The Trials of Brother Jero

ENG2209 – MODERN AFRICAN DRAMA (TEXT ANALYSIS)
ENG2209
MODERN AFRICAN DRAMA
TEXTUAL ANALYSIS II
(The Trials of Brother Jero)
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CONTENTS
1. About the Author

2. About The Trials of Brother Jero
3. The Trials of Brother Jero Summary
4. Character List
5. Glossary
6. Themes
7. Quotes and Analysis
8. Summary And Analysis
a. Scene 1
b. Scene 2
c. Scene 3
d. Scene 4
e. Scene 5
f. Other
9. Satire as a genre
10.Nigerian theater
11.Essay Questions
ABOUT THE AUTHOR

Wole Soyinka, born in 1934, Nigerian playwright, poet, novelist,
and lecturer, whose writings draw on African tradition and
mythology while employing Western literary forms. In 1986
Soyinka became the first African writer and the first black writer
to win the Nobel Prize in literature.
Akinwande Oluwole Soyinka was born near Abeokuta, Nigeria.

He studied at the University College of Ibadan (now the
University of Ibadan) and graduated from the University of Leeds
in Britain in 1957. He then returned to Nigeria, where he
established the 1960 Masks drama troupe (later the Orisun
Theatre) and produced his own plays and those of other African
playwrights. During the Nigerian civil war (1967-1970), the
government arrested Soyinka and held him in solitary
confinement from 1967 to 1969. His time in jail prompted him to
write the verse collection Poems from Prison (1969; republished
as A Shuttle in the Crypt, 1972) and the prose work The Man
Died (1972).
Soyinka often wrote about the need for individual freedom. His
plays include A Dance of the Forests (1960), written to celebrate
Nigeria’s independence in 1960; Kongi’s Harvest (1965), a
political satire; Death and the King’s Horseman (1975); A Play of
Giants (1984); From Zia, with Love (1992); The Beatification of
Area Boy (1995); and King Baabu (2001), a satire about a
fictional African despot. His other writings include the novels The
Interpreters (1965), about a group of young Nigerian intellectuals,
and Season of Anomy (1973); the poetry collections Idanre (1967)
and Mandela’s Earth (1988); and the essay collection The Credo
of Being and Nothingness (1991). His principal critical work is
Myth, Literature, and the African World (1976).
Following the annulment of Nigeria’s 1993 democratic elections

and the assumption of power by military dictator Sani Abacha,
Soyinka went into exile in 1994. His subsequent essay collection
Open Sore of a Continent: A Personal Narrative of the Nigerian
Crisis (1996) recounts the history of Nigeria from its
independence from the United Kingdom in 1960 until the regime
under Abacha. The essays show Soyinka’s anger and sadness over
what he views as the deterioration of Nigeria as a nation. In 1997
Nigeria’s regime charged Soyinka with treason, claiming that he
and other dissidents had been involved in a series of bombings.
Soyinka denied the charges, and after Abacha’s death in June
1998, his successor, Abdulsalam Abubakar, dropped the charges.
Soyinka returned to Nigeria for a visit later that year.
In 1996 Soyinka was named Robert W. Woodruff Professor of the

Arts at Emory University in Atlanta, Georgia. In 1999 he
published The Burden of Memory, the Muse of Forgiveness,
which deals with crimes against humanity committed in Africa
and with the difficult issue of reconciliation. A volume of poetry
about his years of exile, Samarkand and Other Markets I Have
Known, appeared in 2002. A series of five Reith Lectures for the
British Broadcasting Corporation (BBC) was published in 2005 as
Climate of Fear: The Quest for Dignity in a Dehumanized World.
Soyinka has also written the autobiographical works Aké: The
Years of Childhood (1981), Ìsarà: A Voyage Around Essay (1989),
and You Must Set Forth at Dawn: A Memoir (2006).
Wole Soyinka." Microsoft® Student 2009 [DVD]. Redmond, WA: Microsoft
ABOUT THE TRIALS OF BROTHER JERO

The Trials of Brother Jero was first published in 1964. Its
original performance was organized by Farris-Belgrave
Productions and held at the Greenwich Mews Theatre in New
York City in 1967. Today it is known as one of Soyinka’s most
popular plays.
The play mocks the effects of the quick spread of Christianity

across Africa. Soyinka takes issue with a common figure of the
time, the phony preacher who proselytizes by deceiving his
followers. Many of these preachers did not have churches of
their own and so preached in public spaces, as does Brother
Jero. The play thus exposes the contradictions in blind faith and
following, while also drawing attention through satire to many
of the social and political imbalances of Nigeria in the early
1960s.
In 1966 Soyinka published another play featuring Brother Jero,

called Jero's Metamorphosis.
SUMMARY OF THE BOOK

The Trials of Brother Jero follows a day in the life of Jero, a
self-named prophet who is eager to present this turn of events to
an audience to proudly illustrate his wise and cunning nature.
The play opens with Brother Jero offering a monologue on his
beginnings: He tells the audience that he was born a prophet
and reveals his view of prophethood as a "trade." Jero was able
to acquire his current beach-side realty in the name of his
former master, the Old Prophet, by leading a campaign against
the other prophets and followings also claiming the land. He

then drove the Old Prophet off his own land, however, and
midway into his monologue the Old Prophet enters to curse
Jero, wishing his downfall via women. Jero presents this day as
one in which the Old Prophet's wish is almost fulfilled.
In Scene 2 the audience is introduced to Chume, a messenger in

