Kobina Sekyi's The Blinkards and James ENE Henshaw's Medicine For Love A Study in The Manner of Comic Production

European Journal of English Language and Literature Studies
Vol.4, No.4, pp.21-38, June 2016

___Published by European Centre for Research Training and Development UK (www.eajournals.org)
KOBINA SEKYI’S THE BLINKARDS AND JAMES ENE HENSHAW’S MEDICINE
FOR LOVE- A STUDY IN THE MANNER OF COMIC PRODUCTION
Patricia Nyamekye1* and Michelle Debrah2
1
Department of General Education, Valley View University, Techiman Campus, P. O. Box
183 B/A – Ghana
2
Department of English Education, University of Education, Winneba, P. O. Box 25,
Winneba, C/R – Ghana
ABSTRACT: This study aims at analysing how Kobina Sekyi and James Ene Henshaw use
satire to produce comedy in The Blinkards and Medicine for Love respectively. Since both
plays are satires, comedy and satire are defined. This is followed by a discussion of each play,
looking at their synopsis, themes, characterisation and style. Finally, there is comparison of
the two plays and a conclusion drawn. The conclusion is a reflection that satire is one of the
controlling elements in African comedy. The two dramatists have looked at what goes on in the
society as a source of motivation to come out with their comic plays. They possess the ability
to provoke laughter in the audience and in the end give them pleasure. One can categorically
state that The Blinkards and Medicine for Love satisfy the characteristics of comic plays.
KEYWORDS: Comedy, Satire, Invective, Dramatic Irony, Comic Effect
INTRODUCTION
Scholars are not capable of giving a sufficient explanation to the term comedy. Styan (1968)
states in The Dark Comedy that:
Ideas about the comic have never been expressed as
abundantly as those about tragedy, both because the
seriousness of comedy has not been as evident to writers
as its more impressive high toned counterpart, and because
the ways and intentions of comedy may be tiresome to
explain. (38)
Some people have, however, made some attempts to define the term “comedy”. Holman and
Harmon (1980) in an attempt to define comedy, in A Handbook to literature, juxtapose it with
tragedy and state that “compared with tragedy, comedy is a lighter form of drama that aims to
amuse and that ends happily.’’
In common present day use, the word comedy almost refers to the creation or presentation of
humour with the intention of provoking laughter. The most obvious reference is that more often
comedy elicits laughter. In contrast to classical tragedy, comedy usually concerns the lives of
everyday people and revolves around their conflicting values and beliefs. These characters are
seen as social beings with humorous foibles than as solitary figures isolated from the rest of
the world by flawed character or fate. According to Costello and Tucker (1989) in, Forms of
Literature,
Comedy allows its audience to maintain a certain distance
from the events it depicts. For in this dramatic mode, we are
21
ISSN 2055 - 0138(Print), ISSN 2055 - 0146(Online)
Vol.4, No.4, pp.21-38, June 2016
comfortably assured of a happy ending, we can laugh at the
mishaps and misunderstandings on the stage, since we know
they are bound to be temporary.
Most comedies contain variations on the elements of surprise, incongruity, conflict,
repetitiveness and the effect of opposite expectations. There have been many recognized genres
of comedy and they are basically classified in terms of the various functions of the different
forms. Satirical comedy uses “ironic comedy to portray persons or social institutions as
ridiculous or corrupt, thus, alienating their audience from the object of humour.”
Comedy of manners “typically takes as its subject a particular part of society (usually upper
class society) and uses humour to satirize the behaviour and mannerism of its members.
Screwball comedy derives its humour largely from bizarre, surprising and improbable
situations or characters. Black comedy is defined as dark humour that makes light of so called
dark or evil elements in human nature. Romantic comedy is a popular genre that depicts
burgeoning romance in humorous terms and focuses on the foibles of those falling in love. It
is worth stating that this list does not exhaust the recognized genres of comedy, there are a lot
of others. Holman and Harmon add another genre which is farce comedy and explain it as ‘a
term sometimes applied to comedies that rely for their interest chiefly on farcical devices but
that contain some fully comic elements elevating them above most farce.”
It could be deduced from the above genres that the element of humour which runs through the
definitions makes them rightly fit in the primary definition of comedy.
Having defined comedy, it is important that satire is defined since it is the medium through
which selected works produce comedy. ‘a satire is a literary genre in which human or individual
vices, follies, abuses, or shortcomings are held up to censure by means of ridicule, derision ,
burlesque, irony, or other methods , sometimes with an intent to bring about improvement.’
(Elliot, R.C. 2004). Elliot adds that although satire is usually meant to be humorous, the
purpose of satire is not primarily humour, but criticism of an event, an individual or a group in
a witty manner. Satire usually has a definite target which may be a person or group of people,
an idea or attitude, an institution or a social practice. Often the target is examined by being held
up to ridicule, ideally in the hope of shaming it into reform. A very common almost defining
feature of satire is a strong vein of irony or sarcasm. A good example of a prose satire is George
Orwell’s Animal Farm which is in a form of fable. It tells of a group of farm animals who revolt
against their human masters and organize to run the farm themselves on equalitarian principles.
“Animal Farm represents Orwell’s final disillusionment with Soviet Russia in the Stalin
period.’’( Ward 1970)
One common feature of satire is irony. Elliot quotes Northrop Fryre in his essay “the nature of
satire” that “in satire irony is militant”. This irony often professes to approve values that are
the diametric opposite of what the satirist actually wishes to promote.” He adds that parody,
burlesque, exaggeration, juxtaposition, comparison, analogy and double entendre are devices
frequently used in satirical speech and writing. One other device used in satire is invective. For
the purpose of this discussion, however, focus will be on the way in which the writers use irony,
invective and exaggeration to present their satire.
22
Vol.4, No.4, pp.21-38, June 2016
Synopsis of the text, The Blinkards
The Blinkards is a play which tries to illustrate through the semi-educated Mrs. Borofosem
how many “been tos” behave when they return from abroad. Most of these people try to imitate
English mannerisms and reject things African.
Mrs. Borofosem returns from Europe and does her thing the European way. She transfers this
idea to her husband who seems not to be comfortable with her behaviour. Mr. Tsiba, a cocoa
farmer, on the other hand, is easily taken in by Mrs. Brofosem’s ludicrous imitation of English
mannerisms. He sends his daughter, Miss Tsiba, to Mrs. Borofosem to be taught English ways.
Mr. Okadu, a young man in the play is in love with Miss Tsiba and thinks that, in order to win
her love he also needs to be trained by someone who has been to Europe. He goes to Mr.
Onyimdzi, a young barrister, to be trained. Okadu and Miss Tsiba fall in love and Mrs.
Brofusem arranges for them to marry in the European style. Nna Sumpa, Miss Tisba,s mother
disapproves of this marriage and this eventually leads to her death. Mrs Brofusem who initially
rejects everything African, is finally seen to have changed from her ways, and begins to
embrace things African.
Synopsis of Medicine for Love
Ene Henshaw’s play Medicine for Love, is also a satirical comedy. It talks of a young man,
Ewia Ekunyah, the hero of the play, whose relatives have married three wives for him without
his consent. In the introduction to the play, the reader is made aware that Ekunyah faces three
problems. The first is the question of who traditional wives are; the second is that of achieving
his public ambition of winning an election and finally, whether to employ the methods dictated
to him by his reason, education and religion to solve his domestic and public problems or to
employ traditional methods which are represented by a medicine –man.
The three wives married for him become a great burden to him. He calls on the medicine-man,
Agatarata, to help him solve this problem and also help him with his political ambition.
Ekunyah sells his three houses and dishes out a lot of money to his voters through Joss, his
political agent. With all these efforts and money spent, he loses the election because his name
is unfortunately not included in the list of nominees. As a result, his counterpart is elected
unopposed. He collapses on hearing this message but later recovers and realizes how stupid he
has been.
Ekunyah’s aunt Dupeh gets married to, Bonga, the man who buys Ekunyah’s houses. The man
restores Ekunya’s houses to him. Two of his wives Bekin Wari and Ibiere Sua leave his house
to marry other men. Ekunyah then settles down with his third wife, Nene Katsina, who he truly
loves.
Comedy in the Two Plays

