Introduction to Lion and the Jewel Summary
Lion and the Jewel Summary is illustrates in three part, which are:
- Lion and the Jewel Morning Summary
- Lion and the Jewel Noon Summary
- Lion and the Jewel Night Summary
Background of the Playwright
Wole Soyinka is a Professor of English. He is a “master playwright”. Besides, he is a social critic. He was born in Abeokuta in 1934. He had a secondary school education at Government College, Ibadan. Soyinka attended both the University of Ibadan and Leeds University, Britain, for university education.
Wole Soyinka is Africa’s greatest playwright, apart from being a talented poet and novelist. The message of his literary works are very unique. Again, his style of writing are greatly special. And these have been to the interests of literary scholars all over the world. All these qualities in Soyinka earned him he Nobel Prize for Literature in 1986. Soyinka is the first African to win this famous World Literature Prize.
Almost all Soyinka’s plays are satires. The satires often spell out the fact that Africa’s cultural, human and environmental developments are caused by African elites, African rulers, as well as the ordinary African citizens. So, Wole Soyinka’s The Lion And The Jewel is a masterly satire. In the play, Soyinka satirizes African leaders’ attitude of neglect of the basic needs of the common man. The play also satirizes young African elites who always look down on African culture. Youths that often allow exuberant traits to sink their stars are satirized too. The Lion And The Jewel satirizes the class of African leaders known for conspiracy attitude, against youth’s growth.
Lion and the Jewel Summary (Morning, Noon and Night)
Lion and the Jewel Summary Morning part.
This part called “Morning” opens with Sidi and Lakunle near the Village School building. Close to the Village Centre, Sidi carries a pail of water on her head. Lakunle removes the pail off Sidi’s head and repeats his advice to her not to carry load on the head. Instead of using tactics of romance to convince Sidi on the bad effect of load -carrying on the head, Lakunle just continues to abuse Sidi. He says Sidi is as stubborn as an illiterate goat.
Lakunle’s statement is a piece of invective. It is so, because Sidi is truly an illiterate. Here, Lakunle is shown as a tactless and unromantic character.
Next, Lakunle takes on Sidi, on the issue of dressing. He accuses Sidi of exposing the curves of her breast, below the fold of the wrapped Here, Lakunle is objecting that Sidi’s breast should not be for the public to see. He totally refuses to take Sidi’s explanations that she has tried her best to cover her chest and breasts. Lakunle insists that Sidi’s dressing is like going about nakedly. As such, Sidi has been ignorantly giving excuse to the people of llujinle to gossip at Sidi, as an immodest girl.
Lakunle is a jealous and over-critical character.
Sidi gets annoyed. She then describes Lakunle as a mad-man. Lakunle again replies by describing Sidi and everybody at llujinle Village as uncivilized.
Here, Lakunle is hown as a heady and dis-respecfful character.
Sidi’s annoyance increases. She attempts to beat up Lakunle. Lakunle stops her, saying Sidi wants to attempt what her small brain cannot do. This makes Sidi again to agitate that Lakunle is not wiser than her. She then asks for her pail and warns Lakunle never to talk to her again.
The way Lakunle relegates Sidi above illustrates him as a male chauvinist. And the way Sidi argues reasonably for herself illustrates her as a no-nonsense character.
At this juncture, Lakunle pleads with Sidi not to be angry with him. He swears that he does not mean to say Sidi’s brain is small. But he is referring to the females generally. He supports himself with the analogy that the female is called the weaker sex, because of her small brain. Sidi disagrees with Lakunle that the female is not weak. She illustrates herself with how the female labours so hard to cook, farm and nurse babies.
Sidi is an analytical character.
Lakunle then cashes-in-on Sidi’s analyses and assures that machines will soon be available to take care of her cooking. This looks impossibe to Sidi and she accuses Lakunle of planning to turn the world up-side down. Confidently, Lakunle vows to turn the whole of llujinle inside out. He swears to deal with Baroka the Bale of llujinle Village.
