MAJOR THEMES IN THE PLAY THE LION AND THE JEWEL"
Tradition vs. Modernization
One of the biggest themes in the play is that of tradition versus modernization. The characters all react to each other in relation to this central theme. Modernity, or the modernization of village life, is something that Bale Baroka has been fighting against for some time. The Bale sees progress as an encroachment upon his traditional role as village leader. He scoffs, for instance, at the fact that his workers have joined a union and now demand time off. He gives in to this modern notion, though he dislikes it. Baroka also tricks men from the outside world into not building a railroad line through Ilujinle. Lakunle laments the fact that this railroad line would have brought Ilujinle into modern times, thus securing it a place in the progressive world.
Lakunle is an example of a village inhabitant who desires change. He has adopted the clothing of Westerners and their ideals for modernity. Lakunle is made fun of by the villagers for his mannerisms but is undeterred. He wants nothing more than for Ilujinle to modernize like Lagos and foreign cities. One of the main reasons that Lakun!e wants the villagers to think in modern terms is because he wants Sidi to marry him. She, too, thinks he is mad for adopting the ways of foreigners. Lakunle in turn wishes that Sidi would be like the “new women” he has witnessed in places like Lagos. If Sidi were to cast off traditional roles of womanhood, she would understand his mode of wooing her. Since she has not cast off those roles, she sees his courtship as comical and makes fun of his kissing and fancy words.
Another way that Sidi upholds tradition is by asking for a bride-price for her dowry. Sidi sees the bride-price in a traditional sense, meaning it signifies both her worth and Lakunle’s professed love. Lakunle, however, refuses to pay the bride-price because to him it is an archaic practice that likens women to cattle. Ironically, Lakunle berates Sidi for being a simple woman. He also reminds her that as a woman she is weaker than he is. Despite his modern views, Lakunle still holds traditional notions of femininity and masculinity.
Tradition versus modernization can also be seen in the very act of storytelling. Soyinka’s play uses the structure of the play (which is technically modern), while at the same time, Soyinka uses traditional song and dance motifs throughout the play. This blending of modern and traditional highlights the assimilation process by which Western artistic practices have been adopted in places like Lagos and throughout Nigeria. Song and dance also speak to the ability of tradition to thrive despite the often-negative effects of assimilation. Though Soyinka does not choose one side or the other in the “battle” between tradition and modernization, the play does suggest that, as with the melding of art forms, balance is perhaps the most desirable outcome in any society.
*The Role of Women in Society*
The roles of women in society are often dictated by men within the play. Lakunle, for instance, wants Sidi to be a “new woman,” like the women he has seen in Lagos. As such, Sidi would have to abandon traditional roles of servitude to take her place beside Lakunle. Though he does not technically see Sidi as an equal, Lakunle wants to at least discard some of the roles he finds primitive for women. Interestingly, for Sidi to refuse this type of progress is unacceptable to Lakunle. He likens Sidi to a simple bush-girl for wanting to stick to traditions like a bride-price. Lakunle’s viewpoint highlights the concerning fact that, even in a supposedly modernized society, women’s voices are often not their own.
Sadiku’s character showcases another aspect of women’s roles in llujinle. Sadiku is the eldest wife of Bale Baroka. The task of convincing Sidi to marry the Bale falls to Sadiku. Sadiku tries to convince Sidi to agree to the marriage based on what women in their society should aspire to. For Sadiku, a woman should jump at the chance to become one of the Bale’s wives. For Sidi, the chance is even more important, as she will be the last wife, meaning the next Bale’s head wife. Though Sidi refuses this role, for Sadiku it is desirable above all others. Sadiku’s attempt to convince Sidi highlights how women are often pitted against one another in order to satisfy males—in this case, Baroka. Sidi and Sadiku do not seem to rectify their differences until the play ends with Sidi’s marriage to Baroka, a marriage that Sadiku blesses.
Sadiku’s temporary victory over Baroka is telling of her station in the village. She is taught to make the Bale happy, and even to secure other women at the Bale’s whim. Though she appears to do this without thought, when the Bale lies to her and confesses he is impotent, Sadiku is overjoyed. Her merriment after leaving the Bale highlights a shift in the traditional roles of women in relation to men. Sadiku is happy, vengeful even, in her dance at the Bale’s expense. Her actions outside of the Bale’s home signify the deep-down resentment of womankind, which she later alludes to. In Sadiku’s view, women hold powerful roles in society. They can give and take life, and Baroka’s “life essence” has been taken. Her dance underscores the power divide between women and men, and between master and servant.
