'Three Suitors: One Husband' is a comedic play centering on Juliette, a young high school girl, who finds herself at odds with her family members and relatives, who want her to get married against her wish to a stranger - a man she has never met nor dated.

Indignant at her father for wanting to marry her off to a farmer, and later a civil servant, whom she knows nothing about, and not having been involved in the choosing of her future husband, Juliette is adamant she won't get married to the first suitor, Ndi, nor to his father's preferred suitor, Mbia.

Her protest and refusal to be subjected to this aspect of Bulu tradition falls on deaf ears. Not only does her father threaten to beat her, but also tells her, in no uncertain term, it'd already been decided she'll get married to the civil servant, and as such, she's to abide by that decision.

To evade being married to the civil servant, Juliette devises a plan of stealing the total amount of the bride price paid by the first two suitors, Ndi and Mbia. The first suitor had paid one hundred thousands francs, and the second paid double the amount paid by the first suitor. From the double amount paid by the civil servant, his father wanted to refund to Ndi his money, and remain with the rest. She shares her idea with Oko, her fiancé, and Kouma, her cousin. Oko is reluctant to accept Juliette's plan but she alleviates his worry by telling him that her father won't have lost the money for he'll get it back when he, OKo, uses it to pay her father as her bride price.

When Ndi arrives in Juliette's father's homestead, he is told Juliette doesn't want to be his wife. Juliette, he is lied to, wants to get married to the civil servant. Hearing this, he tells them if it's the case he should be refunded his money. Atangana heads to his house to retrieve Ndi's money from his briefcase. In utter astonishment, he doesn't see his briefcase which contained the total amount of money paid by Ndi and Mbia. This, he reveals to the elderly men with him - his father, Abessolo, the headman, Mbarga, and Mezoe, his relative. The headman hatches a plan which he shares with them on how they can get back the stolen money. Ndi is told for Juliette's family to accept him to be Juliette's future husband, he has to pay another similar amount - one hundred thousand francs. Having noted Atangana doesn't have the money, for it had been stolen, he demands to be given back his money. A confrontation ensues, and with anger in his voice, Ndi, fleeing from the threatening advance of Mezoe and Oyono, informs them that he intends to report their actions to the police station in Zoétélé.

Fearful of what Ndi's utterance might lead to, they tell Mbia, who hasn't yet left the village, if he'll add another one hundred thousand francs, he can have Juliette as his wife at that moment. Mbia asks them why he should add another amount to the one he'd already given. Is it they want to use his money to assist a young man to marry Juliette? Doubting the truthfulness of the men, he threatens with sending ten police commissioners the next day to arrest them if they won't refund his money.

Mbarga, the headman of the village, comes up with an idea of seeking the services of a local witchdoctor to reveal who stole the money. The witchdoctor appears to be nothing more than a trickster.

The following day, in the morning, Atangana and his fellow men discuss how they can get the money back seeing that the witchdoctor wasn't who he claimed to be. Mbarga says the only means of refunding the two payments is to find a wealthy man in the city who would be willing to marry Juliette.

Juliette enters into a compromise with her father that the first person who pays three hundred thousands francs, and nothing additional is asked of him, she'll readily accept to be his wife.

In the afternoon, a trader arrives in Atangana's village to sell his merchandise. Atangana tells him that he can have his daughter if he wants to. The trader is taken aback by Atangana's statement. He asks for the price. He tells Atangana he can't pay more than two hundred thousands francs, and that he'd part with that amount because of Juliette's social status - she's educated, and can converse in several languages, particularly pidgin English.

Since the trader didn't reach the amount Juliette had agreed with her father, Juliette breathes a sigh of relief. Later, Kouma is seen with Oko, and behind them is a band of musicians. Kouma introduces the young man to Juliette's father, and the elders. He offers 'sweet-nothings' praises of the young man, and the realisation the young man would pay the expected amount makes him the ideal candidate for Juliette.

The play ends with Atangana, and villagers, singing and dancing in celebration of Juliette's marriage to Oko.

Structure of the Play

The play is divided into five acts. The unfolding events occur roughly within two days beginning in the afternoon of Day One, and ending on the next day in the evening.

