I. Answer the following in two or three sentences
1. Why did Ahab Kioi come to Kiguunda's home?
Ahab Kioi came to Kiguunda’s home, along with his wife Jezebel, to persuade Kiguunda and Wangeci to have a church wedding. His real intention, however, was to manipulate Kiguunda into mortgaging his land so that Ahab’s company could acquire it for the construction of a factory. The visit was a disguise for economic exploitation rather than goodwill.
2. Who is John Mahuuni?
John Mahuuni is the son of Ahab Kioi wa Kanoru, a wealthy businessman and landowner. He develops romantic feelings for Kiguunda’s daughter, Gathoni, but his relationship with her later reveals the hypocrisy and moral corruption of the upper class.
3. Why did Kiguunda get angry at Gathoni?
Kiguunda became angry at Gathoni when she revealed that her new modern appearance and lifestyle were influenced by John Mahuuni. He saw this as a rejection of traditional Gikuyu customs and an embrace of Western culture.
4. I Will Marry When I Want was written in which language?
The play I Will Marry When I Want was originally written in Kikuyu (Gikuyu) language and later translated into English by Ngũgĩ wa Thiong’o and Ngũgĩ wa Mĩriĩ.
5. What happened to Kiguunda at the end of the play?
At the end of the play, Kiguunda loses his land after mortgaging it to secure a bank loan for the church wedding. When he realizes he has been deceived by Ahab Kioi and the church, he becomes violent, but is brutally beaten by the police. The ending symbolizes the continued oppression of the poor under neocolonial systems.
II. Answer the following in a paragraph of about 100 words each
1. How does the play depict the clash between traditional values and Western materialism?
The play realistically portrays the conflict between traditional Gikuyu customs and Western-influenced materialism. Kiguunda and Wangeci represent the working-class people who uphold traditional values, while Ahab Kioi and his wife Jezebel embody the Westernized elite who exploit religion and capitalism to control others. The insistence on a church wedding shows how Western customs have replaced traditional practices, devaluing indigenous identity. Through Gathoni’s fascination with modern fashion and Kiguunda’s loss of land, the play exposes how Western materialism corrupts family bonds, cultural pride, and perpetuates class divisions in postcolonial Kenya.
2. Why did Kiguunda get ready for the church marriage?
Kiguunda agreed to the church wedding mainly under pressure from his wife, Wangeci, and the belief that it would help secure a better future for their daughter, Gathoni. They hoped that by accepting Christian marriage, they would gain social approval from the wealthy Kioi family and possibly strengthen Gathoni’s relationship with John. However, their decision reflects the deep influence of neocolonial values, where the poor adopt Western traditions to gain acceptance, even at the cost of their own cultural identity and economic security.
3. Comment on the neocolonial influence in the play.
The play strongly criticizes the neocolonial system in post-independence Kenya, where the local elite, allied with Western corporations and the church, continue to exploit the working class. Ahab Kioi and Ikuua represent African capitalists who collaborate with foreign companies to exploit native land and labour. The church and banks serve as tools of control, encouraging poor people like Kiguunda to embrace Western customs while trapping them in economic dependency. Ngũgĩ reveals that political independence has not freed Kenya from foreign domination; instead, it has created a new alliance between the native bourgeoisie and Western imperialism.
4. Mention the traditional Gikuyu customs that are highlighted in the play.
The play highlights several aspects of traditional Gikuyu culture, such as the indigenous marriage ceremony between Kiguunda and Wangeci, which symbolizes communal unity and cultural authenticity. The Gitiiro dance and songs performed during Gicaamba’s wedding recall the vibrant oral and musical traditions that celebrate collective identity. Traditional land ownership and farming are shown as vital sources of pride and independence. These customs stand in contrast to the Westernized lifestyle of the elite.
III. Answer the following in an essay of about 300 words each
1. Discuss the use of language, symbolism, and other theatrical techniques in the play I Will Marry When I Want.
Ngũgĩ wa Thiong’o and Ngũgĩ wa Mĩriĩ employ language, symbolism, and theatrical devices to powerfully express social injustice and cultural alienation in I Will Marry When I Want. The play was first written in Gikuyu to connect directly with the Kenyan working class and peasantry, making language itself a political act of decolonization. By rejecting English, Ngũgĩ restores dignity to indigenous culture and asserts linguistic independence from colonial influence.
Symbolism plays a central role throughout the play. Kiguunda’s title deed represents not only his economic independence but also the effect of stolen African land. When he mortgages it to the bank, it becomes a symbol of neocolonial exploitation, as the elite use religion and financial institutions to exploit the poor. The church wedding symbolizes cultural betrayal and the internalization of colonial values, while Gathoni’s transformation under John’s influence reflects attraction of the youth towards the modern culture.
The use of songs and dances, especially Gitiiro, embodies the communal spirit of traditional Kenya, contrasting with the capitalist individualism of the rich. These musical interludes function as both political commentary and dramatic relief, allowing the audience to reflect on themes of oppression and resistance. Satire and irony are also employed to expose the hypocrisy of the elite, especially in the scenes where Ahab and Jezebel pretend to be moral guardians while exploiting the poor.
Ngũgĩ’s blending of realism with indigenous performance traditions transforms the stage into a space of resistance. Through local idioms, folk songs, and proverbs, the playwright creates a politically charged theatre that speaks to the conscience of the nation. The play, therefore, is not just a story—it is an act of cultural reclamation and political awakening.
2. How does the play portray the continued influence of Western powers and their economic and cultural dominance after independence?
I Will Marry When I Want reveals that even after getting independence Kenya is not free from the foreign domination; it merely changed its form. The Western powers continue to exert control through economic, religious, and cultural institutions that enslave the poor psychologically and financially. Ngũgĩ wa Thiong’o and Ngũgĩ wa Mĩriĩ depict this through the alliance between the local elite, represented by Ahab Kioi and Ikuua wa Nditika, and multinational corporations that exploit the land and labour of ordinary citizens.
The church in the play becomes an instrument of neocolonial control, preaching submission and promoting Western customs under the guise of spirituality. By convincing Kiguunda to remarry in the church, the elite manipulate religion to legitimize their exploitation. Similarly, the bank that lends money to Kiguunda uses his land as collateral, leading to his dispossession. This reflects how capitalist systems trap the poor in cycles of debt and dependency.
Culturally, Western influence is evident in Gathoni’s admiration for modern fashion and her detachment from traditional Gikuyu values. Her relationship with John Mahuuni represents how the poor are deceived by the false promises of modernity and social mobility. Ngũgĩ exposes that even after independence, the ruling class mimics colonial attitudes, continuing to oppress their fellow citizens for personal gain.
The play’s ending—where Kiguunda loses his land and dignity—symbolizes the fate of postcolonial Africa, where political freedom has failed to translate into economic justice or cultural autonomy. Ngũgĩ’s message is clear: real liberation must begin with reclaiming cultural identity, rejecting blind imitation of the West, and uniting the working people against both foreign and local oppressors. The play thus stands as a powerful critique of neocolonialism and a call for true social and cultural emancipation.