1. The Background of Let Me Die Alone by John Kosola 
2. Plot Account of Let me die alone
3. Analysis of characters in Let Me Die Alone
4. Themes Of Let Me Die Alone
5. Settings of Let Me Die Alone
6. Literary device / Dramatic techniques of let me die alone 

Summary of events in let me die alone

The Background of Let Me Die Alone by John Kosola

Let Me Die Alone is based on the historical marital life and times o f Madam Yoko, a legendary monarch of the Mende people. Let Me Die Alone (1976) addresses the gender struggles of the famous Madam Yoko, who was the first notable female Paramount Chief over the Mende people in the Southern Province of Sierra Leone. Although she was influential with the British, and was one of the most powerful rulers of the Kpaa Mende Confederacy, her femaleness remained at the core of the many crises she encountered both within and without her chiefdom. Playwright John Kolosa Kargbo, fondly known as JK in the theatre world, depicts the life of this celebrated female ruler in Let Me Die Alone. In his portrayal, Yoko is a beautiful, ambitious, andcourageous woman who joins an all-male secret society (the feared Poro Society) and consequently loses herright to motherhood, though not to her sexuality. In becoming a male-female,Yoko is much feared by her male contemporaries, envied by women in her constituency, and doubly pliable in the hands of the British rulers. History tells us that before Gbanya,Yoko's husband, died in 1878, he had asked Governor Rowe and some of his relatives to secure the throne for Yoko, his senior wife. However, Yoko did not secure the throne until Movee, Gbanya's successor, died in 1884. The colonial government then installed her as a "dependable ally" (Alie 1990).Seen by many of her subjects as ausurper and a friend of the colonial administration, she remainedcontroversial through out her reign until her death in 1906. In the play, this controversy is packaged as a defiance of the cultural norm that women should not be rulers during war times. Being a visionary who willingly gives up the privilege of childbearing for the leading chieftaincy title in all of Kpaa Mende, she is willing to disprove the myth of female inferiority. As historian Joe Alie reports, Yoko was eveninstrumental in the arrest of many chiefs who participated in the Hut Tax War, the subject of the next play by Julius Spencer. Greatly feared by many male chiefs, Yoko was able to gain oversight of their chiefdoms.Yoko also wielded tremendous influence with the colonial rulers, although in the end the colonialists betrayed her.

Madam Yoko or Mammy Yoko (ca 1849-1906)

Madam Yoko or Mammy Yoko,originally called Soma, was born around 1849 in the Gbo Chiefdom. She was a leader of the Mende people in Sierra Leone. Combining advantageous lineage, shrewd marriage choices and the power afforded her from the secret Sande Society, Yoko became a leader of considerable influence. She expanded the Mende. Kingdom and at the time of her death, she was the ruler of the vast Kpa Mende Confederacy. She changed her name to Yoko at her Sande initiation ceremony, during which time she became known for her graceful dancing. Yoko's first marriage, which was unsuccessful, was to a man named gongioma leaving Gongoima, Yoko's second husband was Gbenjei, Chief ofT mama Yoko reinajned childless, Gbenjei made her his great wife with prominent attention, giving her power within her household. Following Gbenjei's death, Yoko married Gbanya Lango. In 1875, Gbanya was detained by Colonial Officials in Taiamawaro. Yoko went directly to Governor Roweto appeal for her husband's release. Rowe was impressed with Yoko's appeal and Gbanya was flogged, and then released. following this incident, Gbanya made Yoko his great wife and began sending her on diplomatic missions, With the Sande, Yoko was able to wield significant power not only amongst women but also over Mende society as a whole. As a leader in this women's secret society, she made political alliances and took younger initiates as "wards" later marrying them into other aristocratic lineages in an imitation of the trajectory of her own rise to power, In1878, following her third husband's death, Yoko became the chief of Senehun. By 1884, she was officially recogniscd as "Queen of Senehun". This recognition came not only from her own people, but also from the British. She died in 1906, rumoured to have committed suicide. Lamboi her brother succeeded her because she had no descendants of her own. This popular play was in great demand with theatre audiences. The play however angered both the government and some members of the Poro Society in Freetown; this latter response sent Kargbo and other members of Songhai Theatre (later renamed African Heritage Workshop) temporarily into hiding.

