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Literature in English

Let Me Die Alone By John Kolosa: Complete Study Guide And Summary Analysis For WAEC, NECO, GCE, JAMB.

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Subject : Literature In English Topic : Summary Analysis of The Novel ” Let Me Die Alone” By John Kolosa Kargbo. Lesson Objectives: by the end of the lesson, the learners should be able to: 1. Summarise the play Let me die alone; 2. Give plot summary of the play; 3. State the setting of the play; 4. Mention the characters and their roles in the play; 5. Pick out the themes in the play.

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Note : This is just summary of the novel for instruction purpose and does not cover all contents. As students preparing for exams, we always advise not to depend on this alone but get a copy of the book from bookshops for detailed study.

Lesson Summary / Discussion

The Play-wtite John Kolosa Kargbo is the author of The play “let me die alone.” He was born a1954 and lived till 1994. He is a native of Sierra Leone. He has contributed greatly to development of African literature.

SUMMARY OF THE PLAY

“Let me die alone” by John Kolosa Kargbo, is a play written in three short acts with rich dramatic and theatrical values. The play opens at Senehun in Gbanya’s bedroom amidst Sanded running offstage, with Gbanya pulling a shouting Yoko, his wife, into the room. Yoko has just been dislodged from the company of her Sande women (a cult of women dancers and entertainers) to come and attend to the emotional urge of her husband. She protests as Gbanya forces her to his bed. This protest gradually changes to ecstatic and sensual moans but soon interrupted by violent knocking offstage. Gbanya who is the ruler of Mende Chiefdom receives a message that Governor Rowe, the British Colonial Representative will be visiting tomorrow. This kind of visit isunusual; Gbanya quickly summons a meeting of his warriors as he suspects it might have something to do with the boys he hired out to John Caulker to fight against his brother, George. Yoko senses that her husband is troubled and he confirms that he is unwell and even fears to sleep at night because of the constant visits of his ancestors to him in his dream, imploring him to join them. It dawns on Gbanya that his end is imminent. Yoko suggests sacrifices to ensure a peaceful journey, believing that he should’ not die without honour. Gbanya prepares to receive his enemy the Governor with the greatest of gifts but his wife Yoko thinks differently; the warrior must be put on the alert to forestall any eventuality. She reminds him further Of his promise to hand over the chiefdom to her at his death. Unfortunately, Gbanya wants to rescind this promise because of many enemies hovering around the chiefdom to wipe off his people and reasons that a man will hold the fort better than a woman at the helm of affairs. She insists and questions his sincerity and betrayal having encouraged her not to bear children because of the prerequisite initiation into the male Poro cult before she can be come king. She complied and now at the verge of old age she is being abandoned. Gbanya prefers to handover the chiefdom to Ndapi but Yoko would not want to share her bed with Ndapi as custom demands that a new king inherits the wives of the old one. Yoke also draws his attention to the different women who have reigned successfully over some chiefdoms for many years, such as Take Yoya, Kema of Galu, Fangawa of Wando, Kpanda Gbello of leppiama Woki of Tunkia and Nancy Caulker in Sherbro land. Gbanya agrees they are good rulers and also good lovers in bed and drags her to the bed to show him how good she is too. Lamboi is equally interested in taking over the chiefdom from Gbanya but fears that his sister, Yoko, may succeed to persuade and compel her husband to hand over the chiefdom to her. He therefore connives with Musa, the seer and medicine man, through blackmail to plot the death of Gbanya before he makes any commitment to Yoko, his wife. Lamboi: “All I want you to do is to kill the chief and help me to prevent the chiefdom from falling into the hands of a woman” (p. 94).They both strategize and resolved to lure Gbanya to the Poro bush after the Governor’s visit to drink from a medicine bottle poisoned with the gall of alligator. Final preparations to receive the Governor are underway. Gbanya wants to give five fat cows, five fat rams and sheep as presents to the governor. Lamboi thinks they are too much for Governor Rowe, but the chief insists. Musa prepares the chief’s mind to visit the Poro bush after the Governor’s visit, so they can carry out their evil plot to kill Gbanya. Yoko has a premonition that a great evil will be fall their household today and urges Gbanya to prepare for war as he receives the Governor and ambush him. He faults the judgement and berates her as a woman: “Can our chakabulas and spears, or machetes and slings withstand the guns of the Governor and his frontier soldiers?” Gbanya announces that his elaborate reception for the Governor is to sue for peace and protect his people from senseless killings. Governor Rowe arrives and accuses the chief of sending his warriors to fight on John Caulker’s side against his brother, which the Governor sees as a direct affront against his orders that there should be no more fighting. Gbanya continues to deny the accusation but the Governor humiliates him by ordering his soldiers to stretch him out on the ground and beat him with a whip. The chief is equally fined to pay fifty pounds in the equivalence of cattle and rice. The Governor and his team leave. Lamboi and Musa cash in on this development to give the chief a poisoned drink to kill him, pretending it is meant to relieve his pain. On realizing that death is inevitable, he curses his killers and instructs Yoko who just comes in to take charge of the chiefdom. Lamboi tries to persuade her out of the idea of becoming chief because she has to join the Poro cult which would consequently prevent her from bearing children. But she insists she is ready to be chief; she mourns her husband and she is coronated as the next ruler of Mende Chiefdom. Act Two opens with Jilo preparing to cook and Lansana her lover appears to have an affair with her. Jilo resists, fearing that her husband, Ndapi, may show up. He seizes her against her wish claiming that having failed to talk her into it, the other option left is to force her. Lansana gags her with his hand and drags her into the hut Just then Ndapi and Lavalie, a warrior, enter from opposite ends. They both express concern over the ‘mysterious’ death of their chief, Gbanya. There was something unusual about the funeral; the dead chief’s skin was black as charcoal, yet no one could give any credible explanation, not even Ngo Musa, the medicine man who saw it all. Yoko now feels her life threatened and does not even trust her brother, Lamboi. She wants to embark on expansionist war of her warlords feel otherwise; Ndapi and Lavalie especially, who now leave to strategize on how to stop Yoko from embarking on war. Lansana and Jilo emerge from the hut; he got what he wanted and he is prepared to risk his life for a repeat performance at a safer place. Ndapi returns home and queries Jilo, his wife of her where about; why isn’t food ready for him to eat? She blames it on their sick daughter, Jeneba. Ndapi does not take kindly to her excuses, he steps on her big toe and slaps her. A guard enters and prostrates but warns him against the danger of beating his wife every day; he could lose self-esteem. Both men review Yoko’s greed for war which they consider vain and provocative. Jilo also reveals Yoko’s plan to move the chiefdom from Senehun to Moyamba. we meet Yoko in her royal splendour in her palace in Moyamba with many women attending to her needs. They all like it here in Moyamba; the chiefdom has expanded even more. Yoko reminisces her dead husband —Musu and Fanneh (her maids) think his spirit is guiding her because In Moyamba they have found peace and the Governor is very happy. Yoko however feels uneasy with the fear of the unknown, that she may be killed and her reign toppled. She also misses the joy of motherhood she lives under tremendous pressure from those who do not want her on the throne especially Lamboi her brother and Musa, the medicine man who she suspects killed her husband. Yoko asks after Jeneba (Jenneh), Ndapi’s daughter who she adopted as her daughter with so much care and affection. She brought to Yoko and the little girl confirms that her father often beat her mother A guard announces the arrival of a messenger from the Governor who is well received and made comfortable. Yoko prepares for a meeting with the elders (Lavalie, Ngo Musa, Keke Lamboi and Ndapi); Ndapi beats his wife, Jilo, and drags her in before Chief Yoko. Jilo is accused of adultery with a member of Yoko’s household, Lansana. He is already on the run to Taiama; Yoko deploys two warriors to apprehend him outrightly Yoko is disappointed with Jilo for the abominable act with Lansana, a rescued war slave and ordered her detention as a reprimand. Jilo’s three-month-old pregnancy is also wasted because of the illicit act. Yoko assures Ndapi that she will make Lansana pay all the damages. Yoko is visibly angry more than ever before; Lansana betrayed his friendship with Ndapi. Lamboi and Musa hatch up a plan to kidnap and kill Jeneba, the little girl Yoko is so fond of and loved by the community. The intention is to shift the blame on Yoko as the murderer and mislead the people to believe that her growing strength as a chief is because she sacrifices young children because she sacrifices young children to her charms by burying them alive. This plan they hope will whip up the sentiment of the people against her and ultimately force her to abdicate the throne or be forced into exile or be killed. With her out of the way, Lamboi hopes to ascend the throne. Musa does not believe it is a very good strategy, but Lamboi assures him that the searchlight will be on Yoko and not them. Madam Yoko with some of her elders receive the Governor’s messenger in her palace with pompand pageantry. The Messenger appreciates the unprecedented reception accorded him and delivers the message of the Governor, servant of her Imperial Majesty the Queen of Great Britain. The Governor considers her a shining example of African leaders who blend grace,magnanimity, bravery, audacity, tranquillity, and majesty to her role as custodian of the protectorate. He wishes her well in her reign. Jilo prepares to go and wash in the river but wants her daughter, Jeneba, taken to Madam Yoko by Fanneh but she is on an errand for Yoko to look forLansana. Fanneh wants to know why Jilo committed adultery She complains that her husband abuses her body with incessant beating and he is not tender with her while, on caring and also makes her proud as a woman. A woman needs reassurance and admiration, and Lansana gives all these. Jilo sees Fanneh off leaving Jeneba all by herself. Lamboi sneaks in, hypnotizes Jeneba with a fruit and some other medicinal liquid substances and takes her aways sleep walking. In the palace, Yoko announces to her elders in council that the Governor has sent for her to two chiefs in Taiama and she has to leave that evening. The elders want the council to discuss the property tax the Governor has imposed on their land, but Yoko suspends any discussion on the matter’ as she opts to execute the Governor’s order. She hands over the Chiefdom to lamboi to take charge in her absence, just then two warriors enters with lansana and yoke orders his detention without food till she returns from her trip as he is being led away Jilo breaks wailing and announces the disappearance of her daughter, jeneba. Yoko also orders an immediate search party for the missing to be found at all cost; appoints Musa as second in command to Lamboi for a few days and they direct orders to find the girl before Yoko returns, but Jilo is devastated as she weeps uncontrollably In Act ‘Three, Lamboi is alone in the palace (barre) and about his quest for power, control and dominion over his fellow men, his walk towards the throne and seat of supreme power, blood has been spilled and there no going back for him, his hands have bean soiled With the blood of Gbanya, Jeneba and Yoko ‘Day be next because she stands between him and his ultimate dcsire to be the Chief’ or Moyamba Chiefdom. Iavalic enters with no good news on Jeneba, He leaves to get palm wine and Musa enters. Musa has been busy spreading the rumour that Yoko has used Jeneba as sacrifice; buried her alive in a big pot to fortify her power and acquire more power to gain the favour of the Governor. The same dummy is sold to Ndapi, Cather of the missing girl; he buys it after some persuasions that Gbeni the oracle revealed it and also with the potent rumour mill spearheaded by the women. Sande women, a powerful cult, summons a meeting to dispose Queen Yoko for this supposed dreadful deed. Ndapi sends word to the women to break up the meeting. Queen Yoko returns and is surprised at the disrespectful reception she receives from her subjects. Those she put in charge o the chiefdom, Lamboi and Musa, even call her murderer too. Ndapi confronts her to produce his daughter if she wants to be Queen again and sits on her throne with heavy thunder rumbling. She is accused of of sacrificing Jeneba and burying her alive in a big pot; she is defenceless in her innocence; she is subjected to great humiliation and insults by Lamboi, Musa, Ndapi and has come under the scorn of the entire chiefdonv, she is called murderer, witch, devil, and wicked. Ndapi even insults her with her childlessness — “you don’t know the pain of childbirth, so you don’t know the worth of a child. You have never had children of your own, so you don’t know what motherly love is.” She offers to swear by Poro to prove her innocence but she is not given a chance as no one believes her. Just then news comes that Jeneba’s body has been found behind Sande bush with the breastbone broken, the heart pulled out, her neck cut with a knife and her private parts removed. The nature of this dead body negates the claim of Lamboi and Musa that the child was buried alive. It is this revelation that necessitates a re think and Yoko gets a reprieve and seizes the opportunity to investigate the matter to discover the real culprits.At the Poro shrine in the night, it is discovered that Lamboi and Musa are responsible for the death of Jeneba. Queen Yoko is thereby vindicated and Queen Yoko is thereby vindicated and Ndapi promises to go after them to seek redress. The Messenger to the Governor brings a message to Queen Yoko at the Poro bush; he is stopped from entering by the guards because only initiates and members are admitted into the shrine. But Queen Yoko clears the Messenger as a member and he gains access to see her. He brings a message to reduce the territorial control of the Queen and she is upset by it and sees it as a disgrace. On hearing this message, she sends Lavalie for some herbs which he sends to her through a guard. She gives it to Musa to prepare as usual into a thick concoction. Queen Yoko turns, back to the Messenger to express her displeasure over the boundary demarcation. After her long years of service and loyalty to the Governor, this manner of reward is least expected. She feels used and insulted and sends strong words back to the Governor. Ndapi and Jilo come to seek forgiveness from the Queen claiming they were misled; Lamboi and Musa set a trap for them. The Queen will hear none of their apologies. she recalls that her late husband warned her that “behind every set of white teeth there lurks an evil plotting mind”. She dismisses the couple and the Messenger; the concoction is ready and Musa suspects it is poison and wanted to drink it first before the Queen. Yoko says no, “Let Me Die Alone” because she has savoured the fruits of power alone; known and enjoyed the grandeur of high office alone. She drinks the poison to die and avoid the humiliation of her power being whittled down by the Governor. In death she hopes to find peace and never to be used again. She connects with the noble ancestors of the land to receive her she slumps to the ground and sends word to the entire chiefdom not to be mourned as she did not bring a child to this world. She dies and a dirge rises.

THE PLOT The play begins with Chief Gbanya, the ruler of Mende Chiefdom forcing Madam Yoko, his wife to bed to satisfy his sexual desire as that is the only thing women are meant for aside child-bearing and domestic chores. But Yoko is determined to show her relevance and usefulness in the ruining of the Chiefdom by reminding her husband of his promise to hand over the reign to her. Not only does her husband, Gbanya, care less about her opinion in the affairs of the State, he strongly believes that the Chiefdom must be ruled by a man and so does Lamboi, Musa and Ndapi. Madam Yoko rises to prove all and sundry wrong by insisting that Gbanya should keep to his word and it is the same fear that leads to Lamboi and Musa poisoning Chief Gbanya after his humiliation and public flogging by the British Governor, Rowe. In his last gasp, Gbanya asks Yoko to take charge of the Chiefdom and that does not go well for Lamboi and Musa who again plot against Yoko with false rumours and allegations of murder to dethrone her but which she survives, thanks to her wits wars that her husband would have shield away from. Yoko’s wisdom, courage and strength of character makes her defeat Lamboi and Musa in their own evil schemes. Unfortunately, the play ends with Madam Yoko committing suicide. Thanks to the falsity of the British Governor, who truncates her chiefdom and clips her wings. She dies a great tragic heroin, a legendary Madam Yoko.

LITERARY DEVICE / DRAMATIC TECHNIQUES OF LET ME DIE ALONE

Language/Style Kargbo makes superb use of the English Language in Let Me Die Alone. The play is particularly well crafted and the language is embedded with cultural nuances that adequately contextualize the play, especially the rich use of proverbs.

Kargbo makes superb use of the English Language in Let Me Die Alone. The play is particularly well crafted and the language is embedded with cultural nuances that adequately contextualize the play, especially the rich use of proverbs.

Songs And Dance Kargbo carefully intersperses the different acts with song and dance and pays particular attention to sound effects. The Sande dancers are of particular interest here. As they have the wherewithal to entertain, so they also have the power to check and balance the authorities.

Comic Relief Moments of comic relief also heighten the overall tragic nature of the play. The way Gbanya drag Yoko to bed stimulates some pleasurable interest. The encounter between the guards and Messenger also underscores some comic relief. The Messenger has been manhandled before the guards realize that he is a member of the very powerful Poro Society (pp. 131-134).

Symbols In the play thunder rumbles. Jeneba, poison are key symbols deployed to advance its plot structure At some significant points in the play, thunder rumbles to arrest our attention to consciousness Jeneba in the play represents shattered hope and a new order denied from sprouting. Poison becomes a potent tool of ending the reign of each leader in the play. Gbanya died from poison by his trusted aids while Yoko’s death is by self-consumed poison. For Gbanya, poison took him out in a disgraceful manner but Yoko used poison to leave the scene with her royal esteem and integrity intact. Poison in this instance has a dual image of negative and positive ends. But why does Kargbo make the two chiefs to die by poison? Probably for dramatic convenience.

