On the one hand, he creates two female characters that are sassy, opinionated, manipulative, and independent. It does not seem that Soyinka consciously tries to make a statement about gender, but he does so nonetheless. Soyinka thus suggests that progress is not bad, but that it must be done on African terms. He is preparing to use a stamp machine to make the village make money as they do in Lagos. Similarly, Baroka says he does not hate progress but merely finds its sameness and stagnation boring. Lakunle espouses a variety of backwards views and seems to abandon his progressive principles when it is convenient to do so.
However, as the play progresses Soyinka defies the audience's assumptions.
It initially seems like Soyinka is setting a clear dichotomy between these two things, tradition embodied by Baroka and modernity embodied by Lakunle.
This is perhaps the most conspicuous theme in the play.
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