Genre
Drama
Language
Gikuyu, trans. English
Setting and Context
Post-Colonial Kenya
Narrator and Point of View
Third person-limited point of view. Occasional interpretations of characters' thoughts and reminiscences.
Tone and Mood
The tone varies depending on the speaker. For Gĩcaamba, the tone is moral and indignant. For Kĩgũũnda it is similar, laced with thoughtfulness, passion, and occasionally anger. For Wangeci it is weary and bitter. Overall, the mood is one of righteous frustration and simmering tension.
Protagonist and Antagonist
Kĩgũũnda; Kĩoi
Major Conflict
Micro conflict: whether or not Kĩgũũnda and Wangeci will lose their land and autonomy to Kĩoi
Macro conflict: tensions between the social classes in post-colonial Kenya
Climax
Kĩgũũnda and Kĩoi fight about Gathoni's pregnancy, Kĩgũũnda threatens Kĩoi with a sword, and Jezebel shoots him.
Foreshadowing
The title-deed falling onto the floor foreshadows Kĩgũũnda's eventual loss of his land.
Understatement
n/a
Allusions
-Other religions (the P.C.E.A, Greek Orthodox, Kikuyu Independent, Salvation Army)
-Allusions to recent historical events (Mau Mau, the Emergency, independence)
Imagery
See other entry on imagery.
Paradox
n/a
Parallelism
n/a
Personification
-"Are we the rubbish heap of religions?" Kĩgũũnda, 9
-"Come out of the muddy trough of sins!" Helen, 48
-"The white man had arranged it all / To completely soften our hearts / To completely cripple our minds with religion!" Gĩcaamba 57
Use of Dramatic Devices
As this work is a play, there are many dramatic devices. There are dancers and soloists and choruses that come on stage. Gĩcaamba speaks in long monologues. Characters enter and exit the stage. There are detailed stage directions provided by the author.