With the idea of what the plays are about, it is necessary at this stage to turn to the analysis of
the first play. The Blinkards is a satirical comedy. H. V. H. Sekyi states in the foreword to
the Blinkards that:
It satirizes, thoughtfully but mercilessly, a kind of social
epidemic which first appeared along with the missionaries in
the lives of our forebears in the eighteen fifties, gathered
23
Vol.4, No.4, pp.21-38, June 2016
strength through the rest of the nineteenth century and raged
in the opening decade, of the twentieth. It began with the
total rejection of African religious belief in favour of
Christianity; it went on to the total confusion of Christianity
with Christendom-of all that was good with all that was
European.
Kobina Sekyi creates the comedy in his play through the use of themes, characterization,
language and some devices like dramatic irony, invectives and exaggeration. In our discussion,
we will occupy ourselves with the way in which he presents his satire through these devices.
Sekyi discusses the themes of the alienated African and warns against the dangers of excessive
Europeanization. Mrs.Borofosem is the character around whom excessive Europeanization is
woven. She is a semi-educated woman who has been to Europe and she is now back to Africa.
She thinks everything African is evil. She objects to native dressing, food, marriage and the
use of local language. For instance, she together with Miss Tsiba, visits Mr.Onyimdzi, the
young barrister. Mr. Onyimdzi gives options for serving them a piece of cake or chocolate or
“buredzi tutui,” that is, roasted plantain. Miss Tisba opts for “buredzi tutui.”Mrs.Borofosem
who objects to local dishes says: ”Do behave, Erimintrude. A cake is more genteel than buredzi
tutui. Or else, take a chocolate. I recommend creamy ones. All young ladies in England chop
creamy chocolates” (Act I sc.I p.42)
Mrs.Borofosem insists that her husband wears pyjamas and slippers in the house. She makes
him smoke and spread the ashes on the carpet because she claims “she heard in England that
cigar-ashes were good for carpet.” Sekyi is by this behaviour criticizing people who
overindulge in things European and see them as the best to the detriment of things African. Dr
Ohweyie confirms this attitude of Ghanaians, when he says to Mr. Onyimdzi the lawyer:
When you come to think of the difficulties I have passed
through before I could have patients to operate on, you will
get headache. At first some said they were afraid, others said
I couldn’t do it, because only white men could operate. True
to a certain extent! When a white surgeon is unfortunate in
an operation nothing is said. If it had been a black man who
had such bad luck, the outcry would be loud and long (Act
II sc. III p.76)
Her husband, Mr. Borofosem, on the other hand, is upset with her insistence on things
European and wishes he could be allowed to do things in his own way.
Mr Borofosem: I heartily curse the day my wife decided
England for a while. Ever since then, I have had nothing but
we must do this, because it is done in England, we mustn’t
do that, because it is not done by English people and so on.
It serves us jolly well right for allowing ourselves to be
dazzled by all the flimsy foreign frippery…….The worst of
it is that some of us got into this foreign ways through no
fault of our own. We were born into the world of imitators,
worse luck…and blind imitators at that. They see a thing
24
Vol.4, No.4, pp.21-38, June 2016
done in England or by somebody white then they say we
must do the thing in Africa. (Act I sc. I pp. 21, 22)
These speeches depict the kind of lifestyle Mr. and Mrs. Borofosem lead. They are alienated
in their own home and this is what Sekyi attempts to warn against. Here Sekyi is satirizing the
manners of these characters and this brings out the comic effect in the play.
Again, Sekyi criticises the follies and problems of European styled marriages, contracted by
semi Anglicized Africans. Miss Tsiba a daughter of Mr. Tsiba, a cocoa farmer, is brought to
Mrs. Borofosem by her father to teach her European ways.
Mr. Tsiba; I have bring my girl for English Education….
You make her behave like a white lady. Teach her all the
things you have learn at London. By the grace of the big one
in the sky, I get some money. I have many cocoa land. I want
you to make her English. (Act I sc. I p. 32).
Tsiba is engaged to Okadu without the knowledge of her parents. Mrs. Borofosem comes to
the house of Mr. and Mrs. Tsiba only to introduce Okadu to them that he has engaged Tsiba.
This goes contrary to the African custom. Mr. Tsiba is initially furious, but when Mrs.
Borofosem explained that, that is the way it is done in England he readily accepts it.
Mr. Tsiba: (Disappointed) oh! So, in England, the news that
your daughter has dashed herself to a man is good news?
And they spend so much money on she-male education?
Mrs. Borofosem; Yes
Mr. Tsiba: then it must be good I didn’t know that before.
(Act II sc. p. 67)
Miss Tsiba’s mother, Nna Sumpa, and her grandmother, Nana Katawirwa, are vehemently
opposed to this proposal, and this eventually leads to the death of Nna Sumpa. This also
confirms what Costello and Tucker state that:” Rarely are comedy and tragedy to be found in
their unadulterated form in life or in art.” Sekyi has set out to write a comedy, but has brought
in a tragic incident and this brings in the idea of tragi-comedy. In spite of this, Mrs. Borofosem
and Mr. Tsiba still go ahead to conduct the wedding ceremony between Tsiba and Okadu in
the English manner without informing the extended family members. This among the Fanti
people, where the play is set, is unheard off. Under normal traditional circumstances the death
should have been attended to before the marriage contracted. Consequently, it is not surprising
that Nana Kat enters furiously.
Nana Kat: Where is Tsiba? They said he is here. Get out of
my way. Where is Tsiba? Now Tsiba, do you wish me to
understand that you are here merry making… O man of ill
omen. What are you doing here? Give me back my daughter.
Where is Sumpa? Have you not killed her with your
heartlessness? And where is Araba? Do you want to kill her
too? That I will prevent… Tsiba I am surprised at you. Have
you, whose wife died a week ago, left the room of widower’s
confinement to attend a wedding? ..... (Act III sc. I p. 102)
25
Vol.4, No.4, pp.21-38, June 2016
Sekyi puts these words in the mouth of Nana to depict the follies in marriage contracted in the
