Skip to main content

A Disgrace On The Throne By Remi Oyeyemi

Remi Oyeyemi

 

As a traditionalist and authentic Yorùbá son, I am very embarrassed. I am greatly discomforted. I feel personally humiliated. I feel personally insulted. I feel thoroughly disrespected. I feel dishonoured by this incivility on the throne. I feel greatly perturbed by this insolence, impudence and impiety. I am greatly worried that we have a thug on a revered throne. I really feel ashamed. 

How this miasma came to be manifested has to be investigated. How a dog came to occupy the throne of a lion has to be revisited. How a stinking pig came to walk on a throne of white velvet has to be looked into. How a putrid character got the chance to contaminate a sanctified and sacred seat must be disconstructed. How a morally calcified crud came to cruise on a cherished cathedra must be disemboweled. 

This is nauseating. This is disgusting. This is revolting. It is detestable and distasteful. It is repulsive and repugnant. Who were the decision makers that put him on the revered throne? Who were his sponsors? Who were his supporters? Who were those that carried the water for him? Who were those that recommended him? Who were the approving authorities of this charlatan?

A highly combustible shamelessness. An audacious disgrace. An unrestrained reprobate. A licentious loose cannon. A giddy goon gallivanting perniciously over a greatness built by generations of great characters. A misfit. A bohemian. A beatnik. Vacuous. Empty. Brainless. Thoughtless. Valueless. 

What is happening in Yorùbá land? What is happening to Yorùbá nation? What has occurred to our great culture? What is happening to our tradition? How did we get here? How did a depraved degenerate get to occupy the shrine of our forefathers? How? Someone, please help me, how?

Definitely something could be done about this. Something must be done about this. This could no longer continue. An end has to come to this shenanigans. This is a travesty. This is grotesque. This is a mockery. A parody. A perversion. It could not continue to subsist. Not any further. Not anymore. Not even one more time.This has to be completely severed. And immediately too.

Suspension is not enough. It is not going to be enough. It won't be enough. Suspension would not cut it. It would not do the job. Removal is the only solution. It is what is required. It is what would appease Elédùmarè, the God of our fathers. It is what would satisfy the spirit of our ancestors. It is what would delight the gods. It is what would cleanse the Stool of all desecrations. 

He is a pumped up opprobrium. He has no scintilla of a sense of decency. He has no idea of what he does. He swims in the pool of alternative reality. He is creamed in a cocoon of mortified confusion. He is a bull  in a china shop furiously seeking the grass to eat. He is in a wrong place. He does not belong. He has cinctured cognitive ability. His thought process is functionally arid.

That is why he is still brazenly loudmouthed. This is why he is still blatantly loquacious. It is the reason he is still garishly garrulous.  It is why he is still bragging after disgracing the hallowed throne. It is why he is still granting interviews. It is why he is still all over the social media, acting comedically with fetid tinges of concentrated yèyénátù. 

This is the throne once graced by the people of dignity and integrity like the Tadeses, the Lamuyes, the Osunwos, the Olayiwumis, the Adegunodos, the Ogunmakindes, the Gbases, the Abimbolas and the Adegoroyes. This is the throne that was once occupied by men of honour and characters like the Olufates, the Abanikandas, the Ajanis, the Omotoshos, the Olatunbosuns, the Adubiarans and many more.

It is a throne that has now become the playground of and for a corn artist. A fake. A phony. An impostor. A quack. He has given enough reasons for his DNA to be checked out. He is a doubtful true born. He is destroying 800 years of hard work, meticulously put together by men of vision and mission. He is pulling down a house that had taken 800 years to build by men of valor and character.

He has called himself an emir. He has called himself an Eze. He has called himself every and any despicable name that is antithetical to the duties and expectations of the throne he is desecrating. He has engaged in evey repugnant act to disgrace himself, his family, his ruling house, his people, his city, his race and Yorùbá nation. Suspension could not and would not solve this problem. Only removal from that stool would do. 

The Iwo people needs our help to put an end to this blot. They should remember that no amount of money would repair the damages being visited on this throne  The Goverment of Osun State needs our encouragement to be courageous. The Osun State Council of Obas need our support to be proactive. All Yorùbá people of good will must stand up and end this disgrace to our Nation, our land, our heritage, our history and our people.

This nonsense has gone on for too long. This is the time to end it.

Opinion AddThis :  Original Author :  Remi Oyeyemi Disable advertisements : 

from All Content
via

Comments

Post a Comment

Popular posts from this blog

These funny food quotes will make you laugh like crazy

Food is not only an essential part of the daily routine but also the most exciting one. We cannot imagine our life without something yummy. How do you make ordinary eating fun and unforgettable? We bring to your attention amazing food quotes which will definitely make you smile. Image: unsplash.com (modified by author) Source: UGC Are you looking for interesting ideas to entertain your interlocutor while having lunch at work or family dinner? Then this article is definitely for you! Good food quotes Below are food quotes, aphorisms and witty statements. This is an exciting and extraordinary collection of the top "pearls of wisdom" on this topic. Here you can find funny jokes and sayings, intelligent thoughts of philosophers and original words of great thinkers and inspiring statuses from social networks, as well as many other things. The best appetite comes without food. I love calories. They are dаmn tasty. An empty stomach is the Devil's playground. Have bre
Post a Comment
Read more

The Transitional Phase of African Poetry

The Transitional Phase The second phase, which we have chosen to call transitional, is represented by the poetry of writers like Abioseh Nicol, Gabriel Okara, Kwesi Brew, Dennis Brutus, Lenrie Peters and Joseph Kariuki. This is poetry which is written by people we normally refer to as modem and who may be thought of as belonging to the third phase. The characteristics of this poetry are its competent and articulate use of the received European language, its unforced grasp of Africa’s physical, cultural and socio-political environment and often its lyricism. To distinguish this type of poetry we have to refer back to the concept of appropriation we introduced earlier. At the simplest and basic level, the cultural mandate of possessing a people’s piece of the earth involves a mental and emotional homecoming within the physical environment. Poems like Brew’s ‘‘Dry season”, Okara’s “Call of the River Nun”, Nicol’s “The meaning of Africa” and Soyinka’s “Season”, to give a few examples,
Post a Comment
Read more

The pioneering phase of African Poetry

The pioneering phase We have called the first phase that of the pioneers. But since the phrase “pioneer poets” has often been used of writers of English expression like Osadebay, Casely-Hayford and Dei-Anag, we should point out that our “pioneer phase” also includes Negritude poets of French expression. The poetry of this phase is that of writers in “exile” keenly aware of being colonials, whose identity was under siege. It is a poetry of protest against exploitation and racial discrimination, of agitation for political independence, of nostalgic evocation of Africa’s past and visions of her future. However, although these were themes common to poets of both English and French expression, the obvious differences between the Francophone poets and the Anglophone writers of the 1930s and 1940s have been generally noted. Because of the intensity with which they felt their physical exile from Africa, coupled with their exposure to the experimental contemporary modes of writing in F
Post a Comment
Read more