Power Portrayals in Two Plays: "The Trials of Brother Jero" and "The Birthday Party" Anonymous 12th Grade

As a satire of greed and corruption in early postcolonial Nigeria, Wole Soyinka’s play The Trials of Brother Jero revolve around three characters’ markedly different approaches to asserting power for themselves and over others.

Brother Jero’s first and foremost character is, of course, the protagonist Jero. In the first scene, Jero confidently introduces himself as a prophet. Still, he then asserts that he is in his traditionally holy role by both birth and “inclination”; he was born with unusually long hair, so his parents were certain that he was perfect for Nigeria’s growing religious industry. Jero’s abilities as a prophet also turn out to be more sinful than saintly: he proudly hires prostitutes to seduce bureaucrats into approving his permits, and even tricks his own mentor out of his beachfront property. As such, from Jero’s exposition thoroughly illustrates that the protagonist is adept at lying and cheating his way to success.

This devious strength becomes even clearer when Jero preaches to his congregation. Although the audience can reason that Jero’s sermon is little more than a hodgepodge of different Biblical references, Jero’s acolytes go wild over their prophet’s promises of wealth and success. Interestingly...