the government, and Amope, his ill-tempered wife. Amope is
determined to receive money that Brother Jero owes her for a
velvet cape that he purchased from her, unbeknownst to Chume,
who is his most faithful penitent. Amope camps outside his
door and after a brief confrontation Jero sneaks out to the beach,
where he tells his followers he lives. Chume arrives at the beach
and meets Jero in Scene 3, eager to list his grievances about his
wife. Jero has told Chume that he must not beat his wife,
despite repeated requests from Chume. As the rest of the
congregation gathers, a fight between a Drummer Boy and a
woman temporarily distracts Jero, who leaves to attempt to
mitigate the fight while Chume temporarily takes over his
sermon, empowered. When Jero returns, exhausted, he
discovers that Chume's wife is in fact Amope and grants him
permission to beat her, hoping it will take care of his problems
as well.
In Scene 4, Chume is emboldened to talk back to Amope. He

soon discovers, however, that she man who is her debtor is in
fact Brother Jero, and that his prophethood is built on a web of
lies. Instead of beating Amope, he takes off to confront Jero. In
Scene 5 Jero is in the process of converting another penitent, a
Member of the House, by playing on his desire to become a
Minister, when Chume arrives with the intention of killing Jero.

Jero flees, as the Penitent interprets his disappearance as a sign
of his divinity. When Jero returns he has arranged for Chume to
be taken to an insane asylum, and his newest Penitent is more
strongly convinced of his status as a Prophet, dedicating
himself to Jero as his "Master."
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, in which he curses 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.
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.
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, and 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.
QUOTES AND ANALYSIS

"It becomes important to stand out, to be distinctive. I have
set my heart after a particular name. They will look at my
velvet cape and they will think of my goodness. Inevitably they
must begin to call me ... the velvet-hearted Jeroboam.
(Straightens himself.) Immaculate, Jero, Articulate Hero of
Christ's Crusade..." Jero, 14
In this quotation, Brother Jero reveals his ultimate aim to be a

figure of high esteem within his community. Yet although his
intention is to be known as velvet-hearted, or kind, his
statement reveals the emphasis that Jero places on image rather
than on his actions. Here we understand that Brother Jero is not
concerned about his actions earning his name so much as his
outward appearance reflecting it.
"You've got to have a name that appeals to the

imagination—because the imagination is a thing of the
spirit—it must catch the imagination of the crowd. Yes, one
must move with modern times. Lack of colour gets one
nowhere even in the prophet's business." Jero, 14
This quotation reveals Jero's view of the relationship between

imagination and spirit, essential for the faith of his followers.
Jero feels pressure to "appeal" to his followers by advertising
his prophecy and teachings. His mention of modernity also
points to what Soyinka evaluates as an increasingly artificial
nature of religious communities and their followings. A modern
consumer culture has pushed even prophecy into becoming a
"business," as Jero states.
"I am glad I got here before any customers—I mean

worshippers—well, customers if you like. I always get that
feeling every morning that I am a shop-keeper waiting for
customers. The regular ones come at definite times. Strange,
dissatisfied people. I know they are dissatisfied because I keep
the, dissatisfied. Once they are full, they won't come again.
Like my good apprentice, Brother Chume. He wants to beat
his wife, but I won't let him. If I do, he will become contented,
and then that's another of my flock gone forever. As long as
he doesn't beat her, he comes here feeling helpless, and so
there is no chance of his rebelling against me. Everything, in
fact, is planned." Jero, 14-15
Here Brother Jero reveals his strategy for attracting and

retaining his worshippers, whom he sees as customers. Religion
and prophecy for Brother Jero are commodified: He values his
human relationships merely as business transactions and thus
views prophecy as a means to material ends. Soyinka aims to
point out the irony in this understanding, as true faith rests on
the immaterial. In this quotation Brother Jero also indicates that
he has lost other followers in his "flock" in the past (his diction
further dehumanizing his worshippers), foreshadowing the fate
of Chume. The reader understands that Jero's power rests on his
control, as he emphasizes his ability to "plan" the fate of his
worshippers.
"From the moment I looked out of my window this

morning, I have been tormented one way or another by the
daughters of discord." Jero, 21
This quotation reflects the play's central characterization of

women as vexing and malevolent figures. Jero's statement
places blame on the female sex for his personal failures, and it
also condemns women to the realm of permanent sin.
"You didn't hear me complain. You did your best, but if my

toes are to be broken one by one just because I have to
monkey on your bicycle, you must admit it's a tough life for a
woman." Amope, 9
This quotation is one of the first lines of dialogue attributed to a

woman in the play. It immediately draws attention to the
hardship of women. Here Amope, the only female character
consistently highlighted in the play, underscores the irony of
the expectations placed on women and the way in which
women act these expectations out. Amope feels like she cannot
complain although she perceives great hardship. Of course, her
actions belie her words: She is in fact complaining. Although
the hardship she references in this quotation is greatly
exaggerated, Amope here demonstrates her intelligence, her
ability to have her voice heard.
"Actually I knew it was he the moment he opened his

mouth. Only Brother Chume reverts to that animal jabber
when he gets his spiritual excitement. And that is much too
often for my liking. He is too crude, but that is to my
advantage. It means he would never think of setting himself
up as my equal." Jero, 16
In this quotation, Brother Jero reveals his distaste for pidgin,

which he disparagingly describes as "animal jabber." Although
he criticizes Chume's "crude" manners, he also reveals that they
are essential to maintaining his own position as Chume's trusted
leader. This quotation highlights Jero's own conception of his
false prophethood: He must invent a distance between himself
and his subjects in order to maintain his elevated status. Jero's
use of the word "animal" is not only condescending but also
filled with layers of historical connotations, especially as

colonizing white settlers in Africa frequently dehumanized
Africans by referring to them in the same way. Thus Jero does
not really intend to help Chume or take him seriously; he is
equally willing to dehumanize Chume to consolidate his own
power.
"Yes, Father, those who are Messenger today, make them