European manner. In our Ghanaian context, marriage involves both families of the couples,
therefore, before any marriage is contracted both families must be in the know to avoid
problems. Sekyi uses these scenes to bring out the demoralizing effect of Christianity on
African womanhood.
Besides the themes, characterization constitutes part of Sekyi’s technique to bring out comedy
in The Blinkards. The names of characters like Mr. Tsiba, Mrs. Borofosem and others, help
Sekyi to satirize some manners of individuals in the society. The name Mrs. Borofosem itself,
which literally means Europeanism, is a source of comedy. She behaves in accordance with
her name, and her behaviour makes her a comic character. She actually creates humour by her
behaviour. For instance, she insists that her husband calls her “duckie”.
Mr. Borofosem: well ducks?
Mrs. Borofosem: don’t say “ducks’ say “duckie”. Mr. Gush
always have said “duckie” not “ducks”. Say “duckie’ and I
will call you “darling” as Mrs. Gush do (Act I sc. I p. 23)
Her husband sings in English language and this she very much admires, because she claims ‘it
is like a white man’s voice.” When she again sings in Fanti language she exclaims:
Mrs. Borofosem: (looking shocked) oh, Jim!
Mr. Borofosem: (surprised) Hello, what’s up.
Mrs. Borofosem: How can you sing such a thing? It is only
Bushmen and fishermen and stupid and rascals who sing that
sing (Act I sc. I P. 25)
Her husband yawns and she thinks it is impolite because Mrs. Gush a white lady says so:
Mrs. Borofosem: Mrs. Gush says if a man yawns when a
lady is speaking to him, his manner is shocking. It is good I
returned from England the time I have come. If I was
stopping only three months more, you become bushman: you
have gone out in native dress when I was in England. You
have eat native chop all the time I am away. Scandalous!
Shocking. (Act I sc. I p. 29)
She is involved in a lot of humorous incidents and with these, Sekyi has rightly named her and
made her the true comic character.
One other comic character is Mr. Tsiba. He sees everything that Mrs. Borofosem does as right.
He even goes to the extent of sending her daughter to Mrs. Borofosem to teach her English
manners. Mr. Tsiba represents people in the society who copy blindly and this Sekyi criticizes.
Mr. Tsiba views Mrs. Borofosem as all-knowing and perfect being. Therefore, whatever she
does or says is right. Through his interaction with Mrs. Borofosem, one sees him as a comic
character. For instance, when he brings her daughter to Mrs. Borofosem to be trained, he is
seen off after their long conversation. He then re-enters and says:
26
Vol.4, No.4, pp.21-38, June 2016
Mr. Tsiba: Mrs. Borofosem, some book I have reading say:
“all modest young ladies blush at certain times”. I look in the
dickhendry and I see “blush” means to redden in the face.
Also I look modest and see “chaste”, I know “chaste” the
minister explain this to me. But I think “blush’ is an English
powder for face. I have never seen it here order some for my
daughter I have my cocoa farm. (Act I sc. I p. 32)
This utterance by Mr. Tsiba, gives the audience an idea that he is a semi-literate black person,
struggling to be European.
One other interesting scene which depicts Mr. Tsiba as a comic character is where his daughter
is indisposed and he sends her to the hospital, only to be told that the girl is pregnant. This
remarks makes the audience laugh. The following conversation ensues:
Mr. Tsiba: (Wildly) impossible! It can’t happen! My girl is
virginity…. Hello, Barbara, why you cry? Doctor says you
get a baby. You are not well; all the concerts and picnics and
balls make you tired…. Speak what’s matter with you.
Miss. Tsiba: kookoo
Dr, Ohw: (To Mr. Tsiba) if you doubt my words, take her to
a colonial hospital. You will find a white doctor there and
perhaps you will be satisfied with his diagnosis. I should add
that the thing is four months old.
Miss. Tsiba: only three mo-
Mr. Tsiba: eh! What you say? What is three months? I am
sadness. I am grief. (Act III sc. I p. 85)
Nyamekye, the servant of Mrs. Borofusem, is another comic character that Sekyi creates.
He is portrayed as a typical village boy who is not conversant with the European ways. He
enters walking towards the door of Mr. and Mrs. Borofusem; he sees them kissing and stands
still for a while with his mouth wide opened. He raises his hands in surprise and shouts:
“Meewoo! Kyire minguan. Abendazi na m’ebohui.” (Good Lord! I’ll run back. What is this
that I have seen?)” (Act I sc. I p.25) he then jumps back towards the door as if he has seen
something extraordinarily fearful. The audience is likely to laugh at this situation, hence,
Nyamekye’s suitability as a comic character.
Apart from this special crafting of character as a source of comedy. From the language of most
characters, it can be deduced that even those who profess to be “Europeans” are half baked;
and this is also portrayed in the kinds of grammatical mistakes they make. Such class like
Anglo-Africans is what Sekyi regards with a mixture of pity and contempt. Alexander Pope
once said: a little learning is a dangerous thing. Drink deep or test not the Pierain Spring. There
are shallow draughts intoxicated in the brain. And drinking largely sobers us again… “This
quote can be a nice advice for Mrs. Borofusem. Mrs. Borofusem herself, who claims to know
everything about the language and encourages ladies to speak the language, has a lot of
27
Vol.4, No.4, pp.21-38, June 2016
shortfalls in the speaking of the English language. On one occasion when she is conversing
with Mr. Onyimdzi she says:
Mrs. Borofusem: Well, I am surprised! Fancy being able to
talk Fanti like that, when you have spent many years in
England. How can you remember! Most young men don’t
able to understand vernacular when they return from
England. (Act I sc. I p. 41)
She again remarks in act one scene one, when she was conversing with Mr. Tsiba: “Your
daughter can’t be able to blush. I mean her skin don’t allow it to be clear when she will blush.”
These and other statements prove that Mrs. Borofusem herself is not a perfect example of
Europeanization. Mr. Tsiba also says this after her daughter’s marriage. “Praise touch God for
the kindness he has taken to show me Amen! I am glad that my daughter has marriage English
fashion”
Another manner in which comedy is created through the use of language is Sekyi’s ability to
tailor language to suit the characters. Mr. Onyimidze is portrayed by Sekyi as a learned man;
