Vol. 12(1), pp.

13-20, January 2024

https://doi.org/10.14662/ijelc2023120 International Journal of English
Copy© right 2024 Literature and Culture
Author(s) retain the copyright of this article
ISSN: 2360-7831
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Review

Exploring Moral and Ethical principles through Drama:

A Study of Ifeyinwa Uzondu's Which Way is Right?
Akaenyi Nkiruka Jacinta
Ph.D Department of Performing Arts, Faculty of Arts, Akwa Ibom State University, Nigeria
E-mail: [email protected]. Tel. 08032236043, 08051318287

Accepted 12 December 2023

This study delves into the exploration of moral and ethical principles through the dramatic lens, with a specific
focus on Ifeyinwa Uzondu's play titled Which Way is Right? In contemporary society, the erosion of moral
principles has become a pressing concern. The decline in ethical values, societal norms, and the erosion of
moral boundaries has led to various social issues, impacting individuals, families, and communities. Literature,
particularly drama, has often been a medium through which society reflects on its values and seeks to restore or
reshape them. Ifeyinwa Uzondu's play, Which Way is Right?, explores themes related to moral dilemmas,
societal norms, and the consequences of one's actions. The theoretical framework employed in this research
draws from moral philosophy, ethical theories, and dramatic literature analysis. By examining the intricacies of
Uzondu's play, the study aims to elucidate how drama serves as a powerful medium to engage with and
interrogate moral and ethical dilemmas. The methodology involves a comprehensive textual analysis of Which
Way is Right? to identify and dissect key moral and ethical themes. The findings illuminate the effectiveness of
Uzondu's artistic choices in conveying complex moral dilemmas to the audience. In conclusion, this research
makes a noteworthy contribution to knowledge by expanding our understanding of the moral dimensions of
dramatic literature and the capacity of theatre to foster ethical awareness. It underscores the importance of
engaging with art as a means of grappling with and understanding the intricacies of moral decision-making.

Keywords: Ethical Literary Criticism, Moral Values, moral compass, societal norms, Character Development,

Cite This Article As: Akaenyi, N.J. (2024). Exploring Moral and Ethical principles through Drama: A Study of
Ifeyinwa Uzondu's Which Way is Right?. Inter. J. Eng. Lit. Cult. 12(1): 13-20

INTRODUCTION Awuawuer, "The unfolding issues within Nigeria have

remained a careful evaluation and a critical interrogation
In an era characterised by complex ethical challenges of Nigerian Drama and theatre for the purpose of
and shifting societal values, the restoration and heralding the moral virtues and simultaneously attacking
preservation of moral principles are pursuits of the vices prevalent in Nigerian society for general social
paramount significance. Within this ever-evolving socio- transformation" (Awuawuer 66-67).
cultural landscape, literature, particularly drama, has Playwrights have harnessed the influential aspect of
emerged as a potent vehicle for the examination, drama throughout history to offer insightful observations
exploration, and potential restoration of the moral on societal events, leading to positive transformations in
compass guiding human behaviour. According to Justin human lives and their surroundings. In Nigeria, the
Inter. J. Eng. Lit. Cult. 14

