SCHEME OF WORK
SSS 1- SECOND TERM
WEEK TOPIC
1. Background study, the author’s biography, plot and setting of Efua Sutherland: The
Marriage of Anansewa
2. Subject matter, themes, characterization and characters in the text, The Marriage of
Anansewa
3. Literary devices, language and style of the playwright of the text The Marriage of
Anansewa.
4. Introduction to Gabriel Okara’s Once Upon a Time: The poet’s background, plot,
subject matter.
5. Themes, poetic devices, language and style in the poem “Once Upon a Time”
6. The biography of Elma Shaw, the background study and the plot of the text-
Redemption Road.
7. MID - TERM BREAK
8. The setting, subject matter and the themes of the text: Redemption Road
9. The characters, characterization, literary devices, language and style used in
Redemption Road
[Link] to Maya Angelou’s Still I Rise The poet’s background, plot, subject
matter.
[Link], poetic devices, language and style in the poem “Still I Rise” by Maya
Angeolu
[Link] and Examination
[Link].
SS1 LITERATURE -IN- ENGLISH NOTE
An Analysis/Summary of Efua T. Sutherland's The Marriage of Anansewa
Author's Information: Efua Theodora Sutherland was a Ghanaian playwright who lived
between 1924 and 1996. Her play, The Marriage of Anansewa, was published in 1975. Her
other plays include Edufa and Foriwa. Sutherland was interested in the promotion of
African culture and the protection of children's rights, among other activities. The play, The
Marriage of Anansewa, aimed to draw attention to the modern vices in postcolonial
Ghanaian and African societies through the depiction how greed.
Background to the Play: The Marriage of Anansewa is a comedy which satirises the greed
and other modern vices that plague the marriage institution in postcolonial Ghana. The
comic mode of the play is seen in how it is riddled with laughter and humorous
circumstances, as well as how the conflicts are safely resolved at the end of the play.
Sutherland's play draws from the African theatre principles marked by audience
participation, the use of songs and the depiction of African traditional values, characters
and incidents. In the play, Sutherland is attempting to assert the Ghanaian traditional
values in marriage by holding to 1 scorn all invading modern vices like principles marked by
audience participation, the use of songs and the depiction of African traditional values,
characters and incidents. In the play, Sutherland is attempting to assert the Ghanaian
traditional values in marriage by holding to scorn all invading modern vices like greed and
the use of money to determine love. The play equally ridicules the monetisation of
marriage which Ananse, a principal character of the play, is guilty of. The cunning of the
modern Ghanaian character is captured in the depiction of Ananse who survives by his wit,
just like the picaro of the Spanish picaresque novel.
Subject Matter. Marriage is the subject matter of Sutherland's The Marriage of Anansewa.
Through this subject matter, Sutherlands explores the values of Ghanaian's postcolonial
society, exposing themes like greed, deception, exploitation, monetisation of the marriage
institution and the general get-rich-quick syndrome still observed in contemporary society.
Cast: The Marriage of Anansewa has a large and complex cast as follows:
Players: Used to demonstrate audience participation in the play. They include dancers,
actors and music-makers.
Property Man: He hands props and other play items to characters in the play.
Ananse: He is a central character of the play, the hero, Anansewa's father.
Anansewa: Ananse's daughter.
Post Office Crew: They receive and deliver letters in the play.
Storyteller: He is the narrator of events in the play. He is built to be omniscient.
Akwasi and Akosua: A young couple.
Postman: Delivers letters.
Sapaase Messengers: Two matronly
Plot/Synopsis: Sutherland's The Marriage of Anansewa has a chronological plot structure
as the events flow from the beginning to the end. However, past events are reenacted
through flashback or recollection in the play. The story begins with the depiction of the
richness of Anansewa's beauty and the poverty of Ananse's household. This poverty is
depicted in the inability of Ananse to pay the daughter's school fees, as well as in the
dilapidated state of the house. Ananse soon conceives a scheme to exchange her
daughter's beaut wealth through what could be carca lange her daughter's beauty for
wealth through what could be called marriage racketeering. He makes a photo shoot of
the daughter and travels vast distances to select the best men of his time and clime, Chiefs
with wealth, to advertise his daughter as bride through letters typed by Anansewa herself.
These Chiefs fall for Ananse's bait and begin sending in gifts of cash with the hope of
getting married to Anansewa, with each of them thinking that they are the only suitors for
the fair beauty. These monies suddenly help improve Ananse's financial circumstances. He
is able to pay Anansewa's school fee and to make her return to school, E.P.'s 1 Secretarial
School.
Marriage visit by the suitors. For this plan to succeed, Ananse enlists the support of
Christie, who willingly serves Ananse with the hope that he would look on her as a wife.