Senior Service tomorrow. ... Those who are petty trader today,
make them big contractor tomorrow. Those who dey sweep
street today, give them their own big office tomorrow. If we
dey walka today, give them their own bicycle tomorrow. Those
who have bicycle today, they will ride their own car
tomorrow. ... I say those who dey push bicycle, give them big
car tomorrow. Give them big car tomorrow. Give them big car
tomorrow, give them big car tomorrow." Chume, 20-21
This quotation marks the first step of Chume's transition from

serving as Brother Jero's blind, faithful follower to finding his
own voice. Chume originally feels uncomfortable temporarily
taking over Brother Jero's sermon, speaking calmly and
hesitantly measuring his words. However, as he continues to
preach to his captivated audience, Chume, too, begins to believe
his own words and will them into being, becoming more
animated as the crowd matches his own enthusiasm. Chume
and the crowd enter a reciprocal relationship where the crowd's
passion empowers Chume, and vice versa. As Chume believes
more in his own words and what they predict, his language
becomes less formal and more impassioned; he begins to use
some pidgin, often regarded with disdain by elites like Brother
Jero. The irony here is that Chume's candid, casual use of

pidgin seems to make him more able to connect with the crowd
he addresses.
"Chume, fool! O God, my life done spoil. My life done spoil

finish. O God a no' get eyes for my head. Na lie. Na big lie.
Na pretence 'e de pretend that wicked woman. She no go
collect nutin! She no' mean to sleep for outside house. The
prophet na' in lover. ... O god, wetin a do for you wey you go
spoil my life so? Wetin make you vex for me so? I offend you?
Chume, foolish man you life done spoil. Your life don spoil
yea, ye..." Chume, 29
This quote encapsulates Chume's full transition, once he has

discovers Jero's inventions and lies. Chume laments his former
blind faith in Jero; because his faith in the Brotherhood was
central to his life, his discovery of Jero's fallacy leads him to
question all constants in his life, including his wife's fidelity. As
Chume becomes increasingly sure of the reality of his situation,
he increases his use of pidgin. What makes less and less sense
and becomes more disjointed to the reader, or viewer, becomes
clearer and more obvious to Chume. This version of reality,
however, is pursued just as dogmatically, and is just as flawed,
as Chume's original belief system.
"Now he... he is already a member of my flock. He does not

know it of course, but he is a follower. All I need do is claim
him. Call him and say to him, My dear Member of the House,
your place awaits you ... Or do you doubt it? Watch me go to
work on him." Jero, 28
In this scene Jero approaches his next penitent, aware that he

has lost Chume's faith. Jero's attitude toward the Member of the
House is the same as it had been toward Chume, however,
signifying no lessons learned on Jero's part. Jero sees the
Member, too, as an animal he can tame and then "claim" by
incorporating him into his "flock." Jero thus sees his followers
just as a shepherd might see own sheep: as tools to serve a
purpose. Jero also explicitly addresses the audience,
anticipating their doubt--perhaps, a bit of his own as well. Jero
deeply values the art of performance, as his profession itself is
an act, and this new opportunity as a next setting, into which he
eagerly invites the audience.
"I don't know what the world is coming to. A thief of a

prophet, a swindler of a fish-seller and now that thing with
lice on his head comes begging for money.” Amope, 13
This quotation from Amope ends Scene 2 and further

illuminates Amope’s personality. Constantly playing the role of
both the victimized and the superior, Amope self-isolates.
While it is true that she has been "swindled" by Jero, who will
not pay her back, she attributes a sense of malice or deception
to almost everyone she meets, acting aggressively toward both
the fish-seller and the drummer child. Amope punctuates these
beliefs and actions by placing blame on "the world," acting as if
everything is entirely in her hands, while she serves to
perpetuate tensions and conflict.
SUMMARY
Summary and Analysis of Scene 1

In Scene One, Jero introduces himself directly to the audience.
The setting is a completely dark stage with the spotlight shining
directly on Jero, emphasizing the religious nature and
importance of his role. He is described as "suave," a "heavily
but neatly bearded man" with hair "thick and high."
Jero immediately asserts that he is a prophet, "by birth and by

inclination." He was born with thick hair that covered his eyes
and neck, convincing his parents of his prophethood. He
laments that prophethood is no longer as respectable as it had
been in the past; he explains that a struggle among competitors
for land on the beach degraded the profession until the Town
Council stepped in to "settle the prophets' territorial warfare
once and for all." We learn that Jero helped his master, the
prophet who educated him, win land through a campaign of "six
dancing girls from the French territory, all dressed as Jehovah's
Witnesses."
Jero admits, however, that he was really intending to help

himself. Yet he tells the audience "the beach is hardly worth
having these days," as worshippers have depleted and gaining
converts becomes increasingly difficult. He complains that
"they all prefer high life to the rhythm of celestial hymns" and
attributes a lack of worshippers to the popularity of television.
As he is explaining that he aims to show the audience an
important day in his life, "a day when I thought for a moment
that the curse of my old master was about to be fulfilled," the

