FEMINISM: AN EXAMINATION OF ZULU SOFOLA'S SWEET TRAP AND OLA ROTIMI'S OUR HAS GONE MAD AGAIN

2.2 Feminist Criticism

Feminism criticism entails the advocacy of women's rights on the grounds of sexual equality through literary works. Feminist critics analysis literary works from the perspective of feminism, which shows that women are united with a common notion that male domination is oppressive and there is a need for liberation from all forms of women's oppression. While feminism emphasizes the inequalities between men and women, black feminists emphasize the diversity within the concept of 'woman', which for much feminist analysis is construed as a unitary category. Black feminists claim that the interests of all women should be represented, pointing to profound class differences and antagonism among women. Grown, Cagatay, and Santiago argue:

Feminism constitutes the political expression of the concerns and interests of women from different regions, classes, nationalities and ethnic backgrounds. There is, and must be, a diversity of feminisms responsive to the different needs and concerns of different women, and defined by them for themselves. This diversity builds on a common opposition to gender oppression and hierarchy which, however, is the first step in articulating and acting upon a political agenda (1986: 41).

The point of departure of radical feminism has been captured in the slogan, 'The personal is political' (Hartmann 1997: 63).

Radical feminists see patriarchy as the political imperative for structural domination over women. The pervasiveness of male domination is reflected in the labour force and career market. Men maintain their control over women by excluding them from some labour and career markets. They do this by occupying positions of power in the labour force, which enable them to dominate in decision-making processes. Hence controlling the labour force gives them power over woman. Millet portrays this type of control:

Our society - is patriarchal. The fact is evident at once if one recalls that military, industry, technology, universities, science, political offices, finances -in short, every avenue of power within the society, including the coercive force of police, is entirely in male hands. (1970: 25)

Although men differ, especially along racial and class lines, the patriarchal system nonetheless unites them in their dominance over women, by reducing the latter to economic dependency. Hartmann corroborates this dependency by noting that the social relations amongst men have a social base, which promotes interdependence and solidarity amongst men and enables them to dominate over women (1997: 101).

Women's biological (physical) 'weakness' is upheld by patriarchy. In comparison to men, women are seen as physically weak. The nature and social role of women is defined in relation to the norm: white heterosexual male. Women are accorded secondary status which is seen by Weedon thus:

Patriarchal power rests on the social meanings given to biological sexual difference. In patriarchal discourse, the nature and social role of women are defined in relation to a norm which is male. This finds its clearest expression in the genetic use of the terms 'man' and 'he' to encompass all of humankind(2).

Radical feminists argue that patriarchy creates the conditions for women to be systematically dominated, exploited and oppressed (Hartmann 1997). The verydifference between men and women which allow men to exploit the situation todominate women and rule the 'world' is the very difference that concerns radicalfeminists on a political level. Even though men and women may be viewed as 'equal', the differences between them accords a new meaning to the word 'equal'.

Radical feminism promotes womanhood rather than aspiring to integrate and assimilate into the male-dominated social arena. It is focused upon sexual oppression as a manifestation of women's oppression and social order. Radical feminism is premised on the solidarity of women that transcends class, race and ethnicity. This sisterhood of women is expected to enjoy bonds that are stronger than other existing bonds amongst men and women. Men who have empathetic overtures towards the plight of oppressed women are accommodated.

2.4 Review of Related Literature

Feminism and women liberation has generated a lot controversy globally due largely to revolutionary literary works of feminist writers in African and beyond. TsitsiDangeremba'sShe No Longer Weeps and Ezeajughi'sNneora:  an African Doll's House are among influential African plays that depict gender politics and patriarchal domination of women in Africa. TsitsiDangeramba hails from Zimbabwe, which happens to be the setting of the play. The play, written in 1987 during the post-colonial period of Zimbabwe, deals with the marginalization and subjugation of African women, which reign in most African. As portrayed in the play women oppression has deep roots in Zimbabwe. This becomes a great tool of Freddy, the antagonist in the play, as he exploits it to his advantage. However,

Women emancipation was promised by independent Zimbabwe, especially in the passage of the legal Age of Majority Act, giving women the right to contract their own marriage, represent themselves in court, and be guardians of their children. Despite such laws, many legal rights of women were not honoured (Shaw, 8)

The play, She No Longer Weeps, centres on a female character, Martha, a university graduate who gets pregnant. She is rejected by her parents and the man that is responsible for the pregnancy. She pleads with Freddy to accommodate her as very soon, they would both be earning money from which would enable them take care of their child: "You've got a good job and if things work out, I'll have finished my degree by this time next year. Just think, we'll be family already. Oh, Freddy, it's not so bad. It'll be alright, everything will be just fine". (108)

In this dialogue, the playwright projects the view that women should be empowered through education so that they can be emancipated from male subjugation and fully utilize their potential. Martha makes effort to secure her future, that of he child and that of her potential family by ensuring that she finishes her education. Her pleato Freddy gives the picture of a woman taking responsibility and refusing to be relegated to the position of a second-class citizen. She seeks partnership considering the circumstances surrounding the unborn child, implications of dropping out of school and her rejection by her family. This is an example of Social Transformation and Partnership  thatOgundipe-Leslie advocates for with her stiwanism theory.