therefore, he speaks Standard English. Half crown, Mr. Onyimdzi’s servant, on the other hand,
is an illiterate and he is always using pidgin language. For this reason, Mr. Onyimdzi also uses
the pidgin language when he is speaking to Half-crown. There is a visitor at their door and the
following conversation ensues between the two:
Half: Some man day, sah
Mr. Onyimdzi: What kind man?
Half: E get plenty fine clo’es, big collar, boots shine all same
glass.
Mr. Onyimdzi: All right; tell him say come.
Half: Yas sah.
Mr. Onyimdzi has the ability to blend Standard English with pidgin. Mrs. Borofusem and Mr.
Tsiba on the other hand, are seen always forcing themselves to speak the Englsh Language but
with a lot of grammatical and expressional mistakes. Sekyi uses Mrs. Borofusem and Mr. Tsiba
to depict the follies in excessive Europeanization. They become objects of ridicule since
whatever words they utter elicit laughter from the audience. Nyamekye, Mrs. Borofusem’s
servant is always heard speaking Fanti. Since he is portrayed as an illiterate, his use of the Fanti
language suits him.
One device worth mentioning under Sekyi’s use of language is his use of invectives. Invectives
are harsh, abusive language. Mrs. Brofusem is first introduced insulting Nyamekye, her
servant, because he has swept away some dried leaves in her book. This she claims is the
European way of drying leaves.
Mrs. Borofusem: Look here, you idiot, what are you up to?
Give me those leaves (……) you are too much of a bushman.
Haven’t I told you that, in England, leaves are placed in
books to dry the books when the leaves are dry, being placed
in the drawing rooms? (……) And what have you swept
28
Vol.4, No.4, pp.21-38, June 2016
those ashes for? How often do you want me to tell you that
cigar ashes are good for carpets? Do you know that, in
England, cigar ashes are used to kill the moths in the carpets?
(….) You are great nuisance. Get out of this room. How
sweet this room looks. When I reflect that our forefathers
had only Ntwima to scour their floors with, and had no pretty
washes for their walls, I feel glad that l was not born in their
days, when they lived their lives in darkness. I am
particularly glad to have been born in the period when
Religion had brought us refreshment. (Act I sc. I p. 18).
The girls who are also learning from her are portrayed in Act Two, insulting each other.
1st Girl: You are imitating me, aren’t you?
3rd Girl: You are too silly.
1st Girl: Your clothes do not suit you.
3rd Girl: Your conduct does not suit your clothes. (Act II sc.
I p. 56)
From the use of these abusive words, the audience is able to decipher the kind of woman Mrs.
Borofusem is. She herself is not polite, and therefore has nothing good to offer the girls learning
from her. The irony of the matter is that, Mrs. Borofusem claims she was born in the period of
refinement, yet, she is worse than those born before her so-called period of refinement.
The use of the Fanti language is also worth mentioning as a good style. Sekyi retains the Fanti
translation of the English language in some sections of the play to prevent the loss of the
dramatic effect and of the meaning, since he has a cape coast audience in mind. His use of Fanti
proverbs and allusions enriches the play with morals. Perhaps Sekyi’s aim is not to entertain
but also to instruct and to provoke debate on major socio-cultural problems. In a conversation
between Parson and Mr. Onyimdzi in Act four, Parson uses a lot of biblical allusions which
seems to be didactic. For instance, he quotes bible texts as: “What God hath joined together
let no man put asunder.” “Vengeance is mine: I will repay, saith the Lord.” These texts serve
as pieces of advice to the audience.
Apart from language, Sekyi uses some principal devices of satiric comedy. One of the devices
that Sekyi uses is dramatic irony. With this device,
The words or acts of a character in a play may carry a
meaning unperceived by the character but understood by the
audience. Usually, the characters’ own interests are involved
in a way they cannot understand. The irony resides in the
contrast between the meaning intended by the speaker and
the different significance seen by others.” (Holman and
Harmon, 1986)
In the play the audience together with some other characters have an idea of the engagement
between Miss Tsiba and Mr Okadu, but Mr. Tsiba is not aware until Mrs Brofusem brings Mr
Okadu to Mr Tsiba.
29
Vol.4, No.4, pp.21-38, June 2016
Mrs Brofusem: I have bring you good news
Mr Tsiba: good news? Anybody want cocoa land to buy?
Mrs Brofusem: oh no! Not that kind of good news! It’s about
your daughter: Mr Okadu and she are engaged.
Mr Tsiba: Engaged to do what?
Mrs Brofusem: To be married of course
Mr Tsiba: What! I don’t know anything about it. (Glowers at
Mr. Okadu) He lie….
Who gave you my daughter? Liar! Scorpion. (Act 2 sc. 1 p.67).
The dramatic irony is also evident even before Miss Tsiba and Mr. Okadu meet each. The
audience and Mr Onyimdzi are aware that Mr. Okadu is in love with Miss Tsiba. Miss Tsiba
also expresses interest in Mr. Okadu when she sees him approaching. She says:
Oh! There is that young man who look too much at me at
chapel last Sunday. He look fine. I think I have seen him
coming out of Mr. Onyimdzi’s house the day we have called
there. Oh! He is coming here! I hope he will want to speak
to me. I will drop my handkerchief when he gets near; then
he pick it up, and we can talk without being introduction.
That’s what the girl has done in the book I read last night till
morning (Act 2 sc. 1 p.49)
Meanwhile, each of them is ignorant of the love each has for the other but the audience is aware
through some statements made by Tsiba to Mr Onyimdzi. It is because of his love for Miss
Tsiba that he goes to Mr Onyimdzi to teach him English.
Mr Okadu: I mean to say I have no money to go to England
like you. So I want to beg you to train me. I like MissTsiba,
and I want to marry her. But her father will not consent
unless he know I am with somebody like you who has gone
to England. She has been took to living with Mrs. Brofusem,
and she is becoming very smart, so I want to be smart, too,
sir. (Act I sc. I p.38))
The comic effect is produced even through his words. Here humour and wit have been applied.
Tsiba proves his wisdom by using this plan in order to get married to Miss Tsiba. Mr. Onyimdzi
replies: “you are getting too wise for your years; so you want to get round the old man?”
In addition to the irony. Sekyi uses exaggeration in his play. I think that Mrs Borofusem as a
