Wole Soyinka
This is a false rhetoric of modernization not only on account of its utter
callowness and naivet ́e, but also because Lakunle himself is carried away
by the rhetoric: it reflects, but at the same time constructs his reality. In
contrast to Lakunle’s naively unselfconscious rhetoric of “civilization,”
Baroka deploys a counter-rhetoric of the alienations and shortcomings of
progress and modernization that builds on the best elements of tradition;
but he retains a detached, self-amused, even manipulative control over
this elaborate rhetoric. The verse form of the dialogue provides an effec-
tive modulation for this underground contest of rhetorics, and it reaches
its finest expression in the play in the final moments of Sidi’s seduction:
Foralongtimenow
The town dwellers have made up tales
Of the backwardness of Ilujinle
Until it hurts Baroka, who holds
The welfare of his people deep at heart.
Now, if we do this thing, it will prove more
Than any single town has done!(The wrestler, who has been listening, open-mouthed, drops his cup in admiration. Baroka,
annoyed, realizing only now in fact that he is still in the room, waves him impatiently out.)
I do not hate progress, only its nature
Which makes all roofs and faces look the same.
And the wish of one old man is
That here and there(Goes progressively towards Sidi, until he bends over her, then sits beside her on the bed.)
Among the bridges and murderous roads,
Below the humming birds which
Smoke the face of Sango, dispenser of
The snake-tongued lightning; between this moment
And the reckless broom that will be wielded
In these years to come, we must leave
Virgin plots of lives, rich decay
And the tang of vapor rising from
Forgotten heaps of compost, lying
Undisturbed... But the skin of sameness...
Masks, unknown, the spotted wolf of progress...
Does sameness not revolt your being,
My daughter?
(CP,–)To the concluding question Sidi can only give a sort of drugged, bewil-
dered nod. The persuasive, seductive logic of this view of progress and of