CHAPTER THREE

Exploration of Sexual Immoralities

In the realm of African literature, the exploration of societal issues has always been a prominent

theme, often portrayed through the lens of realism. Frank Ogbeche's "Harvest of Corruption" and

Femi Osfisan's "Midnight Hotel" are two influential works that delve into the intricate web of

sexual immorality within the African context. Through the perspective of social realism theory,

these playwrights shed light on the harsh realities of corruption, exploitation, and moral decay

that afflict modern African societies.

Both Ogbeche and Osfisan utilize vivid storytelling techniques and captivating characters

to depict the widespread influence of sexual immorality on individuals and communities. Against

a backdrop of political corruption and societal decline, their works serve as powerful

condemnations of the moral crisis plaguing African nations. By examining the complex

connections between power, exploitation, and sexual immorality, these playwrights offer

profound insights into the intricacies of human nature and the societal forces at play.

This analysis aims to examine the portrayal of sexual immorality in "Harvest of

Corruption" and "Midnight Hotel" through the lens of social realism theory. By exploring the

socio-economic and political contexts depicted in these works, we aim to uncover the underlying

causes and consequences of sexual exploitation and moral decay within African societies.

In this comparative analysis, we will explore how these playwrights utilize realism to

uncover the systemic injustices and moral complexities present in their respective stories. Our

aim is to shed light on the significant socio-cultural implications of sexual immorality as

portrayed in Ogbeche's "Harvest of Corruption" and Osfisan's "Midnight Hotel." Additionally,

we seek to emphasize the continued relevance of social realism in addressing contemporary

societal issues.

Frank Ogbeche's play, "Harvest of Corruption," serves as a powerful portrayal of sexual

immorality, serving as a cautionary tale about the increasing levels of indecency and societal

decay within Nigeria. Throughout the text, various instances of sexual immorality are skillfully

introduced and deeply ingrained, reflecting the widespread presence of this societal problem.

In page 15, a conversation that bothers on sexual immorality occurs between Madam

Hoha, Chief Ade-Amaka and Ochuole who doubles as the Chief Administrative Officer and side

mistress for the Honourable Minister Ade-Amaka:

Madam Hoha: Now you're talking [Link] can join your girl. She is dying to have you

already. (Raises her voice). Ochuole take things easy ooo! I beg you. There he is. He is all yours.

Chop am if you like (gesturing Chief towards where Ochuole is sitting. Chief moves towards

Ochuole. He draws out a chair and sits beside her. The waiter brings two bottles of big stout and

the pepper soup. He bows after dropping the items and opening the drinks, he leaves).

Chief Ade-Amaka: What's cooking baby? (Draws out a chair, sits and places his hands on

the laps of Ochuole). Ochuole: (Feigning ignorance). Look Chief, stop this 'baby' thing and don't

refer to me as as baby again (removes his hands from her laps), just try and be yourself for once.

Chief, I am not happy. There are a number of things worrying me. Chief Ade-Amaka: (Leaning

towards her, he puts his hands on her shoulder and almost in a whisper) Like what? Why don't

you cheer up after all I am sitting right beside you.

Ochuole: (Looking worried) I need twenty thousand naira, Chief, to send to the village. I

got a message yesterday that my mother is sick and is in the hospital.

 Chief Ade-Amaka: (Draws his portfolio nearer to himself, presses the buttons open and

pulls out a bundle of money which he throws on her laps) that’s twenty thousand naira baby. You

can send it now if you like, but please let me enjoy my stout when it's cold, you know I like my

drink chilled. (He proceeds to serve himself)

Ochuole: (Picks the bundle puts it in her bag and begins to eat her pepper soup. She

thanks Chief and begins to rub him on the thighs). Chief! Guess what I have for you.

The social realism theory is evident in the conversation between Madam Hoha, Chief Ade-

Amaka, and Ochuole, as it exposes the presence of sexual immorality in a corrupt and

exploitative society.

