Critical Literary Analysis of Four Igbo Poems …Critical Literary Analysis of Four Igbo Poems Nsolibe, Obiageli Theresa Abstract For in-depth appreciation of Igbo poetry one must

Critical Literary Analysis of Four Igbo Poems

Nsolibe, Obiageli Theresa

AbstractFor in-depth appreciation of Igbo poetry one must be conversant with Igboculture (Igbo way of life), their history and their philosophy about life.Armed with such knowledge, one’s analysis of Igbo poetry and itsinterpretation will be carried out without much difficulty. In this study, theresearcher is concerned with critically analyzing the selected poems inUche Bu Afa and Echiche Miri Emi by Prof. Onyekaonwu G.O. and Prof.Nwadike I.U. respectively. The study interprets the selected poems andpresents evidence to justify the points raised. The aim is to examinecritically the elements responsible for the assertion given. The work also x-rays the poems and exhibits the cultural values and explores the moralvalues in Igbo community through the selected poems under study.

IntroductionAccording to Onuigbo (2006:141), “Poetry is a genre in literature with theearliest beginnings in Greece. Maduako (1991:72) defines poetry as, “acharged utterance at a particular moment in time”. This assertion is truebecause whether the poem is written or spoken by a praise-singer, it issuffused with emotion, which communicates messages to the listener.Poetry deals with diverse ideas and themes such as love, belief, weather,hatred, sports, politics, etc.

As a vehicle of communication, Onuigbo (2006:1) states that “poetryrepresents a poet’s insight, perception or vision of people and of societythrough a careful, conscious and deliberate presentation of the figurativelanguage”.

According to Chinweizu, et al (1980, 166), “a poem cannot just be, itmust also mean”. A poem must be meaningful. It has to make sense sothat the reader will not miss the point. Poetry should not be a puzzle. Thesurface meaning should be readily available.

A poem has to read well, be smooth, musical, pleasurable and withstriking images. It should not be heavy, tongue twisting, difficult toarticulate and unable to capture the listener’s attention.

What then is a poem and what can it do? As Jill (1990), quoting DylanThomas said, “a poem makes your toe nails twinkle”. A poem transformsthe ordinary, and in the process it may delight, surprise and upset your

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usual way of seeing or hearing. Even though a poem may adopt aphilosophic, religious, satiric or political stance, it is not a secret code to bedeciphered or picked apart to uncover or obscure “message”. Getting toknow poems and becoming comfortable with them take patience andpractice, but you must not look at poetry as you look at a machine whichonce mastered, acquires utilitarian significance. Poetry is simply a meansof human expression that exists because there are readers and writerswho are involved and engaged in human experience.

Poetry shows the poet’s art or organization of experiences and theeffect these experiences have on the readers who respond to themintellectually and emotionally as the choice of words impinge on thereaders’ minds, his knowledge, feelings, experiences, personalities and hismood (Onuigbo 2006:141).

Who is a Poet?A poet is one who is usually more sensitive, though, to the sights, soundsand sensation of the world around him, to the behaviour of other people,their follies, sufferings and certain pertinent questions they often ask aboutthemselves and their world: Where do we come from? What are we doinghere? Where are we going? (Murphy 1972:26). More importantly, a poetis capable of expressing these things in language.

A good poet avoids hackneyed expressions and clichés andpainstakingly chooses the right expression to present his ideas orexperiences. His feelings are subtle, special and so new that sometimeshe has difficulty in achieving the right communication, and so hecommunicates in form of a poem. The poet sets out at times tocommunicate some human experiences not necessarily his own with theemotions and attitudes that accompany those experiences. Since theseemotions and attitudes are almost certainly very complex and since poetryis a very compressed form of communication, it is unlikely that the readerwill immediately understand what the poet has written. As he reads, he willbe aware of the meaning in general terms, but full understanding will comeonly after considerable effort is made by a literary critic.

A number of poems in this study will be critically analysed with the aimof ascertaining the type of poem, the message in the poem, the culturalvalue and the poetic elements in the poems. These poems are selectedfrom Echiche by Uba-Mgbemena, G.O. and from Echiche Miri Emi byNwadike, I.U. The poems are four in number – two philosophical and twosatirical poems. The poems are unpretentious, persuasive and full of

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grace. The magic by which the poems enhance the pictorial and otherimagery and expresses the poets’ moods is beyond analysis.

