Wole Soyinka

Selected Play 2

The Lion and the Jewel

Plot:

The Lion and the Jewel is a play by Wole Soyinka first performed in 1959. It

chronicles how Baroka, the lion, fights with the modern Lakunle over the right to

marry Sidi, the titular Jewel. Lakunle is portrayed as the civilized antithesis of Baroka

and unilaterally attempts to modernize his community and change its social

conventions for no reason other than the fact that he can. The transcript of the play

was first published in 1962 by Oxford University Press. Soyinka emphasises the

theme of the corrupted African culture through the play as well as how the youth

should embrace the original African culture.

Characters:-

Baroka The Bal or viceroyal chieftain of Ilujinle, a Yoruba village in the realm of

the Ibadan clan's kingdom. A crafty individual, he is the Lion referred to in the title. At

sixty-two years of age, he has already sired sixty-three children.

Lakunle The progressive and absurdly arrogant Westernised teacher. He is in his

twenties.

Sidi A beautiful, yet somewhat egotistical village girl who is wooed by both Baroka

and Lakunle. She is the Jewel in the title.

Sadiku The chief's sly great wife, chieftess of his harem.

Ailatu Baroka's favourite, who loses her place in his affections due to her jealousy.

Supporting characters

Village girls, a wrestler, a surveyor, schoolboys, his assorted consorts and various

musicians, dancers, mummers, prisoners, traders and so on.

Summary Per section

Morning

A schoolteacher is teaching a class the times table when Sidi walks past carrying a

pail of water on her head. The teacher peers out of the window and disappears. Two

11-year-old schoolboys start ogling her, so he hits them on the head and leaves to

confront her. At this point, we find out that the schoolteacher is Lakunle. He is

described as wearing a threadbare and rumpled clean English suit that is a little too

small for him. He wears a tie that disappears beneath his waistcoat. His trousers are

ridiculously oversized, and his shoes are blanco-white. He comes out and insists on

taking the pail from Sidi. She refuses, saying that she would look silly. Lakunle

retorts, saying that he told her not to carry loads on her head or her neck may be

shortened. He also tells her not to expose so much of her cleavage with the cloth

she wears around her breasts. Sidi says that it is too inconvenient for her to do so.

She scolds him, saying that the village thinks he's stupid, but Lakunle says that he is

not so easily cowed by taunts. Lakunle also insults her, saying that her brain is

smaller than his. He claims that his books say so. Sidi is angry.

When they are done arguing, Sidi wants to leave, but Lakunle tells her of his love for

her. Sidi says that she does not care for his love. Eventually, we find out that Sidi

does not want to marry him because Lakunle refuses to pay her bride-price as he

thinks it a uncivilised, outrageous custom. Sidi tells him that if she did so, people will

jeer at her, saying that she is not a virgin. Lakunle further professes how he wants to

marry her and treat her "just like the Lagos couples I have seen". Sidi does not care.

She also says that she finds the Western custom of kissing repulsive. She tells him

that not paying her bride price is mean and miserly.

Enter the village girls. They decide to play "the dance of the Lost Traveller" featuring

the sudden arrival of a photographer in their midst some time ago. They tease the

traveller in the play, calling his motorbike "the devil's own horse" and the camera that

he used to take pictures "the one-eyed box". Four girls dance the "devil-horse", a

youth is selected to play the snake and Lakunle becomes the Traveller. He seeks to

be excused to teach Primary Four Geography but Sidi informs him that the village is

on holiday due to the arrival of the photographer/traveler.

We also find out that the photographer made a picture book about the village based

on the photos he took. There is a picture of Sidi on the front page, and a two-page

spread of her somewhere inside. Baroka is featured too, but he "is in a little corner

somewhere in the book, and even that corner he shares with one of the village

latrines". They banter about for a while, Lakunle gave in and participated because he

couldn't tolerate being taunted by them.

The Dance of the Lost Traveller

The four girls crouch on the ground, forming the wheels of the car. Lakunle adjusts

their position and sits in air in the middle. He pretends to drive the "car". The four

wheels rotate their upper halves of their bodies parallel to the ground in tune with the

beat of the drum. The drum beat speeds up to a final crash. The girls dance the stall.

They shudder, and drop their faces onto their laps. He pretends to try to restart the

"car". He gets out and checks the "wheels" and also pinches them. He tries to start

the "car", fails and takes his things for a trek.

He hears a girl singing, but attributes it to sunstroke, so he throws the bottle that he

was drinking from in that general direction. He hears a scream and a torrent of

abuse. He takes a closer look and sees a girl (played by Sidi). He tries to take

photos, but falls down into the stream.

The cast assembles behind him, pretending to be villagers in an ugly mood hauling

him to the odan tree in the town centre. Then Baroka appears and the play stops. He

talks to Lakunle for a while, saying that he knew how the play went and was waiting

for the right time to step in. He drops subtle hints of an existing feud between him

and Lakunle, then makes the play continue. The villagers once again start thirsting

for his blood. He is hauled before Baroka, thrown on his face. He tries to explain his

plight. Baroka seems to understand and orders a feast in Lakunle's honour. Lakunle

takes the opportunity to take more photos of Sidi. He is also pressed to drink lots of

alcohol, and at the end of the play, he is close to vomiting.

The play ends. Sidi praises him for his performance. Lakunle runs away, followed by

a flock of women. Baroka and the wrestler sit alone. Baroka takes out his book, and

muses that it has been five full months since he last took a wife.

Noon

Sidi is at a road near the market. Lakunle follows her, carrying the firewood that Sidi

asks him to help her get. She admires the pictures of her in the magazine. Then

Sadiku appears, wearing a shawl over her head. She informs her that the Lion

(Baroka) wishes to take her as a wife. Lakunle is outraged, but Sidi stops him.

Lakunle changes tactics, telling her as his lover to ignore the message. Sadiku took

that as a yes, but Sidi dashed her hopes, saying that since her fame had spread to

Lagos and the rest of the world, she deserves more than that. Sadiku presses on,

dissembling that Baroka has sworn not to take any more wives after her and that she

would be his favourite and would get many privileges, including being able to sleep

in the palace rather than one of the outhouses. As Baroka's last wife, she would also

be able to become the first, and thus head wife, of his successor, in the same way

that Sadiku was Baroka's head wife. However, Sidi sees through her lies, and tells

her that she knew that he just wanted fame "as the one man who has possessed 'the

jewel of Ilujinle'". Sadiku is flabbergasted and wants to kill Lakunle for what he has

done for her.

Sidi shows the magazine. She says that in the picture, she looks absolutely beautiful

while he simply looks like a ragged, blackened piece of saddle leather: she is

youthful but he is spent. Sadiku changes techniques, saying that if Sidi does not

want to be his wife, will she be kind enough to attend a small feast in her honour at

his house that night. Sidi refuses, saying that she knows that every woman who has

eaten supper with him eventually becomes his wife. Lakunle interjects, informing

them that Baroka was known for his wiliness, particularly when he managed to foil

the Public Works attempt to build a railroad through Ilujinle. Baroka bribed the

surveyor for the route to move the railroad much farther away as "the earth is most

unsuitable, could not possibly support the weight of a railway engine". Lakunle is

distraught, as he thinks just how close Ilujinle was to civilisation at that time.