character has been exaggerated. It is true that when people return from abroad, they tend to do
things the European way. Looking at Mrs. Borofusem’s total rejection of everything native
seems to be an exaggeration of her behaviour and this Sekyi has effectively used to come out
with the criticism of the social and cultural consequences of colonialism. In the final analysis
satire which is to ridicule and in the end bring about a reform or improvement is achieved.
Readers realise right from the beginning how Mr and Mrs Borofusem and their other supporters
30
Vol.4, No.4, pp.21-38, June 2016
are so much entangled with things European, as Mrs Borofusem puts it. “We have gone to
England: so we must do English things. English things are nice.” Okadu also confirms this
ideology in his soliloquy at the garden party at the Victoria Park.
….i speak English to soften my harsher native
tongue. It matters not if I often speak the Fanti wrong
I’m learning to be British and treat with due
contempt the worship of fetish, from which I am
exempt… all native ways are silly, repulsive,
unrefined. All customs superstitious, that rule the
savage mind. (Act 11 sc.1 p.46, 47).
This statement by Okadu, gives the audience an idea of how Okadu and his contemporaries
rank things European, higher to the detriment of things native. To them, all things native are
disgusting. In the end, they come to realize how stupid they have been. Mrs Borofusem now
appears in a native dress which she so much despised. She resolves to stop imitating things
European since she has not benefitted in any way by doing so.
Mrs. Borofusem: I have made a big fool of myself. But I
don’t look a fool, I hope. I wonder why I feel so comfy?
Why I have forget that I wear native dress. It suits me, isn’t
it? Oh! What nice long toes I get! They look sweet in sandals.
D’you know I don’t mind if my husband does not call me
“duckie”, now I have remember that Mrs Gush was fat and
she walk lie a duck. I have made up my mind to give up
kissing. I remember, in future, to speak Fanti to Fanti’s
Goodbye. (Act4 sc. iii pp.135, 137)
Mr Borofusem in his final remarks also states:
Well, I’m blest! Really, Onyimdzi was right all along the
line. If only we were rational, we should be more rational
and infinitely more respectable. Our ways and our things suit
our climates. For one thing, our drinks have not the same
maddening effect on our people as European drinks have.
The people of the old days were wise indeed: if only we
would follow the customs they left us a little more, and adopt
the ways of other races a little less we should be at least as
healthy as they were. (Act iv sc. iii pp. 147-148)
These final words of Mr Brofusem, is Sekyi’s message for the audience.
In Henshaw’s Medicine for Love, he discusses as his central theme, a man of two cultures.
Ewia Ekunyah is the principal character around whom this theme revolves. The conflict of
culture lies in the fact that Ekunyah is a Christian but whenever he faces a problem concerning
the three wives who have been sent to him, without consent, he sends Olu Ita, his servant, to
call Agatarata, the medicine man.
Olu: is there anything I can do sir?
Ekunyah: go and call me Agatarata
31
Vol.4, No.4, pp.21-38, June 2016
Olu: (surprised) the medicine-man, sir?
Ekunyah: (impatiently) go and call him, I say
Olu Ita: but you’ve just spoken to the chaplain, Sir
Ekunyah: will you stop arguing, and do what I tell you?
From Olu Ita’s speech, we realize that Ekunyah has spoken to the chaplain about his problem.
Though he is a Christian, he believes that something good could also come from a medicine
man. With this behaviour of Ekunyah, Henshaw criticizes people who claim to be Christians,
but fall on medicine men for their solution of their problems. Such people, he claims, are men
of double standards. Before colonialism the Ghanaian had no issues of double standards as far
as religion was concerned. It is believed in many circles Christianity has turned the African
into a hypocrite.
Henshaw again looks at the theme of marriage in the African tradition. Polygamy is an accepted
African tradition just as marrying for a relative is also accepted. The young ladies in the play,
Bekin Wari and Ibiere Sua, agree to marry a partner they do not love, but who they hope to
love later on. They are, however, not prepared to accept a polygamous household. These are
representatives of people who do not accept African tradition whole heartedly. I agree with
these people because it is not everything traditional which is good. Certain things need
modification. We cannot, therefore, accept tradition wholeheartedly.
Henshaw further criticizes the ills that go on in our political scenes. Ekunyah is a politician
who is looking forward to winning an impending election. Joss deceives him into selling his
two houses in order to get money to pay or perhaps bribe other voters so that they would vote
for him. Henshaw is criticizing what goes on between politicians and their eligible voters. The
voters think that in order for one to win an election he or she has to “grease their palms”. The
people of Koloro and Udura send a message to Ekunyah to “pave the road between their two
villages” because his election depends on whether he “paves the road or not.”
Ekunyah asks of the number of voters in those villages and when he sees that they are many,
he promises to do it for them. He again signs a cheque of a hundred and twenty pounds for the
church to buy an organ. Meanwhile, a beggar comes to his door to beg for alms, but looking at
the insignificant number of beggars in the community he turns him down.
Henshaw criticizes politicians who put all their trust in fetish priests in order to win an election.
Ekunyah and his committee members consult Agatarata who claims, he will use medicine or
charm to help Ekunyah win the election. He claimed he would let his opponent step down so
that Ekunyah is elected unopposed.
Bekin W: Mr Josss, what has really happened?
Joss: it’s terrible, simply terrible Sonrillo, Mr Ekunyah’s opponent, has
been elected unopposed.
Agata: impossible! My medicine, my ink. It’s a mistake. It’s a mistake.
(Act iii sc. I p.80)
With this scene, it may seem that Henshaw is advising his audience to desist from using juju
especially in politics because it may finally lead one to failure.
32
Vol.4, No.4, pp.21-38, June 2016
Henshaw uses dramatic irony extensively in his play. In Act one Scene One, Bekin Wari is
introduced quarrelling with Ekunyah over a woman she does not know.
