The Lion and the Jewel by Wole Soyinka

¶ … Lion and the Jewel by Wole Soyinka. Specifically it will discuss the influence and interaction of European dramatic art on the novel. The entire premise of this novel is built around European dramatic art. The main characters, Sidi and Lakunle are at odds about their beliefs and ways. Lakunle is well educated and the village teacher. He wants to bring European (modern) ways to the village, and he believes that this in inevitable. Sidi, on the other hand, is not educated, and she sees Lakunle as crazy and outlandish, showing the fight between modernization and traditional culture in Africa. The play utilizes many facets of European dramatic art, combined with traditional African art to make its point.

European art is the basis for much of this African play. For example, many times throughout the play, Soyinka uses European dramatic devices, such as mime and dance to move the action forward. His direction notes say, "Lakunle directs their spacing, then takes his place in the middle, and sits on air. He alone does not dance. He does realistic miming" (Soyinka 14). Ancient Greeks and Romans used mime in their theater, so it is a long-standing tradition in European theater that Soyinka employs in his drama. The fact that the drama is in English and uses traditional western staging and direction is a testament to western influences and direction, as well.

Another aspect of the play that celebrates European art is the drama itself. Plays and dramatic plays also grew up in Greek and Roman times, survived through the Middle Ages, and were perhaps at their height when Shakespeare wrote them in England during the 16th century. This African author is using tools developed in Europe to tell his story, and he blends African culture and tradition with European tools to create a drama that transcends both cultures. He is attempting to show the differences between 1950s Africa and the rest of the world, and he uses European dramatic techniques to show the vast differences between the two cultures.

In addition, he uses Western references, such as to the Bible, which Sidi does not understand or want to learn. This indicates how African culture does not want to learn from the West, even though the West will heavily influence them, just as the author has been. Soyinka grew up in Africa and graduated from college there, but continued his studies at Leeds University in England, obviously influenced by European and Western culture. He won a Nobel Prize in 1986, and is recognized as one of Africa's most well-known playwrights. He incorporates western themes and values in many of his works, including this play, which is one of his most well-known works (Brians).

Another aspect of European art is the magazine that catapults Sidi to village stardom. The photographer uses modern technology to capture her image and her beauty, again illustration how European culture is enveloping the African continent. Sidi cannot stop looking at herself in wonder and awe, and it brings her to the attention of the village leader, who eventually seduces her and makes his/her "final wife," a supreme honor. The differences between European culture and African culture could not be more obvious. Sidi comes from the "bush" mentality, where multiple marriages is accepted and approved, yet western technology is what brings her to the attention of the village leader. It is a classic East meets West clash of cultures and values, and the author uses European art and technology to show how Africa is going to have to change, whether the people want to or not.

The use of European art and culture throughout the play represents change, and so does Lakunle. He envisions a more western way of life for the village, even though the villagers do not share his vision. Soyinka writes, "LAKUNLE: [with conviction.] Within a year or two, I swear, / This town shall see a transformation / Bride-price will be a thing forgotten / and wives shall take their place by men. / a motor road will pass this spot" (Soyinka 36). The bride price is only one aspect of culture Lakunle wants to change. He feels it is outmoded and demeans women, but Sidi cannot see that, and demands that he recognize her value by paying the bride price. This is something that would never be tolerated in western culture, so it shows the great differences that will come to Africa, and how those differences will affect her people. Lakunle is really a voice for the future, but his voice also dooms traditional African culture, which is at the heart of this play.

The author uses prose for his dialogue in many areas of the play, another European artistic element. The characters speak English, and speak it rhythmically, as well, which comes from early Greek and Roman drama, as well. The use of miming, dancing, and other elements to tell the story adds texture to the play, and blends the African elements quite effectively. Later in the play, Soyinka uses mummers to extend the action of the play and celebrate the "fall" of the lion and his supposed impotence. Mummers were also a European traditional art form that began in Greece and spread to other parts of Europe, including England. The mummers create another sort of mime on the stage while they move the action forward, and they indicate how much the author was influenced by his time spent in Europe continuing his education.

The ending of the play seems to be the denouncing of the European influences and artistic references throughout the play. In choosing the Bale over Lakunle, Sidi is choosing the traditional way of life over the modern way of life. She sees the European ways that Lakunle represents as weak and unfulfilling, while the traditional African ways the elder Bale represents are invigorating and strong. She is contemptuous of Lakunle, even though he vows he loves her despite her loss of virginity. She sees that as weak, and says she would never marry a weak man. The entire play is based on the clash between these two values, and it uses European art and culture to get these messages across to the reader. Without European art forms, like drama and mime, the play would not exist, so it is an excellent example of how two cultures can blend to create works of art.

The play uses other dramatic forms, as well. The Greeks often used choruses in their ancient dramas to help explain the action and move the action forward. In this play, the miming and mummers act as a form of a chorus. They move the action forward and help explain it, while the actors stop their participation for a scene or two. Many playwrights have used this ancient dramatic form throughout the ages. Soyinka seems to salute the great dramatic arts with his use of these devices, and without European dramatic art development, these devices would not exist, and would not add texture and drama to this play.