Wedlock of the Gods is a postcolonial[1] 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.
Odibei continues searching for some kind of murder weapon or poison while the two converse about her son, Adigwu's, death.
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.
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.
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.
After a lot of pleading on Uloko's part Ogwoma finally tells him that his child is growing inside of her.
Uloko doesn't understand the severity of the situation and stays put saying that they should just let Odibei catch them.
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.
Even knowing that her daughter is pregnant with Uloko's child Nneka continues to insist that Ogwoma is Adigwu's brothers's wife.
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.
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.
Okolie states that Ibekwe, Ogwoma's father, should have asked his brothers for money when his son was so sick.
Scene Two: Udo, a member of the Onowu family, visits Uloko at his home and advises him to find another wife.
Scene One: Act Three begins with Odibei entering Ogwoma's house carrying herbal medicines and wearing a vicious expression.
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.
[8] Not only was she a leader in the development of Nigerian theatre [9] she was also a pioneer female playwright in the country and a very prominent feminist writer of the time.
"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[11] 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.