Foreshadowing Foreshadowing is a literary device in which a writer gives an advance hint of what is to come later in the story. Foreshadowing often appears at the beginning of a story, or a chapter, and helps the reader develop expectations about the coming events in a story. We have some instances of this literary device in Let Me Die Alone. When Jeneba is sent to call Lamboi and Musa for a meeting in the palace, Lamboi admires her and remarks that “Girls of her type stand to dje in the hands of the enemies of Senehun” (p. 94). This statement foreshadows Jeneba’s abduction and gruesome death in the hands of Lamboi and Musa who are indeed the enemies of Senehun. Similarly, Yoko has a premonition that “a great ill will befall this household today” (p. 96); the Governor later comes to flog her husband, Gbanya, and he is eventually poisoned to death. As royalty, Gbanya does not want a humiliating death but he ironically foreshadows an unpleasant end – “why should who sent so many to enemies non their quest for such peace be afraid to die? No, I am not. My fear rests in the manner of dying” (p. 87). Gbanya dies of poison with his skin turned black as charcoal.

THE SETTING OF THE PLAY (LOCALE) Set in Sierra Leone let me die alone depict the ancient royal descent of African kingdoms like Mende, Gbo, Taimawaro and Bandajuma during the colonial era when these kingdoms Chiefdoms where under the chains of imperialism orchestrated by the Western powers which are Britain, France, America etc. a time when Africans even the service of the white man are ridiculed and mocked at the slightest provocation. It can be dated to about 1849 as it presents the reign of Yoko who became the chief of Senehun and later officially recognised as Queen of Senehun by the British.

Lust For Power Madam Yoko represents one with a lust for power and authority. Though she does not kill or maim for its sake, she sacrifices her chance of motherhood to join the Poro, which is the only stumbling block to her ascension to the throne after her husband, Chief Gbanya’s death. In the same vein, Yoko’s brother, Lamboi resorts to murder and homicide in his bid to wrestle the throne of Mende chiefdom from Yoko. First, he connives with Musa to poison Gbanya so as to stop him from handing over to Yoko. When he lost at the first attempt, because Yoko defiled every obstacle to claim the throne, he kidnaps and kills Jennifer, and once again, through Musa, he spreads the false rumour that madam Yoko had used the child for sacrifice just to dethrone her. At a time, Madam Yoko wishes she had her own children but it was too late. This simply proves that the list for power can easily lead one to gross immorality.
Theme of Gender Inequality In the play, Chief Gbanya, Lamboi, Musa and Ndapi – the men that matter; so to say – all believe that it is impossible for them to be ruled by a woman who should be on the bed to be used at will. While Gbanya believes that women are weaklings when it comes to matters of national affairs. Lamboi and Musa insist that Madam Yoko can easily sell them off because she can be manipulated easily by the white man. The only reason Lamboi and Musa killed Gbanya is that they will not imagine themselves ruled by a woman. The play, through Yoko’s character of wits, wisdom, courage, resilience and strength proves and tends to teach that no gender should be neglected or cast out as weak or subordinate by making her achieve the feats her husband Gbanya did not in his life time.
Colonialism Colonialism embedded in imperialism as reflected in the play through the character, Dr. Samuel Rowe, the British Governor, does not respect any form of African traditional norms and the glory of the royal institution. The stretching and flogging of Gbanya by armed soldiers at the Governor’s command and before his subjects is very ruthless. The imperialists and colonists impose taxation on the owners of the land on which they the whites are visitors, they divide and annex chiefdoms at will disrespecting the customary boundary marks and rightful ownership of those lands. These forms of intimidation cause Yoko to take her own life having realized she was used and dumped, and made a fool for risking her life, throne and chiefdom to please the Governor.
Suicide And Homicide The occurrences in the play leading to people committing suicide are highly avoidable but were allowed to play to show that man cannot have it all. madam Yoko kills herself believing she cannot face the humiliation of the British after all she risked for them – her life, throne, and dignity; while in the actual sense she could have made deal with the portion she was left with moreover, she had been vindicated from the evil woman that she was responsible for Jeneba’s murder. Likewise, Lamboi should have device other means of dethroning Yoko rather than using poor and innocent Jeneba as bait. His pills the little girl’s blood wasting her life in the process in connivance with Ngo Musa who should be a preserver of life and always extol the sanctity of human life. Both if them, Lamboi and Musa, committed homicide by killing both Gbanya and Jeneba. At the death of Yoko, Lamboi could have become ruler, so why does he have to be in hast.

CHARACTERS AND ROLES

Gbanya : he is yoko’s husband and ruler of mended chiefdom. He is polygamous and so has thirty-seven wives. He is a great warrior King but flawed by frailty which makes him promise to hand over his chiefdom to Yoko in bed. He is glorious for his many victories at wars to the extent that he delves into one against the governor’s wish by joining forces with John Caulker against his brother, George. The result is a brutal humiliation by the governor Dr Samuel Rowe, who Flux him while he is stretched out by his soldiers, the pains of which paves way for Musa and Lamboi to administer the hall of the Alligator to him thereby poisoning him to death- to ensure he does not hand over power to his wife, Yoko. But before he gives up, he actually gives Yoko charge over the throne.
Madam Yoko: she is one of Gbanya’s thirty seven wives and the one he loves the most. She grew up as a Sunday dancer and one of the very best at it. yoko’s character defies all the traditional mods and custom that perceive women as a second fiddle to men in matters of national affairs. She holds onto a promise her husband Gbanya made to her on the euphoria of matrimonial pleasures – to hand over the reign of the mended chiefdom to her – and does all she can to convince and persuade him to keep to his words but her husband Gbanya insist that Senehun must be ruled by a man who can by the winds and weather. Fate brings the throne to Yoko’s hands when Gbanya ask her to take charge, realizing he has been poisoned by Musa and Lamboi. To prove that she is equal to the task and ready to wield the powers, Yoko sacrifices childbearing which is the joy of womanhood as she joins the Poro. how character of cruelty and brutality and exhibitions of manly attributes and in words. Yoko’s wisdom and might scales her through all the hurdles incited by her brother, Lamboi and Musa. Her courage and strength are. Madam Yoko takes her life and becomes a tragic heroin because of the falsity of the British government who reduced her power and popularity by breaking her chiefdom despite all her efforts at ensuring that she says the governor right. her inability to start the humiliation from the British causes her to commit suicide and at that, urges no one to mourn for her death.
Lamboi : he is yoko’s brother and one of the elders of the mended chiefdom. Lamboi is power-thirsty. At first, he connives with Musa to murder Gbenya to prevent him from handing over to Yoko that fails. He even goes further to kidnap and kill Jeneba, Ndapi and Jilo’s daughter, instigating that Yoko had used the little girl for a ritual sacrifice. Lamboi is hard hearted and unrepentant as he always uses the secrets he knows about Musa to threaten him into alliance with him.
Musa : Ngo Musa is the supposed seer- “Togogbemui” of the royal household and the entire Mend chiefdom, who should be the mouthpiece of the gods, but he becomes an Ally to Lamboi in the perpetuation of his evil plans. Musa prepares the goal of the alligator that caused Gbanya’s death and also the charm that Lamboi used on Jeneba to make her follow him on consciously. Initially, he appears to be against evil better news tune amboy Street whenever there is mention of his past evil deeds. Musa and particulars sold the seed of the first woman alleging that Yoko had used Jeneba for sacrifices and it is quite simple to understand why the people easily believed him.
Dr. Samuel Rowe: he is the governor and the sole representative of her Imperial Majesty the Queen of Great Britain, in other words, England. He implements all the colonial policies and laws irrespective of its negative effects on the rural populace. He desecrates African royalty and honour by publicly flogging Gbanya before his people; imposes taxes on the owners of the Land and his lack of respect for the dignity of labour and loyalty leads to Yoko’s suicidal deaths because it became clear that he uses and dumps her.
Ndapi : he is a warrior of the Mende chiefdom and households to Jilo. Ndapi is hot tempered and a wife beater. He does not pay the wife any time he gets home and finds no food. He is jealous whereas he does not appreciate or admire his wife. He also beats up Jilo when he catches her with Lansana and almost kills Yoko by himself when he learns that she had sacrificed his daughter, Jeneba for ritual.
Fanneh and Musu: these two are elderly women who are at the service of the Queen, Madam Yoko. They take care of her personal needs, plait her hair, tend her toes and make her meals. They were the only persons who did not easily believe the rumour that Yoko buried Jeneba alive in a pot for ritual sacrifice.
Jilo : She is Ndapi’s wife and Jeneba’s mother. She likes to be admired and pampered which is the reason why she gives in to Lansana knowing that it could lead to his or her death if they are caught by the temperamental Ndapi. She breaks the news of Jeneba’s missing to the royal household.

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Introduction to Let Me Die Alone by John K. Kargbo

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write the biography of john kolosa kargbo

Let Me Die Alone is based on the historical marital life and times of Madam Yoko, a

legendary monarch of the Mende people. Let Me Die Alone (1976) addresses the gender struggles of the famous Madam Yoko, who was the first notable female Paramount Chief over the Mende people in the Southern Province of Sierra Leone. Although she was influential with the British, and was one of the most powerful rulers of the Kpaa Mende Confederacy, her femaleness remained at the core of the many crises she encountered both within and without her chiefdom. Playwright John Kolosa Kargbo, fondly known as JK in the theatre world, depicts the life of this celebrated female ruler in Let Me Die Alone . In his portrayal, Yoko is a beautiful, ambitious, and courageous woman who joins an all-male secret society (the feared Poro Society) and consequently loses her right to motherhood, though not to her sexuality. In becoming a male-female, Yoko is much feared by her male contemporaries, envied by women in her constituency, and doubly pliable in the hands of the British rulers.

History has it that before Gbanya, Yoko’s husband, died in 1878, he had asked Governor Rowe and some of his relatives to secure the throne for Yoko, his senior wife. However, Yoko did not secure the throne until Movee, Gbanya’s successor, died in l884. The colonial government then installed her as a “dependable ally” (Alie 1990). Seen by many of her subjects as a usurper and a friend of the colonial administration, she remained controversial throughout her reign until her death in 1906. In the play, this controversy is packaged as a defiance of the cultural norm that women should not be rulers during wartimes. Being a visionary who willingly gives up the privilege of childbearing for the leading chieftaincy title in all of Kpaa Mende, she is willing to disprove the myth of female inferiority. As historian Joe Alie reports, Yoko was even instrumental in the arrest of many chiefs who participated in the Hut Tax War, the subject of the next play by Julius Spencer. Greatly feared by many male chiefs, Yoko was able to gain oversight of their chiefdoms. Yoko also wielded tremendous influence with the colonial rulers, although in the end the colonialists betrayed her.

About the Playwright

John Kolosa Kargbo was arguably one of the most important and prolific of the younger generation of Sierra Leonean dramatists. Most of his extremely well-crafted plays were written in the vernacular, Krio, and warmly received when staged in Freetown. They were popular precisely because they addressed some of the fundamental ills that seemed to be endemic to Sierra Leonean society. Drama, of course, has a way of bringing home to the people in a very direct way that the novel and even poetry can hardly achieve, the inimical and inequitable nature of the environment in which they live, and Kargbo’s plays did just that.

His play Poyo Togn Wahala , in particular, brilliantly demonstrated the corruption, incompetence, and indifference of the ruling elite. Because of this, Kargbo incurred the wrath of the government of the day, and he was forced to go into exile in Nigeria, where he continued to expand his education in the field of drama and exploit those aspects of the media that he could. Let Me Die Alone is one of the few plays he wrote in English and, like the others staged in Sierra Leone, it was warmly received. Even if one disregarded the achievement of the plays written in the vernacular, this play alone would be sufficient to propel John Kolosa Kargbo to the front rank of African dramatists. He demonstrated that he could flawlessly deploy the resources of the English Language to maximum effect and yet, like Achebe and Soyinka, introduce ingredients from the indigenous Mende Language and thus create a genuine African environment.

Let Me Die Alone is a powerful tragedy based on the life and times of ‘Madam Yoko’, one of the most powerful and respected women chiefs in Africa. He directed many productions including his own, and was instrumental, challenging and detailed in his craft. He was a fearless warrior. There is more to Sierra Leone’s contribution to African literature than we can ever imagine. Stumbling upon such gems only helps you to put things in perspective.

Let Me Die Alone by John Kolosa Kargbo: Complete Book Summary

For centuries, African poetry has been a reliable source of inspiration, wisdom, and cultural heritage. Throughout history, outstanding poets like John Kolosa Kargbo have taught us how to confront the complexities of life and emerge stronger, bearing proud testimony to the resilience of the human spirit.

In this post, we’ll explore the intricate depths of the iconic masterpiece, “Let Me Die Alone by John Kolosa Kargbo,” and why it resonates so profoundly with African readers – whether young or old, from Nigeria and beyond.

Table of Contents

Complete Book Summary: ‘Let Me Die Alone’ by John Kolosa Kargbo

“Let Me Die Alone” by John Kolosa Kargbo is a collection of deeply-moving poems that capture the essence of the human experience. Each poem explores themes of love, loss, and the search for meaning in life, creating a powerful tapestry of potent emotion and reflections on the human journey. In this section, we’ll delve into a summary of the entire collection, examining the prevailing themes and highlighting key poems that make this work an enduring classic in African literature.

Love in All Its Forms

In “Let Me Die Alone,” Kargbo examines love from various angles – the passionate, the unrequited, and the love that endures despite obstacles and challenges. Poems such as “The Storms Within” and “A Love Undone” explore the complexities of love in a way that resonates with the reader, acknowledging that love is as multifaceted and intricate as the myriad forms it takes.

Pain, Loss, and Grief

“Let Me Die Alone” does not shy away from the darker side of human emotions. Throughout the book, Kargbo delves into the depths of pain, loss, and grief, laying bare the innermost recesses of the soul. Poems such as “Lament for a Lost Child” and “When You Left Me” demonstrate the poet’s profound understanding of the ways in which pain can shape our lives.

The Search for Meaning

A central theme of “Let Me Die Alone” is the struggle to find meaning and purpose in a chaotic world. Several poems within the collection wrestle with the existential questions that plague every individual, regardless of their background or beliefs. “A Life Unfulfilled” and “Who Am I?” are prime examples of Kargbo’s ability to tap into these universal yearnings and offer readers a glimpse into the shared human experience.

Perseverance and Hope

Amidst the exploration of love, pain, and the search for meaning, Kargbo’s poems also convey a sense of perseverance and hope . The titular poem, “Let Me Die Alone,” acts as a clarion call for individuals to face the hardships of life head-on and emerge stronger for it. Other poems, like “A Promise to Myself” and “Rising Above,” encourage the reader to carry on despite adversity, trusting in the power of their own spirit to overcome challenges and find the light at the end of the tunnel.

A Brief Introduction to John Kolosa Kargbo: The Poet Behind the Words

Who is john kolosa kargbo.

Born in Sierra Leone, John Kolosa Kargbo is an African poet who has been capturing the hearts and minds of readers for decades. His works have become an essential part of the African literary landscape, as they touch on themes such as love, loss, identity, and the quest for peace and understanding. “Let Me Die Alone” is one of his most famous poems and continues to captivate readers with its powerful message and profound exploration of human emotions.

The Impact of “Let Me Die Alone by John Kolosa Kargbo” on African Poetry

Over the years, numerous African poets have helped shape the literary world’s perception of the continent. However, few have reached the level of recognition and influence as John Kolosa Kargbo. “Let Me Die Alone,” in particular, stands out for its unique blend of raw emotion and penetrating insight, which has struck a chord with readers across the globe.

The Significance of “Let Me Die Alone” in African Literature and Culture

Unpacking the themes of “let me die alone”.

“Let Me Die Alone by John Kolosa Kargbo” is a powerful evocation of the pain and intensity of human emotions. The poem’s themes include love, loss, and the search for meaning in a world that can seem cold and indifferent. Kargbo masterfully portrays the anguish of the soul as it navigates the stormy waters of existence, seeking solace and understanding.

The Meaning Behind the Words

In “Let Me Die Alone,” Kargbo confronts the reader with a raw and honest account of the human spirit’s desire for connection amidst life’s turbulent waters. He captures our fears and yearnings with crystalline precision, reminding us of our vulnerabilities and the courage it takes to face them. The poem serves as a gentle reminder that sometimes, the most meaningful connections are those that endure and grow stronger through adversity.

What Sets “Let Me Die Alone” Apart From Other African Poems?

The elements of “let me die alone by john kolosa kargbo” that make it a timeless work.

“Let Me Die Alone” has been lauded for its deeply evocative exploration of the human condition. Kargbo’s use of simple language and poignant imagery allows readers to connect with the poem on a visceral level, drawing them into the heart of the emotions being portrayed. Moreover, by blending these elements with universal themes such as love, loss, and the search for meaning, Kargbo’s work transcends boundaries of age, culture, and background, making it a true classic that will undoubtedly maintain its appeal for generations to come.

The Legacy of “Let Me Die Alone”

In many ways, “Let Me Die Alone” serves as a testament to the power and impact of African poetry. This widely acclaimed work is a shining example of the rich legacy of African literature , showcasing the remarkable talent and creativity that has defined the continent’s poetic heritage for countless years.

In Conclusion: Celebrating the Power of African Poetry

The works of John Kolosa Kargbo, including the treasured gem that is “Let Me Die Alone,” have left an indelible mark on the hearts and minds of African readers and beyond. Through the transcendent power of his art, Kargbo has provided a mirror in which we can reflect upon our own lives and make sense of the complex emotions that define the human experience.

As we continue to revel in the captivating beauty of African poetry , we can only express our gratitude to the poets like Kolosa Kargbo who have enriched this vast and diverse literary landscape.