Old Prophet enters the scene.
Shaking his fist, the Old Prophet interrupts Jero, to call him an
"ungrateful wretch" and admonish him for driving him off his
own land, neglecting the training he had received. He curses
Brother Jero but becomes inaudible as Jero continues his
explanation. Finally he cries, "I curse you with the curse of the
daughters of discord. May they be your downfall" and goes
offstage, as Brother Jero continues. He admits that women are
his only weakness but insists that he would not risk his
profession and calling by giving into the temptation. He insists
that he has never been involved in a scandal with women. He
sets up the next scene by concluding, "And it was a sad day
indeed when I woke up one morning and the first thin to meet
my eyes was a daughter of Eve. You can compare that feeling
with waking and finding a vulture crouched on your bed post."
The stage goes black.
Analysis
The first scene introduces Brother Jero as a confident, self-
righteous character with little conscience. He has no qualms
about deceiving his old tutor, and is confident in his ability to
convince the audience that his actions are warranted. Soyinka
makes clear that he speaks with "accustomed loftiness,"
emphasizing that he is well versed in the art of influence, which
Jero aims to show the audience by presenting them with a day
of his life.
Also important is the managerial nature of Jero's profession and

the language with which he discusses it. Jero must sell his
prophecies like a businessman, eagerly convincing the audience
of his authenticity and capabilities. Yet he also admits to recent
hardships, posed by modernity, in what he calls "the trade."
Already the audience has a sense of Soyinka's satire, as Jero's
entire sense of self is built off a phony prophecy and actions
unbefitting of a true prophet.

Summary
Scene 2 opens in the early morning, set outside of Brother
Jero's hut in a fishing village. Chume arrives into the scene on a
bicycle, with Amope, his wife, riding on the handlebars. They
pull up beside the hut, on Amope's command; the bike tilts to
one side and Amope stops it from falling with her foot. With a
"tone of martyrdom" she immediately accuses Chume of
breaking her ankle, and beings to limp. Chume criticizes her
complaining, and Amope responds that she is not complaining,
but that he must admit "it's a tough life for a woman."
The pair continue to bicker aimlessly, as Amope continues to

claim that she is not "the kind of person who would [ever] think
evil of anyone" while she criticizes Chume for his treatment of
her. Meanwhile, Chume unloads a bag, saucepans, two bottles
of water, a box of matches, a piece of yam, two tins, a spoon,
and a knife from his bicycle, placing them next to Amope.
Amope snaps that he has forgotten her mat, but Chume replies
that she has a bed at home and that he is late for work.
Now Amope turns toward a criticism of Chume's job as a Chief

Messenger in the local government, noting that his other friends
are ministers, "riding in long cars." More than exasperated,
Chume flees from the scene as she talks. She continues her
monologue even in his absence, explaining that she thinks he
will not "make the effort to become something in life." At this
point, Jero opens the window of his hut, staring outside for a
few moments in meditation. He is calm until he sees Amope's
back from his view. Confused, he opens his door cautiously for
a better look, and realizing that it is Amope shuts the door
quickly. Amope opens a notebook and goes over figures, as
Jero attempts to discretely climb out the window without her
notice. "Where do you think you're going?" she asks him
without even turning around. He jumps back into his house.
Amope says that Jero has owed her one pound, eight shillings,
and nine pence for three months, as she closes her notebook and
beings to prepare her breakfast. Jero opens the door slightly and
now addresses Amope uncomfortable. "I hope you have not
come to stand in the way of Christ and his work," he tries.
Amope circumvents his evasion, calling him a "bearded debtor"
and insisting that she will not let him leave until he has paid her.
Jero insists that he must go to the post office to receive the
money, and goes back into his hut when Amope calls his bluff.
A woman trader carrying a bowl on her head now passes

through the scene, and Amope calls out to her to ask what she is
selling. The trader is reluctant to stop and asks Amope if she is
buying to trader further or for herself, to which Amope replies
that she must first know what the trader is selling. The trader is
selling smoked fish and stops to take it out for Amope, although
she says that she does not ordinarily stop before getting to the
market. At Amope's request, she says she is selling a dozen fish
for one pound and three shillings and no less. Amope asserts
that her fish are from last week and that they smell, while the
trader warns her not to ruin her luck for the morning and retorts
that maybe the smell is Amope herself. Amope responds
negatively, and the two trade insults as the trader packs her fish
off and begins to leave. Amope demands that the trader "take
your beggar's rags out of my sight," and she responds, "May
you never do good in all your life."
At this moment, Amope notices that Jero has just left through
the window of his hut, and jumps up. She accuses him of being
a thief, questions his prophethood, and then turns back to the
trader who is also gone. As she is cursing both Jero and the
trader, a drummer boy enters and approaches Amope. She
immediately turns toward him and demands that he leave. The
boy runs, while beating insults on his drum. The lights fade on
Amope who is still complaining of the "thief of a prophet, a
swindler of a fish-seller and now that thing with lice on his
head."
Analysis
This scene establishes Amope as a powerful female character
who threatens almost everyone she encounters. Jero, Chume,
the trader, and the drummer boy all fear her anger and constant
criticism. Although Amope curses almost everyone she meets,
the audience is aware that she is very unhappy with her own life
and limited options. She must depend on Chume as her husband

and on Jero for his debts to be repaid; both men she feels she
cannot trust. Amope is ultimately left alone in front of Jero's hut,
but also alone in lack of real companionship, with no one to
complain to but herself.

Summary
Scene 3 represents the majority of the rising action of the play.
The scene opens at the beach, where palm leaves and stakes
mark the land of Jero's church. A cross and rosary hangs from
one of many empty bottles on the ground. Brother Jero is
wearing a white velvet cape, standing with his divine rod. He
first addresses the audience, saying that he is unsure how
Amope found his house. He reveals that he had brought his fine
cape from her, and that she did not originally question his
ability to pay. Jero explains that he wished to procure such a
cape so that his followers would call him “the velvet-hearted
Jeroboam.” He aims to be known as “Immaculate Jero, the
Articulate Hero of Christ’s Crusade.”
Jero suddenly becomes very angry at the prospect of having had

