THE LION AND THE JEWEL

The plot summary of the lion and the jewel

The Lion and the Jewel is a play by Wole Soyinka, a Nigerian playwright and Nobel laureate. The play is a
comedy that centers on the character Sidi, a village beauty who is courted by two men: Baroka, the
cunning and wealthy lion of the village, and Lakunle, a young, educated man who represents modernity
and change.

The play begins with Sidi and Lakunle , the village school teacher in Ilujinle, who proposes to marry her
but he is unwilling to pay her bride price. For Lakunle, the payment of bride price is a savaged custom
which must be outlawed. Sidi on the other hand insists on her bride pride being paid in full. As the two
lovers engage in banter over the payment of bride price the village girls arrive to announce the arrival of
the Stranger and the magazine has brought which contains the pictures of the village and of course,
Sidi’s place in the magazine. The news that she occupies the central part of the magazine gives Sidi an
unimaginable joy and she celebrates her elevation. She refers to herself as the goddess among men.
Sidi, and the other village girls decide to act the arrival of the Stranger. They forcefully get Lakunle to ack
the role of the stranger. The drummers and the singer actors play out the arrival of the stranger and his
camera. Lakunle gets into the spirit of the performance. As it goes on, Baroka , the head of Ilujinle
arrives. He plays the role of the chief. Later that day, Baroka looks at the pictures and considers that he
has not taken a woman for a long time. Sadiku, Baroka’s head wife is sent by him to convey to Sidi that
he ,Baroka wants her for a wife but Sidi turns down the proposal indicating that Baroka is too old and
weak. Again, she tells Sadiku that Baroka only wants to share in her fame. According to Sidi, Baroka only
wants to use and dump her. Sadiku returns to tell Baroka about Sisi’s outright rejection of his proposal.
Baroka grieves over Sidi’s reply but he is consoled by Sadiku. Baroka tells his head wife that he has lost
his manhood. Sadiku goes to meet Sidi the second time near the village school. Sidi is standing there
admiring herself in the magazine. Sadiku holds in her hand an image of Baroka, a carved figure of the
Bale. Sadiku looks at it and laughs and whispers to Sidi that Baroka has become impotent. Sidi joins
Sadiku as the two women mock at the impotence of the Bale. Sadiku tells Sidi that the Bale will like to
host her to a feast. Initially she turns down the invitation but upon knowing that the Bale is impotent,
Sidi decides to honor the invitation but ostensibly to go and mock at Baroka in his house. Sadiku hurries
off home and informs the about the Sidi’s acceptance of the invitation.

Sidi goes to Baroka’s house in the evening. She enters the house confidently, but Baroka is unconcerned
about her presence in the house. Baroka continues to wrestle with a strongly built man who has been
hired to keep him fit. Baroka criticizes Sidi for listening to Sadiku and for been one of the troublesome
young girls in the village. He asks Sidi if Sadiku has created any stories about him but Sidi tell him, no. he
complains to Sidi about Sadiku’s attitude of arranging women for him without his consent.

Baroka takes the opportunity to disclose his plans for a stamp machine for Ilujinle that will have the
images of Sidi on it. He tells Sidi that he and Lakunle, the school master is not so different, and that they
must work together. The drums beat outside while Lakunle and Sadiku wait for Sidi to return. Lakunle
uneasy that Sidi is keeping long with the Bale and he claims he will go and rescue her. While the
mummers play in the distance, is excited about the fact that the Bale has been brought down. Sadiku tell
Lakunle to pay the mummers their performance. She dips her hand into Lakunle’s pocket, pulls out some
money and pays them off.

Sidi suddenly runs onto the scene crying. She throws herself to the ground and cries loudly. Lakunle is
horrified and asks her if she has been beaten by the Bale. She tells Sadiku that the Bale has fooled her
into believing he is impotent. The Lion tricked her into believing that he is impotent, rapes her and takes
her virginity away. Meanwhile still insists on marrying despite being raped by Baroka. Sidi is left
confused as she does not believe Lakunle to still marry her while the has raped her. But when marriage
preparations are underway, Lakunle asks for more time to prepare for the marriage. Sidi considers
Lakunle not prepared and so, she decides to marry Baroka. Sadiku, blesses their marriage. At the
marriage ground, Lakunle is seen a young woman.

The play explores themes of tradition, modernization, and the conflicts that arise between the two. It
also examines the role of gender and power dynamics in relationships and marriage.

Subject matter of the lion and the Jewel

The Lion and the Jewel is a comedy that explores themes of tradition, modernization, and the conflicts
that arise. It also examines the role of gender and power dynamics in relationships and marriage.

The play is set in a traditional Yoruba village, Ilujinle in Nigeria and centers on the character of Sidi, a
village beauty who is courted by two men: Baroka, the lion of the village, and Lakunle, a young,
educated man who represents modernity and change. Sidi is initially resistant to the idea of marrying
the older Baroka, but she is eventually convinced by the sad incident of her being raped by Baroka and
Lakunle’s unwillingness to pay her bride price to do so.