Madam Hoha's suggestion for Chief Ade-Amaka to get involved with Ochuole implies

that sexual exploitation and immorality are seen as normal in this particular society. Ochuole,

who holds the dual role of Chief Administrative Officer and mistress to the Minister, is

objectified and manipulated, highlighting the power imbalances and gender dynamics at play.

Chief Ade-Amaka's use of affectionate terms like "baby" and his physical advances

towards Ochuole reveal his predatory behavior and the pervasive influence of corruption on

personal relationships. Despite Ochuole's discomfort and rejection of Chief's advances, he

persists in asserting his dominance and control over her, demonstrating the exploitation and

coercion that exist in such relationships.

Ochuole's request for financial assistance further emphasizes the economic vulnerability

faced by individuals in this society. Chief Ade-Amaka's willingness to provide money to

Ochuole, even without engaging in sexual intimacy, reinforces the transactional nature of their

relationship and the acceptance of corruption as a means of exerting power and influence.
 This interaction showcases the decline of morals and values in the community. People are

willing to sacrifice their principles and self-respect in order to gain wealth and status. The

conversation reveals the intricate dynamics of power, exploitation, and moral decay in relation to

sexual immorality and corruption. It provides a critical analysis of the injustices and societal

issues present in African societies, highlighting the widespread impact of corruption on

individual behavior and relationships.

Also, in 59 when Aloho who ignorantly and innocently serves as a Protocol Officer to

Chief Ade-Amaka and Ogenyi are having a conversation after Aloho has being discharged and

acquitted of drug related allegations through the connection of Chief Ade-Amaka who's also the

main force behind the drug issues as he operates a Drug cartel, another incident of sexual

immorality gets exposed:

Ogeyi: Calm down, Aloho, the world has not ended; you can still pick up the pieces. You

can! Please pull yourself together and stop acting like a baby.

Aloho: Ogeyi, you may not understand my position. I was even lured to into having

affairs with Chief. Ever since my detention, I have been feeling funny and I am sure I am

pregnant. I think I have started the harvest of corruption, which you mentioned before, and I

have the feeling that I am going to reap it in hundred folds. Can you understand my predicament

now?

In this dialogue between Aloho and Ogeyi in the play "Harvest of Corruption," we

witness the exploration of sexual immorality within the context of corruption and exploitation, in

line with the theory of social realism.

Aloho's admission of being seduced into engaging in affairs with Chief Ade-Amaka, her

superior and the mastermind behind the drug problems, reveals the widespread influence of
sexual exploitation and manipulation in the society depicted. Chief Ade-Amaka takes advantage

of Aloho's vulnerability as a young woman seeking employment, using his power and authority

to satisfy his own desires, thus perpetuating a culture of sexual immorality and exploitation.

Aloho's realization that she might be pregnant further emphasizes the consequences she

faces due to her involvement in Chief Ade-Amaka's corrupt activities. Her mention of the

"harvest of corruption" symbolizes the moral decay and deterioration that saturate the society

portrayed in the play, where individuals like Aloho find themselves trapped in a cycle of

exploitation and moral compromise.

Ogeyi's efforts to console Aloho and encourage her to "move forward" reflect the harsh

realities experienced by those who become victims of corruption and sexual exploitation.

The interaction between Aloho and Ogeyi beautifully illustrates the intricate dynamics of

power, exploitation, and moral decline in a community. By employing the theory of social

realism, this conversation presents a thought-provoking analysis of the societal problems and

ethical uncertainties prevalent in modern African societies. It highlights the ongoing battle for

honesty and fairness in the midst of widespread corruption and exploitation.

Further, in page 67, the conversation between Aloho and the Doctor underpins some

properties of sexual immorality as it's pegged on terminating Aloho's pregnancy:

Aloho: Thank you Doctor. (Reassured). My name is Aloho and I have a problem. Right now I

have a feeling that I am pregnant and I do not want to keep the baby. In fact, Doctor, I am not

ready for a family life yet. Please, I want a D and C, can you help me?

