Wedlock of the Gods
Wedlock
of the Gods is a postcolonial style play about breaking from the oppression of tradition
in a male lead society. This three act play was written by Zulu
Sofola, the first published, woman
playwright from Nigeria.
Major Characters (in order of appearance)
- Odibei- Adigwu's mother and Ogwoma's mother in law.
- Otubo- Odibei's friend
- Ogwoma- The widow of Adigwu and the lover of Uloko.
- Anwasia- Ogwoma's best friend
- Uloko- Ogwoma's lover
- Nneka- Ogwoma's mother
- Ogoli- Uloko's mother
- Ibekwe- Ogwoma's father
Synopsis
Act One
Scene
One:
The
play begins in Ogwoma's house. Odibei enters and begins to examine the items
and furniture in the room, searching for something. She wonders out loud about
the death of her son when Odibei enters looking for Ogwoma. Odibei continues
searching for some kind of murder weapon or poison while the two converse about
her son, Adigwu's, death. Otubo states wisely that people are born and people
die and that is how life takes course but Odibei insists that her son's wife,
Ogwoma had something to do with his death. She firmly believes that Ogwoma
murdered him and has hidden the cause of his death in her house. Otubo insists
that Ogwoma could not have killed her husband but Odibei won't hear it and is
still searching the house, muttering to herself in somewhat of a crazed state.
Odibei goes on to complain that Ogwama hasn't even been mourning her son
properly during the three-month mourning period. Eventually Otubo is able to
calm Odibei enough to lead her away from the Ogwoma's house to rest. Ogwoma and
Anwasia enter carrying goods back from the market. Ogwoma is dressed suitably
for mourning. As they enter it is clear that they were just having a very
serious conversation. Anwasia goes on to reveal that the two friends were just
talking about how Ogwoma is pregnant with another man's child even though she
is still only on the second month of her three-month mourning period. Ogwoma
doesn't want to talk about it but Anwasia pushes the subject saying that what
she has done is unheard of in their culture and that she at least should have
waited another month before letting another man in her bed. Anwasia also
reminds her that it is custom for the widow to marry the brother of the
deceased husband Ogwoma comes back by saying that Uloko is not just another
man, she is the love of her life and because of that not she could not have
waited. She goes on to say that she is not in mourning because her husband
dying was no loss to her. She never felt anything for him and was forced to
marry him through an arranged marriage for money. Anwasia reminds her that that
is simply how it is in their culture and even goes on to say that Ogwoma should
be grateful for the money the marriage brought her family because it saved her
terribly ill brothers life. Anwasia warns Ogwoma about her mother in law,
Odibei, when Uloko enters. The lovers embrace with passion and Anwasia
announces that she is leaving. As she exits she insists that Ogwoma tell Uloko
about the child. After a lot of pleading on Uloko's part Ogwoma finally tells
him that his child is growing inside of her. Uloko is filled with joy. He lifts
Ogwoma up and spins her around while he cheers with excitement. He claims that
now that his child is inside of her there is no way she can be married to
Adigwu's brother. Ogwoma stops the short celebration because she hears
something outside. Worried that Odibei is sneaking around she tells Uloko that
he must leave. Uloko doesn't understand the severity of the situation and stays
put saying that they should just let Odibei catch them. Ogwoma insists that he
go and says that he shouldn't underestimate Odibei's cruelty. Ogwoma admits
that she plans to run away before her pregnant belly begins to show. Odibei
enters and immediately advances on Ogwoma to slap her but Uloko gets in between
them, defending his love. Odibei, in a rage, says that Uloko should be looking
for marriageable women and not hanging around a woman in mourning's home.
Ogwoma says that she always hated her son and that God has freed her to be with
Uloko. Odibei goes to leave saying that no one messes with her. Uloko demands
that she keep Ogwoma out of her evil plans but Odibei exits and simply says,
“We will see.” Ogwoma breaks down into Uloko's arms in despair over Odibei
catching them. Uloko promises that he will handle her and that no one can hurt
them. Ogwoma continues to sob.
