of finding a suitable husband. And Sidi has every intention of finding such a man, a sure indication that she's determined to remain true to Yoruba tradition.

As indeed is Baroka. He's very much the living embodiment of the tribal Alpha male. He is lord and master in his own home, and sees women as existing purely to cater to his own whims. Not surprisingly, given Sidi's extraordinary beauty, Baroka thinks that she would make a worthwhile addition to his already enormous family. As both Sidi and Baroka are committed to the maintenance of tribal tradition, it would seem that theirs is a match made in heaven.

Yet there is a big difference between their respective attitudes. Baroka's motives for paying homage to ancient custom and tradition are largely self-serving. It's men like him who derive the most benefit from current social arrangements. At the same time, he's also smart enough to realize that the world outside is changing and will continue to change. We see this point illustrated in his desire to have Sidi's beautiful image printed on stamps. This shows us that Baroka, for all his adherence to tradition, retains a connection to the modern world.

As for Sidi, she's too young, innocent, and shallow to understand that Baroka's exploiting her. Like many young women in her position she looks at prevailing customs as providing her with a sense of security, giving her and any future children she may have an assured place in tribal society.

Sidi is considered the "jewel" of Ilujinle and becomes famous after a foreign photographer publishes her pictures in a magazine. Although she is beautiful, Sidi is rather unintelligent and conceited. She brags about her physical appearance and mocks Baroka when she visits his home.

Baroka is the Bale of Ilujinle and a prestigious member the village. He is also outgoing and admired by others. In his youth, Baroka was known for his physical strength and masculinity, similar to the way Sidi is identified by her beauty and femininity. Although Baroka still possesses much of his strength, he is getting older and his perception throughout the village is beginning to change. Unlike Sidi, Baroka is very wise. He devises a plan to woo Sidi.

Baroka is also a supporter of traditional ways of life and opposes modernity. At the end of the play, Sidi decides to marry Baroka, demonstrating her affinity for traditional culture, which she shares with Baroka.

In The Lion and the Jewel, Sidi could be considered “bait” in the sense that both Baroka and Lakunle objectify her by regarding her as a means to an end rather than as a person in her own right. Both men prioritize their desire to acquire her while disregarding her own preferences. The self-centered behavior of each man casts doubt on his deserving to have Sidi as his wife. Author Wole Soyinka conveys that men who consider themselves as upholding of Yoruba tradition and those who embrace modern ideas can be equally invested in perpetuating patriarchal ideas about gender relations and marriage.

Baroka’s reasons for wanting to marry Sidi is based in his intentions to expand his household and gain prestige by adding yet another wife, as well as his desire to have sexual relations with a much younger woman. He uses another wife, Sadiku, to trick Sidi into an emotional reaction to his plight. His greed and dishonesty can be reasons for arguing he does not deserve her.

Lakunle, in contrast, represents himself as a progressive-minded person who appreciates equally modern women. It seems, however, that his ideas about marriage are rather conservative: he believes that the husband’s views should be dominant in the marriage. As he tries to convince Sidi to change her behavior, his disrespect for her choices offers a basis for considering him undeserving.