postcolonial theatres of Hubert Ogunde, Duro Ladipo, society, including its underlying contradictions and truths.
Moses Olaiya, Kola Ogunmola revolve around the subject This implies that every piece of art, particularly drama,
of morality and conscience. According to Tunji Sotimirin: should consistently align with established social norms.
Consequently, the socio-moralist perspective emerges as
Folksongs, which are also a medium of the most reasonable method for assessing Nigerian
communication found in these folkloric plays, are drama, as it mirrors the authentic societal conditions of
fruits of traditional culture and display certain Nigeria. This approach will enable readers to unveil
unmistakable features. These include part chant, several aspects: the fundamental underpinnings of
part song, part dialogue nature. It is pertinent to morality, how societal norms endorse moral principles,
recall here their closeness to Renaissance the potential link between religious beliefs and morality,
European with its librettos, arias and scores, its and the extent to which the younger generation can
spectacle and dramatic and comprehend and endorse these moral values.
theatrical/improvisational nature. Occasionally, Therefore, the dramatic arts have a unique capacity to
people who have gone against the norms of capture the intricacies of human ethical dilemmas,
society are warned through folksongs and these challenge conventional norms, and provoke
serve as a means of social control. They are contemplation about the right course of action. Ifeyinwa
very significant in the daily lives of any Uzondu's Which Way is Right? stands as a compelling
community and are often used as a medium of exemplar in this context, weaving a tapestry of moral
communication throughout the world. They are quandaries, individual choices, and their far-reaching
used in every aspect of human activities consequences.
particularly during important occasions including This study endeavours to delve into the profound
ritual celebrations, religious festivals, social narrative of Which Way is Right? and decipher the
engagements, wars or coronations" (Sotimirin intricate ways in which drama, as an art form, contributes
71). to the revival and reaffirmation of moral principles. The
study examines how Uzondu's play brings forth the
These songs celebrate chiefs or obas, while others dynamics of ethical dilemmas, showcases the
serve the purpose of conveying broad concepts or complexities of human choices, and ultimately, raises
expressing personal sentiments. In their examinations of thought-provoking questions about the resilience of moral
the practical values within these songs and plays, values in a world that is constantly in flux. In doing so,
Obafemi (1996) and Jeyifo (1984) highlight the cultural this study aspires to shed light on the transformative
significance deeply ingrained in the realm of these folk power of literature, particularly drama, in nurturing and
songs. Sotimirin observes that: restoring the moral principles that anchor us in an ever-
shifting ethical terrain.
Songs in Ogunmola’s plays plays deserve
careful study and critical analysis in order to be
understand the message they are meant to The historical trajectory of moral exploration in plays
convey to us. Apart from using these songs to
communicate his opinions to the audience, he Exploring moral and ethical values in plays takes us on a
also employed the use of the folksongs to remind captivating journey through the annals of dramatic
the Yoruba people of their cultural heritage and literature. Adebayo Afolabi contends that:
their religious beliefs. For instancec, in
Asoremmasika, Ogunmola reminds the Yoruba Throughout the history of mankind, playwrights
of their traditional belief in reincarnation and have always written or improvised plays to
retributive justice (Sotimirin 72). ensure morality in society. Whether in the pre-
literate or the modern society, they have always
Consequently, it is noteworthy that Nigeria's traditions stood as sentinels, guarding society against
of literary and theatrical endeavors persist and thrive immorality and other vices that are detrimental to
within the country, as the populace comprehends the human existence. The truism of the perpetual
genuinely beneficial influence of drama in their lives. This inextricability of drama and society has been
is because, according to Emmanuel Ebo, in employing established over the ages. The reasons for this
drama as a tool for social commentary, the playwright is are not far-fetched: the playwright, as a member
making an "objective evaluation, exposition or the critical of his society, is naturally affected by the things
assessment of the sociopolitical conditions in society" that go on in society. He, therefore, writes based
(Ebo 108). Therefore, the playwright serves as both a on his experiences, with society serving as the
societal observer and a reviewer, as art undeniably source of the raw materials with which he
continues to be a powerful tool for depicting the world, manufactures his plays. Moreover, when a
enabling us to understand and analyze various facets of playwright writes, he has a target audience in
Inter. J. Eng. Lit. Cult. 15

