The Plot Account Of The Lion And The Jewel By Wole Soyinka

 In the Village of Ilujinle with it's  flourishing traditional customs and tradition, a village which may be said not to have been ready to experience modernity, there lived the Bale and traditional ruler, Baroka his head wife, Sadiku; you the Village belle, Sidi; and  the twenty three year old teacher, Lakunle. Baroka as a representative of tradition still lives within the dictate of the Yoruba culture, avoiding modernity as much as he can while patronizing polygamy and protecting tradition to the extent that he bribes against Ilujinle springing up as a modern environment. Sadiku is Baroka's head wife who seems to be comfortable with her place among the 'lion's' harem. so comfortable is she that she is willing to welcome yet another wife, Sidi, for Baroka. She not only  carries out the function of informing Sidi the 'jewel' that her husband wants to marry her, she eventually makes it possible - even if ironically for the 62 year old traditional ruler to achieve his aim. Lakunle is the village school teacher who is fond of Sidi whom he wants to introduce to civilization unlike the woman of old: "Together we shall sit at table/ - Not on the floor - and eat/Not with fingers but with knives/And forks and breakable plates/like civilized beings" (page 8). He wants Sidi to be his wife h but he is not prepared to pay the bride price as it would make Sidi appear to be "my chattel, my mere property." in contrast, Sidi wants bride on her to forestall the villagers thinking that "I was no virgin/That I was forced to sell my shame/And marry you without a price" (Page.7). Lakunle then descends on the "Savage custom" of bride price describing it with a bombastic English as "Barbaric, out-dated.../ Retrogressive, remarkable, unpalatable"(page 7). it's is in this state of things that Baroka whom Lakunle despises appears ready to contest for sidi's  hand I marriage with a far younger school who has the advantage of modern education, youthfulness and probably vigour. Because of sidi's vanity, Baroka send across a decoy: he turned impotent, he announces to the outside world through his flippant head-wife. But it was all a bait. sidi who is now of herself because her pictures now adorn magazines, and now a object of desire by men, falls for the lure and goes to visit Baroka in order to mock him sexually. in this process she loses her virginity and is prepared to marry I the old man while dumping Lakunle whom she considers to be a "watered down/A beardless version of unripened man" (page 63).

The play takes place over a Sunday. It is divided into three parts: morning, noon, and night.

Morning

A school teacher, Lakunle, is teaching a class when Sidi walks fast carrying a pail of water on her head. The teacher peers out of the window and disappears. Two 11-year-old school children start ogling her, so he hits them on the head and leaves to confront her. Lakunle comes out and insists on taking the pail from Sidi. She refuses, saying that she would look silly. Lakunle replies, saying that he told her not to carry loads on her head or her neck may be shortened. He also tells her not to expose so much of her cleavage with the cloth she wears around her breasts. Sidi says that it is too inconvenient for her to do so. She scolds him, saying that the village thinks he's stupid, but Lakunle says that he is not so easily cowed by taunts. Lakunle also insults her saying that her brain is smaller than his, making her angry.

After arguing, Sidi wants to leave, but Lakunle tells her of his love for her, but she remains indifferent. Eventually, it is revealed that Sidi does not want to marry him because Lakunle refuses to pay her bride-price as he thinks it is an uncivilized, outrageous custom. Sidi tells him that if she did so, people will jeer at her, saying that she is not a virgin. Lakunle further professes how he wants to marry her and treat her "just like the Lagos couples I have seen". Sidi does not care. She also says that she finds the Western custom of kissing repulsive. She tells him that not paying her bride price is mean and miserly.

As the village girls enter, they play "The Dance of the Lost Traveller", which features the sudden arrival of a photographer in their midst some time ago. They tease the traveller in the play, calling his motorbike "the devil's own horse" and the camera that he used to take pictures "the one-eyed box". Four girls dance the "devil-horse", a youth is selected to play the snake, and Lakunle becomes the Traveller. He seeks to be excused to teach Primary Four Geography but Sidi informs him that the village is on holiday due to the arrival of the photographer/traveler.

We also find out that the photographer made a picture book about the village based on the photos he took. There is a picture of Sidi on the front page, and a two-page spread of her somewhere inside. Baroka is featured too, but he "is in a little corner somewhere in the book, and that corner he shares with one of the village latrines". They banter about for a while, Lakunle gave in and participated because he couldn't tolerate being taunted by them.

The Dance of the Lost Traveller
The four girls kneeled on the ground, forming the wheels of the car. Lakunle adjusts their position and sits in air in the middle. He pretends to drive the "car". The girls dance the stall. They shudder, and drop their faces onto their laps. He pretends to try to restart the "car". He gets out and checks the "wheels" and also pinches them. He tries to start the "car", fails and takes his things for a trek.

He hears a girl misbehaving, but attributes it to sunstroke, so he throws the bottle that he was drinking from in that general direction. He hears a scream and a torrent of abuse. He takes a closer look and sees a girl (played by Sidi). He tries to take photos, but falls down into the stream.

The cast assembles behind him, pretending to be villagers in an ugly mood hauling him to the maram in the town centre. Then Baroka appears and the play stops. He talks to Lakunle for a while, saying that he knew how the play went and was waiting for the right time to step in. He drops subtle hints of an existing feud between him and Lakunle, then makes the play continue. The villagers once again start thirsting for his blood. He is hauled before Baroka, thrown on his face. He tries to explain his plight. Baroka seems to understand and orders a feast in the Lost Traveller's honour. He then takes the opportunity to take more photos of Sidi. He is also pressed to drink much alcohol, and at the end of the play, he is close to vomiting.

The play ends. Sidi praises him for his performance. Lakunle runs away, followed by a flock of women. Baroka and the wrestler sit alone. Baroka takes out his book, and muses that it has been five full months since he last took a wife.

Noon

Sidi is at a road near the marketplace. Lakunle follows her, while carrying the firewood that Sidi asked him to help her get. She admires the pictures of her in the magazine. Then Sadiku appears wearing a shawl over her head. She informs her that the Lion (Baroka) wishes to take her as a wife. Lakunle is outraged, but Sidi stops him. Lakunle changes tactics, telling her as his lover to ignore the message. Sadiku took that as a yes, but Sidi dashed her hopes, saying that since her fame had spread to Lagos and the rest of the world, she deserves more than that. Sadiku presses on, dissembling that Baroka has sworn not to take any more wives after her and that she would be his favourite and would get many privileges, including being able to sleep in the palace rather than one of the outhouses. As Baroka's last wife, she would also be able to become the first, and thus head wife, of his successor, in the same way that Sadiku was Baroka's head wife. However, Sidi sees through her lies, and tells her that she knew that he just wanted fame "as the one man who has possessed 'the jewel of Ilujinle'". Sadiku is flabbergasted and wants to kill Lakunle for what he has done to her.

Sidi shows the magazine. She says that in the picture, she looks absolutely beautiful while he simply looks like a ragged, blackened piece of saddle leather: she is youthful but he is spent. Sadiku changes techniques, saying that if Sidi does not want to be his wife, will she be kind enough to attend a small feast in her honour at his house that night. Sidi refuses, saying that she knows that every woman who has eaten supper with him eventually becomes his wife. Lakunle interjects, informing them that Baroka was known for his wiliness, particularly when he managed to foil the Public Works attempt to build a railroad through Ilujinle. Baroka bribed the surveyor for the route to move the railroad much farther away as "the earth is most unsuitable, could not possibly support the weight of a railway engine". Lakunle is distraught, as he thinks just how close Ilujinle was to civilisation at that time.

The scene cuts to Baroka's bedroom. Ailatu is plucking his armpit hairs. There is a strange machine with a long lever at the side. It is covered with animal skins and rugs. Baroka mentions that she is too soft with her pulls. Then he tells her that he plans to take a new wife, but that he would let her be the "sole out-puller of my sweat-bathed hairs". She is angry, and deliberately plucks the next few hairs a lot harder. Sadiku enters. He shoos Ailatu away, lamenting about his bleeding armpit.

Sadiku informs him that she failed to woo Sidi. She told her that Sidi flatly refused her order, claiming that he was far too old. Baroka pretends to doubt his manliness and asks Sadiku to massage the soles of his feet. Sadiku complies. He lies to her that his manhood ended a week ago, specifically warning her not to tell anyone. He comments that he is only 62. Compared to him, his grandfather had fathered two sons late on 65 and Okiki, his father, produced a pair of female twins at 67. Finally Baroka falls asleep.

Night

Sidi is at the village center, by the schoolroom window. Enter Sadiku, who is carrying a bundle. She sets down a figure by the tree. She gloats, saying that she has managed to be the undoing (making him impotent) of Baroka, and of his father, Okiki, before that. Sidi is amazed at what she initially perceives to be Sadiku going mad. She shuts the window and exits, shocking Sadiku. After a pause, Sadiku resumes her victory dance and even asks Sidi to join in. Then Lakunle enters. He scorns them, saying: "The full moon is not yet, but the women cannot wait. They must go mad without it." Sidi and Sadiku stop dancing. They talk for a while. As they are about to resume dancing, Sidi states her plans to visit Baroka for his feast and toy with him. Lakunle tries in vain to stop her, telling her that if her deception were to be discovered she would be beaten up. Sidi leaves. Lakunle and Sadiku converse. Lakunle states his grand plans to modernize the area by abolishing the bride-price, building a motor-road through the town and bring city ways to isolated Ilujinle. He goes on to spurn her, calling her a bride-collector for Baroka.

The scene is now Baroka's bedroom. Baroka is arm-wrestling the wrestler seen earlier. He is surprised that she (Sidi) managed to enter unchallenged. Then he suddenly remembers that that day was the designated day off for the servants. He laments that Lakunle had made his servants form an entity called the Palace Workers' Union. He asks if Ailatu was at her usual place, and was disappointed to find out that she had not left him yet despite scolding her severely. Then Sidi mentions that she was here for the supper. Sidi starts playing around with Baroka. She asks him what was up between him and Ailatu. He is annoyed. Changing the subject, Sidi says that she thinks Baroka will win the ongoing arm-wrestling match. Baroka responds humbly, complimenting the strength and ability of the wrestler. She slowly teases Baroka, asking if he was planning to take a wife. She draws an example, asking if he was her father, would he let her marry a person like him?

Sidi takes this opportunity to slightly tease him, and is rewarded by his violent reaction by taking the wrestler and slinging him over his shoulder. The wrestler quickly recovers and a new match begins again. The discussion continues. Baroka is hurt by the parallels and subtle hints about his nature dropped by Sidi. Sidi even taunts him, saying that he has failed to produce any children for the last two years. Eventually he is so angered that he slams the wrestler's arm down on the table, winning the match. He tells the defeated wrestler to get the fresh gourd by the door. In the meantime, Baroka tries to paint himself as a grumpy old man with few chances to show his kindliness. The wrestler returns. Baroka continues with his self-glorification. Then he shows her the now-familiar magazine and an addressed envelope. He shows her a stamp, featuring her likeness, and tells her that her picture would adorn the official stamp of the village. The machine at the side of his room is also revealed to be a machine to produce stamps. As she admires the pictures of her in the magazine, Baroka happens to mention that he does not hate progress, only its nature which made "all roofs and faces look the same". He continues praising Sidi's looks, appealing to her.

The scene cuts back to the village centre, where Lakunle is pacing in frustration. He is mad at Sadiku for tricking her to go see Baroka, and at the same time concerned that Baroka will harm or imprison her. Some mummers arrive. Sadiku remains calm, despite Lakunle's growing stress. Sadiku steals a coin from Lakunle to pay the mummers. In return, the mummers drum her praises, but Sadiku claims that Lakunle was the real benefactor. Then they dance the Baroka story, showing him at his prime and his eventual downfall. Lakunle is pleased by the parts where they mock Baroka. Sadiku mentions that she used to be known as Sadiku of the duiker's feet because she could twist and untwist her waist with the smoothness of a water snake.

Sidi appears. She is distraught. Lakunle is outraged, and plans to bring the case to court. Sidi reveals that Baroka only told her at the end that it was a trap. Baroka said that he knew that Sadiku would not keep it to herself, and go out and mock his pride. Lakunle is overcome with emotion, and after at first expressing deep despair, he offers to marry her instead, with no bride-price since she is not a virgin after all. Lakunle is pleased that things have gone as he hoped. Sadiku tells him that Sidi is preparing for a wedding. Lakunle is very happy, saying he needs a day or two to get things ready for a proper Christian wedding. Then musicians appear. Sidi appears, bearing a gift. She tells Lakunle that he is invited to her wedding. Lakunle hopes that the wedding will be between Sidi and himself, but she informs him that she has no intention of marrying him, but rather will marry Baroka. Lakunle is stunned. Sidi says that between Baroka and him, at sixty, Baroka is still full of life but Lakunle would be probably "ten years dead". Sadiku then gives Sidi her blessing. The marriage ceremony continues. A young girl taunts Lakunle, and he gives chase. Sadiku gets in his way. He frees himself and clears a space in the crowd for them both to dance.

The drama ends.

Synopsis

This is one of the best-known plays by Africa's major dramatist, Wole Soyinka. It is set in the Yoruba village of Ilunjinle. The main characters are Sidi (the Jewel), 'a true village belle' and Baroka (the Lion), the crafty and powerful Bale of the village. Lakunle, the young teacher, influenced by western ways, and Sadiku, the eldest of Baroka's wives. How the Lion hunts the Jewel is the theme of this ribald comedy.

'This play is full of fresh and vivid imagery . . . this is a thoroughly enjoyable play.' -- Transition

The Lion and the Jewel Summary

The play is set in the village of Ilunjinle, Nigeria. Sidi, a beautiful young woman also known as “The Jewel," carries her pail of water past the school where Lakunle, the schoolteacher and a village outsider with modern ideas, works. He approaches her and chastises her for carrying her water on her head and stunting her shoulders; she is unfazed. Lakunle loves Sidi and wants to marry her, but he refuses to pay her bride-price because he considers it an archaic tradition. Sidi does not love Lakunle; she finds him and his ideas about making her a modern, Western bride obnoxious. However, she plans to marry him if he can pay the price as the village traditions necessitate. While Sidi and Lakunle are talking, several young women run up to Sidi and tell her that the stranger—a photographer who visited the village some time ago—is back, and that he brought with him the magazine that contained within it pictures of the village and villagers. Sidi occupies a central space and is stunningly beautiful. Lakunle is dismayed to hear this, but Sidi glows with pride.