Act One

Outside his main house, in Mvoutessi village, Atangana is making a basket while throwing impatient glances at a large alarm clock set before him. Abessolo, his father, is sculpting an ebony figurine while his brother, Ondua, and his son, Oyono, are playing a local game. Matalina, his niece, is cracking peanuts and will soon be joined by Bella, his mother.

Atangana laments his wife, Makrita, has overstayed in the farm. It's late in the afternoon, and she hasn't arrived. She's expected to be back at home before midday to prepare food for the men. Ondua, with a gesture of discouragement, uses an exemplary occurrence to emphasize to his brother that women always want to prove they can have their way. He tells him the previous night he asked his wife who distils the illegal brew, Arki, to give him some. In response, she just gave him only one bottle instead of several of them.

Abessolo asks Ondua why he is angry when he had warned both of them - Atangana and Ondua - to discipline their wives when they err including Matalina, Ondua's daughter.

The conversation drifts to Ndi, a young farmer. He had paid the agreed brideprice of one hundred thousand francs to have Atangana's daughter, Juliette, as his wife. Atangana tells them that the young farmer will arrive in the afternoon.

He discloses there's another suitor, a civil servant from Sangmélina, who will also visit them the same afternoon.

Ondua asserts, when he, Atangana, becomes the civil servant's father-in-law, it'll present him a favourable chance to get a gun permit which is reinforced by Abessolo who asks him not to let the opportunity slide by.

Atangana wonders loudly whether the civil servant will pay more than 100,000 francs to repay Ndi and be left with some of his own. Bella and Matalina reassure him that the civil servant will meet the stated brideprice.

Juliette arrives home from school in the afternoon. After greeting her people, she's informed of the two men who seek to marry her. She is enraged they didn't bother to consult her on who she should get married to. Despite her protest, she's told by her father she'll get married to the second suitor who is expected anytime soon.

Act Two

Mbia, the civil servant, is seen sitting on a big armchair in the middle of the stage. He looks and behaves like an important person. Introducing himself, he asserts that he's an important person, having worked in the government for 25 years, and he is known, personally, by the Secretary of State.

Abessolo cancels the prospect of marriage between him and Juliette. The reasoning, he asserts, is that based on Mbia's tracing of his genealogy, per the old man's request, both him and Juliette are blood-related, that is, they're distant cousins.

Mbia, agitated, demands for his beers. Abessolo tells the villagers to return the beers. Instead, the villagers rush to the case to help themselves with as much beers as they could.

Mbarga, the headman of the village, rebukes Abessolo for treating such an 'important' man with disrespect. Mbia, who had come with his senior servant, Engulu, orders him to bring Mbarga some beers, and, ultimately, a case of wine, when Mbia mentions the 'likelihood' of the civil servant being elected from one government position to another - Mayor, Deputy, Secretary of State...

Before he leaves to attend a cocktail party at the Secretary of State's private residence, he is given a list of things he needs to bring with him before the marriage is finalized.

Before heading to the Secretary's residence, he heads to Mbarga's hut to drink the illegal local drink, Arki.

In the evening, Juliete, standing on a road, waiting for Oko, excitedly runs towards him when she sees him. She tells him of the dire situation she's in. She shares with him her plan of stealing the three hundred thousand francs, and Oko using it to pay for her bride price.

She heads back home to steal the briefcase containing the money. Oko, waiting for Juliette, is joined by Mbarga's son and Juliette's cousin, Kouma. Kouma tells Oko of the happenings of the day, and asks him where Juliette is.

Juliette returns with the briefcase. Kouma asks her to hand him the briefcase after he learns from her the purpose of her stealing the money.

Act Three

While the women are getting supper ready, Bela is eager to understand why Juliette is against marrying the civil servant. Later, Matalina joins them, bringing food given to her by her mother for Juliette.

Including Matalina, they're opposed to her marrying her boyfriend whom she's engaged to. They prefer the civil servant because he's wealthy, and holds a high-ranking position in the government.

Matalina leaves, shortly followed by the return of Atangana, Abessolo, and Ondua. At the order of her mother, Juliette lights a lamp to lighten the area outside the main house. With them is Ndi, her first suitor.