Summary of Let me die alone

Let Me Die Alone by John Kolosa Kargbo is a play written in three short acts with rich dramatic and theatrical values. The play opens at Senehun in Gbanya's bedroom amidst Sanded rumming offstage, with Gbanya pulling a shouting Yoko, his wife, into the room. Yoko has just been dislodged from the company of her Sande women (a cult of womendancers and entertainers) to come and attend to the emotional urge of her husband. She protests as Gbanya forces her to his bed. This protest gradually changes to ecstatic and sensual moans but soon interrupted by violent knocking offstage. Gbanya who is the ruler of Mende Chiefdom receives a message that Governor Rowe, the British Colonial Representative will be visiting tomorrow. This kind of visit isunusual; Gbanya quickly summons ameeting of his warriors as hesuspects it might have something todo with the boys he hired out to John Caulker to fight against his brother, George. Yoko senses that her husband is troubled and he confirms that he is unwell and even fears to sleep at night because of the constant visits of his ancestors to him in his dream, imploring him to join them. It dawnson Gbanya that his end is imminent.Yoko suggests sacrifices to ensure a peaceful journey, believing that he should' not die without honour. Gbanya prepares to receive his enemy the Governor with the greatest of gifts but his wife Yoko thinks differently; the warrior must be put on the alert to forestall any eventuality. She reminds him further Of his promise to hand over the chiefdom to her at his death. Unfortunately, Gbanya wants to rescind this promise because of many enemies hovering around the chiefdom to wipe off his people and reasons that a man will hold the fort better than a woman at the helm of affairs. She insists and questions his sincerity and betrayal having encouraged her not to bear children because of the prerequisite initiation into the male Poro cult before she can be come king. She complied and nowat the verge of old age she is being abandoned. Gbanya prefers to handover the chiefdom to Ndapi but Yoko would not want to share her bed with Ndapi as custom demands that a new king inherits the wives of the old one.Yoke also draws his attention to the different women who have reigned successfully over some chiefdoms for many years, such as Take Yoya, Kema of Galu, Fangawa of Wando, Kpanda Gbello of leppiama Woki of Tunkia and Nancy Caulker in Sherbro land. Gbanya agrees they are good rulers and also good lovers in bed and drags her to the bed to show him how good she is too. Lamboi is equally interested in takingover the chiefdom from Gbanya but fears that his sister, Yoko, may succeed to persuade and compel her husband to hand over the chiefdom to her. He therefore connives with Musa, the seer and medicine man, through blackmail to plot the death of Gbanya before he makes any commitment to Yoko, his wife. Lamboi: "All I want you to do is to kill the chief and help me to prevent the chiefdom from falling into the hands of a woman" (p. 94).They both strategize and resolved to lure Gbanya to the Poro bush after the Governor's visit to drink from a medicine bottle poisoned with the gall of alligator. Final preparations to receive the Governor are underway. Gbanya wants to give five fat cows, five fat rams and sheep as presents to the governor. Lamboi thinks they are too much for Governor Rowe, but the chief insists. Musa prepares the chief's mind to visit the Poro bush after the Governor's visit, so they can carry out their evil plot to kill Gbanya. Yoko has a premonition that a great evil will be fall their household today and urges Gbanya to prepare for war as he receives the Governor and ambush him. He faults the judgement and berates her as a woman: "Can our chakabulas and spears, or machetes and slings withstand the guns of the Governor and his frontier soldiers?" Gbanya announces that his elaborate reception for the Governor is to sue for peace and protect his people from senseless killings. Governor Rowearrives and accuses the chief of sending his warriors to fight on John Caulker's side against his brother, which the Governor sees as a direct affront against his orders that there should be no more fighting. Gbanya continues to deny the accusation but the Governor humiliates him by ordering his soldiers to stretch himout on the ground and beat him with awhip. The chief is equally fined to pay fifty pounds in the equivalence of cattle and rice. The Governor and his team leave. Lamboi and Musa cash in on this development to give the chief a poisoned drink to kill him, pretending it is meant to relieve his pain. On realizing that death isinevitable, he curses his killers and instructs Yoko who just comes in to take charge of the chiefdom. Lamboi tries to persuade her out of the idea of becoming chief because she has to join the Poro cult which would consequently prevent her from bearing children. But she insists she is ready to be chief; she mourns her husband and she is coronated as the next ruler of Mende Chiefdom. Act Two opens with Jilo preparing to cook and Lansana her lover appears to have an affair with her. Jilo resists, fearing that her husband, Ndapi, mayshow up. He seizes her against her wish claiming that having failed to talk her into it, the other option left is to force her. Lansana gags her with his hand and drags her into the hut Just then Ndapi and Lavalie, a warrior, enter from opposite ends. They both express concern over the 'mysterious' death of their chief, Gbanya. There was something unusual about the funeral; the dead chief's skin wasblack as charcoal, yet no one couldgive any credible explanation, not even Ngo Musa, the medicine man who saw it all. Yoko now feels her life threatened and does not even trusther brother, Lamboi. She wants to embark on expansionist war of her warlords feel otherwise; Ndapi and Lavalie especially, who now leave to strategize on how to stop Yoko from embarking on war. Lansana and Jilo emerge from the hut; he got what he wanted and he is prepared to risk his life for a repeat performance at a safer place. Ndapi returns home and queries Jilo, his wife of her where abouts; why isn't food ready for him to eat? She blamesit on their sick daughter, Jeneba. Ndapi does not take kindly to her excuses, he steps on her big toe and slaps her. A guard enters and prostrates but warns him against the danger of beating his wife every day; he could lose self-esteem. Both men review Yoko's greed for war which they consider vain and provocative. Jilo also reveals Yoko's plan to move the chiefdom from Senehun to Moyamba. we meet Yoko in her royal splendour in her palace in Moyamba with many women attending to her needs. They all like it here in Moyamba; the chiefdom has expanded even more.Yoko reminisces her dead husband —Musu and Fanneh (her maids) think his spirit is guiding her because In Moyamba they have found peace and the Governor is very happy. Yoko however feels uneasy with the fear of the unknown, that she may be killed and her reign toppled. She also misses the joy of motherhood she lives under tremendous pressure from those who do not want her on the throne especially Lamboi her brother and Musa, the medicine man who she suspects killed her husband. Yoko asks after Jeneba (Jenneh), Ndapi's daughter who she adopted as her daughter with so much care and affection. She brought to Yoko and the little girl confirms that her father often beat her mother A guard announces the arrival of a messenger from the Governor who is well received and made comfortable. Yoko prepares for a meeting with the elders (Lavalie, Ngo Musa, Keke Lamboi and Ndapi); Ndapi beats his wife, Jilo, and drags her in before Chief Yoko. Jilo is accused of adultery with a member of Yoko's household, Lansana. He is already on the run to Taiama; Yoko deploys two warriors to apprehend him outrightly Yoko is disappointed with Jilo for the abominable act with Lansana, a rescued war slave andordered her detention as a reprimand. Jilo's three-month-old pregnancy is also wasted because of the illicit act.Yoko assures Ndapi that she will make Lansana pay all the damages.Yoko is visibly angry more than ever before; Lansana betrayed hisfriendship with Ndapi. Lamboi and Musa hatch up a plan to kidnap and kill Jeneba, the little girl Yoko is so fond of and loved by the community. The intention is to shift the blame on Yoko as the murdererand mislead the people to believe thather growing strength as a chief is because she sacrifices young children because she sacrifices young children to her charms by burying them alive. This plan they hope will whip up the sentiment of the people against her and ultimately force her to abdicate the throne or be forced into exile or be killed. With her out of the way, Lamboi hopes to ascend the throne. Musa does not believe it is a very good strategy, but Lamboi assures him that the searchlight will be on Yoko and not them. Madam Yoko with some of her elders receive the Governor's messenger in her palace with pompand pageantry. The Messenger appreciates the unprecedented reception accorded him and delivers the message of the Governor, servant of her Imperial Majesty the Queen of Great Britain. The Governor considers her a shining example of African leaders who blend grace,magnanimity, bravery, audacity, tranquillity, and majesty to her role ascustodian of the protectorate. He wishes her well in her reign. Jilo prepares to go and wash in the river but wants her daughter, Jeneba, taken to Madam Yoko by Fanneh but she is on an errand for Yoko to look forLansana. Fanneh wants to know why Jilo committed adultery She complains that her husband abuses her body with incessant beating andhe is not tender with her while, on caring and also makes her proud as awoman. A woman needs reassuranceand admiration, and Lansana gives all these. Jilo sees Fanneh off leaving Jeneba all by herself. Lamboi sneaksin, hypnotizes Jeneba with a fruit and some other medicinal liquid substances and takes her aways sleep walking. In the palace, Yoko announces to her elders in council that the Govemorhas sent for her to two chiefs in Taiama and she has to leave that evening. The elders want the council to discuss the property tax the Governor has imposed on their land, but Yoko suspends any discussion on the matter' as she opts to execute the Governor's order. She hands over the Chiefdom to lamboi to take charge in her absence, just then two warriors enters with lansana and yoke orders his detention without food till she returns from her trip as he is being led away Jilo breaks wailing and announces the disappearance of her daughter, jeneba. Yoko also orders an immediate search party for the missing to be found at all cost; appoints Musa as second in command to Lamboi for a few days and they direct orders to find the girl beforeYoko returns, but Jilo is devastated as she weeps uncontrollably In Act 'Three, Lamboi is alone in the palace (barre) and about his quest for power, control and dominion over his fellow men, his walk towards the throne and seat of supreme power, blood has been spilled and there no going back for him, his hands have bean soiled With the blood of Gbanya, Jeneba and Yoko 'Day be next because she stands between him and his ultimate dcsire to be the Chief' or Moyamba Chiefdom. Iavalic enters with no good news on Jeneba, He leaves to get palm wine and Musa enters. Musa has been busy spreading the rumour that Yoko has used Jeneba as sacrifice; buried her alive in a bigcpot to fortify her power and acquire more power to gain the favour of the Governor. The same dummy is sold to Ndapi, Cather of the missing girl; he buys it after some persuasions that Gbeni the oracle revealed it and also with the potent rumour mill spearheaded by the women. Sande women, a powerful cult, summons a meeting to dispose Queen Yoko for this supposed dreadful deed. Ndapisends word to the women to break up the meeting. Queen Yoko returns andis sumrised at the disrespectful reception she receives from hersubjects. Those she put in charge o the chiefdom, Lamboi and Musa, even call her murderer too. Ndapi confronts her to produce his daughter if she wants to be Queen again and sits on her throne with heavy thunder rumbling. She is accused of of sacrificing Jeneba and burying her alive in a big pot; she is defenceless in her innocence; she is subjected to great humiliation and insults by Lamboi, Musa, Ndapi and has come under the scorn of the entire chiefdonv, she is called murderer, witch, devil, and wicked. Ndapi even insults her with her childlessness — "you don't know the pain of childbirth, so you don't know the worth of a child. You have never had children of your own, so you don't know what motherly love is." She offers to swear by Poro to prove her innocence but she is not given a chance as no one believes her. Just then news comes that Jeneba's body has been foundbehind Sande bush with thebreastbone broken, the heart pulledout, her neck cut with a knife and her private parts removed. The nature of this dead body negates the claim of Lamboi and Musa that the child was buried alive. It is this revelation that necessitates a re think and Yoko gets a reprieve and seizes the opportunity to investigate the matter to discover the real culprits.At the Poro shrine in the night, it is discovered that Lamboi and Musa are responsible for the death of Jeneba. Queen Yoko is thereby vindicated and Queen Yoko is thereby vindicated and Ndapi promises to go after them to seek redress. The Messenger to the Governor brings a message to Queen Yoko at the Poro bush; he is stopped from entering by the guards because only initiates and members are admitted into the shrine. But Queen Yoko clears the Messenger as a member and he gains access to see her. He brings a message to reduce the territorial control of the Queen and she is upset by it and sees it as a disgrace. On hearing this message, she sends Lavalie for some herbs which he sends to her through aguard. She gives it to Musu to prepareas usual into a thick concoction. Queen Yoko turns, back to the Messenger to express her displeasure over the boundary demarcation. After her long years of service and loyalty to the Governor, this manner ofreward is least expected. She feels used and insulted and sends strongwords back to the Governor. Ndapi and Jilo come to seek forgiveness from the Queen claiming they were misled; Lamboi and Musa set a trap for them. The Queen will hear none of their apologies. she recalls that herclate husband warned her that "behind every set of white teeth there lurks an evil plotting mind". She dismisses the couple and the Messenger; theconcoction is ready AND Musu suspects it is poison and wanted to drink it first before the Queen. Yoko says no, "Let Me Die Alone" because she has savoured the fruits of power alone; known and enjoyed the grandeur of high office alone. She drinks the poison to die and avoid the humiliation of her power being whittled down by the Governor. Indeath she hopes to find peace and never to be used again. She connects with the noble ancestors of the land to receive her she slumps to the ground and sends word to the entire chiefdom not to be mourned as she did not bring a child to this world. She dies and a dirge rises.

ANALYSIS OF THE CHARACTERS IN LET ME DIE ALONE

CHARACTER ANALYSIS OF MADAM YOKO

Role of Madam Yoko

Ruler of Mende Chiefdom who is described to have a brain made from music (p. 86). She wants to inherit the chiefdom of Senehun after her husband and she played the politics of succession well (pp. 88-89). Because it is war time, her husband prefers Ndapi his chief warrior. She would rather die than share a bed with Ndapi (p. 89). She is greedy and insolent... (pp. 108, 119). Yoko is portrayed as a beautiful, ambitious, and courageous woman who joins an all-male secret society (the feared Poro society) and consequently loses her right to motherhood, though not to her sexuality. She knows not everyone is l happy that she is the chief of Kpa-Mende, especially her brother Lamboi. In becoming a male-female, Yoko is much feared by her male contemporaries, envied by women in her constituency, and doubly pliable in the hands of the British rulers. The Governor describes her as a shining example not only of African feminine pulchritude but of one who blends grace, magnanimity, bravery, audacity, tranquillity, and majesty. She feels so disgraced by the Governor's boundary demarcations to reduce her territorial control in spite of her years of loyalty to him.

