LESSON NOTE ON LITERATURE-IN-ENGLISH SSS2 1ST TERM
CLASS: SSS2 First Term
Based on 2026-2030 WAEC/JAMB approved reading texts
| TABLE OF CONTENT |
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WEEK 1: ———————————————————– page2 Introduction of 1st term scheme of work. African Drama – The Marriage of Anansewa by Efua Sutherland Background and Setting of the Play Plot Summary Evaluation Questions WEEK 2 – 3: ———————————————————– page WEEK 4: ———————————————————– page20 WEEK 5: ———————————————————– page25 WEEK 6: ———————————————————– page29 WEEK 7: ———————————————————– page29 WEEK 8: ———————————————————– page30 WEEK 9: ———————————————————– page32 WEEK 10: ———————————————————– page35 WEEK 11: ———————————————————– page40 Answers to the Evaluation Questions ——————————— page44 WEEK 12: ———————————————————– page44 REFERENCES: |
WEEK ONE
AFRICAN DRAMA: THE MARRIAGE OF ANANSEWA BY EFUA SUTHERLAND
Content:
• African Drama: The Marriage of Anansewa by Efua Sutherland
• Background and Setting
• Plot Summary
AUTHOR OF THE PLAY “THE MARRIAGE OF ANANSEWA”
Efua Theodora Sutherland, a prominent Ghanaian playwright (1924-1996), published her notable play, The Marriage of Anansewa, in 1975. Her other well-known works include Edufa and Foriwa. Sutherland was a passionate advocate for African culture and children’s rights. Through her play, she aimed to expose the negative effects of greed and materialism on relationships and the institution of marriage in postcolonial Ghana and other African societies.
BACKGROUND TO THE PLAY
The Marriage of Anansewa is a comedy that uses satire to critique greed and other modern flaws affecting marriage in postcolonial Ghana. Its comedic nature is evident through its humorous situations, lighthearted scenes, and the safe resolution of its conflicts.
The play incorporates traditional African theatrical elements, such as audience participation, the use of songs, and the depiction of traditional African values, characters, and events. Sutherland’s work asserts traditional Ghanaian values by ridiculing modern vices like greed and the use of money to dictate love. It specifically pokes fun at the commercialization of marriage, a vice the main character, Ananse, is guilty of. Ananse’s cunning and wit, which he uses to survive, are reminiscent of the “picaros” or trickster figures from Spanish picaresque novels.
SUBJECT MATTER OF “THE MARRIAGE OF ANANSEWA”
The central subject of Sutherland’s The Marriage of Anansewa is the institution of marriage. Through this, Sutherland examines the values of postcolonial Ghanaian society, exposing key themes such as greed, deception, exploitation, the monetization of marriage, and the pervasive “get-rich-quick” syndrome that is still relevant in modern society.
SETTING OF “THE MARRIAGE OF ANANSEWA”
The play is set in postcolonial Ghana, a time when modern culture was starting to clash with and challenge traditional values. The primary location is Ananse’s house, which is described at the start of the play as a “bare-room that only contains a small table and chair.” The play also mentions real and fictional places like Nsona Clan and Nanka, which are Ananse’s hometowns. References to modern items and concepts like “petticoat,” “umbrella,” “state function,” and “Embassies’ party” underscore the influence of modernity.
CHARACTERS IN THE PLAY
The Marriage of Anansewa features a large and varied cast:
i. Players: A group of actors, dancers, and musicians who engage with the audience, highlighting the play’s interactive nature.
ii. Property Man: The individual responsible for providing props and other necessary items to the performers.
iii. Ananse: The main character and father of Anansewa.
iv. Anansewa: Ananse’s daughter.
v. Storyteller: An all-knowing narrator who guides the audience through the events of the play.
vi. Post Office Crew & Postman: Characters responsible for handling and delivering mail.
vii. Akwasi and Akosua: A young couple.
viii. Sapaase Messengers: Two older women who deliver messages.
ix. Chief-Who-Is-Chief’s Messenger: A messenger from the chief.
x. Aya: Ananse’s mother.
xi. Ekuwa: Ananse’s aunt.
xii. Christie (Miss Christina Yamoah): A stylish woman.
xiii. Girls: A group of about six girls who are friends with Anansewa.
xiv. Two Women: Characters who perform a funeral song or “dirge.”
xv. Messengers: Various individuals who arrive for the funeral from different places, including the mines, Sapaase, Akate, and Chief-Who-Is-Chief.
