The Yùngbà Panegyric Poem: A Metatext Of The Ọ̀yọ́ Empire

Abstract

THE YÙNGBÀ PANEGYRIC POEM: A METATEXT OF THE Ọ̀YỌ́ EMPIRE

ABSTRACT

In line with previous studies (Quint 1993, Stetkevych, S. 2002, Bauman and Briggs 1990), which have established the relationship between genre and ideology, this paper is founded on the premise that the literary form and content of the Yungba panegyric poem is intimately related to the idea of Yoruba-Oyo imperial hegemony.  The paper starts with the argument that the Yungba panegyric is a metatext. The study defines a metatext as an independent text created in relation to an extant text called a prototext, either as a commentary to (Genette 1997) or a translation (Popovic 1976) of the extant prototext. Linking metatext to the reputation of a text, the study maintains that the subject of the metatext, the Alaafin’s (king’s) name (reputation), is judged by the volume and ingenuity of the poems composed in his name and his empire. Put differently, the heroic deeds of the king are the main text, which in turn earn the Alaafin a metatext of praise names and epithets, which go on to form the basis of the composition of the Yungba praise poem Finally, the paper argues that the Yungba is not just a metatext, but that it is a metatext of empire—specifically a metatext of the Oyo empire. The Yungba promulgates a myth of kingship that legitimizes the king (Stetkevych 2002).  The way the Yungba is constituted as text (Barber 1999), is a reflexive process on the part of the poet, who is conscious of empire as she weaves her metatext to validate Oyo imperial hegemony. The Empire is in fact the reason for the existence of the royal Yungba panegyric genre and vice versa.

Keywords: Yungba metatext Oyo-Yoruba praise poetry metatextuality praise names