Vol. 4(6), pp.

269-282, August, 2013

DOI:10.5897/IJEL2013.0465a
International Journal of English and
ISSN 2141-2626 © 2013 Academic Journals Literature
http://www.academicjournals.org/IJEL

Review

Soyinka as satirist: A study of The Trials of Brother

Jero
Patricia Beatrice Mireku-Gyimah
Centre for Communication and Entrepreneurship Skills (CENCES), University of Mines and Technology (UMaT), P. O.
Box 237, Tarkwa, Ghana.
Accepted 20 June, 2013

Literary artists use language and the power of words to communicate messages to their audiences or
readers. Satire provides these artists one such medium for language use. This paper discusses the
African literary giant and Nobel laureate, Wole Soyinka, as a satirist. Specifically, it examines Soyinka’s
use of the tools of satire which are irony, exaggeration and invective in The Trials of Brother Jero, in
which he bitterly criticizes religious and socio-political vices, especially in his native Nigerian society.
The paper concludes that Soyinka is successful as a satirist with this play largely because of his
effective diction whose power provokes laughter in the audience and keeps them “listening” as he
bitterly condemns religious charlatanism and other societal cankers and seriously urges correction.

Key words: Religious charlatanism, fake, corruption, phoney prophet, Juvenalian satire.

INTRODUCTION

Satire is a “mode of writing that exposes the failings of “‘reformation’” (Cuddon, 1982).
individuals, institutions, or societies to ridicule and It is gathered from the discussion that satire has been a
scorn… Its tone may vary from tolerant amusement, as in method of social commentary and contains criticism and
the verse satires of the Roman poet Horace, to bitter humour. The main tools by which the satirist effectively
indignation, as in the verse of Juvenal and the prose of produces humour and still launches criticism include
Jonathan Swift. Juvenalian satire is the kind of satire that irony, exaggeration and invective. As Okleme (2002)
bitterly condemns human vices and folly, in contrast with observes, irony is the art of saying something without
the milder and more indulgent kind known as *Horatian really saying it. It is double-layered with lower and upper
satire” (Baldick, 2008). levels and usually manifests itself as a contradiction,
In literature, today, satire refers essentially to a incongruity or incompatibility. What we are ironical about
technique of criticizing societal vices through ridicule with is the “object of irony” which may be “a person, an
a view to urging correction. The views of Johnson, Swift, attitude, religion, a whole civilization or even life itself”.
Dryden and Defoe confirm this idea as these writers The “victim of irony “refers to the one who exhibits a kind
define the term in relation to its function. Johnson of “innocence” or “confidential unawareness”. Irony allows
defines satire as “‘a poem in which wickedness or folly is ridicule and criticism. Exaggeration allows a magnification
censured’”. Swift notes that “satire is a sort of glass of follies in order that they can be seen clearly and
wherein beholders generally discover everybody’s face condemned while invective or abusive language permits
but their own…” Dryden says the true goal of satire is an extension of scornful laughter on what is being
“‘amendment of vices’” and Defoe thinks it is a attacked.

*Corresponding author. E-mail: [email protected].

270 Int. J. English Lit.

This paper posits that, in his five-scene play entitled Right from the start of the play, in this scene, Brother
The Trials of Brother Jero (Soyinka,1964), Soyinka (a Jero introduces himself to us as the audience in a very
winner of the Nobel Prize of Literature), uses satire to dramatic way. The stage directions are particularly helpful
criticize the shortcomings of society. here as elsewhere in the discussion:
In brief, The Trials of Brother Jero is about the prota-
gonist, Brother Jero, a beach prophet who decides to use The stage is completely dark. A spotlight reveals
Christianity to line his pocket. To him, the beach is his the PROPHET, a heavily but neatly bearded
“goldfield”. He exploits the ignorance of his flock, espe- man; his hair is thick and high, but well-combed,
cially his assistant called Chume, in a most unbelievable unlike that of most prophets. Suave is the word
manner; for example, Chume is advised – quite suddenly for him. He carries a canvas pouch and divine
– to beat his own wife, but this advice is given him by rod*. He speaks directly and with his
Jero only to save Jero the prophet himself from looming accustomed loftiness to the audience (Soyinka,
trouble at the hands of none but Chume’s wife, Amope. 1964: 9).
What has transpired is that Amope has moved house to
strategically pitch tent at the prophet’s premises in order In a derogatory self-introduction, Soyinka reveals to the
to ensure that she settles scores with him for being such audience the true nature of this man of God through this
a recalcitrant debtor, who has refused to pay for the man’s own words and commentary on his own actions.
goods bought from her. Chume never knows this and it is He turns out to be the very opposite of what he is
when Jero’s identity is revealed as that same debtor of supposed to be. Jero, who claims to be a prophet “by
Mrs Chume (Amope) that Jero offers Chume the advice birth and by inclination”, is just a quack. To him the
to go and batter her. Jero, the phoney prophet, is ministry is only a “trade”: it is just a means to fill his
wickedly shrewd and so unrepentant that, as the curtain stomach and acquire property, and he will stop at nothing
is finally drawn, his mind is set to get the angry Brother to protect his own selfish interests even if this means
Chume incarcerated in a lunatic asylum for a year hurting others.
through the connivance of a powerful man, a Federal When Jero says “…I was born a natural prophet. And I
back-bencher Member of Parliament (M.P.), who consults grew to love the trade”, the word “trade” becomes
the prophet too because he is after a ministerial post. ambiguous: does “trade” refer to the prophethood,
Soyinka’s satire is Juvenalian, that is, bitter, biting ordinarily, or it refers to a profit-making business where
invective. With it, the satirist shows contempt for and the accent is on money-consciousness? We realize that
bitterly condemns corrupt society anywhere, but espe- Jero takes his prophetic job as a trade, meaning a profit-
cially contemporary Africa, with greater emphasis on his oriented venture and, therefore, we understand Jero’s
native Nigeria as he holds it to ridicule, and launches a idea of being a prophet as a money-siphoning activity.
scathing attack on two of its major institutions: religion This idea of the work of God as a money-making
and politics. He launches a diatribe on hypocrisy, selfish- business is reinforced later by Jero’s perception of the
ness, mischief, roguery, deceit, charlatanism, corruption flock as “customers”. Jero even confesses that: “I always
and other vices that have become so widespread, by get that feeling every morning that I am a shop-keeper
exposing harshly those who dabble in them, particularly, waiting for customers” (Soyinka, 1964:20). With the
under the cloak of religion. ambiguity of words in this scene, Soyinka criticizes Jero’s
The main focus of this paper is to examine the play, materialism.
The Trials of Brother Jero, and its major characters (Jero, Without mincing words, Jero tells of how he has
Chume, Amope, and the M.P.) as well as the church and cunningly and deceitfully played a role in helping the Old
its worshippers, scene by scene, to bring to the fore how Prophet, his master, to acquire land from the councillors
Soyinka effectively uses the tools of satire- dramatic at the beach – literally, the land of milk and honey. He
irony, exaggeration and invective- to criticize society and also shows his selfish character by quickly adding that all
advocate change. his efforts are indeed geared at helping himself when he
shamefully declares that, “I was helping myself” (Soyinka,
1964:11). In all this, Soyinka’s irony, exaggeration and
SCENE ONE invective are clear.
First, there is dramatic irony seen in the incongruity
In Scene One, which serves as introduction to the play, between what a man of God is expected to be and what
Soyinka prepares us by skillfully giving us a feel of all that the supposed man of God we have here is. Jero’s
is to happen and will constitute his themes and criticism physical appearance and presentation to the audience in
of fake Christian religion. He ridicules and condemns in the stage directions as “suave” and “dignified” on the one
no uncertain terms Brother Jeroboam (Jero), as a shame- hand and his own words and role in Christ’s ministry on
less, self-confessed rogue of a “beach divine,” who the other hand are at variance. Second, through Soyinka’s
embodies all the evils of fake Christianity and its exaggeration, we observe to what extent Jero reveals
leadership together with the Old Prophet, Jero’s master. himself as a bad religious leader and, therefore, shows
 Mireku-Gyimah 271