With particular task on the selected poem and related purpose ofstudy, there is demand for a new reasonableness in public conduct andreflection on different areas of experience. This study aims to expose theextent to which the poets through their activities have gone on x-rayingvarieties of human experiences in Igbo community which could help inreshaping our contemporary society at large.

Satiric PoetrySatire is derived from the Latin word ‘Satura’ meaning medley orhotchpotch. It is a term applied to any work of literature whose object is toridicule. From ancient times, satirists have shared a common aim toexpose foolishness in all its guise – vanity, hypocrisy, pedantry, idolatry,bigotry, sentimentality and through such exposure effect reform (IanJonathan, 2007:1). Satire is a literary work which exposes and ridiculeshuman vices or follies. It is didactive in nature and intended as a moralcriticism directed against the injustice of social wrongs. Satire may bewritten with withy jocularity or with anger and bitterness. (Poetry GlossaryOnline).

Popular among poetic satirists were two Roman poets – Horace andJuvenal and their works later became models for writers of later ages. Thesatire of Horace is mild, gently amused, yet supplicated whereas that ofJuvenal is vitriolic and replete with moral indignations (Online tutorials,2007).

Formally defined, satiric poetry is a composition in verse of an attackon whatever that causes offence with the intention of holding it up as a viceor folly for ridiculing or lampooning. The purpose is to expose the offenceand then discourage such vice or folly.

In other words, satire is a particular use of humour for overtly moralpurposes. It seeks to use laughter, not just to remind us of our commonoften-ridiculous humanity, but also rather to expose those moral excesses,those corrigible sorts of behaviour, which transgress what the writer seesas the limits of acceptable moral behaviour. For instance, if we seesomeone or some groups behaving in a way we think is morallyunacceptable, and we wish to correct such a person or group, we have anumber of options. They can be forced to change their ways (throughthreats of punishment). We can deliver stern moral lectures seeking topersuade them to change their ways; we can try the Socratic approach of

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engaging them in conversation which probes the root of their beliefs, oralternatively we can encourage everyone to see them as ridiculous, tolaugh at them, to render them objects of scorn for the group. In doing so,we will probably have at least in mind, first, to effect some changes in thebehaviour of the targets (so that they reform) and second, to encourageothers not to behave in such a manner. Satire focuses rather on thosethings which we can correct in order to be better than we are. It invites usto scorn the target in order to spurn that activity.

Satire depends upon a shared sense of community standards so thatwhat is identified as contrary to it can become the butt of the jokes.

Dryden in “Mac Flecknoe” does not discuss what good literature is butby attacking bad literature; he makes it clear what needs to occur ifliterature is to be valued. So, by attacking what is wrong and exposing it toridicule, the satirist is acquainting the reader with a shared positive moraldoctrine, whether the satire actually goes into that doctrine in detail or not.

Satire may be very topical, that is, refer directly to people and eventsknown to the readers from their own immediate context (for example,satires on Nigerian former President Olusegun Obasanjo) or it may focusupon more general human characteristics or upon both. Very topicalsatires which have no interest in universal characteristics tend to lose theirimpact very quickly once the details of the context are no longer shared bythe readers. Satires which focus on the lasting characteristics of humanexperience (in addition to their topical interest) tend to have a longer life.

The satirist has a number of traditional stylistic techniques at hisdisposal. Some of the more common ones are as follows:

1. Invective: Describes with very abusive, usually non-ironical languageaimed at a particular target (e.g., a string of curses or name calling).

2. Caricature: Refers to the techniques of exaggerating for comic andsatiric effect. It is often associated with drawing than with writing. Forinstance, cartoons!

3. Burlesque: This refers to ridiculous exaggeration in language, usuallyon that which makes the discrepancy between the words and thesituation or the character silly.

4. Mock Heroic: Appeals to the sophistication of the reader familiar withthe epic original and encourages the reader to see the ridiculousnessof the heroic pretensions of really trivial people. This makes fun ofpeople’s pride.

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5. Irony: A stylistic device or figure of speech in which the real meaningof the words is different from (and opposite to) the literal meaning.

6. Lampoon: Generally refers to a very harsh and personal attack on avery particular recognizable target, focusing on the target’s characteror appearance.