When Ndi's eyes meet those of Juliette, he walks towards her with the intention of embracing her. Instead, Juliette runs to the kitchen where her mother and grandmother are.

Ndi is told Juliette doesn't want to get married to him. She wants to get married to a civil servant. Ndi, believing the lie, asks to be refunded his money. Atangana, happily, goes to to his house to get the money. However, he comes out of the main house a sad man.

Finding himself in a tight corner, the money having been stolen, he enlists the help of Abessolo, Mbarga and Mezoe.

With much cunningness as he can afford, Mbarga tells Ndi to pay two hundred thousand francs if he wants to marry Juliette. Realizing Atangana had been robbed of the money, the reason they're asking him to pay another one hundred thousand francs to have Juliette as his wife, he tells them he'll report them at the police station in Zoételé. This occurs after Oyono poses a threatening question about what he will do if they refuse to refund his money, and subsequently, he and Mezoe menacingly approach him.

After Ndi has left, Mbia is called for. The civil servant is obviously in the headman's house drowned in the illegal brew, Arki. Atangana and his men tell him he can have Juliette as his wife at that moment if he'll pay another hundred thousand francs. Suspicious of their asking him to pay the amount, he threatens them with sending ten police commissioners the next day.

After Mbia leaves with his servant, Mbarga comes up with the idea of sending for the witchdoctor. He asserts that the witchdoctor, Sanga-titi, will identify, through his trade, who stole the money.

Act Four

The witchdoctor, arriving at Atangana's homestead, requires several things to be given to him before he begins his work.

Sanga-titi having taken advantage of the villagers' ignorance, involves Mbarga on various matters pertaining to the village, and his personal life. Mbarga, noting the witchdoctor correctly knows his personal life, orders that the things asked by the witchdoctor should be brought so he can be helped.

Atangana too has to give to be helped to locate who stole his money.

Kouma, who had gone to call Sanga-titi at the request of the headman, becomes suspicious of the witchdoctor. He asks the villagers, "Is he going to find the money with these tricks?"

Later on, Atangana, Mbarga, Abessolo, and the rest of the male villagers who had congregated that night realize the witchdoctor had been playing tricks on them.

Act Five

The next day, in the afternoon, the village's men - Atangana, Mbarga, Abessolo, Ondua and Mezoe - are gathered infront of Atangana's main house. They all look dejected.

Mbarga, the wise man he claims to be, tells them the only means of recovering the stolen money is by marrying Juliette to a great man in the city.

Juliette enters into an agreement with his father to be married to the first man who comes with the exact three hundred thousands francs as bride-price.

Tchetgen, a Bimeleke trader, arrives in the village of Mvoutessi. After settling his merchandise, and some villagers including the village's men and Makrita examining the items, and some trying on the clothes, Atangana approaches the trader and asks him whether he's willing to marry Juliette. The trader is taken back by Atangana's statement. He inspects Juliette and asks what their price is. He states he can't pay more than two hundred thousands francs.

Juliette is relieved she won't become the trader's wife as he can't pay the three hundred thousands francs.

Later, Kouma arrives with Oko at the scene. He introduces the elders and Atangana to Oko, another suitor who wants to marry Juliette. Oko pays the exact amount - three hundred thousands francs - to the relief of Atangana.

Juliette agrees to be married to Oko. Atangana is given the money and tells Oko that the matter of marriage to his daughter is settled.

The play ends with the villagers dancing in celebration of Juliette getting married to Oko.

1. Traditional Beliefs & Practices

a) Bride Price

When Juliette arrived home from school holiday, she's informed two men, a farmer, and later a civil servant, had approached her father and asked for her hand in marriage. Furthermore, Ndi, the young farmer, had paid the bride price amount of one-hundred thousands francs. It's expected, Mbia, the civil servant, would pay double the amount paid by Ndi, which he did.

Juliette was not only furious at her father for not having consulted her on who should be her future husband but also by setting a price on her on whoever wanted to have her as their wife.

Her disapproval of this aspect of Bulu's tradition is noted when she asked her father, in an angry tone, after her father said that he would allow the civil servant to marry her if he would pay a larger bride price,

"What? Am I for sale? Are you trying to give me to the highest bidder? Why can't you ask me my opinion about my own marriage?"