how much of a rogue he is. Finally, we note that there is dead (Soyinka, 1964:9).
an undercurrent of insults against Jero, his master, and
their church to the effect that they are all bad for the The enumeration of the activities of the false churches
contradictions they portray in their habits as professed and their claims as to what miracles they can perform, for
practitioners in the top echelons of the church’s hierarchy. example, healing and raising the dead, and also the kind
When the play continues, Jero who says “the call of of leader-prophets they have, as we have noted of Jero,
prophecy is in my blood” (Soyinka, 1964:11) also are all as ironic as they are hyperbolic. The effect of
confesses to his weakness with women, and discusses Soyinka’s irony and exaggeration is that it throws into
with contempt his master’s revengeful curse with women relief the seriousness of the problem of quack prophets
- “the Daughters of Discord”, “the Daughters of Eve” and churches and the urgency of a solution to it. Soyinka
(Soyinka, 1964:11). In fact, Jero finds this curse goes on to mock also the very names of the churches he
pronounced on him to be nothing new but only a cheap is attacking, which names are not only funny but also give
curse” since he is already lustful. He thinks his good them away as suspects, heightening their hypocritical
looks “do the trick” with women but says he is being outlook.
careful not to risk his calling “with the fickleness of At one level, when we consider “cowboys”, in a name
women” so he has “remained single” (Soyinka, 1964:11). like “the Heavenly Cowboys” for a church, Soyinka’s
However, the audience is able to detect Soyinka’s irony irony, exaggeration and invective hit us all at once. The
even in Jero’s tone of speech, which suggests that he irony in the expression is extended by laying “Heavenly”
has “remained single” only to take advantage of his good and “cowboys” side by side to create an oxymoron with
looks and give free rein to his lust, for judging from his the meaning “Heavenly dishonest and irresponsible peo-
roguery, if he has been careful at all, it has been just to ple”. This name, the “Heavenly Cowboys”, which sounds
avoid scandal and thereby save his own face and profits. exaggerated and insulting, is an apt description of the
Jero’s sayings show the inconsistency in his character. rogue churches and the roguery that goes on in them.
We see that, as a man of God, he condemns himself by At another level, however, we have misnomers in the
telling us that he is immoral. sense that the other church names, “The Brotherhood of
The audience is now very much aware of Jero’s Jehu”, “The Cherubims and Seraphims” and “The Sisters
character as a real wolf in sheep’s clothing and is of Judgment Day”, do not reflect the expected godliness.
therefore on the lookout for what lies ahead in the play Contrary to the activities of Prophet Jehu, who wiped
when there is a person like Jero around. Thus, Soyinka away evil from Israel (see 2 Kings 9, 10: 1-36 in Stamps
is able to create suspense also through this shocking and Adams eds., 1992), and those of the angels,
self-revelation by Prophet Brother Jero, who says he is Cherubim and Seraphim, who are sweet and innocent
“not at all vain” (Soyinka, 1964:11) but is exactly the and do only the will of God, the activities of these
opposite (to us as the audience): a totally vain man of churches rather spread evil among God’s people showing
God thus revealed through Soyinka’s irony, exaggeration their ugliness, ungodliness and lack of genuineness.
and invective. In the ensuing scenes, Jero’s actions only Their works are therefore incongruous with the beautiful
go to confirm what he has told us about himself. After all, names, which adorn them only superficially. Even the
it is said that “action speaks louder than words”. Soyinka Sisters of Judgment Day could not be heavenly-minded
is, therefore, able to satirize Jero’s (mis) behaviour every people meditating on the Great Day. Rather, considering
bit of the way as the play unfolds. However, he also that “sisters” are females and are described as the
satirizes the church itself. “shakers of bosoms” in the church and, therefore, the
Soyinka ridicules the church by making Jero tell us main cause of immorality in the House of God, Soyinka is
about it from the very beginning. From all indications, its being ironic and insulting, warning them as to the terrible
characteristics and activities reveal it as a false spiritual fate that awaits them on That Day.
church with its multitudinous nature, places of operation When next Jero gives us a glimpse of what is inside the
and varied claims to spiritual power and abilities. The use churches, we note who the worshippers also are. Again,
of the word “many”, repeated eight times, leads us to Soyinka descends on them with his irony, exaggeration
Soyinka’s exaggeration and goes a long way to reinforce and invective. He portrays them as foul while magnifying
the proliferation and ubiquity of the false churches. Thus their foul nature in order to make his satiric point about
Soyinka is able to show clearly on the stage rather than their double standards and the danger their churches
only tell the audience how the false churches have pose to society. We observe that the false churches are
invaded the fabric of the Nigerian society with their evil filled with carnal, “Nicodemus” Christians; impersonators,
activities. As we learn from Jero, they are, fornicators and adulterers. They are of varied socio-
economic backgrounds as there are both the poor (like
many in the streets, many in their own churches, Chume) and the rich (like the M.P.). The rich are the ones
many inland, many on the coast, many leading whom Jero prefers to call “our wealthier patrons” and are
processions, many looking for processions to symbolized by the television which, the worshippers,
lead, many curing the deaf and many raising the being worldly, stay at home to watch instead of attending
272 Int. J. English Lit.

church services. That some of the wealthier patrons not just ordinary procedures or processes, but prophetic
would go for consultations at the prophet’s at odd times schemes, tricks or deceits. Therefore, Soyinka gives us
when they would not be easily recognized shows that an idea that Jero was trained in “prophetic tricks” and so
they know it is wrong to visit such places, and Soyinka “ways “becomes a pun and an ambiguity.
condemns this attitude of wilful “sinning” as hypocrisy.
Apart from being lovers of the television, the
worshippers are also said to “prefer High Life music to SCENE TWO
the rhythm of celestial hymns” (Soyinka, 1964:11). This
is an ironic comment with sexual undertones with regard We find in Scene Two, Chume and his nagging wife,
to the movement and shaking involved in dancing to Amope, involved in a hilarious confrontation. The hard
highlife music as opposed to the stillness involved in and serious Amope has come to sit at the doorstep of her
singing hymns. Thus, while extending the worshippers’ recalcitrant debtor and is bent on taking her money from
carnality and lack of heaven-mindedness, the reference that clever debtor who is none but the prophet, Jero.
to High Life music which is associated with Ghana, In this scene, we are treated to a comic but sad
suggests that Soyinka is extending his criticism beyond encounter between Chume and his wife, Amope, and are
the borders of Nigeria to neighbouring Ghana also. This far away from Jero and the church, yet Jero is present
confirms the observation that the satirist does not confine since he is the main cause of the argument between the
his condemnation of the follies of society to his couple even though Soyinka intentionally hides Jero’s
homeland, Nigeria, alone but rotten society anywhere, identity until later. Thus even in Scene Two, Jero’s
especially contemporary Africa. crooked nature still manifests, but the suspense is created
Added to what has been previously noted of the fake until his final discovery heightens his crookedness even
prophet-leaders, their fake churches and their fake more forcefully. When finally Soyinka unmasks the real
worshippers, we have Soyinka still denouncing them by Brother Jero, the false prophet’s nakedness becomes
pouring scorn on these leaders. Their pugnacious chara- total.
cter is revealed in how they violently compete for “land” However, we also realize that Soyinka intentionally
and “converts”. This is reflected in Soyinka’s rather continues to blacken Brother Jero so much that the
exaggerated use of the word “warfare” and the fact that it prophet becomes an appalling and detestable character
takes the Town Council to settle “the territorial warfare of as a result of the satirist’s use of unrelenting criticism that
the prophets once and for all” (Soyinka, 1964:9). merges with exaggeration. Again, the effect is to
The incessant quarrels among the leader-prophets are underscore what one would call the “nonsense in
symbolized by the Old Prophet, the master, who rudely Christianity” - to borrow the words of Konotey-Ahulu
cuts Jero’s speech and starts an argument, and Jero who (2006) - by the ungodly Prophet in the work of God,
is so disrespectful to him. Both have lost the way as something which Soyinka is persistently condemning.
leaders of the church and so if Jero is bad, then, the The scene is comic also because of Chume’s physical
audience can conclude that the one who brought Jero up appearance and the situation in which he finds himself
“in prophetic ways”, is worse. Worst, it could be surmised with his wife and then his bicycle, which is his only
that Chume, Jero’s assistant, whom Jero describes treasured possession. In fact, everything about his
variously as “apprentice of God”, “appointed to follow my circumstances is funny. We see Chume, the pigmy-sized
footsteps” and “the one on whom my mantle should fall”, man whose feet hardly touch the pedals of this bicycle
will become the worst and most dangerous of the three riding the wife, who has saddled the bicycle with all the
as prophets. Therefore, in an abusive manner, Soyinka belongings she will need to stay in front of the debtor’s
points out that from the past (symbolized by the Old house for one full week. These items include even a mat
Prophet) to the present time (symbolised by Jero) and and a kitchen stool, both of which are tied around the
even the future (symbolised by Chume), the false same bike. The total picture, clearly exaggerated by
prophets have not changed: it is still the rogue prophets Soyinka, provokes laughter and serves as comic relief to
as leaders of their rogue churches, and so we as the the distressing information about Prophet Brother Jero
audience have got to be careful of them. and God’s church.
From the discussion so far, we can say that, to Soyinka, What is ironic, really, is that Chume, who rides the wife
there is a lack of seriousness about Jero’s church, its to the new “abode”, does not know the identity of the
leader and its worshippers, and their ways are deceitful. wife’s debtor and occupant of that “house”. Chume,
It is therefore a dangerous church and Soyinka strongly therefore, becomes the victim of irony here and Soyinka
criticizes its shortcomings as he points these out through exploits this to move his play forward as Chume never
his ironic descriptions with words and expressions that suspects it could be and is, indeed, his own master. This
sometimes lapse into puns in this scene. For example, is because he believes Jero is very holy. This sort of
Soyinka criticizes the tricks of Jero and his master as well mistaken identity is pursued by Soyinka such that, later in
as their kind using the word “ways” (Soyinka, 1964:10). the play, Chume even divulges the wife’s plan to his
Thus the expression, “prophetic ways” comes to mean master, Jero, as he complains to him about Amope’s
 Mireku-Gyimah 273