7. Parody: A style which deliberately seeks to ridicule another style.This may involve a less talented parody, simply offering up a very sillyversion of the original.

8. Reductio Ad Absurdum: Is a satirical technique (especially ofSwift’s) whereby the author agrees enthusiastically with the basicattitudes or assumptions he wishes to satirize and by pushing them toa logically ridiculous extreme, exposes the foolishness of the originalattitudes and assumptions.

Most of these devices are wide spread in traditional culture not onlybecause they help to discourage certain excesses in the society but alsobecause they give individuals one means of relieving their pent upemotions.

Philosophical PoetryPhilosophy is derived from a Greek word Philosophia meaning “love forknowledge”. Philosophy may be defined as “reflection on the variation ofhuman experiences or as the rational, methodical and systematicconsideration of the topics that are of greatest concern to humanity”. (Mbiti;1969:108)

Philosophical enquiry is a central element in the intellectual history ofmany civilizations. Difficulty in achieving a consensus about the definitionof the discipline partly reflects the fact that philosophers have differentlycome to it from different fields and have preferred to reflect on differentareas of experience (Ndianefo 2008:85).

That philosophy is the pursuit of knowledge by rational enquiry is anelastic term. It began with scientific speculation but it also includedspeculation as to the conduct of political and social life. Social life was oneof the main concerns of philosophers in the fourth and fifth centuries BC.Later, Greek philosophy dealt with moral and religious questions, theconcept of virtue and the individuals relations with God. It had thenbecome not merely a mental activity but a way of life to be followed inaccordance with philosophical beliefs. In this sense, philosophy is whathappens when a practice becomes self-conscious.

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Philosophical poetry is the poem used traditionally to educate theyoung or citizens on the values of the society.We will now critically analyse these two poems from Echiche.

(a) Agarachaa - Satirical poem(b) Ndx bx Ekete - Philosophical poemAnd another set of two poems from Echiche Miri Emi.(a) Naira Naijiria - Satirical poem(b) Onye bx Chi - Philosophical poem.

Now, we have to delve into the enlisted poems one after the other tointerpret without bias their satirical and philosophical elements.

Appraisal of the satirical poems:

AGARACHAAXtxtx Nkwq ruo ehihie AfqQ nq n’ime kampqsMa mgbe Afq ruo xtxtx NkwqXlq ya ad[ n’ime obodoA hapx obodo lqbata nakampqsE kolie akpa akwxkwqKa nnakoche bu ite mmirin’ugwu iyiQ sxrx ude gawa [gx akwxkwq.

Morning of Nkwq market day to afternoon of Afqmarket dayShe is inside the campusBut Afq market time to morning of Nkwq marketdayHer house is inside the villageLeaving the village for the campusSchool bag is collected Like grandfather carrying water pot on the hill tothe streamBreathing hard on her way to go and study.

Q dqwa akpa na mkpxrxqmxmx iheQ txghee otu akwxkwqNnx onyinyo eju ya isi;Nga q nq n’xm[ oriri,Nga q nq n’xm[ q]x]x,Nga qnx ya tqrq na nke nwoke;Nga ire ya txrx udo n’qnx;Nga ha tiri onwe ha xtaarx.

Dropping her bag with books in the study roomShe opens her bookForty memories fills her headWhere she is deeply enjoying eatingWhere she is deeply enjoying drinkingWhere her mouth is stuck on the man’smouthWhere her tongue is entwined in the mouthWhere they are both joined together.

Nga q nq agx akwxkwq,Ahx ya nq n’Igbo,Ma uche ya nq n’qrx.Xdq ji echiche tibee,

Where she is studyingHer physical self is in one placeWhile her mind is in another placeOn breaking the link restraining thinkingThe mind enters the forest with matchets

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Echiche ach[ri[ mma bawaqh[a.Ntakanta qs[sqq si n’okeechicheSi n’elu, si n’alaWxkwasa ya mmiri qkx n’isiElu ntaka,Onwe ta ntakaOnye nq ya n’akxkx,Aghqrqla nk[r[ka ute.

Scanty sweats accruing from seriousthinkingFrom everywherePouring hot water on her headEverything tornHerself tornEveryone beside herHave turned to torn mat.

