Chapter One — 1.1 Background to the Study

Scholarly interest in Ola Rotimi's The Gods Are Not to Blame has remained strong, reflecting its continued relevance to discussions of Nigerian and African literary identity.

Existing criticism of The Gods Are Not to Blame tends to focus on its broader thematic concerns, with dramatic irony as a stylistic device in service of cultural identity receiving comparatively less sustained attention.

1.2 Statement of the Problem

While Ola Rotimi's The Gods Are Not to Blame is widely studied, there is no settled critical consensus on how its dramatic irony functions specifically in relation to cultural identity. This study undertakes a close textual analysis to address that gap.

1.3 Objectives of the Study

1. To examine the use of dramatic irony in Ola Rotimi's The Gods Are Not to Blame.
2. To analyze how dramatic irony contributes to the portrayal of cultural identity.
3. To assess the effectiveness of dramatic irony as a stylistic/thematic tool in the text.
4. To situate the findings within the broader context of Nigerian literary/linguistic scholarship.

1.4 Research Questions

1. How is dramatic irony used in Ola Rotimi's The Gods Are Not to Blame?
2. In what ways does dramatic irony contribute to the portrayal of cultural identity?
3. How effective is dramatic irony as a stylistic/thematic tool in the text?
4. How does this reading relate to the broader body of Nigerian literary/linguistic scholarship?

1.5 Significance of the Study

This study is significant to students and teachers of theatre arts, offering a close reading of Ola Rotimi's The Gods Are Not to Blame that can support classroom discussion and further critical work. It also contributes to the broader body of scholarship on Nigerian literary and linguistic studies.

1.6 Scope of the Study

The study is limited to a close textual analysis of dramatic irony within The Gods Are Not to Blame, reflecting a BSc-level scope; it does not extend to a full survey of the author's other works.