Elaborate Analysis of The Two Sisters by J.P. Clark
General Introduction
John Pepper Clark's The Two Sisters is a deeply layered play that explores themes of marriage, sexuality, communal harmony, and the tension between tradition and personal agency. Unlike many of Clark’s earlier works, which focus on political and post-colonial themes, The Two Sisters delves into the intimate and volatile world of marital relations and the far-reaching consequences of sexual power dynamics.
Set in a Niger Delta riverine community, the play is structured in the classic storytelling tradition, with narrators guiding the audience through the unfolding drama while seamlessly blending with the characters. The play not only examines the bond between the titular sisters but also critiques gender roles, marital expectations, and the potential for individual choices to ignite communal discord.
Plot Summary
The story revolves around Ebikedobamo and Brakare, two sisters who share a deep, almost mystical connection, despite being married and living apart. Their lives mirror each other, and their fates become tragically intertwined when Brakare’s marriage takes a devastating turn.
- Ebikedobamo is married to Omobo, a man deeply in love with her but struggling with sexual frustration as she nurses their infant son, Akara. Despite his longing, Ebikedobamo remains emotionally and mentally preoccupied with an ominous feeling about her sister. Against Omobo’s wishes, she embarks on a journey to visit Brakare.
- Brakare is married to Kunbowei, a man of traditional beliefs who expects complete obedience from his wife, including unrestricted access to her body. However, Brakare holds a modern view of marital intimacy—she believes sex should be mutual and refuses her husband’s advances when she is not in the mood.
On a fateful night, Kunbowei finds himself in unbearable sexual frustration, carrying a "turgid, bursting phallus" that he is unable to relieve. Feeling humiliated and powerless, he takes the drastic step of hanging himself, a shocking act that sends ripples through the community.
Brakare is immediately blamed for her husband's death. The idea that a wife’s refusal of sex could lead to a husband’s suicide is viewed as a severe disruption of the traditional order, leading to tensions between the two communities. Ebikedobamo arrives to find her sister in grief, and the unfolding events lead to a trial-like communal judgment. Eventually, Brakare is exonerated—though she is given the choice to either remarry within Kunbowei’s family or return to her people.
Key Character Analysis and Breakdown of Dramatic Techniques in The Two Sisters
Key Character Analysis
1. Ebikedobamo – The Loyal but Torn Wife
Ebikedobamo is a devoted wife and mother, yet she is also a deeply intuitive and emotionally connected sister. She senses her sister’s distress long before hearing the news, reinforcing the play’s theme of twin-like sisterhood.
Marital Role: She balances her husband’s sexual needs with her responsibilities as a mother. Unlike Brakare, she does not outrightly reject her husband's advances, but her emotional detachment frustrates him.
Symbol of Duty and Balance: Clark presents her as a woman who tries to navigate the demands of marriage, motherhood, and sisterhood without causing conflict. However, her decision to leave Omobo behind for her sister highlights that sometimes, familial bonds outweigh marital obligations.
Contrast with Brakare: While Brakare defies tradition, Ebikedobamo represents a middle ground—she understands traditional expectations but is also independent in her own way.
2. Brakare – The Defiant Wife and Tragic Catalyst
Brakare is a strong-willed, independent woman who challenges the traditional expectations of marital obedience. She believes that sex should be based on mutual consent, which directly contradicts the customs of her society.
Symbol of Feminist Resistance: Her refusal to be a passive participant in her marriage makes her a groundbreaking character. However, Clark does not idealize her stance—her defiance has severe consequences.
Tragic Figure: While her decision is morally justifiable, it indirectly leads to her husband's death, making her a victim of both patriarchal expectations and the consequences of her resistance.
Conflicted Emotions: She oscillates between grief over Kunbowei’s death and defiance against the accusations of murder. This internal conflict makes her one of the most complex characters in the play.
3. Omobo – The Loving but Frustrated Husband
Omobo is a more sympathetic figure compared to Kunbowei. He genuinely loves Ebikedobamo, but his frustration stems from feeling emotionally and physically neglected.
Symbol of the Modern Man in a Traditional Society: Unlike Kunbowei, he does not force himself on his wife, showing a more progressive side. However, he still struggles with the idea of his wife prioritizing something else over their marital intimacy.
Represents the Emotional Toll of Sexual Denial: His frustration highlights how intimacy plays a crucial role in maintaining a stable marriage.
4. Kunbowei – The Tragic Traditionalist
Kunbowei is a man of his time, bound by cultural expectations that grant him unquestioned authority in his household. His belief that his wife must submit to him sexually is deeply ingrained in tradition.
Embodiment of Patriarchal Expectations: He sees his wife's refusal as a personal and public humiliation, leading to his drastic action.