Sidi suggests the villagers act out and dance to the story of the stranger. She pushes Lakunle to participate and act as the stranger, and the performance commences. The drummers and singers and actors play out the arrival of the stranger and his camera. Lakunle gets into the spirit of the performance. As it goes on, the Bale (i.e. head) of the village, Baroka—a.k.a. “the Lion"—arrives. He plays the role of the chief. Later that day he stares at the pictures of Sidi and muses that he has not taken a wife for some time. Sadiku, Baroka’s senior wife and head of the harem, finds Sidi and tells her that Baroka wants to take her for a wife. She paints this as an incredible honor, but Sidi laughs that Baroka is old. She glories in her photographs and says Baroka only wants her because she is so famous and has brought so much honor to the village. Lakunle, who is jealously listening, excoriates Baroka as being against progress and modernity. Sadiku returns to Baroka and gives him Sidi’s reply. He is calm at first but becomes distressed when she tells him Sidi said he is old. He bemoans the fact that he is no longer virile, and tries to take comfort in the elderly Sadiku’s gentle touch.

Sidi is standing and admiring her photos near the schoolhouse when Sadiku, cackling to herself and carrying a bundle, arrives. Inside the bundle is a carved figure of the Bale. Sadiku looks at it and bursts into laughter, exulting in how she and the women have undone him. Sidi is confused, and Sadiku whispers to her about the Bale’s impotence. Lakunle sees them talking and tries to learn what they are saying, but both women tell him to leave them alone. Sidi announces she has a plan, and tells Sadiku that it would be wonderful if she could go to dinner with the Bale and see him thwarted. Sadiku gleefully agrees, and Sidi bounds off. After she leaves, Sadiku and Lakunle argue, with Lakunle telling Sadiku that his plans of modernity are what is best for the village. The scene shifts to the Bale’s bedroom, where he is engaged in wrestling with a man hired for the purpose of making him stronger. Sidi enters confidently, but the Bale’s dismissive attitude confuses her. She pretends to ask his counsel on a man who wanted to marry her, describing the Bale instead. As the Bale continues to wrestle, he criticizes Sidi for listening to Sadiku and being one of the vexing young women of the village. He asks her if Sadiku invented any stories, and she says no. He pretends to complain about Sadiku’s constant matchmaking. He does admire Sidi, though, for seeming much deeper and more mature than how he once saw her.

Baroka confides in her his plan for a stamp machine that will have images of Ilunjinle on it, as well as of Sidi herself. He ruminates more to himself that he does not hate progress but only bland similarity. He admits he and the schoolteacher are not so different, and that they must work together. The drums begin, and female dancers pursue a male. Sadiku and Lakunle wait for Sidi to return. Lakunle is very nervous, and claims he will go rescue Sidi. The mummers play in the distance, and Sadiku joyfully assumes the Bale has been brought down. She also tells Lakunle he must pay the mummers for a performance or it would be rude. She grabs money from his pocket and pays them; they dance out the story of Baroka and his downfall. Sadiku herself is invited to help “kill” the Bale. Suddenly Sidi runs in, sobbing. She throws herself to the ground. Lakunle is horrified and asks if she was beaten. Sidi sobs that Sadiku was fooled: the Lion tricked her and was not impotent at all, so he raped Sidi and took her virginity. Lakunle announces he will still marry Sidi. She is perplexed and asks if this is true. He assents. However, almost immediately when marriage preparations start, Lakunle becomes visibly distressed. He claims to need more time. Sidi laughs and says she is actually getting ready to marry Baroka, because it is the only thing she can do. Sadiku blesses her and asks the gods for fertility. The festivities begin, and even Lakunle seems to be getting into the spirit of things when he chases a young woman who shakes her butt at him.

 Major Events and their Significance

Sumary of page 1 to 4 of The lion and the jewel

Morning- Sidi argues with Lakunle (Page 1-4)

At the edge of the market there is an overwhelming shade provided by a large 'odan' tree. it is at the centre of Ilujinle village. there is a modern school nearby whose window projects into the market. Being morning, the pupils are in class; they are reciting ' Arithmetic Times. This continues until the action. proper begins. Sidi, a slim girl with plaited hair enters the stage from the left. she is bearing a small pall of water on her head. A true village belle,  Jewel I need. Her shoulders are bear while around her is wrapped a broad cloth folded above her breasts. Once Sidi is on stage we see the schoolmaster's (Lakunle's) face appear at the window of the school while the multiplication chant dies down.  Lakunle is dressed in an old-style English suit, threadbare but not ragged. He is nearly twenty-three. His Outlook is generally Clean, but not ironed, a little undersized. He wears twenty-three-inch-bottom trouser and white tennis shoes. Lakunle seizes Sidi's pail of water, some of it spills on him. Sidi is delighted that some water had spilled on Mr Lakunle, insisting that the later is 'wet for his pains' (Page 1) ; she cajoles him, Have you no shame? (Page 1). Lakunle returbs: "This is what the stewpot said to the fire. Have you no shame" for licking the pot's bottom. Sidi accuses him of always being"full of stories/This morning" (Page 2). The school teacher is opposed to Sidi carrying loads on her head as this does not before her as a woman who supposed to be 'modern'. Sidi ask him why this should bother him after all he had claimed that wether she was "crooked or fat" he would love her.  

 Lakunle insist that 'only spider/Carry load the way you do" (Page 2). Sidi returns that the neck is hers, not the spider's. He now turns a moralist, urging her to cover up her shoulders and castigates her for allowing "good-for-nothing shameless men/Casting their lustful eyes where/ They have no business" Page 3 

Sidi is already inconvenienced as she can hardly breathe, having been held for a while by Lakunle. stilfirl advancing his moral stance, he advises: "You could wear something/Most modest women do. "He accuses her of running about "naked in the streets" (Page 3). He reminds Sidi of the "lewd joke" which girls uncovered like you" attract to themselves. Sidi then let's him know that while she may be a subject of common talk arising from her shoulder's nakedness, Lakunle is seen as a madman, who regularly uses "big loud words" (Page 3). She describes the teacher as having"fine airs and little sense (Page 3).  Both of them are briefly at each other. He ask: What is a jewel to pigs? while Sidi screams at him: "O...oh, you make me want to pull your brain" (page 4). Lakunle makes anverified claim: "as a woman you have smaller brain/Than mine" (Page 4). Sidi, still further maddened, wants to know the source of Lakunle's selfpride or what she call "manly conceit" The teacher says he is not ready to be drawn into arguments "which go above your head." In Lakunle's thinking, woman are not good for argument because they are intellectual inferior. Sidi is further crossed by Lakunle's claim of superiority over women for Wich the latter are said to be the "weaker sex" Sidi extricate herself from Lakunle's firm grip and ask: "is it the weaker breed who pounds the yam/Or bends all day to plant the millet/With a child strapped to her back? (Page 4)  

Significance of Page 1 to 4 of The lion and the jewel 

Modernity is about taking root; tradition is still very influential. while Lakunle, the twenty-three-year old teacher represent modernity, Sidi represent the yet-poweful tradition which has refused to surrender to the way of life. This is depicted by Sidi who is not cowed by the modern.  The dressing of Lakunle illustrate that he is not totally 'modern'. we are told his suit is threadbare although it is not ragged. it may be clean but it is not ironed. His tie is said to be done in a very small knot, symbolizing Lakunle's scant exposure to the new culture, The dragging of Sidi's pail with Lakunle represents the push-and-pull factor in the existence of the old and the new. 

 Lakunle wants Sidi to be a modern woman whereas Sidi does not lose sleep over acquiring or living as a 'modern' person; she is comfortable with the way things are. Lakunle is so sure of the new life that those who are in different to it like Sidi incur his wrath and bring out the rudeness in him. He describes Sidi as being stubborn "as an illiterate goat."  He is so connected about 'converting' Sidi that he ask her "Do you wish to look/Squashed like my pupils' drawings?" with bearing loads on her head. Earlier, he had assured Sidi that however she looked, it would not affect his love for her. As if he doubts what he has just said, he remarks: "Yes, and I will stand by every word I spoke" (Page 2).  Lakunle turns a moralist. He wants her to cover her shoulders because he can "see quite.... quite/A good portion of - that." it is apparent that he does not want to share the listing after Sidi with the ", shameless men/Casting their lustfull eyes where/They have no business...." (Page 3). Here also there is a contradiction. Baring of the body by women is modern, yet he does not support it at this point. This is part of why it could be said that his notion of modernity is restricted.  

 Sumary of page 1 to 4 of The lion and the jewel

Morning - The discourse between Lakunle and Sidi continues (Page 4-10) 

He promises Sidi that in a year or two "you will have machines which will do/Your pounding, which will grind your pepper/Without it getting in your eyes" (Page  4-5). To Sidi, this is akin to turning "the whole world upside down." What is of concern to Lakunle is not turning the the world upside down, but doing the same to the village because "charity and get say, begins at home" (Page 5). He wants to turn his village upside down, "Beginning with the crafty rogue,/Your past master of self-indulgence - Baroka" (Page 5).  The question by Sidi - "Are you still on about the Bale?" - is an indication that Lakunle has complained about Baroka before. He considers the Bale as his antagonist who had made it a bit difficult for him to be admired by the people of Ilujinle. When Sidi wants to know what the Bale had done to him, his answer is packed with sufficient resentment: "He will find out. Soon enough, I'll let him know (Page 5).   Meanwhile Lakunle is Keen to introduce Sidi to the city life of Lagos and how in Badagry " Where Saro women  bathe/in gold" (Page 5). People live a completely different life. Sidi advises him to "go there" where "woman would understand you/if you told them of your plans with which/You oppress me daily" (Page 5). She further ask Lakunle if he knows the name he is given in the village. Lakunle says he does not bother.  Sidi pleads to have back her pail but Lakunle says "Not till you swear to marry me" (page 6). Although a man must be prepared to fight alone, "it helps if he has a woman" by his side like Sidi. But the latter insists she had had "enough of that nonsense yesterday."  What Sidi calls "nonsense" is what Lakunle says is the "waters of my soul/to wash your feet" He accuses Sidi of not understanding him. Instead Sidi, using a Proverb, tells him. "If  the snail finds splinters is n his shell/He changes house." But Lakunle insists he will not 'changes house." But Lakunle insists he will not 'change house' because he has "faith" in winning Sidi over to his side. Sidi castigates Lakunle for, is upon hearing "one little thing/.... you must chirrup like a cockatoo" (Page 6-7). She further says: "You talk and talk and talk and deafen me/With will words.... [that] make no meaning" (Page 7). She doesn't end what she is saying without pressing: "Lakunle, I I must have/The full bride-price" which has been the bone of contention. Sidi insist on a bride price because she does not want to be made "a laughing-stock" or a cheap bowl for the village pit" (Page 7).  

Lakunle labels the culture that persists on a bride price being paid before a man can marry a woman as "a Savage custom, barbaric, out-dated" (Page. 7) and all other heavy condemnatory words. He even regards the much he has blasted so far as only because he had used the shorter companion Dictionary while the longer one is on it's way! Rather than say anything concrete on the bride price which Sidi demands, he tells her that he is not keen the have a wife that will "fetch and carry/To cook and scrub" or to "bring forth children by the gross.... (Page 7-8). for remaining a traditional woman, Lakunle calls her 'ignorant girl."   He tries to justify why he does not accept the payment of the bride price: it will be akin to buying "a heifer off the market stall/You'd be my chattel, my mere property" (Page 8). Sidi, after wedding. will not "walk or sit/Tethered, as it were, to my dirtied heels." Instead, together we shall sit at table" (Page 8). His idea of civilization couple is one who eats "with knives/And forks, and breakable plates" (Page 8). His wedded wife shall not eat "the leavings off my plate - / That is for the children." He wants to walk beside his wife in the street "side by side and arm in arm/just like the Lagos couples I have seen" (Page 9). Such a wife will wear "high heeled shoes" and have "red paint/On her lips" (Page 9).  He does not end the catalogue of what his duly wedded wife is expected to be adorned with ending the enumeration with a kill which Sidi consider as "strange unhealthy mouthing" and ask if he is being rude to her. Again, He calls Sidi a "bush-girl..../Uncivilized and primitive" as she does not know that know kissing is characteristic of "all educated men -/And Christians.... Sidi ask him if by this listing of what civilized people do he is avoiding the "Payment of lawful bride-price/A cheating way, mean and miserly" (Page) Although Lakunle assures that "it is not," Sidi burst out laughing. 

Lakunle's tone is now a soulful one which makes Sidi admit that she now knows why the villagers says he is mad and her fear is that his pupils'will soon turn mad too. There is some noise offstage indicating that a crowd draws neat. Sidi makes a final, desperate attempt to snatch her bucket, fearing the approaching excited crowd of youth and drummer as well as the girls jeer. 

Significance of page 4 to 10 of The lion and the jewel

Lakunle's understanding of modernity centres on the spectacle of what is seen and admired as new rather than the profound features of a culture. His claim that he wants to turn the village upside down is aimed at baffling or subduing the Bale whom he regards as an antagonist, if not enemy.  City life for Lakunle is to be emulated. Lagos is his model town, especially Badagry where Saro woman hold sway. Rather than admire Ilujinle, he wants to turn it upside down. While Sidi insists on the payment of bride price, Lakunle thinks the adoption of the new culture will mean an abrogation of cultural norms such as bride price. In reality, and in Sidi's thinking, the new mode of existence will not stop the bride price. with what we know now, Sidi seems to be more far- sighted than Lakunle Sidi is aware of her Africa womanhood. The non-payment of the bride price on her will make her "a cheap bowl for the village pit" because they will say "I was no virgin." This is more important to her than all his use of use of high-falutin  expression which to her make little sense.  While Lakunle is romanticizing over the fripperies of modern civilization such as learning "the foxtrot" and spending "the weekend in night club at ibadan," the payment of "lawful bride-price" is all that she is bothering about. Sidi wants to be like others, acceptable within the culture as a same and wholistic individual. 