Lakunle’s vow noted above illustrates him as a goof and suicidal character This is because it is a great wonder for "a single ordinary man" to claim the capacity to deal with a ruler of a people!
By now, Sidi asks Lakunle how he comes about his ideas of transforming things! He replies Sidi that the transformations he talks about have already taken place in Lagos, Badagry and other closer towns to llujinle. Sidi then tells Lakunle to leave llujinle for any of the transformed towns. She thereby asks Lakunle to release her pail. This time, Lakunle asks Sidi to swear to marry him. Sidi swears Yes. Lakunle then reads a romantic poem to abuse Sidi as a bush-girl. Using the proverb of the snail that changes its base on discovering harmful danger, Sidi asks Lakunle to leave Ilujinle and her bushy Villagers, to where people are not bushy.
Sidi's analogy illustrates the device of aphorism. The aphorism confirms Sidi as an analytical character.
Once more, Lakunle tries to praise Sidi with some romantic words and persuades her to promise to marry him. Sidi again promises to marry him, anytime he is ready to pay bride-price to her parents. She explains to Lakunle that she will be taken for a dis-virgined girl, if she marries without a bride-price. Lakunle just tells Sidi off that the custom of payment of marriage bride-price is bad.
Sidi's insistence on payment of bride-price shows her as a firm character. Lakunle's condemnation of the custom illustrates him as an hermit.
Still, Lakunle does not try another method to convince Sidi. He is armed with the explanation that bride-price payment is like buying a wife, as a slave. He then promises to make Sidi a civilized wife, who will always dress elegantly. He promises to teach Sidi many European dance forms. Sidi will also be attending night-clubs on weekends. He then tries to kiss Sidi. But Sidi dodges. Lakunle again gets annoyed and calls Sidi a bush-girl. Sidi does not take the incident lightly. She too calls Lakunle a mad-man. She even blames the people of llujinle for allowing Lakunle to be their children’s teacher.
Sidi has not finished dealing with Lakunle, when her three friends lead a crowd of villagers to the stage. The crowd appear to have been searching for Sidi to inform her of the arrival of “the man from the outside world” The man had taken her photograph, when he first came to llujinle.
The man from the outside world, must have been a Lagos photo journalist.
The girls further inform Sidi that the photo journalist rode on a motorcycle. They describe it as an iron-horse with two feet. The journalist is then reported to have brought a magazine containing Sidi’s picture on its front cover and centre-spread. However, the magazine contains a small size picture of Baroka which is placed near the Village latrine.
The emphasis on the location of Baroka's picture illustrates the use of the device of high burlesque. The burlesque indicates that Sidi has become more important than the Bale.
With these pieces of information, Sidi proudly takes herself as the most important person in llujinle. She then informs Lakunle that she no longer wishes to marry an ordinary teacher, who cannot afford to pay marriage bride-price.
For quickly considering herself as the most important person at llujinle because of her beauty, Sidi is illustrated as an irrational character.
Under the aura of her new personality, Sidi tells the crowd that she wants them to stage the mime-dance called “The Lost Traveller”. Again, Sidi orders Lakunle to take part in the dance. The dance represents a mime of the first time the photo journalist (i.e the man from the outside world) came to llujinle, in a motor car.
The dance of "The Lost Traveler is a flashback to the suffering encountered by the Lagos photo-journalist, on his first arrival at Ilujinle. Then, it appeared that the journalist did not first meet with the Bale of Ilujinle before conducting his business. He just went round taking Photographs. As he was busy with his job, he heard a girl's scream in the bush. He followed the direction of the scream. Close by, the journalist beheld a girl, who possibly was naked . So, he prepared his camera to snap a nude picture of the girl. The girl again screamed harder. Possibly, her scream attracted some people who over-powered him. He was taken to the Bale, who must have accused him as a thief and rapist. And he must have been disgraced, before he was allowed to conduct his business. Again, the journalist must have been given such a chance, on the condition that he must come back to present complimentary copies of his magazine to the Bale of Ilujinle. Since the journalist's departure his suffering must have been turned into a dance-mime called "The Lost Traveller" by Ilujinle Villagers.