constant nagging. she confronts him at his first attempt to escape. Jero’s
Also, Scene Two provides perfect examples of attempt to be smart here does not work at all, as the
Soyinka’s use of invective and exaggeration. He skillfully following dialogue shows, and he is belittled before a
alternates three incidents in which we witness Amope’s “mere” woman, something too despicable for an African
particularly sharp tongue for which the husband really man:
knows her and which we as the audience are about to
discover. First is the confrontation between Amope and AMOPE: (without looking back). Where do you think
the husband, second is the one between Amope and the you’re going?
trader (Fish-seller) and third is the one between Amope BROTHER JERO practically flings himself back into
and Jero. In the first confrontation, the “hot-mouthed” the house.
Amope slights the husband by referring to her own poor AMOPE: One pound, eight shillings and nine pence
condition as his wife and to his mean job as a Chief for three months. And he calls himself a man of God.
Messenger. Here is part of the couple’s exchange: (She puts the notebook away, unwraps the brazier
and proceeds to light it preparatory to getting
AMOPE: Just leave the bag here. I can use it for a breakfast. The door opens another foot).
pillow. JERO (coughs). My … my dear sister in Christ…
CHUME: Is there anything else before I go? AMOPE: I hope you slept well, Brother Jero…
AMOPE: I know it’s not much, but I would like JERO: Yes, thanks be to God. (Hems and coughs) I
something to sleep on. There are women who sleep – er – I hope you have not come to stand in the way
in beds of course, but I am not complaining …. They of Christ and his work.
are just lucky with their husbands, and we can’t all AMOPE: If Christ does not stand in the way of me
be lucky, I suppose. and my work.
CHUME: You’ve got a bed at home. JERO: Beware of pride, sister. That was a sinful
He unties the mat which is wound round the cross- way to talk.
bar. AMOPE: Listen. You bearded debtor. You owe me
AMOPE: And so I am to leave my work undone. My one pound, eight and nine for three months. You
trade is to suffer because I have a bed at home? promised you would pay me three months ago, but
Thank God I am not the kind of woman who… of course, you have been too busy doing the work of
CHUME: I am nearly late for work. God. Well, let me tell you that you are not going
AMOPE: I know you can’t wait to get away. You anywhere until you do a bit of my own work
only use your work as an excuse. A Chief (Soyinka, 1964:15-16).
Messenger in the Local Government Office – do you
call that work? Your old school friends are now From the dialogue, Jero’s bad attitude is observed to
Ministers, riding in long cars… be what has earned him and his profession disrespect
Chume gets on his bike and flees. Amope shouts and we quickly see, again, his hypocrisy in blaming
after him craning her neck in his direction. others as the bad nuts. Jero ought to remove “the plank”
AMOPE: … He doesn’t realize it is all for his own in his eye first to be able to see and remove “the speck”
good. He’s no worse than other men, but he won’t in others’ eyes (see Matthew 7:5 in Stamps and Adams
make the effort to become something in life. A Chief eds., 1992), and it is through Soyinka’s ironic treatment of
Messenger. Am I to go into my grave as the wife of him that this becomes clear. Indeed, when during the
a Chief Messenger? (Soyinka, 1964:14-15) encounter with the fish seller Jero escapes through a
window, the prophet spells his total disgrace as Amope
In the confrontation between Amope and the trader, we shouts obscenities after him with: “Help! Help! You
notice Soyinka’s use of invective. Amope uses insulting bearded rogue”, “a thief of a prophet” and you “call
words like “cross-eyed wretch”, “pauper that you are” and yourself a man of God”, and threatens to deal terribly with
“your miserable fish” while the trader also uses insulting him (Soyinka, 1964:17).
expressions such as “your cursed fingers”, “Carry the Through these confrontations and trading of insults,
burden of your crimes and take your beggar’s rags out of Soyinka manages to build up Amope’s anger and
my sight”, “your flatulent belly” and “you barren sinner” strengthen her decision to teach Jero a lesson, and this
(Soyinka, 1964:17). We observe how foul-mouthed these enables the play to progress in a provocative way. In
women can be, and laugh as to how the trader, after all fact, Amope nags too much and so she is also portrayed
the insults she hurls at Amope, who we thought had as a disrespectful hypocrite. We feel pity for Chume, but
finally met her match, disappears later. This encounter we feel disgust for Jero because he is the root cause of
also provides comic relief. unrest in the home of his own church members. How
In the confrontation between Amope and Jero, Amope ironical!
throws away all respect for the man of God as she Even though we do not side with Amope’s insulting
cheekily dialogues with Jero. She intimidates Jero when habit, we admire her industry and desire to succeed.
274 Int. J. English Lit.

