Get this from a library! Wedlock of the gods.. ['Zulu Sofola]. In Wedlock of the Gods for instance, Sofola exploits themes of marriage, custom and tradition. She upholds the view that marriage is supreme. Thus, Ogwoma is. Some of her plays include Wedlock of the Gods, Old Wines are Tasty, The Sweet Trap, Memories in the Moonlight, The Disturbed Peace of Christmas, Song of a.
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This is extremely reflected in 'Zulu Sofola's Wedlock of the Gods. ’Zulu Sofola (), in Wedlock of the Gods, interweaves tradition, love, taboo, (), Wedlock of the Gods (), King Emene (), The Wizard of Law (), The. Wedlock of the Gods is a postcolonial style play about breaking from the oppression of tradition .. Create a book · Download as PDF · Printable version. Start by marking “Wedlock Of The Gods” as Want to Read: ′Zulu Sofola (22 June - 5 September ) was the first published female Nigerian playwright and dramatist. Nwazuluwa Onuekwuke Sofola was born in Bendel State to parents who were Igbo from Issele-Uku in Delta State.
Sofola succeeds in portraying to the audience the consequences of committing such offences and thereby providing an alternative line of action should they encounter such a situation. Anwasia enters looking for Ogwoma. She further explains this concept, citing Collon, who defines tragedy as a metaphysical experience in which the odds of life overwhelm and even destroy the tragic hero, whose commitment to the salvation of a morally, spiritually and physically disoriented society brings him face to face with a catastrophe he never envisaged but which the Supreme Deity is not obliged to explain. Evans Bros. The King takes the message at its face value and seems not to really comprehend it.
Our pioneering women writers like this inspire me…they are literary legends. I do not understand why Sofola and Nwapa had to die rather prematurely. But they all made their mark as literary pioneers. Another excellent work of imagination here; gripping drama. May 08, Ijeoma Precious rated it it was ok. Jun 12, Mxg Franklin rated it it was amazing. Being pregnant or having a child out of wedlock does NOT dictate God's will Aug 25, Raphael Mokoena rated it really liked it.
A fine piece of drama by the late Zulu Sofola. I remember watching an adaptation on local tv years ago. Aug 29, Candice Kenalemang added it. Ogaga Eruteya rated it really liked it Jul 31, Selorm Amekugee rated it liked it Oct 22, Starbest rated it really liked it Mar 27, Eric rated it really liked it Sep 24, Chimdinma The Afro Reader rated it it was ok Mar 20, Lily-anne Longjohn rated it liked it Apr 26, Aishah Gbadamosi rated it liked it May 14, Nnamdi Okafor rated it really liked it Aug 31, Ufuoma Apoki rated it really liked it Jun 26, Bubu rated it really liked it Jun 10, Prince rated it it was amazing Nov 11, Jademay rated it it was amazing Dec 13, Francisca Villaseca zanzi rated it liked it May 07, Create lists, bibliographies and reviews: Search WorldCat Find items in libraries near you.
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The E-mail message field is required. Unfortunately, the King is advised by the Omu not to perform this important ceremony until he cleanses the palace or the royal household of an evil, which would require the offender to make a public confession of the heinous crime committed and the necessary propitiating rites performed to placate the gods of the land. Regarding the warnings of the Omu and the Olinzele Council as an attempt to frustrate his reign, the King exiles the Omu and made her not to carry out the mediation between Mkpitime and the King.
Consequently, the new Omu consults the goddess of the land and comes back with a message not entirely different from the last one: The King takes the message at its face value and seems not to really comprehend it. He, therefore, goes ahead with the ceremony spurred on by his mother, Nneobi, who does not want any obstacle or anybody to stand on the way of her son and his throne. On the day of the major rite, things go terribly wrong compelling Nneobi to confess her crime shamefully.
Dazed by the terrible confession of his mother, King Emene eventually dies by committing suicide, thereby defiling the Peace Week. For, with his death, the King has not only brought a curse, as it were, on the royal house but also upon the entire community; for instead of chasing away evil so that things will be well with the people, evil is brought directly to their doorsteps.
Besides, it can be said that it is his fate or destiny to be stubborn and proud and then die, for the gods have a hand in it, defining his destiny so that no amount of pleading or talking can change his fate as designed by the gods.