Significance of the character of Yoko In history, Yoko is seen by many of her subjects as a usurper and a friend of the colonial administration; she remained controversial throughout her reign until her death in 1906. In the play, this controversy is packaged as a defiance of the cultural norm that women should not dare rule during war times. Because of her loyalty to her husband and her desire to lead, being somebod Ise's wife after her husband does not appeal to her. Her insistence at having control of her space and fighting a culture set-up that has no consideration for women as rulers, she has to be tough and insolent to push her agenda through. Being a visionary who willingly gives up the privilege of childbearing for the leading chieftaincy title in all of Kpa-Mende, she is willing to disprove the myth of female inferiority. Kargbo has done a tremendous job of portraying Yoko as an impressive ruler of heroic proportions. Indeed, the historic Yoko was nothing short of the heroic present Yoko as a complex figure whose feminine comportment, sensuality, and beauty promoted her among women, but whose fearless Soul and unrestrained ambition made her a competent and visionary leader among her male counterparts. It is a painful realization for Yoko that all this while she was being used and now she is being humiliated.

CHARACTER ANALYSIS OF GBANYA IN LET ME DIE ALONE

Role of Gbanya

Gbanya is Yoko's husband, ruler of Mende Chiefdom. He has 37 wives but cherishes Yoko the most because of her pragmatic nature and contributions to the affairs of the Senehun Chiefdom (p.87). Gbanya believes that a wonman is only good for the loins of a man and not for the important affairs of govemance. He commands the finest and most courageous band of fighters in Mende land but has diplomatic disposition; he chooses carefully the war to fight and thebones to ignore. He suffers intense humiliation in the hands of Governor Rowe who flogged him publicly and equally fined him in his own domain. Gbanya's fear is not to die but the manner of dying. He died through poison in the hands of his trusted men. He saw through their treachery and manages to hand over power to Yoko, his wife, before his final breath.

Significance of the character of Gbanya

Gbanya may have many wives but Yoko's sterling qualities stand her out before him, besides investing into the smooth running of the chiefdom through the Sande women. She of course has a burning ambition to inherit the throne one day. Male chauvinism is highlighted here. This is a notion Yoko is out to correct by striving to ascend the throne of Mende Chiefdom. We have a chief who has a balanced view of governance and rational in his approach. Given his military strength and capabilities, Gbanya's leadership style is guided by necessity and what is just. Gbanya's ignoble treatment underlines the umiliation the colonial masters subjected African traditional rulers to during the colonial period. Death is an inevitable end of every mortal but the manner of dying is not known to anyone until when the time comes. As royalty, Gbanya does not want a humiliating death but he ironically foreshadows an unpleasant end. It is a dramatic irony that Gbanya falls victim to the humiliating death he fears. He died by poison.with his skin turning black as charcoal.

CHARACTER ANALYSIS OF NDAPI IN LET ME DIE ALONE

Role of Ndapi

Ndapi is the chief warrior of Senehun; the best warrior in Mende land under Chief Gbanya. He is lilo's husband but insensitive to women's feelings; beats Jilo at the slightest opportunity. He is described as a heartless man (p. 89) and hot-tempered too (p. 109); "he has pepper sprinkled all over his temper" (p. 119). At the demise of Gbanya, Ndapi wants to resign as the chief warrior to give allowance for the new chief to appoint her own chief warrior, but Yoko stops him from laying down his spear. Even though Ndapi is a tough warrior, he does not believe in senseless wars. He encourages Lavalie, the speaker, to persuade Yoko from embarking on wars. He will rather fight to protect his people than engage in a battle to meet the greedy ends of Madam. Ndapi does not joke with his food and hates a woman to grumble. For him, a grumbling womannis susceptible to poisoning one's food. He does not take it kindly when he finds out that Lansana has been flirting with his wife. He drags his wife before Yoko to make a report, mad with rage -Lansana has put fire on the roof of his life and shattered it. Jeneba's death unsettles him most. He puts the blame on his wife and later Yoko for believing the story of Lamboi and Musa. He insults Yoko and calls her all sorts of names. Ndapi and his wife however return to Yoko to seek forgiveness when the truth came out that Yoko is not the actual culprit.

Significance of the character of Ndapi

Ndapi's key character attributes are given here to position his disposition to people and situations. He is a warrior on the field and a warrior at home with very little room for tenderness. It is this fierceness that pushed Jilo into the arms of another man who makes her comfortable and proudas a woman. The desire to resign at the death of Gbanya portrays Ndapi as a true soldier who respects the rule of military formation and hierarchy. It also shows that he is not privy to the chief's death. Where he disagrees with Yoko, he would rather use diplomatic overtures to find a truce rather than deploy force as a warrior. His loyalty to the governing structure of the land is therefore not in doubt. Ndapi believes that the place of the woman is in the kitchen and therefore his food must not be delayed in being cooked and served. This is also why he will eat Jilo's food without any kind word of appreciation. This is another trait of male chauvinism. Expectedly, Ndapi's ego is threatened to find his wife with another man in the bush. We could reason too that he actually loves and cares for his wife but the warrior in him suppresses sensuous expressions. When we are hurt there is no way to predict our reaction; it is human nature. That is why Ndapi throws caution to the winds and attacks Yoko over the death of his daughter. He is also humble enough to seek forgiveness when he discovers his error.

CHARACTER ANALYSIS OF LAMBOI IN LET ME DIE ALONE

Role of Lamboi

Lamboi is Yoko's brother who is hell-bent on ascending the throne of Senehun. He deploys blackmail and intrigues to achieve his purpose. He is deadly, vicious and will stop at nothing to get going. Lamboi solicits and got the cooperation of Musa, the medicine man, as his accomplice. First, he plots the death of Gbanya; poisoned him with the help of Musa at his most vulnerable moment. But Yoko steps in ahead of him and he is not happy. He strategizes to unseat Yoko from the throne of Senehun. He sacrifices the life of innocent Jeneba in order to paint his sister. Yoko, black - accuses her of sacrificing little children for her charm of fame and longevity on the throne and to be in the good books of the Governor. The power of Poro exposes him and his accomplice as the evil men behind the major atrocities in the land. They escape and run away from the land.

Significance Lamboi's character

Lamboi's inordinate ambition would not make him reason well. His only focus is to become chief of Mende regardless of the cost that comes with it. Power acquisition is not a solo project and that is why Lamboi drags Musa into it. As the medicine man of the king and the land, whatever scheme they deploy will not likely raise any suspicion. It is significant that it is those that Gbanya trusts that poisoned him to death. Lamboi is a master of strategy; given the popularity of Yoko, he needs the people on his side against her to be able to dethrone her. Poro represents the court of justice in this instance. At some other times, it is an assembly of power brokers.

CHARACTER ANALYSIS OF MUSA IN LET ME DIE ALONE

Role of Musa

Musa is a seer and medicine man who is supposed to give divine guidance to the chief and the entire society. Yoko describes him as a chameleon who is not trustworthy; she thinks he killed her husband (p. 111). Gbanya's skin was as black as charcoal but Musa could not offer an explanation for such transformation being the medicine man and the person in whose presence Gbanya died. He connives with Lamboi to poison and kill Gbanya; abducts and kills Jeneba in order to set the entire community against Yoko. Musa, even though wicked, is a victim of blackmail in the hands of Lamboi. He joins hands with Lamboi to hang a false claim on Yoko; makes her a laughing stock before her subjects.

Significance of Musa's character

It is a travesty of justice that the very man who should guide the society is the same person plotting its ruin. The inability of Musa to offer an explanation implicates him in the death of Gbanya. Musa is clearly an enemy of the people, killing and killing without remorse. That Musa's own hands are not clean is the main reason Lamboi can blackmail into joining hand with him to carry out his evil plots.

CHARACTER ANALYSIS OF JILO IN LET ME DIE ALONE

Role of Jilo

Jilo is Ndapi's wife but she flirts with Lansana, her husband's friend. Ndapi is often impatient with her because of her domestic ineffectiveness- delays cooking for her husband. Ndapi always accuses her of adultery and often beats some sense into her. Jilo was actually caught making love with Lansana in the bush. She is frustrated for giving her body to a man who does not give her a kind word in return, no reassurance or admiration. For this, she incurs the wrath of Yoko who also punishes her. She is drawn very close to Yoko because of her daughter, Jeneba, who Yoko is very fond of. As a result of this closeness to royalty, she is privy to some vital information. She, for instance, reveals to her husband Yoko's plan to move Mende's capital from Senehun to Moyamba. It is her carelessness that exposes Jeneba to danger as she was abducted by Lamboi and Musa. The death of Jeneba shatters her and also holds Yoko in contempt because of the false rumour that she is responsible for her death as a fortification of her charms to stay longer on her throne.

CHARACTER ANALYSIS OF GOVERNOR (DR SAMUEL ROWE) IN LET ME DIE ALONE

Role of Governor – Dr Samuel Rowe

Governor Dr Samuel Rowe is the British Colonial Representative in Mende land. He is often dressed in white, plumed helmet, badges and monocle, gloved hands with smoking pipe and short baton. Rowe is moved around in a hammock with human bearers. His style of governance is autocratic without respect for traditional institutions. This is demonstrated when he comes to Gbanya's palace and refuses his embrace; calls him savage with paws. Governor Rowe threatens to cut out Gbanya's lying tongue; he orders his soldiers to drag him from his throne, stretch him on the ground and beat him with a whip. When done, he says "Now you dog, get up! You will pay a fine of fifty pounds in the equivalent of cattle and rice. And the next time you disobey my orders, you will be arrested and locked up in jail in the colony" (p. 98). He has no regard for his host's culture; treats the Sande dancers with disdain. He thinks he has done Mende a favour for bringing civilization.

