Ø Name:- Sanjaykumar N Jogadiya.
Ø Subject:- The African Literature
Ø Paper No.14
Ø Topic:- Character Analysis and Symbolic Meaning in The Swamp Dweller Play.
Ø Part:- M.A. Sem-4
Ø RollNo.24,
Ø EnrollmentNo:-2069108420200017
Ø Email Id:- snjogadiya@amail.com
Ø Submitted:- Smt. S.B. Gardi Department of English
MK Bhavnagar University.
Character Analysis and Symbolic
Meaning in The Swamp Dweller Play.
Introduction
Swamp Developers is a play written by wale
Soyinka and published in 1958. The play, The Swamp Population, is a major
conflict between Nigerian society and the new way of life in general in Africa.
In southern Nigeria, the individual was tightly bound to his society, and with
the introduction of more modern ideas, this relationship was not as consistent
as before. There are three main categories of characters: parents, corrupt
priests, and their followers, and constantly moving and changing individuals.
In the swamp population, Soyinka explores controversial themes for a functional
society such as power, social injustice, hypocrisy, oppression, and balance.The
purpose of this critical analysis is to expand the boundaries of our knowledge
by exploring some relevant facts and information related to the analysis of
“The Swamp Dwellers”. The Swamp Dwellers was produced in London, and also in
Nigeria. Nobel laureate Wole Soyinka is internationally celebrated as a
playwright, poet, novelist, and literary critic of exceptional talent. His
prolific and innovative work engages in social critique on many levels and is
often concerned with bringing to light the corruption and contradiction found
throughout Nigerian society, including both traditional and Western worldviews.
Soyinka's versatile writing draws resonance from the Western literary tradition
as well as from his thoughtful and thorough engagement with Yoruba mythology
and symbolism. He has suffered political persecution for his criticisms of what
he has felt to be morally objectionable Nigerian government policies, and for
the active roles, he has taken in protesting and resisting them. In addition,
he has garnered international recognition as a trenchant essayist and critic.
Characters
Alu,
Awchike,
Desala,
Igwezu,
Kadiye,
Makuri,
The Beggar,
Alu
Alu is the wife of Makuri. She is the mother
of Igwezu and uch Vachik. He is about sixty years old. He believes in the
custom of swamps. He thinks a river bed is the ideal wedding arrangement. It
worries Uch Chichi, who lives in the city, more. He is concerned for his
safety. Her anxiety makes her shoot questions. Her questions make Makuri think
of her as a stupid neurotic wife. He is as hospitable as Makuri. His reaction
to Kadiya's words shows that he is a traditionalist. Even though it is
explicit, it is not for change. Alu's understanding of the world is very
limited. Igwezuna's words about her brother uch chuki calmed her anxiety. All
told, Alu is a loving and caring mother.
Makuri
Makuri is the father of Igwezu and uch
Vachaika. He is Alu's husband. As a husband he is arrogant. He likes to annoy
his wife. Constantly quarreling with his wife is a show. He has a complete
mutual understanding with his wife. He is a good host. He gives the beggar
Canberry. He gives himself entirely to the serpent cult. Though he is mostly
angry but he has considered for his fuck wife Aloo. It represents a note of
tradition in the play. His affection for his wife is unprofessional. He is
smarter than his wife. Igwezu exposes Kadia's corrupt practices. Makuri is
annoyed by this. He will be afraid to face the wrath of the villagers. Soyink
by Makuri emphasizes the importance and value of the marital relationship
between husband and wife. He has no illusions about the character of Aw Wachik.
Nor does he even have to reassure Igwezu who has returned after being betrayed
by his wife Desala.
Iguazu
Iguazu is the son of Aloo and Makuri. They
are twins with Avachik. It is the center of the play. Swamp residents are a
play of revelation and are educated through experience in both Iguazu City and
Swamp. The primary theme of the play is the discovery of the flaws of Iguazu's
rural life and city life. Igwezu plays the role of Truth Taylor. He is a
character in the play who has tasted the ups and downs of life in the village
and in the city. As a swamp population it knows how life goes in the southern
part of Nigeria. It is through him that Soenka criticizes Kadia's corrupt
religious practices. Family relationships make sense to her. In that respect,
Iguazu is unlike his brother Uch Wachik, who is a resident of the city. As a
city dweller for eight months, Iguazu knows the ups and downs of city life. He
knows how ruthless people like Uchik are in making money. He is broke in
business. He comes back home. His land is flooded. His hopes of a good harvest
have been dashed. He has been betrayed by his own brother. Desala, his wife
betrayed him. He changes hands. Iguazu talks frankly with Kadiye. This reveals
the serpent sect as an ointment. Igwezu welcomes modernization in the swamp. He
is ready to change his mind. For all his thinking in terms of modernization,
Igwezu doesn’t smoke reclaiming land from the swamp. Iguazu’s life experience,
he is obsessed with both in town and in the village. It reflects critically on
his situation. It casts doubt on the value system favored by the community.