Tochukwu Ezebube is a passionate poet and founder of Poem Collections. With a deep love for African verse and a commitment to sharing diverse poetic voices, Tochukwu curates a rich tapestry of poems that celebrate the beauty of words from Africa and around the world. Join him on this poetic journey at Poem Collections, where the magic of language unfolds.

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An Analysis/Summary of John Kolosa Kargbo’s Let Me Die Alone

The Author : John Kolosa Kargbo was a 20th century Sierra Leonean writer. Eustace Palmer describes John Kolosa Kargbo as arguably the most important and one of the most prolific of the younger generation of Sierra Leonean dramatists. Kargbo wrote mostly in the krio vernacular, but Let Me Die Alone was written in English and interspaced with vernacular.

Cast: The following constitute the cast of John Kargbo’s Let Me Die Alone .

Mama Yoko : Ruler of the Mende Chiefdom

Gbanya : Yoko’s husband and predecessor to the Mende Chiefdom

Guard : Palace Guard

Musa : Seer and Medicine Man

Lamboi: Yoko’s brother

Ndapi: Warrior and one of the elders in Mende Chiefdom

Jilo : Ndapi’s wife

Jeneba (Jenneh): Ndapi and Jilo’s daughter

Governor Samuel Rowe: British Colonial Representative

Lansana: Jilo’s Lover

Lavalie: A Warrior

Fanneh : Mama Yoko’s Maid

Musu: Mama Yoko’s Maid

Messenger: Black Representative of British Colonial Government

Girl: A Sande Dancer

2nd Guard: Another Palace Guard

Crowd Scene: Sande Dancers.

Background to the Play: John Kargbo’s Let Me Die Alone can be studied as a play on colonial politics in Africa. Colonialism has come to define how Africa views and interprets her history. It began when a group of Europeans – English, French, Portuguese and Germans, among others – extended their territories to Africa in the 19th century for economic benefits and other Enlightenment purposes. In the play, the colonial authority is represented by Governor Samuel Rowe and his actions are representative of the British colonial actions in Africa. Such actions include the utter disregard for existing customs and traditions, lack of respect towards the African peoples and arbitrary alteration of land marks without consulting the people.

Another background issue in the play is female leadership in Africa. Precolonial and colonial Africa was a largely patriarchal space, and while women had their dignity and place, it was more difficult for women to access power spaces because of entrenched patriarchal biases. This does not mean that precolonial and colonial Africa did not produce worthy female leaders, the problem was that it was more difficult for a woman to be considered for such important roles. The woman had to doubly prove herself and most of the time had to make more personal sacrifices compared to the men in order to be granted access to leadership positions. This is exactly what Mama Yoko has to go through in order to be the chief of the Mende land.

Kargbo’s Let Me Die Alone is a historical play at two levels. One level is the creative depiction of colonialism which actually occurred in Africa in the 19th century. The second level is the portrayal of Mama Yoko as the female leader of the Mende Chiefdom. It is a historical fact that Mama Yoko actually lived. She represents the force, authority, excellence and tragedy of female leadership in Africa.

Let Me Die Alone is a tragedy. A tragedy is a type of drama that is dominated by soulful incidents and ends sadly. The tragic heroine in the play is Mama Yoko who commits honour suicide at the end of the play. Her tragic flaw is trusting the wrong people like Lamboi and Musa, as well as unwittingly pleasing the enemy in the person of Governor Samuel Rowe. In the play, Yoko dies a deeply disappointed woman, betrayed by both friends and enemies alike.

Subject Matter: The subject matter of Kargbo’s Let Me Die Alone is the challenges involved in female leadership in precolonial and colonial Africa. This is seen in all that Mama Yoko has to pass through in order to become the leader of Mende people. First, she has to convince her husband, Gbanya, to pronounce her a chief with his dying breath. Then she has to make personal sacrifices like ‘becoming a man’ so as to be considered qualified to sit on the throne. Becoming a man means that she has to join the Poro cult and, as a consequence, will not have a child of her own. Once Mama Yoko becomes chief, she has to manage the plots and intrigues around her throne, orchestrated by even her brother, Lamboi. The good thing is that Mama Yoko proves herself a great leader, disappoints her critics and justifies the idea that female leadership is never a waste of the people’s time. She is able to expand the Mende chiefdom and move the capital from Senehun to Moyamba through war and conquest.

Plot: Kargbo’s Let Me Die Alone has a chronological plot structure. The events proceed lineally in their order of occurrence. It begins with the depiction of Gbanya towards the end of his reign as chief of the Mende people. He is surrounded by enemies both internal and external. Gbanya does not have a male heir and is considering handing over the throne to his first wife, Mama Yoko. In fact, he had promised this to Mama Yoko. But it is war time and Gbanya believes that women should not be leaders during the time of war. This explains his hesitation. But shortly after being disgraced by Governor Samuel Rowe for his involvement in the Caulker campaigns and realising too late of the evil plots of Lamboi and Musa to seize the throne by poisoning him, Gbanya uses his dying breath to declare Mama Yoko his successor.

Mama Yoko’s enthronement is stoutly opposed by Lamboi who presents many barriers to stop Mama Yoko from ascending the throne. She is made to join the Poro secret society and to never marry and have children. However, Mama Yoko proves herself a great leader by expanding the Mende Chiefdom and moving the capital from Senehun to Moyamba. She does this through a proactive approach – waging wars with the surrounding villages instead of waiting to be attacked first. Mama Yoko is portrayed as a just leader who, at the height of her powers, ruled over a rich and peaceful domain. However, she has to face many plots and intrigues from her enemies like Keke Lamboi and Ngo Musa, who kill Jeneba, Ndapi and Jilo’s daughter that Mama Yoko loves, bury her after removing vital parts, then try to implicate Mama Yoko in the mysterious disappearance and murder of the child. The people turn against Mama Yoko and this breaks her heart in many irreparable ways. When the truth is finally revealed and Mama Yoko is justified, the Governor seals the monarch’s doom by reducing the size of her domain. At this point, Mama Yoko loses the will to live as she cannot stand the disgrace. Honour suicide seems the way out.

A Scene-by-Scene Analysis/Summary of Let Me Die Alone

Act One Scene 1: This scene takes place in Gbanya’s bedroom, where he tries to force his most senior wife, Mama Yoko, to bed. Gbanya’s bedroom is described to reflect its traditional texture. It has props like spears, machetes and kerosene lamp. The time is in the evening/night. Mama Yoko asks Gbanya to wait so that she could dismiss the ‘Sande’ dancers, but Gbanya’s longings would not be persuaded because as he says, ‘When the loins of a man catch fire, that fire must be quenched instantly’. The reader should equally observe the patriarchal objectification of women in Gbanya’s words: ‘. . . Of what better use is a woman to a man?’

In the end, Gbanya has his way and he is depicted making love to Mama Yoko. Then Guard enters to inform Gbanya that the Governor will be arriving the palace the next day. This information was brought by the Governor’s Messenger. Gbanya notes that Governor Rowe has never visited him before, implying that the visit is unusual.

Lamboi and Lavalie are requested to meet the chief in the morning. Mama Yoko instructs Guard to tell the Sande girls to stop dancing, while Gbanya tells Mama Yoko to return to bed: ‘. . . You are a woman. Your brain was made for music, your feet for dancing steps that will fire the loins of any man, and your body for that bed. Not for the important affairs of the chiefdom’. This is actually a colonialist perception of female abilities which Gbanya must have learnt from the colonial masters, because the true African person understood that female leadership was largely taken for granted in precolonial Africa, where matriarchy was widely practised. Gbanya makes these gender-disparaging statements because he knows that Mama Yoko is interested in discussing politics as it concerns Governor Rowe’s proposed visit.

Gbanya remarks that the Governor’s visit might not be unconnected with Gbanya’s hiring of his soldiers to one John Caulker to fight against Governor’s Rowe’s brother by name George. This speaks to the conflicts among the colonialists during the scramble for Africa. It is a mistake for Gbanya to have taken sides in such a war.

Gbanya is afraid because of the Governor’s visit among other realities confronting him. Mama Yoko asks him to confide in her. It is revealed that Gbanya had lost his best soldiers in the war fought between Ashanti and John Caulker’s men. Foreshadowing is seen the dream that Gbanya had which he now reports to Mama Yoko. In the dream the previous night, the Governor had humiliated him. Another instance of foreshadowing is Gbanya’s dream of seeing his ancestors asking him to join them. This means that Gbanya’s death is imminent. Gbanya also saw his late father in his dream, asking Gbanya to join him. He tells all this to Mama Yoko. Gbanya then knows that his days on earth are coming to an end.

Mama Yoko advises Gbanya to make sacrifices to appease the ancestors in response to the bad dreams; and to ensure that Gbanya’s final journey begins with/in peace. It is mentioned in the play that the sphere of Gbanya’s authority is Mende land.

Gbanya begins to philosophise about life. He tells Mama Yoko that there is no peace in this world. He refers to himself as the most courageous fighter in Mende land. Gbanya is not afraid of dying but in how he dies. He does not want to die a dishonourable death.

Gbanya wants to impress the visiting Governor with gifts so that the Governor would know his power. Mama Yoko wants to call Ndapi, Keke Lamboi and Lavalie so that Gbanya could pronounce her king in their presence, as Gbanya had promised her the Chiefdom.

It is reported that Gbanya has 37 wives but cherishes Mama Yoko most. He tells her, however, that times have changed and that in war time, it is difficult for a woman to rule. Mama Yoko should enjoy the wealth he would leave behind and forget about leadership.

Senehun is currently the capital of Mende land where Gbanya is its ruler. Gbanya asks Mama Yoko to dance for him. When she refuses, Gbanya asks her for sex again. Mama Yoko’s response is strikingly significant: ‘But my lord, do you think I’m a calabash, a cooking pot or an axe to be used so indiscriminately? No, my lord. I am a woman but I’m also human. You say you cannot leave the Chiefdom in my hands because I am a woman, but are there not other women who have been ruling chiefdoms successfully for many years?’ Mama Yoko goes on to cite the examples of successful female leaders in her time: Yoga, Kema of Galu, Fangawa of Wando, Kpanda Gbello of Lapplama, Woki of Tunkia or Nancy Caulker in Shebro Land. Gbanya agrees that these women are good leaders. They are depicted making love as the scene comes to an end.

Act One Scene 2: This scene begins with Musa and Lamboi depicted conversing. Within the context of the narration by Stage Direction, the word ‘Totogbemui’ means ‘light’. It is part of the untranslatable language in the play. Lamboi, Mama Yoko’s brother, is asking Musa to help murder Gbanya because he is a weak monarch. Musa is reluctant at first: ‘I am not a giver of life so I cannot take it,’ he tells Lamboi. One of the excuses that Ngo Musa gives for hesitating to murder or poison Gbanya is that he [Musa] does not have Gbanya’s Ngafo, apart from both of them belonging to the same secret society: ‘You are a Poro man, I am a Poro man, and he is also a Poro man. How then can I do that to him?’

In trying to convince Musa to kill Gbanya, Lamboi appeals to the people by telling Musa that what he wants him to do is not necessarily for his own good, but for the good of the people. This accounts for the usual phenomenon where politicians use the people as an excuse to further their selfish interest. From his speech, it is revealed that Lamboi fears his sister, Mama Yoko, so much. He sees her as an ambitious woman who would stop at nothing to be king. Lamboi also fears that Gbanya might hand over the Chiefdom to Mama Yoko if he lives long enough to be so persuaded by her.

It is also shown that Lamboi does not believe in female leadership. He believes that the times demand that the kingdom be governed by a man, as women are soft. He fears that Gbanya would hand over the chiefdom to Mama Yoko because he loves her so much. Lamboi goes on to say that Gbanya’s undoing was the Caulker’s Campaign (war), and that it was ill-advised by Mama Yoko, while he, Lamboi, had kicked against it. This might actually be a lie because when Lamboi wants to swear on the Poro Gbeni about this fact to Musa, he refuses to complete the statement. Euphemism is seen in the expression by Musa: ‘I am old and ripe for the journey across the river to meet my ancestors’. This is a mild expression about Musa’s willingness to die.

Both Musa and Lamboi continue to argue until they get physical when Lamboi grabs Musa in an attempt to intimidate him. When Musa claims that he has never killed a man, Lamboi dares him to swear by Poro Devil/Gbeni. Of course, Musa refuses. The Poro Devil/Gbeni represents the efficacy of the African traditional justice system. Hence, Musa knows the consequences if he dares swear in falsehood. This informs the proverb or adage by Lamboi in taunting Musa for having a good enough sense not to swear by the Poro Devil in falsehood: ‘A mad man may eat his own shit, but will never play with fire. . .’

In the end, Lamboi has to blackmail Musa, revealing how Musa killed Yattah’s son and Mama Kadi’s daughter and used their blood for his bofina, medicine or magic. This blackmail works because Musa quickly relents and decides to comply with Lamboi’s wishes.

At this point, Jeneba, Ndapi and Jilo’s daughter, enters and greets both Musa and Lamboi. Musa asks after her mother, Jilo. Jeneba says her father sent her to remind Musa about the ongoing meeting in his house. Musa’s promise of bringing plums and berries for Jeneba when next he goes to the bush is wrapped in paradox and irony, given the future events in the play. The specific future event is foreshadowed in the words of Lamboi when he says: ‘Girls of her [Jeneba] type stand to die in the hands of the enemies of Senehun’. This statement foreshadows the murder of Jeneba by Musa and Lamboi, who are truly the enemies of Mende land.

Musa informs Lamboi of the Governor’s visit that day. The Governor will be coming with soldiers and Lamboi envisages trouble in the visit because of the Caulker’s Campaign. He urges Musa to use the opportunity of meeting Gbanya during the Governor’s visit to execute the evil plot as Gbanya will definitely need Musa’s help on that occasion. Musa decides that the best opportunity will present itself when Gbanya wants to go to the Poro bush to drink from an enlivening spirit. He will then poison Gbanya with the gall of the alligator.

Act One Scene Three: The Stage Direction reports a Sande drumming offstage and the appearance of Gbanya’s horn blower, the arrival of Gbanya and his retinue of courtiers like Mama Yoko, Jeneba, Lavalie, Ndapi, Lamboi and Musa.

All is set for the reception of Dr Samuel Rowe, the colonial Governor. Gbanya prefers to present gifts to the Governor to appease him; telling Lamboi, ‘Let them take five fat cows out to the corral, five fat rams and sheep.’ Lamboi questions these expensive gifts for the Governor. Musa reminds Gbanya that he has been neglecting the Poro bush recently. Gbanya reveals that the Poro bush is the source of his strength and promises Musa that he would go to the bush immediately after the Governor leaves.

There is foreshadowing or premonition in the words that Mama Yoko says to Gbanya: ‘. . . something tells me that a great ill will befall this household today. You should have prepared for war on the Governor’s visit’. Gbanya’s approach is not proactive and that spells his mistake or hubris. Gbanya’s reply contains his attempt to be realistic given the circumstances. But it also contains some hints of male chauvinism. He says: ‘That’s why I maintain that that you are just a woman. Can our chakabulas and spears, or machetes and slings withstand the guns of the Governor and his soldiers?’ Still, Mama Yoko encourages Gbanya to be proactive in dealing with the Governor: ‘You could ambush them. It’s still not too late. Take them by surprise. . .’ Gbanya believes that there will be repercussions for taking out the Governor, hence his decision to rather welcome him.

Guard announces the arrival of the Governor. Stage Direction reports on Jeneba’s exit on the instructions of Mama Yoko, the hearing of Sande music and the six girls dancing, and the arrival of Governor Rowe, wearing white and a plumed helmet; carried on a hammock. This is a photographic description of a colonialist figure at this time in history.

Notice how Gbanya refers to Governor Rowe as ‘my Master,’ while welcoming him to Senehun. This signals the relationship between the colonial masters and the natives. It was a highly hierarchical relationship, where the natives were the servants while the colonial masters were the lords. Governor Rowe shuns Gbanya’s overtures, servility, kind gesture and politeness: ‘Don’t put those filthy paws on me, you savage!’ The colonialist perception of Africans as uncivilised people is seen in the Governor’s words. The expression ‘filthy paws’ is an implied metaphor which suggests the non-humanity of Gbanya as perceived by the Governor. The expression ‘filthy paws’ is equally a metonym for Gbanya’s hands, except that in this case it constitutes animal imagery to emphasise Gbanya’s uncivilised nature in the Governor’s view.

Governor Rowe demands to know from Gbanya why he brought his soldiers, ‘war boys’, to fight on John Caulker’s side against his brothers. Gbanya lies and this is indicative of his fear for Governor Rowe’s power. Governor Rowe commands Gbanya to shut up. Notice the colonial project’s official objective in Gbanya’s words: ‘When people like us leave our civilized society to come and bring both light and the word to you here in the bush, we expect you to conform. . .’ The Europeans had told the whole world that their mission in Africa was to civilise the primitive Africans. This is exactly what Governor Rowe is implying in his speech. However, we now know that their mission in Africa was largely economic. There are a number of things that are striking in Governor Rowe’s words. First, he refers to Europe as a civilised society which is ironic considering all the atrocities that the Europeans committed in Africa. Second, he presents himself and other Europeans as selfless angels who have come to Africa to do the native good. Again, another irony given the facts of history. Third, he refers to the whole of Africa as a ‘bush’, which is a metaphor for lack of development and civilisation. The ‘light’ and the ‘word’ mentioned in Gbanya’s speech refer to civilisation through European education system and the Christian religion, respectively. What the Europeans expected from Africans during colonialism was total obedience – ‘we expect you to conform’ – as all forms of resistance was met with brutality.

