1
Play Review Sheet
Name of play ____The Lion and the Jewel______________________________
Name of playwright ____Wole Soyinka__________________________
Date first published___1962; first produced in the 1950s______________
Nationality of playwright_____Nigerian_________________________
GENRE
1. What genre does the play exemplify? Investigate Comedy, Comedy of Manners, and
farce.
2. What conventions of Comedy does the play satisfy? List all that pertain and provide a
brief justification for each claim.
[Note: This section would be better with references to “The Comic View” included.]
Response 1
What is a comedy?
 A comedy refrains from engaging our profound sympathy while having characters
be embarrassed and exposed to discomfort. The eventual outcome is supposed to
turn out well for the chief characters.
A short history of comedy
 Greek and Roman conventions restricted the word comedy to meaning simply a
play with a happy ending. English comedy developed in the sixteenth century.
The construction was derived from Roman comedy. Comedy reached a high stage
of development in the Elizabethan age. Shakespeare managed to write several
famous comedies. Romantic comedy developed further, in which the central
situation is a love affair involving a beautiful and idealized woman.
 Satiric comedy also developed, which ridicules violations of moral and social
standards, usually by “rascal swindlers.”
 Comedy of manners was brought to the peak of its development. The form deals
with the intrigues of gentlemen and ladies, usually in a polished and sophisticated
society. Violation of social conventions is supposed to evoke laughter.
 Modern comedy has developed mainly out of this particular segment in theatrical
history.
A comedy should:
1. Comedy is critical of the individual who sets him/herself up as exceptional.
2. Characters are usually 1-dimensional
3. There is a gap between the comic figure’s concept of life and actual life its self.
4. The comic figure evaluates themselves in a false manner
2
5. The audience has a god-like view of events and is amused by the inferior
view/reality of the comic figure with their ignorance/folly. The audience is
“above” the comic figure.
6. Though comedy usually ends with a good situation and starts with a bad one, this
convention is not necessarily always followed. Comedy may even touch on
pessimism.
7. Manipulation. Not always present as trait of comedy. There can be a character
who is a shrewd manipulator of others absurdities.

Farce- A type of comedy in which one-dimensional characters are put into
ludicrous situations. The ordinary standard motivations of a character are
completely violated to elicit laughter from the audience. Characters are often
stereotyped, and their situations are over-exaggerated. Crude situations and
implausible plots are not uncommon. Encyclopedia Bitannica even states that
“Farce is generally regarded as intellectually and aesthetically inferior to
comedy.”
How does the play satisfy the conventions of Comedy?
-Critical of individual-Soyinka does most definitely go to great lengths to show each
individual characters flaws and emphasize them however, also seeks to be critical of what
each character represents, Lakunle-Western Influence, Bale-Traditionalism, Masculinity,
Sidi-Womanhood, impressionism [Note: the individual who sets himself up as
exceptional, above the others in his society -here based on his superior intellect - is
Lakunle. Sidi and the Bale really are, in the eyes of their society, superior. Western eyes
may see differently.]
-Audience does Not Sympathize with Characters-The characters blind hubris and
relatively trivial concerns makes it difficult for audience to sympathize with them. No
one appears to suffer greatly.
-Evaluates in false manner-Each character simply over values their own single strong
traits. Sidi her beauty Bale his virility and strength and Lakunle his intellect. Lakunle
believes simply having western knowledge makes him smarter and wiser, Bale believes
his virility will not fail him anytime soon, Sidi believes her beauty is strong enough to
have men bow to her. All of which are overestimated assertions and assumptions.
-Audience Perspective-Audience is definitely amused by the folly committed by each
character, by Lakunle’s many attempts to woo Sidi without paying her bride price, Sidi’s
assertion she is the Jewel of the Village because of her beauty, Sidi’s succumbing to the
Bale’s seduction, the Bale’s armpit hair tweezing pleasure are all seen as absurd.
-Starts bad, Ends well- Although Lakunle appears to be worse off than when he started
the story, loosing Sidi and being again laughing stock of village [apt for the comic
figure]., Baroka is opening up village to modernization with stamps.
3
Sidi winds up as the paragon of beauty in a magazine and married to Baroka as his new
favourite though for how long we don’t know. Baroka gets the women he wants and is
close to beginning his stamp production so he ends well. The community comes out well.
The tension between Lakunle and Baroka is released for the time being when the Bale
wins Sidi. The community celebrates the wedding of the Bal and Sidi with a massive
party. [Note: see “Comic View” on fate of the “ridiculous character.]
-Manipulation-Both Baroka and Sadiku manipulate certain situations and absurdities
Farce-The play definitely has an stereotyped characters who represent different
ideologies, their situations are definitely put to extremes at all times and are often very
dramatized such as Lakunle’s love for Sidi or his speeches on leading the village to
western utopia. The plot here is not totally obscene or too difficult to follow expcept for
perhaps the chaoitic events acted out on stage in the “dancing” parts, though there are
several plot twists that the audience does not see coming; Sidi being seduced by Baroka
and then actually marrying him. The play can also be crude filled with crude language
used by Baroka and Sidi mainly.
Response 2
[Note: I’ve left the definitions of comedy right below to make a point, issue a warning.
While the following definition is correct for general purposes, it isn’t helpful in a literary
critical context. See comedy in “The Comic View,” Di Yanni, and literary terms texts –
as in Response 1.]
Comedy: 1.. a. A dramatic work that is light and often humorous or satirical in tone and
that usually contains a happy resolution of the thematic conflict. b. The genre made up of
such works. 2. A literary or cinematic work of a comic nature or that uses the themes or
methods of comedy. 3. Popular entertainment composed of jokes, satire, or humorous
performance. 4. The art of composing or performing comedy. 5. A humorous element of
life or literature: the human comedy of political campaigns. 6. A humorous occurrence.
[Whether a work is funny or not has little to do with a literary evaluation of whether
a work is a comedy.]
Farce: A light dramatic work in which highly improbable plot situations, exaggerated
characters, and often slapstick elements are used for humorous effect.
Comedy of Manners: A comedy satirizing the attitudes and behavior of a particular
social group, often of fashionable society.
The conventions of the comedy of manners is that it pertains to a certain group of
a society. This can be connected to the Lion and the Jewel because the attitudes of the
village compared to the attitude of Lakunle, who is not originally from the village are
very distinguishable. When the readers, or audience, hear the way Lakunle talks about
4
Westernization, they can tell that the author is portraying the way he explains the western
culture in a satirical way. But this works both ways, there are multiple things about both
cultures that are ridiculed through the use of social groups in their society. The way the
characters interact with each other is one of these examples.
Another use of theater that Soyinka uses is farce. This is based on plot situations
in a play that are highly un-probable. There are many plot lines in this play that can be
considered improbable. For one, at the end of the play, when Sidi sets out to humiliate the
Bale, the audience does not think that he will end up seducing her, though a couple
minutes later in the play, we learn that she has lost her virginity. There are many scenes
in the play that seem to be going in one direction, but at the end of the scene, there is
always a twist. Soyinka's way of writing makes the play inscrutable. The audience can
never guess what is really going to happen next. Like a farce, which is a light dramatic
work, every scene that seems to end badly has a twist that makes it the exact opposite.
Even after Baroka seduces Sidiku, she goes back to marry him in the end, which creates
more of an effect of farce instead of tragedy.
The Lion and the Jewel uses both farce and comedy of manners.
Distinctive Satiric Comedy






In itself, Satiric Comedy is comedy that
focuses on criticizing the values or
actions of people or a certain situation.
Often it’s very wry and to some harsh
In the Lion and the Jewel, there are
instances where the comedy involved is
highly satiric.
During the conflict between tradition
and modernization there is a dry humor
presented toward each of the groups
The mocking humor directed at the
modern ideals though centers around
Lakunle’s beliefs that women are
inferior (because they have smaller
brains according to his modern studies),
but also that modern ideals state that
things like the “bride price” are
demeaning and antiquated. Although he
is not attempting to be funny, the
situation is mockingly funny as
Lakunle’s beliefs are so drastically
different than what we visualize now as
“modern ideals”
Traditionalism is satirized in terms of
the refusal of the more traditional
characters (namely Sidi) to adapt to
modern concepts, and yet when the
modernist ideal are presented with a
sense of power and deception behind
them, they become instantly attractive
to the traditionalist (Baroka and the
stamp machine)
One of the keys of satiric comedy is the
“evil trifecta” that is key to Commedia
del’Arte and farce, which is greed,
adultery, and lust. Lakunle’s greed for
his money, and his repeated attempts to
avoid the bride price, is comedic as he
continues constantly to try to avoid
paying it while making it seem like his
offer is not trying to dodge the payment
but rather an altruistic consideration.
Distinctive Romantic Comedy






Romantic Comedy is comedy that
5
focuses on romance between characters,
pursued, or desired relationships, and
the obstacles that stand in the way of
the relationship actually happening
In The Lion and the Jewel, romantic
comedy is very present in the love
relationship between characters
Sadiku is important in romantic comedy
as she is quick to celebrate Baroka
telling her that he is “impotent”. It is
comedic romantically because she (as
his head wife) has no real desire to be
with him and so is happy that he has
lost his potency
The relationship between Sidi and
Lakunle is also very comedic as it is a
story of a desperate schoolteacher who
attempts to win over the love of his life,
and in the end despite everything still
does not “get the girl
One of the main obstacles to the
relationship in the end is that Sidi
“loses her maidenhood” to Baroka. This
essentially makes her “damaged goods”
according to cultural standards, but
Lakunle magnanimously offers to
ignore that fact (as well as the bride
price). However, Sidi still ends up with
Baroka despite the supposedly
traumatic experience. This shows off
Sidi’s shallow nature and her
incompetence in relationships.
