LANGUAGE TWO NOTES FOR ADVANCED LEVEL (3)

I WILL MARRY WHEN I WANT (1986)

By Ngugi wa Thiong’o and Ngugi wa Mirii

SYNOPSIS OF THE PLAY

This play depicts the protest of peasants in Kenya after independence. It shows the plight (a difficulty and sad situation) of the peasant family like Kiguunda’s family. Kiguunda has only one and a half acres which he considers the basis of the family, though the small piece of land is situated in a marginal area. The play dramatizes the high rate of exploitation as foreigners use indigenous people to exploit Kenyans. We see multinational companies from abroad engineer people like Ahab Kioi wa Konoru to exploit fellow Africans. The major attempt of this play is to dramatize the high exploitation of workers and peasants by both foreign capitalists and indigenous people who act as middlemen. The playwrights discuss issues connected to neo-colonialism and its effects on developing countries.

Thus, this play is a criticism of the contemporary world where big companies from developed countries, in collaboration with indigenous people, are exploiting developing countries under the name of globalization. So, this play is generally an attack on neo-colonialism.

STRUCTURE OF THE PLAY

The play is made up of three acts: Act One is not divided into scenes, Act Two is divided into two scenes, and Act Three has three scenes.

All these acts and scenes contain events as summarized below:

ACT 1

At Kiguunda’s family, they are living a poor life. He has a square, mud-walled, white-ochred, one-roomed house for the whole family. Gathoni is using the floor as a bed, where we see rags used as her bedding.
Kiguunda and Wangeci are preparing for the visit of Kioi and his wife Jezebel. Kiguunda is mending the broken chain. In the process, he causes the title deed to fall on the floor. He picks it up and looks at it proudly, but Wangeci never praises it as it is so small and the land itself is unproductive.
The playwright shows the concept of drunkenness in the country, especially among people who have been dismissed from their jobs.
This is seen through the drunkard who passes by Kiguunda’s house singing.
He utters sarcastic words and starts to urinate, such that Wangeci gets annoyed and chases him away.
Another aspect in this act is Harambee for the churches and attempts by Christians to convert Wangeci.
Kiguunda and Wangeci are against the new religion and hate the Harambee, which asks contributions for building churches from the poor.
He says he doesn’t see the necessity of building a church while it is used only once a week. So Kiguunda chases away the group of singers.
Conflict between Gathoni and her mother: the mother complains that Gathoni is busy doing her hair while she has a lot of domestic activities.
Her mother tells her to help her, but Gathoni becomes furious.
She starts to complain about too much work, not being sent to school, and the state of poverty where she uses the floor as her bed and rags as her bedding.
She exchanges bitter words with her mother, and later her father shouts at her in an intimidating manner.
The parents discuss modern children, saying they have undergone moral decadence and have no respect at all.
Kiguunda and Wangeci discuss the problem of wages after running out of salt. Hence, he doesn’t have money to buy it.
They send Gathoni to Gicaamba to buy salt. Kiguunda says the prices of different things have gone so high while wages have not risen.
Kiguunda complains that they take a long time working on farms of rich people like Ikuua Wanditika and Kioi but are paid low wages.
Kiguunda calls Ikuua and Kioi exploiters, hence calling them bedbugs.
In this act, we see the relationship between John Muhuuni and Gathoni.
Wangeci says that Gathoni is misbehaving because of the relationship between her and John Muhuuni, who keeps hooting on the road in the presence of the parents. Gathoni goes to meet her boyfriend on the road.
Wangeci later guesses that perhaps the visit of Kioi and Jezebel is to discuss the marriage of John Muhuuni and their daughter. This was not the case to Kiguunda as he never thought of that.
Gicaamba and Njooki are introduced in the play. They discuss the relationship between John Muhuuni and Gathoni.
Njooki cautions them to tell Gathoni to cut the relationship between her and John Muhuuni, giving the reason that rich marry the rich and poor marry the poor, so there won’t be any marriage as Gathoni and John do not belong to the same class.
They also discuss wages and the way they are exploited in factories and farms, blaming their fellow Africans like Ikuua and Kioi who work for the interests of whites in Europe and America.
We see the arrival of the expected guests plus two other people, making four guests in total: Kioi, Jezebel, Samwel Ndugire, and Helen, who are well dressed. They start preaching and convince Kiguunda and Wangeci to be Christian and go to the church to have their wedding blessed.
Kiguunda gets annoyed and chases them away. Wangeci blames him for acting in a hurried manner. She says he should have waited till they finish the full purpose of their visitation.
At the end of this act, Gathoni comes in with new clothes and new shoes.
Kiguunda and Wangeci are unhappy because they never bought their daughter those things, so they become furious.
Gathoni tells them that she has been requested by John to accompany him to Mombasa for a week.
Kiguunda is completely annoyed, but Gathoni does not care about that; she leaves with John.
Wangeci calms her husband, telling him to stop being dejected as she still has the illusion that the instance of Kioi to go to the church would probably mean to pave the way for the marriage of their daughter and John.