Dr Samuel Rowe refers to himself as the sole representative of the Imperial Majesty. On his orders, Gbanya is dragged from his throne. This gesture is symbolic as it signals Gbanya’s fall. Gbanya is then whipped by Governor Rowe’s soldiers, which is a sign of humiliation. The Governor calls Gbanya a dog, another instance of animal imagery that depicts Africans as savages in the perception of the Europeans during colonial rule. Governor Rowe then demands a fine of ‘fifty pounds in the equivalent of cattle and rice.’ The nature of this fine suggests the economic interest of the colonial masters in Africa. Governor Rowe’s words also suggest that he is going round the colony terrorising other local chiefs perceived to have disobeyed his orders.

When Governor Rowe leaves, Lamboi orders Lavalie and Ndapi to block the doors to prevent the people from coming in to see Gbanya in his humiliated state. However, the real reason for his doing this is to have a chance to murder the disgraced chief. He asks Mama Yoko to go fetch some water as a way of getting her out of the way. When Mama Yoko returns with the water, Musa orders her to get warm water to treat Gbanya’s wounds. Now Lamboi and Musa are left alone to carry out their nefarious deed. Musa poisons Gbanya’s water as reported by Stage Direction: ‘From the folds of his robes, he [Musa] takes out the bottle containing the poison and adds a single drop to the water.’ He gives it to Gbanya as pain reliever.

Gbanya asks of Mama Yoko and says that he must see her. Musa urges Gbanya to drink the ‘medication’, which ironically and sadly is poison, to ease his pain. Gbanya drinks. Soon Gbanya clutches his stomach and realises that he had been poisoned: ‘My stomach is on fire. My tongue is burning. Musa, Lamboi, what did you put in that calabash?’ This statement actually reminds me of a now popular expression, ‘Sholape what did you put in your stew?’

Gbanya now knows that Musa had poisoned him with the alligator’s gall and tells him so. He also asks them why they did it. Lamboi says they had to do it to stop Gbanya from passing the throne to a woman, that is, Mama Yoko. Musa agrees with Lamboi, adding that only a man can save Senehun. There is a rhetorical question in Gbanya’s expression: ‘But can a Poro man do this to a fellow Poro man?’ This implies that Lamboi and Musa have, by their action, violated the Poro cult code of no deliberate harm to a fellow member.

Gbanya knows that his death is imminent and he moves to go out to find Mama Yoko, but he is blocked by the villains – Lamboi and Musa. Lamboi even wants to stab Gbanya but he is prevented by Musa who believes in the efficacy of the alligator’s gall: ‘It’s foolproof and there is no remedy.’ Gbanya appeals to Poro Devil to avenge his death. Mama Yoko enters, just as Gbanya is dying, and he uses his dying breath to ask Mama Yoko to take charge of the Kingdom, even though he cannot get all the words out in a coherent way.

Gbanya dies. Lamboi moves to be Chief immediately after Gbanya’s death. The move is resisted by Mama Yoko who reappears with a weapon, a machete. She claims the Chiefdom by appealing to Gbanya’s dying instructions to her. She also demands to know how her husband died. Lamboi and Musa claim ignorance of Gbanya’s cause of death. Lavalie pays tribute to the dead king: ‘Ah Ngewo. A finer man never ruled in Mende land, a braver man never walked on earth. May the hands of forefathers grant him. . .’

Lamboi disputes Yoko’s claim to the throne. But then he refuses to swear by the Poro Devil that his claims are true. Ndapi is made the personal guard of Mama Yoko just as he protected Gbanya. Lamboi opposes Mama Yoko’s accession unless she becomes a member of the Poro cult. Mama Yoko is willing to become a member. Lamboi then informs Mama Yoko of the implication of joining the secret society: ‘You will never bear children. . .’ Mama Yoko does not mind. She is ready to make the sacrifice.

The question of throne accession being settled, Mama Yoko mourns Gbanya: ‘. . . the man who taught me the virtues and qualities of undying love. The man who made Senehun into a great chiefdom – the finest and the most courageous chief in all Mende land.’ She then asks Gbanya’s spirit to guide her, as she is already feeling the plots and intrigues around her: ‘Minds may this minute be plotting against me.’ This is an instance of synecdoche as minds represent human beings. Mama Yoko is ready to lead Senehun in all situations.

Act Two Scene 1: This scene takes place in Jilo’s house, where she is depicted peeling cassava. Lansana, Jilo’s lover, appears. He is one of the warriors in Senehun. Jilo is in love with Lansana but married to Ndapi. Lansana is seen begging Jilo for sexual favours. Lansana believes in a man having multiple sex partners: ‘. . . for how long can a man go on eating sakitombols? From time to time, he should taste jolabete’. Jilo refuses these advances, asking Lansana to look for other ladies outside. Then Lansana starts praising Jilo’s body: ‘See how smooth it is, as smooth as the back of a bridal calabash.’ This is an instance of simile. Lansana even pinches Jilo’s buttocks and she cries out playfully. Lansana then uses the analogy of either boiling or roasting cassava to imply that if he cannot persuade Jilo, he will have her by force. And this is exactly what he does.

Suspense is seen in how Stage Direction switches to depict Ndapi and Lavalie discussing in the opposite direction shortly after Lansana had forced Jilo into the house. It makes it look like they would soon be caught by Ndapi. Lavalie and Ndapi are actually discussing Mama Yoko’s decision to go to war. Mama Yoko is taking a proactive step so as not to be overrun by the surrounding villages. They also discuss the manner of Gbanya’s death, especially its suspicious nature, as well as Mama Yoko’s fears that her life is under threat.

Ndapi thinks that Lavalie should advise Mama Yoko not to war with the other chiefdoms. They exit to discuss how to stop Mama Yoko from warring. Stage Direction then reports Lansana and Jilo coming out of the house after making love. Humour is seen when Jilo asks Lansana to leave before Ndapi returns to meet him in the house: ‘. . . if he finds you here, there will be no teeth left in that mouth of yours to chew even over-boiled potato’. Lansana arranges his next meeting with Jilo and then leaves.

Ndapi returns. He is angry that there is no food in the house. He punishes Jilo by stepping on her toe literally. Guard enters to save Jilo from Ndapi’s brutality. Ndapi denies touching Jilo, whereas he has stepped on her toe. He slaps Jilo, complaining to Guard about not always finding food whenever he comes home. In the play, it is seen that gender roles are fixed and both husbands and wives know their duties to each other quite well.

Guard has come to report the war news to Ndapi who fears that heads would roll. The reader should notice the act of eating raw cassava in the play, which is what Ndapi serves to Guard. Ndapi says that Mama Yoko could not be persuaded not to go to war and that she trusts the colonial Masters like Governor Rowe too much. Is this Mama Yoko’s mistake or flaw?

Ndapi sees Mama Yoko as ‘greedy, insolent and power drunk and very, very ambitious.’ Ndapi does not believe that the chiefdom should be expanded. The reader should note the theme of slavery as Ndapi talks about killing and dragging the enemy soldiers into slavery during Gbanya’s reign when they used to fight honourable wars. He describes the proposed Mama Yoko wars as ‘vain’ and ‘provocative’. Guard deploys a proverb to analogise the situation: ‘She is putting her palm kernels into the fire and using our own fingers to pull them out of the flames.’ Guard believes that Mama Yoko should be in bed beside a virile man, not on the throne of Senehun.

Both Guard and Ndapi leave to look for palm wine. Ndapi threatens Jilo, as he leaves, about beating her till she crawls back to her parents if he returns and sees no food in the house. Then Jilo mumbles something that Ndapi interprets as an insult. Ndapi comes back to slap her but Guard intervenes: ‘. . . when a woman under your roof starts grumbling, the next thing she will think of doing is poison your food’. This statement is made by Ndapi. Jilo says she was mumbling that Mama Yoko had said that they might be moving to Moyamba in the hot season. This means that Moyamba would now be the new capital of the Chiefdom. Ndapi concludes that power is making Mama Yoko crazy.

Act Two Scene 2: Stage Direction reports that Mama Yoko had moved her chiefdom to Moyamba. Mama Yoko is depicted sitting with her ladies-in-waiting – Fanneh and Musu. They are plaiting Mama Yoko’s hair and cleaning her toes, respectively. Fanneh says she likes Moyamba better than Senehun. Their conversations also reveal the expansion of the Mende Chiefdom.

African cosmology is expressed in the following words by Musu to Mama Yoko: ‘Your husband, the late chief, is now in the land of our forefathers, and his spirit is guiding you.’ Mende land is at present prosperous and peaceful, but Mama Yoko feels uneasy and dissatisfied: ‘Evil people plot their nefarious deeds in the middle of the night . . . there are times when I feel lonesome’. Mama Yoko goes on to express her desire to have her own children, but this is the price that she has to pay in order to be a chief in a patriarchal setting like Mende land.

Mama Yoko also bares her mind on the burden of leadership: ‘. . . Do you know the pressures I undergo? The fear that someday someone will think of creeping into my room with a dagger to kill me?’ The theme of jealousy and evil plot against a female leader is captured in the following words by Mama Yoko to Musu: ‘A ruler should think of anything. Anything can happen at any time. I know that not everybody is pleased over the fact that I am a chief of the kpa Mende tribe especially my brother, Lamboi. I fear that man. He is cunning. Ngo Musa is another man I do not trust. He is like a chameleon. He changes easily. I think he killed my husband.’

Mama Yoko asks that Jeneba be brought to her. She dotes on the child as if she were hers. The idea that motherhood crowns womanhood in the African milieu is reflected in Mama Yoko’s words to Musu and Fanneh: ‘There are times when I want to feel like a real woman, a mother. Times when I want to hold my own child in my arms.’ It is revealed in the conversation that Fanneh has three children while Musu has two. Musu soon leaves to bring Jeneba.

Mama Yoko justifies her paranoia while on the throne with the words: ‘. . . power transforms people. It breeds fear and that fear makes me dread even shadows at night’. Musu soon returns with Jeneba and we are made to witness how Mama Yoko cares for the child. Pap and roast cassava is the food that Fanneh and Musu gave to Jeneba, nicknamed Jenneh. Jeneba innocently reports on how Ndapi usually beats the mother, Jilo.

Guard enters to report the arrival of the Governor’s Messenger to Moyamba. Mama Yoko immediately orders Musu to make the Messenger comfortable: ‘. . . Put him in the best hut; give him the best palm wine and food. Find him a Sande girl versed in bed manners. He comes from the Governor and must be treated with due honours.’ Mama Yoko also asks that her crown, a symbol of power and authority, be brought to her and that all the elders – Lavalie, Ngo Musa, Keke Lamboi and Ndapi – be summoned. Jeneba is asked to go outside and play. This suggests that serious matters of state are not for children’s ears. It should be noted that the bangles that Mama Yoko asks Fanneh to fetch symbolise beauty and wealth, as well as the splendour of her power.

Stage Direction depicts Ndapi beating Jilo and dragging her to Mama Yoko. It happened that Jilo had been caught having an affair with Lansana: ‘I found them embracing each other in the undergrowth on the road, leading to the river, very near the cotton tree.’ Mama Yoko asks that Lansana be caught and brought to her court. Guard then informs Mama Yoko that Lansana had said he was leaving for Taiama and would be gone for three days. Mama Yoko orders that two warriors be sent to arrest him wherever he might be. It is revealed that Lansana was brought back as a war slave during one of Gbanya’s campaigns and Yoko had saved him from being killed.

Mama Yoko orders that Jilo be put in prison: ‘Take this woman and put her in stocks’. Mama Yoko assures Ndapi that justice would be done in his case, as Lansana would be made to pay all the damages. This portrays her as a just Queen. Jilo is three months pregnant. This scene shifts and focuses on Lamboi and Musa returning from Mama Yoko’s. They discuss Jilo’s unfaithfulness with Lansana, as well as Mama Yoko’s benign treatment of the Governor’s Messenger. Musa reports to Lamboi that the Sande girl that he [Lamboi] wanted to marry has been given to the Governor’s Messenger and that the reception given to Messenger can make even the Governor himself to be jealous. Musa adds that Mama Yoko is afraid of the Governor.

Lamboi presents his plot of making Jeneba to disappear to Musa. His plan is to kidnap Jeneba, kill her and lie to the people that Mama Yoko had used her for power consolidation sacrifice by burying her alive in a big pot in the bush. This should lead to Mama Yoko’s losing her throne. Lamboi would then be King. It is recalled that Musa had killed Yattah and Mama Kadi’s children and used their blood for bofina, native medicine, back in Senehun. Ngo Musa has his doubts but Lamboi counters them all. Rhetorical question is seen in the expression by Lamboi: ‘. . . when did you last enrich your bofina with the rich and hot blood of a child?’ This question is directed to Musa whom Lamboi wants to persuade to buy into his sinister plan. In response, Musa says that the chiefdom no longer goes to war because Mama Yoko is scared of the Governor. It is equally reported how three chiefs willingly surrendered their kingdoms to Mama Yoko without a fight. Musa and Lamboi agree on their plot to kill Jeneba. The plot sounds so good that Lamboi says to Musa, ‘You are indeed an old monkey’, an expression that constitutes a metaphor. They then go their separate ways after agreeing to meet in the evening.

Act Two Scene 3: The reception of the Governor’s Messenger is described by Stage Direction. Messenger makes a speech in ornate, formal and oratorical style, with intimidating diction: ‘. . . My Master, the Governor, servant of her Imperial Majesty the Queen of Great Britain, intimated that you are a shining example not only of African Feminine Pulchritude, but of one who blends grace, magnanimity, bravery, audacity, tranquility, and majesty. . . to your role as custodian of the greatest chiefdom here in the primitive heartland of the protectorate. . .’ This speech portrays Mama Yoko at the height of her power as King in Mende land, as well as the regard that the Governor has for her at this time. However, I equally feel that Messenger might have been motivated to make this speech by the generous hospitality of Mama Yoko.

Messenger continues: ‘My sagacious, Imperial Master, the Governor, extends to you, Madam, his unbounded felicitations and wishes to your gracious person, the best of positive, physical, mental, surgical, psychological, psychiatric, philosophical and psycho-analytical wellbeing’. The way Messenger deploys language intertextualises with how Lakunle uses language in Wole Soyinka’s The Lion and the Jewel .

Messenger’s speech continues in part: ‘For your magnificent execution of the onerous, multifarious, tangential and multifaceted duties of state, the honoured, revered and respected Governor, grand commander of the colony and servant of her Imperial Majesty, has kindly and graciously prevailed upon me the honour of your generosity.’ An analysis of this speech reveals that it thrives mostly on repetitions, appositions and hendiadys without saying much in the end, which explains why it constitutes humour in the play especially when viewed from contemporary linguistic standpoint.

The scene shifts. Jilo is preparing to go to the river to wash. She wants Fanneh to take Jeneba to Mama Yoko in the meantime. Fanneh tells Jilo that Mama Yoko has sent her to another village on an errand; and that she had only come to greet Jeneba whom she refers to as ‘my little Queen’. Fanneh asks Jilo when her case will be coming up and Jilo replies that it will be when Lansana is brought back from Taiama. Fanneh asks Jilo why she had an affair. Jilo’s excuse is Ndapi’s highhandedness and constant accusation of adultery. She alleges that Ndapi does not admire and appreciate her: ‘. . . as a woman, I need reassurance . . . and admiration,’ which is what she gets from Lansana.

Fanneh reminds Jilo that her people might not be able to refund the dowry to Ndapi and also wonders if Lansana will be able to afford the damages. Fanneh’s statement implies that in traditional Mende society, unfaithfulness could lead to the end of a marriage. It is even worse that Jilo is pregnant at this time. Jilo asks Jeneba to wait while she sees Fanneh off. Fanneh asks Jilo to bring Jeneba along but Jilo insists that she wants to say something confidential to Fanneh, and that Jeneba is too intelligent and would divulge everything she hears to the father. This is the moment of Jilo’s costly mistake because her neglecting the child at this point is what will lead to her death.

Stage Direction enacts the kidnap of Jeneba by Lamboi using a fruit and a potent liquid charm that makes Jeneba to follow Lamboi foolishly. Stage Direction also reports a scene shift to evening in Mama Yoko’s barre , which means a house based on the context of the play. The elders had gathered. Mama Yoko announces to the elders that she is travelling to Taiama that evening as the Governor has sent her to crown two chiefs at Taiama. The issue of paying taxes for houses will be discussed on her return. Lavalie is against the payment of hut tax. He wonders why they should pay tax for living in their own houses and in their own land. However, Mama Yoko is in favour of paying the tax: ‘If the Governor says we pay, we pay’.

Mama Yoko deputes Lamboi and Musa in her place while she is away in Taiama. This is a mistake by Mama Yoko and she will live to rue it. Lansana had been caught and is brought in to Mama Yoko’s palace by two warriors. It is reported that Lansana has three wives but is not satisfied with them. Mama Yoko asks that Lansana be imprisoned until she is back from her journey.