Doctor Chukwuma: (Hesitates). Mụ dear young lady, you know that it's against our

profession to do such things. Indeed, it is criminal and one can end up in jail for life and even

lose his medical license forever.

 Aloho: Please Doctor, help me. I am ready to pay any amount you charge.

Doctor Chukwuma: (Showing interest at the mention of money). Okayy lady how much can you

pay? I shall assist you even though I am taking a risk.

In the dialogue between Aloho and Doctor Chukwuma, the examination of sexual

misconduct within the context of abortion is apparent, aligning with social realism theory.

Aloho's acknowledgment that she suspects pregnancy and her intent to terminate it

highlights societal pressures and ethical dilemmas encountered by women facing unplanned

pregnancy. Aloho's resistance to becoming a mother emphasizes the intricacies of personal

choice and reproductive rights in the portrayed society.

Doctor Chukwuma's initial reluctance to perform the abortion mirrors the moral and legal

constraints on medical practitioners regarding abortion services. His acknowledgment of the

illegality of such actions underscores the societal stigma and legal ramifications associated with

abortion, particularly in contexts where it is highly restricted or prohibited.

However, Doctor Chukwuma's eventual willingness to assist Aloho, albeit motivated by

financial gain, highlights the pervasive influence of corruption and moral compromise within the

medical profession. His readiness to take a risk and perform the procedure in exchange for

monetary compensation underscores the systemic injustices and moral ambiguities inherent in

contemporary African societies.

Through the perspective of social realism theory, the conversation between Aloho and

Doctor Chukwuma serves as a poignant portrayal of the complex intersections of power,

exploitation, and moral decay within the context of sexual misconduct and reproductive rights. It

offers a critical examination of the societal pressures and moral complexities faced by
individuals navigating unwanted pregnancy and abortion, shedding light on the ongoing struggle

for bodily autonomy and reproductive justice amidst systemic injustice and corruption.

Frank Gone's "Harvest of Corruption" is aesthetically endowed with diverse textual

occurrences that reflect the prevalence of sexual misconduct in our society. From the illicit

sexual encounters between Chief Ade-Amaka and Ochuole to those between Chief Ade-Amaka

and Aloho, and finally to Aloho's abortion pursuits, these all depict a society fraught with sexual

immoralities.

After clinically exploring how sexual immoralities manifest in Frank Ogbeche's "Harvest

of Corruption," the transition will be made to examining sexual immorality in Femi Osofisan's

"Midnight Hotel."

In Femi Osofisan's "Midnight Hotel," the exploration of sexual misconduct serves as a

central theme within the broader context of societal decay and corruption. Set within a hotel that

metaphorically represents Nigeria itself, the play delves into the intricate interplay of power,

exploitation, and moral degradation that characterize Nigerian society. Through a satirical lens,

Osofisan highlights the pervasive culture of corruption, where sexual immorality is intertwined

with political machinations and abuse of power. An exploration of how sexual immorality is

depicted in the play, examining its implications for individual characters and society as a whole,

will be provided. From the illicit affairs of political elites to the exploitation of vulnerable

individuals, "Midnight Hotel" offers a powerful critique of the moral bankruptcy that permeates

Nigerian society, while also calling attention to the urgent need for societal reform and ethical

renewal.

The moral degradation in our society is undeniable due to the myriad of negative actions

and deeds by a majority of its people. In Osofisan's play "Midnight Hotel," the conversation
between Jimoh and his assistant, Bicycle, regarding the naked woman Bicycle encountered in

one of the hotel rooms exemplifies this moral degradation. Bicycle, apparently inexperienced

with women, is unfazed by her nudity. He is surprised by the woman's nonchalance, suggesting

she may be a prostitute. He expresses his dismay to his boss, hoping he would understand his

confusion.

Bicycle: Jimoh, er, sorry Chief Jimoh, if you see de ting wey I take my eyes see jus’ now!

If you see am!

Jimoh: What did you see?

Bicycle: A woman, chief Jimoh. A woman!

Jimoh: You’ve never seen a woman before?