Above all, we admire her refusal to be cowed before a Two and tries to justify himself while blaming and even
man and an opportunistic Christian leader at that. Here, cursing the woman. He also thinks of ways to distinguish
she is an individual because she is different from the himself from the other prophets whom he calls “the scum
many African women that are only abused, first by men, who degrade the calling of the prophet” and further
and second, in the “Prophet Jero” churches. Thus, declares them as “charlatans” (Soyinka, 1964:19). So
through his use of irony, exaggeration and invective, he “dreams” of names that will depict him as sacrosanct
Soyinka gives us a different African woman, who is and, thus, holier than his colleagues, especially before
enlightened, knows what she is about, and cannot be his members, who he says: “…will look at my velvet cape
easily deceived. and they will think of my goodness. Inevitably, they must
With the discovery of Jero’s true nature and his begin to call me… The velvet-hearted Jeroboam” (p. 19).
pretences, one would think that the play has come to an When he “straightens himself” as the stage directions
end but no. The skilful director and actor that he is, say, he adds other titles like “Immaculate Jero and
Soyinka is able to manipulate the stage and the Articulate Hero of Christ’s Crusade” (Soyinka, 1964:19).
protagonist’s character, so that the play continues until its We note that his explanations do not help but rather
intended conclusion and audience interest is also betray him, and he ends up condemning himself as in
sustained. The satirist does this by making Jero continue Scene One. The audience observes Jero’s ingratitude as
with untoward behaviour for a man of God, muddying long as he can blame Amope. After all, the woman was
himself in sin. “The threat of unmasking sustains the play kind enough to give the white gown and velvet cape to
and once Chume discovers the true nature of his master Prophet Jero on credit. Jero confesses to us that, when
the whole structure threatens to collapse” but “Soyinka he “bought the goods off her”, “[s]he did not even ask any
saves the knaves in order to make the play’s final satirical questions”. Jero says further that his “calling” alone as a
point” (Jones, 1978:55). prophet “was enough to guarantee payment” (Soyinka,
From the daring confrontation by Amope and Jero’s 1964:19). This means that Amope showed him great
own humiliating escape from her, in the most embar- respect and consideration as a man of God and that, it is
rassing and unconventional manner, we see that, for Jero’s own abuse of the privilege that spelled the
once, Brother Jero is shaken even if only “a bit”. Yet he embarrassment.
does not change. In this very comic scene, Soyinka uses Thus, we do not fail to observe Soyinka’s irony,
irony as evidenced in the discrepancy between what the invective and exaggeration in Jero’s self-condemning
audience knows Brother Jero to be and the mask of confession. While the irony underlines the discrepancy
holiness which he wears for the benefit of his gullible between Jero’s words and what he really is, it also
worshippers whom, in his business parlance, he will later exposes him as one of those very prophets that he
refer to as “customers” (Soyinka, 1964:20). hypocritically accuses in Scene One as “having turned
the profession into a thing of ridicule” (Soyinka, 1964:11)
SCENE THREE while he pretends to be innocent. In fact, even though he
has the effrontery to once again point an accusing finger
In Scene Three, we learn more about Jero, his church at others in the present scene, and even attempts to be
and the worshippers, including Chume. The stage direc- “distinctive” with the holier-than-thou attitude, the
tions at the beginning of the scene show Jero’s physical audience is not perturbed at all about perceiving him
appearance. He is dressed in white – “flowing gown and rather as the “scum of the trade” and a “charlatan”. The
a velvet cape”, and even wields a “divine rod in one hand effect of the irony is that it highlights Jero’s culpability and
and caressing the velvet cape with the other hand” compels the audience to regard him as probably the
(Soyinka, 1964:19). The whiteness of Jero’s robes and worst of all the prophets he has been blaming.
the velvet cape can be said to symbolize purity and Therefore, Soyinka shatters Jero’s self-righteousness.
holiness. We also see the “accoutrements” of his trade – But the most ridiculous and insulting fact is that the
rosary, cross, bottles for “holy water” and others, all very velvet cape Amope sells to Jero on credit, which
pointing to holiness. However, considering the many Jero has still not paid for is the same cape with which
weaknesses of Prophet Jero, his white clothes look too Jero wants to distinguish himself from the other prophets
stained and he becomes very dirty or “blackened”. So, and also seek a new face and name from his members
Soyinka, who is still condemning Jero’s roguery and as “he that is holy”, as if clothes on their own simply
hypocrisy, makes the meaning of the colour “white” black make one pure and holy. We observe him saying:
thereby creating an oxymoron in the idea of “blackened
white” clothes. This becomes an insult since “blackened” I have set my heart after a particular name
in this sense refers to the stained or tainted nature of .…You’ve got to have a name that appeals to the
Brother Jero. imagination. Must catch the imagination of the
Moreover, when Jero begins to speak – in his long crowd. Yes, one must move with the times. Lack of
soliloquy at the beginning of the scene - he first hints at colour gets one nowhere, even in the prophet’s
his nasty experience with his creditor, Amope, in Scene business (Soyinka, 1964:19).
 Mireku-Gyimah 275

From the quotation, we can see that Jero wants and has will bring to Chume’s embittered soul and cause him to
“colour” which is his resplendent, pure white and holy lose his faithful adherent, Jero, in his hypocrisy, has been
velvet, yet his colour is no colour at all to the audience preventing Chume from that action. He even tries to help
since it is tainted (“blackened”), and so leads him Chume with prayers for strength in order not to be
nowhere in his prophetic business. Therefore, as pre- disobedient to God, and to be able to carry “well” that
viously noted, Jero’s (im)purity and (un)holiness are not “cross” which, in Jero’s own words to Chume, is “the
helped at all by all this whiteness and velvety. In all, we good woman whom God has chosen to be your wife, to
can conclude that, although Prophet Jero wears white be your cross in your period of trial” (Soyinka, 1964:25).
and velvet, symbol of purity and holiness, carries a rosary The timing of this prayer to strengthen Chume is also
and a rod after Moses, and blasphemously gives himself ironic coming after Jero has offered one for himself and
beautiful titles, he is still as dirty as his master, members, asked Chume to help him with more prayers to be able to
church and colleagues. His attempts at purity and stand against “this one weakness” – being the Daughters
holiness are, ironically, still null and void, for they are only of Eve. He surely needs this prayer because, while
superficial and even attract insults. soliloquizing about his nasty experience with Amope, a
Further, we observe that the rhyming in the titles daughter of Eve who can make a “whole” prophet escape
“Immaculate Jero” and “Articulate Hero” adds to the through a window, Jero’s eyes lustfully survey “all over”
humour in that scene. Interestingly, Jero’s “appellations” another daughter of Eve who happens to be an almost
remind us of Soyinka the poet. “Immaculate” and naked young woman who, usually scantily-dressed,
“Articulate” go together while “Jero” and “Hero” also passes by Jero’s place to the beach to swim. Although
match. The number of syllables in both parts of the titles Jero refers to this lady as a “Dirty-looking thing” (Soyinka,
also match, being 4-2, 4-2. This provides a harmony 1964:19), we immediately realize that he means the
which is musical and entertaining, but Jero’s roguery lies opposite and his moral looseness hits us once again.
heavily beneath the entertainment and harmony. There The case of a sinner praying for a sinner as we find
is only hypocrisy and discord about him: he is a real Chume and his prophet doing in this scene is the height
Jeroboam. This observation is in itself ironic and the of Soyinka’s cynicism as he prolongs his condemnation
effect, together with Soyinka’s “linguistic gymnastics” and of the hypocrisy of Jero in particular.
poetry is that, it heightens the criticism he is embarking In these episodes also, Soyinka’s use of invective
on against charlatanism and counterfeit Christianity, comes into play once more in Jero’s ridiculous prayer to
especially among its leaders. cleanse Chume’s sinful mind, which is only bent on
Also in Scene Three, Jero tells us that Chume is his beating his wife. Jero invariably insults Chume by
most “dependable” adherent and assistant. But we note, condemning him spiritually. Jero uses words and expres-
once again, Jero’s cunning ways even in his relationship sions such as Apostate, Traitor, Sinner, Hardener of
with his own assistant. Chume has been complaining to heart, harbourer of Ashtoreth, Protector of Baal … and
the prophet about the constant scolding and nagging of Petrifier of the soul. It is interesting to note how hilariously
his wife with a view to seeking the “holy” man’s the terms of abuse Jero uses for Chume sound in
permission to solve the problem once and for all by giving themselves. Even their rhyme scheme and parallel
her “Just one sound beating” in order to save him “from structure as well as the manner in which they punctuate
madness” (Soyinka, 1964:22). But it is ironic that, all Chume’s stupid repetition of his wish to beat “am”, “Just
along, Jero has strongly exhorted and restrained Chume once, small small”, are all very funny. Indeed, Chume
from beating her. First, because it is just part of his plan looks so funny himself, particularly with the accom-
to keep his flock, “the customers” and this shows his paniment of his “broken English”, which provides a sort of
selfishness. As Jero blatantly admits: comic relief. But we observe again that the derogatory
terms, which Jero uses for Chume describe Jero himself
… I know they are dissatisfied because I keep them better. Even his own name, Jero - Jeroboam in full -
dissatisfied. Once they are full they won’t come portrays him rather as “Protector of Baal,” and so Soyinka
again. Like my good apprentice, Brother Chume. ridicules and exposes Jero’s hypocrisy once more in this
He wants to beat his wife, but I won’t let him. If I do, scene.
he will become contented and then that’s one of my In this same prayer we also see how Chume trusts the
flocks gone forever. As long as he doesn’t beat her, deceptive Jero who gives him the impression that he is
he comes here feeling helpless… (Soyinka, 1964:20). the reason behind any success in Chume’s life: past,
present and future. For example, he trusts Jero who
Second, Jero is unaware that the creditor tormenting his deceives him into thinking that he has become a Chief
life is, in fact, Chume’s wife, the very woman he has been Messenger by dint of his miracle and is set to become a
preventing Chume from beating. The irony, therefore, Chief Clerk, “giving orders”, “with a telephone and a table
stems from the lack of knowledge about the woman’s bell for calling the messenger” (Soyinka, 1964:23).
identity or the mistaken identity that she is someone else. Despite the triviality and meanness of what is pro-
Therefore knowing the satisfaction beating of the wife phesied as prosperity for him, we find Chume trusting in
276 Int. J. English Lit.