Ananse devices a plan to get his mother and aunt, Aya and Ekuwa, respectively, to leave
the house so that their presence would not interfere with his plan to get people to believe
that Anansewa had died. He lies to his mother and aunt that he had received tragic news
that his cocoa farm in the village, Nanka, had been set ablaze. He wants them to return to
the village to see things for themselves and to get their revenge on the people of Nsona
Clan, Nanka for hating him so much to destr only means of livelihood.
Setting: The play is set in postcolonial Ghana at the time when modern culture had
penetrated the fabric of society and was seriously making damaging in routes and
competing with traditional culture. Specifically, the play's spatial setting is in Ananse's
house described as 'a bare- room that only contains a small table and chair' at the
beginning of the play. There is mention to place names like Nsona Clan and Nanka which
refer to Ananse's home town. Mention of words like petty coat, umbrella, state function
and Embassies' party signal modernity in the play.
Themes: The themes explored in Sutherland's The Marriage of Anansewa include marriage
in traditional society, clash of cultures in marriage, greed and discontentment and its
consequences, life as drama, wealth through obtaining by tricks and deception, survival
and the philosophy of the ends justifies the means, the value of educated woman in
marriage, patriarchal domination and manipulation, monetisation of marriage and test of
true love.
Against the background of the competing colonialist culture on Marriage, especially the
practice of modern courtship and church wedding, Sutherland in The Marriage of
Anansewa wants to dramatise how marriage works in traditional society. This is
demonstrated in the depiction of Akwasi and Akosua's relationship in the play, as well as in
the marriage proceedings in Ananse's household. Akwasi believes that because he has
been buying gifts to Akosua, that it qualifies her to be his wife or even implies that they are
in a relationship; not until he is told pointblank by Akosua that he claim her as wife until
he has brought marriage proceedings in Ananse's household. Akwasi believes that because
he has been buying gifts to Akosua, that it qualifies her to be his wife or even implies that
they are in a relationship; not until he is told pointblank by Akosua that he cannot claim
her as wife until he has brought the head-drink to her parents. In the same way, all the
gifts presented to Ananse by the Chiefs amount to nothing in marriage terms until they are
ready to present the head-drink to the family. What Sutherland aims to portray in this play
is that marriage is a highly structured activity and that it is only those who are aware of the
rules and abide by them who win in the end.
Language and Style: Sutherland's
The Marriage of Anansewa is written in lucid postcolonial English. The play's theatre is
based on Anansesem, a storytelling art in Ghana by the Akan-speaking people. Thus, the
play's style and language are drawn from the traditional theatre of the people of Ghana.
The play deploys the Everyman motif represented by Ananse whose story represents the
story of postcolonial humanity. The play has a musical performance known as Mboguo, a
form of mime and pantomime, deployed as interlude. The play is organised in four acts,
with a flowing dialogue that is interspaced wit songs, mimes and dances.
Literary Devices in "The Marriage of Anansewa":
[Link]: The irony is evident when Anansewa's suitors believe they are participating in a
genuine contest, unaware of Kofi Ako's deceptive intentions. This adds a layer of humor
and commentary on the unpredictability of traditional customs.
2. Symbolism: Anansewa, as a character, can be seen as a symbol of the clash between
individual desires and societal expectations. Her journey represents the broader societal
struggle to reconcile tradition with modern influences.
3. Foreshadowing: Early in the play, there may be subtle hints or foreshadowing about the
consequences of Kofi Ako's plan, building anticipation for the unfolding events.
4. Satire: The play utilizes satire to humorously critique and expose the flaws in traditional
practices, especially in the context of arranged marriages. The characters' exaggerated
traits contribute to the satirical tone.
5. Dialogue: The dialogue reflects the cultural nuances and vernacular expressions,
providing authenticity to the setting. It also serves to highlight the characters' personalities
and the social dynamics at play.
6. Motif of Trickery: The recurring theme of trickery is woven into the narrative as Kofi Ako
deceives the suitors and manipulates the situation to achieve his desired outcome. This
motif adds a layer of intrigue and commentary on the consequences of dishonesty.
7. Dramatic Irony: There might be instances where the audience is aware of certain facts
that the characters are oblivious to, creating dramatic irony. For example, the audience
might know the true nature of Kofi Ako's contest while the suitors remain unaware.
8. Cultural Allusions:
The play may include references to traditional Ghanaian customs, folklore, or proverbs,
enriching the narrative with cultural depth. These allusions contribute to a more
immersive experience for the audience.
9. Character Foils: By contrasting the different suitors, the play employs character foils to
emphasize various traits and motivations. This technique helps in developing a diverse and
dynamic cast of characters.
10. Metaphor:
Metaphorical expressions or comparisons may be used to convey deeper meanings. For
instance, the contest itself could be a metaphor for the societal expectations and
pressures surrounding marriage.
In "The Marriage of Anansewa," Efua Sutherland skillfully employs these literary devices to
enhance the thematic depth, cultural resonance, and comedic elements of the play. These
elements collectively contribute to a rich and engaging theatrical experience for the
audience.