EVALUATION 1
1. What is the main purpose of Efua Theodora Sutherland’s play, The Marriage of Anansewa? A) To promote political change in Ghana. B) To document historical events in postcolonial Ghana. C) To highlight the negative effects of greed on marriage and relationships. D) To celebrate traditional Ghanaian weddings.
2. In which year was The Marriage of Anansewa first published? A) 1996 B) 1924 C) 1975 D) 1980
3. Besides her interest in African culture, what other cause was Efua Theodora Sutherland known for advocating? A) Environmental protection. B) Women’s suffrage. C) Animal rights. D) Children’s rights.
4. Which of the following plays was NOT written by Efua Theodora Sutherland? A) Edufa B) Foriwa C) The Lion and the Jewel D) The Marriage of Anansewa
5. The play’s comedic tone is established through which of the following? A) The use of a tragic hero. B) Its tragic plot twists. C) The safe and happy resolution of conflicts. D) Its serious and dramatic tone.
6. How does Sutherland attempt to assert traditional Ghanaian values in the play? A) By setting the play entirely in a historical, pre-colonial period. B) By ignoring modern culture completely. C) By holding modern vices up for ridicule. D) By promoting a socialist political system.
7. The character of Ananse is likened to a “picaro” from Spanish literature because of his: A) High social status. B) Romantic nature. C) Physical strength. D) Cunning and wit.
8. What is Ananse guilty of that the play specifically ridicules? A) Religious hypocrisy. B) The commercialisation of marriage. C) Political corruption. D) Gender inequality.
9. What is the central subject matter of The Marriage of Anansewa? A) The institution of marriage. B) Education reform. C) Political elections. D) Rural development.
10. Which theme is NOT explored in The Marriage of Anansewa? A) Deception. B) Exploitation. C) Land disputes. D) The “get-rich-quick” syndrome.
11. The play’s setting is a period when modern culture was doing what to traditional culture? A) Reinforcing it. B) Clashing with and challenging it. C) Ignoring it. D) Promoting it.
12. The play’s primary location is described as a “bare-room” that only contains a small table and chair. Who does this room belong to? A) The Chief-Who-Is-Chief. B) Ananse. C) Anansewa. D) Akwasi and Akosua.
13. What is the main purpose of mentioning words like “petticoat” and “umbrella”? A) To indicate the specific time of year. B) To symbolize traditional Ghanaian attire. C) To show the wealth of the characters. D) To signal the influence of modernity.
14. Which of the following is an example of an African theatrical principle used in the play? A) The exclusive use of monologues. B) Audience participation. C) The absence of songs. D) The use of a single actor.
15. Who is the central male character and father of Anansewa? A) The Storyteller. B) Ananse. C) The Postman. D) Akwasi.
16. What is the role of the Storyteller in the play? A) To act as a prop handler. B) To deliver letters. C) To provide comic relief. D) To serve as an omniscient narrator.
17. Which group of characters is specifically used to demonstrate audience participation? A) The Post Office Crew. B) The Messengers. C) The Girls. D) The Players.
18. What is the function of the Property Man in the play? A) To write the scripts. B) To design the costumes. C) To provide props to the characters. D) To direct the scenes.
19. The play’s setting includes references to real and fictional places. Which of these refers to Ananse’s hometown? A) Akate. B) Nanka. C) Sapaase. D) The mines.
20. The name Miss Christina Yamoah belongs to which character? A) Anansewa. B) Ekuwa. C) Christie. D) Aya.
PLOT SUMMARY OF “THE MARRIAGE OF ANANSEWA”
The Marriage of Anansewa follows a chronological plot structure, with events unfolding in a linear fashion from beginning to end. However, the narrative is occasionally punctuated by flashbacks or recollections to re-enact past events.
