Often stories in a particular culture take into account, and capitalize on symbols of that particular culture for thematic effectiveness. Many indigenous stories thus contain generalized patterns of beliefs that serve as the backdrop which enables readers to relate to the stories and the content thereof. Buchi Emecheta's "Ona" is a powerful love story that centers around ritualized beliefs and cultural behavior patterns of one African tribe. The story is legendary in nature, alluding to its cultural import. It is about Abagdi, a very wealthy local chief, who is love with Ona, one of his mistresses. Agbadi is head over heals for Ona despite the fact that he has many wives. Agbadi is particularly crazy about Ona because, unlike the other women, she is not submissive as she was the daughter chief Obi Umunna. The cultural theme in the story is that man enjoys hunting, taming and conquering even in matters of love; Agbadi finds a special thrill in trying to win the unconquerable love of Ona. Ona is a woman ahead of her time, unwilling to be controlled, even by the strong and powerful Agbadi, not only because of her individual desires, b

Thus, in one sense "Ona" is a love story because Agbadi and Ona actually have true feelings for each other. However, given the reality that in this society women who marry become mere symbols of their husband's manness, and given the fact that Ona understands this and was taught as a woman to reject this notion, it creates a great conflict in preventing their love from maturing into marriage. As discussed marriage in this society belittles women and glorifies men. Ona having taught to think and act as a man is not willing to be conquered (so to speak) by the powerful Agbadi through marriage. This is therefore a very interesting love story with no easy answer for the lovers who are merely the products of the ritualized beliefs and cultural behavior patterns of this society. We see these conflicts bubbling to the surface in Agbadi, who says to Ona, "you are in the first weeks of motherhood, and all you can do is think like a man, rasing male issues for your father" (640). Agbadi here is acting like the typical man in his community which is to dictate how a woman should behave in the relationship. He feels that it is improper for a woman to be assertive or raise what he calls "male issues." However, Agbadi is motivated not so much by his inborn character, but because of the cultural forces.

I made a promise to Agbadi, yes; but, dear Agbadi, I am still my father's daughter. Since he had not taken a bride price from you, do you think it would be right for me to stay with your permanently? You know our custom does not permit it. I am still my father's daughter. (641)

Ona is not only pulled and pushed by her boyish lessons, but by the cultural force which stipulates that in order for a man to truly assert his manhood, he must bear a son. Ona is supposed to fulfil this promise for her father. From a cultural perspective, if Ona has a boy and she were to become married, she could no

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Approximate Word count = 1276
Approximate Pages = 5 (250 words per page double spaced)