024 Literature In English
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.