This segment of the play shows why Lakunle is thought to be mad or an unusual person. his desire and what he imagines the village needs are different from what Ilujinle people want or desire. 

Summary of page 10 to 12

Morning The Imaginary Camera and Motorbike Scene (Page. 10) 

The girls announce to Sidi the arrival of "the stranger." He is "the man from outside world" and "the clown who fall in the river for you. "Recognizing him, Sidi describes him as the one "who rode on the devil's own horse" (Page 10). we are told that she demonstrate the action of a camera while the crowd she's excitement with titters.  The Third Girl describes the motorbike brought by the camera man after which she mines around the imaginary motorbike. Although horse-like, it has two feet and sound "B-r-r-r." first girl announces that the camera man came with "the image" of Sidi and every part of the village which are found in "the book" (i.e photo album). The first girl clicks "the imaginary shutter" (Page 10).  Sidi ask if they had seen "the book." it is the book "that would bestow upon me/Beauty beyond the dreams of a goddess" and which"would announce/This beauty to the world (Page 11). The third girl says that Bale has been looking at the images. This girl praises Sidi's beauty: "You are beautiful on the cover of the book is an image from here...." (Page 11). she further remarks: "Oh, Sidi, you look as if, at that moment, the sun himself had been your lover" Page 11. First girl declares that the Bale is "jealous but he pretends to be proud of you." First girl further gossips: "When this man (camera man) tells him how famous you are in the capital, he pretends to be pleased, saying how much honour and fame you have brought to the village" Page 11. Sidi wants to know if Baroka's image is in "the book" as well: Second girl assures her, "Oh yes, it is." As gossipy as the girl before,  Second girl states that it would have been better if Baroka's image had not been printed. She further seeks to please Sidi by saying that Baroka's image shares a corner with "one of the village latrines" (Page 11).   Sidi is so excited to learn of this that she asks Second girl to swear that she has told her the truth. when the girls swears, "Ogun strike me dead if I lie," Sidi is very happy and declares : "if that is true, then I am more esteemed/Than Bale Baroka/The lion of Ilujinle..." (Page 11). As the praise-name issue from Sidi's mouth, Lakunle intrudes and adds: "And devil among women" Page 12.  

Sidi cautions Lakunle who is "merely filled with spite" to be silent as he cannot say anything about the Bale without prejudice. Lakunle considers the Bale's image sharing a place with one of the village latrines as an act of "Divine justice" which enables "a mere woman to outstrip him in the end" (Page 12).  Sidi ask Lakunle to shut his mouth or else, "I'll never speak to you again. "She is not sure she would want to we'd him now since she is now "know... to th whole wide world" (Page 12). Sidi Mick's Lakunle further by reminding him of her being "more important even the Bale," being"more famous than that panther of the trees," and the scourge of womanhood" (Page 12). She taunte Lakunle to count the number of leaves her own image takes and he responds three leaves. Thus pride has entered Sidi's head. 

Significance of Page 10 to 12 of The lion and the jewel 

The girls, including Sidi, show excitement not just for the stranger the camera and the motorbike but also for how the modern gadget sound, even though they are no longer available. It is through miming that we get to have the idea of the camera and the motorbike. Even "the book" is not available although it had been seen by the girls who report what they saw to Sidi.  The girls praise her as the most beautiful. They speak about her beauty in superlative terms such that she is said to have appeared as if "the sun himself had been (her) lover."  One of the girls claims Baroka is jealous of Sidi. whereas Sidi's photographs appear in prominent place in "the precious book," the Bale is in a corner where it shares a place with "one of the village latrines." All the claim is probably only imagined as it is not possible they may have even seen the Bale. They also want Sidi to consider herself as a lerger-than-life figure since she is now more important than everyone else in Ilujinle. 

Sidi's head is all swollen up by her ascription with having a beauty "beyond the dreams of a goddess." All the claims of beauty and importance which Sidi assumes draw pride and arrogance into her head. Lakunle's distaste for Baroka is clearly evident in this segment of the pay. whereas Sidi praises Baroka behind him, Lakunle uses a degrading epithet for him, "devil among woman." He seems to suspect that the Bale is targeting Sidi for his next onslaught on woman which will portray him(Lakunle) as a weakling in spite of his youth. 

Significance of Page 13 to 18 of The lion and the jewel 

Morning -The Pantomime Scene and The Baroka-Lakunle  Confrontation (Page 13-18) 

Four girls come out to mime the snake dance , the stranger from the "man outer world" and another to act as a drunk, a role which Lakunle is dragged on to perform. Although Lakunle protest, Sidi says she is dressed like the character, "You look like him/You speak his tongue/You think like him..../You'will do for him!" (Page 14)  The girls dance round Lakunle, "speaking the words in a fast rhythm." The drummers drum round Lakunle, too, although they do that "faster and faster and chant faster and faster with each round." Lakunle who had refused initially to be part of the pantomime joins after this kind of pressure, shouting "Alright! I'll do it/Come now, let's get it over with" (Page 14).  There is a loud shout and then a thunder of drums. Lakunle joins the dance with a lot of enthusiasm. He now direct the cast over the jungle which is the stage, having taken over from Sidi. The four girls "crouch on the floor, as four wheel of a car." It is Lakunle that directs their spacing. He takes his place in the middle of the space provided by the "wheels" of the imaginary car. 

Soft throbbing drums are heard, before they swell in volume. The four imagined wheels "begin to rotate the upper halves of their bodies in perpendicular circles" while Lakunle clowns "the driving motions, obviously enjoying this fully" (Page 14). The drums' tempo increase until there is "a sudden crash of drums" (Page 14-15).  The girls are said to "quicer and dance the stall" (Page 15). Lakunle "climbs out of the car and looks underneath it." He is muttering swear-items under his breath. He climbs hurriedly back into the car, makes a final attempt to re-start it, gives it up and decides to abandon it. He holds up his camera and his helmet, pockets a flask of whisky from which he takes a swig before his walk begins.  There is the resumption of the drum beat, now a darker tone and rhythm as journey commences. There is full use of "gangan" and "Iya ilu." Even the "trees" perform an unobstrutive dance on the sane spot." We are informed that a snake emerges from the tree branches and poises "over Lakunle's head when he leans against a tree for a rest" (Page 15). 

Lakunle takes to his heels, only having back his confidence "shortly after by a swig." We are informed that a monkey drops on his path, "gibbers at him before scampering off." There is a loud roar which shakes Lakunle's nerves but he recovers "by copious draught." Soon he is tipsy. There is the sound of a girl singing. The Traveller shakes his head while the sound in question goes on. He drinks again after he thinks he suspects he has had a sun-stroke. he tip-toes, clearing away the obstructing growth; he then blinks hard and rubs his eyes.  Sidi appears on stage. Only a small piece of cloth covers her body. Lakunle follows behind her, although he does this slowly. Sidi leaves the stage briefly and returns with the villagers. The same cast as crowd has transformed into the villagers; however, this time they are in a nasty mood. in spite of Lakunle's protest, he is hauled off to the town centre, right in front of the 'Odan' tree. 

All noises - drumming and singing - stop. Baroka who is tougher than his sixty-two years, emerges from behind the 'Odan' tree. All present prostrate or kneel as they greet the royal figure with "Kabiyesi," "Baba," etc. Lakunle tries to sneak off but the Bale calls him back. He greets the Bale 'goodmorning' but the latter makes fun of the greeting, "Guru morning guru morning" (Page 16).  Baroka says that it is all "we get from 'alakowe"' (Page 16).  Baroka suspects Lakunle bears him a grudge which is why he says, "I hope you have no/Query for an old man today." Lakunle returns, No complain." Baroka ask again: "And we are not feuding to n something/I have forgotten." Lakunle assures the royal one on that too, "I see no cause at all" (Page 16).  Baroka recognizes the pantomime scene as a play ascribing it with liveliness which stops as soon as he enters. The play's sudden discontinuation makes him (Baroka) feel as if he was chief baseje, the feast spoiler. Lakunle wonders why the Bale would be interested in "such childish nonsense" as they had been engaged in before his arrival. But the Bale assures him that his (Baroka's) life would be "Pretty dull" without "these  things you call/Nonsense" (p. 17). 

At this point, Baroka calls for the resumption of the play within-a-play by immediately asking his attendant to "seize" Lakunle, to the latter's utmost surprise. Baroka accuses him of stealing "our village maidenhead" and says he should be served a slap if he has forgotten.  The 'play' is returned in performance. with this accusation levelled against Lakunle, the villagers "gather round, threatening, clamoring for his blood" (page). He tries to bluff them initially and later tries to appease them. Chief Baroka, having understood Lakunle's plight seeks to pacify the villagers on his behalf. Chief orders dry clothes for him, 'seat him on his right and order a feast in his honour" (Page 17).  Here Lakunle is dragged he stranger, having been the Traveller in an earlier role in the 'play'. The stranger gets up every second to take photographs of the party going on while Sidi dances "with abandon" (page. 17). The stranger seeks permission from the Bale and arranges Sidi in "all sorts of magazine postures" and takes many photo shots of her.  He is given drinks. Initially he declines but later tries "the local brew" and seems to like it. He takes even more and is more or less in drunken stupor. A drummer dances round him. A while after he leaves the party "to be sick" (Page 17). The mime ends. Lakunle returns almost immediately while the other cast members as crowd resume their roles.  Speaking delightedly, Sidi ask: "What did I say? You played him to the bone/A court jester would have been the life for you/Instead of school" (Page 17-18). This means that she is addressing Lakunle. Rather than the latter say anything, it is Baroka who intervenes. He mockingly wonders where the village would be without the wisdom of mister Lakunle!  Rather than respond, it is Sidi in the same mocking be n who says, "You see book-man/We cannot really do/without your head" (Page 18). We are informed that Lakunle begins to protest but he is crowded out as they "bear him down." soon he takes to his heels with all the women going after him.  Baroka is left sitting down alone but for his personal wrestler who although had come on the scene with him, stands a respectful distance away from his master. from his flowing agbada robe, the Bale brings out his copy of magazine in which his picture and Sidi's appear. He admires Sidi and nods rather slowly. "Yes, yes...." he intones, "it's is five full months sinces last/I took a wife.... five full months...."(Page 18). 

Significance of Page 13 to 18 of The lion and the jewel 

The pantomime scene is akin to a play-with-a-play. Most of the cast members are also in this mining scene. for instance, Lakunle is both here and there, being the school teacher, Sidi's lover, the Traveller, the stranger, comic figure, and even a drunk. Sidi too plays in both roles she chooses the four girls and deploys them to perform various roles I. the pantomime before Lakunle takes control.  The mining of the motor-car by the four girls and its 'driving' by Lakunle foreshadows the role a car as an item of technology will play out n the transformation of Ilujinle. It's is instructive that Lakunle's verbal description of modern cities and gadgets is here 'concretized' by him in this ' motor-car' scene.  Lakunle's decision to abandon the human formed motor-car is an indication that the people's problem cannot be solved by modern technology alone. It is probably because of this that Lakunle is at home with the African cultural depictions found in the play-with-a-play.  Lakunle's source of comfort is the alcoholic drink. In the miming scene he get drunk about twice in the course its dramatic structure. This represent the significance of illusion in a realistic play. It puts him in the mould of two realities - the physical and the metaphysical. The silent feud between Lakunle and Baroka is mutual. From the beginning, the two have mutual hatred for each other. Sidi is so he common bone the two dogs ogle after. It represents the check ntest between tradition and modernity.  

In spite of being the school teacher Manning the school in the village, Lakunle has little respect. The Bale mocks the school teacher's "good morning" greeting and insists that it is all "we get from alakowe." But is it? He is the teacher of a new generation of Ilujinle children. In the miming scene, Lakunle is occasionally mobbed by the crowd of villagers, especially when he wants to leave the cast or when he takes to his heels. The play-with-a-play stops when Baroka appears on the scene. He also orders the smaller play to continue after he has humiliated the school teacher by accusing him of stealing the village maidenhead and urging his attendants the "seize him." There is nothing in the course of the play to suggest that Lakunle did any such thing; the accusation is probably to down play his importance in the eyes of the villagers. For him to want to have Sidi because his last wife was taken five months previously shows that he is an unrepentant womanizer who can do anything to covet a woman that tickles his fancy.   

Summary of Page 19 to 26 of The lion and the jewel 

 This takes place on a road by the market. Sidi is consumed by the admiratioPage 19-n of her images in the magazine. Lakunle comes behind her bearing a bundle of firewood which Sidi had wanted to carry. They both meet Sadiku, an old woman who is Baroka's head wife.  Sadiku announces that the lion sends her to Sidi, simply saying "He wishes you well" (Page 19) Sidi wishes him well, too. with excitement she shows Sadiku images of her prepared by the man from the city. She describes the images as glossy and "smoother by far than the parrot's breast" (Page 19). Sadiku admits seeing them and says she brings a message from Baroka. The old woman jerks her head at Lakunle and takes Sidi aside. 

Lakunle is not respected instead Sidi tells Sadiku, "Pay no more heed to that/Than you would a eunuch." The elderly woman goes straight to the point: "Baroka wants you for a wife" (Page 19). Lakunle is scandalized: dropping the firewood he is carrying, he cries, "what! The greedy dog!" Sidi asks him to be quiet, after all "the message is for me, not you" (Page 19). 