to escape through his own window, and curses Amope. As he
does, a young girl wearing little clothing passes by his sight. He
explains that she basses by every morning before going to swim.
Jero launches back into a monologue, admitting that he feels
like “a shop-keeper waiting for customers.” He adds that his
followers are “dissatisfied” because he keeps them so,
referencing Chume specifically. Jero says that although Chume
wants to beat his wife, Jero will never let him do so, because
keeping him under Jero’s power means that he will not rebel.
The girl, now clean after swimming and with much better
appearance, returns to walk back across the stage; Jero stares as
she passes, calling it a “divine transformation.” He shouts to the
Lord to pray for the power to resist temptation. As he leans over
his knees with hands together, Chume arrives. Jero asks him to
pray as well, and he submits. Together they invoke the Lord,
Abraham, David, Samuel, Job, Elijah, and Jesus, becoming
increasingly passionate. Finally, Jero stands up to address
Chume and inquire why he is not at work in the morning.
Chume says he has called in sick, and Jero sees that he wishes
to pray to relieve his troubles. Speaking to the audience only,
Jero refers to Chume’s excitement while praying as “animal
jabber,” calling him crude but admitting this means that “he
would never think of setting himself up as my equal.” He then
mentions that most of his followers believe he lives on the
beach, and that “it does them good to believe I am something of
an ascetic.”
Jero returns to coax Chume into silent meditation, until Chume

bursts out insisting that Jero must let him beat his wife. Jero
says it is not the will of God, as Chume desperately insists,
speaking in passionate pidgin, that his wife will be his downfall.
Jero asks God to forgive Chume, calling him a sinner. He
continues instructing Chume as other worshippers enter, joining
in with the prayer. Jero says that Chume’s wife is his “heaven-
sent ritual” and then begins to address the audience alone. He
reveals that he prophesied that the first-arriving worshipper will
become a chief in his town, and that another of his followers

will become prime minister of a yet-to-be-formed Mid-North-
East State. Another of his penitents desperately wants children.
He turns back to his congregation, and summons Jero once
again. The congregation begins to sing and dance, and Jero
gives Chume bottles to fill with seawater.
As he leaves, the drummer boy runs onstage looking over his

shoulder, followed by a woman, Jero’s neighbor, who is
chasing him. Jero inquires what the drummer did; he has been
accused of insulting the woman’s father but denies his guilt.
They both run off stage quickly while Chume reenters with the
water, which Jero intends to bless. But the two reappear, and
Jero feels the obligation to run after them, leaving Chume with
the task of blessing the water. Chume leads the chorus when
one penitent separates herself from the group, shouting
incoherently in spasm. Chume calls desperately for Jero, and
unable to find him hesitantly sprinkles some of the holy water
on the penitent and crosses her. He begins to ask for her
forgiveness, and gaining confidence with the consistent cries of
“Amen” from the congregation, continues on his own sermon
asking God for future successes. As he is passionately speaking,
the woman again enters, drums in hand. The drummer boy
follows, begging for his drums to be returned. The penitent then
points out Brother Jero’s return: He is bleeding, with his clothes
torn.
Jero orders everyone to leave, so that he can pray for the “soul
of that sinful woman” on his own. He tells Chume he is
shocked that a woman would “dare lift her hand against a
prophet of God” and that he’d sensed that women would cause
him trouble today. Chume agrees, citing his experience with his
wife (whom Jero still does not realize is Amope) in the morning.
As Chume continues his story and Jero makes the connection
that Chume’s wife is Amope, Jero alters his advice to Chume
for his own benefit. He says that since Chume’s wife “seems
such a wicked, willful sinner,” Chume must beat her. Chume is
overjoyed, but Jero adds that he must do it within his own
household. Jero capitalizes on Chume’s glee and blind trust by
adding that the Son of God appeared to him and called Jero a
knight: “He named me the Immaculate Jero, Articulate Hero of
Christ’s Crusade,” he tells the gullible Chume. Chume leaves in
awe, bidding farewell to “Brother Jero—the immaculate.” Jero
is left on stage holding his cape.

Summary
Scene 4 opens in front of Jero's home later that day -- Amope
has been waiting there during the aforementioned plot. Chume
is finishing his meal, complimenting Amope, who has still
found something to complain to Chume about: In this instance,
she claims he has not brought her any clean water. Emboldened
by his previous conversation with Jero, Chume insists that he
did not forget the water, saying, "I just did not bring it." He then
orders Amope to pack up and says they are returning home.
Skeptical of his motives, Amope accuses Chume of being drunk.
She refuses to leave, saying she will not pack until she has
received the money she is owed. She continues to protest,
arguing that Chume's small salary alone is not enough to
support her, as Chume packs up and prepares for departure.

Even Sanitary Inspector would be a better job, she insists.
To this, Chume replies starkly, "Shut your big mouth!" Amope

is astonished, and challenges Chume to continue his aggression.
He replies that his "period of abstinence is over" and that his
"cross has been lifted off my shoulders by the prophet."
Amope is now genuinely concerned, believing that Chume has

gone mad. She, too, turns to God, begging for help. Chume
orders her to get on the bike, but she refuses in fear, saying that
she will find her own way home. Chume approaches her as she
tries to back away, and she runs back toward the prophet's
home, banging on the door and crying to be let in. Inside, Jero
simply puts his fingers in his ears and mutters, "Blasphemy!"
Chume lifts Amope up, to her repeated and escalated screams.