Bekin Wari: Look here, Mr Ekunyah, if you think I shall stay here and let that woman….
Ekunyah: What woman? Do you mean Ibiere Sua? It is entirely my fault that I have not
yet introduced you to each other. That woman as you call her is Ibiere, and she
says, just as you do, that she is my wife. (Act I sc. I p. 18)
Whereas Ibiere is ignorant of this fact, Ekunyah is aware. This scene is effective in the
sense that introduces another character who the reader has not yet met. Again,
Ekunyah is not aware that Ibiere’s mother is in the house but Bekin is.
Ekunyah: Now, what has happened again?
Bekin w: Don’t pretend you don’t know her mother has arrived
Ekunyah: (Jumping up) her mother?
Bekin: (Mimicking him) her mother? As if you didn’t know, yes her mother.
She’s come to make medicine for her daughter against me. (Act I sc I p. 19)
This dramatic irony also serves as a source of information to both Ekunyah and the audience.
Another incident of dramatic irony is where Nene Katsina, the lady Aunti Dupeh, that’s
Ekunyah’s aunt, marries for him, comes to the house of Ekunyah without the knowledge of the
two rivals. The following conversation ensues between the two:
Ekunyah: Who’s there?
Nene’s voice: (offstage) It’s me please
Ekunyah: Expecting you? Why the dickens should I be expecting you?
Voice: I have a letter for you from Auntie Dupeh.
Ekunyah: No, thank you I don’t receive letters delivered by hand, send it by post.
Voice: (quite cheerfully) well, dearest, I’ll see you again sweet prince. (Act ii sc. P.6)
Olu Ita tells Bekin that he heard Ekunyah call himself sweet prince meanwhile both of them
do not know the reason behind it. It is the audience and Ekunya who are aware of the incident.
This scene in effect introduces Nene to the readers. Later in Act one scene three, Auntiie Dupeh
enters Ekunyah’s house shouting Nene’s name. She thinks that by that time Ekunyah has
accepted Nene and therefore, she should be in the house. The audience and Ekunyah are aware
that he has turned Nene Katsiana away; meanwhile, Auntie Dupeh is unaware of this fact. She
shouts: “Nene, Nene Katsina! Where is that girl? Is that the way she intends to marry Ewia by
not appearing smartly to meet visitors? Is there no one in this house?”
This scene depicts the kind of trust Auntie Dupeh thinks Ekunyah has in her and she therefore
expects that Ekunyah will accept anything she proposes. She is eventually disappointed.
33
Vol.4, No.4, pp.21-38, June 2016
Auntie Dupeh creates an ironic situation when she organizes a birthday party for herself and
invites Bekin, Ibiere and their parents. She had an ulterior motive; she has been looking for a
means of trying to drive them away from her nephew’s house. She therefore decides to poison
the glasses they will be using. The irony of the matter is that they bring their own glasses and
force Auntie Dupeh to drink from those poisoned glasses. Meanwhile, Auntie Dupeh has sent
for an ambulance which is going to transport Ibiere, Bekin and their parents after they have
finished drinking from the poisoned glasses. She is the one who is finally put in the ambulance
to be taken to the hospital. As Shakespeare says, the point that the evil that men do lives after
them. Henshaw is by this, perhaps, advising that man should think well towards all men in
order to avoid any bad consequences.
To make the use of irony more effective in the play, Henshaw creates humourous scenes
through his characters. The success of characterisation as a source of comedy in Medicine for
Love lies in the variety of comic characters that populate it. I shall discuss a few people like
Mama Ebunde, Ibiere Sua, Bekin Wari, Aunt Dupeh and Ekunyah, the main character. When
we first meet Mama Ebunde, Ibere Sua’s mother, the conversation which ensues between her
and Ekunyah definitely makes the audience laugh. A mother- in-law, who is visiting her son-
in-law for the first time, claims that she will not stay long because she does not want to
inconvenience them, and then proposes to stay for only three months.
Ekunyah: Welcome, Madam.
Mama. E: thanks for the welcome. I only came to meet you and to see my daughter. I shall not
stay long. I do not want to inconvenience your household I shall stay for only three months.
Ekunyah: (shouting) Three months?
Mama. E : All right, if you consider three months too short I shall stay for six months….. (Act
1 sc 1 p. 21)
Here Henshaw employs verbal irony. The actual intent of mama Ebunde is expressed in words
that carry the opposite meaning. To visit an in-law for a period of three months is a very long
duration. Ebunde claims that she does not want to create any inconvenience; therefore, she will
stay for only three months. If Mama Ebunde refers to three months of visit as a short period,
then her long visits may be for a number of years. These and other utterances she makes portray
her as a comic character.
Ibiere and Bekein can also be described as comic characters. Henshaw portrays them in a
humourous incident which elicits laughter from the audience. This is the scene where Ibiere
and Bekin are fighting over a man who does not love them.
Bekin : Don’t talk to me, Ibiere Sua. I’ve told you that we have nothing in
common. I was born beautiful. You were born ugly, though it wasn’t your
fault…you don’t belong to this house and you know that. Why don’t you quietly
pack out of here? No one will notice it. Even Ekunyah won’t mind. You know
quite well that he doesn’t love you. It’s me that he loves. It is for me that the
wedding bells will ring.
Ibere: Bekin Wari, they say that goats are stupid. But you
are so stupid that if you were a goat and they killed you, I
would never eat your meat.
34
Vol.4, No.4, pp.21-38, June 2016
Henshaw employs invective, one of the principal devices of satire, here. He makes the two
ladies use abusive language. This helps the audience to decipher their character, since one of
the ways of knowing a person’s character is through what the person says. In the course of their
argument, Nene Katsina the supposed third wife, comes in to look for Ekunyah. Bekin and
Ibiere team up and throw her out. They sit close to each other only to remember again that they
were fighting before Nene intruded. They suddenly realize the proximity of their seats and
jump up, each seating down in a chair farthest from each other. The audience is likely to laugh
at the behaviour of these two ladies.
Auntie Dupeh is another comic character that Henshaw creates in Medicine for Love. She is
