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How missionary and colonial translation produced the English words now used for Yorùbá religion, what Crowther's Bible did to Yorùbá religious vocabulary, how Èṣù came to mean Satan, and how to read older sources critically.

How much of generically African-diasporic music, food, language and aesthetics is specifically Yoruba-derived, separating demonstrated retention from plausible resemblance and naming the overclaims common in popular writing.

What A. B. Ellis's 1894 collection contains, why its tale texts are usable, and exactly where its colonial framing has to be refused.

What John Parkinson's Ọ̀yọ́ tale collection contains, why its stated provenance is unusually candid for its period, and how to read its editor's comparative footnotes.

What M. I. Ogumefu's 1929 collection offers, and the disqualifying caveat she states in her own preface: the songs of these tales have been deliberately left out.

The one modern peer-reviewed source in this section that names its informants and prints Yorùbá song text, and the one defect in it that governs how every song from it is reproduced.

The tale types this section searched for and could not source, the collections it could not obtain, and why there is no monkey-trickster cycle and no Yorùbá origin-of-death tale in this corpus.