Happily, Lakunle leads the other four characters and “The Lost Traveller Dance” is mimed. The four girls mime the movement of the four tyres of a motor car. Lakunle acts as the driver of the car, car owner, and the stranger. At a stage, the mime-car stops and Lakunle alights graciously. He looks round graciously too. Possibly he remembers his pupils at school, Lakunle then refuses to continue with the dance. He tries to leave. But Bale Baroka appears with a small crowd of people. As Baroka sits down and everybody greets him either by prostrating or kneeling down, Lakunle only bows. He then tries to leave the stage. But Baroka orders him to go on with the mime dance.
Lakunle is illustrated as a proud and contemptuous character, in the way he refuses to prostrate to Baroka.
Lakunle continues with the dance. Immediately, Baroka orders his bodyguards to teach him a lesson. As the mime gets to the stage, the lost traveller wanted to take the nude photograph of the girl screaming in the bush; Lakunle is seized. He is made to prostrate before Bale Baroka. The Bale then accuses him of an attempt to rape the most beautiful girl in the Village.
This is a flashback to the arrest of the lost traveller, as he was about take the screaming girls’ nude photograph. The flashback is a trick of Baroka to discredit Lakunle,before his villagers. Consequently, Sidi whom Baroka plans to make his next concubine will be free from the influence of Lakunle.
Truly, the villagers get angry against Lakunle as soon as Baroka accuses him as a rapist. They try to beat him up, until he finds his way out of the gathering to his house. At this point, only Baroka and his wrestler are left on the stage. From there, he decides to make Sidi his next concubine.
Baroka is illustrated as a lustful character by the way he destroys a virgin among his subjects every five months.
Lion and the Jewel Summary Noon part.
Sadiku the first wife of Baroka is introduced in this part. She has a message for Sidi from Baroka. On meeting Sidi in the company of Lakunle around the market, Sadiku delivers the message that Baroka wants to marry her. Lakunle is mad with anger on hearing this. But Sidi calms him down. Lakunle then begins to call Sidi some good female names from the Bible. Sidi rejects the names and maintains that she is Sidi the beautiful and lovely jewel, according to the description of the Lagos photo journalist.
At this juncture, Sadiku chips in to ask Sidi to marry Baroka. Sidi replies no. She says Sadiku cannot trick her for Baroka.
The way Sadiku is always happy in trapping-down young virgins of Ilujinle into useless marriage to Baroka illustrates her as a wicked and sadistic character.
As Sadiku’s first approach fails, she tries to spin Sidi’s head. She describes to her all the enjoyments in the position of the last wife of the Bale. For instance, the last wife is the Bale’s favourite. As the favourite wife sleeps in the same house with the Bale, so will it be for Sidi. Again, Sadiku states that the favourite wife at Bale’s death has the opportunity to become the first wife of a new Bale. She even states that she has been Baroka’s first wife for the past 41 years.
The culture of wife inheritance is practised at Ilujinle.
Sidi declines to marry Baroka. She tells off Sadiku that Baroka is a sheer opportunist who wants to ruin her life and particularly destroy her fame. Remember, Sidi has just become famous through the publication of her photograph by a Lagos photo journalist. Sidi rests her case on the analogy that Baroka should have proposed to her before that time, if he is truly sincere to marry her.
Sidi's argument that Baroka wants to ruin her illustrates her as a thoughtful character. The argument also illustrates the device of authoral intrusion. With the intrusion, Soyinka is categorical that there is no lasting marriage happiness that a 62-year-old man can give an 18-year old bride. Therefore, a theme of the play is shown: African leaders' selfishness is preventing African youths' growth.