CHARACTER ANALYSIS OF LANSANA IN LET ME DIE ALONE

Role of Lansana

Lansana is a war captive who Yoko saved from the jaws of death when he was brought back as a slave from one of the wars Gbanya waged. He has three wives but still goes to make love to Jilo, another man's wife, and worse still, his friend Ndapi's wife. When Ndapi finds them out he runs away to Taiama knowing the gravity of his offence. When he is found and brought before the Queen, he denies but the Queen knows better. She commands the guard to put him in the stocks and starve him till she returns from her trip to Taiama. Jilo finds him a better man than her husband because Lansana admires and reassures her, and makes her feel proud as a woman.

CHARACTER ANALYSIS OF JENEBA IN LET ME DIE ALONE

Role of Jeneba

Jeneba is Ndapi and Jilo's daughter. She is loved by all. Yoko particularly seems to adopt her as the daughter she does not have. Being the only child of her parents, she is cared about so much. She falls victim to Lamboi and Musa's evil plan to discredit Yoko as a murderer. She is abducted and murdered her neck was cut with a knife, the breastbone broken and the heart pulled out, her private parts also removed. Jeneba represents hope and a new order for Mende land. She represents hope for Yoko that even without a child of her own, she will fill the vacuum of childlessness in her life. Jeneba represents a new order because she is the darling of everyone, and her presence in the new palace in Mayomba brings life to the atmosphere.

Role of the Messenger in Let me die alone

This is the Black representative of the British Colonial Government. He works directly with Governor Rowe. Interestingly, he is also a Poro man, the power base of the traditional system of Mende land. He is the go-between between the Governor and the chief. It is only at critical moments that the Govermor makes a personal appearance. As the mouthpiece and messenger of the Governor, he enjoys unlimited generosity from the chief and the chiefdom so that he can represent the chief well. Being a member of Poro Society ultimately makes Governor Rowe an indirect member too, and therefore privy to the secrets of Poro and can afford to treat Gbanya and Yoko with ignominy.

Role of Sande dancers in Let me die alone

The Sande dancers are the projectors of the cultural virility project of Mende. Yoko is their chief instructor. They are always on ground to entertain the chief's dignitaries, especially the Govenor. Beyond entertainment, the Sande women is an organized socio-political force that provides social and political control. It is from this body that Yoko emerged as the Chief of Mende; when she was portrayed as high-handed and responsible for some unexplainable deaths in the land, the women disowned her and wanted her dethroned. The Sande dancers arebtherefore symbolic for the power equation of Mende land. Other minor characters are: Lavalie, Fanneh, Musu, and guard.

SETTINGS OF LET ME DIE ALONE

let me die Alone is set in 19th century Sierra Leone, specifically in Mende Chiefdom in the Southern Province of Sierra Leone. Major actions of the play are set in the chief"s palace (barre) located in Senenhun and Moyamba (Chief Gbanya reigned from Senenhun while Queen Yoko reigned from Moyamba). Gbanya's bedroom, Ndapi/Jilo's hut, and the Poro bush. In Gbanya's bedroom, we have various fighting paraphernalia: spears, machetes, and raffia skirts hang on the walls. On the other side of the locale is a shrine made with palm leaves on top of a small box. All of these reflect the traditional setting of the play and projects Gbanya as agreat warrior of reckoning. Moyamba District Queen Yoko moved the chiefdom capital is in the Southern Province and borders the Atlantic Ocean in the west, Port Loko District and Tonkolili District to the north, Bo District to the east and Bonthe District to the south. Its capital and largest city is Moyamba.The other major towns include Njala, Rotifunk and Shenge. The District is the largest in the Southern Province by geographical area. and comprises fourteen chiefdoms, namely: Lower Banta, Upper Banta, Timdale, Bagruwa. Kagboro. Dasse, Kowa, Kaiyamba, Kongbora, Kori, Kamajei, Fakunya, Ribbi and Bumpe. The ethnicity of the district is largely homogeneous with the Mende forming 60% of the population while the other ethnic groups comprise Sherbro,Temne and Loko. The majority (over92%) of the district population resides in rural areas. Agriculture remains the mainstay of the district's residents and the largest sector of economy in the district, providing livelihoods forover 71 % of the population. Crops in the district include oil palm, cereals (maize, rice, sorghum and millet) and starch food crops (yam, cassava and cocoa). In addition, cashew, black pepper, ginger, pineapple and sugarcane are popular farm products in the district. These represent the economic prosperity Queen Yoko anticipates for moving from Senenhun to Moyamba in the play

Themes Of Let Me Die Alone

In Let Me Die Alone, John Kargbo pulls together most of the concerns that have been at the heart of modern African drama. These thematic concerns include the following.

THE THEME OF TRADITIONAL SOCIETY AND CIVILIZATION

Conflict between a proud traditional society and a haughty and eve contemptuous alien civilization bent on imposing its will on the people and the environment. The Mende society runs on clearly set out traditional values but the colonial masters as represented by the Governor in the play bring their own civilization which is alien to the people. Their structuring and taxation programmes brought Governor Rowe in direct conflict with the leadership of the people. For taking sides with John Caulker against his brother, the Governor rebukes Gbanya this way: "Shut up! (soldiers enter with guns) When people like us leave our civilized society to come and bring both the light and the word to you out here in the bush, we expect you to conform" (p. 97).

THEMES OF TRADITIONS AND UNFAIR DEMANDS on WOMANHOOD

In Let Me Die Alone, Yoko does call into question a tradition that insists on her relinquishing motherhood for the crown of leadership when she dotes on Jeneba, a.much loved child in her kingdom, and when she openly laments the sacrifice of childbearing. Since leadership and motherhood are mutually exclusive, the Mende culture seemingly presents leadership as a male domain. Lamboi, Yoko's brother, exploits this flawed belief when he accuses his sister of sacrificing children (in this case Jeneba) to formulate powerful medicinal powers to keep her on the throne. By framing Yoko as a heartless female, who does not know the pains of childbirth, Lamboi essentially reconfigures her as male. By implication, herbsuccess as a leader cannot therefore be credited to her femaleness.

THEMES OF BATTLE OF THE SEXES- CONFLICT BETWEEN GENDERS IN A RAPIDLY CHANGING SOCIETY

The play critiques a traditional culture that insists that women be confined to traditional female roles. in spite of the fact that there have been successful women leaders among the Mende people throughoutbrecorded history. This conflict suggests that a prevailing tension in male-female power sharing exists. Male and female roles in Mende society are clearly drawn out, but the society also allows women with exceptional qualities to cross gender lines as leaders in various capacities. This paradoxical, boundary-shifting identification often brings a lot of tension between the sexes because of the implications and consequences. Yoko, for instance, had to renounce childbearing in order to become man-woman to be eligible to ascend the Mende throne.

THE IMPORTANCE OF TRADITIONAL DANCING, SINGING AND BELIEFS

It is interesting that the play opens with singing and Sande drumming; it paints for us a happy society that is culturally vibrant. Yoko is in charge of this singing and dancing ensemble that also exercises some political control in the Mende social set-up. It is from this group that Yoko emerges to occupy the throne of the land with the full support of the Sande women. The women also denounced her when she was erroneously thought to be high-handed. As the Sande women/dancers provide entertainment at every auspicious occasion, so they also provide socio-political control for the good of the society. All their actions are guided by the belief system of Mende.

MODERN FEMINIST CONCERNS

The play is a feminist critique of a masculinist culture, at a time when feminism as a theme was still unpopular and rare among male playwrights in Africa. Kargbo deals with wife beating, male prejudice against female leadership, the problems of loveless marriages, and the tendency to measure masculine virility and sexual dominance against female oppression and sexual dominance. It also considers relations between husbands and wives, women forced into loveless mariages, brutal husbands, women forced into stereotypical roles, and the right of women to determine whether their femininity should consist solely in their ability to bear children.

COLONIALIST ARROGANCE

Governor Rowe, the representative of Her Imperial Majesty, has an air of overbearing dominance. He has little or no regard for the Mende society, her people and leaders. The height of his arrogance is demonstrated when he commands his soldiers to stretch out the chief, Gbanya, for thorough flogging and fined him in addition. Just digest this exchange when Governor Rowe enters Gbanya's palace: Gbanya: My master, Governor, I welcome you to Senehun. (he moves to embrace Rowe) Don't put those filthy paws on me, you savage! (p. 97) Rowe: The chief of the chiefdom does not even qualify as a human being before the colonialist, instead of hands, Rowe sees 'paws' and nothing but a savage in his own domain. Perhaps this is part of what Queen Yoko cannot stand ultimately and she commits suicide to save the dignity of her throne and her people.

THE THEME OF BLACKMAIL

Ordinarily, Musa wouldn't have contemplated poisoning Chief Gbanya and abducting and killing Jeheba, but he succumbs due to Lamboi's blackmail He reminds Musa of his other secret deeds that are not in the open. If he wants them to remain hidden, he has to cooperate. Musa: Lamboi, are you deaf?... Lamboi: Ngo Musa, if you have never killed a man, here, swear:.. Musa: Why should I swear to Poro? Lamboi: Ngo Musa, our elders say, only the guilty are afraid. If you know your hands are clean, I dare you to swear. Musa: My hands are clean, I wash them every day in the river. Lamboi: Yes indeed, in the river of blood, rich and hot human blood... The blood of Yattah's son and Mama Kadi's daughter. Those you slaughtered and whose fat you used for your bofima. You want me to name what charms you made with their private parts? Or do you want me to lead Gbanya who you want to protect to their shallow graves out there in the bush? Lamboi! Ndake, what are you getting angry for? I was just trying to make sure you are serious. You know I will do anything you say. After all, we are both working for the good of the chiefdom (pp. 92-93). Musa: From this point on, both men become partners in crime with reckless abandon.

