Validity and Reliability or Transferability and Credibility

Zifa inherits a family curse but the playwright is vague about its antecedents. The curse affected Orukorere and Zifa’s father. The former became the bride of the sea while the latter dies of leprosy and apparently, Zifa buried him instead of depositing the corpse in the evil grove. Thus, he commits a crime against the gods and the land. The gods do not forgive without compensation and Zifa is not willing to carry out the propitiation ceremony that involves a goat. It appears, therefore, that the curse is the cause of Zifa’s impotence.

3.3 Setting

The play is set in Deinogbo, an Ijaw town in the Niger-Delta area of Nigeria. It is a town located by the sea-side in the colonial period.

3.4 Language

The language of the play is poetic. However, Clark has been able to capture the nuances of the Ijaw language. The dramatic dialogue is constant in its allusion to the circumstances of mode of life in the delta communities of southern Nigeria.

He uses proverbs and riddles freely in the play. The riddle is a verbal entertainment in Ijawland. Clark has been able to use riddle not for mere entertainment but as a vehicle of communication of ideas that are too sensitive for direct speech. The images used in both the riddles and other aspects of the dialogue are drawn from the playwright’s background – the Ijaw world. The effectiveness of the device derives from the fact that the playwright is consistent in his use of imagery. A very good example is the imagery of ‘house’ used for Ebiere’s womb and love-making.

MASSEUR: An empty house my daughter is a thing/of danger…

EBIERE: It is not my fault. I keep my house/Open by night and day!

But my lord will not come in …why?

Who bars him?...

My house has its door open I said … Masseur … MASSEUR: Has he a house elsewhere?

3.4 Chorus

The neighbours are used as chorus. They make comments on the events of the play and make some philosophical statements about life and living.

3.4 Characterization

Zifa is the tragic hero of the play. He conforms to the standard of the classical tragic hero. He is a notable man in the community. He has a tragic flaw, pride, which causes him to commit an error of judgment that leads to catastrophe.

He is impotent and also bears a family curse. He arrogantly refuses to acknowledge his impotence. Consequently, he refuses to carry out the ritual that will help to solve his problem. He rejects the Masseur’s

suggestion that he allows another man to assume the role of husband to Ebiere.

In his pride, he defies the tradition in respect of his father’s second burial and on the ceremony of the goat. In this process, he insults the gods.

Zifa has for years neglected the gods. Orukorere has been urging him to perform the propitiation ritual, but he does not pay any attention to her.

However, as soon as he discovers that Tonye impregnated Ebiere, he performs the sacrifice. Unfortunately, it is not done in a proper manner despite the warnings from Orukorere.

He performs the sacrifice without ritual cleansing. He slaughters the goat, splashes the blood and insists that it should cleanse the compound immediately.

He is rash in taking decisions. He resolves to kill his brother as soon as he discovers that he was having an affair with his wife. However, he does not carry out this threat because Tonye courageously hangs himself instead of waiting for his brother to kill him.

Ebiere

Ebiere is a beautiful woman. She is a dutiful wife and loving mother.

She is considered infertile so she goes to find out. The Masseur assures her of her good state of health and suggests an affair between her and another man. She accepts the suggestion and becomes pregnant for her brother-in-law. Unfortunately, her husband discovers and threatens to kill his brother. She faints at the end of the play.

Orukorere

Orukorere is Zifa’s aunt. She has the gift of prophecy but she fluctuates between madness and sanity. She is said to be chosen by the sea-god, so would not get married. Her words are, in most cases, philosophical.

Her role, apart from being Zifa’s aunt is confusing. Dode calls her mother and calls Ebiere by her given name. It is not clear, therefore, if Dode is really (biologically) her son.

Masseur

Masseur is a very important character in the play. He plays the role of choral leader. However, in this play, he also plays his role as a healer.

Women who fail to bear children consult him. He massages the women

failures are manifested by whether a massaged woman gets pregnant or not.

He also acts as a confidant. He knows the secrets of many members of the community but does not divulge them.

SELF-ASSESSMENT EXERCISE i. Discuss Zifa’s tragic flaw?

ii. What is his error of judgment?

4.0 CONCLUSION

J.P Clark is one of Nigeria’s foremost playwrights. In Song of a Goat he constructs a classical tragic play. He presents characters that are life-like who operate naturally in their traditional environment. He captures the Ijaw speech pattern perfectly and still presents them in correct English language. The play is accessible and contemporary.

5.0 SUMMARY

Clark presents in this play the story of a man who is so obsessed by pride that he destroys himself and his entire household. From this you have learnt to heed positive and progressive advice.

6.0 TUTOR-MARKED ASSIGNMENT

7.0 REFERENCES/FURTHER READINGS

Clark, J.P. (1964). Three Plays. London: Oxford University Press.

Wren, Robert M. J.P Clark (1984). Lagos: University of Lagos Press.

UNIT 2