Bicycle: I tell you sah Jimoh de woman, she was ---- she was nakedly naked

Jimoh: And so? Were we not all born naked?

Bicycle: And she no care one ting at all ------ Boy, can you please take dis money and buy me

some cigarette? Just like dat.

Jimoh: Just like dat! Hen na . Look here, Bicycle how many times will I remind you that you are

no longer in your village? This is Lagos, man, and in Lagos, sex is business. Naked women half

naked women, women about to be naked, women who have always been naked, women who will

die naked all is money in this city. By money! (pp 3-4).

In the dialogue between Aloho and Doctor Chukwuma, the examination of sexual

misconduct within the context of abortion is apparent, aligning with social realism theory.

Aloho's acknowledgment that she suspects pregnancy and her intent to terminate it

highlights societal pressures and ethical dilemmas encountered by women facing unplanned
pregnancy. Aloho's resistance to becoming a mother emphasizes the intricacies of personal

choice and reproductive rights in the portrayed society.

Doctor Chukwuma's initial reluctance to perform the abortion mirrors the moral and legal

constraints on medical practitioners regarding abortion services. His acknowledgment of the

illegality of such actions underscores the societal stigma and legal ramifications associated with

abortion, particularly in contexts where it is highly restricted or prohibited.

However, Doctor Chukwuma's eventual willingness to assist Aloho, albeit motivated by

financial gain, highlights the pervasive influence of corruption and moral compromise within the

medical profession. His readiness to take a risk and perform the procedure in exchange for

monetary compensation underscores the systemic injustices and moral ambiguities inherent in

contemporary African societies.

Through the perspective of social realism theory, the conversation between Aloho and

Doctor Chukwuma serves as a poignant portrayal of the complex intersections of power,

exploitation, and moral decay within the context of sexual misconduct and reproductive rights. It

offers a critical examination of the societal pressures and moral complexities faced by

individuals navigating unwanted pregnancy and abortion, shedding light on the ongoing struggle

for bodily autonomy and reproductive justice amidst systemic injustice and corruption.

Frank Gone's "Harvest of Corruption" is aesthetically endowed with diverse textual

occurrences that reflect the prevalence of sexual misconduct in our society. From the illicit

sexual encounters between Chief Ade-Amaka and Ochuole to those between Chief Ade-Amaka

and Aloho, and finally to Aloho's abortion pursuits, these all depict a society fraught with sexual

immoralities.
 After clinically exploring how sexual immoralities manifest in Frank Ogbeche's "Harvest

of Corruption," the transition will be made to examining sexual immorality in Femi Osofisan's

"Midnight Hotel."

In Femi Osofisan's "Midnight Hotel," the exploration of sexual misconduct serves as a

central theme within the broader context of societal decay and corruption. Set within a hotel that

metaphorically represents Nigeria itself, the play delves into the intricate interplay of power,

exploitation, and moral degradation that characterize Nigerian society. Through a satirical lens,

Osofisan highlights the pervasive culture of corruption, where sexual immorality is intertwined

with political machinations and abuse of power. An exploration of how sexual immorality is

depicted in the play, examining its implications for individual characters and society as a whole,

will be provided. From the illicit affairs of political elites to the exploitation of vulnerable

individuals, "Midnight Hotel" offers a powerful critique of the moral bankruptcy that permeates

Nigerian society, while also calling attention to the urgent need for societal reform and ethical

renewal.

The moral degradation in our society is undeniable due to the myriad of negative actions

and deeds by a majority of its people. In Osofisan's play "Midnight Hotel," the conversation

between Jimoh and his assistant, Bicycle, regarding the naked woman Bicycle encountered in

one of the hotel rooms exemplifies this moral degradation. Bicycle, apparently inexperienced

with women, is unfazed by her nudity. He is surprised by the woman's nonchalance, suggesting

she may be a prostitute. He expresses his dismay to his boss, hoping he would understand his

confusion.
 Bicycle: Jimoh, er, sorry Chief Jimoh, if you see de ting wey I take my eyes see jus’ now!

