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Ola Rotimi’s Our Husband Has Gone Mad Again (Rotimi, 1977) can be looked at from two different points of view: domestic and political. Rotimi describes the play as a “politico-domestic comedy with a genial kind of humour” (Uwatt, 2002, p. 30). The play from the domestic point of view is highly comical in that all ends well at the end of the day. Lejoka-Brown wishes to settle down, but he is confronted with three women as wives in his life: Mama Rashida, the wife of his late brother whom he inherited; Liza, a Kenyan whom he legally got married to; and Sikira, the lady he got married to for political reasons.

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The Phallus-Virginal Nexus of Complementarity in Ola Rotimi’s Our Husband Has Gone Mad Again

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  • 发表日期：

    2026年

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  • Gabriel Otsemobor

摘要

Ola Rotimi’s Our Husband Has Gone Mad Again (Rotimi, 1977) can be looked at from two different points of view: domestic and political. Rotimi describes the play as a “politico-domestic comedy with a genial kind of humour” (Uwatt, 2002, p. 30). The play from the domestic point of view is highly comical in that all ends well at the end of the day. Lejoka-Brown wishes to settle down, but he is confronted with three women as wives in his life: Mama Rashida, the wife of his late brother whom he inherited; Liza, a Kenyan whom he legally got married to; and Sikira, the lady he got married to for political reasons.