Character as social semiotic in Wole Soyinka’s The lion and the jewel

Semiotics is context bound. Therefore, it is appropriate to situate the locale of any interpretation of art as veritable vehicle for proper understanding. In this regard, Wole Soyinka’s The Lion and the Jewel as a dramatic text derives a better metaphorical essence when assessed as a semiotic correlative of the socio-political conditions in the Nigerian post-colonial experience. Beyond its engagement in the dramatization of events that constitute narrative, character plays a pivotal role as a means by which thematic concerns can be mirrored. In other words, in all ramifications  of its application, character usually plays representative roles, especially considering the fact that fiction aims at reflecting what is obtainable,  probable or conceivable in a given context. Relating the dramatic events that played out in the text, it is observed that The Lion and the Jewel in its  characterization captures a proper representation of socio-political personalities in Nigeria, including the author, Soyinka. From the jewel of contest  which is the political power to the predatory turncoats who plunder and rape the patrimony, the drama demonstrates how character can assume a  mimetic essence that indicates prophetic act. Just as it is common practice to tag an overbearing political leader the Orwellian Big Brother, and  considering how the drama has succeeded to relate or relay socio-political identities, it is duly recommended that examination of characters in  literature, especially African literature, should account for their roles as counterpart identities of politically exposed persons. Thus, there is a Baroka  in the politician who snatches power by unorthodox means; a Lakunle in the upstart whose feeble attempt to contest political power is laughable  and a Sadiku who is an accomplice in spite of being a victim.