The story starts by contrasting the beauty of Anansewa with the poverty of her father, Ananse. His destitution is clear—he can’t afford to pay his daughter’s school fees, and their house is in a state of disrepair. In a desperate bid to escape poverty, Ananse devises a clever and exploitative plan, which could be described as “marriage racketeering.”
He arranges a photoshoot for Anansewa and sends out letters, typed by his daughter, to wealthy and influential chiefs across great distances. Each letter advertises Anansewa as a potential bride, leading the chiefs to believe they are her only suitors. The scheme works, and gifts of cash begin to pour in.
This newfound wealth quickly transforms Ananse’s life. He pays Anansewa’s school fees, enabling her to return to E.P.’s Secretarial School. He also carries out extensive repairs on his home and acquires luxurious items to reflect his new, elevated social status. The central conflict of the play begins when each of the chiefs sends a message, announcing their imminent arrival to formally present the traditional head-drink and ask for Anansewa’s hand in marriage.
It is at this point that Ananse creates a new scheme: to make his daughter, Anansewa, feign her own death to thwart the chiefs’ impending marriage visits. To pull off this elaborate ruse, he enlists the help of Christie, who agrees to assist him, hoping to become his wife.
Ananse’s plan also requires him to get his mother, Aya, and his aunt, Ekuwa, out of the house so they don’t interfere. He lies to them, claiming he has received tragic news that his cocoa farm in their hometown, Nanka, has been destroyed in a fire. He urges them to return to the village to assess the damage and to seek revenge on the people of the Nsona Clan, whom he blames for the supposed arson. He tells them the Clan destroyed his farm because they hated him and wanted to ruin his only source of income.
With the inquisitive women gone and with Anansewa and Christie’s help, Ananse’s plan is set to succeed. The three of them put on an impressive show to deceive the messengers sent by the four chiefs who wanted to marry Anansewa. These suitors are the Chief of Sapaase, the Chief of the Mines, Togbe Klu IV of Akate, and the Chief-Who-Is-Chief.
The messengers arrive one after another, each bringing condolences that reveal the depth of their chief’s love for Anansewa and their plans for her if she had become their wife. They also present lavish gifts, demonstrating their chiefs’ serious commitment to Anansewa and the proposed marriage.
In the end, Ananse concludes that the Chief-Who-Is-Chief is the most suitable husband for his daughter and chooses him for Anansewa’s hand in marriage. Anansewa herself had already grown fond of this chief and had only agreed to her father’s “pretend-death” scheme on the condition that she would be allowed to marry him.
Ananse, to complete his ruse, performs what he claims are traditional chants and incantations, calling on the ancestors to bring Anansewa back to life through the power of love. Anansewa then “wakes up,” shocking the entire neighbourhood and community. With the plan a success, all arrangements are made for her to marry the Chief-Who-Is-Chief, with the hope that nothing will go wrong.
EVALUATION 2
1. How does the play’s plot structure primarily unfold? A) Through a series of disjointed scenes. B) In a linear, chronological order. C) By starting at the end and moving to the beginning. D) Using a fragmented, non-sequential style.
2. What is the initial problem that motivates Ananse’s scheme? A) His house is too big. B) He wants to travel the world. C) His daughter’s school fees are unpaid. D) He is in love with a chief.
3. What name is given to Ananse’s clever plan to gain wealth from his daughter’s beauty? A) Marriage racketeering. B) A philanthropic mission. C) An honest investment. D) Community fundraising.
4. How does Ananse initially advertise his daughter to the chiefs? A) By sending out newspaper advertisements. B) By having Anansewa write personal letters to each chief. C) By posting announcements in the village square. D) By arranging a group meeting.
5. What false assumption do the chiefs have about their pursuit of Anansewa? A) That she is already married. B) That she is not interested in them. C) That they are the only suitor. D) That she is poor.
6. How does Ananse’s newfound wealth transform his life? A) He moves to a new village. B) He pays off his debts and buys a car. C) He pays Anansewa’s school fees and repairs his house. D) He gives all the money to charity.
