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27 pages 54 minutes read

Wole Soyinka

The Lion and the Jewel

Fiction | Play | Adult | Published in 1962

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Character Analysis

Sidi

Sidi is the “jewel” referred to in the play’s title. She is young and beautiful, and is known as “the village belle.” Sidi represents an aspect of tradition in the play. She first appears carrying a pail of water on her head, a traditional women’s task. She also dresses traditionally. These attributes, though normal to Sidi, are signs of a primitive past to Lakunle. Sidi has turned down Lakunle’s marriage offer, and refuses to marry him because he in turn refuses to pay her bride-price. The bride-price is another custom that Sidi upholds, linking her to the traditions of their village, Ilujinle. Sidi is also viewed as vain. Her picture is taken by a foreigner and published in a magazine, placing her far above even the village chieftain, Bale Baroka. Her vanity is ultimately her undoing. She is tricked by the Bale into sleeping with him. In the end, and though she had earlier promised to never marry him, she leaves at the end of the play to marry the Bale, thus highlighting a perhaps necessary balance between the rashness of youth and the knowledge of age.

Lakunle

Lakunle is the village schoolmaster. At twenty-three, he considers himself educated and not only dresses like his Western counterparts but speaks and carries himself like a Westerner. He wants to make the village of Ilujinle as progressive and modern as Lagos. Lakunle despises the old customs, like women doing hard chores (he takes Sidi’s water pail off her head), wearing traditional clothing (he derides Sidi for her revealing attire), and demanding a bride-price (he wants to marry Sidi but refuses to buy her as one would buy cattle). Lakunle is also at odds with the Bale, the village chieftain, called Baroka. Lakunle knows that Baroka does not want to modernize because it threatens his very purpose in life. Lakunle is a comical character, always speaking in flowery language and repeating verbose language he has picked up in his studies. Though he implores Sidi not to work like a traditional woman, Lakunle still harbors the notion that women are the weaker sex.

Bale Baroka

Baroka is the Bale (the chieftain) of the village, and is the “lion” referred to in the play’s title. He is sixty-two. Baroka clings to tradition as much as possible. He does not want Ilujinle to modernize, as he believes that if it does, he will have no place left in society. To him, modernization means people that will no longer look to him for survival and knowledge. He actively schemes against outside advances, an example of which takes place when he dissuades railroad men from building rails through the village, and pays them off with bribes. Baroka has a harem of wives and is known as a seducer of women. When he views Sidi’s pictures in the magazine spread, Baroka decides to pursue her as his next wife. He develops a scheme to pretend he is impotent, the news of which reaches Sidi. Sidi goes to tease him, and is thus snared in his trap. He offers to make a stamp of her to showcase her beauty, thus playing to her vanity. Finally, he makes love to her. Sidi decides to marry Baroka at the end of the play, realizing that, as one of his epithets indicates, he is indeed a lion of a lover.

Sadiku

Sadiku is Baroka’s eldest wife. She initially brings the message to Sidi that Baroka wishes to take her as a wife. Sadiku tries to convince Sidi that her privilege as the Bale’s last wife will ensure her prosperity for the rest of her life. Sadiku is tricked by Baroka later, when he lies and tells her that he is impotent. Though Sadiku swears to tell no one, she is rejoiced by this news and tells everyone, including Sidi. Sadiku is elated at the Bale’s impotence because she sees it as a victory for all women. Sadiku realizes her mistake when Sidi returns and admits she was conned. With nothing else to do, Sadiku blesses Sidi’s marriage to Baroka.

The Villagers

The villagers act as anonymous characters in Soyinka’s play, as well as in the plays within the play. There are several reenactments in the play which highlight the place of community in traditional African culture. The villagers act out traditional roles with song and dance, adding cultural motifs to the universal themes of the play, and particularly to the central theme of modernization versus tradition.

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