Lakunle covers Sidi's hands with kisses intoning Western niceties as he does so: "My Ruth, my Rachel, Esther, Bathsheba/Thou Sum of fabled perfections.." (Page 20). Sidi snatches her hand away from Lakunle, and accuses him of playing "your other game," that is giving me funny names you pick up/in your wretched books" (Page 20). Sidi goes on to praise herself including saying she is beautiful: "My name is Sidi, and I am beautiful." She is not only aware of her beauty,  she in fact thinks she is famous and lovely "beyond the he jewels of a throne" (Page 20). Sadiku cashes in on what has tumbled out of Sidi's mouth to ask her. "Will you be Baroka's own jewel.... soothing him on weary nights?"  Sidi describes Sadiku as "the honey tongue" and "the wooing tongue" and promises that she (Sadiku) cannot make a prey of "this Sidi whose fame has spread to Lagos/And beyond the seas" (Page 20). Lakunle is happy for Sidi's answer. Sadiku promise Sidi a life of bliss in the Baroka household as the latter "swears to take no other wife after you/Do you know what it is to be the Bale's last wife" (page 20) The elderly woman lists all that will accrue to Sidi upon the Bale's death. Sidi turns down the proposal asking Sadiku why Baroka had failed to seek her hand "before the stranger/Brought his book of images" (Page 21). She assures Sadiku that the "school-man" has taught her certain things and her images have taught [her] all the rest" (Page 21), accessing the Bale of "merely seek(in) to raise his manhood/ Above her beauty."  Sadiku is shocked by Sidi's the old woman doubts Sidi's wellness for "such nonsense" to issue from her lips, something that never happened before: "Did you not sound strange, even in your own hearing?" (Page 13) She is said to suddenly rush at Lakunle, accusing him of driving "the poor girl mad at last." Sidi ask the elderly woman "to let him (Lakunle) be" (Page 21). 

Sidi rejects Baroka's offer through Sadiku insisting that he is old: "I never knew till now/He was that old" (Page 22) she opens the magazine brought y the stranger and "runs her hand over the surface but f the relevant part of the photographs." Sidi praises her breasts which she says she holds "to the warm caress/Of a desire-filled sun." She insists that there is a huge difference  between "my image" and your Lord's." On her face "water glisten" but on Baroka's it is "like a leather piece/torn rudely from the saddle of his horse" (Page 22).  Sadiku is still shocked by what comes out of Sidi's mouth against "my lord." she prays that "Sango restore your wits/For most surely some angry god has taken possession of you" (Page 23). Sadiku makes to walk away but remember there is part of the Bale's message she has not delivered. "My lord says that if you would not be his wife, would you at least come to supper at his house tonight" for "a small feast in your honour" (Page 23). He is so happy over the honour done to "a daughter of Ilujinle" (Page 23) in the great capital city. 

Sidi mocks Baroka's "little suppers" because she knows all about them. she asks Sadiku to "tell your lord that Sidi does not sup with married men" (Page 23) to which the elderly woman regards as lies, urging her (Sidi) not to "believe everything you hear." Sidi challenges the old woman to deny that "every woman who has supped with him on night/Becomes his wife or concubine the next" (Page 23) Lakunle intervenes: "is it for nothing he is called the fox?" (Page 23). Sadiku moves to attack the school teacher, the latter retreats but continues to accuse the Bale of slyness whose penchant for deception is well know even in the larger towns (Page 24). Sadiku  dismisses Lakunle's assertions about Baroka as "hearsay" since "nobody knows the truth if that" (Page 24).  Lakunle tells the story of what his (Lakunle's) father had told him before he died with respect to hold he (Baroka) had "sworn against our progress" (Page 24) in the laying of rail lines "just along/The outskirts." The workers to lay down he likes need who happen to be prisoners are evoked is a mime.  The prisoners enter, guarded y two warders. A white surveyor is seen examining his map. He is clad I. khaki helmet and spats. The foreman creates a camp stool, table etc. He erects the umbrella over the white surveyor and lays down "the usual box of bush comforts" such as soda siphon, whisky bottle and geometric sandwiches. The surveyor consult his map again, directs the workers (prisoners) where to work. They begin actions indicating felling of trees, swinging of machetes and log-dragging, "all to the rhythm of the work gang's metal percussion." The two warders are also the song leaders. 

Lakunle fills out all that happen later with what he says, including the marking of the route, breaking through the jungle and laying down the tracks, etc. Progress is about to visit Ilujinle until something happens. what happens next is in a long mime .  Baroka's wrestler enters, he's horrified with he sees and takes to his heels. he returns later with Bale who evaluates the setting and they both go away. Work is in progress; the surveyor takes his whisky. soon a bull-roaring is heard. Before long every direction is filled with bull-roaring. The foreman is the first to succumb to fear "and then the rest is chaos" (Page 25). It's only the white surveyor who is not shaken by the bull-roaring.  Baroka then re-enters a few minutes later, followed by some attendants in front of whom is a young girl bearing a Calabash bowl. They surveyor although angry and threatening is prevailed upon to expose his gifts in which there are a wad of currency notes and kolanuts. There is mutual understanding. The surveyor frowns, rubs his chin and goes to consult his map. He looks into the contents of the he bowl and shakes his head.  Baroka puts in more money and "a co-op of hens." There is a goat and yet more money. There is a "mistake", the track should go the other way because at Ilujinle "the Earth is most unsuitable, couldn't possibly support the weight of a railway engine" (Page 25). We are informed that a gourdof palm wine is brought to "seal the agreement and a kolanut is broken." Baroka's attendants help to evacuate the surveyor's materials, including his booty.  Lakunle open up as soon as the procession disappears. He shakes his fist at them and stamps on the ground. He calls Baroka a "voluptuous beast" who love this life too well/to bearto part from it" (Page 25). In this way too, motor roads and railways are denied the land of Ilujinle and subsequently he (Baroka) "barred the gates , securing fast/His dogs and horse, his wives and all concubines..." (Page 25). Lakunle speaks as if in jealousy of Baroka's achievements with woman: "He must be healthy to keep going Ashe does."  He later says, "No! I do not envy him (Page 25) 

Significance of Page 19 to 26 of The lion and the jewel 

Sidi is very much consumed by her arrogance that one suspects it will be her undoing. Although Sidi's images had been delivered to her over a time, she still shows Sadiku these images who assures her host she had seen the pictures.  Sadiku is the loyal wife of Baroka who sits over and promotes the Lion's urge for acquiring more and more wives. it seems strange that she should be doing this. She does not simply send Baroka's message to Sidi, sh persuade her to come and see her lord, promising her of a feast in her honour.  Apart from Lakunle not supporting Sidi's honouring of the invitation, he recalls what his father (Lakunle's father) told him about how Baroka denied Ilujinle of progress. All this is rendered in mines. Baroka is shown to have bribed the white surveyor to divert the rail line to other towns. 

Summary of Page 26 to 31 of The lion and the jewel 

NOON ANOTHER MIME AND THE BAROKA-SADIKU TANGLE (PAGE 26-31) 

Baroka lies in Bed. He wears a calf-length baggy trousers, and naked to the waist. The room is Rich with animal skin and rugs. Weapons hang on the wall. there is a bizarre machine with a long lever. kneeling beside the bed is Baroka's latest wife identified as favorite. she plucks the hairs from Baroka's armpit. As she pulls the graying hair, Baroka is said to twitch "slightly with each pull" (Page 26).Favorite wants to know from her husband if she has improved with her art of removing "the hair between finger and the thumb." Baroka says she is still somewhat over-gentle with the pull. he wants her to be "sharp and sweet" because "there the pleasure lies- the cooling aftermath" (page 26)she promises to learn.  Baroka announces to favorite that he is about to "take another wife." As soon as he says this, the next pull is akin to "the scorpion's sudden sting/without it's poison." Baroka calls it "an angry pull" (Page 27) and labels her a "vengeful creature" who had not caressed "the area of extraction long enough!" (Page 27) Sadiku enters and favorite exists.  Sadiku announces to her husband that Sidi will not come. however, Baroka knows that there is usually, "a firm refusal/At the start." He wants to know why Sidi has turned down his request for a feast in her honour. Sadiku responds that it is due to his age although she(Sidi) is too engrossed with "this excitement of the books" (Page 28). Baroka is unhappy with the claim that he is much too old" (Page 28).  The Bale is very much saddened by Sidi's response. he list acts he had engage in in recent times which show that he is not "much too old" (Page 28)  

The Bale is very much saddened by Sidi's response, he list acts he had engaged in in recent times which show that he is not "much too old" after all: defeating the men in the log-tossing match; hunting down the leopard with "the most fearless ones"; climbing the top of the silk cotton tree: Breaking the first pod and scattering "tasseled seeds/to the four winds: not having failed the test of manhood before, etc. He promises "to teach this unfledged birdling..../The rich mustiness of age" (Page 28). He ask Sadiku to soothe him for he is "Worth at heart" (Page 28).  Sadiku cuddles the silent of Baroka's feet, and as she does this the Bale searches of a copy of the magazine, opens it and studies the picture therein. He compares some of the pictures, particularly his and Sidi's. He suddenly flings the book away and stares at the ceiling for a brief moment or two. it is here that Bale announces that his "manhood/Ended near a week ago" (Page 29). "The God's forbid," cries Sadiku.  He assures his first wife that he has only told her (Sadiku), and not to any other person and challenges her not to parade his "shame before the world" (Page 30). Sadiku promise not to mention it to anyone. Baroka laments his fate calling it a disaster. it is a long lament in which he compares his life with his grandfather's who "fathered two sons/late at sixty-five, and yet is just sixty-two)My veins of life run dry, my manhood gone" (Page 30). 

Significance of Page 26 to 29 of The lion and the jewel 

 From his insistence on his hair being pulled with measured pleasure, it is evident that Baroka is a sybarite. He seems to make pleasure a hobby.  Favorite not only pulls his hair, Sadiku does the same and on each occasion Baroka responds with "A-ah."  Without Sidi being consulted, Baroka has already made up his mind to bring her in as his next wife. This show that Baroka is always preoccupied with having new wives; always a pleasure  seeker, which is why we say he is a sybarite  Favorite is selfish. she wants to remain the 'favourite' all the time. That's why she pulls Baroka's hair with anger as soon as the Bale tells her he is going to have another wife.  Baroka is stung for being told that he is "much too old." He list activities which should prove that he is not very old and can still take another young girl as wife. He sends a decoy of how he had lost his manhood through his first wife although he (Baroka) knows it is true. Baroka ask Sadiku not to tell anyone other person about his recent misfortune even though he knows she would spread it. The manner Baroka studies the magazine and the pictures shows that he would require a countervailing strategy to convince Sidi that the man who is "much too old" is also very much young at heart. It would require elements of modernity to bring her under his control. Hence the machine with a long lever. 

Summary of Page 32 to 38 of The lion and the jewel 

NIGHT SADIKU REAVELS BAROKA'S ASSUMED SEXUAL WEAKNESS (PAGE 32-38) 

The setting is the village centre. Sidi standing by the schoolroom window, looks at her photographs with contentment. Sadiku enters with a long bundle; it is a carved piece of the Bale's "naked and I full details. "Sadiku looks at the carving and burst into "derisive laughter" Page 32  Sadiku speaks with a sense of elatii: "Oh high and mighty lion, have we really scotched you?" (Page 32) she speaks I. praise of woman: "we woman undid you in the end." A similar fate had been faced by Okiki, Baroka's father, whose youngest wife Sadiku had then been. according to her. "I killed him with my strength... I ate him up!" (Page 32) Sadiku raises sexual life within marriage as a contest man and woman at which the woman always wins. she calls Baroka and his father and his father's father 'the race of lions" and insists that "we always consume you, at our pleasure we spin you" (Page 32). She calls men "fools! fools!" because when men run riot over sex "we stand and watch..." She ends by saying, "Take warning, my master/We'll scotch you in the end" (Page 32). She dances round the tree in the centre.  Sidi asks, "What battle have you won? (Page 33) Sadiku replies that it is not hers alone but, "You too. Every woman." In other words the failure of Baroka's manhood is a sign of victory for woman for which all woman should be gladdened. she resumes her dance. However, Sidi is confused as she does not know what the matter is. 

Sadiku tells Sidi not to ask any questions, "just join my victory dance." However, Sidi promises that Sadiku will not leave without letting her know what the issue is. without being explicit, Sidi joins in declaring, "we won! we won! hurray for womankind!" (Page 33)  Lakunle furtively joins the women. They are not aware of his presence until he says that the full moon is not yet out, but woman "must go mad without it," a remark that stops the dancing by Sadiku calls him "the scarecrow' and the "begone fop" (34) She reminds Lakunle that this is the world of woman and that they are "supreme." Lakunle returns the abuse by calling her "have gibbering" (Page 34)  Lakunle promise to make Sadiku know he is a man, should she "lay a hand on me" (Page 34). The old woman still doubts Lakunle's manliness and ask him if Baroka is not more of a man than him. She ask: "And if he (Baroka) is no longer a man, then what are you?" Lakunle understands Sadiku and is shocked by the news. Sidi herself develops an idea and quickly agrees to accept the invitation for supper: "Let me to the place for/This supper he  promised me" (Page 34)  Sadiku fears that Sidi's sudden acceptance of the Baroka's supper invitation will reveal that the secret had been let out. Sidi disagrees with the old woman, insisting that her desire is "to watch his longing/... which this time cannot/ Rush to loosen his trouser cords" (Page 35). Sadiku advises Sidi on how to "use your/bashful looks and be truly repentant... until he weeps for shame" (Page 35). Lakunle advises Sidi "not to go to torment the man" and ask her what if he (Baroka) realizes that "you have come to jeer - / and he will know, if he is not a fool" (page 35). Sidi turns down Lakunle's suggestion and runs off "gleefully." Lakunle blames Sadiku for not being able to "keep a secret" and ask, "must every word leak out of you?" (Page 35) the old woman calls Lakunle "unformed culture" (Page 36)  Lakunle warns Sadiku on Sidi's safety but the old woman assures him that Sidi "can take better care of her than you can of her (Page 36). The school teacher says he will not bandy  words "with a woman of the bush." However, Sadiku mocks him by reminding him that his "betrothed" is at this moment "supping with the lion." Rather than be disturbed, Lakunle is pleased with Sadiku to "Mind your own business" (Page 36).  Asked if his Ain is to "convert the whole village so that no one will ever pay the bride price again" (Page 36), Lakunle jumps at the suggestion, listing what he will further achieve "within a year or two" with his campaign. It's a catalogue of what he will accomplish after which "the town shall see a transformation/Bride-price will be. thing forgotten/And wives shall take their place by men" (Page 36) Sadiku stares at Lakunle in terror, and retreats.  Lakunle goes after her in a "hectoring voice" stating what he intends to do starting from using his school to remodel her thinking. To achieve this, "you shall attend my school/And take your place with twelve year olds "even though "you are nearly seventy." He ask Sadiku, "Have you no shame that at your age/You neither read nor write nor think?" (Page 37) Sadiku's only function is as "senior wife" who collects "bride for Baroka" (Page 38). Now this activity has led to the Bale being "sucked... dry" (Page 38).  