ACT 2

SCENE I

Kiguunda briefs Gicaamba and Njooki about Kioi’s family wanting Gathoni and John Muhuuni to marry; that’s why they want him and Wangeci to be Christian so that the marriage can be accepted.
Gicaamba and Njooki do not accept.
Gicaamba tells them that they must avoid promises as promises do not mean delivery. Njooki stresses that rich families never marry from poor families.
Njooki says that true love between the two does not base on wealth or property.
Gicaamba supports her and shows his dejection against hypocrisy as people nowadays just go to church for fashion.
Gicaamba shows hypocrisy and says not only in marriage but also in churches. When the rich die, they pray for them, but when the poor man dies, they don’t care and don’t even pray for burial ceremonies. That’s why Gicaamba adds a proverb: “A rich man’s fart does not stick,” meaning that if someone is rich or a leader, people do not consider his/her weaknesses.
Gicaamba is against Christian marriage, claiming that even traditional weddings have blessings.
Gicaamba says the new religion brought by the whites intends to soften Africans to get an easy way to penetrate and exhaust Africans by establishing what they want, citing the detention camps like Manyani, Mageta, Hola, etc., to facilitate the process of weakening freedom fighters.
Trying to persuade people to betray others by their secrets, but some refused like Wanjeri.
Finally, after a long discussion, he discourages the blessing of marriage between Kiguunda and Wangeci in church and allows the marriage between Gathoni and John Muhuuni to take place.
Wangeci seems to be enjoying as she wants her marriage to be blessed in church to facilitate the marriage between her daughter and John Muhuuni, as she has the illusion that her daughter will have a better life.
As a result, she convinces her husband to go to Kioi’s place to tell them that they accept his plan. Kiguunda accepts and goes to see Kioi the next day.

SCENE II

At Kioi’s home, we see the difference between Kioi’s home and that of Kiguunda. Kioi’s home is well furnished with a TV, sofa set, plastic flowers on the table, radiogram, etc., and has electric light. On the wall are words written: “CHRIST IS THE HEAD OF THIS HOUSE, THE UNSEEN GUEST AT EVERY MEAL, THE SILENT LISTENER TO EVERY CONVERSATION.” This shows that they are Christians. In the house are Jezebel, Kioi, Ndugire, Helen, Ikuua, and a waiter.
Ikuua wants to leave, but before he leaves, they discuss the insecticide factory that their friends from abroad want to build. They say the factory should not be built in the area where important people live but in poor areas like Kiguunda’s.
Ikuua says the land to build the factory should be bought from poor people as they sell their land because of laziness.
He says once the land is bought, Kioi should not write his name but either his wife’s or his son John Muhuuni’s.
These people seem to use their wealth in marrying many wives. For instance, Ikuua wa Nditika is a polygamist as he has two wives and intends to have a third.
After Ikuua’s departure, Kioi tells Ndugire that he has sent his son to Malindi to check the plot he has bought near Watamu Bay where he wants to erect a hotel because of tourism. He says hotels are very profitable as there are many tourists from different countries like America, France, and Germany.
Kioi blames the workers who usually demand salary increases, giving reasons such as paying school fees or having sick people in hospitals.
In this scene, the rich criticize the churches of the poor just because they are run by illiterate people.
The arrival of Kiguunda and Wangeci at Kioi’s place.
Wangeci is humiliated by the waiter who draws away a tray as she tries to pick up a cup of tea. This shows that at Kioi’s family, food is prepared considering the number of people (Western culture).
Also, Kiguunda and Wangeci are given water from a drum while some water is in a huge jar on the table. This is another humiliation.
Kiguunda expresses what brought them there; he says they are ready for their marriage to be blessed in the church. Kioi’s family is impressed to hear that.
Kiguunda introduces the issue of economic crisis; he cannot afford the expenses. Kioi advises him to take a loan, promising to secure it. Kiguunda agrees and promises to bring the title deed the next day.

ACT THREE (3)

Scene I

New outlook at Kiguunda’s place: new plates, cups, basins, new dining table with chairs, suitcase, etc. On the wall, we see words like those in Kioi’s home.
Kiguunda and Wangeci are very happy with the changes and are determined to go to the church for the blessing of their marriage.
Wangeci and Kiguunda rehearse for the wedding ceremony, singing Christian songs.
During their rehearsal, Gathoni arrives weeping, claiming that she has been jilted by John Muhuuni after he impregnated her.
She tells her parents that she has conceived because John told her that she cannot marry a girl before being pregnant as he is afraid to marry a barren woman.
Kiguunda tells Gathoni that it is what she wanted because she did not consider his advice.
Wangeci suggests that they should go to see Kioi about the matter and advise him to let the children marry first before blessing their marriage.