When her mother rebuked her for not being obedient to her family, that is, arguing against her father's decision on the matter of marriage, Juliette said,

"You want me to let them sell me like a goat? After all, I'm a valuable human being."

Despite her objection to this Bulu's tradition, her parents, sibling, uncle and grandparents offered seemingly justifiable reasons for the asking of her bride price. Some of the reasons they gave were:

• i) She will earn respect from her village

If she accepts to be married to a prominent individual, in this instance, the civil servant preferred by her father instead of the farmer, it suggests that her wealthy husband paid a large bride-price.

Bella, fed up with her granddaughter's refusal to be married to Mbia, said, with a discouraged sigh,

"I simply can't understand these girls of today! In my day, only those girls for whom the largest bride-price had been paid were respected. Look here, Juliette do you want to be a disgrace to us all like your cousin Myriam who married a good-for-nothing beggar? A young man who couldn't even give us enough money to...."

• A form of compensation to her family

Any suitor interested in marrying her would need to fulfill the customary practice of paying a predetermined bride-price to compensate her parents for their efforts in raising and educating her. This tradition acknowledges the transition of the daughter from her parental family to the groom's family.

Abessolo asked her, attempting to justify why she should get married to the civil servant,

"Besides, have you already paid us back all the money we spent for your studies at Dibamba and other places?"

Juliette, mounting in anger, asked him,

"So you expect me to pay you back?"

Juliette's grandfather's response implies that he saw the bride price as a form of repayment for the investment made in Juliette's education. He suggested that accepting a suitor who paid a bride price was a means of Juliette to fulfill her obligation to her family for the money invested in her upbringing and education. Her response to her grandfather shows that she didn't see her education as something that should be repaid through marriage.

• A means of meeting her family needs

In some cultures, bride price is utilized to address or meet family needs such as paying debts, funding education, or covering other expenses.

In the play, Oyono was expected to marry a girl from Ebolowa, a place known for its high bride-price demands, as her mother informed her. Consequently, Oyono's family was to prepare for a substantial bride-price payment. The funds would either be sourced or supplemented by her own bride-price.

Abessolo told Juliette since she's the most educated daughter in her extended family, they had to turn to her to enable them to benefit from her being married to the civil servant. He added,

"and your brother Oyono must pay for the girl he wants to marry in Ebolowa."

This is, later, emphasized by her mother who told her,

"...Girls are very expensive in Ebolowa! He needs lots of money , and you belong to him."

• A sign she is dearly loved by her loved ones

Bride price payment can also act as one of the many signs that a to-be-wife is loved by her loved ones. It conveys the message that her loved cherish her, and want all the best for her.

Juliette, fighting for the right to be heard, broke down. Sobbing, she told her parents, grandparents, her brother, and cousin,

"You don't even listen to me! You don't love me. Nobody loves me here!"

Abessolo, who was walking towards the kitchen, stopped, and told her,

"Shut up, you stupid thing! Why do you think we're demanding such a high bride-price for you? Doesn't that show how dearly we love you? You're the one who doesn't love us..."

• A means of facilitating a woman's freedom

In societies where bride price payment is practiced, the payment of a bride price symbolizes the transfer of responsibility and ownership of the woman from her family to her husband's family. Once the bride price is paid, the woman becomes officially part of her husband's family. Therefore, she is liberated from her family's control because they no longer have the authority over her that they did before the payment was made. Instead, she becomes subject to the authority of her husband and his family. So, the payment of the bride price marks a significant moment of transition and independence for the woman, as she moves from one family to another.

Oyono told his sister that he needed a lot of money to pay bride price of her future wife. Their mother agreed with Oyono's statement by stating that girls in Ebolowa are expensive. She added,

"He needs a lot of money, and you belong to him."

However, Juliette fought back by saying,

"But I'm a free person."

Oyono, exasperated, exclaimed,

"A free person! Listen to that! A free person, after all the money we spent for her studies."

Until Juliette's bride-price was settled, she would continue to be under the ownership of her family. This would prevent her from enjoying freedom and autonomy. Her obligation to her brother would persist until her bride-price was paid. Once her bride-price was settled, which would contribute to or complete the bride-price expected from Oyono's family for his fiancée, she would be liberated from her family's control.