The scene cuts to Baroka's bedroom. Ailatu is plucking his armpit hairs. There is a

strange machine with a long lever at the side. It is covered with animal skins and

rugs. Baroka mentions that she is too soft with her pulls. Then he tells her that he

plans to take a new wife, but that he would let her be the "sole out-puller of my

sweat-bathed hairs". She is angry, and deliberately plucks the next few hairs a lot

harder. Sadiku enters. He shoos Ailatu away, lamenting about his bleeding armpit.

Sadiku informs him that she failed to woo Sidi. She told her that Sidi flatly refused

her order, claiming that he was far too old. Baroka pretends to doubt his manliness

and asks Sadiku to massage the soles of his feet. Sadiku complies. He lies to her

that his manhood ended a week ago, specifically warning her not to tell anyone. He

comments that he is only sixty-two. Compared to him, his grandfather had fathered

two sons late on sixty-five and Okiki, his father, produced a pair of female twins at

sixty-seven. Finally Baroka falls asleep.

Night[edit]

Sidi is at the village center, by the schoolroom window. Enter Sadiku, who is carrying

a bundle. She sets down a figure by the tree. She gloats, saying that she has

managed to be the undoing (making him impotent) of Baroka, and of his father,

Okiki, before that. Sidi is amazed at what she initially perceives to be Sadiku going

mad. She shuts the window and exits, shocking Sadiku. After a pause, Sadiku

resumes her victory dance and even asks Sidi to join in. Then Lakunle enters. He

scorns them, saying that "The full moon is not yet, but the women cannot wait. They

must go mad without it." Sidi and Sadiku stop dancing. They talk for a while. As they

are about to resume dancing, Sidi states her plans to visit Baroka for his feast and

toy with him. Lakunle tries in vain to stop her, telling her that if her deception were to

be discovered she would be beaten up. Sidi leaves. Lakunle and Sadiku converse.

Lakunle states his grand plans to modernize the area by abolishing the bride-price,

building a motor-road through the town and bring city ways to isolated Ilujinle. He

goes on to spurn her, calling her a bride-collector for Baroka.

The scene is now Baroka's bedroom. Baroka is arm-wrestling the wrestler seen

earlier. He is surprise that she managed to enter unchallenged. Then he suddenly

remembers that that day was the designated day off for the servants. He laments

that Lakunle had made his servants form an entity called the Palace Workers' Union.

He asks if Ailatu was at her usual place, and was disappointed to find out that she

had not left him yet despite scolding her severely. Then Sidi mentions that he was

here for the supper. Sidi starts playing around with Baroka. She asks him what was

up between him and Ailatu. He is annoyed. Changing the subject, Sidi says that she

thinks Baroka will win the ongoing arm-wrestling match. Baroka responds humbly,

complimenting the strength and ability of the wrestler. She slowly teases Baroka,

asking if he was planning to take a wife. She draws an examplee, asking if he was

her father, would he let her marry a person like him?

Sidi takes this opportunity to slightly tease him, and is rewarded by his violent

reaction by taking the wrestler and slinging him over his shoulder. The wrestler

quickly recovers and a new match begins again. The discussion continues. Baroka is

hurt by the parallels and subtle hints about his nature dropped by Sidi. Sidi even

taunts him, saying that he has failed to produce any children for the last two years.

Eventually he is so angered that he slams the wrestler's arm down on the table,

winning the match. He tells the defeated wrestler to get the fresh gourd by the door.

In the meantime, Baroka tries to paint himself as a grumpy old man with few chances

to show his kindliness. The wrestler returns. Baroka continues with his self-

glorification. Then he shows her the now-familiar magazine and an addressed

envelope. He shows her a stamp, featuring her likeness, and tells her that her picture

would adorn the official stamp of the village. The machine at the side of his room is

also revealed to be a machine to produce stamps. As she admires the pictures of her

in the magazine, Baroka happens to mention that he does not hate progress, only its

nature which made "all roofs and faces look the same". He continues praising Sidi's

looks, appealing to her.

The scene cuts back to the village centre, where Lakunle is pacing in frustration. He

is mad at Sadiku for tricking her to go see Baroka, and at the same time concerned

that Baroka will harm or imprison her. Some mummers arrive. Sadiku remains calm,

despite Lakunle's growing stress. Sadiku steals a coin from Lakunle to pay the

mummers. In return, the mummers drum her praises, but Sadiku claims that Lakunle

was the real benefactor. Then they dance the Baroka story, showing him at his prime

and his eventual downfall. Lakunle is pleased by the parts where they mock Baroka.

Sadiku mentions that she used to be known as Sadiku of the duiker's feet because

she could twist and untwist her waist with the smoothness of a water snake.

Sidi appears. She is distraught. Lakunle is outraged, and plans to bring the case to

court. Sidi reveals that Baroka only told her at the end that it was a trap. Baroka said

that he knew that Sadiku would not keep it to herself, and go out an mock his pride.

Lakunle is overcome with emotion, and after at first expressing deep despair, he

offers to marry her instead, with no bride-price since she is not a virgin after all.

Lakunle is pleased that things have gone as he hoped. Sadiku tells him that Sidi is

preparing for a wedding. Lakunle is very happy, saying he needs a day or two to get

things ready for a proper Christian wedding. Then musicians appear. Sidi appears,

bearing a gift. She tells Lakunle that he is invited to her wedding. Lakunle hopes that

the wedding will be between Sidi and himself and her, but she informs her that she

has no intention of marrying him, but rather will marry Baroka. Lakunle is stunned.

Sidi says that between Baroka and him, at sixty, Baroka is still full of life but Lakunle

would be probably "ten years dead". Sadiku then gives Sidi her blessing. The

marriage ceremony continues. A young girl taunts Lakunle, and he gives chase.

Sadiku gets in his way. He frees himself and clears a space in the crowd for them

both to dance.

The drama ends.

Important Quotes

Morning

The school-master is twenty three. He is dressed in an old-style English suit

(p3)

Lakunle: [first indignant, then recovers composure]: For that, what is a jewel

to pigs? It now I am misunderstoof by you.And your race of savages, I rise

above taunts. And remain unruffled. (p5)

Sidi: You really mean to turn. The whole world upside down. (p6)

Lakunle: ...An equal partner in my race of life (p9)

Lakunle: ... Like a magazine photo. I will teach you the Waltz and we`ll both

learn the foxtrot (p10)

Lakunle [wearily]: It`s never any use. Bush girl you are, bush girl you`ll

always be; Uncivilised and primitive-bush girl! I kissed you as all educated

men-And Christians-kiss their wives. It is the way of civilized romance. (p10)

(Almost as if she is dirty and almost as if hes supporting western of the

people!)

Sidi: is that the truth? Swear! Ask Ogun to strike you dead.