Significance of Page 32 to 38 of The lion and the jewel 

Sadiku so happy about Baroka's assumed sexual weakness. Baroka who had carried himself as if he was sexually invincible is now without sexual energy. it was exactly what happened to Baroka's father, Okiki, to whom she was his favorite wife. As she puts it, "I ate him up!'  While Sidi is left in suspense, Lakunle shows awareness as to why Sadiku is happy and dancing.  Sadiku looks down on Lakunle and calls him derogatory names she chooses as "the scarecrow"; "vedone fop'; one over whom sacrifice will be made by women as they want to perform a ritual; and he could watch the women's ritual "after all, only men are barred from watch this ceremony." which is a further way of denying Lakunle's manliness. Lakunle dares Sadiku physically whereas she denies the school teacher's sexual energy as a man. she rates her old husband, Baroka, more than she does s ready to o credit Lakunle with: "You a man ? Is Baroka not more of a man than you?" Sidi runs off to Baroka's house to attend his supper. Her objective is not just to sup with him but to mock at the Bale's sudden sexual failure. According to her, "I long to see him thwarted."; Sidi, the jewel, longs to ridicule the lion. 

Rather than do something concrete to stop Sidi from goin to Baroka's house, Lakunle merely remarks, "If any harm befalls her..." without saying what he would do. Sadiku mocks Lakunle who denies bride price because he cannot farm in order to realize sufficient money with which to carry out the martial rites. She suggests to him: "Why don't you do what other men have done? Take a farm for a season." Rather than consider the suggestion, Lakunle reels out a series of what he will introduce into Ilujinle without letting us know how he intends to achieve "a transformation."  What Lakunle list as what he intends to achieve in Ilujinle shows that he is essentially superficial such as banning the use of clay pots; stopping of polygamy; cars are to be ridden, not horses; planting of modern parks for lovers; Printing of newspaper "with pictures of seductive girls"; progress is to be judged by "the girls that win beauty contest"; school of ballroom dancing to be established; stoppage is f palmwine habit; instead he recommends "tea, with milk and sugar." He lives in the he world of make-believe. 

Summary of Page 38 to 54 of The lion and the jewel 

NIGHT BAROKA'S BEDROOM (PAGE 38-54)

In Baroka's bedroom, Baroka and his wrestler are engaged "in a kind of wrestling, their arms clasped round each other's waist, testing the right moment to leave." Sidi's voice is heard "in the familiar general greeting, addressed to no one in particular." She is visiting the Baroka household.  Sidi greets "the head and people/Of this house." She repeats her greeting, Baroka ignores the pleasantry and concentrate on the 'contest' with his wrestling companion. Apparently there no other person. not even Sadiku whom Baroka has called a few times without response.  Baroka begins to address Sidi focusing on how modern he has tried to be. For being "progressive,"encouraged by the school teacher, he has allowed all his aides to take "their day oil" (p. 38). Sidi asks, "is this also a day off/For Baroka's wives?" (p. 39)The Bale's response is no: not evenAilatu, his favourite, is "at her usual place,/Beside my door." Sidi confirms that "a stool is there beside the doorand "the slippers she wasembroidering."  Baroka proves he is a stern man by reporting what earlier happened between him and Ailatu for which "my armpit still weeps blood" (p. 39). His Favourite had pulled his armpit hair with venom because he (Baroka) toldher he would soon take another wife.When Sidi suggests Ailatu may havetaken liberties being a young wife, Baroka responds: "In an ill-kepthousehold perhaps. But not/Under Baroka's roof" (p. 40). 

 Sidi announces she has returned "as are pentant child "to answer the invitation that had earlier been extended to her. She claims that she had answered "in a thought less moment" (p. 40). He pretends he hadnot asked for Sidi's presence. Sidi consoles herself by saying, "I only hope/ That I am here at the Bale's invitation" (p. 40).  When Sidi is angry for being called "unwanted stranger", Baroka asks if a man's bedroom is "to be made naked to any flea/That chances to wander through" (p. 41). Sidi is aggrieved but Baroka pleads with her not to, as sheis "too quick/To feel aggrieved" (p.41) .Sidi furtively seeks to know why Baroka's Favourite seems to have given offence without a cause: "Was the Favourite. in some way. with her lord and husband?" (p. 41) Baroka turns down the gossipy question insisting that the Lion is not keen to know 'the whys and where fores of awoman's squint" (p. 41 ) Baroka and his wrestler are stillengaged with each other. Sidi sides with the wrestler saying, "I think hewill win" (p. 42). Baroka asks, "Is thata wish, my daughter?" Sidi and Baroka speak in proverbs. She repeats her earlier stance, "I think he will win."The Bale responds saying, "Would itprofit me/To pit my strength against aweakling?" (p. 42) This evincesarrogance even as he knows that the wrestler will always allow himself tobe thrown. Just as Baroka changes his wrestler when he has "learnt/To throw them,"he changes his "wives/ When [he has]learnt to tire them" (p. 43). Sidi asks:"And is this another...changing time/For the Bale?" The Lion responds: "Who knows?" (p. 43) Sidi and Baroka engage in a riddle session, all havingto do with a marriage proposal from the old lion and his propensity to meet the expectation of one like Sidi.  As the two of them are engaged in agame of wits, Baroka suddenly lifts his wrestling opponent "and throws him over his shoulder "with Sidi screaming before the Bale, "You won!"(p. 44) repeatedly. She breaks into a kind of shoulder dance and sings,"Yokolu Yokolu." Sidi is so consumed by her shoulder dance she does not listen to Baroka's long riddling explanation. Baroka and the wrestler get into another bout.  Baroka wants he and Sidi to re-engagein the question-and-answer session which they both started a little earlier.

For instance, "Is this man/Good and kindly?" Sidi's response: "They say heuses well/His dogs and horses" (p.45); "Well, is he fierce then?"' "Does the bush cow run to hole/When he hears his beaters' Hei-ei-wo-rah!" (p.46) etc  Sidi's riddling continues as when she guesses that the man being referred to may have sought to have children of late who have "been plagued with shyness and refuse/To come into the world" (Page 46). The reference is to Baroka himself to which he replies,"Perhaps he is a frugal man/ Mindful of years to come/PIanning for a final burst of life, he/Husbands his strength" (Page 46-47). Because of Sidi's Clever remarks, Baroka says his beard tells him she has "been a pupil,/A most deligent pupil or Sadiku" (Page 47). Thus there is  an indication that Baroka has had a whiff of Sadiku's betrayal over his recent, complaint of loss of sexual energy. Baroka claims he has losta wrestler on Sidi's account because "this town-bred daring/Of little girls, awakes inme/A seven-horned devil of strength" (Page 47). He seems to have defeated the wrestler or he (Baroka) may have asked him to leave. Baroka goes to siton the bed while Sidi eyes him with doubt on her face. The man said to lack sexual energy speaks and carries himself as one with sufficient force and power in him. 

The Bale presses futher to let Sidi confirm the betrayer but Sadi told me nothing?' to which Baroka responds; "You are lusty with denial" (Page 48). He,rernarks, "i know Sadiku plays the match-maker/Without the" prompting" (Page 48). When Sidi intones that "it seems a Bale's life/ls full of great unhappiness," theBale quickly returns: "I do not complain. No, my child/l accept the sweet and sour with/A ruler's grace" (Page 49). Baroka gives Sidi ''the trim red piece of paper" and asks her what it is. It iS"a stamp," she responds. It is "a tax on/The habit of talkihg with paper" (Page 50). He takes Sidi near to thestrange mehine "and pulls the-lever upand down." Baroka promises to utilize'the palace blacksmiths" to produce "its own tax on paper, made with/stamps like this" (Page 50). Sidi asks the Bale if "This  Will Work someday," he replies, "Ogun has said the word" (Page 50).  He reveals the nature of various types of stamps that could be produced although there is no "one head of beauty on the stamp" (Page 51). It isthis stamp that Baroka wishes to  create one which will have "each one with this legend of Sidi" and "the village goddess (Sidi), reaching out/Towards the sun, her lover. Can you see it, my daughter!" (Page 5 1) Sidi is completely enraptured by the possibility and merely sits on Baroka's bed. He promises that "we shall begin/By cutting stamps for our own village alone" (Page 52) because as the school master himself would say —"charity begins at home." So real does the Bale.'s explanations appear that Sidi is fascinated.  Baroka gradually lures Sidi into what appears to be seduction. He defends the accusations of town-dwellers who have made up tales about the backwardness of Ilujinle, denunciations which are not true. Hestates, "I do not hate progress, only its nature/Which makes all roofs and faces look the same" (Page 52). We are told that as he says these things, Baroka "goes progressively towards Sidi, until he bends over her, then sits beside her on the bed" (p. 52).  The Bale tries to let Sidi know that between himself and Sidi, there is only one generation. As a result, "our thoughts fly crisply through the air/And meet, purified as one" (Page 53). He promises her that "our first union/ls the making of this stamp." On this stamp shall be "your face. And mine" (Page 53). Sidi accuses the Bale of beginning to sound like the school teacher. Baroka assures her that "your school teacher and I are much alike."He considers himself as having "the proof of wisdom "because he is ready to learn/Even from children" (Page 53).So saying, Baroka shows that he is aprogressive too and that he is not averse to modemity• He is an Africannative with guile and cunning.Although the Bible does not support new wine.  in an old wine bottle. Baroka insists that "old wine thrives best/Within anew bottle" because "the coarseness/ls mellowed down, and the rugged wine/Acquires a full and rounded body" (Page. 54). We are informed that Sidi's head falls slowly on the Bale's shoulder and a group of female dancers are seen pursuing a maskedmale. We are further told that drumming and shouts continue quiteaudibly and shortly afterwards" (p. 55).

Significance of Page 38 to 50 of The lion and the jewel 

The metaphor of wrestling is writ large in this segment. Physically, Baroka wrestles with his private wrestler as a form of exercise just as psychologically he wrestles with Sidi's intelligence in order to seduce hen Itis a meeting of two guilers, each set to overcome the other.  The loneliness of the household just as the psychological wrestling is to commence has a slight foreboding meaning. The impression is that acontest is to take place, a psychological and mental contest, which does not require a crowd to be present.  Part of Baroka's method of overcoming Sidi and her emotional stance is to hold on to the view that he is as interested in modernity as anyone can be, including the school teacher. The other approach is to insist that he is a firm head of a household who does not tolerate the abuse of liberties. 

Baroka 'weakens' Sidi by pretending that he is not so keen about the visit, probably to further project the notion that he is no longer sexually virile.When Sidi is beginning to be pissed off for being referred to as "unwanted stranger," he tones down his earlier no-nonsense posture. Sidi's wish is that the court wrestlerwins over his master, Baroka. The Bale asks her, "Is that a wish, my daughter?" Here a meaning may beread from this circumstance. Sidi's inner wish is to succeed in making a mockery of Baroka akin to what the palace wrestler is about to achievewith what looks like an impending victory over his master. There is anidea embodied in Baroka's remark: "I change my wrestlers when I have learnt/To throw them." This statementis connected in meaning to why Sidi is there.  When the Bale wins his wrestler and Sidi screams, "You won!" repeatedly, it is ironical. That is how Baroka will winher in due course.  Baroka's riddling discourse with Sidi is akin to the wrestling going on between the Bale and his palace wrestler on the one hand, and the psychological warfare between him and Sidi on the other.  At some point, Sidi discovers to her chagrin that the man who is rumoured to lack sexual strength from the manner he carries himself may not bewho he is said to be. His carriage is that of force and prowers. One who is painted by Lakunle and other antagonists as conservative and backward proves to Sidi that he is as contemporary as anyone of his age could be, where as Sidi remains at the point of admiring herself on magazine leaves, he goes as far as conceiving and making a machine with its lever and promises to put her image and his on a stamp. Sidi is charmed by these possibilities. 