Finally, while not as lighthearted as
some of the other romantic comedy
elements were, the last important
relationship is between Baroka and
Sidi. While dark in nature, it still can be
considered comedy, as Baroka goes
through this complicated plot to ensnare
Sidi and seduce her that spreads only
through other people (Sadiku being
“loudmouthed” about “scotching”
Baroka). While the ends are evil in
nature (seduction etc.), the reversal in
plot in terms of Sidi willingly
marrying him is very comedic in
nature.
6
CHARACTERS
1. Names of Major Characters Include labels, probably relationship tags eg wife of…
2. Are these characters flat or round? Dynamic or static?
3. Names of Minor Characters. In general, what function do the minor characters serve?
4. Who is the protagonist? Justify your choice briefly. What is the protagonist’s
objective?
5. Who is the antagonist? Justify your choice briefly. How does the antagonist block the
protagonist?
[Note: Each of the 3 following responses handles the question of who the protagonist is
and who the antagonist is differently.]
Response 1
Major Characters
1. Sidi:
 “The Village Belle”, main character of the story
 Baroka and Lakunle are both interested in marrying her
 She plots against Baroka
 Somewhat dynamic and round character (see description in protagonist)
2. Lakunle
 Schoolteacher
 Represents Western ideals—modernization, industrialization etc.
 Flat, static character who shows no change throughout the course of the
play
3. Baroka (The Bale)
 The Bale of Illunjinle (the Village), referred to as the Lion
 Static character but relatively round.
4. Sadiku
 Baroka’s second wife; static.
 Tells Sidi that Baroka wants her for his wife (see #2 in protagonists)
Minor Characters
1. The Favorite
 The Bale’s ‘favorite’ wife
2. Wrestler
3. Surveyor
 Serves as a supporting character in the scene with Baroka—where he
represents the tradition in ‘closing a deal’
4. Schoolboys, Attendants on the Bale, Village Girls
7
In general, minor characters serve as supporting characters (static) for situations
and scenarios, which take place in the play; or as supporting characters to further
the characters of others (i.e. The Favorite—gives the reader more insight into
Baroka’s character)
Who is the protagonist? What is the protagonist’s objective?
1. Sidi
 Main character—the plot revolves around Sidi marrying either Lakunle or
Baroka.
 She is the only dynamic character in the play—after seeing her pictures she
becomes an arrogant character
o “Sidi is more important even than the Bale./More famous than that
panther of the trees./He is beneath me now”—Sidi (p.12)
 Sidi’s objective is to trick Baroka—she plots against him after finding out
about his impotency from Sadiku.
2. Lakunle and Baroka
 Lakunle and Baroka can both be considered the protagonists in the sense that
they are competing for Sidi—both are interested in marrying her.
o “Not till you swear to marry me.”—Lakunle (p. 6)
o “Then, in as few words as it takes to tell, Baroka wants you for a
wife.”—Sadiku to Sidi (p.19)
 Symbolism: Lakunle as representative of a superficial understanding of
Western ideals and modernization, Baroka as representative of traditional
ideals.
 [The village?]
3. Sidi? See 2, Social Context below.
Who is the antagonist? How does the antagonist block the protagonist?
1. Baroka
 Baroka can also be seen as the antagonist because of how he tricks Sidi
o Makes her believe (through Sadiku) that he is impotent and takes
advantage of her
o Opposes Baroka
 In the end, he is the one Sidi chooses to marry; thus, he defeats Lakunle.
o “ Did you really think that you, and I…/Why, did you think that after
him,/I could endure the touch of another man?” (p.63)
2. Social Context
[Note: The times determine many of the antagonisms in the play including the
tension between Western and traditional ways. Consider: Is Sidi, like Hamida,
the representative of her community? Are Lakunle and Baroka representative of
forces larger than themselves- Westernization and traditional African ways? If so,
then Sidi might be considered the protagonist in search of security and
independence. The tension between Lakunle and Baroka keeps her from having
the security and independence she seeks. Thus they both could be the
protagonists.]
8
Response 2
[Note: The second list of major characters was fine, but redundant.]
List of Minor Characters:
[Note: list fine, but redundant.]
The importance of the minor characters are that they supplement the major characters.
They help show the distinct characters of each main character. For example, the wrestler
acts to show the manliness of Baroka. They are props in a sense for they serve to
complete scenes.
Protagonist:
Lekunle Does not play the dominant role. Although the audience may sympathize with
Lakunle over Baroka, because of Baroka’s manipulative persona, they never identify
themselves with his character. Lakunle strikes the audience as naïve, especially when he
describes the ‘’benefits’’ of modernization, and sometimes his western ideas, strike the
audience as an excuse to not paying the bride price. So, the audience is never able to
identify with him. Lakunle does however, have a goal (to marry Sidi), and does come into
conflict with Baroka, who in this case would be seen as the antagonist.
Sidi Out of all the characters she is the most dynamic, changing from a typical village
girl to one who realizes the power in her own beauty. However, although she plans to
humiliate Baroka, it is hard to see this as the major goal in this play. But if it is taken as
her goal, then she would come in conflict with the antagonist, Baroka, as he impedes this
goal by manipulating her.
Antagonist:
The antagonist of the play is Baroka. Although it is right to assume that there would be a
different antagonist for every character we choose as the protagonist, Baroka always
seems to be the antagonist. For example if we see Lakunle as the protagonist, then
Baroka becomes the antagonist. He disrupts Lakunle’s goal of marrying Sidi, by
manipulating and marrying her. If we take Sidi as the protagonist, then Baroka is also the
antagonist, as he impedes her ability to humiliate him. Lastly, if we choose sadiku, he
once again disrupts her goal by proving that he still has his manhood. In conclusion all
the goals of the characters are disrupted by Baroka, making him the antagonist. It is also
interesting, that he is also the character that opposes modernization.
Response 3
Major Characters:
Lakunle – Young (nearly twenty-three years old), schoolteacher of the village. He is in
love with Sidi and hopes to marry her, but this does not happen in the end. Lakunle
refuses to pay the traditional bride-price to marry Sidi as a way of standing up for his
beliefs that women can’t be treated like possessions. When he finds out that Sidi is no
9
longer “pure” for marriage, Lakunle leaps at the chance to forget about paying the brideprice completely. He admires the Western culture and attempts to showcase his
knowledge of it many times throughout the play. He represents the presence of Western
values, a source of one of the play’s major conflicts.
Sidi – The village belle. Throughout the play, Sidi acts in an extremely conceited way
after the photographer has returned to the village with a magazine containing more
images of her than anyone else. These images reveal how beautiful she truly is. After
this incident, Sidi thinks of herself as more important than both Lakunle and Baroka.
However, Baroka manipulates her into becoming his latest wife, and thus his new
favorite, at the end of the play. Sidi represents the traditional values of the village by
refusing to marry Lakunle until he has paid the bride-price. She is referred to as the Jewel
in the title of the play.
Baroka – The Bale/chief of Ilunjinle, a village in Nigeria. He is sixty-two years old and
has many wives, including Sadiku (his first wife), Ailature (the favorite before Sidi), and
at the end of the play, Sidi. At the beginning of the play, he talks of his impotence with
Sadiku, but we later learn that this conversation was part of his plan to tempt Sidi to come
to his place. Baroka is able to lure Sidi into having sexual relations with him and later
staying as his new wife. Baroka is referred to as the Lion in the title of the play.
Sadiku – The eldest wife of Baroka. She delivers the message that Baroka has lost his
manhood to Sidi. In turn, both Sadiku and Sidi decide for Sidi to visit Baroka and bring
up the topic in order to embarrass him.
Minor Characters:
Because each character serves different functions or represents different concepts, the
only general purpose is to either drive the plot or contribute to development of a theme.
[Note: they also function as human props, people necessary to complete the setting.]
Village girls, Surveyor, Schoolboys – The village girls, the schoolboys, the surveyor,
and the performers all have something in common: they all represent either
modernization or traditionalism, thus contributing to the prominent theme of
modernization and the conflict between modern society and the tribe. For example, the
surveyor epitomizes westernization and an antithesis to the traditional tribal culture when
he is so easily persuaded by bribery. The laughable satire he creates is similar to that of
Lakunle.
A Wrestler, Attendants of the Bale – The purpose of the wrestler and the attendants of
the bale are relatively clear: they support the development of Baroka's character. The
attendants establish the bale's superior status in the village. By defeating the wrestler,
Baroka verifies his energy and his fortitude, differentiating him from Lakunle and thus
10
contributing to the theme of the role of strength vs. intelligence in sexual attraction. The
wrestling scene also gives insight to his sentiment towards Sidi.
Musicians, dancers, mummers, prisoners, traders – The performers (musicians,
dancers, etc.) provide many other purposes apart from representing and exposing the
audience to tribal culture and tradition (as well as entertainment for the audience), they
also demonstrate the tribe's interest in the various subjects of the rituals, eg. perplexity at
the traveler or excitement for Sidi's engagement.
Protagonist:
Lakunle can be seen as the protagonist of the play since he has the objective of
introducing a more modernized outlook for the village in order to bring the inhabitants
greater benefits. His goal is to get rid of the bride-price and only allow for one wife for
each man, so that women are treated with respect instead of as property.