Girl: Ogun strike me dead if I lie (p12)

The drums resume beating, a different darker tone and rhythy, varying with

the journey. Full use of gangan and iya ilu. The trees perform a subdued

and unobtrusive dance on the same spot (p15)

The same cast has disappeared and re-forms behind sidi as the villagers.

They are in an ugly mood, and in spite of his protests, hand him off to the

town centre, in front of the odan tree (p16)

From the folds of his agbada he brings out his copy of the magazine and

admires the heroine of the publication. Nods slowly to himself (p18)

Night

Lakunle [with conviction]: Within a year or two, I swear,

This town shall see a transformation.

Bride-piece will be a thing forgotten.

And wives shall take their place by men.

A motor road will pass this spot

And bring the city ways to us.

We`ll buy saucepans for all the women.

Clay pots are crude and unhygienic

No man shall take more wives than one.

Thats why they`re impotent too soon

The ruler shall ride cars, not horses.

Or a bicycle at the very least.

We`ll burn the forest, cut the trees.

Then plant a modern park for lovers.

We`ll print newspapers every day

With pictures of seductive girls.

The world will judge our progress by

The girls that win beauty contests

While lagos builds new factories daily.

We only play ayo and gossip.

Where is our school of ballroom dancing?

Who here can throw a cocktail party?

We must be modern with the rest.

Or live forgotten by the world.

We must reject the palm wine habit

And take to tea, with milk and sugar

This is my plan, you withered face.

And i shall start by teaching you.

From now you shall attend my school

And take your place with twelve-year olds.

For though you`re nearly seventy.

Your mind is simple and unformed.

Have you no shame that at your age.

You neither read nor write nor think?

You spend your days as senior wife

Collecting briefs for Baroka.

And now because you`ve sucked him dry,

You send my Sidi to his shame.....

(p35)

Beautiful bit of monologue to use to use at the end of the presentation maybe?

Baroka: By the years on my beard, I swear.

They slander me!

Sidi: [excitedly] You won. You won! [she breaks into a kind of shoulder

dance and sings]

Yokolu Yokolu Ko ha tan bi

Iyawo gb`oko san`le

Oko yo`ke

(Yokolu, Yokolu what say you now? The wife knocked down the husband.

And now he now sprouts a hunchback)

(p40)

Baroka: Yesterday`d wine alone is strong and blooded child

And though the Christians holy book denies

The truth of this, old wine thrives best

Within a new bottle. The coarseness.

Is mellowed down, and the rugged wine.

Acquires a full an d rounded body... (p49)

REFERENCE TO RELIGION

Saiku [raises Sidi`s chin in her hand]: Sidi, are you a maid or not?

[Sidi shakes her head violently and bursts afresh in tears]

Lakunle: The Lord forbid!

Sadiku: Too late for prayers. Cheer up. It happens to the best of us.

(p53)

Sadiku: Just what I said but she only laughed at me and called me

a.....a...what was it now...a bra....braba.....brabararian. it serves you right. It all

comes of your teaching. I said what about the asking and the other

ceremonies. And she looked at me and said, leave all that nonsense to

savages and brararians. (p55)

Sidi: Mo te` ni. Mo te`ni. Mo te`ni. Mo t`ni. Sun mo mi, we mo mi. Sun mo

mi, fa mo mi. Yarabi lo m`eyi t`o le d`omo...... Tolani Tolani. T`emi ni T`emi

ni. Sun mo mi, we mo mi. Sun mo mi, fa mo mi. Yarabi lo m`eyt t`o le

d`omo.

(English- My net is spread, my net is spread. Come close to me, wrap

yourself around me. Only God knows which moment makes the child...

Tolani Tolani she belongs to me, belongs to me. Come close to me , wrap

yourself around me. Only God knows which moment makes the child)

(p57-8)

Kongi`s Harvest

Plot: President Kongi, the dictator of an African developing nation, is trying to modernize after deposing King Oba Danlola, who is being held in detention. Kongi

demands that Danlola present him with a ceremonial yam at a state dinner to

indicate his abdication. Daodu, Danlola's nephew and heir, grows prized yams on his

farm.

Daodu's lover Segi owns a bar where Daodu spends most of his time. She is

revealed to have been Kongi's former lover.

As the different tribes are resisting unification, Kongi tries to reach his goal by any

means necessary, including forcing government officials to wear traditional African

outfits and seeking advice from the man he deposed. In a climactic scene at the

state dinner, Segi presents Kongi with the head of her father.

Characters:- Oba Danola= A traditional Ruler

Sarumi=A junior Oba

Daodu= son to Sarumi and heir to Danola`s throne

Wuraola= Danlola`s favourite wife

Ogbo Aweri=Head of the Oba`s defunct Conclave of Elders

Dende= Servant to Danlola

Segi= A courtesan, Kongi`s ex-mistress

Kongi= President of Isma

Members of the Reformed Aweri Fraternity

Captain of the Carpenter`s Brigade

Right and Left ears of state

Note:- The action takes place on the eve and the day of the national celebrations of

Isma (p60)

Particular Important Quotes:-

Hemlock

A roll of drums such as accompanies a national anthem (p61)- National

Anthem through stage directions already Soyinka is questioning identities of

Nationalism!

penny newspaper and Tree of life (p61)

When Kongi`s new race blows. And more, oh there`s a harvest of word. In a

penny newspaper (p61)

Will bandy words with boxes. With government rediffusion sets. Which talk

and talk and never. Take a lone word in reply (p61)- The government

considering his relationship was strained

I cannot wors, oh. I cannot counter words of. A rediffision set. My ears are

sore. But my mouth is agbayun. For I do not bandy words. No I do not bandy

words. With a government loudspeaker (p62)- Almost auto-biographical as if

he`s saying its ok to do these things, scorning words-relate to his terrible

nature with the government.

Danlola:....A shilling`s vegetable must appease. A halfpenny spice (p62)-

Western coins?

Superintendant: I say you desecrate our National Anthem. I have to do

something about it. And stop that unholy noise

[seizes the lead drummer by the wrist. Everything stops. Complete silence]

Danlola [slowly]: You stopped the royal drums?

Superintendent: I shall speak to the secretary about this.....

Danlola [suddenly relaxed]: No, it is nothing new. Yours better. Stopped the

drums a long time ago. And you the slave in Khaki and brass buttons. Now

lick your masters spit and boast, we chew the same tobacco

Superintendent: [turning to sarumi]: Look, you better warn him....

Sarumi: we do not hear the jackal`s call. When the father speaks

Superintendent: This cannot continue. I shall insist that the Secretary put you

all in different sections of the camp. This cannot go on.

(p63)-Almost as if he has a bug with Police. Police control and also it could

relate to government control the manipulation of Africa.

Superintendent: Kabiyesi, is that not our national flag?

Danlola: Did you not deprive me of my national trousers?

Superintendent: Yes, to keep you from escaping,

Danlola: The nude shanks of a king.

Is not a sight for children-

It will blind them.

When an Oba stops the procession.

And squats on the wayside.

Its on an urgent matter.

