SATIRE AND |REVOLUTION IN EMEKA NWANBUEZE’S A PARLIAMENT OF VULTURES AND ESIABA IROBI’S NWOKEDI

ABSTRACT

Nwanbueze and Irobi in both plays are alike in their resolution against class divide and socio-political underperformance, especially as it affects and jeopardize the prospects, aspirations and the future of the youths. They embody a bold refusal of the rising generation to shake “the leprous hand that contaminates our daily lives” (Nwokedi 18). Like Nwokedi and the Unemployed Youth Association, many Nigerian graduates are disillusioned by a lack of gainful employment. Like Nwokedi, such Nigerian youths have completed University education and undergone the mandatory national youth service but now wallow in an unfriendly polity, lacking good jobs and capital to venture into other businesses. Also, in a Parliament of Vultures, the student suffers from political greedy leaders who squanders and reduce the economy into shreds, embezzling and mismanaging public funds for their own self-aggrandizement, as reflected in the characters of Madam Omeaku, Habamero, Mr. Brown, Jossy. The effect of this situation on the youths includes dissatisfaction, social inferiority complex, and consequently, depression. Both plays are born out of a burning desire of a younger generation in their respective climes to vent their resentment against an exploitative ‘old order’, whose trademark is bad leadership and all its fruits. At all levels, the perpetrators of evil and those whose shovels perpetually widen the economic gap between the rich and the poor are cautioned by these fictional dramas to taking a new posture or face a revolution that would sweep them off their feet. These youths who are at the receiving end of economic anomalies are also tasked and implored to wake up to their duties of birthing ground-breaking ideas and visions that would contribute to the economically viable society they seek.