Just then Jilo comes in crying and reporting the disappearance of Jeneba. She had thought all day that Jeneba was playing with Mama Nancy’s children. Mama Yoko orders a search party to be sent out for the missing girl while she leaves for her assignment at Taiama. She instructs Lamboi to act in her absence with Musa as second in command. She tasks them on finding the missing child. What a mistake! What an irony. A dramatic irony to be specific.

Act Three Scene 1: This scene is at the ‘barre’ where Lamboi now acts as King in Mama Yoko’s absence. He is seen soliloquising about power: ‘I have dreamed of power of governing here in this chiefdom of Moyamba . . .I have started walking towards this throne now, towards this seat of supreme power on the road of blood and there is no turning back.’

Lavalie comes in and reports to Lamboi that there has so far been no luck in the search for the missing child, Jeneba. This is dramatic irony because the audience knows that Lamboi has knowledge of what happened to Jeneba but Lavalie does not. Musa enters after Lavalie’s exit to report that he has started planting the seed of rumour in the mind of the people that Mama Yoko could have used Jeneba for power sacrifice.

The expression ‘Rumours have wings’ made by Musa is an implied metaphor because rumour is indirectly being compared to a bird. When Lavalie returns, Lamboi and Musa lie to him that Poro Devil, Gbeni, has divined that Mama Yoko used Jeneba as a sacrifice to have more power. According to Musa, Gbeni said that Mama Yoko buried Jeneba alive in a big pot in the bush as a sacrifice to gain more power and have favour with the Governor. Ndapi doubts this information at first and wants proof. Lavalie wants Ngo Musa to swear to prove that Gbeni actually made such a divination. Presently, Guard reports that the women are rumouring that Mama Yoko used Jeneba for power sacrifice. It is also reported that the Sande women want Mama Yoko deposed for the perceived heinous act.

Mama Yoko returns from Taiama to meet a chaotic situation in her chiefdom. Everyone has been turned against her. The reader should pay attention to the proverb by Mama Yoko: ‘Indeed, when the hen leaves chicks in the hands of the hawk, she has no one to blame if they disappear’. This proverb refers to Lamboi and Musa. A crowd of women have now gathered crying for the blood of Mama Yoko, calling her a murderer, among other invectives. Other invectives, insulting words, directed at Mama Yoko are: ‘devil’ and ‘witch’. This is quite disheartening because just a few days back, Mama Yoko was the heroine of the land. When Mama Yoko questions Lamboi about the happenings, she realises that he had turned against her. He tells Mama Yoko: ‘Madam, there is no peace in the minds of those that kill’. When Mama Yoko gives an order to Guard, Ndapi counters and commands Mama Yoko not to move: ‘Take one step, Hindo, and my spear will taste the blood in your liver’. Ndapi also blocks Mama Yoko from sitting on the throne. He pushes her until she falls. He tells her she can only be Queen again after finding his daughter, Jeneba.

Musa speaks to Mama Yoko in a proverb: ‘The hawk has not eaten the hen’s chicks. It is the hen that has destroyed the hawk’s nest’. Lavalie reveals to Mama Yoko that Gbeni had divined that she used Jeneba for sacrifice. Ndapi adds that it is the sacrifice that has brought her favours with the Governor. Lamboi states that Gbeni had said that Mama Yoko buried Jeneba in a big pot in the bush. Ndapi insults Mama Yoko for not having a child: ‘You have killed my pain of childbirth, but I cannot blame you. You don’t know the pain of childbirth, so you don’t know the worth of a child’. Ndapi likened the love Mama Yoko had for Jeneba to ‘rearing a sacrificial lamb’. Mama Yoko wants to swear by Poro to indicate her innocence, but she is not allowed to by Musa who actually knows the truth about everything. Ndapi threatens to kill Mama Yoko if she swears by Poro. Just as he wants to throw a spear at Mama Yoko, a loud noise is heard offstage – a kind of Deus ex machina. It turns out that Jeneba’s body had been found by the search party. This is reported by Girl. Jeneba’s body was found behind the Sande bush when the women went to dig up potatoes.

Jeneba’s body is brought in decayed. The heart and the private parts are missing. It is the manner of Jeneba’s death that justifies Mama Yoko. It turns out that she was not buried alive in a big pot as purportedly divined by Gbeni. Ndapi at this point begins to ask for Mama Yoko’s forgiveness. Mama Yoko asks Lavalie to go and prepare the Poro bush as she wants to get to the root cause of Jeneba’s death. Everyone will meet at the Poro bush that night.

Stage Direction describes Mama Yoko’s mood which aligns with the mood of the weather. Musu and Fanneh are seen conversing. Fanneh reports that the women have gone to ask Mama Yoko for forgiveness; but Mama Yoko had refused to see them; as she spent the whole day in her room, perhaps grieving the dead child and her unfortunate place in the world at the time. It should be noted that the blasts and shrills being reported by Stage Direction is an omen. Fanneh informs Musu of Mama Yoko’s intention to go to the Poro bush to find out the murderers of Jeneba.

Guard blocks Fanneh and Musu and cautions them about the significance of the night and the evils associated with Poro night. Fanneh aplogises and says that they were preoccupied with collecting firewood and cotton and lost sense of the time. Guard asks another of their members to see Musu and Fanneh safely home.

It is also reported how Guard accosts Messenger who has arrived in Moyamba that night oblivious of the Poro outing. There is a struggle between 2nd Guard and Messenger who had spoken rudely to Guard when the latter had asked: ‘Who goes there?’ Guard identifies Messenger as ‘the parrot with the big words’ which constitutes humour in the play. The expression itself is metonymy as Messenger is known for his convoluted and highfalutin language. Messenger decries his treatment in the hands of 2nd Guard: ‘Is this the red carpet reception for the servant of his Lordship the Governor?’ This is another instance of humour in the play. Notice how Messenger calls other Africans ‘savage’ and ‘apes’ just as the colonial masters see them. This is a demonstration of self-hatred, a form of internalised racism.

Guard slaps Messenger and warns him of the dangers inherent in Poro night: ‘Your nose will rot, leprosy will devour your fingers, cataracts will marry your eyeballs. . .’ Guard is shocked when Messenger completes the ritualistic statement for him. He asks Messenger if he is a member of the Poro secret society. Then they begin communicating in Poro language: ‘Swvra, Bisie, Kabuiyenal, Kayei Ngewoma, baiti’. Guard is still not convinced and asks Messenger to show his Poro marks and hands. Messenger obliges.

When asked by Guard to deliver the message that he has brought from the Governor, Messenger replies that his message is confidential and can only be delivered to Mama Yoko. Guard then informs Messenger that Mama Yoko had put out the Poro that night to find out that the murderers of Jeneba. Guard apologises for slapping Messenger. Messenger accepts the apology but names his fine: ‘One white cock, two head-pan loads of rice, a dozen tobacco, five white and six red kolanuts for hitting a senior Poro man’. Guard agrees to pay.

Scene shifts to the Poro bush. Ndapi has now known that it was Lamboi and Musa who murdered Jeneba, his daughter. This is what Poro has revealed to Mama Yoko. Ndapi wants to go after Lamboi and Musa but Mama Yoko restrains him as the villains had run away and are now far away from Mende land. Mama Yoko is confident that wherever they may run to, Gbeni will strike them with its curse.

Guard announces the presence of the Governor’s Messenger. Messenger is only allowed to enter after Guard has informed Mama Yoko that Messenger is a Poro man. The message that he brings from the Governor is tragic and will completely break Mama Yoko. The information is that the Governor has reduced the size of Mama Yoko’s Chiefdom. Messenger proclaims this sad news thus: ‘From His Highness the Governor, South of Bandajuma, the six villages to the North of the Tabe River now belong to the people of the Chiefdom of Bo. . . The Tabe River which was the original boundary mark and which was laid by Major Fairlough, has been declared null and void with effect from. . .’This information captures the arrogance of the British in shifting indigenous land boundaries without consulting the people.

Soon after getting this tragic message, Mama Yoko sends Lavalie out on a whispered errand to fetch the poisonous roots of the Ndinabe tree. Mama Yoko is planning on committing honour suicide. Guard is to follow Lavalie and get the roots for Mama Yoko. Mama Yoko then leaves the bush for her house, barre . At the barre , Mama Yoko sends a written message to the Governor through the Messenger: ‘. . . Tell him that in all the years as ruler of this Chiefdom, I have never been disgraced in this manner. . . Tell him the way he has decided on the boundary marks is a slap in the face for a lady who has been loyal to him all these years.’

Guard comes in to deliver the roots taken from the Ndinabe tree by Lavalie to Mama Yoko. Guard is to ensure that Mama Yoko is not disturbed. Guard is asked to call Musu for Mama Yoko. Mama Yoko gives the poisonous roots to Musu and asks her to prepare a concoction for her. When Musu asks Mama Yoko what kind of medicine was in the roots, Mama Yoko replies: ‘. . . Do you ask the lightening why it flashes?’ When pressed further by Musu who has recognised the poisonous roots, Mama Yoko makes her epic speech which reveals the stations of her tragedy in life: ‘You have seen the lightening in the way I was humiliated by the entire chiefdom. You have seen the lightening in the treachery of Ngo Musa and Lamboi my brother. You have seen the lightening in the way the boundary marks have been handled by the District Commissioner on the Governor’s orders.’

Guard comes to announce the arrival of Ndapi and Jilo to request an audience with Mama Yoko. It is obvious that they have come to ask for forgiveness. Mama Yoko is very philosophical at this point in her life. Part of her speech captures the dark side of human existence and human nature thus: ‘. . . this heart that has known happiness, this heart that has known love and power. It has also known humiliation and treachery this day. My late husband, Gbanya, warned me. Behind every set of white teeth there lurks an evil plotting mind.’ After this speech, Mama Yoko asks Jilo and Ndapi to leave and mourn their daughter. Earlier Mama Yoko had told them that forgiveness should come from the heart.

Foreshadowing is seen in the words of Mama Yoko: ‘And now the thunder is set with all its anger to shake the land with the speed of truth’. This statement refers to Mama Yoko’s death. Musu soon serves the ‘medicine’ to Mama Yoko. Mama Yoko says that it cures the sickness of the mind. She drinks and asks Musu to throw what remains away. This suggests that she knows that it is poisonous. Mama Yoko asks Messenger to leave.

The reader should note these words from Mama Yoko: ‘And now, my journey is ended. Let me begin another cycle; the cycle of peace’. Death is often seen as a source of eternal peace for the troubled soul. When Fanneh had desired to drink the deadly concoction alongside her mistress, Mama Yoko had said, ‘. . . I don’t want two graves to be prepared. I have savoured the fruits of power alone; I have known and enjoyed the grandeur of high office alone; if I’m to die, then let me die alone’. This is where the title of the text is drawn from.

The maids try to treat Mama Yoko with palm oil but it is already too late. She dies asking that no one should mourn her death.

Setting: Kargbo’s Let Me Die Alone is set in the Africa of the 19th century, during the colonial era. The play’s spatial setting is a traditional West African chiefdom known as Mende, whose initial capital is Senehun and later Moyamba. Another important place name mentioned in the play is Taiama, where Mama Yoko travels to crown three chiefs on the orders of the Governor. It is also where Lansana runs to after being caught in an affair with Jilo, Ndapi’s wife.

Themes: The major themes in Kargbo’s Let Me Die Alone include colonialism in Africa, female leadership in precolonial and colonial Africa, the burden of female leadership in Africa, the intrigues of throne ascension. Other themes in the play are death, honour suicide, betrayal in politics, inordinate ambition, extra marital affair, domestic violence against women, patriarchal perception of women, power and secret societies in Africa, among others.

The theme of colonialism is seen in the depiction of Governor Samuel Rowe in the play and how he relates with the Africans, especially Chief Gbanya, whom he disgraces by having him beaten up for indulging in a war that was against the Governor’s brother, George. Governor Rowe sees the Africans as savages and apes. He prides himself on bringing civilisation to Africa in order to civilise Africans. Of course, this was what the colonial project was all about on the surface. However, the real intent of the colonial agents in Africa was for the economic expansion of the West. This is seen in the objects of fine that Governor Rowe doles out to Gbanya after his strange visit to Gbanya’s domain.

Another aspect of colonialism worth discussing in the play is taxation. Specifically, the play talks about taxing of huts in Mama Yoko’s domain. Interestingly, while Lavalie is against this tax, Mama Yoko is in favour of it because she wants to please the colonial authorities. She later learns the hard way that this was a mistake.

The burden of female leadership in Africa is depicted in Mama Yoko’s characterisation, especially the odds she has to surmount in order to clinch and maintain the throne. The intrigues of throne ascension is seen in all the activities that build up to Mama Yoko’s ascension and what follows after. These include the poisoning of Gbanya by Musa and Lamboi, the attempts by Lamboi and Musa to keep Yoko away from the dying chief so as to prevent her from being made chief, the false accusation of Mama Yoko of the murder of Jeneba for power rituals, as well as turning the people against Mama Yoko.

Let Me Die Alone has death as a motif. The plays being a tragedy uses death to deepen its sorrowful mood. Death also suggests an ending as well as a new beginning. Gbanya has to pass away so that Mama Yoko can come to the throne. However, when Mama Yoko passes on, we do not know who will succeed her as Lamboi and Musa had run away after being discovered as the murderers of Jeneba. I guess it is likely Lavalie who will take the throne. Again, death is a form of transition in the African cosmology. This is seen when Mama Yoko says that she is ready to begin another cycle. Mama Yoko’s suicide is the height of the tragedy in the play. It is even symbolic as it speaks of what happens when conditions are not favourable for female leadership. It is going to be stifled.

The theme of betrayal in politics is seen in the actions of Lamboi and Musa directed against Gbanya and Mama Yoko. It is also seen in the action of Governor Rowe who reduces the size of Mama Yoko’s domain despite her unflinching loyal to him and his authority. The theme of inordinate ambition is seen in the activities of Lamboi whose ambition to be chief leads him to commit all sorts of atrocities against Mama Yoko and the people of Mende land. In the end, this leads to his running away with his accomplice, Musa.

The theme of extramarital affair is reported between Jilo and Lansana in the play. Lansana has three wives but he is not satisfied with them. He claims he loves Jilo but was unable to marry her. Jilo is drawn to Lansana because he praises her beauty, something her husband, Ndapi, is unable to do. Ndapi also brutalises Jilo and this fuels her urge to revenge through unfaithfulness. The way Ndapi maltreats his wife denotes the theme of domestic violence against women in the play. He steps on her toes to hurt her, complains about her food or its unavailability and does not hesitate to hit or slap her.

The theme of patriarchal perception of the woman is seen in how Gbanya objectifies Mama Yoko at the beginning of the play. He sees her mostly as an object of pleasure. When Mama Yoko tries to resist Gbanya’s advances, Gbanya says: ‘Of what better use is a woman to a man?’ Lamboi and Musa equally believe that Mama Yoko’s duty should be the warming of a man’s bed, and not sitting on the throne of Mende chiefdom.

The theme of power and secret societies in Africa is seen in the play when Lamboi insists that Mama Yoko should join the Poro cult before she can become chief. All important members of the Mende society (the elders) are Poro members, including Gbanya, Lamboi, Ndapi, Musa and Lavalie. It is interesting to note that even Messenger to Governor Rowe is a Poro man.

Characterisation: Among the major characters in the play are Gbanya, Mama Yoko, Lamboi, Musa, Governor Rowe, Ndapi and Jilo. Among the minor characters in the play are Messenger, Lavalie, Lansana, Fanneh, Musu, Guard, 2nd Guard and Sande Girl.

Language and Style : The play is written in postcolonial English. The language of the play is characterised by appropriation and abrogation, transliteration, the use of proverbs, the use of krio vernacular with English, glossing and untranslatable language. In terms of style, the play deploys dramatic irony, situational irony, suspense, foreshadowing, humour, symbols and motifs.

An analysis/summary of susanne bellefeuille’s path of lucas: the journey he endured, an analysis of wole soyinka’s ‘night’, one thought on “ an analysis/summary of john kolosa kargbo’s let me die alone ”.

I must comment. This is a beautiful analysis that has not only done literary appreciation but has absolutely done literary criticism.

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Let me Die Alone by John K. Kargbo Summary & Analysis

Read online non-african drama: let me die alone by john k. kargbo summary & analysis, comprehensive chapter by chapter summary, background, plot, major events, settings, theme, major characters summary and analysis for jamb utme, neco and waec literature students.john kolosa kargbo was one of the prolific dramatists in sierra leonean. most of his extremely well-crafted plays were written in the vernacular, krio, and they were warmly received when staged in freetown. these works of art were accepted because they addressed the fundamental ills that ravaged the sierra leonean society..

John Kolosa Kargbo was one of the prolific dramatists in sierra Leonean. Most of his extremely well-crafted plays were written in the vernacular, Krio, and they were warmly received when staged in Freetown. These works of art were accepted because they addressed the fundamental ills that ravaged the Sierra Leonean society.

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Summary And Introduction to an African Drama “Let me Die Alone” by John .K. Kargbo

Table of Contents

Introduction to an African Drama “Let me Die Alone” by John .K. Kargbo.

Background and setting.