Ada agarachaa,Ada xwa niile,{ bx ekwu emejaa ala,E jidoro gbuoro ala,O ruo mgbe q nq n’ite,Nwa ite siri n’qkx,Q hapx nwa eleke nta,Tugowara nwa ite olu?Ka q bx Qkwaraji ]xchaa mma[O gbuwezie Ezeqfq?

Ada, walk aboutAda for the whole worldYou are controversial and you do notcareCaught and slaughtered for the landWhen she is inside the potSmall pot on fireShe leaves the killersAnd is annoyed with the innocentOr is it when Qkwaraji gets drunkIt will disturb Ezeofo?

G[ bx nwanzakotookpo,Na-efe n’elu,Na-efe n’ala,Mgbe [ na-ekwe nchiche n’aka,Mgbe [ na-ekwe otoro n’aka,Q bx na [ matagh[,Na nchiche na-ekwo imi;Na ozu otoro ga-arahx n’ajqqh[a?

You the little wren that eats wormsThat flies upThat flies downWhen you were shaking hands with chickenpoxWhen you were shaking hands with choleraDon’t you knowThat chicken pox destroys the nose.That the corpse of cholera patient sleeps in theevil forest?

The above poem is a satire. It is attacking the wayward girls whogallivant from the campus to the society. During the day, they are in thecampus but at night they are off the campus. The poem is a serious,simple to understand and satirical poem.

The message the poet is presenting a satirical picture of a class ofgirls in the campus today who are living wayward lives. They live lives ofdeceit x-rayed in their incessant movements from the campus to their boy

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friends’ houses. They lead people into believing that they are reading theirbooks when they go to the class, open their books as if they are reading,while in fact their minds wander off recollecting all the enjoyment andentertainment received from their lovers, sweating in the process. Stanza2 line 1 – 5.

Igbo Translation Q dqwa akpa na mkpxrx qmxmxihe,Q txghee otu akwxkwqNnx onyinyo eju ya isi;Nga q nq n’xm[ oriri,Nga q nq n’xm[ q]x]x,

Dropping her bag with books in the study room

She opens her bookForty memories fills her headWhere she is deeply enjoying eatingWhere she is deeply enjoying drinking

Stanza 3 line 1 – 8Igbo TranslationNga q nq agx akwxkwq,Ahx ya nq n’Igbo,Ma uche ya nq n’qrx.Xdq ji echiche tibee,Echiche ach[ri[ mma bawaqh[a.Ntakanta qs[sqq si n’okeechicheSi n’elu, si n’alaWxkwasa ya mmiri qkx n’isi

Where she is studyingHer physical self is in one placeWhile her mind is in another placeOn breaking of the link restraining thinkingThe mind enters the forest with matchetsScanty sweats accruing from seriousthinkingFrom everywherePouring hot water on her head

The society is advising and cautioning them to beware for theconsequences of their actions will come to them and they should notblame other people for what they are doing to themselves – stanza 4 line 9– 10.

Igbo TranslationKa q bx Qkwaraji ]xchaa mma[O gbuwezie Ezeqfq?

Is it when Qkwaraji gets drunkIt will disturb Ezeqfq?

5 line 4 – 8Igbo TranslationMgbe [ na-ekwe nchiche n’aka, When you were shaking hands with chicken

pox

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Mgbe [ na-ekwe otoro n’aka,Q bx na [ matagh[,Na nchiche na-ekwo imi;Na ozu otoro ga-arahx n’ajqqh[a?

When you were shaking hands with choleraDon’t you knowThat chicken pox destroys the noseThat the corpse of cholera patient sleeps inthe evil forest?

The imagery in the poem is very effective. The language ismetaphorical and strikes the reader, moving his emotions.

The poet chooses his words tactfully. The words are simple andcommunicable although there are few dialectal words like ‘mkpuru’ instanza 2 line 1, meaning ‘house’ but in the context ‘classroom’. Thegrammar he uses gets his meaning across effectively. This is a verysuccessful satirical poetry because the poem is no doubt an attack on thebad life-style which our girls live these days on campus as a result of greedand avariciousness. The title of the poem is derived from coinage of word‘agarachaa’ – A gaghar[chaa, a lqta. The title is shortened and itmeans that the track you are moving on is a wrong track, that aftertreading on the path, you have to come back, meaning that what you aredoing is wrong and it will not pay a good dividend.