“This town shall see transformation
Bride-price will be a thing forgotten
And wives shall take their place by men
A motor road will pass this spot
And bring the city way to us.” (Soyinka, 36-37)
Antagonist:
Baroka can be seen as the antagonist as he opposes any methods of modernizing the
village. He believes that the introduction of Western values and practices can destroy the
culture of the village and the variety of ways in which people live. Baroka blocks the
protagonist, Lakunle, from advancing with his aim of modernizing the village by
disrupting the construction of a motor road through the town and then continuing to
pursue another wife, Sidi, for him to continue with traditions.
STAGING
1. What set/sets is/are involved? If the location changes, when and why?
2. What props are involved? What is their significance?
3. What information is provided about costumes? What do the costumes convey?
4. What kinds of stage directions are provided? What do they contribute to the play?
5. What other aspects of the staging are significant? How is/are it/they significant?
Consider not only lighting but also music/drums, and dance/mime. (See dance/mime.)
11
Response 1
The Lion and the Jewel has two main locations. The first is outside the school (Morning)
and in the surrounding area. The features of this space are large area, dirty ground and a
large tree in the middle of the area. The second space is Baroka’s home. The features of
his room are small, confined and dark, and his bed.
Response 2
COSTUMES
In general, the costumes in the Lion and the Jewel function to not only show the
contrasting different personalities within the characters (especially the main characters),
but also to demonstrate the significant difference in culture (representative of the theme
of the culture clash). [Note: subtext.] Lakunle’s dress is very clearly influenced by a
Western society which is similar to how ‘the stranger’ is dressed. Both characters are
ostracized in the culture of Ilunjinle (the village) and this can be represented by their
dress. On the other hand, other characters such as Sidi and Baroka dress in very
traditional styles which represents their value of culture.
Sidi – wrapped [in] the familiar broad cloth which is folded
just above her breasts, leaving her shoulders bear. Sidi’s
costume is very traditional to the area – it is a simple cloth
and very typical to young African women at this time – thus,
she represents her culture directly through her dress. She is
quoted, however, by Lakunle to wear her dress lower than
other women in the village – this emphasizes her vanity.
Baroka – naked except baggy trousers. Baroka is seen
wearing very organic clothing – it is loose and natural which
represents his remaining youth and vitality as well as his agility and wrestling. He also
has an agile mind.
Lakunle – dressed in an old-style English suit, threadbare but not ragged, clean but not
ironed, obviously a size or two too small. His tie is done in a very small knot,
disappearing beneath a shiny black waistcoat. He wears twenty-three-inch-bottom
trousers, and blanco-white tennis shoes. Very obviously dressed differently – he portrays
the modern society that is trying to be imposed upon the African village. He looks
ridiculous to the African village, but also probably ridiculous to the Western world
because of his ill-fitting suit.
STAGE DIRECTIONS
12
The stage directions are pretty typical to most stage directions in plays. As per
usual, the directions give the characters more of a round quality – where words do not
necessarily bring out the character in full, the stage directions help to show important
movements and intentions behind the lines. [Note: subtext.] In this instance, the stage
directions give notes on how the lines should be delivered such as [peevishly] or
[excitedly]. The stage directions do not just give dialogue help, but also give some
important movements.
The last kind of major stage direction in this play are the two major mime and
dance scenes. These are representative of the culture specifically, and on a logistical level
provide a way to tell the back story while keeping the play in the present time and
keeping the play at a realistic level.
LIGHTING
Keeping with the relaxed and organic nature of the play and the playwright, the lighting
is not noted specifically. There are not certain washes dictated of ‘blue’ light or ‘purple’
light, or a spot light on someone, but instead, the lighting is left up to the designer. The
lighting is meant to be natural and thus reflect the times of the day. Since the play is
divided into morning, noon, and night, the lighting can represent what outdoor lighting
may look like at these times of day. In general however, it is left to the liberty of the
designer.
MUSIC
There is some music used in the play, but it is all used within the scenes (i.e. not
accompanying the scenes, but rather a part of them). The music is primarily used for the
mime and dance scenes and contains only drumming and chanting by the actors. The
other place music is heard is not necessarily a mimed scene, but near the end (in night)
when mummers come to celebrate the news of Baroka’s impotence. Again, all music
used in the play is integrated into the scene in the form of drums and chants/songs that
are typical and relative to the culture portrayed.
Response 3
Sets

Every scene begins either in the village centre with the marketplace or very close
by
o Morning – “A clearing on the edge of the market, dominated by an
immense ‘odan’ tree. It is the village center”
o Noon – “A road by the market”
o Night – “The Village center”
13


The location only changes twice and the reason for this change is Baroka comes
in to focus on stage in his bedroom. [Note: establishes contrast between public
and private.]
The second of those changes is due to Sidi’s confrontation with Baroka
Props




One of the most significant props early on is the magazine featuring Sidi
This single item is important because it has the effect of drawing Baroka’s
attention to Sidi, making Lakunle concerned and boosting Sidi’s view of herself
It is described several times in both the morning and noon scenes
It is a very important prop because it is viewed and used by all of the main
characters
[Other props?]
Costumes




A significant amount of information is conveyed about costumes such as
Lakunle’s schoolteacher outfit and Sidi’s traditional dress.
Lakunle’s outfit shows his attempts to dress in a formal western fashion and it
further emphasizes his difference in views and actions when compared to the rest
of the village
o “…old-style English suit, threadbare but not ragged, clean but not
ironed…twenty-three-inch-bottom trousers, and blanco-white tennis
shoes”
Sidi’s traditional dresses act in a similar way because they help to further convey
her traditional village attitude especially in respect to her view on the bride price
o “Around her is wrapped the familiar broad cloth which is folded just
above her breasts, leaving the shoulders bare”
Baroka is generally described as wearing “nothing except baggy trousers”.
[Traditional.]
DANCE/MIME
1. What function does each dance/mime sequence serve? Eg supplies back story.
2. What are the traditional functions of dance/mime in Nigerian culture. (See Cultural
Context.)
Response 1
Nigerian Dancing
Nigerian dance is a huge part of not only Nigerian culture but also African Culture. The
music and dances are a part of everyday life in the Nigerian culture and hard to categorize
them into one type, because it celebrates the totality people’s lives. Dance can be used to
express or underline a moral through story, entertainment during a festival or holiday, or
14
an emotion: for example mourning, anger, excitement and happiness. The dance steps
and gestures are usually sprightly, elegant, and graceful and how they connect to a
universal theme. Dance is a way to maintain traditional culture and beliefs even though
their original culture has been influenced or is in the process of being influenced by
Western culture. This can be shown especially in Nigeria where it can be noticed that
each specific dance has a connection to human activity and a demonstration of human
reality. In most regions of Nigeria, dances signify important occasions in the community,
such as birth, harvest, thanksgiving, success, etc. Every experience in the culture is
translated into music and dance. Dancing is a major source of entertainment in traditional
Nigerian society. The “type and style of dance movements are dependent on the musical
instruments. Traditional Nigerian dance troupes mostly utilize indigenous musical
instruments. Drums, African talking drums, flute, Shekele, Picolo etc. are common
musical instruments. Other modern musical instruments are also common. Traditional
Nigerian music has made significant contributions to modern music. Music and dance
remain the soul of Nigerian culture. (http://www.nigeriasite.com/dance.html)
In the book, The Lion and the Jewel by Wole Soyinka, the dances can easily
symbolize the attempt to maintain cultural traditions even through Lakunle, who
symbolizes Western culture, attempts to spread its influence in the region of Iljunle.
There are three main dances; one in each section: Morning, Moon and Night. They are
dancing the Dance of the Lost Traveler, which is kind of a “street theatre”. The dance that
is performed in the morning is quick in tempo and starts out happy and enthusiastic but
then it turns ugly when Lakunle’s character tries to molest a girl, it turns ugly and dark. It
can represent inner and outer torment in the village and its relationship and response to
Western influence or change.
The dance that is performed in the Noon is one that is more in reference to a play.
Lakunle’s story is performed in a pantomime type of dance. The characters are acting out
the time of the horrible treatment the Bale and his surveyors and his success in diverting
the railroad.
In the Night, women rituals were performed to add some sort of woman
empowerment. However, there is another pantomime that is performed is the depiction of
triumph of women over man at the same time the Bale is triumphing over a wrestler and a
woman, Sidi. Ironic, is it not? Lakunle's account of the Bale's prison is perhaps a
suspicious illusion.
Response 2
All the dances are there to tell a story, they use dance/mime as their communication
technique, and they are there to be entertaining while informing people at the same time.
Examples: the stories of the surveyor and the photographer.
Indigenous African musical and dance expressions are maintained by oral tradition and
are stylistically distinct from the music and dance of both the Arabic cultures of North
Africa and the Western settler populations of southern Africa. African music and dance,
therefore, are cultivated largely by societies in sub-Saharan Africa
15
African traditions also greatly emphasize dance, for movement is regarded as an
important mode of communication. For this purpose the dance utilizes symbolic gestures,
mime, props, masks, costumes, body painting, and other visual devices. The basic
movements may be simple, emphasizing the upper body, torso, or feet; or they may be
complex, involving coordination of different body parts and intricate actions such as fast
rotation, ripples of the body, and contraction and release, as well as variations in
dynamics, levels, and use of space. The dance may be open to all, or it may be an activity
in which one, two, three, or four individuals (regardless of sex) take turns in the dancing
ring. Team dances also occur. The formations may be linear, circular, serpentine, or
columns of two or more rows.