Which spares neither king nor god

Wise heads turn away

Until he`s wiped his bottom.

(p64)-Hence why hes behaving badly so that he can condition his people!

Danlola: It was our fathers who said, not I-

A Crown is a burden when

The King visits his favourite`s

Chambers. When the King`s wrapper.

Fall off in audience, wise men Know.

He wants to be left alone. So-

Superintendent: [going] Too much indulgence, that`s why. It`s all the fault of

the Organizing secretary permitting your wives and all those other creatures

to visit you. And you are not even grateful.

Danlola: [burst into laughter] We curse a wretch denying cause. For gratitude

deserved, but it is. A mindless clown who dispenses. Thanks as a fowl

scatters meal.

(p64)

Superintendent: I did not make any impious demands of you. All I asked was

for more respect to constuited authority. I didnt ask for a curse on my head.

(p65)

Sarumi: This is the last our feet.

Shall speak to feet of the dead.

And the unborn cling

To the hem of our robes

Oh yes, we know they say

We wore out looms

With weaving robes for kings

But I ask, is popoki (Shrine of Oro-cult of the dead)

The stuff to let down.

To unformed fingers clutching up

At life?

(p67)

Sarumi: With a small Pestle. Let the dandy`s wardrobe. Be as lavish as the

shop. Of the dealer in brocades. It cannot match an elder`s rags

(p68)

First Part

Coloured lights, and the sustained chord of a juju band guitar gone typically

mad brings on the night club scene, a few dances on, the band itself offstage,

Daodu is dancing with Segi (p72)

Secretary: [approaches the pair] Like a word with you. In private

Segi[very quietly]: You can see I`m occupied Mr. Secretary.

Secretary: I dont mean you. Your boy friend.

Segi: He`s busy too.

Secretary: Madam, I havent come to make trouble.

Segi: [Very gently]: You couldnt, even if you wanted. Not here.

Secretary: I wouldnt be too sure of that.

Segi: I would

Daodu: What do you want with me?

Secretary: Not here. Let`s find somewhere quiet

(p72)

Secretary: Organizing Secretary to the Leader. Those two, the Right and the

left ears of state. The combination keeps the country non-aligned.

Understand?

......

Daodu: I thought he`s been in detention for nearly a year.

Secretary: That doesnt stop him from messing me about. It only gives him an

alibi

(p73)

Secretary: Elegant. Very Elegant. You know, I am very fond of

music.Unfortunately I havent much time for it. Moreover one would hardly

wish to be found in this sort of place.

Daodu: But you are here now.

Secretary: Yes, but only in the line of duty

(p74)

Secretary: Just the same I wish she`d stop boring into my neck with her eyes

(p74)

Secretary: I didnt see or hear you do anything, Are you trying to make a fool

of me?

Daodu: No

Secretary: Because I warn you, I`m a very dangerous man. I dont care what

her reputation is, mine is also something to reckon with.

(p75)

Secretary: What is that supposed to mean?

Daodu: Keeping their ears open-isnt that what they`re paid for? By the way,

tell them not to stick their ears out too long or they might get slashed

off.people are rather touchy here.

Secretary: No need to teach them their job.

(p76)

Secretary: If by that you mean Danlola, yes.

First: The man is in P.D. The state has taken over his functions. What exactly

is the problem?

Fourth: An act of public submission, obviously. KOngi must have his

submission in full view of the people. The wayward child admits his errors and

begs his father`s forgiveness.

(p77)

Secretary: Yes, you. Tommorow is state festival

Daodu: The harvest

Secretary: Naturally

Daodu: I am looking forward to it. We are bound to take the first prize for the

new yam

(p78)

Fifth: Starve him. Try starving him to death!

Fourth: That would hardly solve the problem. It needs a live person to make

even a symbolic act of capitulation.

Third: Especially when harmony is the ultimate goal. The ultimate goal

Fourth: I think I see something of the Leader`s vision of this harmony. To

replace the old superstitious festival by a state ceremony governed by the

principal of Englighted Ritualism. Is it therefore essential Oba Danlola, his

bitterest opponent, appear in full antiquated splendour surrounded by his

Aweri Conclave of Elders who, beyond the outward trappings of pomp and

ceremony and a regularly supply of snuff, have no other interest in the running

of the state.

Sixth: Who says?

Fourth: Kongi says

(p81)

First: This has me curious. Has anyone been accepting money on my

behald? All I ask is my cut.

Fourth: It is an unforgivable insult

(p83)

Secretary: You dont know how he hates thos men. He wants them dead-

you`ve no idea how desperately

Fifth: I do. But tell them he can kill them later in detention. Have them shot

trying to escape or something. But first, demonstrate his power over life and

death by granting them a last minute reprieve. Thats it, work on that aspect of

it, the drama of a last minute reprive. If i know my Kongi that should appeal to

his flair for gesture.

Secretary: It might work

(p86)

Daodu: Well the proposal?

Secretary: Five men are awaiting execution.

Daodu: We know that.

Secretary: They will be reprieved-if your uncle co-operates. Think about it-I`ll

be back

(p89)

Kongi: Overwork? Nonsense. They do nothing but quarrel among

themselves. Every time I set them a subject for disputation they quarrel like

women and they fall asleep. What do they find to quarrel about?

Secretary: Philosophy can be a violent subject

Kongi: You think so? I wonder sometimes. You should have seen them

during the writing of my last book. I couldnt think for the squabbles.

(p90)

Secretary: It shall be as you please my leader.

Kongi: Now you see why it is all the more important that everything goes

forward tomorrow as I wish it? I want the entire nation to subscribe to it. Wake

up those hogs!

Secretary: It isnt necessary my Leader. I think the little problem of Danlola is

nearly solved.

Kongi: Another of your ideas?

Secretary: Leave it all to me. I er...oh yes....

(p92)

Secretary: A foreign journalist, one of the best. He plans to leak it to a chain

of foreign newspapers under the caption-the last day of meditation; A leaders

anguish! I have seen some of his work, the work of a genius. He has

photographed at least nine heads of state

(p92)

Secretary: Four men. One is dead, hanged himself by the belt. Heard about it

on my way here. Publically, we shall give it out that, as part of the Harvest

amnesty, the government has been pleased to release Oba Danlola and a few

others, then, as a gesture of reciprocity-the exact words of my official release-

as a gesture of reciprocity-the Oba will voluntarily surrender the first yam

(p95)

Kongi: Get Out! Go and Bring him back!

[Secretary turns to escape]

And here this! The amnesty is OFF! The reprieve is OFF! The others hang

tomorrow.

Secretary: My leader, your promise!

Kongi: NO amnesty! No reprieve! Hang every one of them! Hang them!

Secretary: Your promise my leader. The word of Kongi!

Kongi: And find me the other one for hanging-get out! Get out!

Get...ah......ah....ah.

(p100)

Second Part

Danlola: You should, my son, when you deal in politics.

pay sharp attention to the word. I agreed.

Only that I would prepare myself.

For the grand ceremony, not

That I would go. Hence this bee hum fit

For the worlds rulings heads jammed.