She now threatens to call the police, shouting for the prophet,
and Chume threatens her by lifting his fist. Jero "gasps in
mock-horror," then shakes his head and leaves. Chume orders
Amope once again to get on the bike, to which Amope replies,
"I won't get on that thing unless you kill me first."
Now neighbors are surrounding the scene, and Amope shouts

that they can bear witness to the scene. She proclaims that she
forgives all those who have caused her "evil" and forgives her
debtors, "especially the prophet who has got me into all this
trouble." She explicitly names Brother Jeroboam as this prophet,
shouting that he can keep the velvet cape that he bought from
her if he "curse[s] this foolish man."
Suddenly, hearing Amope mention Jero and his debts to her,

Chume appears confused and turns away, telling Amope to shut
up. The surrounding crowd grows more anxious, whispering to
one another, but no one intervenes. He then approaches Amope,
as she continues to pound on Jero's door. "Did I hear you say
Prophet Jeroboam?" Amope is still shouting that Chume will
kill her, but he insists that he will only touch her if she does not
answer his question. He pushes further, asking Amope if
Brother Jero lives in the house whose door she is facing. She
only replies, "Kill me."
The nearest member of the crowd confirms that the house

indeed belongs to Brother Jero. Astonished, Chume turns to
stare at the house in silence, occasionally muttering "So....
so...." as he puts together the pieces. The crowd and Amope
look to him in anticipation. Finally, he starts toward his bike,
appearing to have made sense of Brother Jero's intentions.
"So...suddenly he decides I may beat my wife, eh? For his own
convenience," he says. He removes all belongings and packages
from the bicycle and, before riding off, demands that Amope
remain in place until he returns.
Amope addresses the crowd, saying she has never before seen
Chume act in such a way. She claims he is mad, and confirms
this when a bystander asks for verification. If that is the case,
the bystander responds, Amope must send Chume to Brother
Jero; she relates a story of a brother of hers whom Jero cured of
the devil. Amope responds that this prophet is merely a debtor,
and "that's all he knows." The scene closes on Amope
unpacking the bundles that Chume had removed from his bike.
Analysis
This scene represents that peak of the play's rising action, as

Jero's fallacies are revealed to Chume. Chume has finally
decided to act on his own volition, making his first decision in
the play that is not reliant on the opinions of Jero or Amope. It
is ironic that in moments of real fear, Amope, too, relies on Jero,
turning to a power considered--if not by her, then by most
others--higher than her own. In this moment, Amope will
herself to believe in Jero's power as well. Yet she is just as
quick to dismiss him once again, when out of Chume's angry
hands.
Jero is satisfied with his presence in the scene, unknown to all

others, as if he is omniscient, watching the characters act out
the plot of a play he has already written. His "mock-horror" at
the scene unfolding before him stresses his own enjoyment at
the disaster, and his ability to separate himself from the
consequences of his actions as if he were indeed watching a
play rather than engaging with reality. He is, of course,
unwilling to take responsibility for his actions, as he sneaks out
of the scene.

Summary
The final scene of the play opens at the beach at nightfall. A
man, the Member of the House, is standing wearing an intricate
agbada and passionately practicing a speech that the audience
cannot hear. Jero watches the Member from afar with "lofty
compassion." He explains that this man works for the Federal

House but hopes to become a Minister. Although he comes
every day to practice speeches, he does not ever make them,
Jero tells the audience, calling him a "poor fish." He
contemplates the member condescendingly before recalling
what he has just witnessed from Chume.
Jero assumes that Chume has now "beaten his wife senseless,"
which he views as a shame only because it means Chume is
"fulfilled and no longer needs me." However, Jero dismisses the
loss of his most faithful follower as a "good price to pay for
getting rid of my creditor." Turning his attention back to the
Member, Jero proclaims that he is already a follower, although
he is currently unaware. Demonstrating to the audience his
ability to "claim" the Member, Jero calls out to him.
"Dear brother, do I not know you?" he shouts. The Member is

originally startled, but turns to continue his speech. Jero
continues, proclaiming that he knows the Member, just as was
predicted by God. He insists that he carries a message from the
Lord.
The haughty Member rejects Jero, considering himself above

the prophet: "Go and practice your fraudulences on another
person of greater gullibility," he responds. Jero laments that
indeed, the Member must not belong to the Lord, but continues
that "his favour" was directed toward the Member. Jero
launches into a lengthy and elaborate description of his vision,
in which he asserts that he saw the Member leading his country
out of war. "And, at a desk, in a large gilt room, great men of
the land awaited your decision. Emissaries of foreign nations

hung on your word, and on the door leading into your office, I
read the words, Minister for War [...],” he describes.
At the mention of this title, the Member turns around, facing

Jero, who continues to emphasize this future position of power.
He now begins to draw the member in by asking whether he
should tell God to give this blessing to another, "more God-
fearing" man? As the Member begins to move forward toward
Jero, Jero stops him, saying he thinks that he sees the Devil in
the Member's eyes. The Member tries to deny these claims by
lifting his arms, as Jero continues that he might has the
influence to change the Lord's mind. "Brother, are you of God
or are you ranged among his enemies?" he asks the Member.
At this point, the lights fade on Jero, as Chume's voice grows

apparent. Chume then appears on stage, talking to himself. He
is still lamenting his former belief in the prophet, proclaiming
that Jero is not a man of God who sleeps on the beach. He asks
himself how the prophet and his wife know each other, and how
they could have met, then stops, thinking, and grows even more
impassioned. Now exclaiming that his life is ruined, he has
convinced himself that Jero and Amope are in fact lovers, both
deceiving Chume for two years. He also curses himself for
being "foolish." His cries continue, but fade as the lights turn
back to Jero, who is now preaching over the kneeling Member,
whose eyes are closed and hands pressed together.
Jero bellows, asking the Lord for protection so that the Member
can become a leader of the country. As his voice heightens,
Chume runs in with a sword. He calls Jero an "adulterer" and

