A Complete Summary of John Kolosa Kargbo Let Me Die Alone
John Kargbo’s Let Me Die Alone explores the themes of colonial domination and gender politics in African history. The narrative sheds light on how European colonialism reshaped African self-perception and historical identity, especially during the 19th century when countries like Britain, France, Portugal, and Germany expanded their empires into Africa under the guise of economic and Enlightenment-driven missions. Within the play, colonialism is personified by Governor Samuel Rowe, whose actions mirror the British Empire’s disregard for indigenous customs, exploitation of African land, and general disrespect for local populations.
A second major theme is the struggle for female leadership in a traditionally male-dominated society. Although African history features prominent female figures, societal norms in both precolonial and colonial times posed significant challenges for women aspiring to leadership. In such a patriarchal context, women had to endure more intense scrutiny and make greater personal sacrifices than their male counterparts to be deemed worthy of leadership. This is evident in Mama Yoko’s journey, as she strives to be accepted as the leader of the Mende people.
The play functions on two historical levels: first, it dramatizes the colonial encounters that Africa experienced in the 19th century; second, it draws upon the real-life story of Mama Yoko, a notable historical figure who ruled the Mende Chiefdom. She stands as a symbol of both the strength and the tragic burdens that often accompany female leadership in traditional African society.
Kargbo’s work is a tragedy. Defined by its emotionally heavy events and sorrowful conclusion, the tragedy centers on Mama Yoko, who ends her life in an act of honour-bound suicide. Her downfall stems from misplaced trust in characters like Lamboi and Musa, and from her misjudged alliance with colonial figures like Governor Rowe. Ultimately, she dies heartbroken and betrayed by those closest to her.
A Complete Summary of John Kolosa Kargbo Let Me Die Alone
4. Subject Matter
The core focus of the play is the myriad challenges faced by female leaders in Africa before and during the colonial era. Mama Yoko’s path to power is riddled with obstacles. She first persuades her husband, Gbanya, to name her as his successor. However, she is compelled to make grave sacrifices, including renouncing marriage and motherhood, and undergoing initiation into the male-dominated Poro society—actions symbolizing her transformation into a ‘man’ to gain political legitimacy.
Despite these barriers, Mama Yoko demonstrates exceptional leadership. She quells doubts about her capabilities, leads military conquests, and successfully relocates the Mende capital from Senehun to Moyamba. Nevertheless, her reign is constantly threatened by betrayal, including a plot orchestrated by her own brother. Her greatest heartache comes with the disappearance and eventual murder of Jeneba, a child she cherished. Accusations against her lead the people to turn against her. Although she is ultimately exonerated, her spirit is crushed, especially after the colonial government reduces her territorial authority. Unable to bear the shame, Mama Yoko takes her own life.
5. Plot of Let Me Die Alone
Let Me Die Alone follows a chronological structure, where events unfold in sequential order. The story opens with Chief Gbanya nearing the end of his rule. Facing both internal dissent and external pressure, Gbanya contemplates handing over power to his wife, Mama Yoko, since he lacks a male heir. Although he had once promised her the throne, his doubts about a woman’s ability to lead during wartime cause hesitation.
However, Gbanya’s fate is sealed when Governor Samuel Rowe humiliates him publicly for participating in a local conflict involving John Caulker. Shortly after, Gbanya is poisoned by Lamboi and Musa, conspirators intent on seizing control. With his final breath, Gbanya names Mama Yoko as his successor.
Mama Yoko’s rise is met with fierce opposition, especially from her brother Lamboi. She is compelled to undergo Poro initiation, an exclusively male rite, which prohibits her from marrying or having children. Despite these sacrifices, she proves herself a competent leader by expanding her territory and relocating the chiefdom’s capital to Moyamba.
Her rule, though strong, is marred by personal tragedy and political scheming. Lamboi and Musa murder Jeneba, a child beloved by Mama Yoko, and falsely accuse her of using the girl in a ritual sacrifice to gain power. The public turns against her. Though the truth eventually surfaces and she is cleared of wrongdoing, the final blow comes when the British colonial authority reduces the size of her chiefdom. Feeling betrayed and disgraced, Mama Yoko ends her life in an act of honour suicide.
A Complete Summary of John Kolosa Kargbo Let Me Die Alone
6. Scene-by-Scene Analysis
Act One, Scene One
The opening scene takes place in Chief Gbanya’s bedroom, which is decorated in a traditional African style with items such as spears, machetes, and a kerosene lamp. As night falls, Gbanya tries to seduce his senior wife, Mama Yoko. She resists, wanting first to dismiss the Sande dancers. Gbanya’s attitude reflects a patriarchal mindset, emphasizing that a woman’s role is to entertain and serve men sexually. He insists on satisfying his desires immediately, dismissing her interest in political matters.
