n the Yorùbá genres, the poets play the roles of historians wherein our past and present histories are preserved for future generation. This study established the fact that Yorùbá genres can be used to trace the history of a set of people and one occurrence or the other. There are different types of orature among the Yorùbás and all these genres are embodiment of their history. Yorùbá poets are seen as historians or repository of knowledge whereby many of the Yorùbá histories are kept. All these stories are seen in form of allusions. Blacking (1977: 22) says:

Orature is committed to preserving the history and culture of individual people through performance; and through it vital cultural information is passed down from generation to generation.

Here, Blacking reveals it that Yorùbá orature is based on preserving history and culture, and vital information are known through it. Without orature, many of the cultural information and history might have been forgotten. But through it, they were able to pass it to other generation. That is why it is rightly said that histories are known through poetry. Ajibade (2009: 101) also agreed to this why discussing Yorùbá Nuptial poetry. He said that, Epitherlamiums, like other Yorùbá poetry illuminates the culture of the Yorùbá people especially the formation of social groups, kinship, solidarity, sexuality, and childbearing among others. Olatunji (1984: 115) supported this fact in his work titled Features of Yorùbá Oral Poetry. He says: E? se? Ifá can be treated as verbal and a storehouse of information about Yorùbá mythology and cosmology.

Olatunji says this because he knows that a lot of information are embedded in e? se? Ifá. Abimbola (1975: 32) supports the fact that e? se? Ifá constitutes a compendium of information on Yorùbá world view. He says: "Ifa literary corpus is the storehouse of Yorùbá culture inside which the Yorùbá comprehension of their own historical experiences and understanding of their environment can always be found. It is recognized as a repository for Yorùbá traditional body of knowledge embracing history, philosophy, medicine and folklore." This also gives another revelation that Yorùbá poets are historian since e? se? Ifá is one of the oratures of Yorùbá, full of history, philosophy, medicine and folklore.

Also Olabimtan (1980: 153) says: Poetry, like religion, is essential to the life of the traditional Yorùbá. It is the vehicle of all that is sublimed in the culture of the people, and that is why there are many genres of traditional Yorùbá poetry to convey the various aspects of the people's cultures. Barber (1990: 315) says:

Each oríkì gestures away from its location within the performed text to an interland of meaning outside the text. Not only that some are specific historical references and some are generalized comments referring to a timeless or ideal state of affairs. Awe (1974: 331) also buttresses it that the role of orature in the construction and reconstruction of history is tremendous. Going by the Yorùbá Alamo, ijala, esa and orin, it is clearly evident that many of these histories are embedded in them. In the above extract, the chanter makes allusion to the history of Onikoyi's lineage. Here the chanter makes it known that the Ikoyi people are brave people and great herbalists. Besides, the chanter depicts the Onikoyi's lineage to be womanizers that is, they flirt with women. This attitude could be seen in their ways of life wherever they may be either at festive mood or war front. Also, the chanter depicts that the Onikoyi's lineage are warlike people, that is, they have flair for war. They are not tired of going to the battle field at any point in time because of the love they have for their fathers' land. In the foregoing extract, the chanter establishes that Arólú Owó, È? sà Ògbín's lineage are masqueraders. Here, the chanter traces the history of the lienage to Kó? ndú Oníwo? . It is made known that the È? sà Ògbín's lineage are great entertainers. Even, the È? sà Ògbín's lineage uses their masquerades to perform for the audience during their children's marriages. That is to say, the È? sà Ògbín's lineage were known from the time immemorial as great socio-cultural entertainers in the society.

Kêyìn sókun song is the next example to be consideration c) Keyin From the above song, the singer alludes to the history of the notorious gang led by Oyenusi in 1970s. The notorious gang caused panic everywhere in the country. The Police Force could not curb them because they usually escape arrest in miraculous way. At last, the Military Force overpowered them when the force discovered the gang's hideout. The notorious gang faced the military tribunal and members were found guilty of armed robbery. All the members of the gang were executed by firing squad. Thus, the above singer brought the events into limelight for the consumption of the present generation. Perhaps, the singer intends to tell the on-coming generation to desist from such irritating social vices in the future. In the above Alámò? the chanter alludes to the history of the inter-tribal war between the Qyqs and Ekiti-parapq (i.e the Kírìjì war). The war was fought in the 18th century. It lasted nine good years. It was the greatest war ever fought by the Yorùbá people in which many lives and properties were lost. It was through the intervention of the colonial masters that the war came to an end. The above Alámò? chanter brought the event into limelight for the memory of the present generation.

It is established in this paper that Yorùbá orature is the compendium of information and storehouse of Yorùbá culture inside which the Yorùbá comprehension of their own historical experiences and understanding of their environment can always be found. Orature is committed to preserving the history and culture of individual people and the community through performance; and through it vital cultural information is passed down from generation to generation. Yorùbá poets are seen as historians or repository of knowledge whereby many of the Yorùbá histories are kept. All these stories are seen in form of allusions.

Finally, this paper concludes that in the Yoruba Ìjálá, È? sà, Alámò? , and Orin (song) like other Yorùbá genres, poets play the roles of historians and that our past and present histories are preserved for future generation.