As Sidi debates which man to choose, the play explores the tension between the traditional values and
customs of the village and the modernization and Westernization brought by Lakunle. It also delves into
the ways in which gender roles and power dynamics play out in relationships and marriage. Ultimately,
the play offers a humorous and thought-provoking examination of these themes and the complexities of
love and relationships.
 Theme of tradition and modernity in the lion and the Jewel

In The Lion and the Jewel, the theme of tradition and modernity is explored through the character of
Sidi and the two men who court her: Baroka, the lion of the village, and Lakunle, a young, educated man
who represents modernity and change.

Sidi, who is rooted in traditional Yoruba village customs, is initially resistant to the idea of marrying the
older Baroka, but she is eventually convinced by the unfortunate circumstance of her being raped by
Baroka and Lakunle’s retreat to consider Baroka’s proposal. On the other hand, Lakunle represents
modernity and the Westernization that is beginning to sweep through the village. He tries to win Sidi
over with promises of a modern, Western lifestyle and the opportunity to leave the village behind. For
instance, he tries to convince Sidi that the payment of bride price is not modern and therefore should be
outlawed. Lakunle believes that the payment of bride price is tantamount to buying a haifer off the
market. He tells Sidi that he willn treat her well as all modern men treat their wives. He will do the
domestic chores with her, they will go out together and have fun. The two of them will eat together
from modern bowls, unlike the way the other men of Ilujinle treat their wives. Lakunle promises Sidi a
modern marriage where the two of them will be equal in every shape and form. Meanwhile, Sidi is not
convinced by Lakunle’s strange ideologies and tells him that the village considers him a mad man.

Again, we find Baroka, the Bale also resists modernity. He holds the traditional beliefs of his village so
dear and as such, he is not willing for any change. He believes that yielding to modernity will mean that
his power will come under threat from western influence. In the drama, while Lakunle represents
modernity and change, Sidi, Baroka and Sadiku represent the values and traditions of Ilujinle which are
under attack. The play explores the tension between the traditional values and customs of the village
and the modernization and Westernization brought by Lakunle. It also delves into the ways in which
these conflicting ideologies can conflict and intersect in relationships and marriage.

Ultimately, the play suggests that both tradition and modernity have their own strengths and
weaknesses, and that finding a balance between the two can be challenging but ultimately rewarding.
 The theme of pride in the lion and the Jewel

Pride is a significant theme in The Lion and the Jewel. The play explores the ways in which pride can
influence and shape relationships and power dynamics.

One of the main characters, Baroka, is the lion of the village, a wealthy and powerful chief who is
respected by the community. Baroka's pride is evident in his confidence and self-assurance, and he is
determined to maintain his status and reputation. Baroka’s pride first of is in his power as the leader of
Ilujinle. He does not want to lose that power to modernity that is why he feverishly fights back the idea
of accepting the construction of a railway line through his village and any other form of westernization.
He is also proud of his age and wisdom, and sees himself as a superior match for Sidi, the young village
beauty who is the object of his affections.

Sidi, on the other hand, is also a proud character. She is proud of her beauty and her status as a highly
sought-after bride, and she initially resists Baroka's advances out of pride. She is also proud of her village
traditions and resists the modernizing influence of Lakunle, who represents a more Westernized way of
life. Lakunle takes pride in the new way of life he has learnt and believes that it is the better way to go.
He tries to influence his village people to accept the new culture but his attempts are met with strong
resistance from them especially Sidi who tells him that the village people even think that he is a mad
man. As a result of his pride in his newly found western ideology, Lakunle refuses to pay Sid’s bride
price, calling the age long practice as “excommunicated”.

Throughout the play, pride is a key factor in the dynamics between the characters and the decisions
they make. It is ultimately Sidi's pride that leads her to choose Baroka over Lakunle, despite her initial
reluctance to marry the older man. She would rather marry the man who rapes and takes her virginity
and dignity away; the man who would pay her bride price anyway, than Lakunle who refuses to respect
the customs and traditions of the land. The play suggests that pride can be a powerful and complex
force in relationships, and that it can both bring people together and drive them apart.

The theme of sex and power as evidence of polygamy

In The Lion and the Jewel, sex and polygamy are presented as evidence of male power and control. The
play explores the ways in which gender roles and power dynamics shape relationships and marriage.

Baroka, the lion of the village, is a wealthy and powerful man who has multiple wives and is seeking to
add Sidi, the village beauty, to his harem. He sees polygamy as a sign of his status and power, and
believes that it is his right as a man to have multiple wives.

Sidi, on the other hand, is initially resistant to the idea of marrying Baroka, in part because she does not
want to be one of his many wives. However, she is eventually convinced by her friends and family to
consider the proposal, and ultimately chooses to marry Baroka out of a sense of duty and tradition.

The play suggests that in traditional Yoruba village culture, men have a great deal of power and control
in relationships and marriage, and that polygamy is seen as a symbol of that power. It also explores the
ways in which gender roles and power dynamics can shape and influence the choices that individuals
make in their personal lives.

The Lion and the Jewel, the theme of gender roles and power dynamics is explored through the
character of Sidi and the two men who court her: Baroka, the lion of the village, and Lakunle, a young,
educated man who represents modernity and change.