A Man Crushed by His Own Sense of Entitlement: His suicide is a moment of tragic irony—rather than proving his dominance, it exposes his vulnerability.
Raises Questions About Masculinity: His actions force the audience to consider whether masculinity should be defined by control or emotional resilience.
5. The Community – The Silent but Powerful Judge
While not a single character, the community plays a crucial role in the play. They act as a collective force that determines Brakare’s fate.
Symbol of Tradition and Justice: The community upholds traditional values but also shows a capacity for compromise, as seen in their final verdict.
Avoiders of Conflict: Rather than escalating the situation into war, they mediate, showing the importance of collective decision-making in African societies.
Breakdown of Dramatic Techniques
1. Use of Narrators and Audience Engagement
Clark employs narrators who directly address the audience, merging them into the storytelling process.
Purpose: This technique mimics oral storytelling traditions, making the audience feel like part of the community.
Effect: It provides background information, sets the mood, and foreshadows events without breaking the natural flow of the play.
2. Symbolism and Metaphor
Clark uses powerful imagery to represent sexual dynamics and societal expectations.
"Pestle and Mortar" Imagery: This metaphor emphasizes the physical and traditional expectations of marriage.
The River as a Symbol of Fate: Ebikedobamo’s journey by canoe represents the inescapable pull of destiny and sisterly duty.
3. Contrast and Parallelism
Clark creates tension by juxtaposing two marriages—one where the wife is emotionally distant but compliant, and another where the wife is emotionally present but defiant.
Parallelism Between Sisters: Their bond contrasts with their differing approaches to marriage.
Contrast Between Husbands: Omobo’s patient longing highlights Kunbowei’s desperate entitlement.
4. Tragedy and Dramatic Irony
Kunbowei’s suicide is the play’s tragic climax, filled with irony.
Dramatic Irony: While Kunbowei believes his death will prove a point, it instead exposes his weakness.
Tragic Flaw: His rigid belief in male dominance blinds him to alternative solutions, making his downfall inevitable.
5. Conflict as a Driving Force
The play revolves around multiple layers of conflict:
Personal Conflict: Brakare vs. Kunbowei
Familial Conflict: Ebikedobamo torn between her husband and her sister
Communal Conflict: Two communities on the brink of war
Philosophical Conflict: Tradition vs. personal agency
6. Resolution Through Traditional Mediation
Instead of a violent climax, the play resolves through communal judgment.
Symbol of African Conflict Resolution: The elders negotiate a settlement rather than resorting to revenge.
Avoidance of War: Brakare is not punished, showing a shift towards gender fairness.
The Power of Sex, Tradition, and Sisterhood
Clark’s The Two Sisters is a thought-provoking examination of how sexual politics shape personal and communal stability. Through rich symbolism, layered characters, and innovative theatrical techniques, Clark presents a nuanced debate on power, gender roles, and tradition.
The play challenges audiences to reconsider marital expectations, individual agency, and the communal impact of private conflicts. By blending tragic elements with a powerful resolution, Clark delivers a play that is both deeply personal and universally relevant.
Elaborate Themes in The Two Sisters
J.P. Clark’s The Two Sisters explores profound themes that intersect personal relationships, societal norms, and communal survival. The play is not just about the private lives of two sisters but also about the larger cultural and moral dilemmas of their society. Below is an in-depth analysis of its major themes:
1. The Survival of the Community
At its core, The Two Sisters examines how individual choices impact the survival and stability of the community.
Conflict Between Personal Autonomy and Communal Expectations: Brakare’s refusal to submit to her husband triggers a series of events that nearly leads to war between two communities. This shows how personal decisions, especially regarding marriage and gender roles, can escalate into larger societal crises.
Traditional Mediation as a Means of Conflict Resolution: Instead of resorting to war, the elders intervene to mediate and avoid bloodshed. This highlights the African tradition of resolving disputes through dialogue rather than violence.
The Role of Women in Community Stability: The play suggests that women’s actions—whether in marriage or within the family—hold the power to either maintain or disrupt the balance of the community. Brakare’s defiance shakes the foundations of her society, forcing it to reassess its values.
2. Sexual Power and Marital Dynamics
Clark presents sex as a powerful force in marriage, capable of strengthening or destroying relationships.
Sex as a Marital Duty vs. Consent: Brakare believes in mutual consent, while Kunbowei believes sex is a wife’s obligation, exposing the clash between modern feminist ideals and traditional African expectations.
Sexual Frustration Leading to Tragedy: Kunbowei’s suicide illustrates how a man’s inability to control his sexual desires can lead to self-destruction. His sense of entitlement blinds him to alternative solutions.
Withholding Sex as a Form of Power: The play cautions against using sex as a weapon in marriage. Brakare’s act, though an assertion of her rights, results in unintended consequences. Clark suggests that while women should have agency over their bodies, they must also be mindful of the repercussions within patriarchal societies.