When the palace Guard enters with news that the British Governor will visit the next day, Gbanya grows anxious. It is revealed that Gbanya had earlier supported John Caulker against the Governor’s brother in a conflict, and he suspects this visit may be retaliation.
Mama Yoko tries to engage Gbanya in a discussion about leadership and succession. She urges him to name her as his successor, especially in light of his ominous dreams, which suggest impending death. Gbanya, though fond of Mama Yoko, reiterates that times of war are no place for a female ruler. Despite having 37 wives, Gbanya holds Mama Yoko in highest regard but urges her to abandon her political ambitions. Mama Yoko counters by referencing other powerful female leaders and asserts her right to lead. The scene ends with them making love.
Act One, Scene Two
Musa and Lamboi are introduced in this scene, conspiring together. Lamboi, unhappy with Gbanya’s leadership, proposes poisoning him to prevent the chiefdom from being passed to Mama Yoko. Musa initially resists, citing moral and spiritual obligations as fellow members of the Poro secret society.
Lamboi manipulates Musa, invoking the welfare of the people as justification for the murder. He argues that only a man can effectively rule the chiefdom. He also accuses Mama Yoko of misleading Gbanya into war, although this may be deceitful. When Musa continues to hesitate, Lamboi blackmails him by reminding him of past murders he committed using children’s blood for ritual purposes. Pressured and exposed, Musa agrees to the plan.
Jeneba, the daughter of Ndapi and Jilo, enters briefly to summon Musa to a community meeting. Her innocent interaction with the conspirators becomes a grim foreshadowing of her later fate. Musa informs Lamboi that the Governor is arriving soon, and they resolve to poison Gbanya during his ritual cleansing in the Poro bush.
A Complete Summary of John Kolosa Kargbo Let Me Die Alone
Act One, Scene Three
As preparations are made for Governor Rowe’s arrival, Gbanya hopes to placate him with generous gifts—cattle, rams, and sheep. Lamboi questions this excessive generosity, while Musa reminds Gbanya of his recent neglect of the Poro bush, the spiritual source of his power.
Mama Yoko expresses unease about the Governor’s visit and urges Gbanya to take military precautions. Gbanya dismisses her advice, citing the superior firepower of the colonial forces and further belittling her with sexist comments.
When Governor Rowe arrives, he immediately demeans Gbanya, calling him a “savage” and ordering him whipped for allying with John Caulker. This public humiliation is deeply symbolic of colonial arrogance and disregard for African leaders.
After the Governor departs, Lamboi and Musa manipulate the situation to their advantage. Under the guise of helping Gbanya heal, Musa poisons his drink. Gbanya quickly realizes the betrayal but is powerless to stop it. Before dying, he calls for Mama Yoko and confirms her as his rightful successor.
Mama Yoko arrives just as Gbanya dies. She asserts her claim to leadership based on his final words. Lamboi contests her right, but Mama Yoko brandishes a machete and challenges his authority. The elders demand she join the Poro society before being officially crowned, a condition she accepts, even though it means forgoing motherhood.
Act Two, Scene One
This scene shifts to Jilo’s home, where she is peeling cassava. Lansana, a warrior and her secret lover, enters and makes romantic advances. Although Jilo is married to Ndapi, she is drawn to Lansana, who flirts and praises her beauty with suggestive language, including metaphors and similes. Lansana even pinches her playfully and eventually forces her into the house, implying a non-consensual sexual encounter.
The stage direction then cuts to Lavalie and Ndapi, who are seen discussing Mama Yoko’s decision to go to war. Lavalie explains that Mama Yoko wants to take offensive action rather than wait for an attack. The conversation also revisits the suspicious nature of Gbanya’s death and Mama Yoko’s growing paranoia about her safety.
Ndapi criticizes Mama Yoko’s ambition, calling her greedy and obsessed with power. He believes her wars are unnecessary provocations and reminisces about the more honourable battles fought under Gbanya. He accuses Mama Yoko of using them to expand her power while she enjoys the privileges of leadership.
Back at home, Jilo tries to hide her affair from Ndapi, but he becomes violent when he discovers there’s no food. He steps on her toe and slaps her, accusing her of negligence. Guard intervenes, and the conversation shifts back to the impending war and Mama Yoko’s alliance with the colonial authorities. Ndapi believes her dependence on Governor Rowe is a weakness. Jilo later mentions a possible relocation of the capital to Moyamba, which Ndapi sees as another example of Mama Yoko’s reckless ambition.
A Complete Summary of John Kolosa Kargbo Let Me Die Alone
Act Two, Scene Two
Now in Moyamba, Mama Yoko is seen with her attendants, Fanneh and Musu, who are plaiting her hair and massaging her feet. The women discuss how much better Moyamba is compared to Senehun and acknowledge that the chiefdom has grown under Mama Yoko’s leadership.
