Tradition vs. Modernity Theme Analysis

The Lion and the Jewel was written and first performed the year before Nigeria was granted its independence from Great Britain, and the script was published two years after independence. As such, one of the primary conflicts of the play pits traditional Yoruba customs against a western conception of progress and modernity, as represented by the conflict between Baroka and Lakunle for Sidi's hand in marriage.

Lakunle represents the modern Nigerian man. He wears western clothing, has been educated in a presumably British school, and wants to turn his village into a modern paradise like the city of Lagos. Lakunle doesn't just admire and idolize western society; he actively and loudly despises the traditional customs of his village and the people who support them. This is best illustrated by Lakunle's refusal to pay Sidi's bride price. Sidi indicates that she'd marry Lakunle any time if he'd only pay the price and observe local custom. Lakunle's refusal shows that it's more important to him to convert Sidi to his way of thinking and turn her into a "modern wife" than it is for him to marry her in the first place.

For much of the play, other characters describe Baroka as being directly opposed to modernity and extremely concerned with preserving his village's traditional way of life. Lakunle, in particular, finds Baroka's lifestyle abhorrent. He describes how Baroka paid off a surveyor to not route train tracks through the outskirts of Ilujinle, thereby robbing the village of a link to the modern world that would modernize the village. However, when Baroka himself speaks, it becomes apparent that he doesn't actually hate modernity or progress. While he obviously delights in the joys and customs of village life, when it comes to modernity he simply hates having it forced upon him. He sees more value in bringing modern customs to the village on his own terms. For example, he argues that creating a postal system for the village will begin to bring it into the modern world without entirely upending the village's way of life. Further, when he does talk about modern ideas that were forced upon him, such as his servants forming a union and taking Sundays off, his tone is resigned rather than angry—he sees it as inevitable and annoying, but not bad.

The competition between Baroka and Lakunle for Sidi’s hand in marriage brings the conflict between tradition and modernity to life. Baroka wishes to add Sidi to his harem of wives, while Lakunle dreams of having one wife who, in theory at least, is his equal. Both men promise Sidi a different version of power and fulfillment. When Baroka dies, Sidi will become the head wife of the new Bale, a position that would make her one of the most powerful women in the village. Lakunle, on the other hand, offers Sidi the possibility of an equal partnership in which she's not required to serve her husband as is traditional. However, the way Lakunle talks to and about Sidi indicates that agreeing to marry Lakunle and embracing modernity won't necessarily be better for her, as modern science provides Lakunle specious evidence that women are weaker and less intelligent than men. Sidi recognizes that Lakunle's idea of modernity might not improve her life; in fact, it might mean that she would have less power and fewer rights than she would have in a traditional marriage.

Baroka's actions (and the fact that he triumphs in the fight for Sidi's hand) suggest that while Lakunle may be right that Ilujinle will indeed need to join the modern world, modernization and the outright rejection of local custom simply for the sake of doing so are foolish goals that benefit nobody. Instead, Baroka's triumph suggests that progress must be made when and where it truly benefits the village and its inhabitants.