African theatrical expression leaves language behind and purely uses bodies for
communication; it is a fantasizing art form. These dances mark big moments, celebrate
birthdays, rejoice in marriage, mourn in funerals, from the best to the worst times dance
is used in this culture to express the community’s most important experiences.
Response 3
Passage 1 (14-16): Sidi to Lakunle forcing him to take part in the “… dance of the lost
Traveler” (13). Reflected themes: manipulation, conflicting cultures.
Dance
 The dancers chant, “You dress like him, you look like him, you speak his
tongue, you think like him, you’re just as clumsy…” (14) while dancing
around Lakunle to the sound of the drums which has a steady beat. These
parallelisms serve to verbally reflect all the cultural differences between
Lakunle and his village. The dancers surround him and the tempo of the
drums increases which symbolizes social pressure (for he is Westernized
in comparison to the villagers).
 Facilitates the viewers understanding of the play for it illustrates a
flashback.
 Provides a break from dialogue.
Mime
 Lakunle employs “realistic miming” to re-enact the photographer’s
journey to the village. The music includes the soft throbbing of drums,
gradually swelling in volume and eventually gaining tempo. This auditory
build up illustrates an increase in tension for the photographer is lost in the
forest. This scene represents a flashback; it translates the fascination of the
visitor and condenses the story. Provides a break from dialogue.
 The sounds and appearances of various animals cause him to be nervous
(again, contrast between the Western and African cultures). This suspense/
tension contrasts with his fascination with Sidi when he sees her. This
fascination is illustrates by his exaggeration of movements: “He tip-toes…
blinks hard and rubs his eyes” (15).
16
Passage 2 (24-26): Lakunle to Sidi about Baroka’s plan to impede progress in the village
by stopping the construction of the tracks. Reflected themes: corruption, conflicting
cultures, and lack of progress.
Mime
 Facilitates the viewer’s understanding of the play. Illustrate Lakunle’s
description and reflects his warning to Sidi. Provides a break from
dialogue.
 "A white surveyor examines his map (Khaki, helmet, spat, etc.)..." (24)
which enables the reader to assume that the surveyor (the building of the
tracks) represents British colonialism.
 Enumeration: "camp stool, table... soda siphon, whisky bottles, and
geometric sandwiches" (24) also supports the presence of colonialism and
its many effects.
 Music/ sound effects include “… felling, matchet swinging, log dragging,
all to the rhythm of the work gang’s metal’s percussion (rod on gong or
rude triangle… etc)” (24) in addition to singing. These sound effects
create a consistent rhythm that reflects the organization and effectiveness
of the workers, thereby symbolizing their intent to build the tracks. The
instruments and movements used to create the rhythm adhere to the
traditional use of resonant solids typical in sub-Saharan African countries
(others include drums, rattles and stamping tubes).
 Meaning of the chant: “Itoro” (glory), “Amuda” (means purity and is also
a liquid which when consumed gives the person a long life), “Aiya”
(altruistic). Therefore, the workers seek glory and hope to achieve eternal
lives through the building of the tracks. Dance as a way to encourage
work. Upbeat rhythm reflects the workers mood; it represents the good
attitude with which the village receives the tracks/ progress.
 The sudden interruption of the rhythm by Baroka’s bulldozer breaks the
effect of efficiency and consistent progress. This interruption helps
illustrates Baroka’s power and suppression on the village.
 Exaggeration of movements: “…frowns heavily, rubs his chin… reexamines the contents of the bowl, shakes his head” (25). This
exaggeration is typical of miming in order to define their only assets
(body/ facial movements) to get their message across to the audience. In
this case, the exaggeration depicts the surveyor’s initial resistance to
Baroka’s offer.
 “…kola nut is broken” (25) It is a visual representation of a traditional
agreement (much like hand-shaking).
Passage 3 (54-55): Baroka to Sidi convincing her that his age is not of importance (after
she goes to see him and attempts to humiliate him). Reflected themes: manipulation,
humiliation, sexual (attraction), conflicting cultures, gender roles.
Dance
 The dancers dance/ mime a scene where “… a group of female dancers
pursue a masked male” (54-55), thereby illustrating the underlying motive
17
behind Baroka’s conversation with Sidi: He is trying to get her to be his
next wife while she is also becoming interested in the prospect. The fact
that it is a group of females chasing a male demonstrates Baroka’s
multitude of wives as well as the village women who want to marry him
(as most of them do). The mask (on the male dancer) could be a terrifying
mask (traditionally used to ward off evil spirits), thereby equating
Baroka’s female following with evil  male dominant society (more of a
characteristic of the tribe’s culture than of Westernized culture)
 The scene is set to the sound of “Drumming and shouts…” (55) which
denote a sense of chaos. The scene illustrates human/ animal impulse
(although with animals this would be sexual, in this case the women are
drawn to Baroka’s wealth, [which is sexy in its own way]).
 The fact that the dancers cross the stage twice implies a never-ending
pursuit: the women of the village will always have the hope of marrying
the Bale. Additionally, the rapid crescendo of the music serves to add both
an auditory and visual dynamic component to provide a break from
dialogue.
Passage 4 (57) Reflected themes: conflicting cultures, and gender roles.
Dance
 Lakunle is expected to tip the mummers as do the villagers, but he refuses
to even though he enjoys the performance much like he refuses to pay the
bride price despite wanting to marry Sidi. He uses modernism as an
excuse to save money.
Passage 5 (63) Reflected themes: cultural tradition, gender roles, sexual attraction, and
culture contrast.
Dance
 Sidi taunts Lakunle by shaking her buttocks at him. Lakunle develops the
desire to dance with her but then is interrupted by Sadiku who tries to
make him dance with her. Eventually, he starts dancing with another
young lady.
 It provides a break from dialogue.
 In most African countries, dance is very sexually charged and mostly for
entertainment purposes of men in order for them to “let off sexual steam”.
Therefore this dance scene supports the male dominated culture of the
village (once again creating a contrast with the slightly more gender
equated Western culture).
For many Africans, dance is not solely used for entertainment but also for “social
cohesion of its peoples” (Harper). Dance is categorized into ethnic and theatrical dance.
The greatest difference between the two lies between the audience-performer
relationships (Harper). Although both types of dance function as a way of expressing oneself,
theatrical dance is structured specifically by a director for entertainment purposes. Directors purposely use
theatrical dances to engage the audience and establish a relationship between dancers and audience
members. Many dances in Nigeria have evolved into dances performed to entertain foreigners (people of
different cultures and not necessarily countries) (Harper). Dance in Lagos, Nigeria is said to have “the
most sinuous and rhythmic” flow compared to other dances in Africa (Borgman).
18
“Dancing is a holistic celebration of deity, communal events, and personal relationships. Within this genre
are dances to praise God, to lament calamities, to prepare for war, to appreciate the victors, to encourage
hard work, to prepare for marriage, and to release frustration” (Borgman).
Works Cited
Borgman, D. “The Importance of Dance in Africa.” Urban Youth Workers Institute. Center for
Youth Studies, 2011. Web. 29 Feb. 2012. <http://www.urbanministry.org/wiki/
importance-dance-africa>.
Harper, Peggy. “Dance in a Changing Society.” African Arts 1 (1967): 10+. JSTOR . Web. 29
Feb. 2012.
CULTURE/HISTORY
Response 1
Nigeria in the 1950’s -1960’s
Nigeria became independent from the United Kingdom in the year 1960 by a military cou
d’etat, after about 100 years of colonial rule. Britain’s reason for colonization was very
strategic and specific, as the geographic location of Nigeria offered agricultural,
economic and military benefits (coastline, fertile land, rich in minerals). In the late 40’s,
the British organized a system of regional autonomy to accommodate growing conflict in
the Nigerian colony. This system would allow Britain to control Nigeria from afar, while
having locals govern on the ground. When Nigeria broke free from British rule, it
established political system whose goal was to unite the variety of tribes in Nigeria. The
first Nigerian constitution was written in 1979, after the abolishment of several British
constitutions which had been in place throughout the colonial-era (however, the Nigerian
constitution was heavily influenced by these previous documents). There were many
conflicts in keeping the country united (and still are today) because of cultural and
religious differences that exist between the north and the south (North is more Muslim,
South is more Christian). [Note: Where do the tribes, tribal villages, and Bales fit in?]
Evangelisation and Westernization
During the colonial era, much of the southern portion of Nigeria had come in contact to
Europeans and their dominant religion: Christianity. Because the North, South and
Western portions of Nigeria were separated until much later in Britain’s rule, the North
was not as exposed to the Christian teachings, and remained predominantly Muslim.
Christianity spread especially through school-education, as many teachers were European
missionaries. In relation to the text, the characters practice a Yoruban lifestyle, in which
the cultural religion is comprised of upwards of 16 deities, each with specific functions
and associations. Lakunle shows a desire to adapt to Christianity, along with westernized
technology such as the use of trains. [Note: Lakunle, Sidi, and even the Bale quote
19
Scripture.] The modernization and westernization which came to Nigeria is largely due to
its ties to Britain, and the technology the local British authorities brought to the country.