In annual congress. When my servants

Are later questioned, they`ll bear witness.

How i set the royal craftsmen slaving.

At such short notice to make me ready.

To present the New Yam to my leader.

Daodu: How do you expect him-them-to take your absence?

Danlola: As an act of God

(p103)

Danlola: Wise birdlings learn to separate. The pigean cooing from the shrill

alarm. When Ogun stalks the forest (p109)

Sarumi: Ma ma binu si mi Oba

B`esumare se binu si`takun

To ta kete, to ta kete

To ran`ri s`agbeded meji orun

Ma binu si mi Oba

Bi sango se binu s`araiye.

To dip e manamana ni f ii.

Mba omo enia soro.

Ma binu si mi Oba

B`iwin ope se binu s`elemu

To re alangba lul`le.

Bi eni ha kuruna l`ori.

Oba o se e te.

Bi eni te `awe.

B`ajanaku o rora rin.

A t`egun mole

A d`atiro tiro tiro

Oba o se e gbon

Bi eni gbon t`akun

Igbon oba, awon eru

Ogbon oba, iwon eru

Esin to r`ebo ti o sare.

Tin nta felefele.

Enu alantakun ni o bo

(p110-111)-Yoruba

Danlola [climbing back to his throne, wearily] Life gets more final every day.

That prison superintendent merely lay his hand. On my lead drummer, and

stopped. The singing, but you our son and heri . you`ve seen to the song itself

(p111)

Danlola: Well, I will not bear the offering. Past the entrance to the mosque.

Only a phoney drapes himself in deeper indigo. Than the son of the

deceased.

Sarumi [with gratitude]: Kabiyesi!

Danlola: Dende!

(p115)- Mosque related religion again!

Danlole: Our hands are like sandpaper. Our finergnails are chipped. Our

lungs are filled with with sawdust. But our anthem still we sing. We sweat in

honest labour. From sunrise unto dawn. For the dignity of labour. And the

progress of our land. For Kongi is our father. And Kongi is our man. Knogi is

our mother. Kongi is our man. And Kongi is our saviour. Redeemer, prince of

power. For Isma and for Kongi. We`re proud to live or die! (p116)

Danlola: So let him, the Jesus of Isma, let him, who has assumed the mantle

of a Messiah, accept from my farming settlement this gift of soil and

remember that a human life once buried cannot, like this yam, sprout anew.

Let him take from the palm only its wine and not crucify lives upon it (p128)

Kongi: The spirit of Harvest has smitten the enemies of Kongi. The justice of

earth has prevailed over traitors and conspirators. There is divine blessing on

the second Five-Year development plan. The spirit of resurgence is cleansed

in the blood of the nations enemies, the enemies of our collective spirit, the

spirit of planting, the spirit of Harvest, the spirit of inevitable History and

Victory, all of which I am. Kongi is every Ismite and Ismite [shoots out a

clenched fist] (p129-130)

Hangover

Secretary: ..What`s happened to your Boy Scout movement. I thought I

ordered you to remove. Your carcus far from the scene of crime (p133)

Secretary: Dont blow your own lungs boy. When a man. Cannot even call

briefly home to say. Good-bye to his native land, then hope. Remains his last

luxury. Turn out your pockets. As your late commander. It is my duty to play

censor. To your battle-kit. Come on, come on. Lets see what keepsakes and

Protection charms you war to war...aha, whats this? You havent been

Despoiling fallen warriors have you now? (p134)

Secretary: Hold nothing against him. Few half-wits can resist a uniform

Danlola: I hope he proved useful

Secretary: The man is a philosopher. We have exchanged many areas of

wisdom. Right now he is travelling companion

(p135)

Secretary: You`ll learn Kabiyes, you`ll learn. Survival turns the least

adaptable of us. Tonight chameleons (p137)

Danlola: He is no danger. He may even join. Our royal household calvary-in

exile-if we cant find him a uniform (p137)

The Trials of Brother Jero

Plot: Scene 1

The Trials of Brother Jero begins with a single spotlight illuminating an otherwise

dark stage. In the spotlight is the main character, Brother Jeroboam, who speaks

directly to the audience. He identifies himself as a prophet, by which he means

preacher. He has been a prophet for a long time, he says. His parents thought he

was ideally suited to such a role because of his long, thick hair. He enjoys his work,

which comes naturally to him. Then he reveals that in recent years, many preachers

have taken to the local beach (Bar Beach, Lagos) to preach and attract converts,

and there is aggressive competition among them for available space. The Town

Council had to go to the beach to settle the disputes and allocate a territory to each

preacher. Jeroboam helped a preacher he refers to as his Master gain a large

portion of the beach, although he admits he was only doing so because he thought it

would work to his own advantage. Jero then goes on to say that there are few

worshippers coming to the beach these days. Many people prefer to stay at home

and watch television.

He tells the audience that his purpose is to tell them about the events of one

particular day in his life, which disturbed him. He also mentions how he was cursed

by his Master. He is interrupted by the sudden appearance of his Master, Old

Prophet, who reprises his original curse, accusing Jero of having driven him off his

piece of land on the beach. Jeroboam, known to his followers as Brother Jero, pays

no attention. He tells the audience that the old man was a fool not to realize that he,

Jero, was really only out for himself. Old Prophet continues his curse, saying that

Jero will be ruined by his appetite for women, and then exits. Jero admits the old

man knows that his one weakness is for women, so he has decided to avoid women.

Scene 2

It is early morning in a fishing village. Chume enters on a bicycle, with his wife

Amope sitting on the crossbar. The bicycle stops abruptly in front of Jero's house,

and Amope is aggrieved at what she considers Chume's inconsiderateness. They

squabble, with Amope complaining that the bumpy landing hurt her foot. It is clear

that they are not happily married. The squabble continues as Chume unloads the

bag containing their lunch. She tells him to make sure he does not spill it. Chume

says he has to go because otherwise he will be late for work. Amope responds by

chiding him for his lack of ambition.

Jero looks out from his window and sees Amope. He tries to escape from his house

without Amope seeing him, but he is not successful. Amope confronts him, saying

that he owes her money and that he promised to pay her three months ago. Jero

makes an excuse and goes back into the house.

A woman trader passes by on her way to the market. She is selling smoked fish.

Amope speaks to her in a surly manner and the two women exchange insults. No

sale is made. Amope then catches sight of Jero escaping from his house through the

window. She hurls abuse at him and also at the trader, who has now disappeared. A

boy walks past her, beating on a drum, and she insults him, too. The scene ends

with Amope complaining about Jero, the fish-seller, and the boy, whom she calls a

beggar.

Scene 3

A short while later, Jero, at his church on the beach, speaks directly to the audience.

He says that he bought a velvet cape from Amope, and he hopes people will start

calling him by some impressive name because of it, such as "Velvet-hearted

Jeroboam." He wants a name that will appeal to the imaginations of his

congregation. He also complains about Amope, cursing her and saying that the cape

was not worth what she was asking for it. He confesses that he likes to keep his

followers dissatisfied with their lives, so that they will keep coming to him. For

example, he refuses to give his assistant, Chume, permission to beat his wife,

because he wants Chume to remain feeling helpless.