7. What is the central conflict that arises after Ananse gains wealth? A) Anansewa falls in love with another man. B) The chiefs all announce their imminent arrival. C) Ananse’s mother discovers his scheme. D) The post office stops delivering his mail.
8. What new scheme does Ananse devise to prevent the chiefs’ visits? A) He pretends to be ill. B) He makes Anansewa feign her own death. C) He travels away from the village. D) He tells the chiefs he has changed his mind.
9. Who does Ananse enlist to help him with his new scheme? A) His mother and aunt. B) Christie and Anansewa. C) The Storyteller and a Postman. D) The Chief-Who-Is-Chief.
10. What is Christie’s motive for assisting Ananse? A) She wants to become Anansewa’s best friend. B) She hopes to get a job at the school. C) She wants Ananse to look on her as a wife. D) She is being paid a large sum of money.
11. Why does Ananse want his mother and aunt to leave the house? A) He wants to throw a party without them. B) He wants to sell the house in their absence. C) He believes they will interfere with his plan. D) He needs them to go on an errand.
12. What lie does Ananse tell his mother and aunt to get them to leave? A) That his house has been robbed. B) That his cocoa farm has been set on fire. C) That Anansewa has been kidnapped. D) That their ancestral home needs repairs.
13. Who does Ananse blame for the supposed fire on his cocoa farm? A) The people of the Nsona Clan. B) The chiefs who want to marry his daughter. C) The Post Office Crew. D) The Chief-Who-Is-Chief’s Messenger.
14. What do the chiefs’ messengers bring with them when they arrive? A) Demands for their money back. B) Accusations of deception. C) Lavish gifts and condolences. D) News of Anansewa’s actual death.
15. Which of the four chiefs does Ananse choose for his daughter? A) The Chief of the Mines. B) The Chief of Sapaase. C) Togbe Klu IV of Akate. D) The Chief-Who-Is-Chief.
16. What does Anansewa demand from her father as a condition for her participation in the “pretend-death” scheme? A) That he buy her a new car. B) That he leave the country. C) That she be allowed to marry the Chief-Who-Is-Chief. D) That she be made a chief herself.
17. How does Ananse explain Anansewa’s “resurrection” to the community? A) He says it was a medical miracle. B) He claims it was a joke that got out of hand. C) He pretends to use traditional chants and incantations. D) He tells them she was never dead.
18. What event shocks the entire neighbourhood at the end of the play? A) The arrival of all four chiefs at once. B) Anansewa waking up from her pretend-death. C) Ananse being caught in his lie. D) A fire breaking out in Ananse’s house.
19. The play’s plot structure is described as having a chronological flow, but with what additional element? A) The use of flash-forwards. B) Constant changes in setting. C) Frequent flashbacks or recollections. D) The introduction of new characters in every scene.
20. What is the traditional gift that the chiefs intend to present to formally ask for Anansewa’s hand in marriage? A) Gold jewellery. B) The head-drink. C) A new house. D) A new car.
WEEK TWO & THREE | AFRICAN DRAMA: THE MARRIAGE OF ANANSEWA BY EFUA SUTHERLAND (CONT’D)
Content:
• Analysis of the play – Act one.
• Analysis of the play – Act two
• Analysis of the play – Act three
• Analysis of the play – Act Four
ACT-BY-ACT ANALYSIS OF THE MARRIAGE OF ANANSEWA
ACT ONE
The first act of the play is set in a simple, bare room furnished with only a small table and a chair. The play begins with a popular song: “Oh life is a struggle, / Oh life is a pain; / Oh life is a struggle, / Oh life is a pain / In this world” (9). This song establishes a philosophical and existential tone, providing the context for the entire play.
Ananse enters the stage, identifying with the song’s theme of human suffering. It is raining outside, and Ananse shakes an umbrella he receives from the Property Man to show he has just come in from the rain. He then delivers a monologue on human suffering, which contains both biblical and historical allusions. Ananse then asks his daughter, Anansewa, to bring out her typewriter and contemplates a solution to life’s struggles: “Won’t somebody who thinks he has discovered the simple solution for living this life kindly step forward and help out the rest of us?” This speech highlights the difficult circumstances Ananse is currently facing and…
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