mind. It is this audience that consciously or uprightness, and godliness, with the goal of creating
unconsciously tempers and directs the paradise. It was a necessary intervention into the
playwright’s dramaturgical and thematic foci. performing arts by the Christian Church, which was in
Like the two tongues of a pair of scissors, power then, all over Europe, because performances had
therefore, art and society are inseparable. Any degenerated into exercises in obscenity and vulgarity, as
attempt to separate them engenders sex exploitation had become the order of the day at the
dysfunctionality and social lethargy in both. But beginning of the medieval period. Centred in the church,
when complementarily synergized, they operate morality plays were employed to teach virtuous living to
at optimal best levels (Afolabi 61-62). bring the soul of man to God. Everyman is a classic
example of morality plays.
Given the significance of morality in every human The morality play tradition continued through the ages,
society, the playwright consistently acts as a vigilant albeit with slight variations. Christopher Marlowe’s Doctor
guardian at the societal gate, monitoring and preventing Faustus is a classic example of Elizabethan morality play.
the infiltration of external amoral influences into the In contradistinction to medieval morality play, which was
community. From ancient Greek tragedies to centred in the church and had a religious motivation and
contemporary works, playwrights use the stage as a inspiration, latter-day morality plays were inspired by the
dynamic space to dissect, challenge, and reflect upon the personal convictions of playwrights about the plight of
moral dilemmas of their respective eras. This exploration man. While the medieval example concentrated on
evolves, mirroring the shifts in societal norms, cultural assisting man to make paradise, subsequent models
values, and philosophical inquiries. Niyi Osundare focus on making the world a better place for man before
emphasizes the idea that a writer bears responsibilities in eventually going to paradise. The medieval model had
any human society, presenting a moral duty to rectify presented the world as a place of vanity and suffering
inconsistencies and demonstrate ways in which society where man should not expect any reward as his reward is
can be improved, “So the writer...has a duty to relate not in heavens. Subsequent models try to make the world a
only how things are, but how they could or should be. He better place to live in while keeping paradise in sight.
must not only lead the people to the top of the mountain Medieval morality plays use concrete allegorical
and point out the Promised Land. He must also show characters such as vice, virtue, good works, etc. They
them how to get there” (Osundare 3). tend to deal with real human problems and the problems
In ancient Greece, playwrights like Sophocles, of immorality in human societies.
Aeschylus, and Euripides laid the groundwork for moral Shakespearean plays, such as Hamlet, Macbeth, and
exploration through tragedies that grappled with the Othello, mark a Renaissance exploration of morality.
consequences of hubris, fate, and divine intervention. For Shakespeare's characters confront moral complexities,
instance, Sophocles' Antigone explores the moral conflict delving into themes of ambition, betrayal, and the
between obeying the laws of the state and adhering to a consequences of unchecked power. For instance in
higher moral duty. These ancient plays are deeply rooted Othello, Iago is a character who uses deception and
in religious and ethical inquiries, setting a precedent for manipulation to achieve his goal. This raises moral
the moral discourse unfolding on the stage. Even the questions about the ethics of such actions and explores
comic plays of Aristophanes often comment on moral the consequences of deceit.
issues with the aim of making society better. The 18th century, often referred to as the Age of
Aristophanes' comedies, which date back to the 5th Enlightenment, was characterized by intellectual and
century BCE in classical Athens, primarily sought to philosophical movements that emphasized reason,
entertain and satirize the political and social aspects of science, and a questioning of traditional authority. The
his time. Aristophanes frequently targeted prominent plays of this period reflected these broader cultural shifts
political figures and institutions in Athens. By and often commented on moral issues with the aim of
exaggerating and ridiculing the flaws and vices of contributing to the betterment of society. The 18th
politicians, he aimed to bring attention to the moral century saw the rise of sentimental drama, which aimed
shortcomings of those in power. This indirect critique to evoke and explore the audience's emotions,
encouraged the audience to reflect on the state of their particularly empathy and sympathy. Playwrights like
society.His comedies, especially Lysistrata, often Richard Steele and Richard Sheridan used sentimentality
addressed contemporary social issues, such as the role to address moral issues such as virtue, benevolence, and
of women, the effects of war, and the consequences of the importance of compassion. These plays often
wealth and power. By exaggerating and parodying these featured characters facing moral dilemmas and
issues, he provided a humorous lens through which the emphasized the emotional and moral dimensions of their
audience could view and question their own societal decisions.
norms and values. Satirical plays were a popular form of entertainment in
The morality of 15th-century Europe was designed by the 18th century. Playwrights like Oliver Goldsmith and
the theocratic governments to teach moral purity, Richard Brinsley Sheridan used satire to critique and
Inter. J. Eng. Lit. Cult. 16