The dramatic text “Let me Die Alone” was composed in sierra leone and was initially written in sierra Leone’s dialect, Krio. The text satirizes the inequities of the nation’s colonized society because it slams corruption, ineptitude, and the ferocious pursuit of power, which is commonplace in the Sierra Leonean elite. The attitudes above inspired Kargbo’s desire to write this play, and he was removed to exile in Nigeria, where he continued his studies and also wrote comedy plays. “Let Me Die Alone,” the play “Let me Die Alone,” is set in the Mende tribe in Sierra Leone in the pre-colonial period. The play is centered around women’s struggles, which are typical topics in African literature today. And it is a theme that runs through the entire performance.

Summary Of Let Me Die Alone

John K. Kargbo, in his play “Let Me Be Alone summarizes the plethora of betrayals in the traditional African tradition-based society. The setting is in The Senehun and Moyamba villages in the Mende Kingdom; the play exposes the sins and tragedies that the desire for power and the lack of trust in the people one trusts could cause to society. It represents the evil that an excessive thirst for power could bring.

A duo named Musa and Lamboi, blinded by their insatiable desire to be kings (i.e., the chief’s throne), betrays two chiefs who have succeeded them. They also play a key role in the deaths of Gbanya and Jeneba and, through them, the suicidal murder of Yoko.

The play opens with a romantic scene between Gbanya, the chief of Senehun, and Yoko, his favorite of his wife’s thirty-seven wives. A guard interrupts their love by delivering a message to the Governor of the Colonial State is headed to Senehun.

Gbanya is depressed by the planned trip of the Governor. He is also worried about his visions before now about his father coming home. In Africa, when the predecessor of a chief or king is summoned, what signifies is the fact that the incumbent will shortly rejoin his ancestors.

In the circumstances, Gbanya suspects that something awful could happen to him very soon. The fact that he was a partisan of John Caulker against his brother, George Caulker, in an all-white war further reinforces his fears and shakes his faith.

In the beginning, Yoko tries to dissuade him from engaging in these thoughts. When he is not opposed to her suggestions, she makes him remember his vow to transfer the throne to her upon his death. Gbanya opposes this arrangement. He asserts the truth it is the case that Mende Land is in a state of disorder and chaos. It requires a person to make amends .

We meet Musa and Lamboi following. These two could be part of Gbanya’s government. Lambo intends to be the chief and is seeking the support of Musa to kill Gbanya. Initially, Musa refuses to oblige to Lamboi’s nefarious plan. He eventually agrees to help after Lamboi threatens to reveal the secrets of human sacrifices.

The colonial Governor, Dr. Rowe, arrives at Senehun. As expected, he humiliates Gbanya over his support for a white brother over the other. Lambo and Musa take advantage of their anger and poison Gbanya following the Governor’s departure. Gone.

As he slumbers in death, Gbanya is quick to realize he is poisoned and what caused the fact that why he has been poisoned. He tries to transfer the power to Yoko before his death. He passes away while doing so.

In triumph, Lamboi proclaims himself the new chief. However, Suspicious Yoko believes Gbanya was killed at the hands of Lamboi and his comrades and objects to the announcement. She takes on the role of a leader instead.

In the next scenes, we witness explosive growth in Yoko’s power due to her adherence to Governor Kimbo and the growth of her authority. There is a shift of her seat in the government previously held by Senehun to Moyamba.

We also see infidelity from Jilo with Ndapi. Jilo is engaged in extramarital affairs with Lansana. Ndapi is the main warrior and is depicted in the media as an alleged woman-beater who abuses his wife. Jill sought solace later in her love affair with Lansana. Their only daughter, Jeneba, as she is known, an extremely sharp and intelligent young lady, often visits the palace.

Yoko, who has enough power, already wants to switch sides with one of her companions. As the Poro female, Yoko cannot imagine. She wants to be a mother, not a queen.

As the battle rages on, Musa and Lamboi do not relent in their plan to take down Yoko and claim the kingdom. They marvel at how Yoko has successfully steered the matters of the chiefdom and her skillfulness in maintaining friendly diplomatic relations with the Governor. They decide to execute Jeneba and then incite the population towards her (Yoko).

Ndapi, on the other hand, can catch an unaware Jilo in one of her many escapades with Lansana. She is dragged back to her palace. Yoko calms Ndapi and promises to take on Jilo. Yoko then makes an official visit to the Governor’s residence.

Before her travels, Jeneba is abducted by Musa and Lamboi to begin their sinister plan. Yoko demands a member of a search group solves the mystery of Jeneba’s disappearance.

While she’s away while they are away, their plan (Musa Lamboi’s and Musa’s) quickly take shape. They kill Jeneba and then entice people to believe they are Yoko is the of the crime here. They poison the minds of the populace and, in the community, Sande ladies, Jilo, and most especially Ndapi’s father. Baby, Ndapi.

On her arrival, Yoko is called several unprintable names upon her arrival. Her name is “witch,” “murderer,” etc. Yoko is confused by changes in the public’s attitude toward her. Her confusion increases when Ndapi is skeptical about her legitimacy.

In the wake of realizing she’s been accused of having dug up Jeneba alive to keep her power and gain an undeserved favor from the Governor and Governor, she denies having any role in Jeneba’s disappearance and pleads innocence.

API does not believe one of them. Instead, he attributes her pity due to her inability to reproduce. The queen is fortunate, Jeneba; her body is found dead. Jeneba is discovered mutilated. Her heart and private parts were removed.

Everyone realizes that Yoko is wrongly accused. Ndapi is the most notable. Ndapi is determined to the right the humiliation he made her suffer. Yoko declares that she will investigate the issue in its entirety within Poro Bush. Poro Bush.

After an extensive investigation, she discovers that Lamboi and Musa are responsible for Jeneba’s demise. Ndapi will attempt to track them, but Yoko can remind him about the consequences of their actions:

The noses of their victims will decay cataracts will join their eyeballs. Leprosy will consume their fingers, and elephantiasis will stick to their legs. This is Gbeni’s revenge. Yoko, Let Me die alone .

The messenger is introduced. He is on his way to deliver his message to the Governor of Yoko. Despite his huge vocabulary, he’s also discovered his affiliation with the Poro society. The Governor directs Yoko to surrender her conquered territory. This is the final straw that snapped the camel’s back.

Yoko discovers she has been overcome by depression and a disorder that affects the brain. She commits suicide despite the pleadings of everyone.

What is the significance of let me die alone? What are the characters in Let me die alone? How many acts are in let me die alone? Who is the protagonist of the play let me die alone?

Plot Summary Of Let Me Die Alone by John Kolosa Kargbo

In this post, we will be giving you a comprehensive Plot Summary Of Let Me Die Alone by John Kolosa Kargbo.

John K. Kargbo, in his play “Let Me Die Alone” , summarizes the plethora of betrayal that exists in the common African social system. The play is set in the Senehun and Moyamba villages in the Mende Kingdom. The play exposes the sins and calamities that the lust for power and the deceit of those who trust you could cause on society. It looks at the evil that excessive greed for power can bring about.

Two of them, Musa and Lamboi, blinded by their uncontrollable desire for power (i.e., the chief’s throne), have betrayed two chiefs who have succeeded them. They also play a key role in the deaths of Gbanya and Jeneba and, in turn, the suicide loss of Yoko.

The play opens with a romantic scene between Gbanya, the chief of Senehun, and Yoko, who is his favorite of his wife’s thirty-seven wives. A guard interrupts their love by letting them know that the Governor of Senehun is headed to Senehun.

Gbanya is devastated by the planned arrival of the Governor and concerned about the thoughts that he had before now about his father coming home. In Africa, when a chief or king’s predecessor is summoned, it signifies that the incumbent can join his ancestors soon.

In the circumstances, Gbanya has the premonition that something terrible could happen to him very soon. Knowing that he sided with John Caulker against his brother, George Caulker, in an all-white war further reinforces the fears of his heart.

In the beginning, Yoko tries to dissuade him from engaging in these negative thoughts. In the end, when he’s not opposed to her suggestions, she reminds him of the pledge to leave the throne to her upon his death. Gbanya is adamantly opposed to this arrangement. He asserts the reality is the case that Mende Land is in a state of disorder and chaos. It requires a person to correct the wrongs .

We meet Musa and Lamboi next. They are likely to be members of Gbanya’s government. Lamboi is a man who would like to become the chief wants the cooperation of Musa to kill Gbanya. Initially, Musa refuses to oblige to Lamboi’s nefarious plans. Later, he agrees to assist if Lamboi threatens to expose his secret about human sacrifices.

The expected Colonial Governor, Dr. Rowe, visits Senehun. As was expected, he smacks Gbanya for defending a white brother over the other. Lamboi and Musa profit from their anger and poison Gbanya following the Governor’s departure.

In his final throes, Gbanya is quick to be aware that he has been poisoned and discovers the reason why he has been poisoned. He tries to transfer the power to Yoko before his death. He is killed while doing this.

With aplomb, Lamboi proclaims himself the new chief. But, skeptical Yoko, who believes that Gbanya has been murdered with the help of the two, object to the announcement. She takes on the role of a leader instead.

In the subsequent scenes, we witness an increase in Yoko’s power due to her service to the Governors and the expansion of her authority. There is a shift of her seat in the government between Senehun and Moyamba.

We also observe the infidelity between Jilo in love with Ndapi. Jilo is engaged in extra relationships with Lansana. Ndapi, who is the chief warrior, is depicted in the media as an alleged woman-beater or one who treats his wife badly. Jilo was later to seek comfort in her relationship with Lansana. Their sole daughter, Jeneba, an extremely sharp and intelligent young lady, is often at the palace.

Yoko, who has been able to use her powers for a long time, would like to swap to one of her companions. As the Poro female, Yoko is unable to conceive. She would prefer to be a mother rather than being a queen.

As this battle rages on, Musa and Lamboi do not let up their plot to take down Yoko and take over the kingdom. They are amazed at how Yoko has been able to manage the issues of the chiefdom and her skill in maintaining good relations with the Governor. They decide to execute Jeneba and then incite the population towards her (Yoko).

Ndapi, On the contrary, is caught by an unaware Jilo in one of her many escapades with Lansana. She is dragged back to her palace. Yoko calms Ndapi and promises to punish Jilo. Yoko then makes an official visit to the Governor’s residence.

Before she travels, Jeneba is kidnapped and taken by Musa and Lamboi to begin their sinister plan. Yoko requests a mount of a search team to find Jeneba’s missing.

While she’s away while they are away, their plan (Musa as well as Lamboi’s) is soon to be put into motion. They kill Jeneba and then enthrall people to believe that Yoko is the crime here. They inflict poison on the population’s minds and especially the local Sande ladies, Jilo, and most especially the father of the baby, Ndapi.

On her arrival, Yoko is called several unprintable names upon her arrival. She is called a “witch”, “murderer,” and many more. Yoko is confused by changes in the public’s attitude toward her. Her confusion increases when Ndapi is skeptical about her legitimacy.

After realizing that she’s been accused of burying Jeneba alive to keep her power and gain an undeserved favor from Governor and Governor, she denies having any role in Jeneba’s disappearance and pleads guilty.

Ndapi does not believe all of the above. Instead, he attributes her pity due to her inability to reproduce. The queen is fortunate, Jeneba, her body is found dead. Jeneba is discovered mutilated. Her heart and her private part separated.

Everyone is aware that Yoko is wrongly accused. Ndapi is the most notable. Ndapi attempts to take responsibility for the shame that he forced her through. Yoko declares that she will solve the problem down to the root of the issue in Poro Bush. Poro Bush.

Following a thorough investigation, she realizes that Lamboi, as well as Musa, are responsible for Jeneba’s demise. Ndapi is determined to pursue the two, but Yoko warns her of the consequences of their actions:

Their noses will decay, and cataracts will join their eyeballs. Leprosy will consume their fingers, and elephantiasis is bound onto their legs. This is Gbeni’s revenge. Yoko, Let Me die alone.

The messenger is introduced. He is on his way to deliver his message of the Governor to Yoko. Despite his huge vocabulary, it’s discovered his affiliation with the Poro society too. The Governor orders Yoko to give up the territory that she conquered. This is the final straw that breaks the back of the camel.

Yoko realizes that she is overcome by depression which is a condition that affects the brain. She takes poison in the midst of the pleadings of everyone.

In addition to, on the other hand, threatening Musa, Lamboi accuses Musa of creating a charm using elements of Yatta’s son as well as Mama Kadi’s child. Its name Lamboi asserts Musa created was Bofima .

“Let Me Die Alone” is also a study of human sacrifice as well as religious, occult practices that are prevalent in Africa. The theme is explored by the sacrificial acts that are performed by Musa in secret. Musa sacrifices the son of Yatta, Mama Kadi’s daughter, and later, Jeneba, for wealth and longevity.

The result of offending the Gbeni god (of Gbeni, the god of Poro the cult) can be ” cataract will marry the eyeballs; leprosy will rot the fingers, and elephantiasis will cling to the legs ” of the perpetrator.

When she decides to accept the reign that belongs to Mendeland, Yoko can no ever again imagine. This is clearly the final cost of her pursuit for the throne as well as her entry to the Poro cult.

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Introduction to African Drama : Let me die alone by John k, kargbo - SS2 Literature Lesson Note

Title: Introduction to African Drama - "Let Me Die Alone" by John K. Kargbo

Background of the Novelist: John K. Kargbo is a renowned African playwright and novelist hailing from Sierra Leone. Born in [Insert Year], he has established himself as a significant figure in African literature. Kargbo's works often explore themes related to the rich cultural diversity of Africa, social issues, and the human condition. "Let Me Die Alone" is one of his notable works, showcasing his talent in storytelling and deep understanding of African society.

Background and Setting of the Novel: "Let Me Die Alone" is a compelling African drama set in a rural village in Sierra Leone. The novel beautifully captures the essence of African life, traditions, and the challenges faced by the people in this setting. Kargbo skillfully paints a vivid picture of the local culture, the struggles of the characters, and the profound connection they have with their environment.

1st Half of the Text: Plot and Summary: The first half of "Let Me Die Alone" introduces us to the central character, Kwame, a young man from the village who dreams of a better life beyond the confines of his rural home. However, he is bound by familial and cultural expectations, torn between his aspirations and his responsibilities.

As the story unfolds, Kwame's life becomes entangled in a web of village politics, superstitions, and personal conflicts. He faces challenges from both within and outside the community, including a complicated love interest, betrayal by a close friend, and clashes with traditional beliefs.

Throughout the first half of the novel, Kargbo masterfully weaves a narrative that explores themes of tradition vs. progress, the search for individual identity within a collective culture, and the impact of external influences on a close-knit community. The story is filled with suspense, emotion, and thought-provoking moments that keep readers engaged.

In conclusion, "Let Me Die Alone" by John K. Kargbo is a captivating African drama that delves into the complexities of life in a rural Sierra Leonean village. With a richly developed setting and compelling characters, the novel offers a unique insight into African culture and the human experience. The first half of the text sets the stage for a thought-provoking exploration of tradition, identity, and the pursuit of dreams, making it an essential read for anyone interested in African literature and society.

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Let Me Die Alone

Let Me Die Alone is a play written by John Kolosa Kargbo. It is a three-act play that tells the story of Gbanya, the ruler of Mende Chiefdom, who is preparing to receive Governor Rowe, the British Colonial Representative, with the greatest of gifts. The play explores themes of betrayal, power and infidelity in typical African traditional society.

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CRITICAL ANALYSIS OF THE MAJOR INCIDENTS IN LET ME DIE ALONE BY JOHN KOLOSA KARGBO

Analysis and explanation of the major incidents in John Kolosa Kargbo's Play - Let me Dies Alone. The importance of the major incidents are extensively analyze as well.

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Let Me Die Alone by John K. Kargbo

AFRICAN DRAMA

Let Me Die Alone

-John K. Kargbo

A Brief Biography of the playwright

John Kolosa Kargbo was born in Sierra Leone in 1954 and died in 1992. He attended the Prince of Wales’ Secondary School in Freetown together with Clifford Gaber, john Kargbo founded Songhai Theatre, known as Shegureh players, and Balangi Dramatic group founded in 1974. They produced other plays and English plays called Choice of the Gods. Apart from Let Me Die Alone, which was impressive, Otegu was a successful comedy about love infidelity.

It is probably Let Me Die Alone that assured Kargbo’s reputation; a meticulously researched and well-constructed script. His early death was a tremendous blow to the development of dramatic literature in his country.

Setting/Background of the play

Let Me Die Alone is a historical-based play that mirrors the life and times of a legendary woman in Sierra Leone known as Madam Yoko, who lived between 1847 to 1906. She was originally called Soma but changed her name to Yomo at her Sande Initiation Ceremony during which time she became known for her graceful dancing. She was a leader of Mende people in Sierra Leone-combination Advantageous lineage, shrewd marriage choices and the power accorded her from the secret Sande society. Yoko became a leader of considerable influence.

Plot Account

The play is an impressively powerful tragic play in which the playwright expertly adopt historical materials in the presentation of the life and times of the legendary Madam Yoko, a woman of courage and determination who becomes a chief in Mende tribe and subsequently rises to be one of the most powerful African women in the pre-colonial and colonial era. The play also shows the relationship between the colonial power and the traditional ruler, about political intrigue, rivalry, lust for power, about sacrifice, betrayal loyalty, but above all, it is about the tension that exists in a woman who wishes to be on a par with men and to prove that she can be a capable ruler and the same time wishes at times to fulfill her instincts for motherhood.

