He feels it is outmoded and demeans women, but Sidi cannot see that, and demands that he recognize her value by paying the bride price. This is something that would never be tolerated in western culture, so it shows the great differences that will come to Africa, and how those differences will affect her people. Lakunle is really a voice for the future, but his voice also dooms traditional African culture, which is at the heart of this play.
The author uses prose for his dialogue in many areas of the play, another European artistic element. The characters speak English, and speak it rhythmically, as well, which comes from early Greek and Roman drama, as well. The use of miming, dancing, and other elements to tell the story adds texture to the play, and blends the African elements quite effectively. Later in the play, Soyinka uses mummers to extend the action of the play and celebrate the "fall" of the lion and his supposed impotence. Mummers were also a European traditional art form that began in Greece and spread to other parts of Europe, including England. The mummers create another sort of mime on the stage while they move the action forward, and they indicate how much the author was influenced by his time spent in Europe continuing his education.
The ending of the play seems to be the denouncing of the European influences and artistic references throughout the play. In choosing the Bale over Lakunle, Sidi is choosing the traditional way of life over the modern way of life. She sees the European ways that Lakunle represents as weak and unfulfilling, while the traditional African ways the elder Bale represents are invigorating and strong. She is contemptuous of Lakunle, even though he vows he loves her despite her loss of virginity. She sees that as weak, and says she would never marry a weak man. The entire play is based on the clash between these two values, and it uses European art and culture to get these messages across to the reader. Without...
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