ridicule societal vices, hypocrisy, and corruption. Through Zulu Sofola's Wedlock of the Gods confronts the moral
humor and wit, these plays sought to expose moral implications of forced marriages in Nigerian society.
shortcomings and encourage societal self-reflection. Through the character of Ogwoma, the play challenges
Some playwrights embraced a more didactic approach, traditional norms, questioning the morality of sacrificing
explicitly seeking to instruct the audience on moral personal happiness for the sake of cultural expectations.
principles. Ben Johnson, for example, wrote plays with a Sofola's narrative becomes a platform for examining the
moralistic tone, intending to convey moral lessons and moral dimensions of cultural practices and the evolving
virtues. The emphasis was on using drama as a tool for rights of individuals within a communal setting. The
moral education. playwright reveals African norms and belief systems that
The Comedy of Manners, a genre popular in the 18th sustain the waiting or mourning period. Sotimirin says
century, satirized the manners and behaviors of the that:
upper class. Playwrights like William Congreve and
Richard Brinsley Sheridan used wit and clever dialogue Uloko, the impatient lover, could not wait for
to expose the moral shortcomings of the aristocracy. By Ogwoma to complete the mandatory mourning
portraying characters engaging in morally questionable period after the latter lost her husband. He
behavior, these plays invited audiences to reflect on decides to have sexual intercourse with
societal values and norms. Ogwoma. Such an action is taboo, outrightly
The 19th century brings about the emergence of immoral. This is why at the end of the play,
realism in drama, with playwrights like Henrik Ibsen and tragedy befalls the people involved, particularly
Anton Chekhov challenging societal norms and moral Uloko and Ogwoma. To the African, the woman
conventions. Ibsen's A Doll's House famously questions is not free yet until certain rules are done before
the traditional roles of men and women within marriage, she could re-marry or be re-married to another
sparking debates on individual agency and societal man in the family (Sotimirin 73).
expectations. Chekhov's works, such as The Cherry
Orchard, depict the moral decay of the Russian Wole Soyinka commenting on the moral responsibility
aristocracy, reflecting the broader socio-political of writers avers that “writers should have the courage to
landscape. determine what can be salvaged from the recurrent cycle
The 20th century witnesses a radical shift in theatrical of human stupidity” (Soyinka 75). Wole Soyinka's Death
approaches and the exploration of morality. The works of and the King's Horseman transports audiences to the
Bertolt Brecht, known for his epic theatre, seek to engage intersection of Yoruba tradition and British colonial
audiences intellectually and morally, fostering critical morality. The play intricately weaves a narrative around
reflection on social and political issues. Arthur Miller's Elesin, the King's Horseman, and his moral duty to fulfill a
The Crucible uses the backdrop of the Salem witch trials ritual suicide. Soyinka provocatively explores the clash
to explore the dangers of moral hysteria and the abuse of between indigenous beliefs and colonial imposition,
power. prompting a reflection on cultural relativism and the
In the latter half of the 20th century and beyond, consequences of imposing foreign moral values.
playwrights globally engage with postmodernism, The theme of morality is intricately explored in the
deconstruction, and the questioning of absolute moral complex situation of Zifa in J.P. Clark's Song of a Goat.
truths. Contemporary plays, such as Tony Kushner's Zifa, who is unable to father children with his wife Ebiere,
Angels in America and Caryl Churchill's Top Girls, receives counsel from the Masseur to offer his wife to his
confront issues of identity, morality, and societal younger brother due to his condition. Naturally, such a
structures in the face of changing cultural landscapes. disagreeable suggestion is met with strong resistance.
In the vibrant tapestry of Nigerian plays, the exploration Zifa unequivocally rejects the advice, refusing to entertain
of morality unfolds as a complex and multifaceted the idea. Ebiere is advised to openly communicate Zifa's
narrative. Playwrights delve into the intricacies of societal condition to her parents, emphasizing that such
values, cultural traditions, and individual choices, disclosure is not morally wrong. Additionally, there is a
weaving together stories that challenge, provoke thought, moral obligation for a man to fulfill his marital duties to his
and reflect the dynamic nature of morality in a rapidly wife. Despite these considerations, Ebiere eventually
evolving nation. succumbs to her desires and seductively engages in
In Ola Rotimi's The Gods Are Not To Blame, the sexual relations with Tonye, her husband's younger
ancient Greek tale of Oedipus Rex is transposed into a brother. Regardless of Zifa's condition, this act is deemed
Yoruba context. The play interrogates the intersection of taboo, as it is entirely immoral for a brother to be involved
fate and morality, as the protagonist, Odewale, grapples intimately with his brother's wife. As a consequence,
with the consequences of his actions in the context of Tonye pays for his transgression with his life, and the
divine will and familial duty. Rotimi's work serves as a entire household suffers severe repercussions for this
poignant exploration of how personal choices intertwine immoral act.
with the moral fabric of a culture. The East African literary Colossus, Ngugi wa Thiong’o,
Inter. J. Eng. Lit. Cult. 17