Juliette's opposition to Bulu's tradition of bride-price mirrors Lakunle's refusal to pay bride-price for Sidi in the play, 'The Lion and the Jewel.' According to Lakunle, paying the bride-price, also known as bride-token, was synonymous with buying a heifer in a market stall. It'd translate to purchasing a human being. Both felt payment of bride-price devalues the dignity and value of a woman to the level of a mere commodity.

An observation from the play highlights a significant aspect of bride price: the link between a woman's social status, particularly her education level, and the amount a man is expected to pay for her hand in marriage. In modern African society, this correlation remains evident, as the bride price for a highly educated woman, such as one with a university degree, far surpasses that for a woman with only primary education or less. As can be noted in the play, the trader from Bimeleke said he would only part with two hundred thousands francs owing to Juliette's prowess - level of education - in conversing in various languages, particularly the ability to speak pidgin English.

b) Polygamy

Mbia and Mbarga practiced polygamy, indicating that it was a customary tradition deeply rooted in the culture of the Bulu tribe.

As Mbia was detailing his genealogy per Abessolo's request, Ondua asked Mezoe, softly,

"Is our son-in-law a bachelor then?"

Mezoe, replied, softly,

"Not quite, but he's only got eight wives. None of them went to secondary school like Juliette. She's the one who's going to rule that house, I can tell you that!"

Possibly, Mbia's motivation for marrying Juliette stemmed from the fact that none of his current wives had received formal education. As his newest wife, Juliette would likely assume the responsibility of fulfilling tasks that demanded literacy and knowledge typically associated with formal education.

According to Mezoe, Mbia had eight wives under his belt. Mbarga, the Mvoutessi's village headman, had twelve wives, and was in the process of having a thirteenth wife. Abessolo, who was quite angry with his granddaughter for refusing to get married to Mbia, stated,

"....A very important civil servant like the one we're experiencing this afternoon will make the whole village jealous of your family!"

Ondua, added to his father's statement,

"Yes, jealous! Just look at Meka, who was once the poorest man in Messam! He's now so proud ever since his daughter became the twelfth wife of the deputy..."

Atangana interjected,

"Of the Secretary of State! A girl who never went to secondary school like Juliette, and who's already had a concrete house built for her father."

It's evident that Bulu men faced no restrictions on the maximum number of wives they could marry; they had the freedom to marry as many women as they desired.

c) Superstition

Afraid of the potential consequences of Ndi's threat to report them to the Zoétélé police station and Mbia's warning of sending ten police commissioners the next day, Mbarga proposed to the group that they enlist the services of Sanga-titi, a local witchdoctor.

Sanga-titi, skilled at deceiving the villagers with his false reputation as an effective witchdoctor, exploited their ignorance to amass wealth, even though he occasionally contradictedd himself.

Despite inconsistencies in his claims, the villagers, believing that a witchdoctor would never lie about their craft, trusted Sanga-titi. Only Kouma was observant enough to detect the deception, and later, others in the village realized they had been tricked.

It seemed that whenever faced with mysterious or unexplainable events, the villagers turned to witchdoctors for assistance. For instance, Sanga-titi asked the villagers,

"...Do you sometimes hear owls hooting around your villages at night?"

The villagers answered they always hear them.

He asked,

"Do you also hear chimpanzees howling in the forest at night two or three days before somebody dies here in Mvoutessi?"

The villagers, approvingly, answered as before.

In a deep, menacing tone, aimed at instilling fear in the hearts of the villagers who had gathered, Sanga-titi stated,

"This village is corrupt! The owls and the chimpanzees you hear at night are no ordinary birds or animals: they represent the evil spirits of the past, the same that killed your ancestors! Beware, all of you! Before I go, I'll sell you powerful fetishes to keep these evil spirits away from you! I'll also sell you some special preparations to protect you from death!"

The villagers' belief in superstition is evident in their acceptance of the witch-doctor's assertion that the deaths of villagers, happening two or three days after the hooting and howling of owls and chimpanzees, were connected. In reality, these animal sounds are part of their natural communication and are unlikely to directly cause death to humans.