"woman-thief" and makes clear his intentions to kill him. Jero
flees, as the Member opens his eyes and comes to, uncertain of
what has happened. In his view, the prophet has miraculously
vanished. He first begs for Jero to return but is left more
convinced that he had been "in the presence of God."
Jero re-enters the scene, unseen by the Member. Jero attests, to

the audience, that "tomorrow, the whole town have heard about
the miraculous disappearance of Brother Jeroboam." The
member, meanwhile, sits down after taking his shoes off,
insisting that he must show his faith and wait for Jero's re-
appearance on this holy ground. He stands up again, determined.
Jero continues explaining to the audience what has transpired:

He has already called the police, arranging for him to spend a
year in an asylum. Meanwhile, the Member has begun to fall
asleep; Jero says that when he reappears, it will be as if he has
fallen from the sky. He plans to tell the Member that Chume is
controlled by the Devil, and that they must act to have him sent
away.
Jero then throws a pebble at the Member to awake him. A ring

of light as a halo appears around his head, as the Member
wakes up to see Jero right in front of him. He is shocked, falling
on his face, and whispers, "Master!" as the scene comes to an
end.
Analysis
Thus the play ends with a contented Jero who has seduced
another follower, with promises of later power and privilege, to
take the place of Chume, whom he has also dismissed as

deranged. The scene highlights Jero's transactional relationship
with his followers, as Jero simply writes off his loss of Chume
as an unfortunate but necessary "price to pay." Thus Jero has
managed to strip religion and faith of its basics, turning
prophethood and prophecies into commodities. Yet those that
willingly follow him are just as guilty of helping Jero take
advantage of their greed and desperation.
The climax of the storyline, in which an enraged Chume

approaches Jero intending to kill him, temporarily subverts the
power structure that Jero maintains throughout. Jero is terrified,
and too cowardly to explain himself or confront Chume, flees.
This important moment reveals the very fine line Jero walks
with his followers. Chume's anger could very well foreshadow
that of future discoveries, and traps Jero into a relationship with
his followers in which he is equally desperate and frightened.
Underneath his act, Jero, too, is just as desperate for power and
fame, as evidenced by the elaborate measures and web of lies
he creates to elevate his own status. While luck is on his side so
far, he is ultimately just as trapped as those he converts.
Soyinka's description of the final halo of light that appears

around Jero's head stands as a final emphasis on his falsehood:
The "red or some equally startling colour" is clearly unnatural,
uncomfortable and forced. A red light seems to emphasize
Jero's trickery and deception, placing him closer to the Satan
that he often uses to scare others.
Satire as a genre
Satire is a form of literature or theater that employs humor and
irony to expose the flaws in a certain subject (e.g., corruption),
usually with a critical or disparaging tone.
The Trials of Brother Jero Nigerian theater

Soyinka writes as a member and important shape, of the
Nigerian literary and theatrical canon. Theater carries a rich
tradition in Nigeria, as performances were traditionally a part of
ritual and social gatherings. An early form of today's Nigerian
theater, written primarily in Yoruba, emerged in the 1940s and
was heavily reliant on local folklore. As Nigeria moved toward
independence, theater was also used to serve a political purpose,
apparent in even Soyinka's early writings. Soyinka's plays
incorporate Nigerian and Yoruban traditions with his Western
education, making his plays accessible and popular within both
communities.
Other influential Nigerian playwrights include Hubert Ogunde

(1916-1990), Ola Rotimi (1938-2000), and Philip Begho (1956-
), among others.
Essay Questions
1. Soyinka's play is often characterized as satire. Do you

agree? If so, what does he satirize, and how? If not, how
would you categorize this work?
Soyinka's play can easily be seen as a satire in his critical

focus on the falsities of certain religious followings. Soyinka
satirizes his specific visions of Christianity and religion through

his ridiculous portrayal of Jero and his determination to expand
his Brotherhood. Soyinka's play, however, can also be
considered a tragicomedy, as its humor also ends in a
disappointing outcome for Chume and further perpetuation of
Jero's lies, highlighting humanity's unbounded desire to believe.
Amope is not exactly a heroine or a villain, but she is

undoubtedly one of the play's leading characters. What purpose
does she serve in the play?
Although Amope's constant complaints make it hard to view

her favorably, she is often the voice of reason in the text. She is,
in fact, the only character that accurately calls Jero out for what
he is: a debtor and a fraud. Although she is often correct, she is
also the character people are least likely to listen to, and most
likely to avoid, demonstrating the ease with which characters
can stray from reality.
3. How does Soyinka incorporate the use of Nigerian pidgin

into the script, and for what purpose does he do this?
Never fully comfortable in English, Chume often breaks into

pidgin while particularly excited, both for negative and positive
reasons. Chume's use of pidgin as such first seems to underline
the stark differences in background and education between
Chume and Jero. However, pidgin is not necessarily to be
looked down upon here: rather, it can be seen as tool exploited
by Jero to further cement his own position of power.
4. Jero, the Old Prophet, and Chume, all of who are

significantly sexist, constantly criticize women. What does
Soyinka intend to reveal about gender dynamics in this play,
and how? Does he agree with the men of his story?
Soyinka's play certainly draws attention to the gendered

divides common in parts of Nigeria; however, it is important to
remember that the society he here describes is corrupt and
confused. Although women do face marginalization and sexism,
Soyinka provides irony in creating Amope as one of the most
feared characters of the play. Chume and Jero alike are equally
terrified of Amope, underlining what Soyinka presents as
ridiculous and unfounded stereotypes about women.
5. Analyze, with reference to Soyinka's description of Jero's

character, Jero's desired title of "Immaculate Jero, the
Articulate Hero of Christ's Crusade." What does this self-
attributed title intend to highlight?
Jero's proud title seems odd for that of a prophet, yet it stems
from a will to place himself apart from his own economic and
cultural climate. His desire to be seen as "immaculate" reflects
his peculiar dress and appearance, his need to separate himself
from the rest of the villagers. His emphasis on "articulate" is a
reaction to what he sees as the uneducated pidgin used by
Chume and others. As he separates himself from his peers,
Jero's title, too, must reflect the visible signs that prove his
prophethood.
6. Chume faces a large transformation over the course of

