ACT 3.

Edufa and his household are arranging for the party. Well, not so much Edufa, but the rest of the household is. Senchi and Edufa hold a very deep conversation while dressing for the occasion. Edufa admits to his best friend, “I wish I could like you, dare to bare myself for scrutiny. I’m being compelled to learn however, and the day will come, I suppose.” this quote shows how furtive and sneaky Edufa really is. You can tell, because he doesn't want people who hold him in high regard to see his downfalls and struggles. Even though he just admitted this fault in himself, Edufa's pride still shines through when he mentions to Senchi that the chorus, "[...] will not miss this chance to dine at Edufa's house." For one, he says that they will not miss the chance, implying that they may not have anything better to do or anyplace better to go. Secondly, he refers to himself in third person by calling himself Edufa. This enlightenment was clearly fleeting, because, a few lines later, he calls his friend an ass, and Senchi replies, “Yes, call me an ass. Always, it’s ‘You’re an ass!’ Seldom does a man say ‘I am an ass.’ That takes courage. […]” Senchi sees through his friend’s arrogance, and sees a coward. The chorus arrives and the dinner party has begun. Senchi entertains the chorus and everyone is having a great time. A ghastly figure is seen at the top of the steps, and it is Ampoma, stumbling around despite her illness. Edufa tries to rush her to the bed; however, the chorus warmly greets her, and is excited to have her dining with them. The chorus gives high praise to Ampoma for her grace and deity. While everyone, is enjoying the dinner and stories told by Senchi, Ampoma makes a proclamation of love for her husband, Edufa. The chorus as well as Senchi is very pleased. Throughout the party, Ampoma falls three times, and the chorus is startled. Finally, Ampoma says her good byes and asks for Edufa’s permission to her room. Edufa quickly storms after her, and leaves his dinner party lonely. They all sit around and wonder what’s going on, and Seguwa explains that Edufa is, “Most dangerous.” Senchi and the chorus are in disbelief, and when Edufa runs back to join the group, an owl hoots. Over this, Edufa goes insane, and gains an unnatural amount of human strength. They all realize that Ampoma is dead, while Edufa is wildly raging. The scene closes with Edufa preparing for revenge on “death”, and Senchi and the chorus singing.



Analysis.
Ampoma falling three times symbolizes her death is imminent. Although Edufa caught the tree stones in the previous act, it was not enough to keep his wife from death. Because Ampoma exchanged her life for Edufa’s the day she died, was the day of death for Edufa. This “appointment” obviously could not be missed.

When the owl hoots, it is symbolic. Edufa violently questions Seguwa and asks, “Didn’t he take that bird away?” Edufa wanted nothing to with owls, but again, he could not avoid it.

ACT 2.

The chorus continues their solemn funeral song, and no one in Edufa's house recognizes this cry as a calling for someone in their house. Edufa's stature is really displayed in this scene, in that, the chorus refers to him as, "[...] He-Whose-Hands-Are-Ever-Open." The village sees him as generous and eminent. In fact, they continue to describe him as, “Open Face Open Heart Open Palm, Edufa.” The relationship between Edufa and his wife Ampoma is seen as nearly perfect in the eyes of the community. This is displayed by the chorus stating that, “Woman of this house of fortune. Singing your husband’s praise is singing your praises too. Tender heart who nurses him to his fortune. Stand side by side […]” Ampoma seems to be his support. Her sincerity is clearly presented. The chorus somehow enters the gate that Edufa declared to be locked, as to not allow the outside in. They question Seguwa whether or not they may enter, and at first she is hesitant, but agrees to let them come in. Upon entering, they address Edufa as “the giver himself”, and ask about Ampoma. Edufa lies and says she is getting better, to protect his image of health and wealth of course. The chorus is invited to perform a ritual to bring comfort, health, and most importantly, cast away all evil spirits. Too bad they don’t know that the evil spirits are already present, because of Edufa’s carelessness. As they are leaving, the chorus is also invited to come again for dinner. Just as the chorus is leaving, Edufa’s friend Senchi is arriving. Senchi is a very charming and flirtatious man who cannot wait for the dinner he overheard Edufa inviting the chorus of women to. He is a simple, yet comfortable songwriter who does not have many riches. Because of the festivities that will be going on later in the night, Edufa orders that his baby sister Abena prepare dinner for them. Senchi has not found love, but sees something in Ampoma that he desires in a woman of his own. Sam described as an “idiot servant,” returns from a mission that Edufa has sent him on. He endured a lot on the way to the see “the man” who is later discovered to be the “diviner” who cast the spell for Edufa. With him, he brought back an owl which everyone seems to be dismayed about. Sam delivers strict directions from the magician himself, and Edufa must catch three special stones from the river, make a sign of the sun on his doorstep, and lastly, burn a small pouch.Edufa truly believes Ampoma is saved after completing this sacrament.



