The Trials of Brother Jero by Wole Soyinka

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                             PLAYS

The Trials of Brother Jero

WOLE SOYINKA
1960

INTRODUCTION

The Trials of Brother Jero is a play by Nigerian writer Wole Soyinka. It was first produced in the dining hall at Mellanby Hall, University College, Ibadan, Nigeria, in April 1960. Notable productions were staged at the Hampstead Theatre Club in London during June 1966, and at the Mews Theatre, New York City, beginning at the end of October 1967. The play was first published in Nigeria in 1963 and by Oxford University Press in 1964. It is available from the same publisher as one of five plays in Soyinka's Collected Plays 2.
The Trials of Brother Jero is a light satiric comedy that takes aim at religious hypocrisy in the form of a charlatan, or fraud, named Brother Jero, who preaches to his followers on Bar Beach in Lagos, Nigeria. Jero is a master of manipulation and keeps his followers in a subservient position because he understands what they long for—money, social status, and power—and convinces them that they will soon be able to fulfill these materialistic desires. For their part, they are gullible enough to believe him. The vitality of the rogue Jero makes him a popular figure with audiences, and this rambunctious, humorous play is one of the best-known and most frequently performed of Soyinka's early works.

AUTHOR BIOGRAPHY

Nigerian playwright, poet, novelist, and essayist Wole Soyinka, whose given name was Akinwande
Oluwole, was born on July 13, 1934, in Isara, Nigeria. Born into the Yoruba tribe, he was the son of Ayo and Eniola Soyinka; his father was a headmaster of a school established by the British. At the time, Nigeria was under British rule.
Soyinka attended the University of Ibadan and continued his education at the University of Leeds, England. He graduated with honors, with a bachelor of arts degree in English in 1957 and then spent over a year as a play reader at the Royal Court Theatre in London. His early plays The Swamp Dwellers, The Lion and the Jewel, and The Invention all received productions in London in 1958 and 1959.
Returning to Nigeria in 1960, just after Nigeria became independent, Soyinka's career as a dramatist flourished. He established a reputation for blending Yoruba influences with Western dramatic styles. He founded theater groups and produced and acted in his own plays. The Trials of Brother Jero was first produced at Ibadan's University College in April 1960, the same year A Dance of the Forests was produced. Soyinka's first novel was The Interpreters (1965).
During the 1960s, in addition to holding various teaching positions at universities in Nigeria, Soyinka was also a political activist, working to combat government corruption and censorship. When a civil war broke out in 1967, Soyinka was arrested and imprisoned for more than two years, spending fifteen months in solitary confinement. Several of his writings were influenced by this period of imprisonment, including the play Madmen and Specialists (1971); a poetry collection, A Shuttle in the Crypt (1972); and a novel, Season of Anomy (1973).
After his release in 1969, Soyinka went into exile for six years, living in Ghana, England, and the United States. His plays Jero's Metamorphoses (1974), The Bacchae of Euripides (1973)—an adaptation of Euripides' work and one of Soyinka's best-known plays—and Death and the King's Horseman (1975) date from this period.
Soyinka returned to Nigeria in 1975 and remained politically active. He spoke out against repression under the military government that ruled Nigeria from 1979 to 1983. During this period, Soyinka was professor of comparative literature and dramatic arts at the University of Ife; he was also a visiting professor at Yale University and the University of Ghana.
In 1984, another of his most popular plays, A Play of Giants, was produced, and in 1986, Soyinka was awarded the Nobel Prize for Literature, the first African writer to receive this award. In 1994, Soyinka was accused of treason by the Nigerian military government, and he once again went into exile, traveling and lecturing in Europe and the United States. He returned to Nigeria in 1998, where a new government was promising to release political prisoners and hold elections. Since his return home, Soyinka has published a collection of essays, The Burden of Memory, The Muse of Forgiveness (1998), and a memoir, You Must Set Forth at Dawn (2006).

PLOT SUMMARY

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. …

Character List

Brother Jero

Brother Jero is the main character of the play and the leader of his self-organized Brotherhood of Jero. He is a “suave” and false prophet who preaches to the community in hopes of attracting more followers. Although claiming to have been born a prophet, Jero frequently admits to his acts of deception and above all else desires to be held in high esteem as "Brother Jero, Articulate Hero of Christ’s Crusade."

Old Prophet

The Old Prophet is Brother Jero’s former tutor, whom Brother Jero later drove off his own land. He appears only in the first scene to curse Brother Jero for his maltreatment.

Chume

Chume is one of Brother Jero’s most loyal and trusting assistants, a chief messenger in the local government office. Chume is trapped in an unhappy marriage with his wife, Amope, and frequently turns to Brother Jero for advice.

Amope

Amope is Chume’s wife, who is unhappy and self-righteous, constantly arguing with Amope and other characters about the injustices they have caused her.

Trader

In Scene II a woman trader selling smoked fish appears briefly on her way to town. She is stopped by Amope, argues with her about pricing, and leaves cursing her.