a socialist realist who believes in the social function of When applied to drama, this perspective delves into how
arts, sees an artist as a moral upholder of truth, a prophet a play explores, challenges, or reinforces moral and
of justice, one who reveals all that is concealed by ethical ideas. This approach contends that literature
darkness. Emblematized in the person of the Gicaandi serves as a distinctive manifestation of ethics and
player in Devil on the Cross, the writer is figuratively morality within a specific historical context, asserting that
taken to the rooftop, where he can see all the hidden literature is not merely a form of linguistic art but rather
things and so pronounce on them. This figurative height an art of textual expression. Within the framework of
refers to a writer’s privileged position, which is a result of ethical literary criticism, the primary function of literature
his higher sensibilities, sensitivities, and education as a is viewed as the promotion of moral enlightenment and
writer. To Ngugi “writers are surgeons of the heart and education, with aesthetic appreciation considered as a
souls of a community”(Ngugi 22). According to L.O secondary aspect. According to Nie Zhenzhao
Bamidele “Literature is instructive and closely related to Ethical literary criticism is defined as a critical theory for
the moral life of a man. He sees it as an art that is reading, analyzing and interpreting the ethical nature and
devoted to the task of inspiring virtue or purifying function of literary works from the perspective of ethics.
manner—the interplay of aesthetics and moral factors” Seeing literature as a product of morality, it argues that
(Bamidele 12). According to Ian Gregor and Brian literature is a form of ethical expression in a specific
Nicholas, plays and novels are basically concerned with historical situation. The theory examines literature as a
two things—the moral and the story. The moral and the unique expression of ethics and morality within a certain
story. The moral aspect is indicative of a writer’s historical period and that literature is not only an art of
relationship with the society while the story has to do with language but also an art of text. Literature is, in essence,
his relationship with his arts” (Gregor and Nicholas 26). an art of ethics. Out of the demand for ethical
Chinua Achebe, talking on the pedagogical expressions, human beings invented written symbols to
responsibilities of artists, avers that they are naturally record their lives and their understanding of ethics as
saddled with “the task of re-education and moral texts (Zhenzhao, 189-190)
regeneration of society- a task in which they should be More specifically, ethical literary criticism aims to
pioneers” (Achebe, 24) This is in line with the views of unravel the ethical dimensions embedded in literary
Friedrich Schiller, who regards the stage as a moral force compositions, offering insights into characters and their
that normalizes all anomalies when society tends to lives from an ethical standpoint and providing ethical
haywire. A look at playwriting and production over the evaluations of their actions.
ages will reveal the fact that playwrights have always Throughout the course of human civilization, two
been interested in the moral life of society and have been significant processes have shaped mankind: natural
making efforts to uphold same. selection and ethical selection. Natural selection
Collectively, both classical and modern plays serve as facilitated the physical evolution of humans from apes,
a testament to the rich and diverse exploration of morality while ethical selection serves as a spiritual distinction,
within the nation's dramatic landscape. They engage with setting humans apart from animals. From an ethical
traditional values, confront the impact of colonialism, and perspective, the culmination of these processes is
interrogate contemporary societal issues. Through the represented by the Sphinx factor, which can be
medium of drama, playwrights contribute to a dynamic understood as the amalgamation of human and animal
and ongoing conversation about the moral compass that elements. The Sphinx factor stands as a central theme
guides individuals and communities in their quest for expressed in literary works, reflecting the complex
identity and progress. interplay of human and animal characteristics in the
The historical trajectory of moral exploration in plays ethical development of humanity.
illustrates a dynamic interplay between dramatic art and In the context of Ifeyinwa Uzondu's play Which Way is
the ethical inquiries of the times. Playwrights, through Right?, ethical criticism can be a valuable approach to
their works, have contributed to moral discourse, understand the work's engagement with moral dilemmas
challenged societal norms, and provided audiences with and ethical considerations.
a reflective space to ponder the complexities of right and Ethical criticism often thrives on the exploration of
wrong. As the theatrical landscape continues to evolve, moral ambiguity and complexity within a narrative. In
so too will the exploration of morality on the stage, Uzondu's play, ethical criticism would highlight situations
shaping and reflecting the moral consciousness of each where characters face difficult choices, challenging the
era. audience to consider the complexities of right and wrong.
Characters in a drama are key elements for ethical
analysis. Ethical criticism will focus on the moral
Theoretical Framework development of characters in Which Way is Right?.
Ethical criticism involves in examining how these
Ethical criticism involves analyzing literary or artistic principles are represented and whether they align with
works through the lens of ethical principles and values. societal norms or challenge them.
 Inter. J. Eng. Lit. Cult. 18