The play also explores Yoko’s attributes and determination to be in control – Gbanya, her husband promises to pass power over to her hands when he dies but changes his mind after the wars. Gbanya then is betrayed and poisoned by Lamboi, Yoko’s brother in the company of Musa, the seer and medicine man. The play is a reflection of the power that women wield during the pre-colonial era where we have so many women who are viable and ready to wear the shoes that could equally fit men, unlike in our contemporary dispensation when women have been relegated to the kitchen by men folks.

The play, therefore, opens in Gbanya’s bedroom, a chief in Senehun. A messenger comes in with the Governor’s message to announce the coming of the Governor. Gbanya then vows to welcome him warmly and would be entertained with all the nicety in the kingdom. Yoko on her part keeps reminding Gbanya of the promise he made towards her a long time ago which is passing the chiefdom into her hands. Meanwhile. Lamboi plots to kill Gbanya with poison. Musa feels quite not at ease with the plan initially until Lamboi threatens to implicate him by revealing his ugly past secret. Musa is left with no option but to key in for the evil plot.

Before long, Rowe, the Governor arrives shortly and he accuses Gbanya of sending war boys to fight John Caulker’s side against his brother and for participating in a revolt. Rowe then charges Gbanya to pay a fine of fifty pounds in the equivalent of the rice and cattle offered him. Musa and Lamboi take advantage of the Governor’s visit to unleash their plan to murder Gbanya. They carry out the plan when Yoko goes out to obtain water to wash off the blood from Gbanya’s wounds. Musa then administers the deadly alligator gall in the water and he slumps and dies. Before he dies, Gbanya swears that the Poro devil himself will avenge his death and he charges Yoko to be in charge of the chiefdom. Before long Lamboi conditions Musa to inform the people about the death of Gbanya

Also, Madam Yoko assumes the office as the new chief of Senehun, but Lamboi, Musa, and others refuse to make her reign remarkable and peaceful as they keep mounting unnecessary pressure on her. Firstly, Rowe, the Governor keeps intruding in the affair of the kingdom, in spite of the fact that Yoko is doing everything possible to please him. Even his messenger also benefits immensely from Yoko’s benevolent gesture. In addition, when Lamboi’s initial plot to assume the leadership position or role in Moyamba failed, both Musa and Lamboi conspire to have Ndapi’s daughter, Jeneba kidnapped and murdered. They will mislead the people by informing them that Yoko used her as a sacrifice for more powers. Yoko will be implicated and that will turn the people’s minds against her.

Finally, the truth is revealed when Yoko and Ndapi the chief warrior visit Poro to divine Gbeni Lamboi, and Musa is said to have conspired to kill Jeneba – removed her vital organs from her body and buried her in a shallow grave, but they are still at large. Yoko’s sea of troubles keeps multiplying day in day out. This last one occurs when the governor sends his messenger to inform Yoko of his intention to divide their boundary. Yoko who could no longer bear the burden of her existence decides to commit suicide. She feels used and dumped by the Governor, and her people to whom she so much loves and cherishes also betray her, and her reign is destabilized. “And now I will know peace. Now I will never be used again. I did not bring a child into this world. So let no one mourn my death” (82) “Yoko Slumps and gives up the ghost.

ACT BY ACT SUMMARY

Act one scene one

Madam Yoko reminds Gbanya of the promise to pass the chiefdom over to her

The play opens in Gbanya’s bedroom, in the room, there are various fighting paraphernalia such as spears, machetes, and raffia skirts hung on the walls. Gbanya enters pulling his wife Yoko along and she insists that she cannot leave her girls who are seen dancing. “Your girls need you, but your husband needs you now. Of what better use is a woman to a man” (2) Gbanya snaps at her. Suddenly, a knock is heard at the door, behold, a guard enters to announce to Gbanya that a messenger has just arrived and he says the Governor will be here tomorrow. Gbanya begins to panic because the Governor has never visited them. He, therefore, attributes the purpose of his coming to something that has to do with the boys he hired out to John Caulker to fight against his brother. Now he’s troubled because of the dream he had also in the previous night when the Governor came to humiliate him in the eyes of his people. Gbanya therefore vows to welcome him warmly, “I will present him with the greatest of gifts. He will see the most dazzling and gracious of Sande dancers Mende land can boast of, the richest wine and the biggest cattle. Let my murderer know my power before he Snuffs out my life” (3)

However, Yoko is sharp enough to remind Gbanya of the promise he made towards her a long time ago. “Remember you made a promise a long time ago that at the time of your death the chiefdom passes into my hands (s) Yoko bellows. Gbanya then downplays such vow because he feels that at the time of making that promise, he never knew that wars would be ravaging the land.“Look woman if Senehun is to survive, a man must lead her” (6) And Gbanya offered to compensate her with, in order not to give the land of his ancestors to a woman. Yoko also goes on to also remind him of another promise.“Remember you told me to bear no Children as the Poro might need me. And now, on the verge of old age: you leave me to remain alone in distress. What is the value of old age without children? Now I know all my sacrifices these past years have been in vain (7).

Also, when asked who he will hand over the chiefdom to, Gbanya prefers to give it to Ndapi, a strong warrior and Yoko vow never to share her bed with such a heartless man. Madam Yoko who still feels unconvinced about Gbanya’s choice of Ndapi intelligently points out some women who have been ruling chiefdoms successfully for many years. Such women include: Yaya, Kema of Galu, Fangawa of Wando, Kpanda Gbello of Leppiama, Woki of Tunkia, or Nancy Caulker in Sherbro land Gbanya then admits they are good leaders and wives. He then implores her to show him what he can do.

Act one scene two

Lamboi persuades Musa to kill Gbanya with poison.

Lamboi, Yoko’s brother, and Musa a seer and medicine man are seen on stage. Musa is vehemently refuting what Lamboi has asked him to do which is eliminating (killing) Gbanya for fear that he might pass the chiefdom to Yoko who is soft and only have music in her ears. “He loves that woman more than the very eyes on his head. I saw him kill a slave with his bare hands because the poor boy wandered into Yoko’s room when the woman was naked” (10) Lamboi reveals. In order to further get Musa to kill Gbanya, Lamboi ask Musa to swear if he had never killed before but Musa insists that he cannot do that since his hands are clean. Lamboi then goes further to divulge some of Musa’s Atrocious deeds, which include: the blood of Yattah’s son and Mama Kadi’s daughter. Those he slaughtered and used for “bofima” are known as a charm used with human parts. As soon as Lamboi threatens to lead Gbanya to the shallow graves of those he buried these people, Musa accepts to carry out the plot. All I want you to do is to kill the chief and help me to prevent the chiefdom from falling into the hands of a woman”(14) Lamboi reminds Musa of the mission.

Jeneba, Ndapi’s daughter enters to summon them for a meeting at the courtyard (barre). To further concealed their secret plans, Lamboi threatens Musa with a dagger never to disclose it to anyone. “And if you reveal this plot, I will plant this firmly into your chest and lead the people to those graves” (`5)

Act one Scene three (The Governor’s visit)

In the scene, there is drumming off stage and Gbanya instructs Ndapi, the chief warrior to tell the women to stop the music. He also tells Lavalie to tell his warrior to tell the women to stop the music. He also tells Lavalie to tell his wives to put on their best clothes and tell them to give a beautiful present to the Governor. “Let them take five fat cow out of the corral. They are presents for the governor” (10), he adds. First, there is a divided opinion about the chief’s presents for the Governor. Also, Yoko foresees doom in the Kingdom. Her instinct informs her that great ill-luck will befall the household and the chief should prepare for war on the Governor’s visit. Yoko also suggests that they should ambush the Governor because he’s carrying something evil with him.

Gbanya insists that soldiers will be sent from his country to wipe them out…

Rowe, the Governor arrives shortly and he accuses Gbanya of sending war boys to fight on John Caulker’s side against his brother and for participating in a revolt. Rowe then charges Gbanya to pay a fine of fifty pounds in the equivalent of rice and cattle. “And the next time you disobey my orders you will be arrested and locked up in jail in the colony” (20), Rowe warns sternly.

As soon as Rowe leaves, Lamboi asks Ndapi to block the door to prevent the villagers from seeing Gbanya whom the soldiers stretch out on the ground. “No one must come in and see the chief in this disgraceful state”

MUSA AND LAMBOI POISON CHIEF GBANYA

Musa and Lamboi carry out their evil plot when Yoko goes out to fetch water to wash the blood off Gbanya’s wounds. Musa takes advantage of the Governor’s visit to poison Gbanja “This, medicine in the water will kill the pain” (22) Musa puts the calabash containing the poison to Gbanya’s lips.

Lamboi then admits to Gbanya that he’s just tasted alligator gall. “We have to, your Highness. We cannot sit idly by and watch you pass the chiefdom to a woman” (22) Lamboi bellows. Before Gbanya slumps and before he dies, he swears that may the Poro devils himself avenge his death and he charges Yoko also to take charge of the chiefdom. Before long, Lamboi conditions Musa to inform the people about the death of Gbanya. “Warn them sternly that any attempts at subversion will meet with instant death” (24) Yoko then cuts in, thereby instructing Lamboi of her need to take charge of the Chiefdom.” … You heard him when he said I should take charge and I am going to do exactly that” (24 she, therefore, proclaims her readiness to become the chief who takes over from Gbanya. “Yoko is ready, for pain and pleasure, for honor and distress, for loyalty and treachery, for peace and war. Yoko is ready! (27).

Act Two Scene One

Lansana visits Jilo, his lover

Lansana who is one of the warriors is seen with Jilo, Ndapi's wife whom Lansana has been trying to woo. Jilo has made it clear to Lansana that Ndapi could kill him if he finds him in their compound. Jilo admonishes him to go to his wife because she is already married to Ndapi. No sooner had Lansana dragged her into the hut than Ndapi and Lavalie enter from opposite ends. Both Lavalie and Ndapi are carried away with an array of topics for discussion. Their conversations span from Yoko’s intention to go to war, the death, and Gbanya’s funeral. Lavalie opines that the color of chief Gbanya’s corpse is as black as charcoal. Ndapi also implores Lavalie to advise Yoko to forget about the war.” … but I d rather as a warrior fight to protect my people than engage in a battle to meet the greedy ends of Madam. (32) Ndapi snaps. Both of them leave immediately.

Meanwhile, Jilo is seen with Lansana coming out of the hut and she is adjusting her Lappa. They narrowly escaped being seen by Ndapi “Jilo, I’m prepared to risk my life, to drive my wife away (33) Ndapi expresses his love for Jilo and he urges Jilo to arrange for the next meeting place. Suddenly, Ndapi comes in as soon as Lansana leaves. Meanwhile, Nadpi has been looking for Jilo and she lies that she took Jeneba who has been ill to Musa. A guard also visits Ndapi and both of them discuss the happenings in Senehun.

Ndapi expresses his worry over Madam’s ambition to fight to please. He also accuses her of being greedy, insolent, and power-drunk-very ambitious,

He is of the opinion that when chief Gbanya was alive, he made them fight wars that were honorable, brave ventures, dragged others into slavery for the sake of Senehun’s survival. “Now a woman leads us into vain warfare, the provocative type (36). The Guard hints that Yoko should be in bed behind a virile man, not on the throne of Senehun. Before the Guard and Ndapi leave, Jilo informs them of Madam Yoko’s plans to move to Moyamba in the hot season. “Power is making this woman crazy. It’s making this woman drunk” (38) Ndapi wonders.

Madam Yoko is worried over the burden of the crown

Significant changes are evident ever since the death of Gbanya, and there is evidence to prove that Madam Yoko has moved her chiefdom from Senehun to Moyamba. In this scene, she is seated with her ladies-in-waiting in attendance.

Fanneh, the older girl of the two ladies is plaiting her hair while Musa tends to her toes. Yoko tries to obtain some information from her maid to know how they feel about their new environment. Fanneh posits that Moyamba is quite better than Senehun because the place is peaceful and the Governor is happy.

However, Yoko hints at her displeasure over the suspicious quietness in the land because she knows that evil men plot their nefarious deeds in the middle of the night. She also confesses that there is some time that she feels like having her own children. “Madam, you cannot say such a thing. The gods will be annoyed” (39) Fanneh rebukes her before she makes them understand the pressure she undergoes- the fear that someone will sneak into her room and kill her with a dagger. “I know that not everybody is pleased over the fact that I am a chief of the Mende tribe, especially my brother Lamboi. “I fear that man. He is cunning. Ngo Musa is another man I do not trust. He is like a chameleon. He changes easily. I think he killed my husband” (40) Yoko opines accusingly.

Importantly, she sends Musa to summon the elders for a meeting before a Guard

steps in to inform her about the Messenger’s arrival, sent by the Governor. She

immediately orders the attendants to take good care of him.

As Fanneh leaves, Ndapi is seen beating Jilo. He drags her in and throws her at

Yoko’s feet. Ndapi commands Jilo to tell Yoko whom he caught her flirting with

Ndapi squeezes her arm to fetch words out of her mouth. When all attempts

fail, Ndapi discloses what happened. “He has been having a secret affair with my

wife. The gods led me to the bush today. I found them embracing each other in the undergrowth on the road leading to the river” (45). Madam orders immediate capture of Lansana who is currently on his way to Taiama and will be back in three days’ time. “Take this woman and put her in stocks” (45) Yoko issues a command and she hints that Lansana will pay all the damages.

Scene Three

Lamboi and Musa conspire to kill Jeneba and indict Yoko

Lamboi and Musa are returning from the courtyard. Part of their conversation includes Jilo’s suspected adultery. “Lansana should never have done that Ndapi is his friend. What will his wife say when she hears this?” (47) Musa blames Ndapi.

He also raises the inexplicable closeness between Yoko and the Governor, and

how Musa is sighted leading Sande girl that Lamboi wants to marry to the

Messenger. They have given him a warmth recession which will make even the

Governor jealous himself.

In the same Vein, Lamboi draws Musa’s attention towards another plot to ruin Yoko’s reign, and it has to do with kidnapping and having Jeneba, Ndapi’s daughter killed. Then they will tell the warriors and the people that Yoko has sacrificed her to consolidate her position as chief. “We shall tell them that she buried the child alive. That will cause a lot of trouble . Then the people will force her to give up chiefdom and go into exile Musa inquisitively tries to ascertain where they will bury the body after killing Jeneba. Lamboi trivializes such a question and ridiculously asks him how he disposed of the bodies of Yattah and Mama Kadi’s children when he killed them and used their blood for bofima back in Senehun. Musa also expresses doubt as to whether the plan will work because the chiefdom is not what it used to be in the past, especially now they no longer go to war and hardly get slaves. Lamboi in particular is not happy about the way Yoko is treating the ordinary messenger as Governor’s younger brother- all because she wants him to sing her praises to the Governor “Not everybody in the chiefdom is happy about Yoko’s growing power.

Most of them would have been wondering what charms she rubs on her body or what herbs she usually drinks before talking to the white man. Those people so love and respect that woman that it hurts my manhood. We shall tell them that her strength lies in sacrificing little children, burying them alive” (50) Lamboi incites Musa on his part is a nursing mixed feelings because everyone loves that child, if she disappears now, there will be trouble. They depart to deliberate further on the plot.

The messenger showers praise on Yoko

This scene opens and Madam Yoko is seated with the court attendants. Lavalie and Ndapi enter with the Governor’s messenger. Ndapi prostrates and introduces the messenger who goes up, shakes, and kisses Madam Yoko’s hand. He’s been entertained with a bottle of imported jin. The messenger expresses his profound greeting and gratitude for this unprecedented reception accorded him since his arrival in the land. “My master, the Governor servant of Imperial Majesty the Queen of Great Britain, intimated that you are a shining example not only of African feminine pulchritude, but of one blend grace, magnanimity bravery audacity, tranquility, and majesty in your role as custodian of the greatest chiefdom here in the primitive heartland of the protectorate” (51) the messenger pours massive encomiums on Yoko.

Jilo unveil what drove her into the hands of Lansana

In the scene, Ndapi’s wife Jilo who has been in stocks for committing adultery is with Fanneh. She asks Fanneh if she could hake Jeneh to Madam Yoko. Asked why she had an extramarital affair, Jilo discloses to Fanneh that Ndapi drove her into the hands of another man, Lansana. She claims that Ndapi not only bullies maltreats and humiliates her but also calls her names. He is therefore very non-appreciative. Contrarily, Lansana gives her reassurance and admiration-makes her proud as a woman. Fanneh dismisses her claim, stating that the reasons given are not enough for any woman to cheat on her husband, and she also avers that she should have known that such a heinous act would break her marriage. Fanneh demands to know whether her people are strong to return Ndapi’s dowry and whether that good-for-nothing Lansana, himself would be able to pay the damages. Jilo asks Jeneba to wait, but Fanneh implores her to take her along. Suddenly Lamboi appears with fruit from the other end and he gives it to Jeneba and he administers some liquid from the bottle and robs Jeneba’s face hands and legs Jeneba gets up and starts following him without uttering a word.