          Martha appreciates the sacrifices of her mother and women of her generation to keep the home intact, but she decides not to follow the same path, as she the years of servitude of women to men is long overdue:

To be a woman is no longer a crime punishable by a life-time   of servitude to men. I know that in your day there were many pressure that prevented a woman who could be independent because they couldn't work for a wage or salary, but people saw to it that women remain dependent because that was the only way of thing that people know then - I don't have to be a tied by those beliefs because I can support myself and I will not sacrifice myself to a man's eye just because society says I ought to. I'm as much as part of the society as anyone of you (123-124)

Martha draws attention to the changing phases associated with generation transitions of womanhood. She emphasizes that hers is the phase where it is not only men who are regarded as humans, and that women have dreams to pursue too, irrespective of whether they are single or married, mother or not. She says: "I don't believe that just because I'm a woman I must sacrifice potential to looking after some idiotic man and his offspring". (122)

          Motherism, an African feminist theory, which centres on mother and child bond, also plays out in She No Longer Weeps.  Martha pampers her daughter and gives her the best of care. She clearly exhibits the "motheistic" nature, as opposes to what her mother and other women of her generation showed her.Therefore, she sends the message that a mother's true pride is her children: "Remember one thing, my love, my daughter is mine, mine. She's all I have, the one thing I love". (129)

          After child birth, Martha takes her destiny into her own hands. She furthers her education, gets employment and moves to stay on her own. The general view and perception of feminist as women who are independent and assertive is evident at this stage in Martha's life. She puts on a new assertive and defensive attitude and runs her own life irrespective of other people's opinion of her: "I don't want you thinking that just because I let you sleep in my bed you can come here and tell me how to live my life". (129) She goes on to the extent of instilling similar value in her daughter to be strong no matter the circumstances.From the above analysis and Martha's specific resolve not to be Freddy's wife and to take care of her daughter single-handedly, it is true what Anku (15) says that African women can detach themselves from marriage but not from the aspect of motherhood. Motherhood and womanhood form integral part of a woman that even the African feminist cannot detach from.

          Martha, during her encounter with MrMutsika and MrsChiwara, indulged Martha to take their girls, but she refused. The two characters are symbolic of western feminist believe and their expectations of the African women. The western feminist believe that as the African has embraced feminism, she is ready to let go of everything and follow their beliefs, but Martha proves otherwise. She would not be used as a tool in their hands to manipulate people in situation she once found herself.

          In using Martha, who is a pivot character, the playwright effectively coordinates both sexes and two generations. "Martha strives effectively for equality between the sexes in relation to both her lover and her father". (Shaw, 27)

She serves as a voice for African feminist who is striving for a place in all spheres of global development: economic, social and political. Fredd says: "You don't know your place in this world, which is underneath. You thought you should be on top" Martha's response to him is in line with feminist advocacy, because all they want is equality. Therefore, she says:  "No, what I wanted was side by side". (135)

          In Nneora: an African Doll's House, UtoEzeajughi portrays the African men's predilection to oppress and suppress the female gender. Nneora, a hardworking business woman gives up her all for the sake of marriage to be the wife that her husband wants her to be. Ikenna her husband does not want a working woman but rather a housewife so he can take care of the house: "And I love the way take care of the house. That is the difference between a working wife and a housewife.  A housewife has an edge over the working wife". (30) Ikenna does not miss out any opportunity in making Nneora know that she is solely his. This exemplifies male chauvinism and how women are marginalized by some men.

          Nneora confirms the subservient nature of the woman to her husband in her conversation with Linda: "we are women and once we marry, we must stay under our men". (70) Linda draws attention of Nneora to the fact that time have changed; gone are the days a man determines what women do and encourages Nneora to take charge of her life.

LINDA: Nneora wake up! We actually have right! It is just that we have been brought right up in a hypocritical society, where men gang up to steal everything that belongs to us, including our God-given rights of existence. And you know what bothers me most? For centuries, we women have silently endorsed this social gang-up (70-71)

She is instigating an uprising against female gender oppression and male chauvinism, thereby calling on women to demand their right from men.  Such demand brought forth feminism; but Nneora, who represents the African woman analyses the situation from a different perspective. She tells Linda: "I don't think so. Because if you have struggled and succeeded, I believe that there must be other women who have done the same". (46)Nneora draws on the fact that feminism has not succeeded in Africa.

          The two playwrights have adequately captured the travails of women in patriarchal African society. They have also advanced the struggle for women liberation by calling on women to repudiate the negative stereotypes of them and their inferior position as second-class citizen only live to fulfill the dreams of the husband. Through education and skill acquisition, the playwrights believe that women can be emancipated from the shackles of male chauvinism and domination