Sadiku is surprised at the analytical way with which Sidi rejects Baroka’s marriage proposal to her. Sadiku then accuses Lakunle as the brain behind Sidi’s action. So, she attempts to beat him up. Sidi still treats Sadiku to further surprises. She sends her back to tell Baroka that he is too old for her. Well, Sadiku is short of words. She just concludes that something is wrong with Sidi in the head. As she wants to return home, she thinks of another trick and turns back to Sidi. This time, she briefs Sidi that Baroka has invited her to a supper feast that night; in case Sidi rejects Baroka’s marriage proposal.
Sadiku is a clever trickster.
However, Sidi too turns down the invitation, saying she is matured enough to conceive Baroka’s act of deception in invitation of young girls to supper. Sadiku does not convince Sidi. And Lakunle too supports Sidi’s opinion that Baroka is called a fox because of such cunny acts and deception.
Lakunle's description of Baroka as a fox is a piece of symbolism. Baroka is illustrated as a deceitful character with symbolism.
Furthermore, Lakunle gives a flashback of how Baroka bungled the plan to build Railway line through llujinle. He emphasises that Baroka used tricks to bribe the European surveyor that came to mark the site of the railway tracks. Baroka is said to have offered the surveyors presents of money, fowls, goats and drinks. By Lakunle’s conclusion, Baroka stopped the railway project for llujinle, because the civilisation to come with it will expose his selfishness.
This flashback is the device with which Soyinka satirizes African Leader's corrupt attitude. Hence, the flashback illustrates the theme that: African leaders often neglect their subjects' basic needs for selfish reasons.
The scene has shifted to Baroka’s room. Baroka is relaxing with his latestfavourite wife. The woman is engaged in pulling dirty hairs off Baroka’s arm-pit. At first, Bardka has been commending the Favourite. Suddenly, he announces his wish to take a new wife that evening. He does not even consider the feeling of the Favourite. As soon as Sadiku returns from the trip to Sidi, Baroka sends away the Favourite from the room, without any regard.
First, Baroka is illustrated as a wicked character judging by the way he breaks women's heart, at will. Two, he is a male chauvinist judging by the way he treats women with disregard.
Sadiku reports back that Sidi firmly refuses Baroka’s marriage proposal. Baroka disregards the firm refusal as the usual ritual for a woman that will fall in love.
This conclusion illustrates Baroka as a lusty character.
Furthermore, Sadiku reports to Baroka that Sidi described him as an old man. He gets annoyed. He then begins to list all energetic activities he has recently done. Baroka recalls how he recently beat every llujinle man in weight lifting of logs of wood. He claims he often hunts in the company of powerful wild animal hunters. He mentions his recent climbing exercise, as well as how he always tires out any of his wives, during sexual intercourse.
All the above notes illustrate Baroka as a boastful character.
Next, Baroka looks at both his, and Sidi’s pictures to confirm the correctness of Sidi’s description of him as an old mån. He then tells Sadiku that he would have been satisfied to have become old, if Sidi had agreed to marry him, and later he failed to satisfy her sexually.
Baroka's lament here illustrates him as a greedy character.
Carefully; Baroka continues to lament that a kid such as Sidi is mocking his sexual ability. Sadiku in turn continues to sympathize with him. Baroka comes up with a cunny solution, on how to trap Sidi. The solution is that Sadiku should go and brief Sidi that he has become sexually impotent. As such, Sidi might be tempted to come and make jests of him. Thereby, she will not leave Baroka’s chamber with her virginity
This solution illustrates Baroka as a master trickster.
Night part Summary in The Lion and The Jewel
The first scene of this “Night Part” of The Lion And The Jewel takes place at the Village Centre, near the school room. Sadiku enters the stage with a carved naked image of Baroka. She then starts to dance round it, like a mad fellow. As she dances, she continues to shout that Baroka has become a sexually impotent man, due to his greed and lust for women. She even gives herself glory for rendering Okiki, the father of Baroka impotent as the then favourite wife.
The above revelation of Sadiku shows that Baroka inherited Sadiku as wife after the death of Okiki - his fathen As such, wife inheritance is a part of marriage customs at llujinle.