Nigeria’s mineral created a shift to industrialization and urbanization in the most
important cities. The British presence increased infrastructure through the country,
through the building of railways and coastal ports, allowing for greater trade between
Nigeria and other countries and cities. This development was however very controversial
to the rural tribal people of the country as it disturbed their way of life and removed their
powers and sovereignty (as is seen in the text, where Baroka is resistant to the building of
rail in his village). Nigeria’s largest economic strength was (and still is) its oil production.
Marriage and Women
Polygamy is a very common system of marriage for tribal groups and Muslim groups in
Nigeria (Christian marriages only permit one wife). Polygamist marriages are signs of
wealth for the men, as they are indicative of how many women and children the man is
able to provide for. In polygamist marriages (or in traditional tribal marriages) women do
not have significant power in the marriage nor in the community. They may be expected
to have their own work, however their earnings will be rather insignificant in the eyes of
their husbands. Multiple wives married to the same husband usually depend on each other
for support as profound relationships between husband and wife are infrequent. In
addition, it must be noted the order of marriage is significant of preference (the first wife
is the most important, and has the most influence among the other wives). Women are
expected to produce children for the husband, and if infertile, bring great shame to the
marriage. In polygamist families, each wife is responsible for providing and caring for
their own child, although they will help out with other wives. Lastly, in tribal groups (and
such is the case in The Lion and the Jewel), the man must offer a bride price to woo the
woman to marriage. The bride price is usually comprised of livestock, valuable goods or
money which is given before the wedding. [Note: What determines bride price?]
Response 2
The Lion and the Jewel, the Nigerian play written by Wole Soyinka, was
published in 1962 but was however acted on stage as early as 1959. Wole Soyinka
himself originates from the Yoruba tribe in Southwest Nigeria today composed of 2/3
Muslims and 1/3 Christians. Nigeria was first colonized by the British in 1800 and gained
its independence in 1960. The year which the story takes place in is not explicitly stated
in the Lion and the Jewel, but can be reasonably assumed to take place before Nigeria
gained its independence in 1960. The presence of the British army and indications to the
slave trade are not present in The Lion and the Jewel, but yet the presence of modern
commodities such as cameras and railroad tracks seem to indicate that the Lion and the
Jewel takes place anywhere from the early 19th century to mid 20th century. As the setting
of the Lion and the Jewel has successfully remained free of the British and modern
settlers mostly due to Baroka’s efforts, no allusions to current world or domestic political
events are made. The reader is instead focused on the village itself and its indirect and
limited relationship with the modernized outside world, such as the “stranger” and the
brief mentions of the city of Lagos.
20
The emergence of Nigerian nationalism under British Colonization started in the
1920s with African Unions based in cities such as London denouncing colonialism’s
failure to respect and appreciate the antiquity and sovereignty of these indigenous
cultures. These unions managed to introduce representatives in the Legislative Council
under the leadership of Hebert Macauley, the founding father of Nigerian nationalism and
known for his political statements in the Lagos Daily News. Macauley created the
Nigerian National Democratic Party which ruled in Nigeria from 1922 to 1938. Many
political parties ruled Nigeria under British eye from 1938 to 1954 including the National
Youth Movement which secured the inclusion of Nigeria into the British Commonwealth
of Nations, anticipating more and more Nigeria’s independence as time went on.
Revisions made to the constitution originally introduced in 1946 were made in 1954
which resulted in the Western and Eastern regions of Nigeria to be self-governing under
the new parliamentary system, followed by the Northern region in 1956.
From 1957 to 1958, a new Nigerian independent federal constitution was
introduced and worked on in London under supervision of the British secretary of state
for the colonies and Nigerian candidates for every political party represented in the
Legislative Council. Elections for a new House of Representatives in the December of
1959 led to the successful British Act of Parliament in 1960 for an independent Nigeria,
and subsequently passed. None of these events are alluded to in The Lion and the Jewel.
However, the motherland to colony relationship is represented well in the play, especially
under the characterization of Lakunle as he unnecessarily attempts to modernize Sidi for
its inherent sake. Sidi rejects his transgression to her culture and his modernized attempts
at courting her as his judgments and social preconceptions are incompatible with those of
the indigenous tribes and c
Response 3
21
Nigerian culture tends to be influenced greatly by the politics in the country. Politics have
a significant impact on both business and social issues / societal matters.
In the book there are many Christian references this is because typically in Nigeria the
most dominant religion is Christianity. Christianity is found in the south of the country
and Islam is in the north. The capital of Nigeria, Abuja has both a mosque and church.
The three main groups in the country are the, Ibo, Hausa, and Yoruba. Although there are
over 250 ethic groups in the country which provides diversity.
English remains the main language in the country; this is because there is such a strong
British influence. Other languages include, Hausa, Igbo, Yoruba, and Kanuri.
Many Nigerians take an interest in business and enterprising.
Dance is used to express certain emotions in the culture. Dance is used by tribes and
ethnic groups to story tell. Dance holds a significant role in, The Lion and The Jewel.
Most Nigerian weddings follow after few western traditions. For example the ceremonies
are held in a church and the bride traditionally wears white. Women who are within the
ages of (25-30) are considered “ripe” for marriage. However this only applies in the
South of the country.
Polygamy is legal for a man in Nigeria.
Family is extremely important to Nigerians.
Nigeria has over half of West Africa’s population.
Oil is the country’s main export.
DIALOGUE
1. What are the outstanding characteristics of the way the characters speak?
2. Look at the characters’ use of figurative language, register, preferred topics.
3. Look at the functions of language such as informational, persuasive, argumentative,
and ritual. (Think ToK.)
4. Look for repartee and veiled sexual discussion.
Response 1
The dialogue in The Lion and the Jewel is remarkable for several reasons.
First, it functions as a means of characterization.
22
Lakunle’s speech is flowery and ornamented, even melodramatic, as befitting his
illusions of grandeur. It often involves references to Western culture, reflecting his desire
to integrate the village into the Western world.
“Swear you will be my wife and I will stand against earth, heaven, and the nine/ Hells”
(p.6)
In contrast, Sidi’s speech is simpler and more direct, demonstrating common sense
through straightforward similes.
“If the snail finds splinters in his house, he changes shells. What do you say?” (p.6)
Sadiku’s speech is also simpler, but uses logic as a means of persuasion and does not
include figurative language.
“Do you know what it is to be the Bale’s last wife? I’ll tell you. When he dies- and that
should not be long; even the Lion has to die sometime- well, when he does, you will have
the honor of being the senior wife of the new Bale” (p.20)
Baroka’s speech is more complex, like Lakunle’s, but his use of figurative language
draws from traditional, rather than Western, culture. His language is also persuasive, like
Sadiku’s, but less through logic than through rhetoric. Also, foreshadowing his actions
later in the play, his speech in particular features lots of sexual innuendo.
“Oh. I see you dip your hand into the pockets of the school teacher and retrieve it bulging
with knowledge.” (p.50)
The nature of the dialogue is also an argument for genre. The wordplay and light-hearted
figurative language, as well as the repartee, such as between Lakunle and Sidi in the
opening scene, would suggest that the play is a comedy in spite of the catastrophe at the
end, which would be more characteristic of a tragedy. [Catastrophe is too strong.]
“That is what the stewpot said to the fire. Have you no shame-at your age- licking my
bottom? But she was tickled just the same”(p.2)
Dialogue is used with many different purposes in mind as well. For Sidi, it seems to be
a source of entertainment- with her words, she ridicules Lakunle, seeks to mock the
Bale, and praises her own beauty. Similarly, Sadiku uses her speech to delight in
Baroka’s alleged impotence and gossip all around the village. Lakunle’s speech, on the
other hand, is argumentative. As the target of village contempt, he seems to constantly
be defending his unpopular point of view. Baroka’s speech is cunning and
manipulative. It functions as a means of persuading people along his preferred path.
Another interesting aspect of dialogue is the presence of passages in the traditional
language of the village. [Reflects stance on westernized vs traditional culture.] The
distribution of these passages appears to be significant. For example, when Baroka
addresses Lakunle in native tongue and Lakunle answers in English, it sets up a clear
distinction between the two men. Lakunle represents the Western influence on the
village, while Baroka, in spite of his stamp machine, is more traditional. He allows
Western influence only to the extent that it is practical for the village. The distinction
between English dialogue and dialogue in traditional dialects is useful thematically. For
example, Sidi’s conclusive song, in conjunction with her choice to marry Baroka, seems
to amount to a rejection of Western influence on Nigerian culture.
23
Response 2
The functions of the dialogue in general are to reveal character and to convey the
disparities of the different socioeconomic classes of the characters. For revealing
character, it reveals that Baroka is very manipulative and powerful; Lakunle is romantic,
poetic, and intelligent; and Sidi is egotistical and spiteful.
Sidi and Baroka use figurative language that relates to nature, which indicates that
these characters are more traditional and are deeply rooted in their agricultural
African village. These characters are the most closely linked to the authentic Nigerian
culture in the play.
Examples:
Sidi:
“Smoother by far than the parrot’s breast” (pg 19)
“Torn rudely from the saddle of his horse” (pg 22)
“But he is the hind-quarters of a lion!” (pg 23)
Baroka:
“Like the swift sting of a vicious wasp” (pg 26)
“Hunt the leopard and the boa at night” (pg 28)
However, the difference between Sidi and Baroka’s style of language is that Baroka, as a
higher member of society with most likely more education and wisdom, is more articulate
and has a smoother tone while he is talking. Sidi, on the other hand is less articulate and
has a lesser ability to speak with the higher level of figurative language like Baroka. “But
he is the hind-quarters of a lion!” This quote shows that Sidi is not very well spoken and
as her character is frequently angry, this could cause her to be unable to express her
arguments well.