Sidi, as a woman, is expected to conform to traditional gender roles and marry a man chosen for her by
her family. Baroka, as a wealthy and powerful man, is seen as a desirable match for Sidi and is able to
exert his influence and power over her. On the other hand, Lakunle, who represents modernity and
change, and challenges traditional gender roles and tries to win Sidi over with promises of a more equal
relationship.

The play also examines the power dynamics between men and women, and the ways in which gender

roles and expectations can shape relationships. It suggests that while traditional gender roles may be
ingrained in society, there is room for change and progress, and that individual agency and choice can
play a role in shaping one's own life and relationships.

What is the role of Sidi to the development of the play?

In The Lion and the Jewel, the character of Sidi plays a central role in the development of the play. Sidi is
a village beauty who is courted by two men: Baroka, the lion of the village, and Lakunle, a young,
educated man who represents modernity and change. As Sidi debates which man to choose, the play
explores themes of tradition, modernization, and the conflicts that can arise between the two. It also
examines the role of gender and power dynamics in relationships and marriage.

Sidi's character represents the tension between tradition and modernity in the play, as she is deeply
rooted in traditional Yoruba village customs but is also attracted to the promises of a modern, Western
lifestyle offered by Lakunle. Through her character and the choice she makes, the play explores the
complexities of love and relationships and the ways in which societal expectations and personal desires
can conflict. The personal desires of Sidi is to marry the young teacher and enjoy the kind of modern
lifestyle Lakunle promises, however, the expectations of the society in which she lives in, would not
permit her to do that. Sidi would be the laughingstock of society should she allow Lakunle to marry her
without her bride price being paid. She tells Lakunle that the people of Ilujinle will think that she was not
a virgin after all. As a result of the fear of what society might throw at her, should she marry Lakunle
without her bride price being paid, she rejects that proposition from him.

Throughout the drama, Sidi has been a strong advocate or supporter of the values and traditions of
Ilujinle. It is her respect and support for the customs and the traditions of her society that make her
turn down Lakunle’s proposal to marry her without her bride price being paid. At every step of the way,
she insists on her bride price being paid before she becomes Lakunle’s wife.

Sidi's character also serves as a foil to the other characters in the play, highlighting the differences
between them and the ways in which their perspectives and motivations differ. She is foil character to
both Lakunle and Baroka. For instance, while she stands by the values and traditions of Ilujinle because
these are the tenets of the society that brings her up, Lakunle turns against the very customs and
traditions under which he is brought up. Baroka on the other hand who is the embodiment of the
cultural values of Ilujinle, defiles the sacred values when he rapes the innocent and unsuspecting Sidi.

Overall, Sidi's character is an important driving force in the development of the play and its themes.

The value of Men and Women in the Play.

Throughout the drama, we see a competition on the part of both Baroka and Lakunle to win Sidi’s hand
in marriage. In the drama, we find the power of the sexes being displayed. We find the power of Sidi is in
her beauty and virginity. She takes pride in it, and seeks to preserve, yet flaunt it. We can see her
exalting herself when the magazine is brought by the stranger. In the end she fails to keep her power as
her gullible life leads her to be devoured by Baroka who steals her virginity away. Indeed, the power of
Sidi comes humbling before the tactical maneuvers of Baroka, a situation which goes to confirm that, no
matter the power of a woman, she still comes under the power and control of a man. Again, the men
who fight for Sidi’s hand in marriage only see her as a beautiful prize to be won.

Both Lakunle and Baroka value Sidi because of her beauty and virginity. The men of Ilujinle are valued
based on what they can do or what they have done already. For instance, Lakunle values himself
because he is educated and as a result, he wants to bring education, modernity, and Christianity to the
people of Ilujinle. Baroka on the other hand gains his value from his role as the Bale of Ilujinle and his
responsibility to protect his people and build and maintain his image by marrying many wives and
fathering children.

To Baroka and Lakunle, Sidi is only a ‘jewel’, a valuable object worth fighting for because of her beauty
and virginity. Lakunle wants to marry Sidi so that he can transform her onto a modern wife; one who
wears high heels and puts on lipstick. Baroka seeks Sidi’s hand in marriage because he wants to add her
to his many wives so as to prove and maintain his power. In effect, the two men see that marriage to
Sidi is a status symbol and an indicator of their power and strength.

Lakunle immediately turning his attention away from Sidi as soon as another woman dances at him
suggests that he can achieve or without her, which goes to show that her value only ends with her
beauty and virginity. The view of the two men about Sidi reduce women in general to objects who must
simply play a part in the lives of their husbands.

When Sadiku learns about Baroka’s impotence, she dances around Baroka’s status in private. She
celebrates because she believes that the power of Baroka is tied to his ability to oerform sexually and
produce children. Sadiku believes that when that power is gone the rest of the will automatically also
disappear, and that Baroka will be reduced to an object, thus, status. while Sadiku dances around the
status of Baroka, it is important to note that she cannot celebrate the victory publicly and that, she
cannot even mock or ridicule Baroka himself but a representation of him, which is the object. In
contrast, while a female cannot ridicule a man publicly, the females like Sadiku and Sidi are teased,
mocked at, and demeaned right to their faces throughout the drama. The males have the right to grab,
fondle, and rape them simply because they are women. The women characters are treated in the most
insane ways because their culture allows them to reduce them to objects and treat them as such.
 What is the role of lakunle to the development of the lion and the Jewel.