Taking advantage of their lack of knowledge on the causes of happenings in the village, basing the causes on superstitious beliefs, Sanga-titi offered to sell them items to protect them from evil spirits and death. The villagers who had gathered that night would likely have purchased them if they hadn't realized the witchdoctor was deceiving them.

Sanga-titi asserted his inability to err in identifying the causes of unexplained occurrences, citing his reliance on his spiritual items. His statement aimed to prove that his spiritual items were reliable and effective, convincing the villagers to believe in his powers as a witchdoctor and making them trust him more. He fed on their ignorance to enrich himself.

d) Taboo Foods

In the Mvoutessi village, young people were not required to eat certain meat unless they sought permission from the elders.

While Atangana went to his house to collect Ndi's money, Mbarga and Mezoe informed Abessolo, who was consoling Ndi, that two young men had hunted a large viper. They consumed a portion of it and reserved three-quarters for them. The elders were not only angry at the two young men for having not sought permission to hunt the viper but also that they had only left three-quarter of it for the elders to share.

Abessolo complained Atangana and Ondua's generation allowed their women to eat taboo foods which was unheard in the village.

The tradition of taboo foods, where certain foods were prohibited from consumption, was prevalent during both the pre-colonial and colonial eras in Africa. However, its influence has diminished over time due to scientific research and discoveries regarding the nutritional benefits of foods and the consequences of avoiding certain foods based on their impact on the human health.

e) Songs & Dances

There are two occasions when songs and dances take place in the village of Mvoutessi.

The first instance occured when Mezoe asked the village men who had gathered to witness the arrival and purpose of the visit of the 'great' man - Mbia - as to whether they're going to drink like dumb people. With the drum aiding as a musical accompaniment, the villagers sang and danced to the rhythm of the local songs - Nyeng and Anyang.

The second occurred immediately after Oko paid Juliette's bride price amounting to three-hundred thousand francs.

In the play, the traditional songs and dances portrayed the villagers' celebration of the occasions that brought them joy. Initially, they rejoiced over the provision of free drinks, and later, they joyfully celebrated the union of the two lovers as they solidified their commitment to each other.

2. Status of Women

Atangana's generation has a different lens-of-view on women compared to Abessolo's and previous generations. Atangana's generation is a bit lenient towards women.

Abessolo remarked that Atangana and Ondua's generation allow their wives to wear clothes, eat all sorts of taboo animals, and ask their opinion on various issues. According to him, he wouldn't tolerate that nonsense, as he called it. He advised them to beat their wives, and treat their daughters in the same manner.

Atangana had purposed to wait for her daughter's return from school holiday so he could ask her whether she'd be willing to become Ndi's wife. However, his father, Abessolo, discouraged him against going in that direction. In the conversation Atangana had with his family, including his niece, prior to Juliette arrival, Abessolo told him,

"....Why can't you understand that I always give you good advice? If it hadn't been for me the other day, you wouldn't have taken the money which was paid here by Ndi, the young man from Awae who wants to marry my granddaughter! You said it would've been a better idea to wait and consult Juliette herself before accepting the bride-price!"

According to Abessolo, a woman wasn't to be consulted on the matter relating to her marriage. Heeding his father's advice, Atangana accepted the money paid by Ndi as Juliette's brideprice, and later, Mbia's. Atangana developed a hard heart of not wanting to hear his daughter's view on such a matter that touched her personal life.

In essence, the choosing of a woman's husband, which was prevalent in pre-colonial African society, was to be decided by the parents, particularly the father, or a male figure. Even the amount of brideprice to be paid wasn't a decision a woman had to make. Hers was to abide by the decision that had already been made. In the modern African society, the decision on who should be a woman's future husband falls on the woman; not her parents or a male figure.

Beating wives, and daughters, was another common occurrence in the pre-colonial Africa era. The beating of wives by their husbands is a troubling issue that's still being effected by men in the modern African society. Wife-beating is meant to realign women to their rightful place in the family, teach them a lesson, or employed as a form of punishment.

In contrast to the pre-colonial African society, women in the modern era are allowed to express their views and share their thoughts with their husbands before family decisions are made.Increasingly, husbands are permitting their wives to convey decisions to the children after consulting with them. Only a few African men still believe they are the sole decision-makers in their families.