YOKO ANNOUNCES THE PAYMENT OF TAX FOR HUTS

At the courtyard, the elder, Ndapi, Lavalie, Ngo Musa, and Lamboi are seated Yoko who is presiding in the meeting informs them that the Governor has sent her to crown two chiefs in Taiama, and on his return, they will discuss this business of paying tax for their huts. “We should discuss that now, Your Highness. I don’t see any reason we must pay taxes to the Governor for our huts standing on our own land” (56) Lavalie reacts vehemently. Yoko takes a firm stand that there is no going back on the issue of tax payment. “If the Governor says we pay, we pay I will be in charge of collecting payments for this area and I will turn over to the Governor any chief who prevent his people from paying” (56) Yoko then charges Lamboi to take charge of the chiefdom in her absence.

All of a sudden, two warriors enter with Lansana “So you have decided to leave your three wives and be with another man’s wife in the bush. Lansana? (56) Yoko asserts before she orders the guards to put him in stocks and starve him till she returns from Taiama. She also threatens to deal with him for bringing trouble to her household.

JILO RAISES ALARM OVER HER MISSING DAUGHTER, JENEBA

Another noise is heard and Jilo comes in wailing and she falls to the ground before she informs them that Jeneba has gone missing. “I left her this morning to see Mama Tanneh. On my return, she had disappeared from the house. I thought she was with Mama Nancy’s children playing, so I went to the river (57) Yoko immediately orders the search party to look for Jeneba. “That child must be found (57) Yoko leaves to carry out the Governor’s orders and she appoints Lamboi and Musa as second in command to stand in for her since she will be away for a few days. “Ndapi gets your wife to keep quiet. You tell the crier to summon the people to the meeting ground in the center of the village. We cannot waste time” (58) Lamboi dishes out instructions as if he’s innocent of the happenings.

ACT THREE SCENE ONE

Lamboi is at the courtyard trying to make a good assessment of being a leader who wields enormous power “I have dreamt of power, of governing this chiefdom of Moyamba. It has now come my way but just a few days. How beautiful it is to sit on this throne regarding you subjects, millions cringing over them wielding the power of life or death over all” (59) Lamboi then vows to take the throne fully because he’s tasted the power and he keeps wondering why Yoko has been guiding the throne jealously. Lavalie who also joins the people searching for the whereabouts of Jeneba complains of fruitless search and tiredness.

Musa indirectly lets out how far he has gone about the plan to have the people, especially the women informed that Yoko killed Jeneba and used her to protect herself. “You know how women like to gossip. I met a group of them searching for the girl in the bush this morning when I went to collect some herbs. I planted in their minds right there, soon it would blossom” .

What is left to convince the people and the warriors that Yoko used Jeneba for sacrifice is how to get Ndapi who is filled with so much grief for his missing daughter. Musa tells a lie before others that he has journeyed to the shrine yesterday to divine and Gbeni told him that Madam used her as a sacrifice. buried her alive in a big pot because she wants more power. She wants to win the favor of the Governor. Ndapi dismisses such an unfathomable claim and he believes that Yoko will never do such a thing. “If she wants human sacrifice, I know parents here in Moyamba who would gladly give up their children to her. My daughter must be found and I don’t care if I have to turn Moyamba over, tear it with my bare hands” (62).

The Women come too hard on Yoko, calling her a witch

As soon as Lamboi is done admonishing Ndapi not to allow grief becloud his sense of judgment concerning his missing daughter and who is responsible, a guard enters to inform Lamboi that the women are saying that madam used Jeneba as sacrifice and they are swearing to it. All of a sudden, Yoko also arrives. While addressing the people over the turn of events in the chiefdom, she is interrupted by the shout, as a bodyguard tries to contain homes off stage, who are showering invectives on Yoko, labeling her witch, murderer, and devil. She also wonders why is it that she cannot leave the chiefdom for three days under Lamboi’s care and return home to find peace. “Madam there is no peace in the minds of those that kill” (64) Lamboi cuts in rudely as if he’s innocent of what they are accusing Yoko of. When the queen cannot take their essences, she orders them out of barre, but instantly inquiries from the Guard if he’s found Jeneba.

All the people in Moyamba have turned against Madam Yoko

It seems that the whole conspiracy has taken a toll on Yoko’s life. Firstly, Ndapi prevents her from going inside the barre and also accuses her of being responsible for his daughter’s death. Lavalie divulges Gben’s claims to Yoko. “The Gbeni said they have sacrificed Jeneba “(60) Ndapi adds that” That is why the Governor has been showering you with gifts extending your power, look Madam, I want my daughter back. If I don’t get her, I will kill you with my bare hands” (66) he also attributes Yoko’s reason for killing Jeneba to her inability to know the pain of childbirth. “So you don’t know the worth of a child. You have never had children of your own. So you don’t know what motherly love is. You gave Jilo and the entire chiefdom the impression that you loved the child” (66).

Jeneba’s mutilated dead is found

Noise is heard offstage as soon as Yoko attempt to throw herself from a palm frond and kill herself. One of the Sande girls enters and she is hysterical. “We have found her. The child behind the Sande bush. We went to dig up some potatoes and we found her body” (67) the girl announces. Lavalie also adds that the breastbone is broken and the heart pulled out. Musa is not also left out as one of the conspirators who says her neck was cut with a knife. “I cannot bear to look on . I cannot bear to look. The girl is without her private part” (68)

Lamboi totes up. All Yoko’s attempt to exonerate herself from accusation proves abortive. She then vows to get to the bottom of this conspiracy. She does not mind losing her life because that is only the way her spirit will find peace in the land of her ancestors. She just cannot change the fact that she has been unjustly humiliated. She orders everyone out of the courtyard and sobs silently.

Yoko to visit Gbeni to assoil herself

Yoko is making plans to go to Poro to find out the killer Jeneba. Meanwhile, Fanneh hunts that the woman has gone to beg for forgiveness from the queen. The messenger pays an impromptu visit to the bare, but could not find the Queen. The people brief him concerning the conspiracy and the Queen’s decision to visit the Poro to prove her innocence and exonerate herself. Though the messenger claims that this message from the Governor is very urgent but it must be delivered to the Queen.

Ndapi discovers for himself the killer of his daughter, Jeneba

At the Poro bush, Ndapi is shocked to discover that both Lamboi and Ngo Musa actually killed Jeneba. Yoko asserts that they are running but nemesis must catch up with them. “Their noses will rot, leprosy will devour their fingers, and elephantiasis will cling to their legs. That is Gbeni’s revenge” (75). The Guard then enters to inform the Queen of the Messenger’s visit. Lavalie says he cannot enter the bush and he should wait, but Yoko insists that he is a Poro man, one of us. She, therefore, urges the messenger to read the letter to the ears of everyone present. The content of the letter states that the six villages to the north of Tabe River now belong to the people of the chiefdom of Bo. Yoko then calls Lavalie and whispers some words to him and Lavalie feels that it is ispossible.

Both Yoko and messenger are seen on stage. Yoko seems unhappy about the content of the letter she instructs the messenger to tell the Governor to thank him that in all her life she has never been disgraced in this manner. “Tell him the way he has been loyal to him all these years” (77) Yoko expresses her displeasure over the division of the boundary. While she is still talking a guard enters and hands over the loot wrapper as a leaf. She instructs Musa who is very inquisitive to prepare it in the usual way. She continues to pour her heart out “Tell the Governor that I have come to realize. I have been a fool. I have been used. Tell him it is a great insult to my integrity and honor as Queen (78)

Ndapi and Jilo beg Yoko for forgiveness

Just before Yoko is done speaking her mind, the Guard ushers in Ndapi and Jilo in and their mission is to plead for forgiveness-now that they have found the killer of their daughter ”… we wouldn’t sleep soundly again even if you don’t forgive us. You must forgive us Ngo Musa and Lamboi misled us “ (79) Ndapi pleads. Yoko improves them to say no more because her heart has known happiness, this heart has known power. It has also known humiliation and treachery. She dismisses them and asked them to mourn for the death of their daughter, Jeneba, and leave her to suffer in distress alone.

Shortly, as soon as others exit, Musa and Fanneh enter to find the Queen in a very depressing state. She just cannot understand what has become of the Queen. “I even served the mother of your late husband but I cannot understand, Madam” (81) Fanneh becomes more worried. Yoko admits that it is called the sickness of the mind. Her husband Gbanya suffered from it and now it is her turn, and that the only cure is peace which is only found in the eyes of a sacrificial lamb after the sharp knife of the totogbemui has done its ghastly work.

MADAM YOKO COMMITS SUICIDE

All along, Yoko has been overwhelmed with the happenings in Moyamba, and finds it necessary to seek eternal peace by having herself poisoned. She feels so humiliated that she considers herself unfit to rule as a chief. The only option is to end it all. To achieve this, she orders Musa to pour the medicine on the group and put the remaining one in a calabash. She makes a heartbreaking speech before she poisons herself. “And now my journey is ended. Let me begin another cycle. The cycle of peace” (82) Fanneh bellows that if Yoko is to take the medicine she would drink it first, but insists that she does not want two graves to be prepared. “I have savored the fruits of power alone I have known and enjoyed the grandeur of high office alone. If I’m to die, then let me die alone… and now I will know peace. Now I will never be used again. Gbanya, make way, Yoko is coming in search of peace” (83) Madam Yoko drinks the poison and slumps to the ground. She lets out the last word and gives up the ghost, “I … did not bring a child into this world. So let no one mourn my death Tell the entire Chiefdom, non should mourn my death” (83). The play ends tragically.

The Song of the Women of My Land By Oumar Farouk Sesay

The Grieved Lands By Agostiho Netohttps://www.googletagmanager.com/gtag/js?id=AW-10904630286AW-10904630286/XrxkCJV-r54YE1703c80gtag('config',-'AW-10904630286')conversionidAW-10904630286

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Let Me Die Alone By John Kolosa: Complete Study Guide And Summary
John Kolosa Kargbo is the author of The play "let me die alone." He was born a1954 and lived till 1994. He is a native of Sierra Leone. He has contributed greatly to development of African literature. SUMMARY OF THE PLAY "Let me die alone" by John Kolosa Kargbo, is a play written in three short acts with rich dramatic and theatrical values.
PDF Introduction to an African Drama me Die Alone" by John .K. Kargbo
John Kolosa Kargbo is one of the vibrant and prolific Sierra Leone dramatists. ... attitudes provoked Kargbo's spirit to write this drama and he was later forced to go to exile in Nigeria where he continued his education and wrote more satiric plays. The play "Let me Die Alone" is set in Mende tribe of Sierra Leone in the pre-
Introduction to Let Me Die Alone by John K. Kargbo
Let Me Die Alone is one of the few plays he wrote in English and, like the others staged in Sierra Leone, it was warmly received. Even if one disregarded the achievement of the plays written in the vernacular, this play alone would be sufficient to propel John Kolosa Kargbo to the front rank of African dramatists.
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Unpacking the Themes of "Let Me Die Alone". "Let Me Die Alone by John Kolosa Kargbo" is a powerful evocation of the pain and intensity of human emotions. The poem's themes include love, loss, and the search for meaning in a world that can seem cold and indifferent. Kargbo masterfully portrays the anguish of the soul as it navigates ...
An Analysis/Summary of John Kolosa Kargbo's Let Me Die Alone
The Author: John Kolosa Kargbo was a 20th century Sierra Leonean writer. Eustace Palmer describes John Kolosa Kargbo as arguably the most important and one of the most prolific of the younger generation of Sierra Leonean dramatists. Kargbo wrote mostly in the krio vernacular, but Let Me Die Alone was written in English and interspaced
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Let me die alone by John Kolosa Kargbo
John Kolosa Kargbo. Let me die alone is a powerful tragic play in which the playwright expertly adapts historical materials in the presentation of the life and times of the legendary Madam Yoko, a woman who became a chief in the Mende tribe and subsequently rose to be one of the most powerful African women in the pre-colonial and colonial era.
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This is a critical analysis of a fictional biographical Sieria Leonian and play set in the early 19th century it is for everyone and all learners of litera...
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By Smartnib March 13, 2022 7 Mins Read. In this post, we will be giving you a comprehensive Plot Summary Of Let Me Die Alone by John Kolosa Kargbo. John K. Kargbo, in his play "Let Me Die Alone", summarizes the plethora of betrayal that exists in the common African social system. The play is set in the Senehun and Moyamba villages in the ...
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In conclusion, "Let Me Die Alone" by John K. Kargbo is a captivating African drama that delves into the complexities of life in a rural Sierra Leonean village. With a richly developed setting and compelling characters, the novel offers a unique insight into African culture and the human experience. The first half of the text sets the stage for ...
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Do you want to learn more about the play Let Me Die Alone by John Kolosa Kargbo, a powerful drama that explores the feminist struggles in pre-colonial Sierra Leone? Watch this video to get a ...
Let Me Die Alone
Let Me Die Alone is a play written by John Kolosa Kargbo. It is a three-act play that tells the story of Gbanya, the ruler of Mende Chiefdom, who is preparing to receive Governor Rowe, the British Colonial Representative, with the greatest of gifts. The play explores themes of betrayal, power and infidelity in typical African traditional ...
Summary,Themes and Analysis of Let Me Die Alone by John Kolosa Kargbo
UGWU LAWRENCE ENENCHE {M.A literature} SUMMARY, THEMES AND ANALYSIS OF Let Me Die Alone by John Kolosa Kargbo FEMALE CHIEFS IN AFRICA UGWU LAWRENCE ENENCHE {M.A literature} LEARNING PREVIEW: Characters and characterization in the text feminism and its types Background/Summary STOP Answer questions of the text Themes in the play UGWU LAWRENCE ENENCHE {M.A literature} Background of the text The ...
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#africanliterature #drama #play #johnkolosakargboA brief introduction of the play, Let me Die Alone by John Kolosa Kargbo.The play is part of:WASSCE syllabus...
Let me Die Alone by John K. Kargbo Summary & Analysis
John K. Kargbo, "Let Me Die Alone", is a play written in three acts, seven scenes. The play sums up the prevalence of betrayal in a typical African traditional society. The play opens at Senehun in Gbanya's bedroom while Sande drumming is ongoing on the offstage. Gbanya, the ruler of the Mende Chiefdom, is seem in a dire need of romantic play ...
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Ugwu Lawrence Enenche {M.A, B.A (literature), PGDE, DL, DC} Critical Analysis of the Major Incidents in Let Me Die Alone by John Kolosa Kargbo Ugwu Lawrence Enenche (M.A English literature) 1) Yoko Plans Expansionist War Yoko wants to embark on expansionist war but some of her warlords feel otherwise; Ndapi and Lavalie especially, strategize on how to stop Yoko from embarking on war.
Let Me Die Alone by John K. Kargbo
-John K. Kargbo . A Brief Biography of the playwright . John Kolosa Kargbo was born in Sierra Leone in 1954 and died in 1992. He attended the Prince of Wales' Secondary School in Freetown together with Clifford Gaber, john Kargbo founded Songhai Theatre, known as Shegureh players, and Balangi Dramatic group founded in 1974.
African theatre
Songhai Theatre staged plays in Krio and English by its founders the playwrights Clifford Garber and John Kolosa Kargbo, and the Balanga Dramatic group was established in the mid-1970s. Julius Spencer, playwright and director, formed Spence Productions in 1989, and Charlie Haffner formed the Freetong Players in 1985. ... Francis Imbuga wrote a ...
Let Me Die Alone by John Kolosa Kargbo
#africanliterature #africandrama #drama #play #themes #johnkolosakargboThis video discusses the major and central themes in the play, Let Me Die Alone by Joh...
Let Me Die Alone By John Kiolosa Kargbo
#africanliterature #drama #play #plotsummary #johnkolosakargbo This video focuses on plot summary and analysis of Let Me Die Alone by John Kolosa Kargbo. It ...
Let Me Die Alone by John Kolosa Kargbo
#africanliterature #drama #play #literarydevices #johnkolosakargbo This video focuses on the analysis of the literary devices used in Let Me Die Alone by Joh...

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Let Me Die Alone By John Kolosa: Complete Study Guide And Summary Analysis For WAEC, NECO, GCE, JAMB.

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Introduction to Let Me Die Alone by John K. Kargbo

About the Playwright

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Let Me Die Alone by John Kolosa Kargbo: Complete Book Summary

Complete Book Summary: ‘Let Me Die Alone’ by John Kolosa Kargbo

Love in All Its Forms

Pain, Loss, and Grief

The Search for Meaning

Perseverance and Hope

A Brief Introduction to John Kolosa Kargbo: The Poet Behind the Words

The Impact of “Let Me Die Alone by John Kolosa Kargbo” on African Poetry

The Significance of “Let Me Die Alone” in African Literature and Culture

The Meaning Behind the Words

What Sets “Let Me Die Alone” Apart From Other African Poems?

The Legacy of “Let Me Die Alone”

In Conclusion: Celebrating the Power of African Poetry

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Summary And Introduction to an African Drama “Let me Die Alone” by John .K. Kargbo

Introduction to an African Drama “Let me Die Alone” by John .K. Kargbo.

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Plot Summary Of Let Me Die Alone by John Kolosa Kargbo

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Introduction to African Drama : Let me die alone by John k, kargbo - SS2 Literature Lesson Note

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Let Me Die Alone by John K. Kargbo