Jero watches as an attractive girl passes, and then prays that he will be able to resist

temptation. Chume enters and prays with him. Jero is surprised that Chume is not at

work, and Chume says he is sick. Out of Chume's hearing, Jero reveals his contempt

for Chume, and is satisfied that this simple man will never try to become his equal.

He is also glad that Chume has found him on the beach this early in the morning,

because he likes to pretend that he sleeps on the beach, whereas in fact he sleeps

in a bed in his house.

Chume asks permission to beat his wife, just once. Jero refuses and establishes his

authority over Chume by reminding him that he predicted he would become Chief

Messenger. Now he predicts he will become Chief Clerk. Chume continues to

complain vigorously about his wife, while Jero asks God to forgive him. The

congregation starts to arrive, and Jero comments about how he has cynically

prophesied to two of them that they will advance their political careers. Then he tells

Chume once more not to beat his wife. The congregation begins to sing a hymn,

dancing and clapping with the rhythm. The Boy Drummer enters, chased by a

scantily dressed woman. They pass by several times, and Jero goes to intercept the

woman, whom he recognizes as his neighbor. This leaves Chume to continue the

service, which he is incompetent to do. He repeatedly asks God to forgive one

penitent woman, who is having a kind of fit, as the congregation says, "Amen." The

woman eventually becomes still, and Chume, encouraged by the support he is

getting from the congregation, continues his prayer, asking God to provide them with

more money and more status in their work.

The angry woman reappears, this time in possession of the boy's drums, while he

follows her. He denies that he was abusing her father by drumming, which is why

she is angry with him.

Jero returns. He clothes are torn and his face is bleeding; he has been attacked by

the woman. He complains about being tormented by women, and Chume, with his

own wife in mind, readily agrees. From something Chume says, Jero realizes that

Chume's wife is the woman he owes money to. Hoping to free himself from her

request for payment, he authorizes Chume to take her home and beat her. He also

informs Chume that the Son of God has given him, Jero, a new title: the Immaculate

Jero, Articulate Hero of Christ's Crusade.

Scene 4

It is later that day in front of Jero's house. Amope and Chume are quarreling again,

and Chume tells his wife it is time to go home. She replies that she is not moving

until she gets her money. Jero enters, hides, and observes them, as Amope taunts

Chume about his humble station in life. Chume tells her to shut up, which astonishes

Amope, who thinks her husband must have gone mad. Chume tries to force her to

come with him, but she resists and bangs on the door of Jero's house, calling for

help. Jero ignores her cries. Chume tries to force Amope on to the bicycle while she

protests loudly. Neighbors gather to watch the scene. Amope dares her husband to

kill her and calls on Jero again, saying that if Jero will curse Chume, she will absolve

Jero of his debt. Chume questions his wife, discovering that they are outside Jero's

house and that it is the preacher who owes his wife money. He had not suspected

this before, but now he realizes why Jero finally agreed to allow Chume to beat

Amope. It was for the preacher's own convenience. Angry, he gets on his bicycle and

rides off, telling Amope to remain where she is.

Scene 5

It is nightfall at the beach. A man is practicing giving a speech, and Jero observes

him. He says the man is an ambitious politician who comes to the beach to rehearse

his speeches for Parliament, but he never has the courage to make them. Jero then

thinks of Chume, assuming that by now he will have beaten his wife. This means that

he will be confident and no longer need Jero, but at least it will have rid Jero of the

woman's demands for payment.

Jero then turns his attention back to the politician and decides to recruit him as a

follower. At first the man is not interested, but Jero gets his attention by saying that

he had a vision in which he saw this man elevated to the position of Minister for War.

He suggests that God might withdraw His favor if the man does not become a

believer, and he suggests that they pray together.

While Jero is working his wiles on the politician, Chume enters, talking to himself. He

is furious with Jero, now that he can see through all the preacher's lies. He wonders

whether the preacher and Amope have some kind of relationship that he knows

nothing of, and he soon convinces himself that they are in fact lovers.

Characters:

Jeroboam= a beach divine

Old Prophet=His mentor

Chume= assistant to Jeroboam

Amope=his wife

A Trader

Member of Parliament

Penitent

Neighbours

Worshippers

A tough Mamma

A Young girl

Important Quotes :-

Scene One

The stage is completely dark. A spotlight reveals the Prophet, a heavily

but nearly bearded man; his hair is thick and high, but well-combed, unlike

most of most prophets (p145)- This is obviously biblical and there is a

uncanniness to the Lord in terms of bearded!

Jeroboam: I am a prophet. A prophet by birth and by inclination. You have

probably seen many of us on the streets, many with their own churches,

many inland, many on the coast, many leading processions, many looking

for processions so lead, many curing the dead, many raising the dead........

It used to be a very respectable one in those days and competition was

dignified. But in the last few years, the beach has become fashionable,

and the struggle for land had turned the profession into a thing of

ridicule..... I helped him, with a campaign led by six dancing girls from the

French territory, all dressed as Jehovah`s witnesses (p145)

Scene Two

Amope: I know you cant wait to get away. You only use your work as an

excuse. A chief messenger in the local government office-do you call that

work? Your old school friends are now Ministers, riding in long cars.... (p149)

Scene Three

Jero: ...It would not have been necessary if one were not forced to distinguish

himself more and more from these scum who degrade the calling the prophet.

It becomes important to stand out, to be distinctive. I have set my heart after a

particular name...... when the daughter of Eve forces him to leave his own

house through a window? God curse thast woman! I never thought she would

dare affront the presence of a man of God. One pound eight for this little

cape. It is sheer robbery..... I am glad I got here before any customers- I mean

worshippers-well customers if you like. I always get that feeling every morning

that I am a shopkeeper waiting for customers. The regular ones come at

definite times. Strange, dissatisfied people. I know they are dissatisfied

because I keep them dissatisfied. (p152-3)

Scene Four

A Woman Bystander: Then you ought to let the Prophet see to him. I had a

brother once who had the fits and foamed at the mouth every other week. But

the Prophet cured him. Drove all the devils out of him, he did.

Amope: This one cant do anything. He`s a debtor and that`s all he knows.

How to doge his creditors

(p167)

Scene Five

A man in an elaborate agbada outfit, with long train and a cap is standing

right, downstage, with a sheaf of notes in his hand. He is obviously delivering

a speech, but we dont hear it. It is undoubtedly fire-breathing speech. (p167)

Jeroboam: You heard him. With your own ears you heard him. By tomorrow,

the whole town will have heard about the muiracles disappeare of Brother

Jeroboam. Testified to and witnessed by no less a person than one of the

elected rulers of the country (p171)

Jeros Metamorphosis

Characters: Brother Jeboroam

Sisters Rebecca

Anaias

Chief executive officer

Clerk to the Tourist Board

Chume

Major Silva

Beach prophets (Shadrach, Caleb, Isaac, and Matthew)

Policewoman

Important quotations:-

Scene One

Brother Jero`s office. It is no longer his rent-troubled shack of The Trials but

a modest whitewashed room, quite comfortable......On the wall, a larged

framed picture of a uniformed figure at a battery of microphones indicates that

Jero`s diocese is no longer governed by his old friends the civilian politicians

(p175)

Jero:..the latest short cuts to heaven facing a firing squad at the Bar Beach

Show-(Popular expression for the new fashion of public executions in Lagos,

capital of Nigeria) (p175)

Anaias:... The city council have taken a final decision. They`re going to chuck

us out. Every last hypocritical son of the devil (p179)

Clerk: And confidential files dont forget that sir. Very confidential

Executive: Quite right. The file, young lady. We will overlook the offence

since you werent really in possession of your senses.

