The Lion and the Jewel (Wole Soyinka)

 

The Lion and the Jewel

-        Wole Soyinka

 

The Lion and the Jewel (Points to remember)

• The play dramatizes the conflict between modernization and tradition through the characters of Baroka and Lakunle. Whereas Lakunle embraces all things progressive and new, Baroka defends traditional values through oftentimes underhanded means.
• Baroka is depicted as a trickster character who uses his intelligence to manipulate events to his advantage. 
• Each character vies to assert their superiority over others. Lakunle views his modern sensibilities as a mark of superiority, Sidi prides herself on her beauty, and Sadiku draws authority from her relationship with Baroka. However, it becomes apparent that the true power in Ilujinle is tradition, as represented by Baroka.

Summary: Wole Soyinka’s play The Lion and the Jewel contains echoes of folklore, depicting characters and conflicts that are reminiscent of familiar narratives, such as the love triangle and the trickster archetype. Though the play’s narrative is straightforward, the notions of progress and modernization that underpin the story prove to be complex issues.

Nigeria, a British colony until 1960, underwent a period of industrialization and modernization under the influence of British rule. Though Soyinka does not specify the exact time period in which the play is set, the play was first performed in 1959. The timing of the play’s first production, as well as the presence of the white surveyor and Lakunle’s descriptions of cities like Lagos, suggest that the play takes place some time during the African colonial period. The village of Ilujinle serves as a microcosm for all of Nigeria, representing many other villages facing significant change as modernization descends on the country. The struggle to maintain traditions while keeping up with progress is a common theme in African colonial literature, and The Lion and the Jewel is somewhat unusual in that, at least in the case of Ilujinle, tradition evidently triumphs. 

The love triangle between Lakunle, Sidi, and Baroka provides insight into the changing gender roles in Nigeria under the influence of white colonial rule. Sidi and Lakunle bicker about the terms of their relationship, but their discussions bear the weight of much more than mere romantic tribulations. Sidi’s insistence that Lakunle pay her bride price, for example, emphasizes the role of tradition in Nigerian village life; to Sidi, the bride price is an essential element of the rite of marriage, but to Lakunle, the dowry represents provincialism and resistance to positive change. When Baroka becomes the third member of the love triangle, his presence adds even more complexity to Soyinka’s exploration of progress and tradition. Baroka’s hyper-masculinity suggests more than virility; it is also a symbol of the unrelenting presence of tradition in village life, a tradition that stubbornly holds fast in the face of progress.

In addition to his representation of tradition, the character of Baroka can be interpreted within the framework of the trickster archetype. This archetype, as outlined by Carl Jung, recurs in world myths and folklore as well as in various forms of contemporary literature. Like other literary tricksters, Baroka is a character who possesses significant intellect and knowledge. Tricksters are also typically disruptive to the communities in which they live. Baroka toys with his leadership role in order to keep his villagers in their place and to challenge the assumptions of the audience, and he benefits from the tricks he plays. The wily Baroka surpasses the requirements of the trickster archetype, fooling Sadiku, Sidi, and the audience into believing his state is weakened and triumphing over any attempts to discredit him as a man and village leader.

Baroka’s role as a trickster also extends outside of the narrative. Alongside Sadiku and Sidi, the audience is led to believe that Baroka is impotent. When Sidi reveals Baroka’s deception and subsequent triumph to Sadiku and Lakunle, she also reveals it to the audience. Soyinka thus positions Baroka as wily enough to fool even an outside observer. His dominance over the narrative extends to the audience, from whom he withheld knowledge.

Ironically, Sadiku and Sidi believe that they can be tricksters themselves, but the conditions of their traditionally patriarchal existence ensure that they fail at their attempts to trick the ultimate trickster. Sidi is young and vibrant, but she lacks experience. Her ability to easily dominate Lakunle renders her overconfident in her power over men. Sadiku has experience, but her age has made her susceptible to flattery. Baroka, with his earned knowledge of human nature, takes advantage of Sadiku by flattering her and asserts his dominance over Sidi by punishing her for her audacity; his prize is Sidi herself. Lakunle, the representation of modernization, loses the jewel of Ilujinle to Baroka, and tradition triumphs over progress as the love triangle dissolves.