In The Lion and the Jewel, the character of Lakunle plays a significant role in the development of the
play. Lakunle is a young, educated man who represents modernity and change in the traditional Yoruba
village where the play is set. He is infatuated with Sidi, the village beauty, and tries to win her over with
promises of a modern, Western lifestyle.

Lakunle's character represents the tension between tradition and modernity in the play, as he
challenges traditional gender roles and customs and tries to persuade Sidi to embrace a more modern
and Westernized lifestyle. Through his character and the choice he makes, the play explores the
complexities of love and relationships and the ways in which societal expectations and personal desires
can conflict.

Lakunle's character also serves as a foil to the other characters in the play, particularly Baroka, the lion
of the village. The contrast between Lakunle and Baroka highlights the differences between tradition
and modernity and the ways in which their perspectives and motivations differ. Overall, Lakunle's
character is an important driving force in the development of the play and its themes.

What is the role of Sadiku to the development of the lion and the Jewel.

In The Lion and the Jewel, the character of Sadiku is a minor character who plays a supporting role in the
development of the play. Sadiku is a go between Sidi, the village beauty and Baroka. Sidi is courted by
two men: Baroka, the lion of the village, and Lakunle, a young, educated man who represents modernity
and change.

Sadiku's main role in the play is to support and advise Sidi as she considers the proposals of Baroka and
Lakunle. She encourages Sidi to consider Baroka's proposal, arguing that he is a wealthy and powerful
man who can provide for her. However, she also tries to reassure Sidi that she has agency and choice in
the matter, and encourages her to follow her own desires.

The role of Sadiku in the drama helps readers to appreciate a lost traditional value of the role of head
wives to their husbands. Head wives were very instrumental in helping their husbands to marry
additional wives. Head wives led the way to get a good woman for their husbands to marry. This practice
accounted for the relative peace marriages enjoyed in the past. In the drama, Sadiku meets Sidi on
several occasions in respect of Baroka’s intend to marry her. We find that when Sidi tries to insult the
integrity of Baroka, Sadiku puts up a spirited defense for him. This is an enviable trait which the
playwright wants married women to learn. On the day of Sidi’s marriage to Baroka, Sadiku plays a
central role to ensure the celebration goes on successfully.

Despite being the good woman that she is, Sadiku is human and as such, she has her flaws. When she
learns about the ‘foiled’ news that Baroka is impotent, she celebrates. She goes to meet Sidi on the
account of Baroka’s invitation to host her to a feast that evening, takes along with her, a carved image of
Baroka, and reveals a deep private secret of her husband’s impotence to her. The two women ‘blindly’
celebrate the fall of Baroka. This attitude of Sadiku shows that she is a gossip who cannot be trusted
with any secret. This equally shows that Baroka himself knows the weakness of his wife which he
exploits to get to his target, Sidi. What the playwright wants us to learn is that Sadiku’s slippery tongue,
is a bad example. Her attitude of gossip gives Sidi, a complete outsider, the opportunity to mock at
Baroka. This also brings to light that the integrity of a man largely lies in the hands if his wife (wives as
the situation maybe).

Through her interactions with Sidi and the other characters, Sadiku's character helps to illustrate the
traditional gender roles and expectations that are prevalent in the village, as well as the ways in which
these expectations can influence and shape relationships. Overall, Sadiku's character serves a supportive
and advisory role in the development of the play.

What is the role of Baroka to the development of the lion and the Jewel.
In The Lion and the Jewel, the character of Baroka plays a significant role in the development of the play.
Baroka is the lion of the village, a wealthy and powerful man who is respected by the community. He is
also a suitor of Sidi, the village beauty, and sends a messenger to ask for her hand in marriage.

Baroka's character represents tradition and the traditional gender roles and customs of the village. As
the leader of Ilujinle, it is his duty to protect and preserve the customs and traditions of the land. He
holds the beliefs of the Yoruba in high esteem. Baroka derives his power and influence from his status as
the leader of his people. A power and influence he believes is now under western attack. It is his
knowledge of the threat to his power and influence that makes him bribe the surveyor in order to
prevent the construction of a railway through Ilujinle. He is confident and self-assured, and is
determined to maintain his status and reputation. He also values his age and wisdom, and sees himself
as a suitable match for Sidi due to his wealth and power. He believes that he has the power and
influence that any woman would be proud about. He tells Sidi that he will make a stamp machine for the
village, on which there will be the image of Sidi.