Drummer Boy

A drummer boy appears in the third scene, pursued hastily by a woman who has accused him of using his drums to abuse her father. He insists to Brother Jero that he has not done anything wrong and begs the woman to not take away his drums before they both run off stage.

Member of Parliament

This cowardly member of Parliament holds a position in the Federal House but desperately wants a position as minister. Although he constantly practices his political speeches on the beach, he is too afraid to act on these desires. While he initially distrusts Jero, the member of Parliament is  ultimately put under his spell when Jero prophesies that he will one day be Minister of War.

Major Themes

Gender

The characters of The Trials of Brother Jero are bound to their gender roles, with many personality traits explicitly attributed to a character’s sex. Men constantly struggle to steer clear of the temptation of sin posed by women: Brother Jero himself admits that he has “one weakness—women,” the basis of the central conflict between his desired self-image and reality. Chume, too, fights the urge to beat Amope for her constant pestering. Women are described as “fickle,” “the plague," and “daughters of discord." This characterization by Brother Jero and Chume places blame on women for the burden they place on men and their sinful nature. The women of the play, on the other hand, feel tied to the will of men and therefore similarly limited. Amope complains that “it is a tough life for a woman” as she must depend on Chume and what he provides, which she deems insufficient for her needs. This barrier between men and women causes lapses in understanding and strained relationships. In this way, the theme of gender drives much of the plot in the play.

Faith and Religion

Soyinka's play is widely considered a satire of proselytizing faith. Brother Jero’s success rests entirely on the blind faith of his followers, whom he is able to win over easily by offering false and fantastic prophesies. Thus the virtue in faith alone is called into question, and Christianity—at least in the form found with characters like Brother Jero—scrutinized. Although Brother Jero loses one follower in Chume at the end of the play, he is able to win over another, the Member of Parliament, just as quickly, speaking to the power of faith in its aim to fulfill personal hope and desire. Soyinka’s play forces the reader to question when belief is and is not justified, and to consider who has the power to claim and impart knowledge.

Social Status

The influence of social status is also a driving force in the play: Brother Jero's false prophethood is driven by a desire to elevate himself to a nearly divine status in his community. Yet just as this drives his willing deceit of others, it influences the willingness of others to be deceived. Brother Jero in fact plays on the same desires in others to elevate his own status: Chume relies on Jero's prophecy that he will become a Chief Clerk, while the Member of the House is seduced by the power that will come with Jero's prophecy of his becoming Minister for War. In this way, the quest for increased social status and the privileges it brings influences every character in the play, regardless of their current social standing.

Communication

The role of communication in theater but especially in Soyinka's play is important, as Soyinka pays special attention to its influence in power dynamics. One of Amope's most powerful characteristics is her ability to insult even while speaking indirectly around the subject, whereas Jero's lofty and elegant wording is integral to his perception of himself as superior to those he converts. Similarly, Chume expresses his confusion and emotion through a change in his speech, relying on pidgin during moments of tension and excitement. Each character's words are carefully chosen, as words misunderstood or misinterpreted push the play forward.

Politics

Soyinka is not only poking fun at religion but also criticizing politics; often, as the play reveals, there is a large overlap between the two. Politics appears at an official level, such as the supposed low salary granted to Chume as the local government's messenger and the Member of the House's desire for a position of more power, between the local village and the central government. But it also exists at a more informal level, between each character attempting to figure out her/his role in a country still negotiating its new independence from Britain. Jero's very rise to power was a result of what he called a successful "campaign" against other prophets and their followings, and as the self-elected leader, or tyrant, of the Brotherhood of Jero, his every action is political, serving to consolidate his own power.

Financial vs. Intrinsic Value

The assignment of value to peoples, professions, and goods is central to The Trials of Brother Jero. While religion ordinarily serves to hold value in itself, Jero uses his Brotherhood as a tool to achieve power. Rather than valuing his followers as people and ends in themselves, Jero assigns value as if they were goods to be traded and swapped. This is demonstrated when, following his loss of Chume's faith, Jero attempts to convert the Member, as if balancing his books. In doing so, Jero commodifies religion, turning toward a system that understands only financial gains. Through his actions, Soyinka seems to be asking his audience how we should properly value each other and our lives, in a world where people focus increasingly on making financial gains.

Individual vs. Community

The ever-present and observant crowd is quite prominent throughout the play, watching scenes of provocation and fighting, such as Amope's fight with Chume. The tension between the needs of the individual and the community is apparent in Amope's firmly held belief that everyone wishes her ill and that she can only rely on herself. Chume is first empowered by his interaction with an eager crowd, stepping in to take over Jero's sermon: Once the crowd believes Chume's words, he believes them as well. But even as the individual finds strength in the support of the community, he or she struggles to find strength in its absence. Chume seems to become even more incensed as the crowd watching his attack on Amope questions his actions, as he breaks from society's expectations and understanding of what is rational to pursue Jero. The pressure of an always alert crowd also plagues Jero, who constantly thinks to inform and share secrets with the play's audience, as if asking for their approval.