From the foregoing, it is clear that in King Emene tragedy too is a collective affair although the dramatic events revolve around the King and the royal household.
From the beginning of the play, we could see that things are not done in the proper way, for example, the pouring of libation by the Queen mother instead of the Queen herself.
This marks the genesis of the chaos in the play, which culminated in the tragedy at the end of the play. Sending the Omu to exile by the King and replacing her with someone else is also wrong because the King does not understand their tradition very well, else he would have listened to the advice of the elders or the Olinzele Council.
His refusal to listen to these people is due to his vision and ambition. He wants to be esteemed and does not care whether affairs are conducted correctly or not. Although the King is not the rightful heir of the throne, he would have been saved from the doom that overtook him if he had listened to the Omu and worked with her to cleanse his household. This also stems from the fact that he believes that his family cannot be polluted. This stubbornness leads to his tragic end. Consequently, the Peace Week cannot be ushered in.
As a King, Ogugua is depicted to be very altruistic, he has the interest of the people at heart, but the way, or manner he goes about carrying out his will is his undoing.
These characters have admirable qualities; Okebuno is of high reputation even. According to Aristotle, tragic heroes ought to be people who are highly respected in the society and whose fall precipitate the purgation of emotion of pity and fear. In these two plays, the major characters meet their waterloo for a fault that is actually not theirs. This attribute is fuelled by their tragic flaws. Here, Sofola exploits the tragic potentials of an African character, using classical principles of tragedy.
In both King Emene and Wedlock of the Gods, the introduction of tragic flaws, which is the nagging clog in the life of tragic characters, is commendable. Sofola makes the world to see that Africans feel and react like the Westerners when confronted by situations adequately weighty for such reactions.
Uloko and Ogwoma are portrayed as being rash and uncompromising while King Emene is headstrong. King Emene is actually a great man. He wants to rule his people but there is a clause from the gods who insist that he must cleanse his household before entering the Peace Week.
In line with the sole essence of purifying the decaying society and correcting humanity from his excesses, which is the pivot of most tragic works, Sofola brings reality close to man, giving him an option, either to choose to compromise and be saved or be uncompromising and then end up in doom. These characters die due to their defiance of natural law around which African traditional laws and customs are constructed. He would have achieved this by allowing Ogwoma to be free from her mourning rites before mating with her.
This accounts for their tragic end. In her tragic works like King Emene, Wedlock of the Gods, and Old Wines are Tasty, the audience would always feel a deep sense of purgation of emotions of pity and fear for the tragic characters.
They would ask themselves questions relating to human existence and the mysteries surrounding life. Questions like: For the world is a cosmic cycle with everybody and everything revolving in it at the supervision of the gods. Anybody whose hubris or pride pushes him into taking the gods for granted has breached the law of the cosmic cyclic motion. At such a point, it is only rituals of atonement that can appease the gods and bring man back to his exalted position in the scheme of things.
Because this struggle is metaphysical in nature, one will always be confused by the rationale behind the activities of the gods. For instance, King Emene suffers and dies because of a crime committed by his mother; can everybody not bear his own cross? Only the gods know why. Believing that it is a means of examining the ills of the society in the bid to correcting them, she anchors some of her seminal plays like King Emene, Old Wines are Tasty and Wedlock of the Gods, for instance, on this fascinating dramatic form.
Unlike comedy, which lampoons the people and the society, tragedy attacks the sensibility of the people, forcing them to rise up to the tragic situation in order to proffer an enduring solution to the problems of the time.
Her tragic vision revolves around the hero who stirs the hornet of bees, which will not only affect the protagonist but also the entire society — which makes it communal, not individualistic.
This society is cautious of the action that follows such acts even when the gods streamline what must be done to avert the consequence or calamity.
Aristotle,, Horace, Longinus: Classical Literary Criticism. Penguin Books. Dunton, Chris, Make Man Talk True: Nigerian Drama in English Since Hans Zell Publishers. Ejeke, Odiri Solomon, A Creative Thesis. Kennedy, Scott, In Search of African Theatre. New York: Mbiti, John S. African Religious and Philosophies. Theatre East and West: Perspectives Towards a Total Theatre. University of California Press. Wedlock of the Gods. Evans Brothers Nigeria Publishers Ltd.