Scene II

At Kioi’s place, Ikuua and Kioi are alone in the room, busy counting money.
They discuss the establishment of the factory. Ikuua suggests buying land from poor people, and if Kiguunda accepts, it will be good.
Kioi shows nepotism by suggesting that John Muhuuni should be the director of the factory.
He says their sons should practice responsibility: “charity begins at home.”
After Ikuua’s departure, Kiguunda and Wangeci arrive at Kioi’s place.
They tell Ahab Kioi wa Kinoru to postpone their marriage blessing and let the children (Gathoni and John) marry first as John has impregnated Gathoni.
Kioi becomes angry and rejects the idea, saying his son cannot do that as he has been brought up in a Christian way.
Kioi chases away Kiguunda, claiming that he is telling him nonsense. Kiguunda threatens Kioi that he will take the matter to the law, but Kioi says it will not help.
Kiguunda takes out his sword and threatens to kill Kioi if he cannot sign the agreement. Kioi is saved by his wife, who comes with a gun and orders Kiguunda to drop his sword. Kiguunda drops his sword, but when he wants to take it, Jezebel fires a bullet in the air, and Kiguunda falls down.
At this point, we see that Gathoni did not marry John, proving what Njooki was saying that rich people never marry from poor and poor people never marry from the rich.
We see the disillusionment of Kiguunda and Wangeci as their illusions did not come true.

Scene III

At Kiguunda’s place, after two weeks, Kiguunda is away, and his home is like at the beginning of the play as all the new things he bought are gone except the picture of Nebuchadnezzar and the words written on the wall.
Wangeci is dejected, and Njooki is near her trying to comfort her. Gicaamba is shaking his head, showing disbelief of what has happened.
In this scene, we see how women and girls are being treated.
Gathoni has been chased away from home by her father, which makes Wangeci uncomfortable. She says her daughter has gone to be a barmaid, which she associates with being a prostitute. Gicaamba advises her not to call children prostitutes as this negative repercussion has been caused by parents who neglect women in giving them education. He says women have been neglected even before colonialism by tradition and customs.
Gicaamba complains that people have completely forgotten the role played by women from family level to national level.
He says women in Kenya fought for independence but many of them died in the forest; still, they are neglected.
Njooki says being a housemaid is not a good job; hence, she considers Gathoni jobless. She also says housemaids are used by their bosses as their wives when their real wives are away.
Kiguunda was dismissed from his job after exchanging bad words with Kioi. His land has been sold by the bank to Kioi, Ikuua, and whites as he failed to pay back the loan because he engaged himself in drinking too much. He sold his furniture but never paid back the loan.
Kiguunda conflicts with his wife as she is against his habit of drinking. Wangeci attacks Kiguunda because of his habit, resulting in a fight between them, which is separated by Gicaamba and Njooki.
Gicaamba advises them to stop fighting as fighting cannot eliminate their problems (this shows that Gicaamba is a wise man). Instead, they should sit and think together about ways to solve their problems and think critically about who their real enemies are and how to fight against these enemies like exploitation, poverty, oppression, etc.
Gicaamba insists unity as the only way to eliminate poverty.
He also discourages the habit of excessive drinking as it cannot solve their problems.

FORM

(i) Symbolism

The title I WILL MARRY WHEN I WANT has been used symbolically to represent the way people, especially girls, need freedom in different perspectives of life.

For instance, the issue of Gathoni’s marriage where the mother forces her to get a husband, but Gathoni tells her that she will marry when she wants:

“Sorry!
I shall marry when I want
Nobody will force me into it” (Page 16)

It also symbolizes the excessive freedom that girls want to have, which results in negative repercussions.
It also shows the way people are traditional due to ignorance; hence, they want things to happen as they want.

Bedbugs

This refers to the class of exploiters like Kioi, Ikuua, and the foreigners who use poor people while paying them very low wages.

Gun & Sword

This symbolizes the struggle between the superior and the inferior, i.e., the rich vs. the poor. The sword shows the weakness of the poor while the gun shows the strength of the rich.

Wedding

It shows the justification of love between the two.
It also shows the satisfaction and blessings given by society to the couples.

In the play, we see the concept of second marriage between Kiguunda & Wangeci; at first, they refused. This shows that people have freedom in making decisions.

The acceptance of the second wedding shows the weakness of traditional weddings that they are not blessed and traditional customs and norms are not accepted.

This symbolizes the acceptance of neo-colonialism in African societies.

Trumpet

This symbolizes unity as it is used to call the oppressed, exploited, humiliated, etc., to unite and struggle against evils. (Page 115)

(ii) Hyperbole

“….. your face shone like the clear moon at night
Your eyes like the stars in heaven
Your breasts were full and pointed like the tip of the sharpest thorn ……………..” (pg 22)
“……….. when I see her I am unable to walk ……….” (Pg 23)
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(iii) Simile

These are used to emphasize the idea or concept.

As Gicaamba says, “……. Poverty is like poison in a body” (pg 42). Also, Wangeci says wedding cake which is as white as snow or as white as a wedding dress (pg 96).