3. The Burden of Tradition and Patriarchy
The play critiques the rigid expectations imposed on both men and women by traditional customs.
Marriage as a Transaction: In Kunbowei’s eyes, his marriage to Brakare is an ownership contract, where his right to sex is non-negotiable. This reflects how marriage in many traditional societies is seen as a transaction where men "buy" their wives.
Masculinity Defined by Control: Kunbowei’s belief that his masculinity depends on his dominance over his wife is ultimately his downfall. His inability to adapt to change leads him to take his own life.
The Community as the Enforcer of Tradition: The community initially sees Brakare as guilty of "killing" her husband. However, their final verdict shows a growing awareness that tradition must evolve with time.
4. Sisterhood and Female Solidarity
The bond between Ebikedobamo and Brakare is one of the most striking aspects of the play.
Shared Intuition and Emotional Connection: The sisters have a near-telepathic connection, reinforcing the idea that familial bonds can transcend physical distance.
Support in Times of Crisis: Despite their differences, Ebikedobamo rushes to Brakare’s side, prioritizing sisterhood over marital obligations.
Contrast in Marital Roles: Their differing approaches to marriage provide a broader discussion on the spectrum of female experiences within patriarchal systems—one sister tries to navigate tradition carefully, while the other outrightly challenges it.
5. The Tragic Consequences of Miscommunication and Misinterpretation
The entire conflict in the play arises from a failure to communicate and understand one another.
Between Husband and Wife: Brakare sees her refusal as an assertion of her rights, while Kunbowei sees it as a direct attack on his manhood.
Between Tradition and Modernity: The younger generation (Brakare) is moving towards personal agency, but the older generation (Kunbowei, the community) still clings to rigid traditions.
Between Communities: The possibility of war between Brakare’s community and Kunbowei’s family illustrates how quickly misunderstandings can escalate into large-scale conflicts.
6. Gender Roles and Feminist Undertones
Clark’s depiction of Brakare makes The Two Sisters an important feminist text.
A Woman’s Right to Her Body: Brakare challenges the idea that a wife’s body belongs to her husband. This makes her a revolutionary figure in African literature.
Punishment vs. Justice for Women: Initially, the community is eager to punish Brakare, but in the end, she is declared "not guilty," showing a shift towards gender fairness.
The Double Standard for Men and Women: While Kunbowei’s other wives are expected to accept their fate, Brakare’s refusal exposes the unequal expectations placed on women in marriage.
7. Suicide as an Act of Defiance and Shame
Kunbowei’s suicide is a key turning point in the play and serves multiple thematic purposes.
A Cry Against Change: His act represents a man unable to cope with a shifting world where women are beginning to assert themselves.
An Expression of Powerlessness: Rather than confronting his problems, he chooses the ultimate escape, highlighting the fragility of male pride in patriarchal societies.
A Reflection on the Stigma of Suicide: His community sees his death as a disgrace, yet they also recognize that punishing Brakare will not change what happened. This reflects African societies' complex attitudes toward suicide.
8. The Role of the Elders and the Wisdom of Conflict Resolution
The elders’ decision to avoid war and mediate the issue peacefully reflects the African tradition of communal decision-making.
Wisdom Over Emotion: Instead of reacting with violence, the elders analyze the situation rationally, showing that wisdom should guide leadership.
A Critique of Revenge Culture: Rather than seeking vengeance, the community seeks a solution that prevents unnecessary bloodshed.
A Message on Justice and Compromise: Brakare is given the option to marry into Kunbowei’s family or return home, showing that justice sometimes requires compromise.
A Powerful Social Critique
Clark’s The Two Sisters is not just a drama about marriage but a commentary on power, tradition, and the evolving role of women in society. It critiques rigid gender roles while also showing the dangers of extreme defiance.
Through its layered exploration of sex, marriage, tradition, and sisterhood, the play challenges audiences to rethink deeply ingrained beliefs about gender and societal expectations. In the end, The Two Sisters is a call for balance—between personal freedom and communal stability, between male authority and female agency, and between tradition and progress.
Comparison of The Two Sisters with Other African Dramas on Similar Themes
J.P. Clark’s The Two Sisters shares thematic similarities with several other African plays that explore gender dynamics, tradition, marriage, and community survival. Below is a comparative analysis of how The Two Sisters aligns with and differs from notable African dramas.
1. The Two Sisters vs. Wole Soyinka’s The Lion and the Jewel
Theme: Traditional Gender Roles and Feminism
In The Two Sisters, Brakare challenges the idea that a woman must submit to her husband, asserting her right to refuse sex. This is similar to Sidi in The Lion and the Jewel, who initially resists Lakunle’s modern ideals and later embraces tradition.