THE THEMES OF INTRIGUE AND MURDER

The quest for political power in the play stimulates high level of intrigues culminating into murder and broken relationships. Lamboi is the chief manufacturer of falsehood and intrigues and ably aided by Musa to cause disaffection, destabilise the society and destroy the character and image of Chief Yoko in the eyes of her subjects. Yoko is accused of being a murderer, killing young girls for the efficacy of her charms for power retention and to be loved by the Governor. Jeneba, an innocent girl, is killed in the process by Lamboi and Musa to justify their claim. The intrigue worked because all critical segments of the chiefdom - Sande women, warriors, Ndapi's family and everyone - turned against Yoko. She lost face and honour before her people; she became a scum with no regard. Only thc power of Poro that revealed the actual culprits restored her innocence and dignity.

THE THEMES OF IMPOSITION AND RESISTANCE

Gbanya tries to impose Ndapi on the throne, Yoko resists and eventually gọt the nod of her husband because of the treachery of Lamboi and Musa. Lamboi and Musa also try to impose themselves on the throne of Senehun but Poro the people's oracle, resists. Governor Rowe imposes taxes on the people but they also resist the imposition.

THE THEMES OF BARGAIN FOR POWER AND DOMINANCE

Conflicts and struggles within that traditional society itself are laced with various elements of jockey and bargain for power and dominance. Yoko bargained for power from her husband and got it. She goes into expansionist wars to extend and expand her power base. When Rowe tries to reduce her territorial control and dominance, she feels insulted and humiliated and consequently commits suicide. Lambor her brother also bargained for power using intrigue, blackmail and murder but fails woefully.

THE THEME OF BETRAYAL

Gbanya trusts Musa his medicine man and Lamboi one of his trusted warriors and brother to his wife, Yoko. These two unfortunately betray this trust. It is in their hands he dies. Musa poisons Gbanya under the pretence that he is administering pain relief medicine to him. Similarly, Governor Rowe betrays Yoko's loyalty by devolving her powers to humiliate her; she commits suicide. Lansana also betrays Ndapi his best friend by seducing and sleeping with his wife, Jilo.

LITERARY DEVICE / DRAMATIC TECHNIQUES OF LET ME DIE ALONE

Language and Style of Let me die alone

Language Kargbo makes superb use of the English Language in Let Me Die Alone. The play is particularly well crafted and the language is embedded with cultural nuances that adequately contextualize the play, especially the rich use of proverbs.

Songs and dance

Kargbo carefully intersperses the different acts with song and dance and pays particular attention to sound effects. The Sande dancers are of particular interest here. As they have the wherewithal to entertain, so they also have the power to check and balance the authorities.

Comic relief

Moments of comic relief also heighten the overall tragic nature of the play. The way Gbanya drag Yoko to bed stimulates some pleasurable interest. The encounter between the guards and Messenge also underscores some comic relief. The Messenger has been manhandled before the guards realize thatbhe is a member of the very powerful Poro Society (pp. 131-134).

Symbols

In the play thunder rumbles. Jeneba, poison are key symbols deployed to advance its plot structure At some significant points in the play, thunder rumbles to arrest our attention to consciousness Jeneba in the play represents shattered hope and a new order denied from sprouting. Poison becomes a potent tool of ending the reign of each leader in the play. Gbanya died from poison by his trusted aids while Yoko's death is by self-consumed poison. For Gbanya, poison took him out in a disgraceful manner but Yoko used poison to leave the scene with her royal esteem and integrity intact. Poison in this instance has a dual image of negative and positive ends. But why does Kargbo make the two chiefs to die by poison? Probably for dramatic convenience.

Foreshadowing

Foreshadowing is a literary device in which a writer gives an advance hint of what is to come later in the story. Foreshadowing often appears at the beginning of a story, or a chapter, and helps the reader develop expectations about the coming events in a story. We have some instances of this literary device in Let Me Die Alone. When Jeneba is sent to call Lamboi and Musa for a meeting in the palace, Lamboi admires her and remarks that "Girls of her type stand to dje in the hands of the enemies of Senehun" (p. 94). This statement foreshadows Jeneba's abduction and gruesome death in the hands of Lamboi and Musa who are indeed the enemies of Senehun. Similarly, Yoko has a premonition that "a great ill will befall this household today" (p. 96); the Governor later comes to flog her husband, Gbanya, and he is eventually poisoned to death. As royalty, Gbanya does not want a humiliating death but he ironically foreshadows an unpleasant end - "why should who sent so many to enemies non their quest for such peace be afraid to die? No, I am not. My fear rests in the manner of dying" (p. 87). Gbanya dies of poison with his skin turned black as charcoal.

Major Events and their SIGNIFICANCE Of Let me die alone

Summary of Page 85 -90

Gbenya's Loins Catch Fire; Message Of Governor Rower's Visit is Delivered and Gbanya is Troubled About The Fate If His Chiefdom The play opens at Senehun in Gbanya's bedroom amidst Sande drumming offstage, with Gbanya pulling a shouting Yoko, his wife, into the room. Yoko had just been dislodged from the company of her Sande woman (a cult of woman dancers and entertainers) to come and attend to the emotional urge of her husband. She protest as Gbanya forces her to his bed. This protest gradually changes to ecstatic and sensual moans but soon interrupted by violent knocking offstage. Gbanya who is the ruler of Mandela Chiefdom receives a message that governor Rowe, the British Colonial Representative will be visiting the next day. This kind of visit is unusual; Gbanya quickly summons a meeting of his warriors as he suspects it might have something to do with the boys hired out to John Caulker to fight against his brother George. Yoko Senses that her husband is troubled and he confirms that he is unwell and even fears to sleep at night because of the constant visits of his ancestors to him in his dream imploring him to join them. It dawns on George that his end is imminent. Yoko suggest sacrifices to ensure a peaceful journey, believing that he should not die without honour. Gbanya prepares to receive his enemy the Governor with the greatest gift but his wife Yoko thinks differently; the warrior must be put on the alert to forestall any eventually. she reminds him further of his promise to hand over the chiefdom to her at his death. Unfortunately, Gbenya wants to rescind thus people because of many enemies hovering around the chiefdom to wipe off his people and reasons that a man will hold the fort better than a woman at the helm of affairs. She insists and questions his sincerity and betrayal having encouraged her not to bear children, being the prerequisite for her initiation into the male Poro cult before she can become kind. She complied and now at the verge of old age she is being abandoned. Gbenya prefer to hand over the chiefdom to Ndapi buy Yoko would want to share her bed with Ndapi as custom demands that a new king inherits the wives of the old one. Yoko also draws his attention to different woman who have reigned successfully over some chiefdom for many years such as Take Yoya, Kema of Galu, Fangawa of Wando, Kpanda Gbello of Leppiama, Woki of Tunkia and Nancy Caulker in Sherbro land. Gbanya agrees they are good rulers and also good lovers in the bed and drags her to the bed to show him his w good she is too.

SIGNIFICANCE

A typical African patriarchal dominance is contextualized here. A woman is married to attend to all the needs of her husband even if they are in conflict will the his wife's passion and aspirations. thanks therefore appears that the sole role of a woman in marriage is to service the Loins of her husband. This is why Gbanya dislodges Yoko from her group of young girls who she teaches Sande dances and the cultural norms of their people. Gbenya's actions constitute a social infringement, disrespect for womanhood, and culture assault. Yoko's Protest stirs up the feminist concerns of the play, Yes, her husband wants and she is also ready to yield to his desire but wanted to first dismiss her girls properly so she does not send bad signals to them. This portrays Yoko as a woman of clear focus guided by orderliness, But Gbanya does not care if the girls dance and die, what matters to him satisfying his sexual urge. This scenario futher emphasizes the indiscipline in most men in reconciling profound issues with sex It also leaves a negative mark on the leadership qualities of Gbanya as a chief. Indeed, many leaders have fallen because of woman and sex. The guilty are always afraid. Gbanya knows he has erred and he is therefore worried at the news that the Governor is to visit his his chiefdom. His acting contrary to the instructions of the governor without credible reason also underlines his incorrigibility. Yoko's sensitivity to her husband's welfare and that of the chiefdom makes her to discern that all is not well. Most times, our dreams are the reflections of the subconscious and it is in dreams that the future is often foretold. This is why Gbanya is troubled that his ancestors beckon to him to join them. Obviously, the end of his reign is near. Yoko's suggestion of a sacrifice to ease Gbanya's transit to the great beyond signifies the African belief in the potency of sacrifice for atonement, aversion and reversion of the consequences of human wrong actions. The suggestion also demonstrate Yoko's love for her husband and hence the desire to safeguard him from harm. The gift Gbanya prepares from the Governor are essentially for propitiation; to sue for peace as he anticipate the wrath of the Governor. He rejects the suggestion to put his warrior on the alart because it is needle to engage the Governor who has superior fire power in war. The consequences of such war on his chiefdom will simply be catastrophic. It also appears that all the tough counsels that Yoko offers are meant to persuade Gbanya to see her Capacity as a worthy successor so that he keeps to their pact of handling over the chiefdom to her. Gbanya's contemplation to change his mind is borne out of his genuine concern from the survival of the chiefdom after his exit and not a deliberate betrayal. It is clear that madam Yoko is well prepared to lead the chiefdom with necessary sacrifices and self-denial. She joined an all male secret society (The Feared Poro Society) and consequently loses her right to motherhood, though not to her sexuality, to become a male-female. Joining the roll call of great female leaders in history is her ultimate ambition. she fight for a place in history with all she had got. Apart from her demonstrated courage and 'manly' valour, it is her sensuality that finally subdues Gbanya into agreeing with her as a good candidate to lead the chiefdom.