“We the workers are like that monkey” (pg 33)

(iv) Metaphor

Gicaamba says:

“……….The owners of these companies are real scorpions” (pg 33). In this metaphor, Gicaamba shows how the owners of the company save for their interest and not to help the poor.
“…………… Religion is the alcohol of the soul!”
“………….. Religion is the poison of the mind!” (pg 61)

(v) Personification

Kiguunda says:

“………….. that silenced the entire forest making even the trees listen ………..” (pg 23) — in reality, trees cannot listen.
Wangeci tells Gicaamba that Kiguunda had become married to chibuku liquor! (Pg 106)

(vi) Vulgarism

This is the use of words which have no good taste or without use of euphemism, as Kiguunda tells her daughter:

“A man brags about his penis however small” (pg 51)

The playwright uses this to show uneducated people are poor in selecting words during communication.

(vii) Euphemism

To use a word to reduce the harshness of a particular word.

Wangeci tells Kiguunda:

“………. Gathoni being a child,
Does she realize that men have prickly needles! (pg 20-21)

Here the playwright uses euphemism, i.e., “prickly needles” to avoid mentioning the genital part.

(viii) Code switching or barbarism

Shifting from one language to another. The aim of this is to emphasize the point. As Kiguunda tells Gathoni:

“………….. If ever I see or hear that again ………!
Utakiona cha Mtema Kuni
“………. To enable us to educate boys and girls?
Go away
Na uchunge mdomo wako” (pg 17)

(ix) Sayings

These are given intentionally to warn or educate someone:

“A man brags about his own penis however tiny” (pg 4) — means that a person should be proud of his own property however small.
“Many hands make work light” (pg 12) — this proverb calls for unity; hence people should unite to fight against malpractices.
“An aging hero has no admirers” (pg 13) — Wangeci tells Kiguunda. This means there is a tendency to neglect people (heroes) who fought for something, for instance, those who fought for independence.
“Utakiona cha Mtema Kuni” (pg 17) — a Swahili proverb given to warn or threaten someone. This was uttered by Kiguunda to intimidate his daughters.
“The giver does not know when the granary is empty” (pg 18) — Kiguunda says this to his wife to emphasize his financial situation. He says he has given all the money to her; hence he doesn’t have more money.
“A flower is robbed of its colours by the fruit it bears!” (pg 29) — Wangeci tells Kiguunda. Kiguunda seems to show dissatisfaction with fellow Africans as there is nothing new since they attained independence. This means that it is your son, relative, or fellow people who can help you and not distant people.
“If you want to rob a monkey of a baby it is holding, you must first throw it a handful of peanuts” (pg 33)
“A parent is never nauseated by the mucus from his child’s nose” (pg 52)
“A she-goat suckles its young however deformed”
“Promises do not mean delivery” — Clouds may be in the sky but it does not mean it will rain (pg 53). Gicaamba tells Kiguunda & Wangeci.
“Charity begins at home” (pg 100)

(x) Songs and dances

This play has many songs where the playwright uses various songs for mobilizing people to fight against neo-colonialism, as seen on pages 4, 5, 7, 8, 11, 13, 22, 28, 38-39, 41-42, 46-47, 49, 57, 61, etc.

Also, these songs are used by the playwright for entertainment, like on pages 11-13.

(xi) Mimicry

This is the skill of someone being able to copy the voice or movement of others. In this play, we see this as a way of expressing negative attitude towards something or showing dejection.

For instance, Kiguunda shows his anger by mimicking the group of singers on page 10:

“The devil must be crushed,
crush him!
For darkness is falling……”

(xii) Satire

Some characters have been used in a fun way but intend to give a lesson to society. For instance, on page 4, the drunkard sings that he will marry when he wants when all padres are alive. This makes people laugh. Here the playwright wants to show the weakness of poor people who, despite being poor, drink too much instead of working hard.

Also, the drinker is funny as he blames Kiguunda for not wanting to go with him to drink.

Also, at the end, we see Kiguunda has indulged in drinking after selling his properties that he bought from the loan he took from the bank instead of paying back the loan. This leads to the auction of his piece of land.

CHARACTER CHARACTERIZATION

i. Kiguunda

The exploited character.
Bad-tempered and cruel to his family.
He is Gathoni’s father and Wangeci’s husband.
He is a farm labourer who receives low wages.
A drunkard.
A man of contradictions.
He is illiterate and not wise.
He is a funny character who despises women despite his weaknesses.

ii. Gicaamba

He is a factory worker who works for a long time and is paid low wages.
He is Kiguunda’s neighbour and Njooki’s husband.
He is a wise man.
He is a traditionalist, hence against the new religion.
He is a patriot and mobilizer as he calls for people to unite as it is the only weapon for success.
He is a constructive man as he always gives positive ideas.