the abilities of Jero. Also, we note how he is so engrossed positive connotation to a negative one, becoming an
in a prayer in which he is repeating, vehemently, un- insult!
realistic demands for better life, which are unlikely to get Here again, the scene shows that Jero’s selfishness is
to him. This is when at the church, he is forced to take backed by clever action, for it is when Jero is going into
over from Jero and continue with blessing of the bottles one of his usual admonitions against wife-battery that
he has just filled with water from the sea (to become holy Chume drops the hint which reveals the identity of the
water) and minister to a woman penitent who needs woman he owes as Amope and Chume’s own wife. His
ministration. Chume takes over Jero’s duty because Jero supposedly holy action here is diametrically opposed to
neglects his own “duty” just to pursue a woman, whose the real reason for this action he has taken. Also, his
thighs are exposed, and he returns with a bruised face reference to Amope as a good wife from God Himself for
having been beaten by this woman, who is as tough as Chume, and the prayers to strengthen Chume against
Amope, and will not tolerate an unholy prophet. We beating the wife are so soon forgotten. They are rather
observe that, in his confusion, Chume, in what turns out replaced with a command from the same man of God to
to be a prayer, pours his heart out to God while ordering beat her. Therefore, we detect an irony in these incidents
Him to grant his desires, by providing almost instantly his whose effect is to expose Jero’s roguery still. With his
own needs and those of the flock, who enthusiastically pretence amplified, the audience disdains Jero, but he is
respond “Amen, Amen” to the repetitive “big big” requests: not remorseful at all for seeking vicarious revenge
against Amope. So, here again Soyinka attacks Jero’s
…Tell our wives not to give us trouble. And give wickedness also.
us money to have a happy home. Make you no However, it can be seen that it is the satirist who, in
forget those of us who dey struggle daily. seeking to add to Jero’s evil character and show it as
very repugnant, makes him this recalcitrant. He exag-
Then Chume’s pattern becomes: gerates Jero’s faults so much that the Prophet finds it
almost impossible to change, and would rather go to the
Clerk today? – Chief Clerk tomorrow. Petty trader
extent of seeking revenge against her, thereby shocking
today? Big contractor tomorrow.
the audience the more with his hardened criminality that
Sweep street today? – Own big office tomorrow.
is so unbecoming of a man of God. Instead of being
Walka today? – Own bicycle
remorseful about hurting her feelings, he rather decides
Tomorrow.
to also “teach her a lesson” and that is why he plans to
And finally changes to: get Chume to beat her this time around. This discovery
is funny but, through it, Soyinka exposes and deepens
Those who have bicycle today, they will ride their the villainy of Brother Jero and reinforces the fact that he
own car tomorrow. is a very dishonest person, playfully mischievous, a
The stage direction is that: The enthusiasm of the scoundrel – a veritable rogue!
response becomes, at this point, quite That Jero can turn around so swiftly to suggest the
overpowering. beating of Amope whom he the prophet has rather
I say those who dey push bicycle, give them big wronged shows how desperately cruel he can be and
car tomorrow. Give them big car tomorrow, give how much of a social misfit he is, and this is exactly what
them big car tomorrow (Soyinka, 1964: 29). Soyinka criticizes. Brother Jero, who should be the salt
and light of the world (Matthew 5: 13-14 in Stamps and
Now when Jero gets to know the identity of his creditor, Adams eds., 1992) and impact positively on society as a
Amope, to be Chume’s wife, and the prophet instantly Minister of the Gospel of Christ, is the opposite having
gives the go-ahead to Chume to go and beat the wife become now the “pepper and darkness” that inflict pain
“very well”, the situation becomes dramatically ironic and sorrow on society. In fact, Soyinka the satirist con-
because the audience knows why Jero is recommending demns him beyond redemption through the use of the
the beating of Amope this time around, but Chume does “trinity” of irony, exaggeration and invective.
not know yet. The victim of irony is therefore Chume, who The effect of the exaggeration and the invective is that
is ignorant about, or “confidentially unaware of”, what is it lays bare Jero’s satanic ways while magnifying his
happening exactly. Like Jero, his ignorance is the result faults. More importantly, it hits the conscience of the
of lack of knowledge as to the identity of the wife’s debtor “insane” in society. So, through the medium of drama,
as none but Jero and, indeed, the cause of nearly all his Soyinka is able to attack crooks such as Brother Jero,
woes. The identity problem becomes one way Soyinka who are also in the majority in the audience (watching the
creates irony in this scene to point out how unsuspecting play), and he is also able to appeal to the consciences of
and gullible Chume is and how wicked Jero is. In fact, it such rogues to change. The fact is that it is bad to be so
could be inferred that Chume’s naivity and gullibility are cruel to others while pretending to profess Christianity.
what lead Jero to assert that Chume is his most Worse is when the unfortunate victims have been good
“dependable” adherent. “Dependable” then loses its and loyal as Amope and Chume have been to Jero.
 Mireku-Gyimah 277