Scene
Two:
The
scene begins in Ogwoma's house. She is with her mother Nneka and the atmosphere
is very serious. Nneka says that she heard that Odibei found Uloko in her daughter's
home and says she is filled with shame. She calls her daughter a harlot for
professing her love for another man other than her husband but Ogwoma again
states that Adigwu is dead and therefore she is free. Nneka says that Adigwu
has a brother but Ogwoma blurts out the news that she is pregnant to silence
her. Nneka is horrified. She states that Ogwoma has defiled the worst taboo in
the land and that Uloko will pay. Even knowing that her daughter is pregnant
with Uloko's child Nneka continues to insist that Ogwoma is Adigwu's brothers's
wife. Ogwoma cries that she will not let Nneka marry her to another man that
she doesn't love. Nneka makes for the door swearing that she will get Uloko for
what he has done. Ogwomas demands her not to touch him but exits saying, “He
will know that Nneka still breathes.” [3] Anwasia enters and tries to calm Ogwoma. She states
rationally that it is normal in their culture for a widow to take the hand of
the brother when the husband dies, especially if she had no children by her
deceased husband. Ogwoma stands firm in her belief that she should be with whom
she loves. Ogoli enters calling Ogwoma a dog and says that he has raised his
son Uloko to be respectful and declares that she must had enticed him into bed
with her. He yells at her to leave his son alone and then storms out of the
house. Ogwoma begins to cry and Anwasia consoles her saying that God has a
plan.
Act Two
Scene
One:
Act
Two opens during meeting of the men of the Onowu family and Okolie (the brother
of Adigwu). The men chastise Ogwoma for refusing to marry Okolie and for taking
another man into her bed during her period of warning and therefore shaming her
entire family. They call on Okolie to speak his wisdom but what he says shocks
them. Okolie states that Ibekwe, Ogwoma's father, should have asked his
brothers for money when his son was so sick. He said that marrying Ogwoma to
someone who she hated just for money was out of line when he could have asked
his family for help. This starts an argument between Ibekwe and Okolie where
they bash and insult one another's families. Nothing is really settled during
this meeting and Ibekwe apologizes for wasting his family's time. His brothers
say that they hope Ibekwe isn't afraid to ask for more help from them.
Scene
Two:
Udo,
a member of the Onowu family, visits Uloko at his home and advises him to find
another wife. Nneka enters in a storm of anger and promises that Uloko will
never have her daughter as a wife. She says that what he has done is an
abomination and has never been done before. She warns him to stay away from
Ogwoma. She says that their bastard child will never see his face or taste his
mother milk and at this Uloko demands that she stays away from his child and
his Ogwoma. Nneka theatrens that Uloko's mother will warn in when all of a
sudden Ogoli enters. She is shocked that Nneka would threaten her son's life
because her daughter is the one who enticed him into bed with her. They go back
and forth insulting each other's children until Nneka storms out. Udo follows
her out the door and Uloko and his mother Ogoli are left. They argue about the
shame that Uloko has brought on their family and then Ogoli leaves hurt and in
distress. Anwasia enters looking for Ogwoma. She states that she can't find her
anywhere and that she is worried. Uloko, worried as well, states that Odibei
has done, Odibei has taken Ogwoma away. He grabs his cutlass (short sword type
of weapon) and leaves with determination.
Act Three
Scene
One:
Act
Three begins with Odibei entering Ogwoma's house carrying herbal medicines and
wearing a vicious expression. After doing some business with the medicine Uloko
barges into the house asking where Ogwoma is. He theatrens Odibei with the
cutlass but she continues to say that she doesn't know where Ogwoma is. Otubo
enters and is shocked by what she sees. Uloko lowers his weapon and leaves
after telling Otubo to find Ogwoma. Otubo pleads with Odibei to reveal where
Ogwoma is but Odibei is silent. When Odibei is once again alone in Ogwoma's
home she returns to conducting her dark magic. Nneka enters and is shocked and
enraged by what she sees. She order Odibei to eave the house and Otubo returns
to lead Odibei away from the house. Nneka set up her own medicinal objects and
states that her daughter Ogwoma must not enter this house, evil things will
happen if she does.