Shortly, Sadiku’s mockery making attracts Sidi from the school room. As Sidi comes nearer her, Sadiku congratulates Sidi that the females of llujinle have won a war. She stops and continues her moékery dance, until Sidi stops her and forces her to make a clear sense of what happened. In whispers, Sadiku says Baroka has become impotent. Sidi then asks why Baroka should propose marriage to her, as an impotent man. Again, Sadiku deceptively answers Sidi in whispers. And as if Sadiku be-witches her, Sidi simply agrees with Sadiku that Baroka has truly become impotent.
With the simple mind with which Sidi believes Sadiku, Sidi is illustrated as a feeble-minded character. For the troubles taken by Sadiku to deceive Sidi, Sadiku is a trickster like Baroka.
Lakunle joins them. On seeing Lakunle, Sadiku tries to scare him away, so as not to influence Sidi. But Lakunle is not afraid. He even vows to deal with Sadiku like a man, if she dares him. Sadiku cashes-in-on how Lakunle declares himself as a man to repeat the message that Baroka is no longer a man. By now Sidi has made up her mind to go and mock Baroka directly, inside his palace. Lakunle tries to persuade Sidi from going to Baroka’s place. However, he too does not suspect the trick in the ånnouncement of Baroka’s sudden sexual impotence. So, he is unable to offer a persuasive warning.
N.B. One, Sidi's decision is silly. So she is illustrated as a foolish and vainglorious character. Two, Lakunle too is illustrated as an unexposed and feeble-minded character. This is because of his inability to suspect that Sadiku wants to trap Sidi into Baroka's bed With the way Sidi cheaply falls for Sadiku's trick, a theme of the play is illustrated thus: habit of vainglory is a ready-made path to destruction. Two, the feeble-mindedness of both Sidi and Lakunle illustrates the theme that: Youthful exuberance is not enough to enforce a social change.
Only Lakunle and Sadiku are left together, as Sidi rushes to Baroka’s palace. Lakunle vows to put Sadiku into trouble, if Baroka should maltreat Sidi. But Sadiku just continues to mock Lakunle. First, she said Sidi is already enjoying supper with Baroka. Again, she describes Lakunle as a poor fellow who could not afford payment of marriage bride-price. She even advises Lakunle to engage in farming to make money for a marriage bride-price. Finally, Sadiku teases Lakunle as a practical reformer.
Lakunle jumps at Sadiku’s compliment. He then begins to list all the transformations he will bring about at llujinle. He vows to cancel bride-price. The law of one man, one wife shall prevail. A wife will be equal to the husband. Roads shall be built and cars will be provided forru/ers. Meta/ cooking utensil shall replace clay ones. Printing of newspaper sha// be introduced. People will know how to make cocktail parties and dance European dances. Conclusively, he vows to introduce adult literacy education and the 70 yearold Sadiku will be the first pupil.
Here, Lakunle is illustrated as a confused and vainglorious character.
The second scene of the “Night Part” of The Lion And The Jewel takes place inside Baroka’s palace. Sidi arrives there, when Baroka is having a wrestling contest. The home is empty.
Baroka must have pre-arranged the situation, in order to prevent Sidi from suspecting his trick to trap her.
On her entry, when Sidi greets, Baroka pretends as if she is an unwanted visitor. He accuses her of intruding into his privacy. Foolishly, Sidi again waits after the challenge, under the pretext of watching the wrestling competition going on, between Baroka and a wrestler. Later, Sidi announces that she has come to honour Baroka’s invitation. She pleads with him to disregard her childish no-answer, previously sent through Sadiku. Here, Baroka lies that Sadiku has not delivered any message to him.
Baroka is illustrated as a pretender and clever character.
Next, Sidi attempts to remind Baroka of his marriage proposal. But she stops mid-way, as Baroka seems not to comprehend her mind-set. Later, Sidi gets annoyed by Baroka’s comment that his bedroom is not a place to be entered unannounced. Instead of living the palace at this stage she does not Impulsively, she waits. She determines to talk on with Baroka, until she will have the opportunity to mock him for his sudden sexual impotence.