Summary of Page 55 to 64 of The lion and the jewel

NIGHT SIDI LOSES HER MAIDENHOOD AND ACCEPTS BAROKA WHILE LAKUNLE LIVES INREGRET (Page 55-64) 

It is full evening at the market clearing. Lakunle and Sadiku await Sidi's return from Baroka's house. Thet raders are putting their wares together for the evening sale. Hawkers move about with their oil-latnps, and some of them sit beside their wares. Food sellers enter with their cooking pots and foodstuffs set on stone hearth of fire. Lakunle infrustration paces up and domi Sadiku looks on rather helplessly.  Lakunle, simple-minded in his usual way, cries that "he's killed her" (p. 55). Sidi has been away for half a day and is not yet back from the visit to Baroka. He blames Sadiku partly for the fate that befalls Sidi: "Mock an old man, will you? So?/You can laugh?" Heal so partially blames Baroka: "Baroka's head wife/Driven out of the house for plotting/With a girl" (p. 55). Lakunle's attention is drawn to the advancing footsteps, but it is a hawker's or a passer-by's. Sadiku familiarly greets Baroka's wrestler as he probably goes home for the day.Baroka's head-wife is puzzled as towhy Sidi is not yet back. Lakunle can only make various claims against Baroka, some of which are false: "I know he has dungeons. Secret holes/Where a helpless girl will lie/and rot for ever" (p. 56).  Lakunle accuses Sadiku of being disloyal to her husband by selling him to "the rhyming rabble/ Gloating on your disloyalty" (p. 56). She dips her hand in Lakunle's pocket which she (Sadiku) later delivers to the mummers.  The mummers perform the dance of virility "which is of course none other than Baroka 's story" (p. 57). By giving Lakunle's money to the mummers, and pointing at Lakunle as giving it to them, Sadiku wants them to believe that Lakunle is happy over Baroka's"impotence" — the very impotence trick which robbed Lakunle of Sidi.  The "Baroka story" is no more than the miming of Baroka's decline and final downfall arising from how he became impotent. Sadiku is invited to "join at the kill" and she bounces on her toes through the dance. A dumb show of initial "bashful refusals," she joins the mummers and shows through herdancing that she is still agile in spite of age. The performers surround her and "spur her on" (p. 57).  Sidi bursts in; she has been run ningfrom Baroka's house. She throw sherself on the ground and begins to sob. She has lost something precious to her. When Sadiku approaches her and asks her "Why, child What is the matter?" Sidi pushes her off; Lakunle tries his own luck with Sidi and also gets a rebuff. Lakunle, dusting himself, asserts that "he (Baroka)must have beaten (p. 58/) He abusesBaroka, insisting that he is "a creature of the wilds/Untutored, mannerless, of grace," He promises to kill Baroka "for this" or take him to the "central courts" so that he (Baroka) spends "the remainder of hiswretched life/ln prison with hard labour" (pp. 58-59).  Sidi calls everyone connected with her travail as "fool". She reveals that what was said about Baroka having lost his viriity is "a lie" (p. 59). She calls Baroka "the cunning frog." Baroka had told Sidi that the claim was a trick; he knew in advance that "Sadiku would not keep it to herself' (p. 59).  Because Sidi says "Oh how I hate him!/flow I loathe/And long to kill the man!" (Page 59), Lakunle's fear is about to be confirmed. He tells Sidi, "Speak, Sidi, this is agony/Tell me the worst; I'll take it like a man" (p. 59). Sadiku's"too late for prayers. Cheer up. It happens to the best/of us" draws Lakunle's s 'Oh heavens, strike me dead!/Earth, open up and swallow Lakunle./For he no longer has the wish to live" (p. 60).  Lakunle's idealism pushes him to think that urging Sidi to "forget the past" and also "forget the bride-pricetotally" is a favour to her. Convinced that Baroka has defiled Sidi, Lakunle proposes, "You'll be my cherished wife" while what has taken place  between Sidi and Baroka shall remain"a secret even after we're dead and gone" (p. 60). Meanwhile Lakunle thinks it is a proposal that Sidi will jump at while the school teacher would gain from not paying the bride price. 

Lakunle who thinks he has been making an impression on Sadiku and Sidi speaks on in pity of his failure asa man "And now I know I am the biggest fool/That ever walked this earth" (p. 61 ) and his readiness to pursue a new life with his "fallen woman." Meanwhile, Lakunle is so sure Sidi would accept his new proposal since it "solves the problem of bride-price too" after all as aprincipled man "l had sworn,/Never to pay" (p. 61). Thus when Sadiku announces that Sidi is "packing her things. She is gathering her clothes/and trinkets together," Lakunle complains thinking she is coming to him immediately: "Heaven helps us! I am not impatient/Surely she can wait a day or twoat least" (p. 61). He pleads a while to"prepare himself' arguing that "I cannot be/A single man one day and a married one the next" (p. 62). He thinks the approaching crowd and musicians are doing so at his instance. When Sidi enters and hands Lakunle "the book", Lakunle still thinks Sidi has accepted his proposal. However, Sidi invites the crowd and tells the school teacher, "You may  come too if you wish/You are invited"(p. 63). Lakunle glows, "Well I should hope so indeed/Since I am to marry you" (p. 63). To which Sidi retorts:"Marry who?"  Sidi queries to know from Lakunle if he thinks that "after him" (i.e. Baroka),she ''could endure the touch of another man" (p. 63). She prefers "the perpetual-youthful zest/Of the panther of the trees" to "a watered down...beardless version of unripened man."Lakunle who does not still think clearly promises Sidi of protection, "I shall protect you from yourself" (p.63). We are told that Sidi "gives him a shove that sits him down again." She then screams: "Out of my way, book-nourished shrimp." Sidi boasts that Baroka has given her strength. "That was not bad. For a man of sixty." Atsixty, she mocks Lakunle» "you'll beten years dead!" She insists, "In fact you'll not survive your honey moon."She invites him to "my wedding if you will" (p.64)

Significance of Page 55 to 64 of The lion and the jewel

Lakunle paces up and down. He is frustrated. He thinks over Sidi's 'fate'.What may have happened to her? Has she succumbed to Baroka's antics? Is she safe in his hands? Has he lost her to Baroka? He blames Sadiku for virtually instigating her to go and mock an old man. His worry is that he (Baroka) has "dungeons and "secret holes" where the Bale can hide a girl like Sidi.  What Lakunle accuses Sadiku of, namely disloyalty, works in favour of Baroka. It is doubtful if Baroka regardthe spreading of the false news abouthis (Baroka's) assumed sexual unfitness as a betrayal of trust sinceit is that misinformation which enables Sidi to come and test him as it were  The miming of the Baroka story enables the spectators to know in advance how the story will end in Baroka's favour. The mummers' dance is known as the "dance of virility" which leaves us ith the belief that Baroka is still virile.  This segment of the play shows that Lakunle is simple-minded. He is idealistic like when he says that Sidi's fate in the hands of Baroka will not affect his love for her: "This great mistortune touches not/The treasury of my love." He thinks Sidi's experience with Baroka will save him the burden of paying the bride price. However, there is a twist later when Sidi will no longer accept him.  

Exen up to the point Sidi is "packingher things" Lakunle thinks that she is doing so in order to follow him to his house where as she is in fact headed for Baroka's. Sidi describes all who have knowledge of her experience with Baroka as "fool", especially Sadiku and Lakunle. Each of these two people is not privy to the outcome. When Lakunle discovers the true situation, he says: "And now I know I am the he says: "And now I know I am the biggest fool/That ever this earth."Rather than accept this completely,Lakunle leaves the blame at the door of"But I obey my books."

Analysis of Lakunle's Character

About Lakunle

 Lakunle Role 

Lakunle, the school teacher is a known figure in Ilujinle. He is educated, yet not necessarily very educated. On the contrary, Lakunle enjoys a half-baked education and makes a lot of noise with it. He uses his education, unfully formed as it is,to harass both Sidi and Sadiku. About twenty-three years old, he is said to wear an undersized old-style English suit, "threadbare but not ragged, clean but not ironed." His tie is said to bed one in a very small knot and isburied in "a shiny black waist-coat."This mode of dressing shows that he wants to be taken seriously as one wants to be taken seriously as one enjoying a high social status just as Sidi is aware of her beauty. Being probably the most schooled in the village, he deploys his energy in raising a new generation of youth ashe teaches them. However, Lakunle teaches at the level of "Three times two are six," may be because his school is yet to grow. Perhaps more teachers would join him later. In spite of his-level of education, he possesses an inflated sense of his importance in the village and merely consults longer and shorter dictionaries before talking to a non-educated Sidi to whom he 'blows' all the grammar he knows or has heard. As Baroka is also uneducated like Sidi, Lakunle fails to realize that the Bale possesses in abundance native intelligence (informal education) with which he solves his daily needs. This native intelligence has built into it craftness, wit and cunning with which people like Baroka survive on a daily basis, where as the 'educated' like Lakunle lose when there a contest of will. Frorn the dialogue between Sidi and Lakunle, it is clear that when he sounds flowery as in "That is hat the stew pot said to the fire./have you no shame.. ./licking my bottom" (Page 2), heis probably speaking Yoruba. he occasionally speaks with double interpretation as out cotne as when he says. "The scientists have proved it. It is in my books" (Page. 4). This may mean that what he has to say can be found in the books he owns or in the book she has written. Then what he says is a lie, Unfounded namely that have a smaller brain than men/That's why they are called the weaker sex" (Page. 4). Not that they are the weaker sex, but that that is what they are called. Of course in spite of Sidi not being educated, she stands up to Lakunle on this occasion. "The weaker sex, is it?/ls it a weaker breed ho pounds the yam/Or bends all day to plant the millet/With a child strapped to her back?" (p. 4). Lakunle is a shallow fellow whose frivolous nature contradicts what may be his intentions. His idea of progress ascompared with Baroka's is quite funny and facetious. Imagine him saying that "the world judge our progress by/The girls that win beauty contests" (Page.37). Nothing can be as amusing as aclaim like this one! There are other funny claims: he wants to turn Ilujinle into a Lagos or an Ibadan. His idea of progress includes bathroom dancing, nightclubs, women with painted lips whose feet are adorned by high-heeled shoes, machines meant topound or to grind pepper, etc. When Sidi objects to his kissing her, Lakunle calls her "bush-girl you are, bush girlyou'll always be" (p. 9). Rather than consider bride price as a show of gratitude to parents of the bride forbringing up their daughter to the point of being admired for marriage, hecalls it "a savage custom, barbaric, outdated." Yet after Baroka has hadhis way with Sidi in spite of his age and the so-called backwardness, Lakunle proposes that with this development, "it solves the problem of her bride-price too" (Page. 61). He still considers himself a principled manwho had said from the beginning thathe would not pay a bride price onwhom he wants to marry: "A man mustlive or fall by his true/Principles. That,I had swom/Never to pay" (p. 61).Thus as young as he is, he is preparedto accept Sidi after she had beendefiled by a man three times his age,and whom he (Lakunle) talked downon. Occasionally, Lakunle shows that he will like to enjoy life the wayBaroka does and for which he resents the older man. Once he admits this onp. 26 when he remarks: "Ah, I sometimes wish I led this kind of life./Such luscious bosoms make his nightby pillow/l am sure he keeps a time-table just as/l do at school." Suddenly aware that he is being covetous,Lakunle exclaims "No! I do not envy him!/Just the one woman for me" (p.26). Lakunle's role in the play is critical because without him Baroka's trickery over capturing Sidi's hand in marriage could not haye meant much.He raises the struggle for Sidi to the point of a contest. It must be seen that part of what makes Sidi vain, apart from the images, is his brief romantic dalliance with her. 

SIGNIFICANCE OF LAKUNLE'S CHARACTER

Lakunle largely provides the comicrelief for which the play is known. The way he is dressed' the language and his preoccupations all add up to the Comic characteristics of the play.He makes the conflict in the play to be more involving and more desperate. Beause he is an educated man in a struggle with a traditional ruler, it raises the level of antagonism or rather makes the discord more worth while. We learn that education is not only Western; native intelligence is also atype of education and can be quite audacious. Baroka's intelligence compels him to use Lakunle's idea of civilization to propose to Sidi a new approach of age and youth coming together, for after all "charity begins at home." His contention on progress already known enables Baroka to model a strategy with which he convinces Sidi that although he may be old, he is not averse to progress. Thus Baroka suggests a progress model to which he and Sidi are central.What Lakunle occasionally says or thinks about Baroka and Sadiku interms of their age shows that he has no respect for age and tradition. His view is that tradition will soon disappear where as this is not exactly as it is. This thought makes him not to take Baroka seriously in their avid quest for Sidi's hand. Thus he lets his guard down while Baroka enjoys an upper hand. 

Analysis of Baroka's Character

About Baroka

THE  ROLE OF BAROKA

Baroka is the traditional figure in theplay. A polygamist, he adds more and more women to his harem. His last wife is Ailatu but he wants to add Sidi to his women's quarters. He had to plot it as it were. He is the Lion or as Lakunle labels him "the fox." He is the traditional ruler of Ilujinle, and the bearer of the people's customs and ideals. As the play opens, he is sixty-two. His position in the community is inherited from his father and his father's father. His head-wife, Sadiku, is in herited from his father, Okiki, she having been his last wife. Being a man whose fame or even strength is founded on the people's tradition, he exudes pride and confidence. Baroka recalls some of his achievements: "Did I not, at the festival of Rain,/Defeat the men in the log-tossing match?/Do I not still withthe most fearless ones,/Hunt the leopard and the boa at night/And save the farmers' goats from further harm?" (page 28) Provoked by Sidi who considers him old for his invitation, Baroka asks, "Do any of my wives report/A failing in my manliness?" (p.28) Yet a little while later, he admits to Sadiku that he can no longer "fool myself. . . I am no man, Sadiku. My manhood/Ended near a week ago" (p.29). But it is all a decoy as part of his snare to be laid for Sidi, using Sadiku as his prop and mouth-piece. What Baroka does with language is distinct, far superior to Lakunle's bookishness and pedantry. His language is rich and graduated with proverbs and cultural ideals which are lacking in the language of the other characters.What he lacks in Western education and pretensions, he has a surfeit of intraditional wits and wiles. When he faces Sidi, he deploys the nuances of Lakunle's type of language about progress to show that he is not opposed to the new way of life. What Baroka fights for is a new way of life in his own terms. This is why hebribed off the railway line when it was about to come. While Lakunle, intrying to talk him down, wants Sidi to believe that Baroka does not want progress, the latter convinces Sidi that aspects of the Ilujinle culture ought to be preserved for the future "among the bridges and the murderous roads." By being labelled the Lion and also the fox, Baroka is both strong and cunning. He uses his craftiness to prey on young girls like Ailatu and Sidi. Thus when Sadiku announces Baroka's sexual weaknes sand Sidi tries to know if it is true, she (Sidi) literally walks into the lion's den and pays for it. He plays on Sidi's vanity by showing that Sidi's image on a stamp is far superior to her image(s) in a magazine. Moreover, Baroka atonce shows that this proposal is realizable since the machine with which to make the stamp is already fabricated. 