Uzondu's play addresses issues specific to a cultural only solution lies in the hands of Pastor Jacob, a fake
context, providing an opportunity for ethical analysis pastor whom she believes possesses the power to pray
within that framework. Therefore, ethical criticism will and deliver her daughter from the evil spirits hindering
explore how the play reflects or challenges cultural and her from getting a job. Things start getting worse for
social ethical norms. Ogechi, when Pastor Jacob makes sexual advances to
In summary, ethical criticism of Which Way is Right? her, like other men. When being confronted by
involves a deep examination of the play's characters, Ogechi’smother, Pastor Jacob levelled false accusations
themes, and narrative structure to uncover its against the young girl.
engagement with moral and ethical principles. It allows Pastor Jacob lied that Ogechi tries to seduce him, but
for a nuanced understanding of the ethical dimensions he resists the temptation. Ogechi’s mother eventually
embedded in the drama, offering insights into the throws her daughter out of the house, believing every
playwright's perspective on morality and challenging the single word of this self-acclaimed ‘man of God’. Here, the
audience's own ethical perspectives. play also spotlights the pervasive sexual exploitation
within the religious circle, where charlatans and
hypocrites dressed in religious garbs like Pastor Jacob
Which Way is Right: An Analysis of Ethical and crave for canal pleasure and satisfaction under the guise
Moral principles. of religion. This has led to family disputes and other
social maladies. The fact that the so-called or self-
The play dramatises one of Nigeria’s perennial post- acclaimed ‘man of God’ is among the men wanting to
colonial crisis which is manifested in ethical challenges . sexually exploit the young girl underscores the nature of
It vividly reveals the difficulties experienced by Nigerian the decay in the religious system. The playwright calls for
youths who have been uprooted and devastated by the a comprehensive reform of the religious body and the
combined effects of joblessness and societal neglect. Set eradication of corruption within Nigerian society. Pastor
against a typical African society, the play opens along the Jacob is eventually punished as he is caught raping one
roadside and two very important female characters are of his church members.
introduced to us. Chioma and Ogechi, are NYSC corps Chioma decides to welcome Ogechi into her house, but
members, who have just concluded their national youth the young girl’s continued stay in Chioma’s house is
service. Unlike Ogechi, Chioma’s experience throughout shortlived as a result of Tony’s infidelity. Believing that
her service years had been a pleasant one. During the Ogechi will ruin her marriage, she orders Ogechi to pack
conversation between the two, the playwright reveals that out of her matrimonial home. Frustrated, Ogechi moves
Chioma is a character, who can go to any length so as to in with one of her friends, Agnes, who promises to help
actualize her ambitions. her to secure a job. As usual, Andy, the general manager
To emphasize the need for the restoration of moral of the company wouldn’t take his eyes off the young girl.
principles in society, Ifeyinwa Uzondu introduces the He tries to woo Ogechi to no avail. At a point, Andy gets
character of Ogechi, a teenage girl known for her angry and orders her out of his office. Without
qualities of integrity, compassion, pastience, courage, compromising her womanhood, Ogechi later on, secures
and a sincere dedication to societal progress. Despite the the job in the company and even Andy proposes
tough financial difficulties and dissapointments she marriage to her. Unlike her friend, Agnes, who resorts to
keeeps facing in her bid to secure a job, Ogechi displays offering Andy sexual pleasure in exchange for
remarkable resilience, unwavering truthfulness, employment, Ogechi, through sheer hard work attain a
unflinching bravery, and a steadfast commitment to her greater height. Things turn out fine for Ogechi as she is
ethical values. Ogechi refuses to be sexually molested by honored with a very big position in the company, along
men, who are in a position to employ her. The frustration with a tastefully furnished apartment and a car to her
that has been building up within Ogechi becomes readily credit. Uzondu in Which Way is right advocates for a
apparent during one of her conversations with her good moral orientation which is the basis of societal
mother: peace and harmony. Neither the rejection from her
Mama Ogechi: My daughter, you are welcome, how did mother nor friends deter Ogechi from excelling in her
it go? chosen career. She is seen in the play doing so well in
her recent position in the company even to the extent that
Ogechi: Mama, the same old story. After the Andy, her employer proposes marriage to her. It should
interview, the general manager gave me this be noted that the playwright does not only make Ogechi
complimentary card to meet him in all Bright to excel in her career, but she places her in a position of
Hotels this evening for furhter interview. Mama authority that is enviable in the company. Ogechi is able
I’m tired (29) to change her undesirable conditions through her salient
virtues.
Worried as a result of the constant sexual advances Through Ogechi’s character, the playwright
towards her daughter, Ogechi’s mother believes that the underscores the significance of strict adherence to
Inter. J. Eng. Lit. Cult. 19

