Themes in Our Husband Has Gone Mad Again
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The Theme of Women in Politics
The major theme in this play is politics. Arguably, politics is one of the prominent themes in Nigerian literature, then and presently. Ola Rotimi uses the work to show women in politics as practiced in Nigeria. For instance, the politics of Sikira, an illiterate woman and the market women who assist her and the pomposity of Major Rahman Lejoka-Brown are very typical of Nigeria. All that governed politics at this period and even now is selfishness.
Politics of selfishness is the bane of progress not only in Nigerian society but also in the entire African continent. Regrettably, politics has become our backdrops and a waterloo. The theme of politics is invested in the character of Lejoka-Brown, a retired military officer who possesses every negative attribute of selfish military politicians—very arrogant and I-know-it-all attitude. He does not join politics because he loves to serve the people but because of what he is going to gain ¾ money and fame. This is very true of Nigerian society where politics is governed by self-interest.
Themes in Our Husband Has Gone Mad Again
Ola Rotimi is satirizing in this play. He foresees ex military officers coming back to power as civilians. He presents a satire on military politics, or what I may call meritocracy, and the insincerity of the military. He subtly cautions that the type of democracy these military officers will introduce will be close to dictatorship. Lejoka-Brown is the symbol of this dictatorship. This play, which was a caricature of the political landscape of Nigeria in 1979, is a reality in Nigerian politics in recent times.
Lejoka-Brown: I lost a by election to a –small crab – – a baby (wrinkles paper out of the envelops and starts unfolding it) mmh. This time it is war (real cable, the contents are disconcerting) unsurniyaallah. (12)
Okonkwo: Bad news
Lejoka-Brown: Gamalin- 20!
Okonkwo! Your politics
Lejoka-Brown:my life
Okonkwo: your aha – a – at?
Lejoka- Brown! She is arriving at five 0’ clock
Okonkwo! Arriving
Lejoka-Brown: from America
Okonkwo! America? Another wife? (7-8)
Themes in Our Husband Has Gone Mad Again
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Superstition
The belief in the magical power of the snake, which Lejoka-Brown keeps under his bed, expresses the theme of superstition in Our Husband Has Gone Mad Again. Many critics have argued that any work, which does not explore the issue of superstition, may not be regarded as a true African or Nigerian work. This is because the issue of superstition and taboo are very rampant in Africa despite the advent of science and technology. It has become a popular rumour that African politicians are fond of using some supernatural means to gain and maintain power. This is exactly the reason why Lejoka-Brown keeps the snake. However, Lejoka-Brown’s political crash before he reaches the pinnacle of his political dream puts a question mark on the assertion in the potency of some supernatural powers in wining an election or achieving success generally.
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Gender Inequality
There is also a theme of gender inequality in Our Husband Has Gone Mad Again. Lejoka-Brown thinks women have no intelligence until he meets his foreign wife. In between the humour in the play, there is a subtle gender conflict. As a Western woman who believes that women are not in any way subservient to men, Liza mobilizes her fellow wives to organize their own faction to stop the madness of their husband. This means that what Ola Rotimi seems to be saying is that politics is not only the preserve of the men. Using the mouth of Sikira, he makes this point clear: “MEN AND WOMEN ARE CREATED EQUAL!” (6) (Act 2 Scene VI). As a medical doctor and an experienced educated woman, Liza can compete favourably with any man. There is no doubt that sometimes women are used as puppets in order to fulfil men’s ambitions. This is exactly what Liza does not want to see or hear. The play can also said to be revolutionary in the sense that a national issue is looked at from the women’s angle
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The Theme of Corruption in ‘Our Husband Has Gone Mad Again’
Ola Rotimi satirizes corrupt political leaders in the person of Lejoka Brown, who sees politics as the only means of survival: the in- thing now in Nigeria, to be famous you need politics, to enjoy life it is politics, to have a big share of the national cake you need politics. Rotimi satirizes the immorality of Nigerian political leaders in the person of Lejoka Brown, people of dubious and unscrupulous characters who cannot organize their families well but want to rule others. In the play ‘Holding Talks’ Rotimi satirizes how man’s energies are spent on discussion, talks and dialogue even in a situation requiring action; In this play nothing really gets done, things get really close to being done but nothing gets really done because there is always some justifiable rationalization for that which really needs to be done not to be done.
Lejoka-Brown; I lost a by election to a –small crab – – a baby (wrinkles paper out of the envelops and starts unfolding it)mmh. This time it is war (real cable, the contents are disconcerting) unsurniyaallah. (12)
Themes in Our Husband Has Gone Mad Again
Style In Ola Rotimi’s Our Husband Has Gone Mad Again
Language
Our Husband Has Gone Mad Again is written in a simple and accessible language. Every reader will enjoy his/her kind of language, full of images that are very relevant to our society. The manner characters use language in this play reflects their societal status. For example, the way Polycarp speaks is very typical of an unschooled servant and Madam Ajanaku’s language is typical of a market woman. It is this realistic use of language that makes the work very interesting, authentic and realistic.
Narrative Techniques in the Play
Ola Rotimi employs first person narrative through the actors and actress in the play by so doing he has been able to explore and mirror his feelings through the characters.
He also employs some figure of speech such as,
Simile
Sakira: The smoke from the kitchen in as black as coal.
Okonkwo: Gently, chop her ear lobe like rat.
Sakira: She walks like toy and with no manners.
Lejoka-Brown: See her running her mouth like water tap.
Okonkwo: Start talking blo—blo—blo—like an over beaten way prisoner.
Metaphor
Rotimi also employ some metaphor thus;
Lejoka-Brown: Look at this madam
Lejoka-Brown Polycarp now that I know that you are a goat.
Liza: You are a bushman
You are a rat with head-downward
Personifications
Lejoka-Brown: I want to clean our nation mess
Okonkwo: Mountain has move toward you.
Characterization of Satire in Ola Rotimi’s Our Husband Has Gone Mad Again
RahmanTaslin Lejoka:
The protagonist, a retired army officer, is a good picture of political disillusionment. He is the comic here of the play invested with greed, strictness, rigidity. He represents those politicians of then who can still be found new in the Nigeria political terrain. He is very indiscrete, arrogant and has no regard for women. He joins politics and later marries Sikira just for gain material and personal property.
Liza:
She is a qualified medical doctor from United States, married to Lejoka-Brown in Congo, after her studies from the United State she returns and discovers that she cannot tolerate polygamy, she begins to foment trouble.
Mama Rashida:
She is the first and senior wise of Lejoka-Brown who is inherited from his late elder brother.
Musa Osagie:
He is a member of the national party, who supported Lejoka-Brown to win the Election.
Polycarp:
He is a domestic help in the household of Lejoka-Brown, he is an illiterate, but very faithful to his master.
Sikira:
She is a young amiable daughter of madam Ajamku, the leader of the market women union and the second wife to Lejoke-Brown.
Alhaji Mustafa:
He is an elder neighbour of Lejoka-Brown although not much is head from him; he is no doubt a good neighbour.
Interesting :and educative
Thank you for this vital piece