Concerning the church and the worshippers, we now attention she devotes to the services and prophecies of
observe in this scene more of their characteristics: they the church which, sadly, are fake.
offer vain repetitions for prayers, they use holy water, The irony in her situation is that she seems to be more
which is nothing but water from the sea collected into serious than the prophet-cum-church leader himself, who
bottles and blessed by people as sinful as their prophet, can even afford to disregard his duty. As we identify with
Jero, and they have absurd wishes which open them up her, we are careful to observe that if the wicked Jero is
for false prophecies and duping by the fake prophet, able to feel for her and identify with her plight, then this
Jero, irrespective of their status in society. Soyinka attests to the delicate nature of her situation, how
condemns their hypocrisy once again by making the vulnerable she can be and, more importantly, how dange-
rogue tell some of his prophecies to the members as well rously she can be manipulated by the duping prophet(s).
as expose his insincerity all along. When the worshippers Thus Soyinka shows in this woman’s situation, the reality
start to arrive, Jero tells us that they follow their usual of the problem of barren women consulting fake prophets
order and he proceeds to confess his prophetic “ways”. for “breakthrough” as far as child-bearing is concerned.
According to him: There is therefore an urgent need to find a solution to the
phenomenon. At the same time, however, Soyinka
This one here who always comes earliest, I have continues to ridicule the charlatan prophets, whom he
prophesied that he will be made a Chief in his denounces as opportunists.
hometown. That is a very safe prophecy. As Even though the worshippers in the false churches are
safe as our most popular prophecy, that a man seen to be after their own personal interests, we as the
will live to be eighty. If it doesn’t come true … audience observe that, ironically, the congregation still
that man doesn’t find out until he is on the other sings the hymn: “I will follow Jesus” amidst clapping of
side. So everybody is quite happy. One of my hands and dancing just for sheer spiritual excitement
most faithful adherents, unfortunately, he can which, the satirist rather contemptuously describes as a
only be present at weekends – firmly believes “frenzy” or “paroxysm” – or even near-madness amoun-
that he is going to be the first Prime Minister of ting to sheer hypocrisy. Even Jero himself sees all these
the new Mid-North-East State when it is created. as insincere and, once, he derogatorily refers to Chume’s
That was a risky prophecy of mine, but I badly prayer as “animal jabber” commenting that, “I wonder
needed more worshippers at that time. (He looks what is the matter with him… Only Brother Chume
at his watch.) The next one to arrive is my most reverts to that animal jabber when he gets his spiritual
faithful penitent. She wants children, so she is excitement” (Soyinka, 1964:22). Therefore, in Scene
quite a sad case. Or you would think so… Three also, we would notice that Soyinka extends his
(Soyinka, 1964:25). criticism of the main character, the false prophet Brother
Jero, together with his church for their sins, especially
From Jero’s own words quoted above, he applies his their double standards, and he uses not only irony but
“plans” of telling what the people want to hear. Indeed, also insults and exaggeration.
early in Scene Three, the prophet says to the audience
that “Everything is, in fact, planned” (Soyinka, 1964:20).
But it is in these plans that we find the satirist exposing SCENE FOUR
Jero as a cheat and insulting the penitents as foolish,
vulnerable and gullible beyond measure. In the wishes of When the play progresses to Scene Four, Soyinka is still
the penitents, Soyinka shows the varied reasons for satiric and uses a mixture of irony, exaggeration and
which the various adherents go to consult the prophet. invective or abusive language (to push his condemnation
The desires are unrealistic, but while some are frivolous of religious charlatanism, corruption and other social
and provoke laughter, others are genuine worries, like the vices, especially among leaders such as Jero).
desire for childbirth for an African, especially the married The stage directions say this scene is in front of Prophet
African woman, which must in all seriousness, probably Jero the debtor’s home as in Scene Two. We observe
be tackled in a more scientific manner than being that with Jero’s “permission” to beat the wife, there is a
handled by prophets such as the quack Brother Jero. switch in Chume’s mood and he becomes more powerful.
The case of the barren woman in Jero’s church then The negative influence the prophet wields over him is,
becomes a different story altogether and a pathetic one therefore, clear, and it becomes ironical that Chume, who
which, even the callous Jero can describe as “sad” is a man like Jero does not use his mind but allows
(Soyinka, 1964:25). This observation is clearly shown in himself to be fooled so easily. Ever ready to do the work
Soyinka’s exaggeration of her commitment confirmed by of the one who has sent him by taking his wife, Amope,
Prophet Jero, who remarks that she is the most faithful back home and beating her, Chume decides to be harsh
penitent in his congregation and that she has been the and confrontational now. Quite unusually, he talks back in
only one to note that Jero’s mind is not on the service. response to the naggings of the wife, who will not hear of
Her high expectations underlie her seriousness and the the husband’s call to return home, surprised at his
278 Int. J. English Lit.

strange, new attitude. Soyinka exaggerates the behaviour yet, yet we know this work very well. His sure work refers
of the new, powerful Chume using the word “imperiously” to the beating he is going to give his wife, Amope. The
(Soyinka, 1964:35). periods of “abstinence” and “trials” underlie the restraint
The scene is pure comedy as Chume packs her items he exercised earlier and the fact that he is now more than
- mat and all – and ties them onto his bicycle while trying eager to act. All these linguistic gymnastics make us
to bundle the unwilling Amope next onto the machine. laugh at Chume, who is unaware of his own gullibility.
The stage directions as to how Chume, out of anger, However, we also pity him. The funny but sad story of
frantically handles the tying of the mat, heighten the Chume in The Trials of Brother Jero reminds one of
comedy in this scene. Not only does Soyinka exaggerate Toundi’s in the hilarious but gripping story of his predi-
the bossy behaviour of the new, powerful Chume using cament in Houseboy, which “The Punch” aptly describes
the word “imperiously” but also he describes Chume’s on the blurb as “very funny and inexpressibly sad”
action of tying the simple mat to his bicycle in hyperbolic (Oyono, 1990).
terms such as “viciously tying up the mat” and As for Jero, we find that he is still a rogue for these
“[p]ractically strangling the mat”. When Amope becomes actions and we condemn him. What is more, his self-
saucy, Chume reminds her that she is "talking to a man” deception is also ridiculed when he thinks the Lord is
and commands her to hurry and “pack up” because they pleased with him and communicates that by “crossing
are “going home” (Soyinka, 1964:33). In their humorous himself”- a sign that the Lord has protected him.
dialogue in which, again, Soyinka uses invective, Chume, Elsewhere, he says “the Lord protects his own” (Soyinka,
while he is all along tying “the mat round the cross-bar” of 1964:10).
his bicycle, is being provocative and saying: In addition to Soyinka’s use of invective in this scene
seen in the insults and insinuations as is usual in this
“Hurry, I have certain work to do when I get home husband-wife confrontation, Amope abusively refers to
and I don’t want you delaying me.”; “You’d better Chume’s poverty and inability to fend for her as other
be ready soon.”, “Shut your big mouth!; “I said husbands would do for their wives. Comparing him
shut your big mouth.”; “Shut your big mouth unfavourably to the Sanitary Inspector, who meets her
before I shut it for you.” around the prophet’s beach abode and takes her for a
slum dweller, she spitefully comments on Chume’s
Continuing, Chume threatens her with: bicycle as a poorer means of transport. At least, the
Inspector has a motor bike which, to her, is better. Also,
“… you’ll better start to watch your step from she reminds the husband of his very low status in his
now on. My period of abstinence is over. My career even if he is a Chief Messenger because, to her, it
cross has been lifted off my shoulders by the is a position, which cannot attract any “kola” from anyone.
prophet” (while he is viciously tying up the mat). Incidentally, with the mention of kola, there is a hint that
My period of trial is over (as he is [p]ractically the sanitary inspector is corrupt. In fact, he is open to
strangling the mat). “If you so much as open bribes to soften his hand in the clearing of squatters as
your mouth now ….” (he “[g]ives a further twist to occurs later with the Town Council which, after all, is
the string” and (says) imperiously) Get on the unable to clear Jero and the other prophets from the
bike… (Soyinka, 1964:33-35). beach as planned (see Soyinka’s other play Jero’s
Metamorphosis which, together with The Trials of Brother
Amope asks and dares him to “kill” her first because until Jero, is referred to as The JERO PLAYS).
she gets her money, she is “not budging from here” Amope also calls Chume “mad”, repeatedly, and
(Soyinka, 1964:34). “foolish”, and she shouts for the prophet to come and first
It is also comic and ironic that, as the quarrel gets offer a prayer for her soul before the husband carries out
intense between the confused couple, Jero hides and her command to kill her. This is ironic since she does not
observes them, “crossing himself” at one point to signify know that Jero is actually the one who has recommended
his thanks to God for his “deliverance” from Amope, and her beating. Her innocence exposes her to ridicule for
also for suggesting “sweet revenge”, as it were, for seeking refuge with Jero and Soyinka criticizes her. As
Amope’s impending predicament. It would be observed part of the invective, we as the audience also note that
that, though it is sad that the couple should suffer so, Amope insults the prophet before Chume as “good-for-
their suffering can be traced right to the doorstep of the nothing” (Soyinka, 1964:34). On his part, Chume also
prophet, thereby exposing Jero’s villainy even the more. reminds her that she is “a wicked woman” with “no soul”
When Chume talks of a certain work he has to do, his that could be prayed for before her death. While the use
“certain work” is an irony which results in a pun and an of invective makes the play somewhat lively, it also
ambiguity to the audience. There is a play upon the word homes in the foolishness of those they are thrown at.
“certain” which has the double meaning of “what is yet This is because the victims often merit how the insults
unknown” and “what is very much known or sure”. describe them. Here, as in Scene Three, Chume is
Chume has an imminent work, which we do not know of portrayed as an irresponsible husband: he might as well
 Mireku-Gyimah 279