SIGNIFICANCE OF BAROKA'S CHARACTER

Baroka radiates tradition in all its strengths. He is gorgeous, rich and sensible and deploys all these factors to lure Sidi. He understands women so much and uses such knowledge to achieve his purpose. Sweet words, material, flattery, the luminous and vanity captivate the heart of a woman or so he has proved in this play. This IS in contrast to Lakunle's approach who uses threats, insults and imprecations on Sidi, and expects he will win her hand. What he achieves with language and ideas, Lakunle fails to achieve because the latter takes quite many things for granted, He (Lakunle) may have thought that in matters of love or endearment, age would count. In this segment, however, Baroka shows thatage is only a number, not animpediment. He is an unrepentant polygamist sinceonly after five months, he goes after another woman — i.e. Sidi. He refers to "five months" as if it were five years! By Baroka's actions, we are taught that every man or in fact everything has a price. He is able to bribe the white man off the idea of a railway line. He plays on the intelligence of both Sadiku and Sidi. With respect to Lakunle, he (Baroka) uses the former as his point of departure when it comes to progress or Western civilization and convincingly shows that he is not opposed to a new order

Analysis of Sidi's Character

About Sidi

 The Role Of Sidi

Sidi is a village belle, the jewel of Ilujinle. We are not told that she is educated, at least not in the Western sense. But she, like Baroka,  possesses suffcient local intelligence and sensitivity with which to live as a human with dignity. For instance, shelets Lakunle know that "Sidi will not make herself/A cheap bowl for the village pit" (p. 7). She is very concerned with what the village people will say: "The village says you're mad/And I begin to understand" (Page 10). When Lakunle fails to give her the pail, Sidi reminds him that people are approaching, and so "give me the bucket or they'll jeer" (Page 10). There is believes is not good enough: "I tell you I dislike/This strange unhealthy mouthing you perform" or what she describes as "this licking of my lips with yours./ It's so unclean" (p. 9). Sidi believes in tradition. Thus she insists on the payment of bride price which Lakunle wants abolished. Contrastingly, between her and Baroka, the bride price is not an issue.The payment of the bride price is attached to her pride as a woman, properly married. But when Lakunle disparages the bride price, Sidi tells him to "go to these places where/Women would understand you" (Page 9).Lakunle's language floats ahead ofwhat she thinks and understands. She accepts Baroka's idea of progress because it reinforces her vanity and advertises her beauty, even out side Ilujinle. She loves herself or what in popular parlance is known as narcissism. She is conscious of her beauty and boasts about it. For her, Lakunle's idea of progress is the type that will "turn the world upside down."Her persistence on bride price payment seems to portray her as a simple-minded fellow, although she is not without sufficient intelligence to argue her way. Called the weaker sex because she is a woman, she asks intelligently, "is it the weaker breed who pounds yam/Or bends all day to plant the millet.. ." (p. 4). Sidi 'sundoing is her vainglorious preoccupations. Just because her images are now found in "a book," she tells Lakunle off: "In fact, 1 9 m notsure I'll want to wed you now" (p. 12).She is so well known, via the impactof the book, that she insists that shewill "demean my worth to wed/A merevillage school teacher" (p. 12). It isthis irnagined elevation in status by mere photographs in a magazine thatmakes it possible for the Lion to 'consume' her virginity. Part of her simple-mindedness is her decision tofind out if indeed the Lion has lost his manhood. Except to mock Baroka and place all Ilujinle under her footstool,of what relevance would this have been to her? In other words, Sidi works on rumour and gets failed by it. Even if she refuses to marry Lakunle, insisting on the payment of the bride pnce, one is not sure if Baroka paid anything on her as no mention of that is made afterwords.   gets failed by it. Even if she refuses to marry Lakunle, insisting on the payment of the bride pnce, one is notsure if Baroka paid anything on her as no mention of that is made afterwords. 

SIGNIFICANCE OF SIDI'S CHARACTER

Sidi is the bone of contention; she isthe figure that unites all thecharacters, including Sadiku. It isbecause of her that Lakunle detests Baroka and vice-versa and it is shewho the victim of Sadiku's flippancy and unguardedness. She is an advocate of tradition. By insisting on the payment of brideprice on her head, she promotes Ilujinle customs and culture. It is the way the llujinle people will look at her should she marry without the bride price that is more important to her than Lakunle's view of modernity She insists: "Just pay the price" (Page. 7) and a little later she repeats herself: "Then pay the price" The issue of the bride price, the arrogance arising out of the publication of her pictures in "a book"and her desire to go and mock Baroka show that she is quite vain and hollow. Her simple-mindedness seems to have encouraged Lakunle's own shallowness. Both of them are 'romantic' figures, though coming from opposite directions. Thus Lakunlesees Sidi, not in who she is, but in how he would like her to be.Sidi is practically focused. She complains that Lakunle is full of words as if she expects something more than that. Hence, Baroka easily wins her over to his side when he shows her the "strange machine" and its "long levers" and how it will be used to enhance her publicity, 

Analysis of Lakunle's Character

 About Sadiku

Sadiku is Baroka's first wife. She is very loyal to her husband and spends her time acting as a matchmaker to find him new brides and concubines. Her devotion isn't blind and unwavering, however. When Baroka confides in Sadiku that his manhood is gone, she's thrilled to have "scotched" her husband and scored a victory for all women over men. Since Sadiku is Baroka’s first wife, traditional values give her a degree of power, and she fears progress and modernity.

 Sadiku Role 

Inherited by Baroka from his late father, Okiki, Sadiku is certainly older than her new husband. She must beabout seventy years or even older since Baroka is sixty-two. Being Baroka's father's last wife, Sadiku turns out to be the Bale's head wife.She is the Bale's confidante and knows quite much about her husband, information which is not available to the younger wives. From her active participation in wooing Sidi for Baroka, it is likely she had played similar roles in the marriage of the other wives. Apparently, she is loyal to Baroka but when she divulges the secret disaster of his sexual inadequacy she is keen to raise the women's flag in their sex war victory, having recorded in her thinking another victim of the so-called weaker sex. Sadiku had not known that Baroka was using her tendency for flippancy to advertize his purportedsexual failure. She thus becomes aquick communication tool meant tobroadcast Baroka's assumed sexual incompetence meant to reach acertain target. That target is Sidi, who upon hearing about the Bale's misfortune quickly wants to visit himfor purposes of mockery. Sadiku's other reason for spreading the news of her husband's hard luck may have been to discourage Sidi since the maneyeing her is not fit to have her. It must be appreciated that new wives tend to cause problems for the head wife who may be currently enjoying stability in the control of members of the harem. Before she releases the news of the Bale's ill-luck, she onceasked Sidi, "Do you know what it is tobe the Bale's last wife') (p. 20). It is likely that at this point she (Sadiku) is trying to cultivate Sidi's friendship, guessing she could be Baroka's nextwife, after Ailatu. However, Sidi turns down the request for a dinner With the Bale, and mocks his agedness and pooh-poohs the idea of his wanting to add her to his women's quarters. This same invitation Sidi re-accepts when she decides to go and mock her traditional  ruler after her images had found their way into "a book." Sadiku's attachment to traditional religion unassailable. In moments of hardship or distress, she invokes the name of Sango, the Yoruba god of thunder. For instance, on Page.23, Sadiku beck ons on Sango twice: "May Sango/restore your wits" and... or so Sango be my witness.. " Sadiku blesses Sidi as the latter kneels down at her (Sadiku's) feet: "linvoke the fertile gods./They will staywith you" (p. 64). She is a bit fetish,dancing and smiling at the same time the "victory dance," displaying as she does so, the carved image of the so-called victim. Sadiku is on the aggressive side. She aggressively turns on Lakunle on the mere speculation that Sidi must have been radicalized in her thinking by him. Shes creams at the school teacher: "Have you driven the poor girl mad at last? Such rubbish... I will beat your head for this!" (Page. 21). In spite of Lakunles brilliance and youthfulness, Sadiku is not keen about his notion of civilization. She is not keen to cook insaucepans; her native intelligence is sufficient for her. She brazenly tells Lakunle that he cannot measure up to Sidi: "Fancy a thing like you actually wanting a girl like that, all to your little self' (p. 36). Although she might not have been part of the grand plan to win Sidi for Baroka, when the worst happens to her, Sadiku's consolation comes in these words: "Too late for prayers. Cheer up. It happens to the best of us" (p. 59). 

SIGNIFICANCE  

Sadiku organizes Baroka's harem. She is also good at satisfying Baroka's sybaritism by pulling his armpit hair just as Ailatu, his 'reigning' wife, also does. She has the character weakness of being flippant. Aware of this character defect, Baroka gives her the task of spreading the misinformation that he has lost his virility. Expectedly she succeeds in letting the intended target to be apprised of the disinformation. She seems to be Baroka's go-betweenin matters of acquiring new wives. We say this because Sadiku is given the responsibility of wooing Sidi for the Bale. If her first husband, Okiki, had a childat sixty-seven, it is a wonder how she would hastily advertize that her husband at sixty-two has beende feated by women folk and go out to mark it with a "victory dance." Age and experience should have prepared her to wait awhile. Her behaviour then borders on frivolity. Her hatred of Lakunle for standing on the way of Sidi from choosing her husband shows loyalty to the Bale. it thus seems that her revelation of her husband's sexual weakness based on what he says may not have been seen by her as a serious matter or a breach of trust. Out of the major characters, Sadiku is given to prosaic rather than poetic constructions by the playwright. This may be interpreted to mean that shehad not been expected to be a seriousor lofty character. She does not seemto have been linguistically on the same pedestal as Baroka, Lakunle or Sidi.

 THEMES OF THE LION AND THE JEWEL  

How The Lion Get The Jewel

Theme Analysis

The "lion" refers to Baroka and as the text goes, where as Sadiku, Baroka's most senior wife, tells Sidi that "the Lion sent me" (p. 19), Sidi is already aware of who "the lion" is. The "jewel"on the other hand, is a term used by Lakunle to reply to those who call him a fool for his actions, being an educated person where as the villagers are not learned. When Sidi mocks him for his learning, Lakunle asks, "For that, what is a jewel to pigs?" (Page. 3) In that case, he may have considered himself a "jewel" since he is the most educated in Ilujinle at the time. The other and more viable meaning of"jewel" refers to Sidi, "the jewel of llujinle" (p. 21), as Sidi addresses herself. She is the most beautiful girl in the village. The "jewel" referring to Sidi is more plausible considering that her beauty has become a magazine matter; the news of her beauty has travelled far and near. While Lakunle boasts on his having education, Sidi 's boast is on her beauty. The word "jewel" in normal parlance has more todo with beauty than with education or learning. Between Sidi (Jewel) and Baroka (Lion), there is a notion that the former is more important than the latter.A look at the magazine images shows that where as Sidi is well-placed in"the book," Baroka's image is near the village latrine. With this location, Sidi is convinced that she is more  important than Baroka. Her rushing to Baroka as soon as she learns that the latter is sexually deflated is because she wants the old man's devaluation to be complete; she thinks only herself will be reckoned with in the village. Lakunle is not considered amatch since the villagers think he is crazy: "the whole world knows the mad man/ of Ilujinle, who calls himselfa teacher!" (p. 3)Thus the balance of prominence is in Sidi's favour. However, when the lion places cunning and trickery at his service, he shows that beauty is notthe most-prized quality in the world.Baroka deceives Sadiku into believing that he has become sexually degraded. She goes out to announcethis as a victory for womanhood and by this flippancy, Sidi re-accepts Baroka's invitation tovisit him with the intention to find outif Sadiku's declaration is true or not.As an Igbo proverb says, the monkey that wants to see everything receives the bullet shot on his forehead. It is Baroka's wish to have his next wife and this he achieves by grabbing yet another through craftiness  

The Struggle Between Tradition And Modernity (TRADITION VS MODERNITY)

Theme Analysis

The play is also about the struggle between tradition and modernity. Baroka represents tradition while Lakunle depicts modern consciousness. Sidi seems to beneutral; she is not deeply traditional since it is not clear to readers what she abhors about Baroka apart from her recognition that he (Baroka) was everybody's superior until Sidi's images are publicized in "the book."Thus she is neither traditional nor Christian. All the allusion Lakunle makes with respect to the Bible does not touch her nor does Sidi show awareness. For example, when Lakunle mixes the names of women of faith in the Bible with Bathsheba, David's concubine, she does not object to being called his Bathsheba, along with Ruth, Rachel and Esther (Page 20). When the Traveller brings light to Ilujinle, Baroka does not acknowledge what he is meant to achieve. Similarly, tradition fights off the intruder, the surveyor who supervises the construction of the railroad. Baroka who represents tradition achieves this by bribing the white surveyor. The rail tracks are then moved to and through other neighbouring towns. This way Baroka blocks civilization which should have come to Ilujinle. Lakunle is naturally one we think should have inherited the mantle of the new. But he merely stops at naming the elements of modernity, rather than their concretized forms. His notion of modernity is superficial — eating with forks and knives, eating on the table, waltz dancing, kissing and such stuff. Yet Sidi describes kissing as "sounclean," a claim which Lakunle does not contradict except to say that "it is the way of civilized romance" (Page 9). In the end, tradition wins modernity when Baroka proves that the modern and tradition can subsistside by side and that he and Sidi canrepresent this new-found synergy."The old must flow into the new, Sidi,/Not blind itself or stand foolishly/Apart" (Page 54). Thus when Baroka was set sout to defeat Lakunle, he (Baroka) sets out to defeat Lakunle, he (Baroka) uses the school teacher's nuance of language to do that: "The school teacher/And I must learn one from the other" (Page. 54).  

MISUSE OF POWER 

Many African leaders misuse the power entrusted to them for their own selfish interests.

  Baroka uses his power to win love from Sidi. First he orders his men to beat Lakunle and accuse him falsely that he tried to steal the village maidenhead. Baroka uses his power and position to marry as many wives as he wishes. He says “it is five full months since last I took a five..” page. From that time he starts hunting Sidi by using invitation for supper and tricks but it is revealed that whenever a woman accepts his invitation for supper he ends up becoming either his wife or concubine. This is misuse of power and authority.

  Baroka uses his power to humiliate his wives. He uses Sadiku to seduce brides for him. He also humiliates his youngest wife Ailatu by ordering her to pluck his armpit hair. Unfortunately she pulls the hair painfully and Baroka expels her from the house. This is also the misuse of power.