revealed in a humourous scene in Act One scene three. Here, Ekunyah has called on the
medicine man to perform some form of juju to help solve his problem. Just after he finishes,
the chaplain enters and Aunt Dupeh pretends that nothing unusual is at stake.
Auntie D: Good evening Reverend. So long since I met you.
Chaplain: Not really, madam. It was only last week.
Auntie D: I mean that last week seems so long ago.
Chaplain: Madam, there are still seven days in the week.
The chaplain sounded sarcastic. Meanwhile, Auntie Dupeh goes ahead to answer questions
which are not meant for her. She does all these to cover up so that the chaplain will not realize
that they have consulted a medicine man. Auntie Dupeh explains that Agatarata is her cousin
who “suffers from attacks of forgetfulness.” The great Agatarata also tries to introduce himself
to the chaplain which Auntie Dupeh will not allow. This scene is really a source of laughter to
the audience.
Ekunyah, the hero himself, is portrayed as a comic character. He faints after the news of his
defeat. Olu rushes to the table, gathers some papers and whatever he can lay hands on, and
starts to fan Mr. Ekunya furiously. Joss looses Ekunya’s clothing at the neck and bends down
unlacing Ekunya’s shoes. Ekunya starts shaking his legs while he moans: “Hm, hm, hm, hm!”
he protests the removal of his shoes. Olu Ita gives a reason that he may be wearing torn socks.
BekinWari also faints on hearing the news of Ekunya’s defeat. She is carried by Joss, Agatarata
and Papa Garuka, hence they all exeunt leaving Ekunya alone on the stage. Ekunya who claims
to have fainted, licks the drops of brandy on his lips and again, waves his hand above his leg
as if to request that his shoes be left alone.
In another instance, when the doctor instructs the nurse to inject Ekunya, he takes to his heels
while the nurse pursues him. This scene is used to ridicule the person of Ekunya. For a man
who reacts to a simple medical procedure this way, to be seeking political power is absurd. The
audience is greatly amused by such a behaviour. Henshaw appears to be making the statement
that most political office seekers in Nigeria are clowns. If a person like Ekunya wins a political
office; what will be his reaction in the face of a gun?
It is important at this stage to discuss Henshaw’s use of language. His characters use excessive
abusive language. This means that Henshaw employs invectives to produce the comic effect.
For instance, in Act one, just after Mama Ebunde finishes introducing herself to Ekunya as
Ibiere’s mother, Bekin Wari and her father enter.
35
Vol.4, No.4, pp.21-38, June 2016
BekinW: (pointing to Mama Ebunde) I suppose I’ve met the old woman somewhere around
here.
Ibiere S: do you call my mother an old woman? Is she older than this bearded old fogey here?
Mama E: (to Ekunyah) do not stand there, sir, and allow this chimney to talk like that to my
dear daughter.
In this short scene, Henshaw uses invective to portray the character of Bekin, Ibiere and Mama
Ebunde. The audience can deduce that they are all quarrelsome and therefore, their long stay
in Ekunyah’s house will create confusion. Again, when Ekunyah loses the election, Joss uses
these abusive words on Agatarata, the medicine man: “imbecile, idiot, swine, nonsense, fraud
and embezzler.” The use of these words, depict the angry mood in which Joss is.
The diction of the characters in Henshaw’s drama is the Standard English. Unlike Sekyi, he
does not differentiate between that of the illiterate, semi-literate and the literate. This makes
the book simple and easy to understand.
Another means, by which Henshaw creates comedy, is the nature of the ending of the play. The
play very much fits into the traditional definition of comedy which is “a play that ends happily.”
Henshaw’s play ends happily with the marriages among almost all the characters. Olu Ita and
Bekin Wari; Dr. Marsey and Ibiere Sua; Auntie Dupeh and Mr. Kuidu Bonga, one of the leaders
of Sonrillo’s party, and last but not least, Ekunyah and Nene Katsina. Mr Bonga changes
Ekunya’s misery to happiness by giving him back his houses that he bought. His opponent’s
party also sends him a letter which is appointing him as chairman of the committee for the
drainage and sewage. Olu Ita is also offered the post of secretary. This makes them all finally
dance to the tune of music very happily.
After a critical look the two plays, a short comparison will be done at this stage. One similarity
between the two texts lies in the dramatists’ ability to criticize the follies of society through
their plays. In Nancy Cunard’s anthology, Negro, readers are made aware that Sekyi was
brought up as an Anglo-African in a society whose educated members were brought up to
believe that all things African were retrograde and were to be despised, and that thorough
Anglicization (and christianisation) was the passport to civilization and progress (J. Ayo
Langley). Ayo further states that he was informed by the late C. H. Hayfrom Benjamin, a close
friend of Sekyi, that Sekyi underwent an identity crises and ideological transformation within
a short time of his arrival In London. Britain swiftly disillusioned him and he discussed his
disillusionment and the implications of his increasing sense of identity with his fellow African
students. I believe that Sekyi’s experiences form the basis of his ideas to criticize the notion of
total rejection of African culture in favour of European culture. In the final analysis, Mrs.
Broofusem who totally rejects things African is portrayed as a reformed person. Sekyi uses
Mrs. Brofusem to represent people who are anglo centric. He uses her again to criticize such
behaviours and to bring them to a reformation. Ene Henshaw in the same way, uses Ekunya
and Aunt Dupeh to depict how people feel about things traditional. They invite Agatarata, the
traditional medicine man to help solve their problem. As soon as the reverend enters, Aunt
Dupeh , especially, pretends Agatarata is a sick relative. Because they claim to be Christians,
she does not want the reverend to know that they are involving themselves with things
traditional. By this behaviour Henshaw tries to criticize the hypocritical behaviour of people
who claim to be Christians and yet seek refuge in other gods when they are faced with
difficulties.
36
Vol.4, No.4, pp.21-38, June 2016
Another similarity between the two plays is their didactic nature. Both Kobina Sekyi and
Henshaw try to teach their readers a kind of moral lesson. Sekyi uses his characters, most