Summary of Page 90 to 95

BLACKMAIL AND TREACHERY- PLOT TO KILL GBENYA IS BEING HATCHED Lamboi is equally interested in taking over the chiefdom of Gbanya but fears that his sister, Yoko, may succeed to persuade and compel her husband to hand over the chiefdom to her. He therefore connivse with Musa, the seer and the medicine man, by blackmail to plot the death of Gbanya before he makes any commitment to Yoko, his wife. Lamboi: "All I want you to do is to kill the chief and help me to prevent the chiefdom from failing into the hands of a woman" (Page 94). They both strategize and resolved to lure Gbanya to the Poro bush after the Governor's visit to drink from a medicine bottle poisoned with the gall of alligator.

SIGNIFICANCE Of Page 90-95

Politics of interest is at play here. Lamboi knows her sister's interest to rule over their chiefdom and as the wife of the current chief, she has more advantage to actualize her dream than himself. Lamboi is then set to use every possible means to gain the upper hand, regardless of the fact that Yoko is his blood sister. The lesson to note here is that quest for power knows no family ties. Lamboi knows he cannot plot and execute the murder of the chief alone; he enlist the help of Musa, the medicine man. Lamboi has comprehensive knowledge of Musa's past devilish and dubious activities against know people in their community. He refers him to the "Blood of Yattah's son and Mama Kadi's daughter", those he slaughtered, whose blood he used for his charm, bofima. Musa succumbs to Lamboi's blackmail and cooperates. The key lesson here is that everyone has a price; our past wrong deeds may be used against us in the present, we should therefore be mindful of our conduct in life per time. in as much as Musa does not want to be involved I. the plot to eliminate Chief Gbanya, the need to protect his past evil deeds from being exposed forces him to fall in line to carry out the evil desire of Lamboi. This scenario also tells us that human beings are basically self protective. It is significant to not that Poro bush where the ruling class derive their immense power of authority is the same place that Gbanya's elimination is also Located. In life, our source of strength is also often our source of weakness. It is also our trusted allies that often unsuspectingly plot our downfall. Absolute trust is dangerous to give.

SUMMARY OF PAGE 95 to 102

GOVERNOR VISIT AND HUMILIATES GBANYA; THE PLOT TO KILL GBANYA IS CARRIED OUT Final preparations to receive the governor are underway. Gbanya wants to give five fats cows, five fat Rams and sheep as presents to the Governor. Lamboi thinks they are to much for Governor Rowe, but the chief insists. Musa prepares Gbanya's mind to visit the Poro bush after the Governor's visit so they can carry out their evil plot to kill him. Yoko has a premonition that a great evil will befall their household today and urges Gbanya to prepare for war as he receives the Governor and ambush him. He faults her judgement and berates her as a woman "Can our chakabulas and Spears or machetes and slings withstand the guns of the Governor and his frontier soldiers?" Gbanya announces that his elaborate reception for the Governor is to sue for peace and protest his people from senseless killings. Governor Rowe arrives and accuses the chief of sending his warriors fight on John Caulker's side against his brother, which the Governor sees as a direct affront against his orders that there should be no more fighting. Gbanya continues to deny the accusations but the Governor humiliates him by ordering his soldiers to stretch him out on the ground and beat him with a whip. The chief if equally fined to pay fifty pounds in the equivalence of cattle and rice. The Governor and his team leave. Lamboi and Musa cash in on this development to give the chief a poisoned drink to kill him, pretending it is meant to relieve his pain. On realizing that death is inevitable, he curses his killers and instructs Yoko who just came into take charge of the chiefdom. Lamboi tries to persuade her out of the idea of becoming chief because she has to join the Poro cult which would consequently prevent her from bearing children. But she insists that she is ready to be chief; she mourns her husband and she is coronated as the next ruler of Mende Chiefdom.

SIGNIFICANCE OF PAGE 95 to 108

Gbanya knows he has erred and wants to placate the governor, hopefully, with the fabulous gifts of fat cows, rams anf sheep. Lamboi, knowing very well that if Gbanya falls out of favour will the the Governor, it will enhance his chances of taking over power, advises him not to give Governor Rowe too many gifts. Political treachery is still at work. The chosen venue for Gbanya's murder is perfect because he believes very much in the potency and efficacy of the Poro bush as a fountain of power. This is why Musa exploits that to lure him to the park bush; this way Gbanya won't be suspicious. Yoko sense troubled and offers suggestion on how to avert it, but Gbanya disagrees The end is here. when the end is imminent and looming, logic and reason become incompatible. Governor arrives and accuses Gbanya of direct affront against his orders. The significance here is to underscore the fact that there will always be consequences for our wrong doings. For a chief to be stretched out and flogged before his people and elders in council is the height of corporate humiliation for any society. what honour is left over his chiefdom. This humiliation also symbolically emphasizes the dominance of control the colonial master have over the Chiefdom and the chiefs. Gbanya at his weakest moment is poisoned by lamboi and Musa. This is double jeopardy for Gbanya; he suffers public humiliation in the hands of a foreigner (The Governor) and loses his life to his own trusted kinsmen. Gbanya chose to face the Governor's humiliation treatment without resistance in order to protect his people from being crushed with the superior weapons of the Governor's army. It is ironic that he died in the hands of part of the very people he sought to protect. It is at the verge of dying that Gbanya realizes who his real enemies are, and that the only person he can really trust is the one he originally perceived as a weaker successor- Yoko. Hence, he hands over the chiefdom to her before his last breath. Gbanya certainly finds some fulfilment at death that he was able to deny his murderer access to the throne. It is also frustrating for lamboi and Musa that their murderous act couldn't fetch them the throne outrightly. Yoko's resolve to forgo childbearing in other to become chief of Mende Chiefdom demonstrates her capacity to aim and attain her late husband who entrusts the throne to her at death.

SUMMARY OF PAGE 103 - 109

Adultery brews between Jilo and lansana; Ndapi's Brutality on Jilo; Yoko Plans expansionist war and intends to move the chiefdom from Senehun to Moyamba Jilo is preparing to cook and Lansana her lover appears. His mission is to lure her into bed. Jilo resist, fearing that her husband, Ndapi may show up. He seizes her against her wish claiming that having failed that talk her into it, the other options left is to force her into it. Lansana gags her with his hand and drags her into the hut. Just then Ndapi and Lavalie a warrior, enters from opposite ends. They both express concern over the 'mysterious' death of their chief, Gbanya. There was something unusual about the funeral; The dead chief skin was black as charcoal, yet no one could give any credible explanation, not even Ngo Musa, the medicine man who saw it all. Yoko now feels her life threatened and does not even trust her brother, Lamboi. She wants to embark on explansionist war but some of her warlords feel otherwise, Ndapi and Lavalie especially, who now leave to strategize on how to stop Yoko from embarking on war. Lansana and Jilo emerge from the hut; he got what he wanted and he is prepared to risk his life for a repeat performance at a safer place. Ndapi returns home and queries Jilo his wife about her whereabouts; why isn't food ready for him to eat? she blames it on their sick daughter, Jeneba. Ndapi does not take kindly to her excuses, so he steps on her big toe and slaps her. A guard enters and protest but warns him against the danger of beating his wife every day; he could lose self esteem. Both men review Yoko's greed for war which they consider vain and provocative. Jilo also reveals Yoko's plan to move the Chiefdom from Senehun to Moyamba.

Significance of Page 103 to 209

The wrong dominance man thinks he has over a woman is demonstrated here. if word fails to make woman yield to your amorous advances, take it by force. This brutal force into a woman's body should not be encouraged to thrive. It destroy social cohesion. Lansana paid dearly for his actions later in the play. The death of Gbanya raises a suspicious of foul play; of course that is what it is. The significance here is that when evil is plotted and executed, there are always loose ends that will expose the perpetrators. with this suspicion, the tendency is to watch Lamboi and Musa closely. Yoko, having seen how her husband died and the power play in the chiefdom, is very conscious of her safety and she is determined to safeguard herself. she knows those who plotted his husband's death and their determination to secure the throne will not relent. The reign of Madam Yoko is airborne now and the desire to expand her chiefdom is her main agenda. she probably believes that the more territories she controls the more economic returns for her kingdom. She is very interested in wealth creation. Unfortunately some of her warlords believe the wars are senseless and needless. Note that this is how dissension and disloyalty begin. Jilo and Lansana have consummated their love affair and they both seem happy in spite of the initial resistance from Jilo. However, the seed of adultery has just been sown and it is going to upset Ndapi's family stability and indeed raise serious concern for Yoko and the chiefdom. This action tells us that a taboo secretly committed would one way or the other returns to haunt us openly and may even affect the entire society. It is not easy to serve two master for attending to lansana, Jilo could not meet up with her obligation to cook for the family, which seriously upsets her husband. This dereliction of duty infuriates her husband and so he beats her for using her sick daughter to cover up is indicative that one wrongdoing would often lead to another wrongdoing to cover up. The warning of the guard against incessant wife beating suggests that even his wife is too familiar with his beating, she would one day revolt and stand up to him; that way he could lose her self esteem before her. Jilo's information that Yoko is about to move the chiefdom from Senehun to Moyamba helps to shift the attention from her to something else. This moment of the chiefdom is symbolically a change from an older to new one; a quest for prosperity, good life and peace for the chiefdom.