iii. Wangeci

She is Kiguunda’s wife.
A wise woman compared to her husband.
She forces her daughter to get married.
She is also illiterate.
She hates the tendency of drinking too much.
She represents all women who experience humiliation from their husbands by being beaten and isolated by the system.

iv. Gathoni

She is not educated but eager to be educated.
Unmarried girl.
She does not want to be forced into marriage; hence, she wants freedom in her own affairs.
She is the lover of Muhuuni who impregnates her.
She was jilted by John Muhuuni and ended up being chased away by her father.
She later becomes a barmaid.
She suffers humiliation of being called a whore or prostitute.
She represents the young generation who want changes after being frustrated with life.

v. Njooki

She is Gicaamba’s wife.
She is aware of the existence of classes and believes it is very difficult for the rich to marry from the poor.
She also represents women who are oppressed.
She is a wise woman.

vi. Ahab Kioi wa Kanoru

He is a wealthy person.
He is John’s father and Jezebel’s husband.
He is Ikuua’s business partner.
An exploiter.
He is a black capitalist as he works for the interests of the whites (hypocrite).

vii. Ikuua wa Nditika

He is Kioi’s business partner.
He also represents the class of black capitalists who exploit fellow Africans.
He is a polygamist.

viii. Ndugire

He is saved and encourages Kiguunda and Wangeci to be saved.
He also represents the class of exploiters who collaborate with foreigners to exploit fellow Africans.
He, along with Kioi and Ikuua, uses the Bible as an instrument to soften fellow Africans so that they can do their evils without any protest.
He is becoming rich.

CONTENT

i. Exploitation

People like Kiguunda and Gicaamba are selling labour power in the plantations of a few people like Kioi, Ikuua, and the whites and are paid low wages. This is through the use of indigenous people like Ikuua and Kioi who act as middlemen, landlords, and churchmen. These exploiters link multinational companies and Africans.

Gicaamba provides his manpower in the factory; he doesn’t even have time to rest but is paid very little wages.
Kiguunda works on Kioi’s farm but is paid low wages.
These people also use the church to exploit people as they demand Kiguunda and Wangeci to have their marriage blessed, as Christian marriage needs a lot of money. That’s why Kiguunda takes a loan from the bank to facilitate the ceremony.
Poor people are exploited as they are demanded to contribute to building churches despite being poor.
Generally, churches are used to clear the way for the domination of neo-colonialism.

ii. Land Alienation

People like Kiguunda and Gicaamba are alienated from their fertile land. The minority like Kioi and Ikuua own large pieces of land, and foreign companies are the only people who own large and fertile land.
The land was taken during colonial era and even after independence has not yet been given back to the owners.
Poor people are marginalized and given land in areas which are not fertile. For example, Kiguunda has one and a half acres for the whole family.
Rich people work hard to take even the small land that poor people have. Foreigners want to establish a project but want to get a small piece of land from Kiguunda.

iii. Awareness

People like Gicaamba are aware of the existence of exploitation; that’s why Gicaamba complains that they work long hours but are paid low wages that cannot sustain their essential needs.
Gathoni is aware that education is very important; that’s why she complains to her mother for not sending her to school. She also knows she has the freedom to select her partner and knows her right to make decisions.
Wangeci is aware of the impact of excessive drinking; she tells Kiguunda to leave that habit, knowing that many people who drink too much end up with nothing due to irresponsibility.
Gicaamba is aware of the danger of relying on promises; he advises Kiguunda and Wangeci not to rely on promises as promises do not mean delivery. He tells them that Gathoni and John may not marry because of their class differences.
Gicaamba knows the best way to solve existing problems; he calls for unity and patriotism and uses a song to mobilize his fellow Africans.

iv. Conflicts

Conflict between Gathoni and her parents: Gathoni complains about their poor living conditions, using rags and the floor as her bed, not being taken to school like her brother, and being left at home for domestic activities and to pick tea leaves to get money.
Conflict between Gathoni and her father: when Gathoni returns from Mombasa and tells her parents she is pregnant, Kiguunda becomes furious as she did not listen to his advice.
Conflict between Gathoni and John Muhuuni: John cheats Gathoni to conceive so that he can marry her, claiming he is afraid to marry a barren woman. After she becomes pregnant and tries to tell John, he refuses, chases her away, and insults her by calling her a prostitute.
Conflict between traditionalists and Christians: At the beginning, Kiguunda, Wangeci, Gicaamba, and Njooki are against Christianity as it is connected to the whites, and they believe accepting Christianity is like accepting neo-colonialism. That’s why Kiguunda chases the group of singers away from his home, saying he doesn’t see the necessity of contributing to Harambee to build the church while it is used only once a week.
Conflict between Kioi’s family and Kiguunda’s family: The first conflict is when Kioi and Ndugire’s family go to Kiguunda to preach and convince him to be Christian. Kiguunda shows no interest and chases them away.
The second conflict is when John Muhuuni impregnates Gathoni, and Kiguunda and Wangeci decide to go to Kioi’s place to tell him their idea to let the children marry first. Kioi completely denies this idea, causing Kiguunda to become exasperated and threaten Kioi with a sword to accept the idea.