Vanity

Theme Analysis

At the beginning of the play, Sidi is established as a headstrong and beautiful young woman. Sidi appears confident from the start, but after observing herself from the point of view of an outsider to her village, her confidence transforms into conceit.When Sidi sees her photographs in the outsider’s magazine, she becomes fixated on her appearance and her potential power as the jewel of Ilujinle. Sidi grows reckless, distracted by her deepening vanity and blinded by hubris. At first, Sidi tests her newfound superiority on Lakunle, but she is not satisfied by her emotional victory over the hapless schoolteacher; to prove herself as a powerful force, she seeks to dominate Baroka, the Bale of the village, after learning of his desire to marry her. Sidi’s excessive pride becomes her downfall when she challenges Baroka and attempts to play a humiliating trick on him. When Sidi’s attempt to disrespect Baroka backfires, he teaches her a lesson by violent means, reinforcing to Sidi that her place in a traditionally patriarchal society is one of a submissive wife rather than an outspoken and opinionated young woman. Baroka rapes her as punishment for her transgression, and her decision to marry him afterward suggests that she accepts him as her superior. Sadiku also becomes arrogant when Baroka lies to her about his impotence. Baroka flatters Sadiku, implying to her that she is the most important and respected of all his wives. Baroka’s craftiness gives Sadiku more confidence in her position as first wife. She becomes so self-assured in her role that she seeks to take advantage of her position and use the secret of Baroka’s allegedly lost manhood to mock him. Sadiku, like Sidi, is punished for her arrogance when her true nature is exposed; both women fall from elevated positions, learning by the end of the play that any attempt to outsmart the Bale will prove futile.

Change

Theme Analysis

Both Baroka and Lakunle are concerned about change. .So sure is Lakunle about change that he wants Sidi and Ilujinle to embrace it. Lakunle simply believes that the new is good. In fact, he seems to embody it already by having a school and preaching it,and even challenging what is against it. For instance, so fixated is the school teacher about change that he refuses to pay any bride price on Sidi. To him, to do so is to "buy a heifer off the market stall./You'd be my chattel,my mere property" (Page. 8). His understanding of change is more or less superficial as he seems to see change as the use of forks and knives while eating with breakable plates  sitting at table rather than on the floor, etc. He wants to walk with Sidi "side by side and arm in arm/Just like the Lagos couples I have seen" (Page. 9).His love endearments like kissing is his idea of "civilized romance" even as it is a "strange un healthy mouthing" to Sidi who considers it some kind of rudeness. Lakunle's pursuit of changeand the way he goes about it have made the villagers think there is something wrong with him: "Away with you. The village says you're mad,/And I begin to understand" (Page 10). 

On the other hand, Baroka speaks of change, too. His is an unhurried change. Thus when the white surveyorseeks to bring change via the rail lines, he bribes him off. He is not against progress as such "only its nature/which makes all roof sand faces look the same" (Page. 52). Baroka is averse to a 'reckless broom" which seeks to sweep away anything old: "In these years to come, we must leave/Virgin plots of lives, rich decay" (Page 52). His concept of change is the old blending with the new, and he seems see this in the manner he wants a union between him and Sidi. Sidi may have bought his idea since she does not question the printing of her image and Baroka's ona stamp. In other words, both Baroka and Sidi view change from a perspective of personal benefit. Baroka's suggestion softens Sidi's mind towards him while Sidi's image, like the ones in the magazine, will introduce her to a wider Moreover, Sidi is flattered when Baroka tells her, "I hope you will not think it too great/A burden to carry the country's mail/All on your comeliness"(Page. 51).  

 The Young And The Old

Theme Analysis

Lakunle ordinarily is meant to represent the youth. He is said to be twenty-three years old. He puts on modern dressing although it is undersized physically and metaphorically. He wears blanco-white tennis shoes. In other words, he seeks to be modern, and shows later that he is the advocate of the new. Lakunle is not fully modern. For instance, we are told that his English suit is "threadbare' though it is not "ragged"; it is clean but not ironed. Similarly, strange is his tie which is done in a very small knot, "disappearing beneath a shiny black waist-coat" (Page 1). This funny dressing makes youth and modernity suspicious. 

Being a traditional ruler, no doubt Baroka's dressing must have been spot on, commanding attention. The greetings of 'Kabiyesi,' 'Baba,' etc, must have been because he is well-dressed and has his aura about him. The description of Baroka's bedroom also matches his dignity. At his age of sixty-two, he wears baggy trousers, calf-length. We are also told that his bedroom is rich, "covered in animal skins and rugs" (p. 26). An old man who should not have anything todo with science and technology has a machine with a long lever. Thus when he introduces the subject of modernity and civilization, Baroka is already practical about it. There is a "strange machine" around to demonstrate what he is talking about. On the other hand, and in spite of his youthfulness, Lakunle is merely theoretical and verbose. He mentions Ibadan and Lagos and refers to Saro women. Where Baroka is measured inthe manner he spoke to Sidi, probably using only the Yoruba language which both understand very well, Lakunle uses high falutin English words as 'excommunicated, archaic... retrogressive... unpalatable" (Page 7) to one whom we are not told is Western educated. We are not even sure she is a Christian, but Lakunle speaks to her about the way "educated men" and "Christians" kiss their wives. Thus we have in the play a young man who operates at the mundane, artificial level and an old man who in spite of his age is even more practically modern than the young man, which is why he (Baroka) easily wins Sidi's hand in marriage. Lakunle's approach is textbook, some what amusing, which is why Sidi berates him: "out of my way, book-nourished shrimp" (Page.63). She wonders what he (Lakunle)would look like at sixty: "You'll be tenyears dead! In fact, you'll not survive your honeymoon" (Page 64). Any wonderin popular parlance, age is said to bea number as one could be old and still contemporary.  

POSITION OF WOMEN IN THE SOCIETY

  Women are portrayed as tools for pleasure.

Women are used by men to satisfy their sexual pleasures. In a way, Baroka’s father married many wives for the same reason. Baroka has many wives and concubines but he is not satisfied as he wants to marry Sidi for the same. Lakunle wonders how Baroka manages to satisfy them all and says that maybe he keeps a timetable as he does at school. In her own words Sadiku convinces Sidi to marry Baroka on the ground that “will you be his sweetest princess, soothing him on weary nights?”

 Women are portrayed as people who cannot keep secret.

A woman is portrayed as a person who cannot keep secrets. Knowing this Baroka uses a trick by telling Sadiku that his manhood has ended for almost a week before. He believes that Sadiku won’t keep it to herself but will leak the information to Sidi and that is exactly what happens.

 Women are portrayed as betrayers.

Sadiku betrays Baroka by revealing the secret she was told to keep to herself. Baroker warns her not to parade her shame before the world. page 30. Notwithstanding the warning, she tells the secret to Sidi and admits her betrayal by saying “Baroka is no child you know, he will know I have betrayed him” page 35 

 Women are portrayed as hypocrites.

Both Sadiku and Sidi are hypocrites. Sadiku pretends to sympathise with Baroka when she learns that he has lost his manhood and exclaims “the gods forbid”, “the Gods must have mercy yet.” However the same woman goes to celebrate the victory of women over men and asks Sidi to go and pretend to be repentant and mock the old man. She says “Use your bashful looks and be truly repentant. Goad him my child, torment him until he weeps for shame.” 35

  Women are portrayed as primitive and illiterate.

Despite the fact that Bride price is a custom that undermines women dignity and robs them the opportunity to marry men of their choices, Sadiku and Sidi still support it strongly. Moreover, Women are seen as primitive when Sadiku is used by Baroka to seduce girls for him even those she addresses as “my child”.

 Women are portrayed as traditionalists.

Not only do women believe in some outdated traditions like bride price, but they are lso confortable living in a polygamous family and being inherited as widows from one chief to another. Sadiku convinces Sidi to marry Baroka since being the last wife when Baroka dies she will have the privilege of being inherited by the new bale.  They also support a custom that a girl must marry a man who sleeps with her for the first time even if it was not willingly as did Baroka.

 Women are portrayed as people with no true love.

Both Sadiku and Sidi are portrayed as people with no true love in different levels. Sidi has no sincere love to Lakunle despite all the love and affections that Lakunle tried to show her. She still places importance on the bride price and not on mutual love. Sadiku has no sincere love to Baroka that’s why she feels free to seduce girls for him. Furthermore when she hears the tragedy that has befallen her husband she celebrates instead of mourning with him. 

 Women are portrayed as people with no stand

Baroka believes that it is just a pattern for women to refuse men’s proposal at first but later they agree. So he believes that Sidi’s refusal is just following the same pattern. And that is exactly what happens. Baroka says “It follows the pattern – a firm refusal at the start. Why will she not?” page 27. Finally Sidi goes to Baroka’s bedroom, sleeps with him and finally marries him despite all the bad things she had spoken about him.

Language Words and Trickery 

Theme Analysis

The Lion and the Jewel is filled with instances of trickery, particularly surrounding language. Language is the tool by which characters fool one another, create false impressions of superiority, and convince others to support their goals. Thus, language is shown to be a source of power. However, the play ultimately suggests that language is most powerful when used without lies or misdirection, and when it is applied in service of concrete, achievable goals.

Lakunle delights in using big words and flowery language to try to impress Sidi and other villagers. While his grasp of the English language makes him feel powerful, in reality it only makes him look like a fool. For example, when Lakunle describes the custom of paying a bride price as "excommunicated" or "redundant," it becomes obvious to the play’s audience that Lakunle doesn't have a complete grasp of English, despite how much he loves and flaunts the language. He uses complicated words because he knows that they are beyond the understanding of his fellow villagers. However, though he expects such language to be impressive, Sidi tells Lakunle scornfully that his words "always sound the same/and make no meaning." This suggests that even if Sidi isn't specifically aware that Lakunle is misusing words, Lakunle's performance still exposes him for the fool he is, and both the characters and the audience laugh at him for it. Lakunle’s attempts to woo Sidi by using language she doesn't understand are just one example of characters engaging in trickery to try to achieve their goals. Sadiku and Sidi try to humiliate Baroka by tricking him into believing Sidi has accepted his offer of marriage, Baroka himself tricks both women into believing his manhood is gone, and he tricks Sidi into marrying him. All of these tricks are carried out through the use of language; they're verbal tricks rather than physical tricks. Though the success of the tricks varies from character to character, their verbal nature is indicative of the power of language and words to control others.

The play does, however, draw a distinction between tricks that are meant to spur action (like marriage or modernization of the village), and tricks that are meant to create an emotional reaction, such as humiliation. Sadiku and Sidi's attempt to humiliate Baroka by exposing his supposed inability to perform sexually (an emotional trick) is ultimately unsuccessful and makes both women look like fools in the end. Similarly, while one of Lakunle's goals was to convince Sidi to marry him, he seems far more interested in making himself look educated and modern. These tricks with purely emotional goals only work to make the tricksters themselves look silly. Baroka, on the other hand, has concrete goals and he uses a combination of trickery and telling the truth to achieve them. Much of what Baroka tells Sidi seems to be truthful: he doesn't hate progress and, in fact, he wishes to help spur progress by developing a postal system for the village. By using the truth to his advantage and setting comparatively reasonable and concrete, achievable goals (marriage to Sidi and modernization in moderation), Baroka is able to wield actual power over others

 Between vanity and shrewdness 

Theme Analysis 

Sidi is vain, and has been made to believe so much in her beauty. It could not have been to this level but for the appearance Of her images in "the book." With this appearance, Sidi speaks vaingloriously, almost to an abusive point. Invited to supper by Sadiku on behalf of Baroka, Sidi declines: "Tell your lord that Sidi does not sup With/Married men" (p. 23).Before then she had asked why Baroka had not bestow "his gift/Before my face was lauded to the world" (p. 21). She asserts that "Baroka merely seeks to raise his manhood/Above my beauty/He seeks new fame." Sidi does not reject Baroka's invitation without making conceited and derogatory remarks about her Bale: "He's old. I never knew till now,/He was that Old" (p. 22). She further describes his face: "his face is like a leather piecer/Torn rudely from the saddle of his horse" (Page. 22).Sadiku is shocked and we are told that "Sadiku gasps." Sidi comparesher beauty and age with Baroka's and remarks: am young and brimming; heis spent,/l am the twinkle of a jewel/But he is the third-quarters of a lion!"(Page. 23) However, after denigrating the Bale and placing her personality above his, Sidi still feels he is superior not just to one woman but to a number of them since he is apolygamist. Thus when she learnsthat he is sexually weak, Sidi is keen to establish the truth or otherwise of Sadiku's claim on behalf of her lord. Sadiku's willingness to spread the uncertified information about her lord's virility is a bit selfish rather than serving as an instrument to a certain plot. Lack of potency on the part of Baroka will mean that no othernew wives will come to disturb the emotional balance in the family. This is probably Sadiku's concern. 

  At any rate, aware of what he (the Bale) wants to achieve and who Sadiku is with her tongue, Baroka had to float the disinformation, conscious that the wrong information will get to the target, Sidi. In the process of trying to celebrate her lord's sexual failure, Sadiku enables Sidi to get to know about it. Sidi who had turned downBaroka's invitation to attend a supperat his house is now so ready to acceptit. It is from here that we may begin to observe Baroka's shrewdness. He is a man given to craftiness and slyness.He knows that Sidi is so full of herself, a woman who places her beauty and new-found popularity, even outside Ilujinle, far more important than anything else. With such knowledge, he works on Sidi's tendencies. He is a man who knows his own weaknesses and equally works on them. For instance, Lakunle gives the impression that he (Baroka)is an enemy of modernity or novelty.When he meets Sidi, he is able to prove to her that he (Baroka) is not opposed to civilization, and even goes on to fabricate a machine with long levers. This machine is capable of making stamps on which Sidi's imageand Baroka's will appear. This is the kind of thing that Sidi wants to hear,not eating with forks and knives or about Saro women who bathe in gold. In the end, shrewdness and craftiness win over arrogance and unbridled love for materials and glossy things. 

AFRICAN TRADITIONS AND CUSTOMS