The victory of tradition as evidenced by Baroka’s coercion of Sidi and Sidi’s acceptance of her future as Baroka’s newest wife concludes the power struggle that energizes the play and moves the action forward. Every character in the play is concerned with power. Sidi utilizes her power by withholding herself from Lakunle until he pays her bride price, and when her photographs appear in the magazine, she believes her power has increased. Sadiku believes that Baroka has given her power by confessing his impotence to her, while Baroka simply ensnares her in a ruse that enables him to assert his own power over Sidi. Lakunle’s power as a man and a potential husband to the jewel of Ilujinle is usurped by Baroka, whose power over everyone in the village is unshakeable. Like Baroka himself, old traditions cannot be easily destroyed.

Essay:

About the Author:

Wole Soyinka, born on 13 July 1934 is a Nigerian playwright, novelist, poet, and essayist in the English language. He was awarded the 1986 Nobel Prize in Literature for his "wide cultural perspective and poetic overtones fashioning the drama of existence.  He is the first sub-Saharan African to win the Prize in literature. In 1946 he was accepted by Government College in Ibadan, at that time one of Nigeria's elite secondary schools. After finishing his course at Government College in 1952, he began studies at University College Ibadan, affiliated with the University of London.  He studied English Literature, Greek and Western History. In the year 1953–54, Soyinka began work on Keffi's Birthday Treat, a short radio play for Nigerian Broadcasting Service that was broadcast in July 1954. While at university, Soyinka and six others founded the Pyrates Confraternity, an anti-corruption and justice-seeking student organisation, the first confraternity Nigeria. Later in 1954, Soyinka relocated to England, where he continued his studies in English literature, under the supervision of his mentor Wilson Knight at the University of Leeds (1954–57). He met numerous young, gifted British writers. Before defending his B.A. degree, Soyinka began publishing and working as editor for a satirical magazine called The Eagle; he wrote a column on academic life, in which he often criticised his university peers

Introduction:

The play dramatizes the conflict between modernization and tradition through the characters of Baroka and Lakunle. Whereas Lakunle embraces all things progressive and new, Baroka defends traditional values through oftentimes underhanded means.

The Lion and the Jewel was written and first performed the year before Nigeria was granted its independence from Great Britain, and the script was published two years after independence. As such, one of the primary conflicts of the play pits traditional Yoruba customs against a western conception of progress and modernity, as represented by the conflict between Baroka and Lakunle for Sidi’s hand in marriage.

Discussion:

Set in the Yoruba village of Ilujinle, Nigeria, The Lion and the Jewel is a light comedy play revolving around four main characters: Baroka, the elderly chief of Illunjire; Lakunle, a teacher; Sidi, the belle of the village; and Sadiku, the eldest wife of Baroka.

The interaction and confrontation among the main characters posit an African village entangled in a tug-of-war between modern enthusiasts and traditional adherents. Those who have subscribed to modern ideals want to modernise their village and, if possible, erase all forms of traditional beliefs and practices existent in the village. On the other hand, another group, mostly composed of older people, are against the encroachment of modernity in their village.

Ironically, and additionally, the playwright depicts an African village whose residents want to have both of the same world – a section of the villagers against all that entails modernity yet attracted to some aspects of it, and another section that have embraced all that constitutes modernity yet don't want to give up some of their village's traditions.

Lakunle, twenty-three, is a young man who has subscribed to modern culture. He is educated, is impressed by modern technological innovation, and is attracted to the modern lifestyle. He represents the younger generation who distaste their African traditions in favour of Western culture.