While Brakare’s defiance nearly causes war, Sidi’s defiance in The Lion and the Jewel is less consequential—she ultimately conforms to tradition by choosing Baroka, the Bale, over Lakunle.
Soyinka presents a patriarchal world where men dominate and women are expected to be submissive. Clark, on the other hand, presents a more radical feminist stance where a woman’s resistance has far-reaching implications.
Key Difference:
The Two Sisters critiques traditional marriage expectations by showing its dangers, while The Lion and the Jewel reinforces some traditional views on male authority.
2. The Two Sisters vs. Ola Rotimi’s Our Husband Has Gone Mad Again
Theme: Marriage as a Transaction and Male Entitlement
Kunbowei in The Two Sisters and Lejoka-Brown in Our Husband Has Gone Mad Again both see marriage as a form of ownership.
In Our Husband Has Gone Mad Again, Lejoka-Brown assumes his American-educated wife must conform to his polygamous home, just as Kunbowei expects Brakare to fulfill his sexual desires.
However, while Our Husband Has Gone Mad Again is comedic and satirical, The Two Sisters takes a tragic approach, highlighting the deadly consequences of male entitlement.
Key Difference:
The Two Sisters presents a high-stakes scenario where gender conflict nearly causes war, while Our Husband Has Gone Mad Again uses humor to expose the flaws of patriarchal expectations.
3. The Two Sisters vs. Zulu Sofola’s Wedlock of the Gods
Theme: Female Defiance Against Patriarchy
Both plays feature strong-willed female protagonists who resist societal norms—Brakare in The Two Sisters and Ogwoma in Wedlock of the Gods.
Ogwoma, like Brakare, refuses to comply with societal expectations. She defies the tradition of widowhood by seeking love outside of the marriage dictated by her community.
The consequences are similarly tragic: while Brakare’s defiance leads to her husband’s suicide, Ogwoma’s leads to her own death.
Key Difference:
Wedlock of the Gods focuses on widowhood and arranged marriage, while The Two Sisters centers on sexual autonomy within marriage.
4. The Two Sisters vs. Femi Osofisan’s Morountodun
Theme: Female Resistance and Revolutionary Change
Brakare in The Two Sisters is similar to Titubi in Morountodun, as both women challenge the status quo.
Titubi joins a revolutionary movement, actively seeking change, whereas Brakare’s resistance is more personal but still has societal consequences.
Osofisan’s play has a broader political message, while Clark focuses on gender relations and marriage.
Key Difference:
Morountodun addresses political rebellion, while The Two Sisters deals with rebellion within a domestic and communal setting.
5. The Two Sisters vs. August Wilson’s Fences (Though not African, relevant for comparison)
Theme: Masculinity, Sexuality, and Family Conflict
Both plays depict men who struggle with their roles in marriage—Kunbowei in The Two Sisters and Troy Maxson in Fences.
Troy’s infidelity and Kunbowei’s sexual frustration reveal their need for control. Both plays show how rigid masculinity damages families.
Fences focuses on African-American struggles, while The Two Sisters is rooted in African traditions.
Key Difference:
Fences critiques the failure of black fatherhood and generational trauma, while The Two Sisters critiques male entitlement and tradition.
The Uniqueness of The Two Sisters
While The Two Sisters shares common themes with many African plays—such as patriarchy, gender roles, tradition, and community survival—it stands out because of its:
Direct feminist challenge to sexual obligations in marriage. Unlike other African plays, it tackles sex as a political and social issue.
Use of an intimate sisterly bond to explore societal issues. Many African dramas focus on mother-daughter or male-female conflicts, but Clark’s use of sisterhood makes his play unique.
Dramatic intensity and tragic consequences. While some plays use humor (Our Husband Has Gone Mad Again) or revolution (Morountodun), The Two Sisters builds tension through personal choices leading to larger communal effects.
Conclusion: Clark’s Provocative Exploration of Sex, Power, and Society
At first glance, The Two Sisters may seem like a simple domestic drama, but Clark uses it as a powerful allegory for larger societal tensions. The play critiques rigid gender roles while also cautioning against the misuse of personal autonomy in ways that disrupt communal stability.
Clark’s decision to focus on such a sensitive and volatile subject—sexual politics in marriage—toward the end of his career suggests a deliberate attempt to confront uncomfortable truths. While he condemns Kunbowei’s extreme reaction, he also warns against the reckless wielding of sexual power in marriage.
Ultimately, The Two Sisters is a masterful blend of poetic storytelling, cultural critique, and psychological insight, making it one of Clark’s most provocative works. It challenges both traditional and modern audiences to reflect on the delicate balance between desire, duty, and personal choice within the structures of marriage and community life.
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