Sidi is a naive character.
At last, Baroka’s mood of anger has calmed down and Sidi is no longer afraid. Baroka has even asked her to sit down to watch his wrestling exercise. By the by, Sidi and Baroka begin to make conversation in proverbs as the wrestling goes on. At a point, Baroka steers their conversation to the subject of changing wives and wrestlers.
Baroka is a tactical character and goal-getter.
When Sidi asks if Baroka is already planning to change either a wife or wrestler, he replies with a proverb. The proverb can be intepreted as Yes. This annoys Sidi and she tries to withdraw away. Childishly, she still returns to confront Baroka in riddles. Here, Sidi requests to seek Baroka’s advice as a father, on how to go about a marriage proposal from a greedy old man, who already has many wives. Sidi then asks if Baroka will pay dowry to the man and bless her marriage to him, if he were his father.
Under llujinle marriage customs, the parents of the bride usually pay dowry to their daughter's would-be-husband. Dowry implies the first belongings which the bride will take to her husband's house at wedding.
To Sidi’s point of riddle, Baroka does not give a straight forward answer. He only prods Sidi with questions to know if the man is old, miserly and selfish. Sidi replies yes. She also indicates that the man never gives out, except he is sure to get some returns over what he gives out. Baroka becomes angry and throws his wrestling partner. Sidi becomes excited as Baroka wins his opponent.
Baroka displays anger because he understands that he is the man whom Sidi refers to using the innuendo in her riddle. So, Sidi's riddle illustrates the use of the device of innuendo. Again, Baroka's anger because of the innuendo illustrates him as an egocentric character Sidi's unnecessary excitement at the end of the wrestling confirms her feeble-mindedness.
Baroka is still painful about Sidi’s riddle. So, he suggests that the man’s enemies might be saying all those bad things against him. On noticing that Sidi is not attentive, Baroka again asks about the man in her riddle. He asks if the man is brave, wise and sexually potent by his wives’ assesment. Sidi replies that the man is brave, because his room is full of decorations of skins of wild animals. She also says the man is as cunny as a fox, because he is fond of eating newly-hatched chickens. And she further replies that the man can no longer be considered a sexually potent fellow, because it is over two years a naming ceremony has last been celebrated in his house. Baroka outright stops the riddles and jokes exercise. He charges that Sadiku has revealed his secret to Sidi. But Sidi denies. Baroka then condemns Sadiku as a bad woman. He later shouts at Sidi, with the vow to deal with any woman caught talking carelessly about him.
Baroka's condemnation of Sadiku is fake. Everybody except Sidi knows that Sadiku and Baroka together planned the trick already working on Sidi. So, the situation illustrates the device of dramatic irony. Baroka is only putting fearin Sidi's mind by shouting at her. So, he is illustrated as an artful schemer.
Meanwhile, Baroka has sat on the bed after sending the defeated wrestler to fetch palmwine into the room. Then he tries to prod Sidi more to make.her state, if she knows why he has invited her. Sidi replies that Sadiku told her nothing. Baroka too says he has not asked Sadiku to say anything. Again, Baroka asks if Sadiku told some stories to Sidi. Sidi replies no, except the message Sadiku delivered to her that Baroka begs for her presence for supper, at the palace.
Baroka feels be-littled that he is begging to see Sidi. He therefore condemns Sadiku as a busy-body who goes about with careless talks which always make strangers to troop into his palace bedroom. Sidi childishly sympathises with Baroka. Quickly, Baroka expresses the hope that Sidi is not a busy body. One more, Baroka spins Sidi’s head by complimenting her that he does not know that she is clever and wise. He then asks Sidi to draw nearer the bed. By the by, Baroka brings out the photo magazine and an envelope with a stamp. He later points to Sidi to behold a machine in the corner of the room. Baroka then tells Sidi that the machine is for printing postage stamps.