Rebecca: I was never more clearly within my senses as now.

Executive: You call this a sensible action? You, an intelligent young girl, a

fully trained Confidential Secretary....

Clerk: Eighty words per minute, sir, one hundred and twenty shorthand...

(p184)

Executive: They have to be evicted. They stand in the way of progress. They

clutter up the beach and prevent decent men from coming here and paying to

enjoy themselves. They are holding up a big tourist business. You know

yourself how the land value had doubled since we started public excursions

on this beach (p185)-Westernisation/Globalisation point!

Ananaias: Policework is evil, oh Lord Police work is evil.

Rebecca: hallelujah [and continues a chorus]

Anasias: Save this sinner. Lord, save this sinner. Protect her from briber, oh

Lord! Protect her from corruption! Protect her from inquires known and

unknown, from practices unmentionable in thy hearing. Protect her from greed

for promotion, from hunger for stripes, from chasing after citations with actions

over and beyond the call of duty. Save her from harassing, the innocent and

molesting the tempted, from prying into the affairs of men and nosing out their

innocent practices. Take out the beam in thine own eyes, said the Lord (p186)

Scene Two

Silva: No, No, tempo, Chummy, tempo...good God! [coming round to point out

the score] Corporal, do you always read music upside down?

Chume: Hm? [Guiltily begins to re-set the card, Silva looks at him with

increasing superstition] No wonder....en-hen, thats better

Silva: [severely] Corporal Chummy, can you read music notation at all?

Chume: [angrily] I no talk so? You done come with your trouble. I say I go

wait for Captain Winston you say you go fit teach me. Now you come dey

bother me with music notation. Na paper man dey take trumpet play abi na

music?>

Silva: Can you read music or not, Brother Chummy?

Chume: Can you play trumpet or not, Major Silva?

Silva: Really this is too much. How can Captain Winston expect me to teach

you anything when you are musically illiterate?

Chume: So I am illiterate now? I am illiterate? You are illiterate yourself.

Illiterate man yourself.

Silva: What! All right let us keep out temper.

(p189)

Jero: Suffer at my hands? You, brother chume? Suffer at my hands.

Chume: You tell the police say I craze. Because god expose you and your

cunny-cunny and I shout am for the whole world......

Jero: Brother Chume...

Chume: I no be your brother, no call me your brother. De kin` brother wey you

fit be na the brotherhood of Cain and Abel. The brotherhood of Jacob and

Esau. Eat my meat and tief my patrimony...

(p192)

Jero: ...These Salvation Army brothers may be washed in the red blood of the

Lord, but the black blood of the Bar Beach brotherhood proves stronger every

time. Hallelujah, Brother Hallelujah (p195-6)

Scene Three

Matthew: It says Confidential on that paper. I dont want any government

trouble.

Isaac: Very wise of you, Brother Matthew. Musn`t risk your parole [takes the

file] I`ll read it [at first glance he whistles] How did you get hold of this, Jero?

Jero: The Lord moves in mysterious ways....

Ananias:...His wonders to perform. Amen.

Isaac[reading]: Memorandum of the Cabinet Office to the Board of Tourism.

Proposal to turn the Bar Beach into a National Public Execution Amphitheatre.

Whew! You hadn`t mentioned that

(p201)

Isaac: Unfortunately the beach is at present cluttered up with riff-raff of all

sorts who dupe the citizenry and make the beach unattractive to decent and

respectable people. Chiefest among these are the so-called.... Oh may the

wrath of Jehovah smite them on their blasphemous mouths! (p201)

Clerk: No, thats C.E.O.II. This is C.E.O.I. Chief executive Officer. C.E.O.III is

still to be appointed- that`s the Chief execution officer, a new post.

Executive [turns to inspects Shadrach slowly, like a strange insect] And who

might you be?

Shadrach: Leader of the Shadrach-Medrach-Abednego. Apolistolic flock,

twenty-thousand strong.

Executive: Another fanatic

(p208)

Jero: Colonel Rebecca of the Church of the Apostolic Salvation Army. CASA

for short. Do you know that CASA means home? In this case, spiritual home. I

am sure you approve our new image

(p209)

Jero: After all, it is the fashion these days to be a desk General (p213)

Madman and Specialist

Plot:- Madmen and Specialists is a play by Wole Soyinka, conceived during his imprisonment in the Nigerian Civil War. The play, Soyinka's eighth, has close links to

the Theatre of the Absurd. Abiola Irele (in the Lagos Sunday Times) called it "a

nightmarish image of our collective life as it appears to a detached and reflective

consciousness". It was published in London 1971 by Methuenand in New York in

1972 by Hill & Wang.

The plot concerns Dr. Bero, a corrupt specialist, who imprisons and torments his

physician father.

Character:- AAFAA

Blindman

Goyi

Cripple

Si Bero

Iya Sgba

Iya mate

Dr. Bero

Priest

The Old man

The first version of Madman and Specialists was performed at the 1970 playwright

workshop conference at the Eugene O`neil theatre centre, Waterford conneticut,

USA. The first complete versio, printed here, had its premiere at the University of

Ibadan, Nigeria in March 1970, with the University Theatre arts company. (p216)

The action takes place in and around the home surgery of Dr. Bero, lately returned

from the wars (p216)

Interesting Points:-

Part One

The surgery is down in a cellar (p217)

AAFAA [rinsing his hand]: Nothing to do with me

Blindman: fair trial, no?

AAFAA: Decidedly Yes

(p220)

AAFAA:There is money at the bottom of it.

Cripple: [places Blindman`s hand on his shoulder and starts off in the

direction of the house]: And we are at the bottom. So lets go and make sure

the woman doesnt stumble on any official secrets

.....

AAFAA: You said it yourself-Official Secret. Official rat is what I smell, yessir!

We`ll paid something decent. Secret Service funds and all that. Lets

celebrates

Goyi: Nonsense. It`s just a simple family vendetta

(p222)

Iya Agba: Ofe gbe wa de`le o-Ofe...

Ofe gbe wa de`le o-Ofe

Oko epo epa i runa

Gbe wa de`le o

Ofe gbe wa de`le

(Wind-spirit bear us home windspirit

Wind-spirit bear us home, wind-spirit.

The boat that bears oil of the ground-nut

Avoids the naked flame.