*The Politics of Power*
The politics of power can be seen in many of the themes within the play Baroka’s reasoning behind not wanting Ilujinle to become modernized is due in part to his desire for power. If Ilujinle were to modernize and the villagers to seek information elsewhere, the Bale would lose his authoritative role and his purpose. Baroka alludes to this several times when discussing modernization with Lakunle. The tale that Lakunle relates to Sidi, about the Bale tricking the railroad men, is also an example of the politics behind power. Through deceit and bribes, Baroka stops the railroad from coming so close to Ilujinle, thereby buying himself more time to live as he pleases.
By focusing on power, however, Baroka seemingly places the needs of others in the background. Baroka’s refusal to allow the village to modernize means that the villagers, too, remain without progress. The play does not say if progress is positive, or even if it is needed, but the fact that the villagers have no voice in the decision as to whether they will become more modern is telling. Modernization can bring a sort of democratization to life in lujinle. Though this freedom of thought might not bode well for Bale Baroka, it signifies possible progress for individual freedoms. Nowhere would these individual freedoms be more liberated than in the predatory nature the Bale appears to have toward the beautiful women of Ilujinle. Sidi, though naive and vain, is tricked by the Bale into making love to him, and later becomes one of his wives. Though the play might highlight the comical aspects of youth and old age, it also shows the plight of women in the grips of powerful men. To Bale Baroka, winning means obtaining his jewel, Sidi, at whatever cost. In this sense, Sidi becomes a commodity, an object. This is exactly the type of thing that Lakunle wants to do away with when he refuses to pay the bride-price for Sidi. He equates paying the bride-price to reducing Sidi to cattle (an exchangeable object). The struggle between Lakunle and Baroka for Sidi’s hand is a struggle of power politics.
The Importance of the Past
Though much of the play addresses the themes of modernization and gender roles, Soyinka nods to the past several times by having traditional song and dance elements flesh out the past through acts within acts. The history of Ilujinle, including the actions of several characters such as Sidi and the Bale, is retold through song and dance, making both song and dance powerful forces that connect the present to the past. The play itself rests on the events of the past, so much so that they are brought up in the play to better flesh out the events that are being enacted. The play seems to suggest that though modernization may bea good thing for the village and for those who inhabit it, the past should not be forgotten—that a future without its past traditions would signify an artificial progression.
Soyinka also uses the devices of song and dance within the construct of a modern art form: the play itself. Soyinka’s use of song and dance symbolizes how important past art forms and methods of storytelling are to both present and future forms of storytelling. In this way, he demonstrates that Nigerian theater can effectively embrace its rich past while also adopting Western forms of storytelling. The result can produce a richer story imbued with past and present touchstones.
The Power of Language
Language is used throughout the play with both serious and comic effects. As a representative of modernization and the West, Lakunle uses flowery language to woo Sidi. His adoption of Western tropes, including romantic language and hyperbole, have an entirely comic effect both on Sidi and the overall play. Lakunle is an individual both trying too hard and steadfast in his desire to “improve” through progress. Lakunle also believes that if Sidi were to adopt more Western beliefs, his entreaties might not fall on deaf ears. As such, Lakunle’s belief in modernization is also a belief in the transformative powers of language. In the very way that Lakunle improves himself by studying language, he hopes the village of Ilujinle will modernize by listening to his words on progress and modernization.
The play also uses allegory and local sayings to reinforce the meaning behind characters’ words. These allegories are often comical as well, and relate to the fact that the natural world produces the content which language itself defines. As such, language works as a device to better define and explore meaning within each of the relationships in the play. As the title suggests, the play is about a jewel and a lion. These tropes are fleshed out through language within the play. The literal power of language is also evidenced as the Bale uses language to seduce and trick both Sadiku and Sidi. Though the Bale resists modernization, he effectively takes on the role of the schoolmaster Lakunle by using flowery speech to “win over” the two women. In this instance, language can also be viewed as a powerful deceiver in the wrong hands.
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