The Lion and the Jewel Analysis
- 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.
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...
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