If you see am!

Jimoh: What did you see?

Bicycle: A woman, chief Jimoh. A woman!

Jimoh: You’ve never seen a woman before?

Bicycle: I tell you sah Jimoh de woman, she was ---- she was nakedly naked

Jimoh: And so? Were we not all born naked?

Bicycle: And she no care one ting at all ------ Boy, can you please take dis money and buy me

some cigarette? Just like dat.

Jimoh: Just like dat! Hen na . Look here, Bicycle how many times will I remind you that you are

no longer in your village? This is Lagos, man, and in Lagos, sex is business. Naked women half

naked women, women about to be naked, women who have always been naked, women who will

die naked all is money in this city. By money! (pp 3-4).

The social realism theory is used to analyse the portrayal of sexual immorality and societal

decline in the discourse between Jimoh and Bicycle.

Bicycle's astonishment and dismay upon discovering a nude woman in one of the hotel

rooms underscores the ethical decay prevalent in the society portrayed in the play. Jimoh is

unaffected by Bicycle's outrage, dismissing the event as typical of Lagos. Jimoh's answer

illustrates how, in the play's social milieu, immorality and sexual exploitation have become

commonplace.

The statement made by Jimoh that "in Lagos, sex is business" highlights how sexuality is

commodified and how transactional relationships are ingrained in the society that is portrayed.
Women are seen like commodities to be bought and sold, and their sexuality and nudity are only

seen from the perspectives of exploitation and financial benefit.

In addition, Jimoh's portrayal of nude women as goods to be purchased and sold supports

the play's sociocultural framework's systematic objectification and dehumanisation of women.

People like Bicycle become desensitised to the intrinsic immorality of such transactions, which is

perpetuated by the trade of money for sexual services.

The dialogue between Jimoh and Bicycle is a striking illustration of the moral

deterioration and social decay that define Nigerian society when viewed through the prism of

social realism theory. Through her focus on the marketing of women's bodies and the

normalisation of sexual immorality, Osofisan provides a critical analysis of the ethical

ambiguities and structural inequalities that exist in modern African communities.

Furthermore, it is morally inappropriate for Awero and Pastor Suuru to have an unholy love

relationship since Pastor Suuru, a self-proclaimed man of God, should be held accountable for

his extramarital encounters with his friend's wife. It is crucial to remember that during their

numerous conversations at the hotel, Pastor Suuru fidgeted, but Awero kept encouraging him to

do the "thing."

Awero: Will you stop that! You call yourself a pastor and you still want contract or don’t

you?

Suuru: Well why not? After all, all the big Alhajis are emergency contractors also. Even our

Bishop! Is religion against profiteering? Anyway, you know that’s not why I am afraid.

Awero: You’re afraid because I’ve brought you here isn’t it? You’re so naïve that I view why I

am even helping you. How do you think contracts are awarded by prayer, isn’t it? Nonsense! I
told you to relax, I’m sure the song master won’t mind singing us the song in praise of sampling

the Gods.

(Awero leads the song as they play)

The world’s a market they say

And so is parliament

So don’t bring us your lament

Unless you’re willing to pay

Chorus: But please take off your clothes

And do not waste my time

I want to sample your type

You cannot like a government

If isn’t efficient

How shall we give example?

If we refuse to sample

Suuru: It’s not that I don’t appreciate your helps. I’m just afraid that we may be seen.

That’s all I mean if your husband were to ….

Awero: Relax, pastor, this place is quite safe (12-13)

As the play's events unfold, Pastor Suuru is revealed to be a religious quack, eerily evoking

Soyinka's Brother Jero, who exhibited duplicity and mischievous behaviour throughout the play

The Trial of Brother Jero. Probes are needed throughout Alatise and Suuru's talk. When Alatise

questioned Suuru about his mission at the hotel, he was unable to provide an acceptable answer,

stating only that he was;

Alatise: (Laughing suddenly) I don’t wish to be too curious, pastor,... can one ask what kind of

business you were going about at this hour ---- in your singlet?