Intra-Personal Conflict

Gathoni

About the poor living condition.
Not being taken to school.
After being jilted.

Wangeci

About the stubbornness of her daughter.
After her daughter being jilted.
About the excessive drinking behavior of her husband.

Kiguunda

Unhappy with low wages which make them live in poor living conditions and the stubbornness of his daughter.
Unhappy with the system that seems to favor rich people even if they are guilty. That’s why Kiguunda uses his sword.

v. Illusion

Gathoni has the illusion that once she gets a husband, she will have a better life, but until the end, nothing comes as she expects.
Wangeci has the illusion that the relationship between Gathoni and John Muhuuni will lead to their marriage. She even believes that the visit of Kioi is to talk about the marriage of their children. She also connects Christianity as paving the way towards the marriage of their children, meaning if they accept Christianity, it will pave the way for the marriage of the two.
Another illusion Wangeci has is when she believes that Kioi will agree with the idea that the children should marry first as John has impregnated Gathoni.

vi. Education

In the play, girls are not given a chance for education; they are left at home to do domestic activities and work on farms, e.g., Gathoni. Girls are not taken to school because of cultural influence and family poverty. Girls are not given equal chances as boys in education. Women are considered unimportant in society. This is gender imbalance.
Education is important as the majority who are illiterate fail to opt for the best way of solving problems in different life perspectives, e.g., Kiguunda.

vii. Neo-Colonialism

Not only Germans, Japanese, or Americans buy large areas of Kenyan land for erecting their factories and dominating major means of production, but black imperialists also enrich themselves under the umbrella of neo-colonialism. For instance, Kioi plans to create a tourist hotel in Mombasa but does not want to be recognized; hence, he uses the name of his son.

viii. Classes (social stratification)

The classes of poor are represented by Kiguunda and Gicaamba versus the classes of rich represented by Kioi and Ikuua who are in antagonism. The rich use the poor to enrich themselves.

Other themes include:

Poverty
Disappointment
Position of women
Love affairs
Betrayal

3. POETRY

Selected Poems of East Africa – Institute of Education

POETIC APPRECIATION

Poetic appreciation is a step-by-step analysis of the features or elements within a poem. Appreciating a poem attempts to understand it in detail and therefore enjoy the sounds and purpose. The elements of poems also differ.

There are many ways of appreciating a poem just as there are many different elements to be found in different poems.

Since the person appreciating the poem attempts to look into the poem and its success, we do not talk about what is not found in the poem but are satisfied by the elements within a particular poem.

S – Subject matter
P – Purpose
E – Emotions/mood
C – Craftsmanship/technique/style

Craftsmanship consists of:

S – Structure
L – Language
I – Imagery
M – Movement/Rhythm
S – Sound

AFRICA BY DAVID MANDESSI DIOP (1927 – 1960)

Mandessi was born in Bordeaux, France, to a Senegalese father and a Cameroonian mother. He was one of the leading lights of Negritude. He published only one book of poetry on which his fame rests. After the independence of Guinea, he went to work there as a teacher. He died in a plane crash in 1960 together with his wife. The manuscript of his new book of poetry was also lost in the crash.

AFRICA

Africa my Africa
Africa of proud warriors in ancestral savannahs
Africa of whom my grandmother sings
On the banks of the distant river
I have never known you
But your blood flows in my veins
Your beautiful black blood that irrigates the fields
The blood of your sweat
The sweat of your work
The work of your slavery
The slavery of your children
Africa tell me Africa
Is this your back that is bent?
This back that breaks under the weight of humiliation
This back trembling with red scars
And saying yes to the whip under the midday sun
But a grave voice answers me
Impetuous son that three young and strong
That tree there
In splendid loneliness amidst white and faded flowers
That is Africa your Africa
That grows again patiently obstinately
And its fruit gradually acquires
The bitter taste of liberty

PHRASE

The poem is about a person who has lived away from his continent (Africa); therefore, he does not know it well.

The person laments about the suffering of Africans who worked like slaves and whose blood and sweat, plus those of their children, irrigate the fields. The person compares Africa with an impressive lonely tree in the middle of white and faded flowers. The tree (Africa) has produced fruit which has gradually acquired the taste of liberty.

THEMES

Exploitation

The persona portrays the exploitation done to Africans who were treated like slaves because they worked and sweated for their masters to enjoy. For instance, in stanza two:

“your beautiful……………………”

The message is that all forms of exploitation should be banned in society.

Unity

We see the essence of unity as oppressed Africans decide to mobilize themselves and form warriors to fight for the liberation of their continent. For instance, in the first stanza, second verse, the persona says:

“Africa of proud warriors in ancestral savannahs.”

The message is that unity is important to the oppressed to end oppression in society.