Baroka is a man of wisdom. He uses his wisdom to trick Sadiku, his head wife into believing that he is
impotent. Knowing that his wife is a flippant -gossip, she was bound to divulge (disclose)the secret about
his feigned impotence to Sidi. His plan works perfectly as Sadiku goes to talk to Sidi about her husband’s
virility. Eventually, Sidi comes to Baroka’s house intently to mock at him, and she falls right into his trap.
These acts of trickery and cunningness Baroka employs to get to his target, makes him assume some of
the qualities of a lion. Baroka to a very extent is seen as strong and brave. When Sidi refuses his
proposal, he gets worried and begins to taut his achievements before Sadiku. He recalls for example that
“did I not, at the festival of the rain, defeat the men in the log-tossing match?”. “Do I not

Through his interactions with Sidi and the other characters, Baroka's character helps to illustrate the
traditional gender roles and expectations that are prevalent in the village, as well as the ways in which
these expectations can influence and shape relationships. He also serves as a foil to Lakunle, the other
suitor who represents modernity and change, highlighting the contrast between tradition and modernity
and the ways in which their perspectives and motivations differ. Overall, Baroka's character is an
important driving force in the development of the play and its themes.

What is the significance of Sidi's first meeting with lakunle in the lion and the Jewel.

In Wole Soyinka's play "The Lion and the Jewel," Sidi's first meeting with Lakunle is significant because it
serves as the catalyst for the central conflict of the play. At the beginning of the play, Sidi and Lakunle
are introduced as two characters who are polar opposites in terms of their values and beliefs. Sidi is a
traditional African woman who values her culture and traditions, while Lakunle is a westernized man
who is critical of traditional African customs and values.

During their first meeting, Sidi and Lakunle argue over the value of tradition and the role of women in
society. Lakunle tries to convince Sidi to abandon her traditional ways and embrace western values,
while Sidi resists and defends her cultural beliefs. This disagreement sets the stage for the central
conflict of the play, as the two characters' opposing viewpoints come into conflict throughout the course
of the story.

Sidi's first meeting with Lakunle is also significant because it serves as a commentary on the cultural
tensions and conflicts that were present in post-colonial Africa during the time in which the play was
written. Through their first meeting, we learn also that Lakunle is an irresponsible teacher who leaves
his students in the class while he goes to meet Sidi, the village girl over love. The dereliction of duty on
the part of Lakunle is one thing that we see in the first meeting between the two lovers. Sidi’s first
meeting with Lakunle creates suspense in the drama. Sidi agrees to marry Lakunle but on condition that
he pays her bride price in full but he is unwilling to do so. He describes the payment of the bride price in
very derogatory language. For Lakunle, the practice is ‘archaic” and therefore it should be outlawed
from the customs of the land. The suspense arises as readers wonder if either Lakunle or Sidi will stoop
or compromise their stance to allow for the marry to take place.
The first meeting between the lovers creates a sense of humor in the drama. The use of too many
strange words to describe in very derogatory terms, the payment of the bride price by Lakunle, knowing
very well that Sidi does not understand English, and Sidi’s response to him after his verbose statement
makes readers laugh. Again, Lakunle’s description that if Sidi does not stop carrying loads, she will soon
look quashed like his pupils’ drawings stirs up laughter in readers.

Readers get to appreciate the resilience of Sidi not to give in to foreign influence led by Lakunle. Her
spirited defense of the values of Ilujinle makes readers to see and appreciate her as an advocate for
traditional African culture and values.

Through the characters of Sidi and Lakunle, Soyinka explores the themes of tradition, cultural identity,
and the impact of colonialism on African societies.

Sidi's first meeting with Sadiku and its significance to the development of the play.

In Wole Soyinka's play "The Lion and the Jewel," Sidi's first meeting with Sadiku is significant because it
serves as a contrast to her first meeting with Lakunle and helps to further develop the central conflict of
the play.

Sidi's first meeting with Sadiku occurs shortly after her first meeting with Lakunle, and it serves as a
counterpoint to their earlier confrontation. While Lakunle tries to persuade Sidi to abandon her
traditional ways and embrace western values, Sadiku celebrates and defends traditional African culture.

Through their interactions, Soyinka demonstrates the different approaches that Sidi and Sadiku take to
cultural identity and the challenges they face as they navigate the tensions between tradition and
modernization. Sidi's relationship with Sadiku also serves to highlight the importance of community and
the role of women in traditional African societies.

Overall, Sidi's first meeting with Sadiku is significant because it helps to further develop the central
conflict of the play and allows Soyinka to explore the themes of tradition, cultural identity, and the
impact of colonialism on African societies.
 Sidi's visit to Baroka's house and its significance to the development of the play

In Wole Soyinka's play "The Lion and the Jewel," Sidi's visit to Baroka's house is significant because it
marks a turning point in the central conflict of the play.

Up until this point, Sidi has been resistant to Baroka's advances and has rebuffed his attempts to marry
her. However, during her visit to his house, Sidi begins to see Baroka in a different light. She is impressed
by his intelligence, wit, and the respect he shows her, and she begins to reconsider her initial rejection
of his proposal.