improve upon himself in a better way than expect manna so…” (Soyinka, 1964:37).
from heaven in the form of the prophet’s miracles to The stage directions indicate that the crowd is puzzled
transform his circumstances overnight or trust his own and even Amope “looks up wonderingly” at Chume’s
vain, wishful prayers. change of mood as he walks towards his bicycle
For Amope, we would observe that she is truly a muttering to himself:
wicked woman because in spite of the husband’s
shortcomings, she tends to be too disrespectful to him. So… so… suddenly he decided I may beat my
Perhaps, it is her very constant nagging which, driving wife, eh? For his own convenience. At his own
him insane, has become the chief reason for his following convenience (Soyinka, 1964:37).
the prophet in the hope of finding “ signs and wonders”
or, better still, training to become a prophet too in order From this brief comment spelling Chume’s sudden
that he can also dupe others and amass wealth over- consciousness of the situation, we can say that Chume’s
night. In the case of Jero, Amope’s observation is keen disappointment is total and he has learned the hard way.
and really suits him as a useless man of God, for Prophet Still, though pitiable, Chume looks foolish because he
Jeroboam is a rebel; “one who does evil” (2 Kings 14: 23- has been so committed to his fellow man and trusted “the
29 in Stamps and Adams eds., 1992). arm of flesh”, which has truly failed him as the Bible
Besides these observations, however, we do not fail to indicates (see Jeremiah 17: 5-6 in Stamps and Adams
see the ironic twists to the scene and the incidents in it. eds., 1992). It is in this light that Chume’s crest-fallen face
First, unlike the audience, Amope does not understand and general situation now is very funny yet very sad. He
clearly Chume’s sudden change in behaviour; she is now is like Sheridan’s Sir Peter Teazel in The School for
the victim of irony. Second, underlying Chume’s eager- Scandal who so trusted Joseph Surface-Jero’s counter-
ness to send her back home on his bicycle is a relief not part in roguery in that play by Sheridan, until “Sir Pete”
for himself, really, but rather for the prophet, who, became so disillusioned with the reality (see Okleme,
ironically but shrewdly, instructs that Chume should take 2002). Soyinka’s humour is “loud” but is again designed
his wife back home to administer the punishment. Jero’s to awaken the depraved in society to the rude shock and
selfish motive is to avoid further public disgrace and to be bitterness that they cause in those they disappoint; those
freed of this tough woman who has, at least, put some that make the only mistake of relating well with them. In
fear of God in him - something which only Jero and the all this, Soyinka is being ironic and also insulting as he
audience know. The effect is that suspense is created exaggerates Chume’s naivity and its bitter consequences
and the audience continues to expect more, making the for him and his marriage.
play progress. In addition to the invective and irony noted In fact, Chume’s disillusionment hits all of us as people
above, we also mark the exaggeration of the incidents in who have had in one way or the other such bitter
order to vividly portray the bad sides of the characters experiences from those we have trusted. We therefore
involved, especially Brother Jero and his waywardness identify with Chume, but we find ourselves sympathizing
and Brother Chume and his folly. with him also as a result of Soyinka’s exaggeration of
Chume the gullible goes home and starts to beat his Chume’s unpleasant experience. We and Chume become
wife in another very comic encounter. He does not know pitiable indeed. But the question is: Do we always merit
the identity of the debtor as Jero, and he does not yet anyone’s sympathy when the tables turn against us as it
know the relationship between his wife and the charlatan happens to Chume? Do not we and Chume sometimes
prophet. Matters turn sour when in the course of bundling make ourselves rather stupid and therefore prone to such
and beating her as a way of venting his pent-up anger on disappointments, considering the blind faith and trust we
her, Amope screams for Jero’s help allowing Chume to build around some personalities, especially people of
discover then that it is Jero who is behind all the unrest in “influence” such as this prophet?
his own family. Chume frantically insists that the screa- Thus through the adroit handling of irony and other
ming woman should answer him: Desperate, he asks her devices, Soyinka succeeds in portraying Jero to us as a
the following questions breathlessly: hardened “criminal” every bit of the way; he is a prowling
lion seeking someone to devour (see 1 Peter 5:8 in
CHUME: Did I hear you say Prophet Jeroboam? Stamps and Adams eds., 1992). We are sad and
Woman, did you say it was the Prophet who owed shocked at his behaviour and the wicked treatment he
you money? …. Is this his house? Does he live has doled out to Chume, who is his most ardent
here supporter. Nevertheless, we are also able to laugh at the
? Is Brother Jeroboam….? (Soyinka, 1964: 37) foibles of both. But is that the end of the story? No.
Soyinka is able to handle his techniques so well that he
He gets no answer; it takes a bystander to get him an still moves his play forward. Thus he creates suspense
answer and the bitter reality dawns on Chume shattering and the audience waits for the aftermath of this clash to
him completely. His shock and despair are clear as he see whether Jero and Chume will learn any lessons and
spits repeatedly the “pregnant” word “so”: so… so… change for the better.
280 Int. J. English Lit.

SCENE FIVE miscreants – if they have any - will be pricked to effect

the necessary change while the rest of society stays
At the beginning of Scene Five, which is the last, we find carefully away from them. This explains why Soyinka’s
that Jero does not feel remorseful at all about what he satire is acerbic.
has done to Chume. Indeed, he dismisses the thought of Later, in the dying moments of the play, when in his
any conviction of guilt or even the loss of Chume’s desperation Chume comes on stage and blames himself
companionship. He rather tunes his mind onto the next as a fool soliloquizing – “… What for … why, why, why,
victim and “studies” him as the authorial comment in the why, … ?” we laugh at him, but this is another instance
stage direction goes. This victim is a real big catch and where in our laughter we are also moved to tears since
easy too – “a Member of the Federal House, a back- we also often ask ourselves and no-one in particular
bencher”, who desires a ministerial post (Soyinka, “Why?”, but only after we too have been fools and fooled.
1964:39). As Jero surveys the “Poor fish”, as he considers As such, we identify with Chume, once again, over his
this influential man in society and thinks about how to plight. When he returns brandishing a cutlass and
catch him, all he can say about Chume is the following: insulting Jero in pidgin English saying: “Adulterer! Woman
thief! Na today a go finish you!” (Soyinka, 1964:42), we
… Oho, I had almost forgotten Brother Chume. are again torn between laughter and tears, notably
By now he ought to have beaten his wife because this time he is full of venom and pursuing Jero
senseless. Pity! That means I’ve lost him. He is on stage eager to revenge. With Chume’s multi-million
fulfilled and no longer needs me. True he still dollar questions “What for”? and “Why?” the latter
has to become a Chief Clerk. But I have lost him repeated as many as four times: “why? why? why?
as the one who was most dependent on me…. why?”, we do not fail to observe that Soyinka is being
Never mind, it was good price to pay for getting ironic with those questions. He seems to be asking: “Why
rid of my creditor … (Soyinka, 1964:39). at all do we allow this to happen to us or anyone else?”
As Jero gets more entangled in the web of religious
We can observe from this speech that Jero has not roguery, we are not surprised that his next step should be
repented. That Jero still refers to Chume as “Brother” is a kind of darkly alliance with an unscrupulous politician,
even ironic. Is “Brother” just a title in Jero’s brand of and geared towards doing more mischief. Again, Soyinka
Christendom? Shouldn’t the word hold meaning so that if pours scorn on crooked politicians who seem to abound
one were truly a brother (or sister for that matter), another in postcolonial Africa. He unmasks them also as crooks
brother or sister would not find it so easy to intentionally and selfish, evil persons as we find in the example of a
hurt one’s feelings just to suit one’s whims and caprices “whole” Member of Parliament who comes to consult a
as does Brother Jero not only to Brother Chume but also rogue of a prophet just because this M.P. is after political
Brother Chume’s wife, Amope, whom Jero once refers to power.
as “My dear Sister in Christ? The effect of the irony here The term “Poor fish” which Jero uses to describe the
is that it throws into sharp focus the hypocrisy in religion “big shot” is not only insulting but also ironic. Besides its
as so-called Christians neglect what they ought to do, abusiveness, it carries a deeper meaning which suggests
that is, the show of true brotherliness rather than lip that the M.P. is an easy prey - a very potential catch.
service. Soyinka appears tired with hypocrisy in the This observation is confirmed in Jero’s next words when
church and he bitterly condemns it. he tells the audience that the man is already in his net
Naturally, Chume is very angry and, in turn, seeks and asks if we as the audience doubt his ability to draw
revenge. In fact, he wants to kill Jero and finish with him, the M.P. Indeed Jero casts insinuations as to how very
but Soyinka the master craftsman does not take Jero easy it is to trap him.
away by allowing Chume to kill him. However, although The irony in this is the discrepancy between the great
Jero lives, we are shocked to find him persisting in and powerful status of the M.P., a Member of the Federal
wrong-doing. In this scene, his character is even worse House – even if only a back-bencher – and how small he
as his conscience becomes seared and he goes further has become in the hands of an ordinary citizen, who is
to declare Chume “insane”. The fact that Jero does not also a religious sham. The irony is reinforced by the
change tells us as the audience that, in society, there are place where the big man, who is supposed to be an
always riff-raffs like “Brother Jero”, who have no “honourable” person has come, that is, the beach and the
conscience whatsoever because they have become so time he has come, that is, the evening and the purpose
hardened that they would not mind at all infringing on the for being there “every day”, that is, “he has one eye on a
human rights of others in order to serve their own selfish ministerial post” (Soyinka, 1964:39) as Jero informs the
interests. While pointing this out with the character of the audience about the M.P. Thus, we find out that the M.P.’s
prophet, Soyinka also maintains that such people should power-drunkenness has made him vulnerable and
be bitterly exposed just as we find him doing all along belittled as any ordinary person, who can be manipulated
through his able manipulation of irony, exaggeration and by quacks, when he ought to have lived up to his
invective, with the hope that, perhaps, the conscience of accolade as an “honourable” man. In fact, we are at a
 Mireku-Gyimah 281