Despite the prosperity, Mama Yoko expresses deep personal sadness. She confides in her maids that although she has gained power, she feels isolated, fearful of betrayal, and longs for the experience of motherhood. This longing reflects the sacrifices she has made to maintain power in a male-dominated society.
Mama Yoko asks to see Jeneba, the young girl she loves like a daughter. When Jeneba arrives, their tender interaction reveals how much Yoko cherishes her. This is significant as it underscores the tragic impact of the child’s later disappearance. Jeneba also innocently mentions how her father, Ndapi, beats her mother—evidence of domestic abuse.
Guard arrives to announce the visit of the Governor’s Messenger. Mama Yoko ensures he is treated lavishly—offering him fine food, drink, and even a skilled Sande dancer. She wants to please the colonial powers and maintain good relations. The scene ends with Mama Yoko preparing to host the elders and requesting her crown and bangles—a display of her authority and cultural regalia.
Act Two, Scene Three
The Messenger delivers a flowery and exaggerated speech filled with grand praise for Mama Yoko, portraying her as an ideal female leader. His verbose style provides comic relief, mimicking the exaggerated formality of colonial bureaucrats. He praises her beauty, intelligence, and administrative capabilities, likely influenced by the generous treatment he received upon arrival.
Meanwhile, Jilo prepares to go to the river, leaving Jeneba behind with Fanneh. Fanneh, who had been sent on an errand by Mama Yoko, warns Jilo to be careful about her actions, especially since her affair has become public. Jilo justifies her behavior by blaming Ndapi’s abuse and lack of affection. She says Lansana gives her the admiration she craves.
As Jilo escorts Fanneh out, she leaves Jeneba alone—an oversight that will prove costly. Lamboi soon arrives and lures Jeneba away using fruit and a magical substance that renders her submissive. This marks the start of the tragic plan to frame Mama Yoko.
Later that evening, Mama Yoko meets with the elders. She announces her journey to Taiama, where the Governor has instructed her to crown new chiefs. During the meeting, the topic of a new colonial tax on housing is discussed. Lavalie strongly opposes it, arguing against paying for land that belongs to them. However, Mama Yoko insists they comply to avoid conflict with the colonial administration.
Before departing, she entrusts Lamboi and Musa with leadership responsibilities and instructs them to find Jeneba, who Jilo has now reported as missing. Ironically, the people responsible for her disappearance are the very ones she has left in charge. This dramatic irony heightens the tragedy to come.
A Complete Summary of John Kolosa Kargbo Let Me Die Alone
Act Three, Scene One
The scene opens in Mama Yoko’s barre (house), where Lamboi is now acting as ruler in her absence. He delivers a soliloquy revealing his lust for power, describing his ambition as a path marked by bloodshed that he has no intention of abandoning.
Lavalie enters and reports that Jeneba is still missing. This builds dramatic irony—while Lavalie is genuinely concerned, the audience knows Lamboi is responsible for the child’s disappearance. Musa later joins Lamboi to report that he has begun spreading rumors among the villagers, claiming Mama Yoko sacrificed Jeneba in exchange for greater political power.
Lavalie returns, and Lamboi and Musa lie to him, claiming the Poro spirit Gbeni has revealed that Mama Yoko buried Jeneba alive in a pot as a ritual. This false spiritual validation is used to justify their accusations. Ndapi, skeptical at first, demands proof. Musa refuses to swear by Poro truthfully, exposing his guilt to the observant.
Soon, a palace Guard arrives and confirms that women in the village are also circulating the rumor. The women begin mobilizing for Mama Yoko’s removal, demanding justice for what they believe is a ritual murder.
When Mama Yoko returns from Taiama, she is met with hostility and chaos. A large group of women accuse her of murder, calling her derogatory names like “devil” and “witch.” Realizing the severity of the betrayal, Mama Yoko tries to assert her authority, but even Ndapi turns against her. He blocks her from reclaiming her seat, threatens her with his spear, and blames her for Jeneba’s disappearance.
Lavalie and others insist that the Poro spirit has condemned her. When Mama Yoko attempts to clear her name by swearing an oath of innocence, Musa and Ndapi prevent her from doing so. Just as Ndapi is about to strike her with a spear, a scream offstage announces that Jeneba’s body has been found.
A girl enters to report that while digging for potatoes, women discovered the child’s remains. The body is mutilated, missing the heart and private parts, revealing the ritualistic nature of the killing. This confirms Mama Yoko’s innocence, as the child had not been buried alive in a pot as previously claimed.
Ndapi is overwhelmed with remorse and begs for forgiveness. Mama Yoko orders Lavalie to prepare the Poro bush for a full investigation to uncover the true culprits.
Final Scenes
Back at the barre, Fanneh and Musu discuss the aftermath. The women of the village, realizing their mistake, have asked Mama Yoko for forgiveness, but she has secluded herself in grief. The atmosphere is heavy with sorrow, emphasized by stormy weather and ominous sounds from the Poro bush—suggesting fate is closing in.