Sidi's visit to Baroka's house also serves as a commentary on the themes of tradition and cultural
identity that are central to the play. By choosing to marry Baroka, a traditional African chief, Sidi is
embracing her cultural identity and rejecting the western values that Lakunle represents. Sidi initially
rejects Baroka’s proposal on the ground that he is too old and that, Baroka wants to share in her glory as
the most beautiful and valuable lady of Ilujinle. However, she changes her initial position and decides to
marry him after her virginity has been broken by Baroka.

Furthermore, Sidi’s visit to Baroka shows the level of her ignorance. Considering the time Sidi goes to
Baroka’s house, one would have thought that she would think about the repercussions or consequences
of that could rise but, no, she fails to do so. Again, she fails to consider that Baroka’s impotence could a
trick to get her. she goes to the house with the intent of making fun of him and that is all. Baroka takes
the opportunity to engage her in a romantic chat, where he promises to make a stamp machine on
which Sidi’s image would be embossed. Somewhat Sidi gets convinced and Baroka takes advantage ,
goes close to her fondles her into erotic mood and eventually rapes her.

Also, the visit of Sidi to Baroka’s house reveals him as a chief or leader who abuses his position. Baroka is
the chief of Ilijinle, and as such, he is the custodian of all the values and traditions of the village. His
therefore expected to lead by example. Unfortunately, Baroka uses his position as the chief of Ilujinle to
abuse a class of the people he leads. Sidi tells Sadiku that she knows that any woman who sups with him
becomes his wife or concubine the next day. By this revelation, it means that Baroka does not marry his
wives in the proper way as custom demands. He forcefully ‘sleeps’ with them before he marries them.
Sadiku herself reveals that “it happens to us “ referring to them, Baroka’s wives.

Again, Sidi’s visit to Baroka’s house creates suspense as readers are anxious to know the outcome of her
visit, thus, whether Sidi will succeed in her mission of mocking at Baroka or she will get devoured by
him.

Sidi’s visit to Baroka’s house to a very large extent tends out to be a situational irony of an event. Sidi
goes there ostensibly to make fun of impotent Baroka only to be raped by that same man.

conclusively, Sidi's visit to Baroka's house is significant because it marks a turning point in the central
conflict of the play and allows Soyinka to explore the themes of tradition, cultural identity, and the
impact of colonialism on African societies.
The significance of the marriage between Sidi and Baroka in the lion and the Jewel

In Wole Soyinka's play "The Lion and the Jewel," the marriage between Sidi and Baroka is significant
because it represents the resolution of the central conflict of the play and allows Soyinka to explore the
themes of tradition, cultural identity, and the impact of colonialism on African societies.

Throughout the play, Sidi and Baroka represent two opposing viewpoints on tradition and cultural
identity. Sidi is a traditional African woman who values her culture and traditions, while Baroka is a
westernized man who is critical of traditional African customs and values.

Their marriage represents the resolution of this conflict, as Sidi ultimately chooses to embrace her
cultural identity and marry Baroka, a traditional African chief. By doing so, Sidi rejects the western
values represented by Lakunle and reaffirms her commitment to her culture and traditions.

Through the marriage between Sidi and Baroka, Soyinka also explores the theme of the impact of
colonialism on African societies. The play is set in a post-colonial context, and the marriage between Sidi
and Baroka represents a reclaiming of traditional African values and a rejection of the western values
imposed by colonialism.

Overall, the marriage between Sidi and Baroka is significant because it represents the resolution of the
central conflict of the play and allows Soyinka to explore the themes of tradition, cultural identity, and
the impact of colonialism on African societies.

Sadiku's second meeting with Sidi and its significance to the development of the play.

In Wole Soyinka's play "The Lion and the Jewel," Sadiku's second meeting with Sidi is significant because
it serves as a turning point in their relationship and helps to further develop the themes of tradition and
cultural identity that are central to the play.

During their second meeting, Sadiku and Sidi discuss the importance of tradition and the role of women
in traditional African societies. Sadiku encourages Sidi to embrace her cultural identity and reject the
western values represented by Lakunle, while Sidi expresses her doubts and fears about the future.

This conversation serves as a turning point in their relationship, as it allows Sadiku to offer guidance and
support to Sidi as she navigates the challenges of cultural identity and the tensions between tradition
and modernization.
Through their interactions, Soyinka also explores the theme of the impact of colonialism on African
societies. Sadiku's counsel to Sidi reflects the challenges that traditional African societies faced in the
aftermath of colonialism, as they struggled to maintain their cultural identity and traditions in the face
of westernization.

Overall, Sadiku's second meeting with Sidi is significant because it serves as a turning point in their
relationship and helps to further develop the themes of tradition and cultural identity that are central to
the play.

The lion and the Jewel as a satire

The Lion and the Jewel is a play by Nigerian playwright Wole Soyinka. It is a satirical work that uses
humor and irony to critique the influence of colonialism and modernization on traditional African
culture. The play centers on the character of Lakunle, a modern, educated man who represents the
Westernized, urbanized values of the new Nigeria. He is contrasted with the character of Baroka, the
traditional and powerful chief of the village, who represents the older, more traditional values of the
Yoruba people. The play also features the character of Sidi, a village schoolteacher and the object of
desire for both Lakunle and Baroka.