When it comes to taboo foods, women in modern African society are no longer restricted in what they can eat except in some African tribes.

This freedom also extends to their choice of clothing. Although Bella was comfortable wearing traditional clothing, her husband forbade her from wearing modern attire, insisting on traditional dress instead.Thus, Bella was limited to wearing traditional garments.e to them.

3. Modernity vs. Tradition

Abessolo, a hard-lined traditionalist, rebuked his sons - Atangana and Ondua - for being lenient on their wives. According to him, men should beat their wives so that their women would know their place in the family. He advocated for men to beat their wives, that is, punish them, when they err to prevent a repeat of the mistake they committed. This belief among men, they have the authority, and are at liberty, to beat their wives, is still prevalent in the modern African society.

Abessolo's comment suggests that Atangana and Ondua refrained from physically harming their wives. This suggests that the influence of modern culture, which emphasizes mutual respect between couples, had an affect on them to some extent.

The beating of wives hasn't ceased in the modern African society, and virtually, worldwide. Men still feel they have the authority to beat their wives. The alarming statistics of physical abuse meted on women by their husbands, worldwide, is a testament of how some men still hold the view they are superior to women.

In pre-colonial African society, specific foods were designated for particular age groups or genders. Consumption of prohibited foods, mostly meat, was believed to bring about curses or misfortune. Abessolo was puzzled by Atangana and Ondua's generation of being tolerant towards women consuming taboo foods. He was furious at the two young men who hunted an animal whose meat they were forbidden to eat without seeking permission from their elders. Consequently, the elderly men cursed the young boys.

The practice of taboo foods is no longer widespread in Africa. Scientific research has played a significant role in reducing the belief that certain foods should be restricted based on age or gender. These studies have debunked such long-held beliefs, revealing them as unfounded.

In the play, women do not have a say in who they should get married to. It's upon their parents to choose for them. The belief a woman has no right to decide for herself who to get married to is less prevalent in the modern African society. Women now have the freedom to choose their romantic partners and decide whom they want to share their lives with. Furthermore, some families are opting not to request or insist on a bride-price.

In some African tribes, such as the Himba tribe of Namibia, women have limited autonomy in choosing their husbands. In Himba culture, marriages are often arranged by the families of the bride and groom, with little input from the individuals involved. The Maasai tribe of Kenya and Tanzania is another example of tribes where marriages are typically arranged by parents and elders. The women may not have much say in the selection of their spouses.

It's a foreign concept in pre-colonial African society to involve women in decision-making, or even if they're involved, the final decision was made by the husband. The fact that Juliette wasn't involved in deciding on the man she'll spend the rest of her life with indicates how lowly women were viewed in her village. Even though in the modern African society the belief women are inferior to men hasn't vanished, women are not restricted by their parents from choosing their long-term partners, save for a few tribes. And, increasingly, women are involved in decision-making by their husbands on issues affecting their family, and at times, they're permitted to state to the children the decision their parents have arrived upon on certain issues affecting them.

In the modern African era, similar to precolonial era, it's mostly the responsibility of women to impart moral values and behaviours to children. If a child behaves well, their father would be proud of them but if the child misbehaves, a finger would be pointed at their mother. Makrita rebuked her daughter when her husband remarked that she's the one who was teaching his children bad manners. She was afraid of being accused of teaching immoral behaviour to, not their children, but her husband's children, which was not expected of a woman.

Juliette had differing views on the beliefs held by her tribe. She believed women were equal to men, and therefore should be involved in decisions concerning them. They too were humans with feelings that should be acknowledged by men instead of being treated as an asset whose time had arrived to be sold to the highest bidder without being consulted.

It's an alien concept to Atangana and the other elderly men when Oko told Juliette's father that he, Oko, had to ask Juliette if she's interested in becoming his wife. The idea of a man proposing to a wife is a modern concept. This puts Juliette and Oko on the modernist pedal - young Africans who've subscribed to modern ideals.

The theme of the play focuses on the conflict between African traditionalists and young Africans drawn to modern ideals. The younger characters, having acquired formal education and influenced by modern values, are now more inclined to critically analyze issues impacting their personal lives. They are empowered to independently evaluate whether certain actions are beneficial to them or not.