Analysis.
The way Edufa addressed his little sister to begin dinner preparation startled me, and therefore urged me to research how African women are treated in society. According to (http://www.africaguide.com/culture/weddings.htm), “[…] in marriage women are given to a man they do not know who is much older then themselves. The bride packs all her belongings and is dressed in her finest jewelry. At the marriage ceremony the father of the bride spits on the brides head and breasts as a blessing and then she leaves with her husband walking to her new home she never looks back fearing that she will turn to stone. This can be a very sad experience for the bride, who is 13-16 years old and may walk a long way to get to her new house. In order to ward off bad luck sometimes the women of the grooms family will even insult the bride.” This was very surprising and it really shocked me to read this. I do not in any way see how insults can bring good luck. As I kept reading Act II, something else amazed me. The chorus [referring to ampoma], says, “O lady, lady lying in a bed of silk! What kind of thighs, what kind of thighs must a woman have to earn a bed of silk?” Clearly, this quote shows how much value a woman has in society.

Another poignant point in Act II was how agitated Edufa and Seguwa were about Sam’s owl. I decided to discover why they were so critical. In Africa the owl is associated with witchcraft and sorcery. (http://www.crossroad.to/Books/symbols1.html) because they hunt at night, they are associated with secrecy and darkness. According to the Hottentot people of Africa, the hooting of an owl at night is an omen of death. (Myths Encyclopedia) “Among the Kikuyu of Kenya it was believed that owls were harbingers of death. If one saw an owl or heard its hoot, someone was going to die. In general, owls are viewed as harbingers of bad luck, ill health, or death. The belief is widespread even today. The witch doctors take owls and use their talons and beaks for medicines which help them harm other people - very powerful medicine. When owls enter the village, they are shunned or shot, in part because the larger owls such as Giant Eagle-Owls take chickens, but also because they are thought to induce disease merely by their presence. Owls are feared because when one cries by your house it means bad news. Then you must throw stones at it to chase it away.” (http://www.owlpages.com/articles) I guess the owl, also called the “spinner of fate,” is not openly accepted in the presence of people.

Edufa is instructed to “catch” the stones as not to let Ampoma “fall.” Catching the river rocks meant sparing her life. The sign of the sun is drawn on the doorstep, symbolizing, the fact that when Ampoma’s spirit walks in and out, Ampoma can feel rays from everywhere. In African culture, the sun gives life, power, strength, and energy. It radiates this power through its rays, and this is why the rays were drawn in every direction in which Ampoma could step. The burning of the satchel, symbolized...well I’m not sure what it symbolized. Maybe you guys could help me here.

ACT 1.

The scene opens with the main character, Edufa urgently demanding that water be poured and special herbs be precisely added to the steaming water. While this is all going on, a chorus is chanting a funeral cry. Because of this, Edufa is perturbed, but strictly follows the "recipe” for the specified bath. Seguwa, his house attendant, seems to be deeply troubled herself. She is distressed, because of a secret that, “frets against the closed walls of [her] skull.” This scene is very unhappy, but both of the characters are working tediously to follow instructions for some kind of special bath. Later, we find out that they are catering to the needs of Ampoma, Edufa's wife. She is terribly ill, and they are drawing an herbal bath to encourage health in her sick body. Edufa's father, Kankam makes a surprising visit, and brings with him authority and great respect. The father and son are not on speaking terms, because of something that occurred earlier, about three years ago. Seguwa begs Kankam to help Edufa, because it seems as if he is in a great predicament. Kankam demands to see his son, and when Seguwa summons him, Edufa disrespectfully greets his father. As the story progresses, it is implied that Edufa is a very honored and recognized as a wealthy man in his village. His attitude in the eyes of his father is like that of a moron, because Edufa has, “sold […] treasures to buy [him]self the importance that fools admire.” This quote gives insight to what happened three years ago…

The story goes…The family: Edufa, Ampoma, Seguwa, and Kankam were all sitting around discussing the rain, and how it makes for a depressing spirit. Kankam noticed that the rain especially affected Edufa, in that he had a pessimistic and terse attitude. It was particularly shown when Ampoma made a joke, and Edufa snapped and stormed out of the house. Upon returning, his whole mind-set had adjusted. The family was indeed surprised, but made nothing of it; all except Kankam. Edufa is very relaxed, and lays back lavishly to ask the question, "Who loves me enough to die for me?" This odd question did not go unanswered, for Ampoma sincerely admitted that she would be willing to lay her life down for her husband. Nobody thought this question suspicious, all except Kankam.

The whole reason why Kankam decided to visit Edufa on this particular day, was becuause he had figured out from whence Edufa obtained his optomism. Kankam came in order to confront his selfish son, and confront him he did. He unfolds the story before his startled son. Kankam describes that Edufa visited a "diviner", something like a migician or fortune teller in order to lengthen his life in exchange for someone who was willing to die. When Ampoma put her heart felt declaration into the air, the spell went into effect. Edufa denies this "farfetched" folktale, and Kankam, leaves in frustration. At the end of the scene, Edufa is lamenting over his selfish decision to obtain longevity. His last lines are, "Unsay it. Do not swear, for I am compromised. She who lies there must recover if I'm ever to come to rest. I love my wife, I love her. My confidence is her hope and her faith in me, mine. So we are locked." Clearly, Edufa is regretful.