Even so, his belief about the status of women in the society and attraction to a Yoruba traditional practice – polygamy – depicts a young man who has embraced modern ideals yet holds on to some of the traditional beliefs and practices existent in his village.

On the other hand, Baroka, 62, is a traditionalist who is against his village being influenced by the modern way of life. He uses his authority and craftiness to stop Lakunle, the modernist, and the ministry of transportation from streamlining the village. Despite his opposition to his village being modernised, he's attracted to a modern innovation, a stamping machine.

Sidi is a young girl who is against anything entailing a modern way of life. She's happy remaining a traditionalist. However, she's attracted to an aspect of modernity – a magazine. She is curious and yearns to have a look at the magazine containing images of her, as promised by the Lagos man, and which, as stated by the Lagos man, will announce her intriguing beauty to the world. Sidi represents the young people who uphold their tribe's or village's traditions but are attracted to some elements of modernity.

Both Lakunle and Baroka are eyeing Sidi. Lakunle entices Sidi in a gentlemanly manner (western style), while Baroka uses slyness and eventually deflowers her. In the end, Sidi accepts to become Baroka's wife.

Baroka's victory in marrying Sidi displays the triumph of tradition over modernity. In her journal article, 'Tradition vs. Modernity: Wole Soyinka's The Lion and the Jewel,' Ashli Watts notes,

Symbolism

The Lion

A lion, when hunting individually, has a success rate of 17%–19% in catching prey. Its low hunting success rate is noted in Baroka. Not all women have fallen prey to Baroka's desire to have them as either his wives or concubines. Even so, he has managed to 'own' a sizeable number of them; the latest being Sidi. Lakunle is envious of Baroka, seeing that the old man has a considerable number of women in his palace as either his concubines or wives.

A lion radiates a sense of authority evidenced in its majestic walk and the holding high of its head. Other characteristics that have earned this wild cat the title of the king of the jungle are its mane which symbolises a crown, and its roar. Its roar, which can be heard over 15 miles, causes animals to scurry for their safety and is a means of alerting its pride of its approach.

In the play, Baroka exudes authority as the chief of Ilujinle village, a position he inherited from his father through the patriarchal system existing in the village. Baroka is always accompanied by a wrestler who acts as his bodyguard symbolising the position he holds in the village.

The young people, including Sidi, halt dancing the role-play act of the 'Lost Traveller,' and kneel to pay respect to Baroka, who has approached them – an indication of the royalty title he holds. Lakunle, upon seeing Baroka, tries to make a slow exit but returns when the Bale and the young people call his name, and bows to the Chief.

Another trait of a lion that's exhibited by Baroka is its strength, both physically and sexually. His muscular figure is brought to light when he asks Sadiku what makes Sidi think he's an old man that she can't accept to be her husband.

The Jewel

A jewel is an ornament adorned by women on their necks to complement their beauty. In the play, Sidi is described as a 'very' beautiful young woman.

Her beauty comes into prominence when images of her are published in a Lagos-based magazine. She asks her friends whether they've seen the magazine that'll expose her beauty to the world.

Baroka is jealous of Sidi because of her rising fame owing to her commanding beauty. The fact that Baroka's image, a small one, is displayed "in a little corner somewhere in the book, and even that corner he shares with one of the village latrines," makes the Bale more jealous and eager to claim Sidi as his youngest wife.

One of the disadvantages of a gem is that it lacks a lively form. Women in pre-colonial Africa were treated more as property than partners in a marriage. The contrast between Lakunle and Baroka is apparent. Lakunle views a wife as a companion, not a property. However, he, similar to Baroka, has a low opinion of women. On the other hand, Baroka views women as tools of pleasure and servitude.

Conclusion: Thus the play highlights the conflict between modernism and tradition. The play can also be interpreted as a postcolonial play as it brings out the conflict between western (British) tradition and the native (African) tradition and also the negative influence of the British colonizers on the native people.