Dehumanization

The persona shows humiliation to Africans as they were treated as if they were not human while in their own continent. For example, in the third stanza, verses 1, 2, and 3, the persona says:

“Is this your back that is bent?
This back that breaks under the weight of humiliation.
This back trembling with red scars,
and saying yes to the whip under the midday sun.”

The message is that all people are the same under the sun and deserve equal treatment.

Awareness

The person has realized that though he was not born and raised in Africa, he is African because of the African blood flowing in his veins. As observed in the 1st stanza, 5th and 6th verses, the message is: “we need to be aware and proud of our origin.”

Sacrifice

The poet shows sacrifice made by African warriors who were whipped and shed their blood in ancestral savannahs. Their blood irrigated the fields, but they never gave up the fight. We observe this in the 1st stanza, 2nd verse.

The message is: “we need to sacrifice ourselves for the betterment of society.”

Alienation

The poet shows alienation of those born and living in foreign countries like the poet himself. These people find themselves alienated because they do not enjoy the way indigenous people do in their homelands. In the 1st stanza, 5th verse, the persona says:

“I have never known you.”

The message is that people should remember their place of origin even if they are born and grow in other places.

Liberation Struggle

The poem shows the movement of African warriors to get rid of the colonial regime. For instance, in the 4th stanza, last four verses, the persona says:

“That is Africa your Africa
That grows again patiently obstinately
and its fruit gradually acquires the bitter taste of liberty.”

The message is that mobilization, self-sacrifice, and unity are very important when struggling for liberation in any society.

POETIC DEVICES

Sound devices

i. Alliteration

This is the repetition of consonant sounds at the beginning of words in the same verse. For example, in the 2nd stanza, 1st verse:

“your beautiful black blood……”

Also, in the 3rd stanza, 1st verse:

“Is this your back that is bent?”

ii. Consonance

This is when the poet repeats the same or very similar consonant sounds, usually at the end of words in the same verse.

“Impetuous son that tree young and strong”

The sound /ŋ/ is repeated in two words.

iii. Assonance

This is the repetition of similar vowel sounds in the same verse. For example, in the 1st stanza, verse 4, in the words “distance” and “on the banks of the distance river.”

SENSE DEVICES

Symbolism

The poet uses words like “red scars” to symbolize suffering (oppression) done to Africans. (3rd stanza, verse 3)

“this back trembling with red scars”

Use of Imagery

Visual image: The poet uses a lonely tree to represent Africa.

Image of taste: The poet uses words like “the bitter taste of liberty” to reflect the bitter feeling that African warriors had against colonialists (last stanza, last verse).

Personification

Africa as a continent is given human characteristics as it seems to speak like a human being. For example, in the 2nd stanza, last verse:

“Africa tell me Africa”

Mood of the poem

The mood of the poem can be sad or sympathetic due to exploitation, humiliation, oppression, etc., done by the colonialists.

Tone of the poet

The tone is bitter due to the themes revealed about the condition of oppressed Africa.

THE DYING CHILD

BY FREEMAN PETER LWANDA

A Tanzanian poet who worked for the Tanzania Tourist Corporation.

The Dying Child

Thin and red,
Skinny and bald
The boy groans on the ground
Swollen stomach
Full of waste,
Thin arms,
Twitch
As the boy
Fights with flies
Over the empty plate
Ten years old
He looks older than ten,
And so small
As he wriggles
Prisoner
Of his unproportioned body,
‘Mother’ shouted the boy
When I grow up
I will carry a gun
And not a pen!
‘My son’ shouted the mother
‘My son’ cries the mother
‘You will never live to carry a gun
There is no meat for us’

PARAPHRASE

The poem is about a ten-year-old boy who suffers from Kwashiorkor caused by malnutrition. The boy is busy fighting with flies over the empty plate. He is thin, bald, with red skin, thin legs and arms.

The boy has a swollen stomach full of waste, which makes him groan on the ground because of his unbalanced body.

He looks older than his real age. The boy has a vengeful mind; he tells his mother that when he grows up, he will carry a gun and not a pen, but the mother shouts that he will never live to carry a gun as there is no meat to make him survive. This shows that the mother is disillusioned.

THEMES

Poverty

The persona shows that the boy is living in extreme poverty to an extent that they cannot afford a balanced diet. The mother tells the boy that he will never live to carry a gun as there is no meat for them. The boy competes with flies over the empty plate, indicating poverty.

The message is that people should work hard to get enough money to buy a balanced diet for the health of their families.

Classes

The poem depicts the existence of classes in society: those who can afford to eat meat and those who cannot. The mother tells her son he will never grow up to carry a gun because there is no meat for them.

The message is that every human being needs a balanced diet for good health and longer life. Classes cause disunity in society.

Disappointment

The mother is disappointed and believes her son will not live longer due to poor diet. The message is that we should never accept failure but fight to the last minute.

Awareness

The boy realizes that changes in society can be brought through force or by gun, not peacefully or by education. The mother is aware that her son may not live long.