especially Mr. and Mrs Brofusem to come out with the fact that Africans need to return to the
dignity of the old order of the ancestors. I believe that Sekyi did not totally reject modernisation
but he thinks that modernisation should be tempered with the elements of tradition. This is
evident in one of his characters in the play called Onyimdzi, a barrister. He is a British trained
lawyer who has lived in Europe for many years but when he returns home, unlike Mrs
Brofusem, he accepts the African way of life. For instance, it is stated that he wears his native
togas and also speaks the native language whenever he does not have to speak English. When
he is introduced in Act 1 scene 2, he gives us an idea of his attitude when he says:
The court has risen, I have a case tomorrow. I have taken off the
European sacks and the inns-of court gowns which are my working
clothes. I have put on the native garb. I have withdrawn my feet from
boots, I have put on sandals….(Act1 sc.ii p.35)
In his conversation with Mrs Borofusem when she visits him with Miss Tsiba, his attitude and
what Sekyi seeks to give as a piece of advice are revealed.
Mr Onyimdzi: On the whole I think the girls will be better off if they just stuck to sewing and
other forms of womanly employment. They should at least know how to cook.
It is more important than embroidering or doing drawn-thread work.
Mrs. Borofusem: I hope Mr. Onyimdzi, you do not think that you would like your wife to go
to the kitchen.
Mr. Onyimdzi: dear no: such a thing simply couldn’t enter her head; fact is, I do not intend to
marry.
Mrs. Borofusem: you mean here, I suppose. I expect you get nice white girl in your sleeves.
Mr. Onyimdzi: White girl? No thanks I do not want any such thing as a wife of course, if I
wanted to marry, I should marry here. I do not see the sense in bringing out a
white girl, when one can marry here. (Act 1 sc. Ii p.39)
Henshaw, like many African writers, has drawn attention to the double cultural impact that
the modern African is exposed to. Because of modern day Christianity, Africans find it very
difficult to adhere to tradition. He is by this play trying to advise people not to totally throw
African culture away because there are some good things which can be upheld. He again uses
his satire to criticize African politicians who want to win elections through foul means. The
lesson to be learnt here is that politicians should be aware of people who would want to exploit
them in the name of winning elections. A character like Joss exploits Ekunyah, meanwhile he
loses the election. If politicians use the right channels, I think they can win elections rather
than bribing people to vote for them.
On the other hand, Henshaw criticizes some aspects of African culture, especially marriages
contracted by relatives without the consent of the would be couples. This creates a lot of
problems for Ekunyah who finds himself in such a mess. It is good that older relatives think
of their young ones to the extent of finding them a wife or a husband. But I think that the
would be couples concerned should be in the know before such marriages are contracted to
37
Vol.4, No.4, pp.21-38, June 2016
avoid any confusion. I think it is the same opinion being expresses by Henshaw when he puts
these words in the mouth of Ekunyah: “what can I do when you all decided to marry for me
without even the courtesy of asking for my opinion? At least I could have been asked to state
whether I wanted them tall or short, fat or thin.”(p.32)
It is evident that both plays discuss some aspects of African marriage. In The Blinkards too
Sekyi upholds African marriages and condemns the kind of marriage contracted between Mr.
Okadu and Miss Tsiba which goes against African tradition. From these two ideas one can
realize that there is an admonishing to follow African traditional way of marriage and to
eliminate some aspects which are not favourable.
The difference between the two plays lies in the fact that The Blinkards introduces some
aspects of tradegy. This aspect is where the disapproval of the marriage between Mr. Okadu
and Miss Tsiba leads to the death of Nna Sumpa. This means that, whereas, Sekyi sets out to
write a comedy, there is a little evidence of sadness which makes the happiness diluted.
Henshaw’s play, on the other hand, is a purely comic production. It begins with an exposition
stage where things begin to go wrong or get out of hand; some characters behave in slightly
foolish ways. At the end of the comedy, which is the resolution stage, the problems are solved.
It ends with marriages and a dance.
CONCLUSION
From the above discussion it could be concluded that satire is one of the controlling elements
in African comedy. The two dramatists have looked at what goes on in the society as a source
of motivation to come out with their comic plays. They possess the ability to provoke laughter
in the audience and in the end gives them satisfaction. This is evident in how the two plays
end on a happy note. One can categorically state that The Blinkards and Medicine for Love
satisfy the characteristics of comic plays.
REFERENCES
Comedy at the open Directory project http://en.wikipediaorg/wiki comedy”
Costello, J& Tucker. (1987). (1st ed.) Forms of Literature. A writer’s collection. New York:
Glen M. Edelstein.
Cunard, N. (1934). Negro London: Wishart and Co. Ltd.
Elliot R.C, Satire in: Encyclpaedia Britannica 2004 Northop,F,Literary
Critic,quoted in:Elliot,Satire
Henshaw, J .E. (1964) Medicine for love. Lagos: Nigeria Publishers services Ltd.
Sekyi, K. (1945). The Blinkards. .Belgium: Rex Collings Ltd.
Orwell, G. (1990). Animal Farms. London: Macmillan.
Styan, J.L. (1968). The Dark Comedy. The Development of modern comic Tragedy. London:
Cambridge University Press.
Ward, A.C. (1970) Longman Companion to Twentieth Century Literature..London: Longman
Group Ltd.,
38

Kobina Sekyi's The Blinkards and James ENE Henshaw's Medicine For Love A Study in The Manner of Comic Production

Uploaded by

Copyright:

Available Formats

Kobina Sekyi's The Blinkards and James ENE Henshaw's Medicine For Love A Study in The Manner of Comic Production

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Kobina Sekyi's The Blinkards and James ENE Henshaw's Medicine For Love A Study in The Manner of Comic Production

Uploaded by

Copyright:

Available Formats

European Journal of English Language and Literature Studies

Vol.4, No.4, pp.21-38, June 2016

Comedy in the Two Plays

You might also like