Summary of Page 110 to 115

Yoko actualize the movement of her chiefdom from Senehun to Moyamba; Jilo and Lansana are caught in the bush in an adulterous act; Jilo loses three months old pregnancy We meet Yoko in her royal splendour in her palace in Moyamba with score of woman attending to her needs. They all like it here in Moyamba, the chiefdom has expanded even more. Yoko reminisces over her dead husband - Musu and Fanneh (her maids) think his spirit is guiding her because in Moyamba they have found peace and the Governor is very Happy. Yoko however feels uneasy with the fear of the unknown, that she may be killed and her reign toppled. She also misses the joy of motherhood as she lives under tremendous pressure from those who do not want her on the throne especially Lamboi her brother and Musa the medicine man who she suspects killed her husband. Yoko asks after Jeneba (Jenneh), Ndapi's daughter who she adopts as her daughter with so much care and affection. she is brought to Yoko and a little girl confirms that her father often beats her mother. A guard announces the arrival of a messenger from the Governor who is well received and made comfortable. Yoko prepares for a meeting with the elders (Lavalie, Ngo Musa, Keke Lamboi and Ndapi); Ndpi beats his wife, Jilo, and drags her in before chief Yoko. Jilo is accused of adultery with a member of Yoko's household, Lansana. He is already on the run to Taiama; Yoko deploys two warriors to apprehend him outrightly. Yoko is disappointed with Jilo for the abominable acts with Lansana, a rescued war slave and ordered her detention as reprimand. Jilo herself is ordered to be put in the stocks. Jilo's three months old pregnancy is also wasted because of the illicit act Yoko assures Ndapi that she will make Lansana pay all the damages. Yoko is visible angry more than ever before because she hates such things; Lansana betrayed his friendship with Ndapi

Significance of Page 110 to 115

These are the early signs of prosperity under the reign of Madam Yoko. moving the headquarters from Senehun to Moyamba is to open the development space in another part of the chiefdom. A new environment breeds new ideas. Yoko fondly remember her late husband because he was the foundation of the royalty she now occupies and the success of her reign. It is alright for her maids to deduce that Gbanya's guiding sprit is the pillar of her success. This scenario observation by Musu and Fanneh (the maid) is also borne out of the African belief system that the dead does not sleep but looks back to assist the affairs of the living. Since Gbanya practically handed over the throne to Yoko, he also probably sees it as his responsibility to ensure she succeeds by according her Devine guidance. This guiding spirit notion also brings to the fore the African world view that thrives on an integrated universe of the unborn, the living and the dead as one Continuum. Like her husband said before to her, she already sees sign that her reign may be toppled uneasy is the head that wears the crown. To ascend a throne or occupy an office is not all that matters but sustenance in the office, This is the moment for Yoko to face her reality squarely. Her childlessness which is a deliberate choice because of her quest for political power now stirs up emptiness in her because she misses the joy of motherhood. Troubled by her husband's suspected murderers, there is no child of her own to comfort her. In life, you win some and you lose some. It is in Jeneba (Jenneh), Ndapi's daughter that Yoko hopes to find the joy of motherhood by literarily adopting her as her own daughter. Innocence of childhood is displayed when Jeneba reveals the beating her mother receives from her father. The sophisticated reception accorded the Governor's messenger is a reflection of Yoko's understanding of political diplomacy. Finally, Jilo and Lansana are caught in their adulterous act. In most African cultures, adultery is a serious taboo with prescribed corresponding consequences and punishments. This abominable act portends more abominations to come in the play/chiefdom, especially as a member of Yoko's household is involved- Lansana. This is a test of Yoko's sense of justice given the fact that Lansana is her own and Jilo the mother of her adopted child. By ordering the apprehension and detention of Lansana who is on the run to Taiama, and Jilo to be put in the stocks, Yoko demonstrates that she is committed to upholding the laws and social norms of her society. Jilo's aborted pregnancy also represents an aborted dream for Yoko who wants to erect structures of a new social and economic order. Probably this is why she is visibly angry. Interestingly, Lansana and Ndapi are friends but to Lansana betrays his friend by sleeping with his wife. This act of betrayal also foretells the monumental betrayal that awaits Yoko herself from the Governor she has given so much loyalty and laboured for faithfully.

Summary of Page 115 to 120

Lamboi and Musa plot to kidnap and kill Jeneba; Governor's messenger visits; Jeneba is kidnapped (pp. 115-120) Lamboi and Musa hatch up a plan to kidnap and kill Jeneba, the little girl Yoko is so fond of and loved by the community. With her out of the way, Lamboi hopes to ascend the throne. Musa does not believe it is a very good strategy, but Lamboi assures him that the searchlight will be on Yoko and not them. Madam Yoko with some of her elders receives the Governor's messenger in her palace with pomp and pageantry. The Messenger appreciates the unprecedented reception accorded him and delivers the message of the Governor, servant of her Imperial Majesty the Queen of Great Britain. The Governor considers her a shining example of an African leader who blends grace, magnanimity, bravery, audacity, tranquillity, and majesty to her role as custodian of the protectorate. He wishes her well in her reign. Jilo prepares to go and wash in the river and wants her daughter, Jeneba, taken to Madam Yoko by Fanneh but she is on an errand for Yoko to look for Lansana. Fanneh wants to know why Jilo committed adultery. She complains that her husband abuses her body with incessant beatings and he is not tender with her while, on the other hand, Lansana is tender and caring and also makes her proud as a woman. A woman needs reassurance and admiration; Lansana gives all these. Jilo sees Fanneh off leaving Jeneba all by herself, Lamboi sneaks in, hrypnotizes Jeneba with a fruit and some other medicinal liquid substances and takes her away sleepwalking.

Significance of Page 115 to 120

The intention is to shift the blame on Yoko as the murderer and mislead the people to believe that her growing strength as a chief is because she sacrifices young children to her charms by burying them alive. With this plan, Lamboi and Musa hope to whip up the sentiment of the people against her and ultimately force her to abdicate the throne or be forced into exile or be killed. This line of action shows that inordinate ambition stops at nothing to reach the desired end. Yoko is being framed up to face the wrath of her people knowing that majority of the people are gullible most of the time. Any crime involving human life is very serious and easily whips up sentiments; that shows how determined Lamboi and Musa are to dethrone Yoko. Madam Yoko is active in the service of governance; her good work is also being praised by her boss, the Governor. In the face of all of these, evil is being plotted to discredit her. These are sharp contrasts, but Lamboi and Musa are also smart to link the two as serving each other. That is, Yoko's popularity and good standing with the Governor is facilitated by her human sacrifice. The Governor showers encomiums on Yoko because of her loyalty and result-oriented administration. It is ironic that a leader who received these very positive commendations will soon be discredited and humiliated by the same Governor. In politics, friends today can become arch-rivals the next day; no permanent enemy but only permanent interest. Jilo comparing her husband with her lover is to frst justify her adulterous action. It also indicates that when a woman's emotions are not properly attended to, they could slip into irreconcilable actions. Certainly no woman will prefer a beating husband to a tender and caring lover. Jilo's action is also a statement on female autonomy that is often subsumed by patriarchy. It is a quest for social freedom but adultery conflicts with African traditional ethical codes. Jeneba's kidnap is the turning point in the play. This action disrupts all activities in the community; something dear to the community has been stolen and must be found for normalcy to retun. It is from this point that Yoko begins to feel the heat of treachery, betrayal and humiliation. She begins to lose grip of her chiefdom. The air of restlessness permeates the entire chiefdom. The strength of Yoko's leadership character is called to test. In a way, her authority is symbolically kidnapped because she has been given a name that does not befit a chief.

Summary of Page 121 to 122

Imposition of property tax and resistance; Lamboi is to take charge of the chiefdom in Yoko's absence; Jilo announces Jeneba's disappearance (pp. 121-122) In the palace, Yoko announces to her elders in council that the Governor has sent for her to crown two chiefs in Taiama and she has to leave that evening. The elders want the council to discuss the property tax the Governor has imposed on their land, but Yoko suspends any discussion on the matter; rather, she opts to execute the Governor's order. She hands over the chiefdom to Lamboi to take charge in her absence. Just then, two warriors enter with Lansana, and Yoko orders his detention without food till she returns from her trip. As he is being led away, Jilo breaks in wailing and announces the disappearance of her daughter, Jeneba, Yoko also orders an immediate search party for the missing girl to be found at ail cost, appoints Musa as second in command to Lamboi for a few days and they have direct orders to find the girl before Yoko returns, but Jilo is devastated as she weeps uncontrollably.