Irresponsibility

The poet shows the irresponsibility of the government, which does not care for people living in extreme poverty. The mother cries bitterly for her dying son. The boy fights flies over the empty plate, showing neglect.

POETIC DEVICES

SENSE DEVICES

Imagery

The poet draws a mental picture of the dying child with thin arms, swollen stomach, thin legs, and an unproportioned body. The image of a starving child fighting flies over an empty plate due to poverty is vivid.

Diction

The choice and arrangement of words effectively convey the intended message. Words like “skinny,” “bald,” “thin,” “swollen stomach,” “flies,” and “pen” have associated meanings, e.g., “flies” associate with dirtiness or rot.

SOUND DEVICES

Alliteration

Repetition of consonant sounds at the beginning of words, e.g., “groans” and “ground” (consonant /g/), “swollen” and “stomach” (consonant /s/), emphasizing poverty and suffering.

STRUCTURAL DEVICES

Use of stanza

The poem has two stanzas: the 1st has 11 verses, and the 2nd has 15 verses.

Parallelism

In the 2nd stanza, 13th and 14th verses, the structure is parallel to emphasize the mother’s disappointment.

Repetition

The word “thin” is repeated in the 1st stanza to express the boy’s horrible condition and evoke sympathy.

Dialogue

The poet uses dialogue between the boy and the mother to reveal their real situation.

An African Thunderstorm (by David Rubadiri)

Subject matter: The poem is about the sudden arrival of a storm in a village, shocking the people.
Alliteration: Examples include “wind whistles” and “whirling wind.”
Onomatopoeia: Words like “whirling wind” imitate sounds and enhance imagination.
Imagery: Describes the storm’s speed and direction, e.g., “pregnant clouds” and “clothes wave like tattered flags.”
Personification: Non-human things are given human traits, e.g., “pregnant clouds” represent expansion.
Structure: Four stanzas with irregular line numbers and no rhyme scheme, following modern poetry style.
Similes: Comparisons using “like” or “as,” e.g., “like a plague of locusts” and “clothes wave like tattered flags.”
Questions and answers about the poem’s meaning and effects.

YOUR PAIN (by ARMANDO GUEBUZA)

Your pain
Yet more my pain
Shall suffocate oppression
Your eyes
Yet more my eyes
Shall be speaking of revolt
Your scars
Yet more my scars
Will be remembering the whip
My hands
Yet more your hands
Will be lifted fully armed
My strength
Yet more your strength
Shall overcome imperialism
My blood
Yet more your blood
Shall irrigate our victory

ABOUT THE POEM

Your Pain was written during the struggle for independence by Armando Guebuza, the present President of Mozambique. The title matches the content as the persona encourages society members to take part in the struggle. The repeated word “pain” signifies commitment to the struggle.

Type of the poem

Didactic — it gives instructions to the reader on what to do to win their struggle.

Language

Standard and understood language matching the content.

Figures of speech

Personification: Inanimate things are given human attributes, e.g., “Say your pain… shall suffocate oppression.”
Symbolism: Scars symbolize suffering/humiliation; hands/strength symbolize unity; blood symbolizes sacrifice.
Repetition: The phrase “Yet more…” is repeated to emphasize commitment and create musicality.
Rhyme: The rhyming pattern is regular, e.g., pain/pain, eyes/eyes, scars/scars, creating a musical effect.
Alliteration: Repetition of consonant sounds, e.g., “Your pain yet more my pain.”

Possible Themes

Rising awareness/consciousness
Lack of humanity
Oppression
Struggle against imperialism
Sacrifice

Relevance

The poem remains relevant today as unity is needed to overcome societal problems and neo-colonialism.

SHALL I COMPARE THEE TO A SUMMER DAY

Shall I compare thee to a summer’s day?
Thou art more lovely and more temperate,
Rough winds do shake the darling buds of May,
And summer’s lease hath all too short a date.
Sometimes too hot the eye of heaven shines,
And often is his gold complexion dimmed;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimmed;
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow’st;
Nor shall death brag thou wander’st in his shade,
When in eternal lines to time thou grow’st;
So long as men can breathe or eyes can see,
So long lives this, and this gives life to thee.

Questions

What is the subject matter of the poem?
Identify the main theme of the poem.
Comment on the mood of the poet.
Comment on the rhyme scheme.
What type of poem is this?

Answers

Subject matter: The poem is about love, where the poet talks about his feelings towards a woman, comparing her to a summer’s day. He says she is more lovely and temperate. The last couplet says as long as men live, she will be immortalized.
Main theme: Love. The poet expresses love towards a woman he describes as the most beautiful and lovely.
Mood: Romantic mood as the poet expresses his feelings towards a woman.
Rhyme scheme: abab, cdcd, efef, gg.
Type of poem: Spenserian sonnet, combining Italian and Shakespearean sonnet forms with linking rhymes among quatrains.