is Kukute 
Kukute is a stump 
He who jerks Kukute 
Is kicking against ox goads
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48. It is No More Secret!
Let it burst 
Let it ooze
From the abyss of heart 
Ease bones and marrows 
In constant nagging plagues 
Relief ever stretched muscles 
Soothe burning nerves 
The chorus108 knows so much 
How it inflames the body 
Longing for potentate deliverer 
Crying all day long for the rescuer 
That catharsis109 should come
108 Chorus. The ancient Greek drama began with only one actor occupying the 
stage. With the passing of time, the number increased to three and no more than 
three even at later dates. This made the role of the chorus very prominent. Since an 
actor would have to play several roles, the chorus needed to distract the audience 
when an actor went off-stage to change his costumes or prepare for the next role. 
The chorus during the interval became the playwright's mode of communication 
through whose commentary on actions and events that were taking place the 
audience was helped to have a better comprehension of the drama. Hence, the 
playwright used this device, not only to achieve some literary complexity, but to 
also present the societal views on moral and cultural standards to the audience. The 
chorus interpreted the storyline, putting time meaning into it and bringing about 
the desired emotions in the audience by controlling the atmosphere, the tempo and 
expectations of the audience.
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To lead temperate souls home 
With minds purged of affliction 
Free of tyrannical dominion 
Incarcerating therapeutic tidings 
Leak out the holy secret and 
Make real eternal manumission 
Roam the streets with the news 
Shout loudly from the acropolis 
Spread it all around the Agora 
Fill minds with love-cheers 
So, now and now 
Again and again 
Let it burst 
Let it flow... 190
109 Catharsis. This concept from Aristotle's Poetics has often been considered 
difficult and controversial. However, no definition of 'catharsis' has left out the idea 
of arousal of pity and fear in a tragic drama. This is often referred to as purgation of 
the emotions of pity and fear that are aroused in the audience who identifies with 
the tragic character, is awed by the character's experience and moved to 
sympathise with him; imagining being in a similar situation. Apart from easing out 
the emotional anxiety of the audience over the imminent catastrophe of the tragic 
hero, catharsis is conceived as playing a positive psychological function of ridding 
the minds of or, at least, providing warning against the flaws that lead to the 
tragedy. It becomes the emotional relief that stems from having a realistic view of 
self, and a mode of self realisation which experienced by individuals.
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49. Arete110
Hostile friends all around 
Rebuff the strange choice 
Pummeling gentle spirit 
Weight bearing call to quit 
Select walk on a tight rope 
Decades’ journey to senility 
And yielding at last in peace 
To tenacious bait of deep sleep 
Yet, in the rigid claw-grip 
Remains the glee of lifetime 
Someone tears Bingo1 011 from Bone?
Or, Monkey divorces Banana?
110 Arete (apexii), was the goddess who personified virtue in Greek mythology. 
However, the word has often been used as a term in Greek literature to denote 
character at its best. It is a combination of qualities such as valor and virtue. 'Arete' 
also represents 'moral virtue' or 'excellence' of any kind. It refers to the sense of 
fulfillment at the 'peak of achievement'; 'utility' or realisation of individual's 'full 
potential' (Odyssey, 13.42). While the word is often linked to 'bravery', it is 
associated more with 'effectiveness'. 'Arete' is used to judge an individual's action 
in whatever context, taking into cognizance its effectiveness. It is equated at other 
times with human knowledge, since knowledge is seen as virtue, 'Arete' is therefore 
also linked with virtue.
u lBingo. In the English children's folk song, 'There Was a Farmer Who Had a Dog', 
'Bingo' is understood as the name of the 'farmer'. However, 'Bingo' has been used 
over time in the western part of Nigeria as a name of a dog. 'Bingo!' 'Bingo!' 'Bingo!' 
is a vyay of summoning a dog.
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Upon ethos is the endless standing 
In defiance of ominous eruptions 
Terror issuing from Agamemnon112 
The commander mourning booty 
Upon the honour the stand-up 
To constantly nurture goodwill 
No space shall be for conceding 
In bottomless heart of obedience 
To the unfailing supreme law 
For the way better than life 
Path to perpetually thread 
The rain shall fall heavily 
Trees may tumble in panic 
And darkness visits in daytime 
Yet, stiff the course becomes 
Never the waves of the sea
112 Agamemnon. See footnotes 26, 55, 94.
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50. Distress Ends
Through the nerves 
Emotions slide down 
Decelerate the pace 
Thoughts stifle at nursery
Agony that is age old 
Pitches tent to scorn 
Tormenting delights 
Grief becomes illustrious
Day turns to marathon 
Night befriends Fright 
The associate of Disquiet 
No balsam in Gilead113? 
Behold Respite angel 
Comely and hastening
113 Balsam in Gilead. The Greek word, (3aAaapov can be traced to a combination of 
two Hebrew words, namely, 'baal', which means 'lord' or 'master' and 'shemen', 
which means 'oil'. Hence, balsam literally can be rendered as 'Lord of Oils', 
signifying the reputation of balsam as finest of oils in antiquity. 'Balsam in Gilead' or 
'Balm of Gilead' was a precious medicinal perfume that was produced in the region 
of Gilead in Bible times. In addition to its use as perfume, it was also popularly used 
in treatment of wounds because of its curative properties. Fittingly, then, there is 
allusion to its healing power in the Bible when Jeremiah laments over the dearth of 
spiritual remedy to his people's plight (Jer. 8:22)
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Firmly holding scepter 
To install Relief as king
Friends are all around 
Glad reports light faces 
Hope comes to stay 
Ray shall never betray
The gloom exits 
The ray triumphs 
Exultingly; and 
So ends the night
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ABOUT THE AUTHOR
Gill Oluwatosin Adekannbi 
is a L e c tu re r  in the 
Department of Classics, 
U n iv e r s i t y  o f  Ibadan,  
Ibadan. He situates "The 
Gloom and the Ray" within a largely 
Classical world to portray the dark and 
the bright sides of life. The collection of 
poems ends on the note of triumph of light 
over darkness.
Printed by: Rubbyless Nigeria Limited
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