In the play, Soyinka uses satire to mock and ridicule the character of Lakunle, who is portrayed as a
shallow, pretentious, and effeminate man who is obsessed with modernizing the village and
Westernizing its inhabitants. Through Lakunle's character, Soyinka critiques the cultural imperialism and
the destruction of traditional African values that often accompany modernization and westernization.

The play also satirizes the character of Baroka, who is portrayed as a lecherous and cunning man who is
more interested in preserving his own power and status than in the well-being of the village. Through
Baroka's character, Soyinka critiques the corruption and self-interest that can accompany traditional
leadership. Overall, The Lion and the Jewel is a satirical work that uses humor and irony to critique the
impact of colonialism and modernization on traditional African culture and to expose the flaws and
foibles of both traditional and modern values.

The lion and the Jewel as an African drama

The Lion and the Jewel is a play by Nigerian playwright Wole Soyinka that is considered an important
work of African drama. The play is set in a Yoruba village in Nigeria and explores themes of tradition,
modernization, and cultural imperialism. A very basic feature of “The Lion The Jewel” which makes it an
African drama is that it presents love and marriage interlaced with the mandatory payment of bride
price. In the African society, the payment of bride price is what makes the foundation of marriage. It is
the payment of it that actually shows that marriage has taken place. Any marriage contracted without
the payment of bride price is not regarded in the African setting. Women who marry without their bride
price being paid are mocked at, and they are believed to have lost their virginity for which reason they
would allow a man to marry them without recourse to payment of bride price. It is for this reason that
Sidi insists on the payment of her bride price by Lakunle. When Sidi is raped by Baroka, she still prefers
Baroka because he will pay her bride price and bring her honor.

Again, the drama is an African piece as it shows the Traditional African Religion. The belief in the smaller
gods and the worship of ancestors is what defines the African people. Africans belief in the smaller gods
to hold people accountable for what they do and what they say. When the village girls come looking for
Sidi to announce the arrival of the stranger and the magazines he comes with, Sidi tells one of the girls
to swear by ‘Sango’ that what they say is true. The lady swears by their god which they believe is a god
of just. Sango is the Yoruba Orisha, a ruler and a wielder of justice. He uses thunder and lightning to
enforce justice. He evoked several times in the drama. First, Sadiku uses him to threaten the obnoxious
Lakunle. Again, Sadiku evokes Sango when she is exulting Baroka’s impotence. “Oh Sango my lord, who
of us possessed your lightning and ran like fire through that lion’s tail..”. Baroka calls on Sango when he
tells Sidi his views on progress.

Furthermore, the drama is considered an African piece because it portrays the African Chieftaincy
institution. In the drama, Baroka is the head of Ilujinle. He is the custodian of the values and traditions of
the land. Leadership in Africa is headed by our chiefs who are highly respected and they hold a lot of
power and influence over their people. When Baroka appears on stage everyone, except Lakunle
prostrates themselves on the ground and in unison they say “kabiese”. It is the responsibility of the
African chief to protect their people, their lands and their customs and traditions. Wole Soyinka
however, indicates that the chieftaincy institution represented by Baroka is power drunk, abusive and it
is the reason for underdevelopment.

Also, the African people are known for their music and dance which is seen throughout the play. In the
first meeting between Sidi and Lakunle, in the course of their conversation over their love and marriage,
a group youths and drummers arrive on stage drumming with excitement and dancing along. Again,
when Sidi goes to meet Baroka in his room, and Lakunle and Sadiku wait outside, there is a group of
mummers and drummers who play to entertain their guest. Sadiku employs Lakunle to give them some
money as tradition and courtesy demand but Lakunle will not hear of it. Sadiku forcefully dips her hand
into Lakunle’s pocket, takes some money and settles the mummers and drummers. Generally, the
significance of the drumming and dancing in the drama is that it is used to communicate coded
information which is mostly understood by very few in esoteric language. Apart from the drumming and
dancing used to communicate strange and coded language, it entertains the readers and audience.

“The lion and the jewel” is an African drama because it reveals the African inheritance system. We are
told in Ilujinle, they practice the patrilineal system if inheritance, that is, they inherit from their father’s
lineage. That is why when Baroka’s father dies and he becomes the chief of Ilujinle he inherits
everything including his wife, Sadiku.

In the play, Soyinka uses the character of Lakunle, a modern, educated man who represents the
Westernized, urbanized values of the new Nigeria, to critique the cultural imperialism and the
destruction of traditional African values that often accompany modernization and westernization. The
play also features the character of Baroka, the traditional and powerful chief of the village, who
represents the older, more traditional values of the Yoruba people. Through the character of Baroka,
Soyinka critiques the corruption and self-interest that can accompany traditional leadership.

The play also explores themes of gender and sexuality, as it centers on the character of Sidi, a village
schoolteacher who is the object of desire for both Lakunle and Baroka. Through the character of Sidi,
Soyinka critiques the objectification and commodification of women in both traditional and modern
societies.

Overall, The Lion and the Jewel is a poignant and thought-provoking work of African drama that tackles
complex and timely themes with wit, humor, and insight.