Significance of Page 121 to 122

The Governor imposes property tax on the land, the elders resist, but Yoko insists to obey the Governor's order to implement the property tax policy. Yoko takes this stance in order to be in the good books of the Governor. For Yoko to suspend the discussion on the matter of taxation suggests that she puts her personal interest above that of the people. When a leader denies the people their rights and privileges, such a leader is bound to lose popularity. Yoko puts Lamboi in charge of the chiefdom as she travels to see the Governor, which turns out to be her greatest undoing. Lamboi takes effective advantage of this opportunity to perfect his plan to turn the people against Chief Yoko. Yoko shows strength of character by ordering Lansana's detention without food till she returns from her trip. Her sense of justice is commendable. Also, Chief Yoko's response to the news of Jeneba's disappearance is statemanly and proactive. But appointing Musa as second in command to Lamboi is another costly error. It is a tragic irony that she hands over the chiefdom to her two main arch-enemies without suspecting their capacity for evil.

Summary of Page 123-131

Lamboi reflects on his quest for Moyamba throne; the search for Jeneba's whereabouts intensifies; Yoko is accused to be the murderer of Jeneba and publicly humiliated; Jeneba's dead body found and a clue to the real killers unveils (pp123-131) Lamboi is alone in the palace (barre) and fantasizes about his quest for power, control and dominion over his fellow men. On his walk towards the throne and seat of supreme power, blood has been spilled and there is no going back for him. His hands have been soiled with the blood of Gbanya, Jeneba and Yoko may be the next because she stands between him and his ultimate desire to be the chief of Moyamba Chiefdom. Lavalie enters with no good news on Jeneba, he leaves- to get palm wine and Musa enters. Musa has been busy spreading the rumour that Yoko has used Jeneba as sacrifice; buried her alive in a big pot to fortify her power and acquire more power to gain the favour of the Governor. The same dummy is sold to Ndapi, father of the missing girl; he buys it after some persuasions that Gbeni the oracle revealed it and also with the potent rumour mill spearheaded by the women. Sande women, a powerful cult, summons a meeting to depose Queen Yoko for this supposed dreadful deed. Ndapi sends word to the women to break up the meeting. Queen Yoko returns and is surprised at the disrespectful reception she received from her subjects. Those she put in charge of the chiefdom, Lamboi and Musa, even call her murderer too. Ndapi confronts her to produce his daughter if she wants to be Queen again and sits on her throne with heavy thunder rumbling. She is accused of sacrificing Jeneba and buried her alive in a big pot she is defenceless in her innocence; she is subjected to great humiliation and insults by Lamboi Musa, Ndapi and the entire chiefdom hean scarn on her: she is called murderer, witch, devil, and wicked. Ndapi even insults her with her childlessness "you don't know the pain of childbirth, so you don't know the worth of a child. You have never had children of your own, so you don't know what motherly love is." She offers to swear by Poro to prove her innocence but she is not given the chance as no one believes her. Just then news comes that Jeneba's body has been found behind Sande bush with the breastbone broken, the heart pulled out, her neck cut with a knife and her private parts removed. The nature of this dead body negates the claim of Lamboi and Musa that the child was buried alive. It is this revelation that necessitates a rethink and Yoko gets a reprieve and seizes the opportunity to investigate the matter to discover the real culprits. At the Poro shrine in the night, it is discovered that Lamboi and Musa are responsible for the death of Jeneba. Queen Yoko is thereby vindicated and Ndapi promises to go after them to seek redress.

Significance of Page 123-131

Lamboi's reflection summarizes for us all his evil deeds towards ascending the throne of Moyamba. One death leads to another but the desired end still looks remote. The question, therefore, is how many more would be killed to satisfy this inordinate ambition? Is the throne really worth these killings? Yes, it is a dream and a fantasy for Lamboi as acting chief; he feels so close to power now but it is still very remote in actual sense. The rumour mill is agog now with the news that Yoko has used Jeneba as sacrifice; buried her alive in a big pot to fortify her power and acquire more power to gain the favour of the Governor. Musa is on this assignment. Rumour wears a conflicting garment of reality and the feeble-minded admires such easily and that is the strategic capital Lamboi and Musa are exploiting. The duo of Lamboi and Musa use a multi-pronged approach to drive home their design to discredit Yoko. In addition to the rumour mill, they also cash in on the belief system of the people by making a false claim that the Gbeni oracle revealed Yoko as the murderer of Jeneba. It is instructive that Ndapi, the father of Jeneba, who is most hurt is the one who also stops the powerful Sande women cult from deposing Queen Yoko because of this supposed dreadful deed. Ndapi as an important cultural icon in the land would not want utter disregard for royalty and cultural proceedings, even though he is grieved. To take the law into their hands is to invite anarchy which is precisely the wish of Lamboi and Musa. Lamboi and Musa's plan is effectively on course; Yoko comes under serious ridicule and humiliation. This experience is a good reminder that a leader is as strong as the strength his or her subjects accord him or her. Therefore, leaders are very vulnerable when they fall out of favour with their subjects. The rumbling thunder is a symbolic announcement that the throne of Mayomba is under attack. Once again, Yoko's childlessness is thrown on her face as an insult. It is paradoxical that the childlessness that defined her as a strong leader, a man-woman, is the same attribute that is used to describe her insensitivity. The Poro cult/god seems to be the cornerstone of their belief system. Poro is all-knowing andnothing can be hidden from it. In it, Yoko seeks succour to prove her innocence. Apparently nothing is left for her as everyone believes the story beautifully and delicately hung on her neck; only Poro can say otherwise for the people to change their minds. Finding Jeneba's body is a truce for peace and crisis resolution. Jeneba as a living being was loved by all; her death erased communal love and trust, and her corpse restored justice. It is in Poro shrine that the real culprits are discovered, Yoko finds vindication and justice is served. Therefore, the fear of Poro is the beginning of wisdom.

SUMMARY OF PAGE 131-139

Governor reduces Yoko's territorial control and she feels betrayed; Ndapi and Jilo seek forgiveness from Yoko; Yoko commits suicide (pp. 131-139) The Messenger to the Governor brings a message to Queen Yoko at the Poro bush; he is stopped from entering by the guards because only initiates and members are admitted into the shrine. But Queen Yoko clears the Messenger as a member and he gains access to see her. He brings a message to reduce the territorial control of the Queen and she is upset by it and sees it as a disgrace. On hearing this message, she sends Lavalie for some herbs which he sends to her through a Huard. She gives it to Musu to prepare as usual into a thick concoction. Queen Yoko turns back to the Messenger to express her displeasure over the boundary demarcation. After her long years of service and loyalty to the Governor, this manner of reward is least expected. She feels used and insulted and sends strong words back to the Governor. Ndapi and Jilo come to seek forgiveness from the Queen claiming they were misled; Lamboi and Musa set a trap for them. The Queen will hear none of their apologies. She recalls that her late husband warned her that "behind every set of white teeth there lurks an evil plotting mind." She dismisses the couple and the Messenger. The concoction is ready and Musu suspects it is a poison and wanted to drink it first before the Queen. Yoko says no, "Let me Die Alone" because she has savoured the fruits of power alone: khown and enjoyed the grandeur of high office alone. She drinks the poison to die and avoid the humiliation of her power being whittled down by the Governor. In death she hopes to find peace and never to be used again. She connects with the noble ancestors of the land to receive her, she slumps to the ground send words to the entire chiefdom not to be mourned as she did not bring a child to this world. She dies and a dirge rises.

Significance 131 to 139

Poro bush is portrayed as a sacred ground where only initiates can enter. It is observable that almost all government functionaries are members. Poro therefore provides a platform for the people to trash out issues of governance and resolve political crises. Yoko's political empire is about to crumble. Reducing her territorial control by the Governor is humiliating, disgraceful and demeaning. It is an indirect way of dethroning Yoko from the apogee of her reign over Mayomba Chiefdom. The Governor's intention is very clear to her and would not want to go through the consequent humiliation arising from the Governor's order. Instead of going the way of her husband who was thoroughly publicly humiliated, she is prepared to pay the ultimate price to leave the throne in her full glory instead of stayNdapi even insults her with her childlessness "you don't know the pain of childbirth, so youing alive hollow without authority. Yoko therefore instructs Musu to prepare poisonous herbs into a thick concoction with which she intends to commit suicide. Returning strong words to the Governor positions Yoko as a fearless leader who is ready to protect the sanctity and integrity of the throne of Mayomba. If her loyalty means nothing anymore to the Governor, it is also time to look him in the face and assert her dignity. Yoko is in no mood for Ndapi and Jilo's apologies, she is too wounded to accept their apologies, besides, she faces another crisis with the Governor. It is however humbling that when Ndapi and Jilo realize their error, they approached their chief to tender their apologies. Musu demonstrates loyalty to Yoko and her throne by offering to drink the poison first. It is all in the line of duty to protect her majesty. That Yoko rejects her request signifies the belief that we should all individually account for our actions. To die alone is to salvage the soul of Mayomba society and protect it from political and social humiliation. It is instructive that it is at the verge of dying that Yoko realizes how stupid she has been in thenhands of the Governor. Taking her own life is a deliberate step towards finding peace within herself that she was not disgraced out of office. Also linking up with the illustrious ancestors of the land emphasizes the organic pantheon of authority that feeds African traditional leadershipbas a continuum. Yoko's request not to be mourned because she is childless further expresses her regrets at some of the choices she made in life. Of course, she would be mourned as a great leader who brought prosperity to her chiefdom, upheld justice and died protecting the authority of her throne.