Baroka and Sidi also exchange flirtatious banter between the two, repartee, that is
similar to the witty banter in classic plays such as “Romeo and Juliet” but is not quite as
romantic or intellectual. Baroka shows how powerful he is in this repartee through his
wisdom and influence throughout the village, and Sidi plays the part of the young maiden
who is held under the spell of Baroka’s control. Even the act of calling Baroka by the
name of Bale, which essentially means chief of the village, shows her reverence towards
his power in the village.
An example:
Baroka: The old must flow into the new, Sidi,
Not blind itself or stand foolishly
Apart. A girl like you must inherit
Miracles which age alone reveals.
Is this not so?
Sidi: Everything you say, Bale,
Seems wise to me. (54)
24
Lakunle’s language is more poetic and westernized He is obviously very well read and
has drawn examples of language from many classical texts, such as the works of William,
therefore representing westernization. Shakespeare.
Examples:
“Sidi, my love will open your mind.
Like the chaste leaf in the morning, when
The sun still touches it.” (pg 6)
“The goddess of malicious gossip
Herself must have a hand in my undoing.
The very spirits of the partial air
Have all conspired to blow me, willy-nilly.” (pg 62)
Words such as goddess and willy-nilly show Lakunle’s Western influences, as well as his
similes such as “…My love will open your mind chaste leaf in the morning…”
Tensions between traditional society and modernization/westernization are a
fundamental theme of the play, and are greatly represented through the dialogue.
For example, a dowry (bride-price) is a very traditional practice that is seldom seen
today, and is also illegal in many parts of the world. Sidi insists that Lakunle pay the
price, while he finds it unnecessary:
“Lakunle: Sidi, I seek a friend in need.
An equal partner in my race of life.
Sidi: Then pay the price.
Lakunle: Ignorant girl, can you not understand?
To pay the price would be
To buy a heifer off the market stall.
You’d be my chattel, my mere property.” (pg 8)
Another example of this tension between the modernization that Lakunle hopes to happen
to make the village more Westernized and the authentic Nigerian agricultural village that
Sidi has always lived in is shown in another piece of dialogue:
Sidi: The weaker sex, is it?
Is it a weaker breed who pounds the yam
Or bends all day to plant the millet
With a child strapped to her back?
Lakunle: That is all a part of what I say.
But don’t you worry. In a year or two
You will have machines which will do
Your pounding, which will grind your pepper
Without getting in your eyes.
Sidi: O-oh. You really mean to turn The whole world upside down.
25
The dialogue between Lakunle and Sidi in this passage also shows the tension between
these two characters particularly because they are male and female and their argument is
about this. Sidi’s simple style of speaking with her use of only compound or simple
sentences contrasts largely with Lakunle’s speaking style with compound complex
sentences.
Response 3
Typical language characteristics by character:
Lakunle:
Figurative language:
 “You are as stubborn as an illiterate goat.” (2)
 “Lagos, that city/of magic” (5)
 “my love will open your mind/Like the chaste leaf in the morning” (6)
 “my heart/Bursts into flowers with my love” (6)


Elipses:
“A grown-up girl must cover up her…/Her…shoulders? I can see quite….quite” (2)
“But Sidi, did he…? I mean…” (59)
Eloquent/Fowery:
 “And your race of savages. I rise above taunts/And remain unruffled” (3)
 “This foolery bores me/It is a game of idiots. I have work of more importance”
(14)
Enumeration:
 “A savage custom, barbaric, out-dated/Rejected, denounced, accursed” (7)
 “Baroka is a creature of the wilds/Untutored, mannerless, devoid of grace” (58)
Allusions:
 “The scientists have proved it. It’s in my books” (4)
 “Charity, they say, begins at home” (5)
 “Let Sango and his lightning keep out of this” (60)
 “But I obey my books/Man takes the fallen woman by the hand” (61)
 “My Ruth, my Rachel, Esther, Bathsheba/Thou sum of fabled perfections/From
Genesis to Revelations” (20)
Overall Observation: Lakunle speaks more eloquently when he’s speaking with Sidi. He
speaks more eloquently, employing more enumeration and allusions to “authority” when
speaking with Sidi to make himself seem bigger, to try to elevate himself in her eyes.
26
Sidi:
Figurative language:
 “Is it Sidi who makes the men choke/in their cups, or you, with your big loud
words/And no meaning?” (3)
 “If the snail finds splinters in his shell/He changes house.” (6)
 “Is the bag empty? Why did you stop?”(7)
 “Have you felt the gloss?/Smoother by far than the parrot’s breast.” (19)
 “There’s a deceitful message in my eyes/Beckoning insatiate men to certain
doom.” (22)
 “See how the water glistens on my face/Like the dew-moistened leaves on a
Harmattan morning” (22)
Speaking in 3rd person:
 “Sidi is more important even than the Bale” (12)
 “Sidi will not make herself/A cheap bowl for the village spit.” (7)
 “You’ll make no prey of Sidi with your wooing tongue/Not this Sidi whose fame
has spread to Lagos” (20)
Enumeration:
 “If that is true, then I am more esteemed/Than Bale Baroka/The Lion of
Ilunjile…The Fox of the Undergrowth/The living god among men…” (11)
Overall Observation: Responsible for providing the vast majority of humor and satire in
the play. She keeps the dialogue moving. Her words are either usually snide remarks, or
remarks about herself, usually in 3rd person.
Baroka:
Bombast:
“This town-bred daring/Of little girls, awakes in me/A seven-horned devil of strength.”
(47)
Figurative language:
*: “Oh. Oh. I see you dip your hand/Into the pockets of the school teacher/And retrieve it
bulging with knowledge.” (50)
* “In youthful cheeks like yours” (51)
Speaking in 3rd person:
* “In an ill-kept househould perhaps. But not/Under Baroka’s roof.” (40)
* “Is a man’s bedroom/To be made naked to any flea/That chances to wander through?”
(41)
“A python for a mother, and fathered beyond doubt by a blubber-bottomed baboon” (42)
[Note: humorous use of alliteration of bs.]
27
Overall Observation: Most of his dialogue is with Sidi and includes repartee and other
forms of humor. The other half is with Sadiku.
Dialogue in general:
A mix of various forms from monologues full of eloquent language and quick, witty
exchanges.
PLOT
1. How are the parts of the play organized? Why Morning, Noon, and Night?
2. How do the events of the play unfold?
3, How does the play end?
4. What is the central conflict of the play? In other words, what drives the action of the
play? Subsidiary conflicts?
5. Where is the play’s climax? Why do you say so?
Response 1
The play is divided into three sections: Morning, Noon, and Night.
Morning:
1. The opening scene includes Exposition. Readers are introduced to Sidi and
Lakunle.
2. In the opening pages of the play, readers are exposed to a conflict in between
Lakunle and Sidi.
a. The first conflict occurs inbetween Lakunle and Sidi. Lakunle does not
want to pay the bribe price (he represents a westerner), whereas Sidi
disagrees and insists that he does so (she is more traditional).
b. The second conflict occurs inbetween Baroka and Lakunle. Baroka
accuses Lakunle of stealing the village maidenhead.
3. The introduction and gradual progression of these conflicts in Morning
represents the start of Rising action.
Noon:
1. The opening pages of Noon begins with a dialogue inbetween Sidi and Sadiku.
Sadiku tries to convince Sidi to be “The Lions jewel” or in other words – become
Baroka’s wife. Sidi responds in disagreement and praises her self for being in the
magazine. This represents the Rising action of the play because Sidi thinks
herself to be higher than Baroka.
2. There is also development inbetween Baroka and Lakunle (Traditional vs.
Western). This represents the rising action of the play.
Night:
1. The rising action continues. Sidi, engulfed in her conceit goes on to humiliate
Baroka.
28
2. She has a long conversation with Baroka in his bedroom; he smoothly seduces
her = the climax.
3. She returns to the village square sobbing; she tells Lakunle and Sadiku that the
Bale has seduced her. This represents the falling action of the play.
4. Lakunle offers to marry Sidi, but she chooses to marry Baroka instead. This is
how the play ends, and this marriage is the resolution of the play.
Response 2





How are the parts of the play organized? Why Morning, Noon, and Night?
o The Lion and the Jewel is not organized into acts and scenes it is divided
into three sections: morning, noon, and night. This separation of the play
can be interpreted in various different ways. The play progresses in a
chronological order over the course of a day, and this is supported by the
titles of what can be considered scenes. Furthermore, the plays plot runs
congruently with the movement of the sun: rising action in the morning,
rising action and climax during noon, and falling action during night.
These titles of the scenes in the play could also represent the cultural
significance of the sun in Nigerian culture.
How do the events of the play unfold?
o The events of the play unfold chronologically and logically from one
another. The conflicts of the play are generally moved forward and
transmitted to the audience through dialogue, but there are instances where
dancing, mime, and music help advance the plot and shed light on the
themes.
How does the play end?
o The play ends in Sidi and the Bale, Baroka, getting married. This means
that Lakunle ends the play devastated [Note: not devastated.] by the loss
of the girl that he loves. The village as a whole celebrates the news of the
wedding and Sidiku is especially overjoyed. This ending represents the
victory of the traditional over western values.
