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Soyinkas response to the present socio-political instability has earned him the status
of conscience of society. The despotic rulers of post-colonial era kept an eagle eye
on him, and Soyinka reacted strongly
...when power is placed in the service of vicious reaction, a language must be
called into being which does its best to appropriate such obscenity of power and
fling its excesses back in its face. (Soyinka, 1974)
In The Lion and the Jewel, Baroka fends off modernity to stay in power like some
rulers of the post-colonial era. The idea of the dramatist is quite similar if we draw a
sharp contrast between Baroka of The Lion and the Jewel (1963) and Bero in Madmen
and Specialists (1970). Wole Soyinkas intention lies in turning up the maggot-
infested underside of the compost heap (as) a pre-requisite of the lands
transformation (Soyinka, 1974) and castigate the power-seekers, which is why his
satire is mainly geared with politics.
provides the labour necessary for the maintenance and growth of the business. And
he adds that the tradition allows widow inheritence, in which a man marries the
widow of deceased brother. This practice ensures that the woman and her children
remain under the economic and social care of the family. As we can deduce from the
comments of Sadiku, the successor of dead Bale or chief of Yoruba society marries
the last and favourite wife of the dead bale, as his first wife
Sidi, have you considered what a life of bliss awaits
you? Baroka swears to take no other wife after you.
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,
it means that you will have the honour of being the senior
wife of the new Bale. And just think, until Baroka dies,
you shall be his favourite. No living in the outhouse for
you, my girls. Your place will always be in the palace;
first as the latest bride, and afterwards, as the head of the
new harem ... It is rich life, Sidi. I know. I have been
in that position for forty-one years. (20-21)
According to the tradition of that particular society, a Bale can have as much as wives
he can, but he has to follow some conditions like, treating all equally, distributing
resources to all wives and children, avoid discrimination among wives and children
(Falola, 59). In case The Lion and the Jewel, the Bale of the village, Baroka, has
many wives. His harem is already full with his number of wives from Sadiku to latest
favourite wife, Ailatu. He is still interested to in girls at the age of sixty two. At the
end of first scene he says
Yes, yes... it is five full months since last
I took a wife ... five full months...
The indication is clear from Barokas speech. He is used to take wives and concubines
at regular intervals. Another custom of Yoruba tradition is a significant one. Sadiku,
the veteran representative of the tradition, woos young girls to marry her husband and
it is her responsibility to persuade girls to marry Baroka. The Yoruba society
emphasizes that the wives have to obey and do furnish all sorts of his desire. It is
settled in the minds of the women in the society.
Page 3
In 1963, Eve de Negri provided some information on the clothes worn by Yoruba men
which comes as a sharp contrast to the dress up of Lakunle
Sculpture and carving of early times depict figures in simple skirt-cloth, bared
torso and deep collar reaching to the chest and greatly ornamented. There are, too,
art works which show a type of horseman or hunter, in an outfit much like that
worn nowadays buba, a narrow tunic-like shirt, and sokoto, fairly narrow
trousers. Now, these two are covered by a third, sapara, a lightweight gown, or
agbada or gbariye, heavyweight gowns of one kind or another.
Although we can expect Baroka to wear these clothes, the attitude of so-called
modernization is apparent in Lakunles stupid attire.
Page 4
swears by the God Ogun to confirm the news of Sidis published photograph in a
western magazine
Sidi: Is that the truth? Swear! Ask Ogun to
Strike you dead.
Girl: Ogun strike me dead if I lie. (The Lion and the Jewel, 11)
In another situation, when Sadiku tries to convince Sidi for the marriage proposal
from Baroka, Sidis acts lead her to pray to the God Sango to restore her sanity, May
Sango restore your wits. For most surely some angry god has taken possession of
you (The Lion and the Jewel, 21). Sango is the god of thunder and lightning. His
anger is abrupt and dreadful. He strikes his enemies down with lightning. And the
people of Ilujinle believe that only Sango can relive the people who behave abnormal
or become possessed by any angry god or evil spirit.
only hallow Westernization, not real but only the image. The play abundantly
establishes that Lakunle is a modern version of Don Quixote, a book nourished
shrimp (201). A person like Lakunle lacks the ability of changing the society for the
better. Although he visions the change, his activity does not establish his ideas.
Baroka, the antithesis of Lakunle, is a very impressive character in many ways. His
conduct towards Sadiku, Sidi, Ailatu and the other women bears a resemblance to that
of Okonkwos attitude in Things Fall Apart. The age-old custom hardly get affected
as people like Baroka or Okonknow enjoys the privileges and power with zest, with
care and caution. Baroka successfully utilizes the ideology of modernism and
tradition for his personal gains.
Page 8
Conclusion
The conflict between tradition and modernism has always been the major point of
argument. Anthony Graham White remarks that Soyinka approved neither headmans
(Baroka) tradition nor the schoolteachers modernism (130). The argument is based
on the fact that Wole Soyinka did not satirize both the ideologies at any point of the
play. K. Naveen Kumars opinion justifies it
By all the description of traditions and hindrances to modernism, and the portrayal
of Lakunle as hallow-modernist, the playwright leads the reader to the assumption
that he does not support the tradition or modernity. Instead, he merely records and
pictures the tradition and peoples life in the African society.
From the reading and performance of the play, Wole Soyinkas deep connection to
indigenous tradition is clearly visible. Sidi rejects modernism through her activities
in the last scene by rejecting Lakunle. McDougall Russell thinks, The verbal
elements of the scene behind Sidis invocation of the gods of fertility is to ensure
cultural continuity (McDougall, 116). The triumph of tradition is emphasized through
the concluding dances and prayers.
Page 9
References
1. Soyinka, Wole. (1963) The Lion and the Jewel, Oxford University Press.
2. Falola, Toyin. (2001), Culture and Customs in Nigeria, Greenwood Press,
Westport.
3. Beesoondial, Ashish. Re-presenting Society: Wole Soyinkas Social Vision.
URL: http://www.lemauricien.com/
4. Gibbs, James. (1982), Notes on The Lion and the Jewel, Longman York
Press, Essex.
5. Kumar, K. Naveen, Yoruba Tradition and Culture in Wole Soyinkas The
Lion and the Jewel, International Refereed Research Journal, Vol. II, Issue
3, July 2011.
6. Eve de Negri. Yoruba Womens Costumes, Nigeria Magazine, Lagos (March
1962).
7. Eve de Negri. Yoruba Mens Costumes, Nigeria Magazine, Lagos (June
1963).
8. Bridewealth. (2009), Encyclopedia Britannica 2009 Ready Reference,
Encyclopedia Britannica, Chicago.
9. McDougall, Russell. (1990). The Snapshot Image and the Body of Tradition:
Stage Imager in the Lion and the Jewel, The Commonwealth Review, Vol. 8,
pp. 104-116.
10. Kumar, K. Naveen. (2010), Marginalization in the Selected Plays of Wole
Soyinka. Critical Responses to Commonwealth Literature, Authors Press,
New Delhi.
11. Ngcobo, Lauretta. (1988), African Motherhood Myth and Reality, Criticism
and Ideology, Scandinavian Institute of African Studies, Uppsala.
12. Sethuraman, R. (1985), The Role of Women in the Plays of Wole Soyinka,
World Literature Written in English, Vol. 25.
13. White, Anthony Graham. (1974), The Drama of Black Africa, Samuel French
INC, London.