The satire in this poem is by irony. For instance, in stanza 2 line 6-7.

Igbo TranslationNga qnx ya tqrq na nke nwokeNga ire ya txrx udo n’qnx

Where her mouth is stuck on the man’s mouthWhere her tongue is entwined in the mouth

What it means is that they are always kissing which is far from the actualwords.

On the whole, there is a musical, sing-song movement to this poem –achieved through repetition of some words and phrases which areintended to emphasize the frequency of her actions.

NA{RA NA{JIR{ANa[ra,Mpempe akwxkwq na-ehi odoMpempe akwxkwq na-ada xdaMpempe akwxkwq x]amx]a yaenwegh[ oyiriI bu isi qgaranya anqMa ha anagh[ any[ g[ arq.

Naira,Piece of paper that reigns everywherePiece of paper that makes a lot of noisePiece of paper that moves like no otherYou are carrying the heads of fourwealthy menBut they do not weigh you down.

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Na[ra,Q d[ mfe any[ arqI jezuru IgboJezuo oruN’ihi na aha g[ bx Na[raI narala qtxtx ucheNapx ha obiNapx ha amamiheNapx ha nke ha jiri bxrx mmadxI wee bxrx Chi ha na-efeChi nke ji ha ndxNke na a kpqq g[ ahaHa nqrqgodx n’qnwxHa ebilieJxwa ebe [ nq.

Naira,You are small but mightyYour fame has gone farAnd wide.Because your name is NairaYou have removed the minds of manyRemoved their heartsRemoved their understandingRemoved from them what made themhuman beingsAnd became the God they worshipGod that hold their lives.That when your name is calledEven if they are deadThey will riseAsking where you are.

Na[ra,I meela qtxtx agbqghq ala any[Ha amakwagh[ onwe haI meela qtxtx inyomHa agbapx na di chqrq g[ jeweKa a ga-as[ na { bx qgwxHa na-afanye na mparaKa qr[a ji ha laa.

Naira,You have made most of our younggirlsThey no longer understandthemselvesYou have made many womenTo leave their husbands in search ofyouAs if you are talismanThey insert inside their laps.So that they will be healed of ttheirillness.

Na[ra,{ lqrq xwa na 1973 n’usoro nkemetricMgbe [ b[ara nqchie anyaNna g[ ochie bx “Pound” na“Shilling”Na 1979A gbanwee g[Iji nyekwuo g[ ugwuMa chqkwuo g[ mma

Naira,You came into existence in 1973 accordingto matric systemWhen you came to replaceYour grandfather which is Pound andshillingIn 1979You were changedTo accord you more prestigeAnd beautify you the moreBy adding to you four heads of wealthyand influential men

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Site n’ibo g[ isi qgaranya anq ama ama:Macauly, Abubakar, Alvan naMurtalaSitekwa n’ime ka I nwee okere#20.

Macaulay, Abubakar, Alvan and MurtalaAnd by creating twenty naira piece.

Na[ra,Ma o tegh[ akaI bxrx ihe e ji eme akajeNd[ omekome bugara g[ TaiwanMetqq g[ site n’ibi g[ agharaagharaXfqdx agbaa g[ na katqn biyaBulaara nne ha nq n’ime obodoKa q dqwara ha n’xd[ ihe q]x]xNd[ qzq asxq g[ na drqnDee ya “Highly Explosive” ka a ga-as[Na ha na-akpx bqmbxQtxtx ebxrx g[ gafee bqdaMewe g[ gbanworo gbanworoNd[ qzq kwa, nd[ akatakpoAha ha bx maf[aEburu g[ felie n’xgbq eluGaa sxq g[ pimpim nabank[ nd[ qchaEbe ha na ezinaxlq haGa-erigide g[ xwatxxwaHmm! Nd[ egbe bere ma ugoebela.Nd[ nq n’isi mmiri elegh[ anyan’azxN’ibukq g[ ga zoo g[Xfqdx na nde na ndeNd[ qzq n’ijeli n’ijeliSite n’xzq d[ otu aTaa mmadx ibe ha Chukwu kereahxhxNd[ nkuzi na nd[ qrx obodo