Meanwhile, the palace Guard confronts the Governor’s Messenger, who arrives unaware that a Poro ritual is taking place. There is comic relief when the Guard, suspicious of the Messenger’s authority, slaps him and demands identification. The Messenger surprises everyone by proving he is a Poro member, using ritual language and revealing his secret Poro marks. He then insists that he has an urgent message for Mama Yoko.
In the Poro bush, the spirit reveals that Musa and Lamboi are the real murderers. Ndapi is enraged but is stopped by Mama Yoko, who informs him that the two have already fled Mende land. She is confident they will not escape spiritual retribution.
The Messenger is allowed to present his message: the Governor has decided to reduce the size of Mama Yoko’s chiefdom. This decree nullifies the original boundary lines and transfers large portions of her land to another chiefdom. This ultimate betrayal, after all her loyalty to the colonial regime, shatters Mama Yoko’s remaining will to live.
She sends Lavalie to fetch the poisonous roots of the Ndinabe tree, intending to end her life. In her final moments, she pens a message to the Governor, expressing how his actions have disgraced her and erased her trust.
Musu prepares the poisonous concoction at Mama Yoko’s request. When asked why she wants the deadly drink, Mama Yoko speaks poetically of the “lightning” of betrayal she has endured—from the people, from Lamboi and Musa, and from the Governor himself. She describes the emotional and political devastation she has suffered.
Ndapi and Jilo arrive, now humbled and seeking forgiveness. Mama Yoko offers it, acknowledging both the joys and sorrows she has known in life. Her last words are philosophical, referring to her death as the beginning of a new cycle, a final journey toward peace.
She drinks the poison and dies silently, asking that no one mourn her. Her declaration, “Let me die alone,” captures the essence of her tragic journey—one of strength, sacrifice, and solitude.
Setting
The play is set in 19th-century colonial West Africa, primarily in the Mende Chiefdom. The original capital is Senehun, but under Mama Yoko’s leadership, the capital is moved to Moyamba. Other significant locations include Taiama, where Mama Yoko is sent by the colonial Governor to crown chiefs.
A Complete Summary of John Kolosa Kargbo Let Me Die Alone
Themes
Key themes in the play include:
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Colonialism – Evident in Governor Rowe’s treatment of local leaders, the imposition of taxes, and the arbitrary redefinition of land boundaries.
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Female Leadership – Explores the difficulties women face in male-dominated systems, as exemplified by Mama Yoko’s sacrifices and struggles.
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Betrayal and Intrigue – Lamboi and Musa’s treachery illustrates political backstabbing, as does the Governor’s exploitation of Mama Yoko’s loyalty.
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Death and Suicide – Used to highlight both the tragic downfall of key characters and the spiritual beliefs surrounding death in African cosmology.
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Domestic Violence and Infidelity – Seen in Ndapi’s abuse of Jilo and her resulting affair with Lansana.
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Patriarchal Norms – Reflected in societal views about women’s roles, including Gbanya’s and Lamboi’s dismissive attitudes toward Mama Yoko.
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Power and Secret Societies – The Poro society serves as a gatekeeper of political authority and justice in the Mende community.
Characterization
Main characters include:
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The principal and supporting figures in Let Me Die Alone include:
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Mama Yoko – The reigning monarch of the Mende Chiefdom
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Gbanya – Her husband and the preceding chief
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Guard – Servant protecting the palace
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Musa – A spiritual seer and traditional healer
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Lamboi – Mama Yoko’s brother
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Ndapi – A warrior and respected elder within the Mende community
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Jilo – Ndapi’s wife
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Jeneba (Jenneh) – Daughter of Ndapi and Jilo
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Governor Samuel Rowe – British colonial official
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Lansana – Jilo’s secret lover
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Lavalie – Another warrior in the Chiefdom
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Fanneh and Musu – Mama Yoko’s attendants
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Messenger – African envoy of the colonial government
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Girl – A member of the Sande dance troupe
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Second Guard – Additional palace sentry
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Crowd Scene – Features the Sande dancers
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Language and Style
The play features:
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Postcolonial English, mixed with Krio vernacular
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Use of proverbs, symbolism, and ritual language
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Literary techniques such as dramatic irony, foreshadowing, humour, and allegory
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Stylistic devices including metaphor, simile, hyperbole, and motif
Bio-data of John Kolosa Kargbo
John Kolosa Kargbo, a prominent Sierra Leonean playwright of the 20th century, is recognized by Eustace Palmer as one of the most significant and productive dramatists among the younger generation of writers in Sierra Leone. Although he primarily composed his plays in the Krio vernacular, Let Me Die Alone was crafted in English, with occasional use of local dialects for cultural authenticity.
