Wole Soyinka (1934-Present)

 

 
Wole Soyinka was born on July 13, 1934, in Abeokuta, Nigeria, near Ibadan. After completing his undergraduate studies at Government College in Ibadan in 1954, he went to the University of Leeds, where he earned his Ph.D. in 1973. During his six-year stay in England; he worked as a dramaturg at the Royal Court Theatre in London from 1958 to 1959. He received a Rockefeller bursary in 1960 and went to study African play.
Simultaneously, he taught theatre and literature at a number of institutions in Ibadan, Lagos, and Ife, where he has been a professor of comparative literature since 1957. He formed the theatrical group “The 1960 Masks” in 1960 and the “Orisum Theatre Production” in 1964, both of which he has written his creative plays and acted in. He has been a visiting lecturer at Cambridge, Sheffield, and Yale universities.
During Nigeria’s civil war, Soyinka called for a cease-fire in an article. Because of this, he was caught in 1967, accused of plotting with Biafra insurgents, and imprisoned as a political dissident for 22 months until 1969. Soyinka has actually published about 20 works, including plays, novels, and poetry. He writes in English, and his literary style is distinguished by its comprehensiveness of vocabulary.
Soyinka’s work as a playwright has been influenced by writers such as J.M. Synge, but he also draws on traditional popular African theatre, which combines dance, rhythm, and movement. He grounds his works on the Yoruba tradition, with Ogun, the deity of iron and war, in the center. During his stay in London, he composed his first plays, The Swamp Dwellers and The Lion and the Jewel (a light comedy), which were produced in Ibadan
in 1958 and 1959 and were published in 1963.
The Lion and the Jewel (1962)
     ‘The Lion and the Jewel’, is a light comedy play set in the Yoruba hamlet of Illumine. Nigeria revolves around four major characters: Baroka, the elderly chief of Illunjire; Lankule, a teacher; Sidi, the town belle; and Sadiku, Baroka’s eldest wife. The interplay and confrontation between the characters depict an African town attempting to break out from its traditional beliefs and customs while yet wishing to preserve its tradition. It represents the African continent, which is divided into two camps: contemporary enthusiasts and African traditionalists.
Lakunle, 23, is a young man who embraces modern culture. He is educated, fascinated by modern technical progress, and drawn to the modern way of life. He embodies the younger generation, which rejects its custom in favor of Western Society
Baroka, on the other hand, is a conservative who is opposed to his town being impacted by western society. He used his position and skill to prevent Lakunle, the modernist, and the Ministry of Transportation from simplifying the community.
Sidi symbolizes the younger generation who preserve their traditions while being drawn to some aspects of modern society.
Lakunle and Baroka are both interested in Sidi. Lakunle entices Sidi in a gentlemanly (western-style) manner, whilst Baroka employs deception and finally molests her. In the end, Sidi agrees to marry Baroka.
The supremacy of tradition over modernity is demonstrated by Baroka’s marriage to Sidi.
‘Tradition vs. Modernity: Wole Soyinka’s The Lion and the Jewel,’ writes Ashli Watts in her journal essay.
"The overall plot of the play, Lakunle and Baroka's fight for Sidi's love, displays another confrontation between tradition and modernity. Between the two of them, Sidi has to choose between having a modern or a traditional marriage. Lakunle's refusal to accept tradition causes modernity to falter...His choice for modernity leaves the door open for Baroka to enter. Knowing the rules of tradition and using Sidi's ego against her, Baroka knows that if he can seduce Sidi, she will not have a choice in marrying him because she will no longer be a maid. This is the battle which causes tradition to triumph over modernity."
In the play, Baroka is shown as a lion, whereas Sidi is presented as a jewel. It’s a narrative of the village chief’s lion, Baroka, on a quest to claim Sidi, the village’s belle. As his next bride. Despite Sidi’s rejection to marry Baroka, Bale is able to secure the young lovely girl’s permission to marry.
The playwright’s use of symbolism in the formulation of the title of the play depicts a continent divided into two groups- modernists vs. rationalists. It depicts the older generation’s struggle to save the new generation from being fully engulfed by Western society. The play’s climax reflects the playwright’s pleasure that Western civilization has not succeeded in replacing African traditions.