Naira,But it didn’t take longYou became a thing of mockeryHooligans took you to TaiwanDisgraced you by minting you everywhereSome stacked you in beer cartonsTook you to their mothers in the villagesTo keep for them as drinksSome stacked you in drumsWrote on it ‘Highly Explosive” as if to sayThey manufacture bombsSome took you across the borderStarted exchanging youOthers, the big dosWhose name is mafiaFlew you on aeroplaneWent and dumped you in the white man’sbanksWhere they with their familiesWill continue to enjoy you until eternityHmm! You who want to live but others should not liveThe highly placed in society that do notthink twiceIn collecting and hiding youSome in millionsOthers in billionsThrough these meansPunished their fellow human beingscreated by GodTeachers and government workersOn asking about their salariesThey will be told that you NairaHas gone like the proverbial coinChei!What human beings have done to fellowhuman beings.

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Jxq ajxjx xgwq qnwa haA gwa ha na g[ bx Na[raAlaala ka na[ nd[ agba ochieChei!Ihe mmadx mere ibe ya.

Mana na Disemba 31, 1983Nd[ nzqpxta sx uwekak[ awxchieWebata Chenji 83Nke ny[r[ nd[ politik oji qnxegbu qj[Ka akx na xba any[ guzorokwemkemKa g[ bx Na[ra gwqdewe n’ajaN’ekwugh[ ekwu n’akagh[ akaIwu maka [gbanwe g[ bx Na[raazqchieKa nd[ gwuru ala lie g[Lelie anya n’elu, taa aka n’ezeBido n’Eprel 25 ruo Mee 6, 1984Qh[a na xzq na-ata p[atap[ataBank[ d[ n’alaany[ abakwagh[ mmadxQ bxrx oke n’qh[a ngwere n’xzqKa g[ bx Na[ra ghara [tq onyen’akaMaka na agha a kara akaAnagh[ eri ngwqrq.

But in December 31, 1983Saviours came in form of soldiersBrought change 83That supercede the mouthy politiciansSo that our economy will strongly standSo that you Naira will stop being degradedWithout warningA law to change the Naira waspromulgatedSo that those who buried you on thegroundLook up towards heaven and regretStarting from April 25 to May 6, 1984There was confusion everywhereBanks in our country no longer containpeopleThere was scrambling everywhereSo that you Naira will not waste on themBecause the previously announced warCannot get the lame.

Na[ra,Chineke nd[ Na[jir[a na-efeWere gbanwee xcha yaOtu Na[ra weghara Na[ra iri abxqNa[ra ise eweghara nke Naira iriNa[ra iri eweghara xcha otuNa[raNa[ra iri abxq eweghara nkeNa[ra ise.

Naira,God that Nigerians worshipNow changed its colourOne Naira changed to twenty nairaFive Naira changed to that of ten NairaTen Naira took the coloour of one NairaTwenty Naira changed to that of fiveNaira.

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This poem is satirically attacking the society members who abuse theNigerian currency “Naira”.

The poem is long, humorous and communicable. The poet started byextolling the virtue of ‘naira’ and its versatility. For instance, stanza 2 line 1 – 4.

Igbo TranslationNa[ra, qd[ mfe any[ arq,I jezuru Igbo, jezuo oru

‘Naira’, you are small but mightyYour fame has gone far and wide.

The poet also presents the time ‘Naira’ came into existence replacing“pound” and “shilling” and also the time it was changed in order to beautifyit and accord it more prestige. For instance, stanza 4 line 2, 5 – 7

Igbo TranslationI lqrq xwa na 1973 n’usoro nkemetrikNa 1979, a gbanwee g[ iji nyekwuo g[ ugwu ma chqkwuo g[ mma.

You came into existence in 1973according to the metric system. In 1979, you were changed To accord you more prestige.And beautify you the more

The poet also presents the negative power of “Naira” as well as thecraze for its acquisition by some groups in the society at the detriment ofthe others. The groups with this craze for the acquisition of Naira includeyoung girls, married women, criminals and highly placed people in thesociety who lack the spirit of live and let live. For instance, stanza 6 line 1– 2.

Igbo TranslationNd[ nq n’isi mmiri elegh[ anyan’azx N’ibukq g[, gaa zoo g[.

The highly placed in the society didnot think twice in acquiring and hiding you.