loss as to where his intelligence has gone. Soyinka’s alone while they have gone to the extent of imprisoning
attack therefore falls on all who are like this disgraceful or even murdering their own people; that is, to borrow the
politician. The playwright mocks the likes of such power- words of Farah (1992), “removing from circulation” those
drunken people by using irony, insults and exaggeration people who discover or muster the courage to speak
to belittle and condemn them mercilessly. Even Soyinka against the diabolical deeds of the rogues.
shatters whatever air of arrogance surrounds the M.P. In Jero’s Metamorphosis (first published in 1973),
that makes him dismiss the prophet “with great Soyinka’s twelfth play written long after The Trials of
pomposity” and spitefully suggest to him to “[G]o and Brother Jero (first published in 1964), of which it is the
practice your fraudulences on another person of greater sequel, it is sad to observe that Jero becomes neck-deep
gullibility” (Soyinka, 1964:40). In fact, looking at the in evil-doing while Chume is ever so gullible as to allow
discrepancy between what an honourable M.P. should be Jero to lure him back to his camp after some Good
and what this M.P. really is, we could say that he Samaritans from the Salvation Army have had him
becomes himself that other “person of greater gullibility”. released from the lunatic asylum and also taught him a
Therefore, Soyinka deflates this politician, “one of the trade.
elected members of the country” (Soyinka, 1964:43), with Soyinka therefore urges ordinary Africans to become
his irony, using Jero, an ordinary citizen, to abuse the wiser and change from being obsessed with their own
M.P. further as a “poor fish”, a “nincompoop” and “that problems and running after other people whose
spiteful man”. backgrounds they do not know. The playwright contends
We also note that the political power and choice of that doing this would enable these Africans to enjoy some
ministerial position which Jero “promises” the M.P. is as freedom. This explains Soyinka’s contempt for Chume
ironic as it is hyperbolic. According to Jero, “The Minister and his harsh criticism of him, too, for his gullibility and
for War would be the most powerful position in the Land” vulnerability in The Trials of Brother Jero. As in all cases,
(Soyinka, 1964:41). The title of the post, Minister for War, Chume’s blind faith in the abilities of a religious
is ironical because “for (war)” suggests that one is “in functionary such as Prophet Jero, culminates in bitter-
favour of (war)” and so hunts “for (war)” as opposed to ness. This is so for all the gullible worshippers, “low” and
(Minister) “of (war)” which suggests that one is only in “high” alike, since their absurd and unrealistic expec-
charge. Therefore, with this post of Minister for WAR tations from the religious experts like Prophet Jero seem
(Emphasis is mine), Soyinka ridicules and exposes the to force these charlatans to continue to be false and
various political leaders “for war” who, because they deceive them. Jero even confesses to the “safety” or
favour war, attend meetings upon meetings in the name otherwise of making certain prophecies, including that for
of peace while they make their people die and make their the M.P. Consequently, Jero hopes to capitalize on how
profits all right from sale of arms and the like. long the M.P. will continue to come to him for fulfillment of
Hence, although it sounds paradoxical, it is actually in “his” prophecy, and count on him to help “pack” Chume
the area of war that a minister will wield the most power, away. Just before the end of the play, Soyinka alludes
as Jero makes the M.P. believe, considering, for ironically to the prophecy in order to show how unsure
example, the numerous unrests on the African continent the fulfillment of that prophecy is to the author of it
and how some politicians have enriched themselves himself, that is, Jero and what fate awaits Chume when
thereby. Thus, by extension, Soyinka attacks all warlords Jero says:
and haters of peace anywhere, especially those in Africa,
while urging them to change. I have already sent for the police. It is a pity
The current and final scene, Scene Five which is also about Chume …. With the influence of that
the concluding scene, alternates Jero and the M.P. and nincompoop, I should succeed in certifying him
Jero and Chume. Chume comes in shattered and having with ease. A year in the lunatic asylum will do
learnt his lesson but the M. P. is now entering the trap. him good anyway… And so the day is saved.
By laying the powerful M.P. and the poor Messenger The police will call on me as soon as they catch
(“P.M.”), Chume, side by side in the ultimate scene, Chume. And it looks as if it is not quite time for
Soyinka levels the two as far as their stupidity is the fulfillment of that spiteful man’s prophecy
concerned even if, for the sake of political power, the (Soyinka, 1964:44).
M.P. assists Jero to have Chume sequestrated in a
lunatic asylum for a year as it turns out later. By also In an interestingly revealing paper akin to Soyinka’s work,
aiding Jero to carry out that assignment on Chume, Asamoah-Gyedu (2003), a Ghanaian religious scholar,
Soyinka puts the M.P. in the same category of rogues as discusses among other things, the issue of Africans
Jero. Therefore, his message for all the rogues on the trooping to religious functionaries for mediation. He thinks
continent, religious and/or political, is that they should that the practice has become rampant in Sub-Saharan
change for the better. Africa, and assumed paranoid proportions, especially in
Soyinka condemns politicians and religious “experts” Ghana and Nigeria and that it is worrying because it often
who have tended to seek their own personal well-being involves fraudulent religious specialists, who abuse
282 Int. J. English Lit.

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considered Soyinka’s use of irony, exaggeration and
invective as tools of satire to hammer home his bitter
criticism of religious and political roguery that have
become rampant worldwide particularly in post-colonial
Africa and his own Nigerian society. We have noted that
hardened criminals in the form of ruthless, quack
prophets and power-drunken politicians must persistently
be exposed to prick their consciences to effect the
necessary changes in order for all to enjoy personal
freedom and peace. And Soyinka shows the way by
ridiculing the perpetrators, his general preoccupation
being largely corrective. He also discourages ordinary
Africans from permitting themselves to be duped.
We conclude that if Soyinka effectively indulges in his
criticism and successfully sends his message across as a
satirist, it is because, in addition to other things, he is
able to handle irony, exaggeration and invective so well
that he can sustain audience interest throughout the play
while urging correction.