Through the play, the playwright has illuminated some of African traditions that should be done away with. The playwright has illuminated the demerits of some African traditional beliefs and practices, and consequently, inviting Africans to embrace the beneficial aspects of their traditions, and do away with those that are harmful, or belittle a certain gender or age group.

As opposed to the play, 'The Lion and the Jewel,' whereby tradition has triumphed over modernity, in 'Three Suitors: One Husband,' the situation is reversed. Overall, both plays stress the need to adopt aspects of modern ideals that are beneficial to Africans, individually and collectively, and eliminate elements of African traditions that are degrading, and lack value for those who adhere to them.

The three major characters in the play are Juliette, Atangana and Abessolo. Their conversations and their attitude towards issues affecting their family and village, has provided a detailed picture of their individual qualities.

a) Atangana

Atangana is an African who has embraced some elements of modern culture whilst holding to some of Bulu's traditional customs. Additionally, he breaks some of Bulu's laws in light of the influence of modernity in his village, and country, as a whole.

Abessolo lamented that Atangana and Ondua's generation were being less strict towards their wives and daughters. He gave an instance of them permitting their women to wear modern clothing and consuming prohibited meats. Also, Atangana having purposed to wait for his daughter's return to consult her on whether she'd want to become Ndi's wife. Having wanted to seek her opinion on a matter pertaining to her personal life, before he's discouraged by his father against seeking her consent, shows Atangana accomodated women's view, in this instance, his daughter's. These are some indicators that show the extent of the influence modernity had on him.

He is a father motivated by greed, willing to arrange a marriage for his daughter to the highest bidder. Initially approached by Ndi, a young farmer interested in marrying his daughter, the father's preference changed when a civil servant expressed interest. He preferred the civil servant over Ndi, attracted by the benefits he could get through the association of marriage - her daughter being married to him.

b) Juliette

Juliette, a high school student, symbolizes the young Africans who, through attainment of education, have embraced modern ideals.

She believes women too are human beings and as such they have the right to be heard. They have the right to state their opinion on various issues, including those that touch upon their personal lives.

She is resourceful. Resourcefulness refers to the ability to find quick and clever ways to overcome difficulties or achieve goals, especially when faced with limited resources or challenging situations. Juliette was opposed to Bulu's traditional custom of marriage payment. To her, a man paying her father a stated bride price amount equated to her being sold to a buyer. It was synonymous, that is, similar, to an item bought at a shop. Realizing her father was adamant she'll get married to the civil servant, and later any man who could afford to pay her bride price amounting to the sum of the stolen money, she made use of the Bulu's tradition, bride price, to evade being married to a man her heart didn't resonate with.

She is progressive. Progressive refers to having modern or forward-thinking ideas, especially regarding social or political change. It often implies a willingness to challenge traditional norms or values in favour of new or more inclusive perspectives. Juliette's mode of viewing things, that is reasoning, deviated from that of Matalina and the other relatives. They had a difficult time attempting to understand why she refused to get married to the civil servant. Her father had intended to wait for her return, from school break, to consult her on the young farmer's interest to marry her. However, he was discouraged by Abessolo against entertaining such an intention, and consequently, Atangana's mind was consumed by traditionalistic mindset. Juliette's perspective on issues such as love, bride price and marriage was influenced by education she received. Thus, it can be stated, Juliette's viewpoint of things was influenced from a modern mindset. It was not inclined by traditionalistic mentality.

c) Abessolo

A traditionalist, Abessolo isn't inclined towards adapting to the modern lifestyle other than appreciating and making use of modern inventions.His attraction to modern inventions is seen when he encourages Atangana not to let the opportunity of obtaining a gun permit pass by when Mbia becomes their in-law.

He represents the old generation that is opposed to modern living. He detests the encroachment of modern culture in his village, and subsequently, advices his two sons, Atangana and Ondua, indirectly, to stick to the traditional laws of the Bulu tribe. He can't understand why Atangana and Ondua's generation permit their women and daughters to wear 'modern' clothing and eat taboo meats. He advises them to beat their wives and daughters when they act inappropriately. He is also against women having an opinion on any matter, including issues that affect their personal life.