this tale. Describe his change of character as it relates to one
of the play's themes.
Chume begins without his own sense of agency, blindly

following Jero's words, deeply frustrated with his wife, and
almost resigned to his unhappy state of affairs. However, he is
empowered by his moment of leadership while taking over
Jero's sermon, emboldened by Jero's permission to beat Amope,
and finally snaps when he discovers that Jero is a phony.
Although set free of lies and finally independent, Chume's final
fate speaks to the power of social dynamics and their
restrictions.
7. Upon Chume's sudden change of character, Amope

declares that he has gone mad. Discuss the role of madness
in the play as it relates to the main characters.
Amope's assertion that Chume has gone mad and Jero's plans
to have him sent to a "lunatic asylum" are ironic as they comes
when Chume has finally discovered the truth of his situation.
Having broken free from his former deception, Chume's
newfound ability to act outside of the constraints set upon him
by Jero or Amope cause both to frame him as "mad." Thus,
madness in the play is actually associated with Chume's ability
to act independently, highlighting the constant deception by
which other characters, acting as the followers Jero forms, live.
8. Discuss the significance of the social and historical

context in which the play was written on its action and
characters. Answer with reference to historical research.
This essay can lead to a number of directions. One route

could discuss Soyinka's experience with a Christian upbringing
combined with elements of the traditional Yoruba faith.
Another could discuss how the social and political
circumstances post-independence in Nigeria contributed to an
environment that makes this play believable.
9. Discuss the significance of the beachfront, where Jero

proselytizes and claims to live. What is important about this
location, and why?
The beachfront is almost holy for Jero, where he holds his

congregation meetings and where he convinces his
congregation he sleeps. Thus this liminal space, located
between the ocean and the mainland, serves as an important
borderland between reality and illusion. It is the home to Jero's
deception: the location where Jero targets his new converts like
the Member of the House and pulls them into his following.
10. Jero is always seen with his velvet cape, which is of great
importance to him. Discuss its role in the play, as well as its
symbolic significance.
Brother Jero's velvet cape is a symbol for his false prophecies.

With the intention of being known as the "velvet-hearted"
Brother Jero, Jero believes the cape will allow him to embody
the title. Yet the action, and his reliance on the cape, speaks
more to his vision of religion and prophecies as a transactional

business--something that can be purchased and exchanged. In
fact, at the end of the play the audience learns that Jero
purchased this velvet cape from Amope, and it is the item for
which he owes her money. The cape, therefore, embodies the
debt he owes others, and the false credit on which he bases his
own claims.

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ENG2209 – MODERN AFRICAN DRAMA (TEXT ANALYSIS)

1. About the Author

ABOUT THE AUTHOR

Akinwande Oluwole Soyinka was born near Abeokuta, Nigeria.

Following the annulment of Nigeria’s 1993 democratic elections

In 1996 Soyinka was named Robert W. Woodruff Professor of the

ABOUT THE TRIALS OF BROTHER JERO

The play mocks the effects of the quick spread of Christianity

In 1966 Soyinka published another play featuring Brother Jero,

SUMMARY OF THE BOOK

the other prophets and followings also claiming the land. He

In Scene 2 the audience is introduced to Chume, a messenger in

In Scene 4, Chume is emboldened to talk back to Amope. He

Minister, when Chume arrives with the intention of killing Jero.

Amope is Chume’s wife, who is unhappy and self-righteous,

the temptation of sin posed by women: Brother Jero himself

Faith and Religion

The role of communication in theater, and especially in

Financial vs. Intrinsic Value

and our lives, in a world where people focus increasingly on

Individual vs. Community

QUOTES AND ANALYSIS

In this quotation, Brother Jero reveals his ultimate aim to be a

"You've got to have a name that appeals to the

This quotation reveals Jero's view of the relationship between

"I am glad I got here before any customers—I mean

Here Brother Jero reveals his strategy for attracting and

"From the moment I looked out of my window this

This quotation reflects the play's central characterization of

"You didn't hear me complain. You did your best, but if my

This quotation is one of the first lines of dialogue attributed to a

"Actually I knew it was he the moment he opened his

In this quotation, Brother Jero reveals his distaste for pidgin,

filled with layers of historical connotations, especially as

"Yes, Father, those who are Messenger today, make them

This quotation marks the first step of Chume's transition from

Jero. The irony here is that Chume's candid, casual use of

"Chume, fool! O God, my life done spoil. My life done spoil

This quote encapsulates Chume's full transition, once he has

"Now he... he is already a member of my flock. He does not

In this scene Jero approaches his next penitent, aware that he

"I don't know what the world is coming to. A thief of a

This quotation from Amope ends Scene 2 and further

Summary and Analysis of Scene 1

Jero immediately asserts that he is a prophet, "by birth and by

Jero admits, however, that he was really intending to help

that the curse of my old master was about to be fulfilled," the

Also important is the managerial nature of Jero's profession and

Summary and Analysis of Scene 2

The pair continue to bicker aimlessly, as Amope continues to

Now Amope turns toward a criticism of Chume's job as a Chief

A woman trader carrying a bowl on her head now passes

and limited options. She must depend on Chume as her husband

Summary and Analysis of Scene 3

Jero suddenly becomes very angry at the prospect of having had

Jero returns to coax Chume into silent meditation, until Chume

become a chief in his town, and that another of his followers

As he leaves, the drummer boy runs onstage looking over his

Summary and Analysis of Scene 4