Going back to the city again is like going back to one of the huts. He decides
to hand over the land to the beggar. He refuses the help of the beggar because
he does not lead one blind man to another.
Desala
Desala does not appear as a character in the
play. But, he has spoken. Deshala is the embodiment of the corrupt nature of
city life. Theractor also echoes the materialistic tendencies of the
townspeople. Desala married Igwezu. Igwezu was later weakened by poor returns
from his business. Desala prospered in his business to uch chuchik. So, Desala
leaves Igwezu and marries Avuchike. It shows how city life has become morally
void.
Avuchike
Avachik is the twin brother of Igwezu. He
does not appear as a character in the play. Having said that, Soyink has
introduced the character of Avachika. He left the swamp ten years ago. The
glamor of city life has changed its character. He has become a total city
resident. He is in the timber business. Making money takes him off his feet. He
has formed a relationship with relatives in Swamp. He is not a just man. Doing
business in the city makes him ruthless and ruthless. He goes so far as to take
Desala from his brother Igwezu. It's a betrayal. He cites the example of the statement
“the city becomes brother against brother”. In physical appearance, Kadiye is
the opposite of a beggar. It's heavy. His fingers are heavily colored. He is
rich amidst poverty. He is a self-important man. As a serpent priest he has
escaped the swamp inhabitants. He betrays the trust of the villagers. It
promotes the serpent cult. He has taken a look at Igwezu's money. As a priest
he doesn’t worry about a lot of igwezu. He exploits the villagers knowing full
well that they are in troubleSoyinka satirizes the corrupt practices ail the
society living in superstition living in superstition through Kadiye.
The Beggar
The Beggar comes from Bukanji in North
Nigeria. He is tall and straight. His bearing is dignified. He is a devout
Muslim. He is a man of independence. He is resolute in supporting himself.
Though he is blind he is a very good judge of other characters in the play.
Soyinka has drawn him as a contrast to Kadiye. Though he has seen adversity it
has not shaken his spirits. He is full of hope. He shores up the sagging spirit
of Igwezu by offering him hope. He is for redeeming a piece of land for
cultivation from the swamp. He is a man of quick intelligence. He analyzes the
ills of the swamp dwellers. He is ready to cast his lot with them. He braces himself
to fight against those who exploit them. It is an irony that the man from the
north is termed as beggar. He may be a beggar because he does not have means to
support him. But his intention is to work and earn his livelihood. He is
against getting alms. His self‐esteem does not allow him to beg. The Beggar is
a man of self‐esteem.
The symbol for the village:
As the swamp sinks the people, a whirlwind of
ignorance, superstition and frustration is drawing more and more people to the
village. Because the village remains stable, while the city is constantly
changing. Village People who live in the village believe in superstition, have
traditional ideas, and cannot accept new ideas. They are stuck in a quagmire of
superstition and old ideas.
The symbol for the city
For the city, the swamp is a symbol of
spiritual destruction and immorality. This city is spiritually dead and it
draws people into it. Youth sewer instead of city. The city swallows Uch
Wachik, he robs his daughter Igwezu and finally, Igwezu returns to the city.
The irony is that the choice for the younger generation is between two swamps;
In one village and in another city. In this play, the swamp is a fitting symbol
of degeneration and rejection of life. The land, therefore, seems to be crying out
for redemption and people need resurrection but are unable to bring themselves.
Conclusion
The Swamp Dwellers examines the suffering and
hardships of the people living in Nigeria-Delta. The suffering of the Nigerian
people has been guided by federal thoughtlessness and domination. The purpose
of writing this story is to keep the focus on the society operating through
modification between the city and the country. Although there are many
characters in the story, the main theme revolves around the story of a woman
named Alu. Through the character of Alu, the author has presented the concept
of aspiration and determination, especially focusing on women. The story also
contrasts the differences between the traditions and modernity of living in
southern Nigeria
Work sitetion Wole
Soyinka’s Art of Characterization in the Play The Swamp Dwellers. Ed. Literacle
editors. 14 October 2012. 06 April 2019
<https://literacle.com/wole-soyinkas-art-of-characterization-in-the-play-the-swamp-dwellers/>.
Articles, Literary. Wole Soyinkas Art of Characterization
in the Play The Swamp Dwellers. 14 October 2012. 09 March 2020
<https://literacle.com/wole-soyinkas-art-of-characterization-in-the-play-the-swamp-dwellers/>.
Nwosu, Canice and Chinonye Marchie. From Worship to
Commodification: Wole Soyinka and Sanctity of the Sacred. June 2015.
19 March 2018
<http://ijaahnet.com/journals/ijaah/Vol_3_No_1_June_2015/7.pdf>.
The swamp dwellers. 19 March
2018 <https://sites.google.com/site/theswampdwellers/the-beggar>.