What is the central conflict of the play? In other words, what drives the action of
the play? Subsidiary conflicts?
o The central conflict in the play is between the traditional and the modern
or western. This conflict manifests itself in the love triangle between Sidi,
Lakunle, and Baroka. It also is present in how Sidi is affected by her
images that the foreigner brings back to the village.
o Subsidiary conflicts in the play are that between women and men, idealism
and practicality, and youth and elders.
Where is the play’s climax? Why do you say so?
o The plot’s climax is the exchange between Sidi and Baroka. This event
can be considered the climax because it is the turning point in the plot in
the play. It is where Sidi goes from considering Baroka below her to
taking him as her husband.
29
THEME
1. What is the central theme of the play? Secondary themes?
2. Is the theme (Are the themes) conveyed directly or indirectly?
Some possibilities:
Traditional African culture vs Western culture
Gender role conflict
Educated intellect vs experienced wisdom
The natural vs the human-made
Self-delusion
See motifs below.
MOTIFS
Look for motifs like images, plants and animals, jewels, and God/gods.
-
Images (photographs in the magazine, stamps)
Images in this play exemplify westernization and technological advancement.
Photography is evidently a novel invention which the villagers are unfamiliar with.
When describing the stranger, for instance, the Second Girl refers to his camera as a
“one-eyed box” (10).
This motif can be tied back to the theme of illusion vs. reality and raises the following
question: are things always what they appear to be? After seeing the magazine, for
instance, Sidi overestimates her worth:
“If that is true, then I am more esteemed
Than Bale Baroka,
The Lion of Ilujinle.
This means that I am greater than
The Fox of the Undergrowth,
The living god among men…” (11)
Images create a tie between Ilujinle and the rest of the world. The photographer
uncovers Sidi, the Jewel of Ilujinle, and exploits her beauty by revealing it to the world.
In addition, Baroka wants to place Sidi’s picture on the stamps such that her face will
travel to the four corners of the earth: “A thousand thousand letters by road, by rail, by
air, from one end of the world to another” (51)
-
Gods
o
Sango (pages 30, 33, 60)
o God of fire, lighting and thunder
30
o Most powerful of the Gods
o “His symbol is a double-headed axe, which represents swift and balanced
justice” (Sango)
o Associated with the ram
o Associated with the colours red and white
2) Ala (page 36)
o Female
o One of the two Agbara spirits, the other one being Amadioha, the God of the
sky
o God of land; judges disputes over land ownership
o Source of morality and laws
3) Ogun (page 11)
o God of iron and war
o Associated with blacksmiths and tool makers
4) Christian references
On page 8, Lakunle quotes Genesis: “and the man who shall take the woman and the
two shall be together as one flesh”. He does so in order to show that he believes in
gender equality. He is assimilating Western values.
The odan tree may be a reference to the tree of knowledge. Seduction (ie. a loss of
innocence) would, in turn, be symbolic of biting into the apple. Surprisingly, however,
Sidi is the one who is tempted, not Baroka. In the Bible, it is the opposite: Eve, the
woman, entices Adam to partake of the apple.
The contrast between the traditional African gods and the Christian references shows
the impact of Western influence.
-
Marriage (pages 18, 20, 23, 32, 60-64)
Marriage is deemed very important in African culture because it leads to child-bearing.
Children are thought to enrich the community and, as a result, marriage not only
benefits the two individuals involved, but society as well.
31
Throughout the play, Sidi repeatedly mentions the bride-price. She will agree to marry
Lakunle if he pays, which makes marriage look like a transaction rather than a
manifestation of love. If Sidi were to wed without a bride-price, her reputation would
be marred: it would appear as if she is not a virgin.
-
Love Triangle
The love-triangle is a common motif in romantic comedies, however, in this play, the
older suitor prevails, not the younger one.
Lakunle is in love with Sidi, but she appears indifferent towards him and is only
concerned with the bride-price. Baroka also wants to make Sidi his wife. Initially, she
refuses: “I am young and brimming; he is spent. I am the twinkle of a jewel but he is
the hind-quarters of a lion!” (23), but, is eventually lured.
-
Animals (pages 2, 3, 7, 10, 19, 26, 27, 32, 35, 42, 46, 59)
Animals have specific attributes and, thus, are frequently referenced when the characters
are talking about personality or behavior. When the Favourite is plucking Baroka’s
armpit hair, for instance, he compares her act to the “scorpion’s sudden sting” (27). This
simile reveals that the Favourite is angered by what Baroka has just told her.
Animals are essential for Illujinle to function properly. Due to the lack of Westernization,
the villagers still rely on animals for activities such as farming.
Noteworthy references to animals:
1) Baroka is nicknamed “The Lion”. This is a reference to his days as a young,
powerful and intrepid warrior. It is alludes to his strength and supremacy. He is
also called “The Fox” because he is sly and cunning. On page 46, Sidi describes
‘The Fox’:
“The Fox is said to be wise
So cunning that he stalks and dines on
New-hatched chicken”
Thus, this nickname is also suggestive of Baroka’s sexual behaviour. He is a
‘predator’ when it comes to women.
2) “devil’s own horse” (10)
This quote highlights the tension between tradition and modernity. The
motorcycle is made familiar by being compared to an animal.
3) “Fool! You little fools! It was a lie.
The frog. The cunning frog!
He lied to you, Sadiku.” (59)
32
The frog is a symbol of fertility, which is why Sidi references it. She previously
believed that Baroka had lost his manhood, but, unfortunately, discovers that this
is not the case.
4) “What is a jewel to pigs?” (3)
The beauty and preciousness of the jewel contrast with the filthiness of the pigs.
Thus, Lakunle feels that the villagers, who he considers savages, cannot possible
appreciate his worth.
-
Sex/virginity 7, 3, 46, 59, 63-64
Sex and virginity relate to the theme of gender discrimination. This theme appears quite
early on in the play, when Lakunle comments on the size of women’s brains: “For, as a
woman, you have a smaller brain” (4). Traditionally, a man must pay a “bride price” if
he wishes to marry a virgin. Being a virgin is a symbol of innocence and purity. Sex
seems to be a source of pride for Baroka; it is the essence of virility.
o “That’s why they are called the weaker sex.” (Lakunle, page 2)
o “Then pay the price.” (Sidi, page 8)
o “Sadiku, I am young and brimming; he is spent. I am the twinkle of a jewel
but he is the hind-quarters of a lion!” (Sidi, page 23)
o “Every woman who has supped with him one night becomes his wife or
concubine the next.” (Sidi, page 23)
o “it is only fair that we forget the bride-price totally since you no longer can
be called a maid.” (Lakunle, page 60)
-
Dance/rituals (pages 14-15, 28, 57, 32)
There are three major dances performed by the characters in the play. These dances
involve many people and are intended to bring all members of the community together.
The dances generally reenact important moments for the village such as the stranger’s
arrival. The first dance (p. 4-16) is performed when the “stranger from the outside
world” returns to Ilunjile with the printed photographs of Sidi. Sidi is the one who
initiates it but, by the end, Lakunle and Baroka have joined in.
The second dance is Sadiku’s celebration for the victory of “womankind”. Baroka has
lost his manhood and Sadiku views this as a triumph; the women succeeded in tiring
him out.
In the last dance, mummers perform the “dance of virility” which is “of course none
other than the Baroka story.” Mummers are actors and generally practice pantomime
33
(“art or technique of conveying emotions, actions, feelings, etc., by gestures without
speech”) (Pantomime).
What is interesting about these dances is that they are not objective. The dancers emit a
judgment: “they are most unspairing in their taunts and tantalizing motions” (57)
Works Cited:
Adrian. "Symbolism: The Lion and the Jewel." IB English Group Blog. Blogger, 16 Apr.
2007.
Web. 1 Mar. 2012. <http://secretibenglish.blogspot.com/2007/04/symbolism-lionand-jewel.html>.
Jeyifo, Biodun. "The 'Drama of Existence': Sources and Scope." Wole Soyinka.
Cambridge: The
Press Syndicate of the University of Cambridge, 2004. 107. Cambridge Studies in
African and Caribbean Literature. Google Book Search. Web. 1 Mar. 2012.
<http://books.google.com/books?id=RIdtj3_wZFsC&pg=PA107&lpg=PA107&d
q=the+lion+and+the+jewel+motifs&source=bl&ots=WBPsOqg1Cg&sig=1B2DE
GTIWuRv8NPSzSXhWua4iX8&hl=en&sa=X&ei=kNGT8P4AcOItwee7tCsDg&
ved=0CDAQ6AEwAA#v=onepage&q=the%20lion%20and%20the%20jewel%20
motifs&f=false>.
"African Marriage." African Holocaust. N.p., n.d. Web. 1 Mar. 2012.
<http://www.africanholocaust.net/news_ah/africanmarriageritual.html>.
"African Marriage." WowEssays. N.p., 2004. Web. 1 Mar. 2012.
<http://www.wowessays.com/dbase/af1/nyv25.shtml>.
"The Gods and Goddesses of Africa." Seanachaidh's Grove. Richard A. Astin, 2011.
Web. 1
Mar. 2012. <http://www.scns.com/earthen/other/seanachaidh/godafrica.html>.
"'Gu' (Ogun): The God of Iron." Mami Wata African Diaspora Vodoun. Mama Zogbe,
n.d. Web.
1 Mar. 2012. <http://www.mamiwata.com/ogun.html>.
"Nigeria: Agbara the God of the Oba Cult or Religion as Practised among the Igbo in
Abia
State." Refworld. UNHCR: The UN Refugee Bureau, 2012. Web. 1 Mar. 2012.