societal values. The society depicted in the play is refuses to be swayed neither by Agnes, her friend nor
portrayed as deeply concerned about the anomalies in pressures from her society. Ogechi does not want any
the society and demanding a change in the social fabric stain of adultery to destroy her reputation as she turns
of the nation, where moral principle have been jettisoned. down Andy’s lewd proposal when he continues with
Which Way is Right? is a play that delves deep into the further attempts to lure her. This social construction of a
moral tapestry of human lives, presenting a canvas upon woman as a sex object to a man, reinforces the gender
which a spectrum of moral dilemmas, ethical quandaries, oppression that overwhelms the lives of the female
and the often unforeseen consequences of human protagonists in Which Way is Right? and some other
actions are vividly painted. Through its characters and African plays. Ogechi is a typical example of a
their intricate dilemmas, this play holds a mirror to womanist.Oluwatoyin (2015) says that “the strength of
society, urging its audience to question, reflect, and the womanist rests solely in her ability to remain strong
engage in a profound dialogue about the fundamental and undefeated in the face of oppression.
tenets of morality. In contrast to Agnes, the playwright positions Ogechi as
Additionally, the playwright points out that impatience, an exemplar for young women and womanhood in
lack of contentment, and greed of the youth have driven general. Ogechi is portrayed as morally upright,
some to engage in criminal activities such as drug conscientious, hardworking, possessing fortitude,
trafficking, armed robbery, cybercrime, kidnapping, and stoicism, and brimming with ideas—an embodiment of
ritual money. The character of Okechukwu and Ikenna, the playwright's concept of an ideal woman. Through this
young men who end up arrested for the offence of character, the playwright illustrates the potential of young
kidnapping and attempted murder, serve as an example women to achieve great heights, akin to eagles, while
of the consequences of such behavior. The young men maintaining their virtues. Just as Andy symbolizes moral
find it difficult to secure a job or any means of livelihood decay in Which Way is Right?, Agnes serves as the
immediately after their NYSC programme and they female equivalent. She sleeps with various men and
resolve to reach out to Honourable Nkemka, a politician eventually learns a lesson in a hard way.
who, in quest for political power, promises to help them Set against the backdrop of a world where moral
but ends up dumping them. When Okechukwu and ambiguities are not merely confined to the pages of
Ikenna could not bear it any longer. Ikenna says literature but resonate through the complexities of daily
existence, Which Way is Right? engages its audience in
Ikenna: That’s the spirit bro! Now, listen I told an intricate web of ethical choices. Through the vivid
Skido and his group what Honourable Nkemka portrayal of characters entangled in moral dilemmas,
did to us and they promised to help us get back Uzondu's drama not only serves as a mirror to society but
at him, by kidnapping either his wife or one of his also offers a lens through which one can scrutinize,
children for ransom. As I speak with you now, his question, and potentially rejuvenate moral principles. It
house is under surveillance. Very soon, we will beckons the audience to navigate the labyrinth of human
cut our own pound of flesh. That is what our morality and encourages contemplation on the path one
society demands from us (43) chooses in the face of ethical crossroads.