Scene
Two:
Odibei's
dark medical magic has put Ogwoma in a trance. Odibei order Ogwoma to drink
from a jug she has poisoned in her house. Ogwoma, still in a trance, goes back
to her house and does has she is told. She drinks from the poisoned water three
times and then falls to the floor. Uloko comes running into the house and cries
in despair as he sees his love on the floor. Ogwoma, still alive but barely,
tells Uloko that she drank the poison water and then dies. Uloko is wild with
pain. Anwasia, Nneka and Ibekwe enter and are distraught by what they see.
Uloko dashes out of the house and then reenters with a bloody cutlass moments
later saying he has killed Odibei. He then picks up the pot holding the
poisoned water and drinks it. The others in the room, confused and distraught,
try to stop him but he succeeds in drinking the poison. He dies next to his
lover saying he will meet her in the afterlife.
Themes
- Culture and Tradition - Ogwoma and Uloko defy their deep set culture and tradition by making love during Ogwoma's three-month mourning period. Chaos issues after this "evil act" of breaking tradition.
- Society Rules and Standards vs. Self Morales and Values
- The Woman's Role (in the family and in society)
- Arranged Marriage - A known driving force of arranged marriages during this time is poverty. Ogwoma's family married their daughter to the man with the most money instead of the man that she loved because they didn't have enough money for their ill son.
Zulu Sofola (1938-1995)
Nwazuluoha
Onuekwueke Sofola, more commonly known as Zulu Sofola, was a key artist in the
development of modern theatre Nigeria. She was a very educated female during a
time when most parents did not send their daughters to receive a higher
education out of fear that it would hinder their daughters from finding a
husband. Zulu's parents broke tradition and because of that a fiery, feminist,
tradition breaking playwright was born. Not only was she a leader in the
development of Nigerian theatre she was
also a pioneer female playwright in the country and a very prominent feminist
writer of the time. She was a very versatile playwright as well. She wrote for
the stage, television and radio. Her plays reacted to issues that plagued her
society. The plays tend to include characteristics such as ritual, myth, magic,
tradition and legend, but her feminism is the characteristic that shines
through most of her plays, especially in Wedlock of the Gods. She
creates characters that fight her fight as an oppressed woman in a male
dominated society. In Wedlock of the Gods not only is Ogwoma trying to
break out of her culture and tradition to marry the one she loves, she is also
trying to break out of the male dominated society to stay true to herself. Zulu
makes it very clear that the rules set by this traditional society are set by
the dominating men but largely affect the woman. Zulu showcases that women have
no hand in their own destiny because it is set and established by the man.
"Zulu Sofola’s writing style is simplistic and her knowledge of self and
pride in her heritage is demonstrated in her plays, some of which portrayed Issele-Uku culture and names.
In her plays, she shared her extraordinary knowledge of her country’s history
and traditions and present circumstances, particularly as they related to
women." Zulu helped shaped Nigerian theatre into what it is today and gave
voices to those who needed raising and shed light on issues that needed to be
seen.
References
· "Post-colonial Drama." Drama Online
Database. N.p., n.d. Web. 25 Apr. 2016.
· · Ṣofọla, 'Zulú.
Wedlock of the Gods. London: Evans Bros., 1973. Print.
· · Ṣofọla, 'Zulú.
Wedlock of the Gods. London: Evans Bros., 1973. Print.
· · Elizabeth, Gunner.
"Zulu Writing: The Constraints And The Possibilities, With Special
Reference To Osibindigidi Bongqondongqondo And Ikhiwane Elihle By Lawrence
Molefe." 1.2 (n.d.): 149-162. Web. 22 Apr. 2016
· · Gilbert, Helen, and
Joanne Tompkins. Post-colonial Drama: Theory, Practice, Politics. London:
Routledge, 1996. Print.
·
Engel, J. W. (1984). Marriage in the People's Republic of China:
Analysis of a new law. Journal of Marriage and the Family, pages 955-961
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