Suuru: Oh yes! Funny isn’t it? Ha ha ha! Headmaster this is Lagos you know! We holy men in

the city, the temptation we run through in the course of following the Lord’s sheep (41).

The interplay between Awero and Pastor Suuru illustrates the examination of sexual immorality,

a key theme in the play scrutinized through the lens of social realism.

The dialogue between the two characters exposes the contrast between Pastor Suuru's

religious vocation and his illicit affair with Awero, highlighting the complexities of morality

within Nigerian society. Awero's exploitation of Pastor Suuru using a contractual promise

highlights the transactional nature of their connection, reflecting the corruption and exploitation

permeating the society.

Furthermore, Pastor Suuru's justification of his actions by citing similar misconduct

among religious leaders showcases the decline of ethical standards within institutions of faith.

His reluctance stems from fear of exposure rather than moral qualms, exposing the superficiality

of his religious beliefs.

The conversation between Awero and Pastor Suuru is marked by an indifference to

ethical boundaries and undermines the sanctity of marriage. Awero's disregard for religious

principles driven by personal gain, alongside Pastor Suuru's susceptibility to her manipulation,

indicts the moral decline within Nigerian society.

Osofisan's exploration of sexual immorality through Awero and Pastor Suuru's affair

critiques the societal decay afflicting contemporary African communities. The play exposes the

corruption, exploitation, and hypocrisy underpinning their relationship, serving as a reflection of

the ethical crisis within Nigerian society.

 Both "Harvest of Corruption" by Frank Ogbeche and "Midnight Hotel" by Femi Osofisan

explore the pervasive issue of sexual immorality within Nigerian society, employing distinct

narrative frameworks. While both plays utilize social realism to portray prevalent social

problems, their approaches and focus on sexual misconduct vary notably.

In "Harvest of Corruption," Aloho's storyline serves as a central focus, exposing the

corrupt bargains and exploitation orchestrations within bureaucratic hierarchies. Aloho's

entanglement with Chief Ade-Amaka, initially a transactional exchange, descends into a forced

sexual affair, highlighting the insidious impact of power imbalances on moral conduct and the

decay of governance. The play emphasizes how corruption corrupts personal ethics, driving

individuals like Aloho to compromise their integrity for survival and advancement.

In contrast, "Midnight Hotel" explores sexual immorality within a seedy hotel

environment, representing a microcosm of Nigerian society. A cast of characters engage in illicit

affairs, including the illicit relationship between Awero and Pastor Suuru. Unlike "Harvest of

Corruption," which centers on systemic corruption in government, "Midnight Hotel" unveils the

moral degradation that pervades different societal layers, including religious institutions. The

sexual impropriety depicted reflects the erosion of ethical standards and moral decline prevalent

across Nigerian society.

Despite their divergent approaches, both plays employ sexual immorality as a lens to

critique broader social issues like corruption, exploitation, and hypocrisy. Utilizing social

realism, they craft vivid and authentic portrayals of Nigerian society, illuminating the intricate

relationship between individual morality and institutional corruption. Both works highlight the

repercussions of sexual misconduct on individuals and the community, showcasing its role in

perpetuating cycles of exploitation and suffering.

 However, the plays differ in their narrative structures and settings. "Harvest of

Corruption" unfolds primarily within government offices and legal institutions, exposing the

machinations of corrupt officials and their victims. Conversely, "Midnight Hotel" unfolds in a

seedy hotel, capturing a broader perspective of Nigerian society. The hotel serves as a metaphor

for moral decay permeating various societal aspects, providing a complex tapestry of characters

and narratives that expose the many facets of sexual immorality.

In sum, both "Harvest of Corruption" and "Midnight Hotel" offer penetrating critiques of

sexual immorality in Nigerian society, employing social realism to create powerful and thought-

provoking portrayals of moral decline and institutional corruption. While their approaches and

settings may differ, both plays emphasize the urgent need for societal transformation and ethical

renewal.