These young men joined bad gangs that planned the CONCLUSION
kidnapping of Honourable Nkemka’s wife. Unfortunately,
they were caught in the process and sentenced to In conclusion, the exploration of moral principles
twenty-seven years imprisonment. The playwright uses through the medium of drama, as exemplified in Ifeyinwa
these young men to reinforce the theme of nemesis in the Uzondu's Which Way is Right? , offers a profound
play. The sudden and unexpected apprehension and opportunity to engage with and reflect upon the complex
confinement of Ikenna and Okechukwu reflect the ethical dilemmas that shape our lives. This captivating
principles of retributive justice, commonly associated with work serves as a powerful reminder of the enduring
the concept of nemesis. These young individuals, who relevance of moral values in our ever-evolving world.
were previously used as thugs by Honourable Nkemka Through the art of storytelling and the portrayal of
during his political campaign believe themselves to be multifaceted characters facing moral quandaries,
untouchable until the repercussions finally catches up Uzondu's play invites us to contemplate the
with them. consequences of our actions, the nature of our decisions,
The play also adumbrates gender concerns, especially and the paths we choose in our journey through life. By
as it concerns sexual exploitation of women by men. delving into the intricate web of human emotions,
Andy is emblematic of the moral bankruptcy of many relationships, and choices, Which Way is Right? not only
employers in Nigeria. He sleeps with young girls before provides a mirror to our own moral compass but also
employing them in his company. He becomes impels us to assess, reconsider, and potentially reshape
disappointed when Ogechi vehemently refuses to give up our understanding of what it means to live by one's
on her virtues and resist his lewd proposal. Ogechi principles.
 Inter. J. Eng. Lit. Cult. 20

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perspectives on morality. It reinforces the notion that the study of Wole Soyinka’s Opera Wonyosi” Applause,
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