Baroka is a criminal for printing government stamps by himself.
At long last, Baroka tricks Sidi to move nearer him as he tests the machine for her to see. In a romance way, Baroka promises to print a stamp with Sidi’s picture for mail-delivery round the country. By now, Sidi has sat down on Baroka’s bed, while he is still standing in the middle of the room. He turns and faces Sidi directly and addresses her on how he will improve the welfare of llujinle, as Lakunle always emphasises.
Baroka's linkage of his idea to Lakunle's advocacy is a piece of humour. Baroka appears to be indirectly mocking that Sidi has already fallen into his trap.
The wrestler mistakenly drops his cup on hearing Baroka’s welfare plan for llujinle. Baroka quickly sends him out. Thereafter, Baroka joins Sidi on the bed. He then begins to talk of development to take over llujinle into Sidi’s ears. But Sidi is already confused. Notwithstanding, Baroka continues to spin Sidi’s head with proverbially romantic words. In her confusion, Sidi is only responding that Baroka is sounding like Lakunle to her. That moment, Baroka makes Sidi to rea4ise that she has to prepare for love making between the two of them. That way, his old and wise blood can flow into her new and youthful body.
The third and final scene of the “Night Part” of The Lion And The Jewel takes place at the Village Centre. Lakunle is restless. He has begun to be contemplating that Sidi might have been killed by Baroka. Quickly, he decides to go to Baroka’s palace to rescue Sidi.
Lakunle is illustrated here as b nincompoop. He is expected to have run after Sidi and prevented her from going to meet Baroka, in the first instance.
Before Lakunle could dash off towards Baroka’s palace for the rescue, a group of dancers and drummers called “mummers” have taken the stage. So, Lakunle waits as the mummers begin to play Sadiku tries to make Lakunle spend money for them. Lakunle does not until Sadiku picks a coin from his pocket to give to the mummers. The mummers make songs from Baroka’s sexual impotence and complement it, with a mime dance of somebody who was once sexually potent, but no longer.
The mimmers leave the stage. Then Lakunle starts to pray. He wishes Sadiku should be beaten up by Baroka for giving out the secret of Baroka’s sexual impotence. Just then, Sidi bursts unto the stage and begins to cry. She wards off Sadiku’s attempt to give her sympathy. Lakunle too is pushed away by Sidi as he attempts to kiss her. Lakunle then begins to vow to kill Baroka for all he had done to Sidi. By now, Sidi faces Sadiku. She accuses her as a trickster like Baroka her husband. She accuses Sadiku of trapping her for Baroka to rape off her virginity. Sadiku only replies that the situation is no news, as it has several times happened to many a young girl.
Sadiku is a confirmed saddist, for the this lack of sympathy for Sidi.
After Sidi’s disclosure that she has lost her virginity to Baroka, Lakunle promises to marry her, if she could forget the bride-price issue. But Sidi just goes back to her house. And Lakunle requests Sädiku to follow her.
The above proposal of Lakunle illustrates him as an opportunis.
Shortly, Sadiku comes out to inform Lakunle that Sidi is already preparing herself as a bride. This information puts off Lakunle, who claims he is not yet ready for any wedding. He says he still needs time to come for introduction (i.e asking) and time to prepare for the ceremonies that will go with wedding. This makes Sadiku to make jest that Lakunle is a bra….. bra… ra… rian.
Sadiku's jest illustrates the device of parody. Sadiku means to say "barbarian" which is a word Lakunle is fond of using.
Musicians and dancers arrive. Lakunle tries to drive them away, declaring that he is not ready for marriage. Sidi comes out prepared as a bride. On coming out’ she presents her photo-magazine to Lakunle and invites him to her wedding procession. Lakunle protests that he is supposed to marry Sidi. Sidi rejects Lakunle and describes him as a beardless man.
Sidi's description of Lakunle as a beardless man is a piece of invective, meaning Lakunle is not matured.