<http://www.unhcr.org/refworld/docid/3f7d4de0e.html>.
"Sango (The God of Thunder and Lightning)." Blackethics. N.p., 2010. Web. 1 Mar.
2012.
<http://blackethics.com/371/sango-the-god-of-thunder-and-lightning/>.
"Shango." Wikipedia. Wikimedia Foundation, Inc., 27 Jan. 2012. Web. 1 Mar. 2012.
34
<http://en.wikipedia.org/wiki/Shango>.
"Pantomime." Dictionary.com. Ask.com, n.d. Web. 2 Mar. 2012.
<http://dictionary.reference.com/browse/pantomime>.
SYMBOL
What does the tree represent. Check Jungian archetypes; the axis mundi.
Symbols and Archetypes-The Lion and the Jewel
1. The characters serve as symbols and reflections of society. Each character is
relatively flat. While Sadiku shifts her opinion on Bariku, and Sidi is manipulated
into marrying Baroka, their personalities remain unchanged. Both Baroka and
Lakunle continue with the same objectives throughout the play. In order to
cultivate a greater meaning, and establish certain themes, each character serves
as an archetype. Essentially, archetypes are primordial images or characters
which occur throughout literature and thought consistently enough to be
considered universal.
Archetypes originate from Jung’s theory of the collective unconscious. In Jung’s
theory, experiences are passed through generations and may been seen in typical
figures in dreams, paintings, and literature. Some of the characters in the play
resemble standard human archetypes.
Lakunle-He is an educated man desperate for a wife. He comes to symbolize
the push for modernization through the introduction of a transportation network.
He speaks of the glories of civilized towns, and Western society. Yet, he still
emits a sense of cluelessness, and haphazard judgment. He therefore comes to
symbolize the difficulties of a transitioning society. He fits the archetype called
The Fool, an agent of change. The quotes below are indicative of his attitude.
Lakunle: “I kissed you as all educated men-And Christians-kiss their wives.” (p.
9)
Lakunle: “I wouldn’t demean myself to bandy words With a woman of the bush”
(p.36).
Sadiku: “One harvest will be enough to pay the price, even for a girl like Sidi. Or
will the smell of the wet soil be too much for your delicate nostrils?” (p.36)
Lakunle: “This town shall see a transformation Bride-price will be a thing
forgotten” (p.36).
Lakunle: “Man takes the fallen woman by the hand And ever after they live
happily” (p.61).
He poses as an intriguing figure as his thoughts deviate slightly from Jung’s
archetypes. He becomes the central advocate for developing new thought (not
35
relying on past ways). In many ways, he acts as a renegade, but lacks the
necessary boldness often associated with these characters.
Sidi- She is a promiscuous girl who eventually succumbs to temptations. She
represents both a superficiality (relying mainly on her looks) and ignorance (is
easily pulled into a marriage with the bale). As an archetype she is an example of
The Maiden, a female who is still virgin and lacks experience in general. She is
consistently beautiful and may be egocentric. The following quotes summarize
her attitude quite well.
Sidi: “Away with you. The village says you’re mad, // And I begin to understand.
I wonder that they let you run the school. You and your talk. You’ll ruin your
pupils too And then they’ll utter madness just like you” (p.10).
Sidi: “This means that I am greater than The Fox of the Undergrowth, The living
god among men…” (p.11)
Sidi: “In fact, I am not so sure I’ll want to wed you now.” (p.12)
Sidi: “Known as I am to the whole wide world, I would demean my worth to wed
A mere village school teacher” (p.12)
Sidi: “Why did the Lion not bestow his gift Before my face was lauded to the
world? Can you not see? Because he sees my worth Increased and multiplied
above his own” (p.21)
Sidi: “Out of my way, book-nourished shrimp. Do you see what strength he has
given me?” (p.63)
Baroka- He is wealthy and enjoys a number of female companions. He inhibits
progress, and thus comes to represent traditional values. As an example of The
Wise Old Man archetype he comes to symbolize the older generation, who are
resistant to change which threaten their society. The following quotes describe
him well.
Baroka: “And where would the village be, robbed of Such wisdom as Mister
Lakunle dispenses Daily? Who would tell us where we go wrong? Eh, Mister
Lakunle?” (p.18).
Baroka: “I think perhaps that I shall let you stay, The sole out-puller of my sweatbathed hairs” (p.27).
Barka: “But it’s a human failing never to accept The worst; and so I pandered to
my vanity. When manhood must, it end” (p.29).
Baroka: “Does he not beget strength on wombs? Are his children not tall and
stout-limbed?” (p.46)
Baroko: “The child still thinks she is wiser than The cotton head of age” (p.48).
Baroka: “Until it hurts Baroka, who holds The welfare of his people deep at
heart” (p.52).
Sadiku- She comes to symbolize a submissiveness, as well as ferociousness. Her
archetype is that of a demanding older lady, a diluted form of the Great Mother.
36
She lacks great wisdom, although she claims to know a lot. The following quotes
are indicative of her archetype
Sadiku: “The Lion sent me. He wishes you well.” (p.19)
Sadiku: “Then, is as few words as it takes to tell, Baroka wants you for a wife”
(p.19).
Sadiku: “Sidi, have you considered what a life of bliss awaits you? Baroka
swears to take no other wife after you” (p.20).
Sadiku: “My Sango restore your wits. For most surely some angry god has taken
possession of you” (p.23).
Sadiku: “They are lies, lies. You must not believe everything you hear. Sidi,
would I deceive you? I swear to you..” (p.23)
Sadiku: “My lord, I heard the incredible words with my ears, and I thought the
world was mad” (p.28).
Sadiku: “Oh high and mighty lion, have we really scotched you? A-ya-yaya…we women undid you in the end” (p.32).
Sadiku: “At this moment our star sits in the centre of the sky. We are supreme.
What is more, we are about to perform a ritual” (p.34).
Sadiku: “Too late for prayers. Cheer up. It happens to the best of us” (p.59).
With regards to archetypes it is important to note that Jung believed we became
closer to our archetypes while dreaming. Each of these characters lives partially
in a dream (or is at least pursuing an ideal world). They thus resort back to
somewhat more primitive and simple states, where they operate as an archetype.
Together the archetypes offer a critique society.
2. Picture of Sidi/ The three leaves
Quite simply, the picture with the three leaves is a symbol of her beauty and
importance in the village. Both are symbols that she is a jewel (like the title states),
and that she has some valuable worth. This eventually convinces her, not to subject
herself to a marriage with Lakunle. The stamps that she may be put on, also work
with these two symbols. Stamps are often a symbol of worth – for instance, they
often bear the images of royalty - and their pictures are worth displaying.
3. Railway
Lakunle: “Trade, Progress, Fame, international conspicuousity…it was All within the
grasp of Ilujunle…And railways would do just that, forcing Civilization at his door”
(p.24-25).
The train comes to symbolize progress. It represents the influx of modern societies,
technologies, and customs. Thus, Baroka’s gesture of stopping the construction of
the train is symbolic of his resistance to the development of a modern town (he’ll lose
his political power)
37
4. Tree/ Axis Mundi
The axis mundi is the center of the universe. Traditionally, it is the sole connection
point between the heavens and earth (goods can be offered by either side). The spot
is often associated with the birth of life or a place of beginning. The axis mundi has a
religious connotation in most cultures as it is considered sacred.
The tree serves in part as a phallic symbol. It can thus be viewed as the giver of life,
or the center of life. Often natural objects are associated with the axis mundi, such as
trees. The tree is seen as a connector of the heavens (the sky), the earth, and the
underworld. Outside the axis mundi, land is often seen as foreign. Certainly, this is
the case in the Lion and the Jewel, as Lakunle has a hard time describing the
modernization of other villages.
Trees in particular are seen as axis mundis in a variety of cultures. Some consider the
Christmas tree an axis mundi. The book of genesis in the Bible also contains
accounts of the tree of life. It is also seen as a tree with the knowledge of good and
evil. Historically, a sacred patch of trees have served as the axis mundi in Nigeria.
The tree is the dominate part of a relatively simple set. This has the effect of drawing
our attention to its sacred qualities. As Baroka is often associated with the tree, in
some ways it establishes the legitimacy of his rule (i.e. it’s what the heavens want).
The fact that the tree is seen as an axis mundi fits with the backwardness of the
village and its practices. Often, modern metropolises have large skyscrapers which
serve as city centers. The tree also may symbolize an overreliance on old practices or
the potential for a blessed future. Certainly, the village has remained in the same
place since its creation, which would link the tree to a role as a giver of life. A
number of references are made throughout the play to Gods, suggesting perhaps this
tree is seen as a pathway to the divine. At the very least, the Gods are seen as
almighty figures. The tree also comes to symbolize an overlooking power that
Baroka exerts on Sidi, and most of the other villagers. He is the Bale and the Lion,
and is able to triumph over ‘average’ citizens (e.g. Sidi). A number of other possible
interpretations of the tree’s purpose exist, including a giver of wisdom (to Baroka),
and life (Baroka never loses his manliness (and the tree is alive). The first sentence
of the stage directions for the play establishes the tree’s centrality.
“A clearing on the edge of the market, dominated by an immense ‘odan’ tree. It is the
village center” (1).
One mention of the tree is made below. It is not referred to greatly in the dialogue
suggesting a hidden presence.
“She takes a good look at it, bursts suddenly into derisive laughter, sets the figure
standing in front of the tree” (p.32).
38