Bear us home

Wind-spirit, bear us home)

Si Bero: Stop that noise! Did I ask you here for entertainment?

Cripple: No offence, Si Bero, no offence. We only thought you had forgotten

us.

Si Bero: And thought your horrible voice the best way of reminding me.

(p225)

AAFAA: Oh yes, DR.Bero. I know who you are. The specialist. We all do. So

what about it? You say we are under orders but I tell you I am not. I know

three are discharged. As for me, I have never even taken order from you

before (p232)

Bero: Practice? Yes I intend to maintain that side of my practice. A labotorary

is important. Everything helps. Control, sister control. Power comes from

bending nature to your will (p237)

Bero: But why pastor. It`s quite delicious you know.

Priest: Just what I say. It`s... what did you say?

Bero: [reaches out and pulls out the Priest`s cheek] This, Delicious.

Priest: [struggles free] You`re joking, ofcourse.

Bero: NO. Your friend will confirm it when he comes.

Priest: [increasingly horrified] You mean he....

Bero: No, not him. He never meant anything. At least, not that way. But we

found it delicious the same.

Priest: You?

Bero: I give you the personal word of a scientist. Human flesh is delicious.

Ofcourse, not all parts of the body. I prefer the balls myself.

Priest: [vehemently] I dont believe you

(p240)

Cripple: Some bugs are friendly, others wild

Goyi: The one sucks gently, the other nips.

Blindman: If you must eat a toad...

Cripple: ...pick the fat one, with eggs in its belly

AAFAA: Listen you fool. Its you hes calling a toad

(pp243)

Mendicants: As-Was-Is Now-As ever shall be

Bi O ti wa

Ni yio se wa

Bi o ti wa

Ni yio se wa

Bi o ti wa l`atete ko se..!

(Even as it was,

So shall it be

Even as it was

So shall it be

Even as it was at the beginning of the act)

(p244)

Part Two

The surgery below the ground floor of the house. An examination couch

assortment of a few instruments and jars in a locked glass case, a chromium

serialising unit etc etc. A table, a swivel chair. Etc. A white smock hang

against a shelf, with surgical mask and gloves tucked into their pockets. The

mendicants are crouched, standing, stooping in their normal postures

humming their chant and listlessly throwing dice. The old man`s attitude

varies from boredom to tolerant amusement (p246)

AFFAA: A.A is acceptance, adjustment, adjustment of ego to the acceptance

of as...him. Not bad. B....B..... [his eye roams over the room for inspiration,

falls on the blindman] Of course, B, blindness blindness is as. I say this unto

you. As all seeing. All shall see in as who render themselves blind to all else

(p246)

Affa: You only need to remember its father and son. Human beings both of

them. Who is my neighbour, you know-all that stuff and sentiment (p249)

Possible duologue?

Bero: I thought I would join you for dinner

Old man: [rounding on him]: Will you tell me just what is going on?

Bero: Nothing Old Man, nothing

Old Man: I wish to write a letter

Bero: Who, so?

Old Man: To your superor

Bero: [winces, but recovers his poise] There isnt such a thing.

Old Man: Your superiors, I said. I demand the right to send them at once.

(p250)

Bero: Fetch some writing material. Go to the nearest stationers

Old Man: Why all the way to look for a store? Isnt there any in the house?

Bero: None that belong to you. Perhaps you would give him money for your

requirements?

[The Old Man starts to take money from his pockets,slows down in suspicion

and looks at Bero. Then, slowly, he dips into all his trouser pockets]

Old Man: You know you took my money. Or ordered it removed.

Bero: I dont know anything of the sort

Old Man: [Violently] You know I have no money here!

Bero: I dont know anything. You on the contrary appear to know everything.

Isnt that right? You know everything. [to aaffa] The Old man appears to have

no money . Obviously he can have no writing paper. Perhaps you would like

to send a verbal message?

Old man: You can take your verbal message to- [He looks at him scornfully,

then sits down]

(p251)

Bero: You boast of that? You go too far, old man.

Old Man: After all, whats meat for the ranks should be meat for the

officers...[chuckle] it could happen I said, it will happen. But I never really

believed it.

Bero: They would have killed you, you know that? If I hadn`t had you hidden

away they would have killed you slowly.

Old Man: [still on his own] No. I`ve asked myself over and over again. I said it

would happen. I knew it would happen. But I never really believe it.

Bero: They wanted to kill you, mutilate you, hang you upside down then stuff

your mouth with your own genitals. Did you know that? [His explosiveness

breaks in on the old man]

(p252)

Bero: Or you might die....

Old man: Quite possible, quite possible

Bero: You`re lucky you`ve lasted this far.

Old Man: I have lasted, but the question of being lucky..?

Bero: There is search for you everywhere

Old Man: I thought that was over. Tenancious gods they worship, dont they?

Bero: and you?

Old Man: Or maybe they are the tenancious gods

Bero: and the god you worship?

Old Man: Abominates humanitity-the fleshy part, that is.

(p253)

Old Man: We`ll go on that world tour yet. I`ll take your circus round the world.

So help me (p258)

Cripple: You`ve gone dense [quoting the old man again] in Ancient Athens

AAfaa: Damn it, you`re right. No damned quorum!

Blindman: In ancient Athens they just didnt just have a quorum. Everybody

was there! That, Children, was democracy

Cripple: [singing to the tune of when the saints] Before I join.

The saints above

Before I join

The saints above

I want to sit on that damned quorum.

Before I join the saints above

(p261)

Bero: It depends on the dose. I brought you some. [He brings some berries

from his pockets and drops them gently over the Old Mans head] If you ever

get tired and you feel you need a nightcap like a certain ancient Greek you

were so fond of quoting, just soak a handful of them in water (p262)

Blindman: [the speech should be varied with the topicality and locale of time]

It was our duty and a historical necessity. It is our duty and historical beauty.

It shall always be. What we have, we hold. What though the wind of change is

blowing over the entire continent, our principles and traditions-yes, must be

maintained. For we are threatened, yes, we are indeed threatened. Excuse

me, please, but we are entitled to match you history for history to the nearest

half million souls. Look at the hordes, I implore you..........black menace is no

figment of my father`s imagination. Look here....have you had the experience

of watching them? Breed. No no i mean.. i dont mean being actually

there..Please, please, please, i was referring to statistics, statistics. We freed

those statistics into a computer and here is what they say...what we have, we

hold. What thought the wind of change is blowing over this entire continent,

our principles and traditions-yes must be maintained. For we are threatened

(p269-70)

AAFAA: One body of priesthood, the political priesthood went right eh

spiritual priesthood went left or vice versa the political priesthood went back

the spiritual priesthood went fore and vice versa the political priesthood.........

oh, look at him, Monsieur l`home sapiens look at the lone unsurper of the

ancient rights and privileges of priesthood [the cripple makes an obscene

gesture, aaffaa register shock] (p272-3)

The play ends with Yoruba language

Old Man: Bi o ti wa

Ni yio se wa

Bi o ti wa

Ni yio se wa

Bi o ti wa l`atete ko

(p276)