The lion and the Jewel as a comedy

The Lion and the Jewel is a play by Nigerian playwright Wole Soyinka that is considered a comedy,
although it also contains elements of satire and drama. The play is set in a Yoruba village in Nigeria and
centers on the character of Lakunle, a modern, educated man who represents the Westernized,
urbanized values of the new Nigeria, and the character of Baroka, the traditional and powerful chief of
the village, who represents the older, more traditional values of the Yoruba people.

The play uses humor and irony to satirize and mock the character of Lakunle, who is portrayed as a
shallow, pretentious, and effeminate man who is obsessed with modernizing the village and
Westernizing its inhabitants.

In the first meeting between Lakunle and Sidi near the village school, Lakunle promises to marry to
marry Sidi but refuses to pay her bride price. When Sidi insists that her bride price must be paid so she
can have respect among her people, Lakunle bursts out in rather a verbose language describing the
practice as “a savage custom, barbaric, outdated, rejected, denounced, accursed, excommunicated,
archaic, degrading, humiliating, unspeakable, redundant,” etc. when his done, Sidi questions him “Is the
bag empty”? Lakunle keeps pouring words which do not make sense to Sidi. No wonder Sidi tells him
that his words don’t make sense to her.

Again, when Lakunle tries to praise Sidi, alluding to some biblical figures, he adds Bathsheba to the
virtuous women which is wrong. Bathsheba is not one of the virtuous women in the Bible. He believes
that Sidi is not in the position to unders tand or figure out any error in what he says. The play also
satirizes the character of Baroka, who is portrayed as a lecherous and cunning man who is more
interested in preserving his own power and status than in the well-being of the village.
Despite its satirical elements, The Lion and the Jewel is also a playful and entertaining work, with
colorful characters and a fast-paced plot that keeps the audience engaged and laughing. Overall, the
play is a funny and thought-provoking exploration of themes such as tradition, modernization, cultural
imperialism, and gender and sexuality.

Conflict in the lion and the Jewel by Wole Soyinka

In The Lion and the Jewel, the conflict arises from the tension between the traditional and modern
values represented by the two main characters: Lakunle, a modern, educated man who represents the
Westernized, urbanized values of the new Nigeria, and Baroka, the traditional and powerful chief of the
village, who represents the older, more traditional values of the Yoruba people.

Lakunle is obsessed with modernizing the village and Westernizing its inhabitants, and he sees Baroka as
a backward, oppressive figure who needs to be overthrown. On the other hand, Baroka sees Lakunle as
a shallow, effeminate, and pretentious man who is trying to destroy the traditions and values of the
village.

The conflict between these two characters is further complicated by the character of Sidi, a village
schoolteacher who is the object of desire for both Lakunle and Baroka. Sidi is caught in the middle of the
conflict between the two men and must decide which of them she will choose.

Overall, the conflict in The Lion and the Jewel is a complex and multifaceted one that touches on themes
of tradition, modernization, cultural imperialism, gender, and sexualit

Discuss the setting of the lion and the Jewel by Wole Soyinka

The Lion and the Jewel is set in a Yoruba village, Ilujinle in Nigeria. The play takes place in the late 1950s
or early 1960s, a time of rapid modernization and westernization in Nigeria as the country was emerging
from colonial rule.

The village in the play is described as being a traditional, rural community with a strong sense of
community and a rich cultural heritage. However, the play also depicts the village as being caught in the
midst of change, with modern, Westernized values and practices beginning to infiltrate and disrupt
traditional ways of life.

The setting of the village serves as an important backdrop for the conflict between the two main
characters: Lakunle, a modern, educated man who represents the Westernized, urbanized values of the
new Nigeria, and Baroka, the traditional and powerful chief of the village, who represents the older,
more traditional values of the Yoruba people. The village serves as a little world for the larger cultural
tensions and conflicts that are taking place in Nigeria at this time.
Overall, the setting of the village in The Lion and the Jewel is an integral part of the play, and it serves as
a rich and evocative backdrop for the themes and conflicts that are explored in the play.

Gender issues in the lion and the Jewel

Gender and gender roles are important themes in The Lion and the Jewel, as the play explores the ways
in which traditional and modern values intersect and conflict with regards to gender and sexuality.

One of the main gender issues explored in the play is the objectification and commodification of women.
Both Lakunle, the modern, educated man who represents the Westernized, urbanized values of the new
Nigeria, and Baroka, the traditional and powerful chief of the village, see Sidi, the village girl as an object
of desire and try to win her over. Sidi is caught in the middle of the conflict between the two men and
must decide which of them she will marry.

The play also explores the theme of gender roles and expectations, particularly in relation to the
character of Lakunle. Lakunle is portrayed as a shallow, effeminate, and pretentious man who is
obsessed with modernizing the village and Westernizing its inhabitants. Through the character of
Lakunle, Soyinka critiques the rigid gender roles and expectations that often accompany modernization
and westernization.

Overall, The Lion and the Jewel is a thought-provoking work that explores gender and gender roles in a
nuanced and complex way, and it challenges traditional notions of gender and sexuality.