THEMES IN EFUA T SUTGERLAND “ Marriage of Anansewa”

1. Greed and Exploitation

Greed and exploitation are central to The Marriage of Anansewa, most vividly portrayed through the character of Ananse himself. Initially, his scheming is motivated by a desperate need to escape poverty and provide for his daughter, whose schooling and well-being he struggles to support. However, as his efforts begin to yield results through the interest of four wealthy suitors, Ananse’s modest objectives quickly escalate into excessive desire. He starts indulging in luxuries he had previously criticized, including whisky, fine clothing, a car, and lavish meals. His obsession with acquiring more wealth drives him to exploit multiple suitors simultaneously, deliberately keeping them in competition to maximize gifts and money. Even Anansewa notices this, questioning her father’s insatiable appetite: “So, father, do you desire all those things?” This demonstrates how human greed, once awakened, can corrupt moral judgment.

Exploitation is not limited to suitors; it extends to the artisans Ananse hires to renovate his house. What should have been a three-day project is intentionally stretched to five, and then ten weeks, purely for financial gain. The carpenter, mason, and painter, motivated by the perception of Ananse’s wealth, manipulate the situation for their benefit, illustrating that greed breeds a chain reaction in society. Sutherland uses these episodes to comment on the human tendency to prioritize personal gain over ethical behavior and to expose the moral hazards of post-independence Ghana, where economic scarcity can push individuals to manipulate and exploit others for survival or advancement. Through this theme, the play critiques both the individual and systemic greed that affects familial, social, and economic relationships.

2. Cunning and Deception

Closely related to greed is the theme of cunning and deception, which dominates the narrative and shapes the central conflict. Ananse is portrayed as a classic trickster figure from the Akan folktale tradition—wily, resourceful, and morally ambiguous. He uses deception as a tool to navigate societal constraints, orchestrating the marriage of his daughter without her knowledge, faking her death, and manipulating the four suitors to achieve his ends. Even Anansewa, initially resistant, becomes complicit in this deception, highlighting the extent to which cunning can permeate familial and social relationships.

Deception in the play is not confined to Ananse alone. Christie, the proprietor of the Institute for Prospective Brides, assists him in faking Anansewa’s death, navigating social expectations and manipulating appearances to ensure the plan succeeds. The old women, Aya and Ekuwa, are also deceived, though less willfully, demonstrating how cunning often exploits innocence and trust. By incorporating deception as a recurring motif, Sutherland critiques social behavior, exposing how survival, ambition, and the desire for wealth can prompt morally dubious actions. The play also demonstrates that deception, while temporarily successful, is a precarious and ethically unstable strategy, reflecting both comic and tragic dimensions of human behavior.

3. Patriarchy and Gender Roles

The play explores the entrenched patriarchal system in Ghanaian society and the way it shapes interpersonal dynamics, especially regarding marriage. Ananse wields almost absolute authority over his daughter, arranging her marriage initially without her consent and manipulating cultural rituals to secure his objectives. Anansewa’s eventual cooperation does not negate the structural imbalance that allows such control; she only participates because the social system grants men decisive power over women. Characters like Christie, while independent and skilled, must navigate these patriarchal constraints, using indirect strategies to assert influence over male authority figures.

Through the actions of Aya, Ekuwa, and other female characters, Sutherland highlights both the limitations and the forms of agency available to women. Outdooring ceremonies, while seemingly celebratory, also reinforce male authority and social expectations regarding women’s roles. By portraying the exercise of patriarchal power alongside female negotiation, the play critiques systemic inequality and underscores the ethical consequences of male dominance in shaping family and societal outcomes. Patriarchy, in this context, is not merely a backdrop but an active force that drives both conflict and comedy, illuminating broader questions about gender, power, and moral responsibility.

4. Tradition and Modernity

Another significant theme is the tension between tradition and modernity, which pervades the play’s setting, plot, and characters. The narrative juxtaposes rural, traditional values—embodied by Aya and Ekuwa and the outdooring ceremony—with urban, modern lifestyles represented by Ananse, Christie, and the use of typewriters, postal services, and formal education. Ananse’s schemes exploit this tension: he invokes cultural rituals to legitimize the marriage process while simultaneously bending traditional rules for personal gain.

The outdooring ceremony itself reflects the enduring value of tradition in preparing young women for adulthood and marriage, demonstrating respect for cultural rites even within a changing society. Yet, the intrusion of urban economic pressures, materialism, and individual ambition illustrates the challenges of balancing heritage with modernization. Sutherland uses this theme to explore societal transformation in post-independence Ghana, showing how cultural continuity and moral values are tested by the demands of a modern, increasingly competitive world. The interplay of tradition and modernity also amplifies the comic and satirical elements of the play, highlighting the absurdity of manipulating sacred customs for profit.

5. Love, Duty, and Family Loyalty

While greed and deception dominate the narrative, Sutherland also examines the dynamics of love, duty, and familial loyalty. Anansewa’s eventual cooperation in her father’s plan, despite initial moral objections, highlights her sense of filial duty and respect for family needs. Similarly, Ananse’s efforts, while ethically questionable, are motivated in part by a desire to provide for his daughter and secure her future. This duality complicates the moral landscape: characters are both self-interested and responsible, blending personal ambition with familial obligation.

The eventual romantic resolution—Anansewa marrying Chief-Who-Is-Chief, the suitor she genuinely loves—demonstrates that authentic love can coexist with social and economic pragmatism, even amid deception and greed. Family loyalty is also evident in the role of Christie, Aya, and Ekuwa, who uphold social and cultural expectations while aiding or inadvertently facilitating the central schemes. Sutherland suggests that love and duty are intertwined with social norms, showing that ethical compromise often occurs in the pursuit of family survival and social advancement. This theme adds emotional depth to the play and balances the satire with human sympathy and relational complexity.