There is also the presentation by the poet of the army take over ofpower on the last day of December, 1983 to rescue the Naira frombecoming ordinary paper and also to revive the economy. To achieve thisfeat, a law was promulgated to change the “Naira”. Bank became abeehive of activity as there is scramble by those who mint, horde andstash away the ‘Naira’ to change the money. For instance, stanza 7 line 7– 8, 12 – 15

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Igbo TranslationN’ekwugh[ ekwu n’akagh[ akaIwu maka [gbanwe g[ bx Na[raazqchie.Ka nd[ gwuru ala lie g[Lelie anya n’elu, taa aka n’eze.Bido n’Eprel 25 ruo Mee 6, 1984Qh[a na xzq na-ata p[atap[ataBank[ d[ n’alaany[ abakwagh[ mmadxQ bxrx oke n’qh[a, ngweren’xzqKa g[ bx Na[ra ghara [tq onyen’aka.

Without warning, A law to change you Naira waspromulgatedSo that those who buried you in thegroundLook towards heaven and regret.Starting from 25th April to 6th May, 1984There was confusion everywhereBanks in the country no longer containpeopleThere was scrambling everywhereSo that you Naira will not waste on them.

The poet presents a very serious situation where the ‘naira’ isburlesque by having the characters behave in ridiculously inappropriateways towards it. In other words, there is a large gap between what the‘naira’ is supposed to be used for and what the characters act out with it.So, the tone of satire used in the poem is burlesque. The ideas andsymbols are introduced in the language of personification. The poemexamines the responsibility of the poet to his society and in the processtakes a very critical look at the social vices ‘Naira’ is put into at the time thepoem is written.

The poet also exposes the filth and corruption within and around thesociety. He could not afford to minimize the seriousness of those bitterexperiences and the pain that is caused to the society. For instance,stanza 6, line 5 -9.

Igbo TranslationSite n’xzq d[ otu a, taa mmadxibe ha Chukwu kere ahxhxNd[ nkuzi na nd[ qrx obodo jxqajxjx xgwq qnwa haA gwa ha na g[ bx Na[ra alaalaka na[ agba ochie

Through these means, punished theirfellow human beings created by God. Teachers and other workers on askingafter their salaries They will be told that you Naira hasgone like the proverbial coin.

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In fact, the overriding mood of this poem is anger on the use naira isput into and serious effort to salvage the situation. Such vices should befought to minimize the suffering of the masses.

NDX BX EKETENdx bx ekete.Ka onye siri kpaa nke ya,Ka q ga-ad[r[ ya.Afq ole q ga-anq,Si n’xd[ ekwere,Onye jiri kpa nke ya.Ekete e jiri xsql[ kpa,Na-aka ngwangwa.

Life is basketAs one weaves his ownIs how it will be for himThe number of years it will lastIs determined by the type of ropeOne weaves his own with A basket woven with weak ropeGets spoilt easily.

Ekete bx njikwa.Ka onye siri ji nke ya,Ka q ga-esi nqrq ya.A kpaa ekete txpx iro,Mmiri erekagh[ ekete,Anwx akpqjie ekete.E bo ekete oke ibu,Ibu any[p[a ekete.

Basket depends on careful handlingAs one handles his ownWill determine how it will last for himIf a basket is woven and thrown outsideIf rain doesn’t spoil itSun will break the basketIf heavy load is placed on the basketThe weight will destroy the basket.

Etu onye siri kpa ekete,Ka o si eritere ya ihe.Xd[ ihe onye na-ebu n’ekete,Si ka onye si kpa nke ya.{ kpaa ekete anya oghe,O ritere g[ anya oghe.Ma [ kpaa ekete anya nsxchi,O ritere g[ anya nsxchi.

As one weaves basketWill determine the thing it will containfor himThe type of thing one carried in a basketDepends on how one wore his ownIf you weave basket that is loosely knitIt will contain less for youBut if you weave a tightly knit basketIt will contain more for you.

The above poem is philosophical and is beautiful for its dramatic useof the traditional basket to compare how one builds his life and also for itssolemness. In the poem, there is the likening of the living with the non-living. The poet is telling human beings to note that their lives depend onwhat they make of it. The way they prepare their lives is the way they aregoing to live it. If they are well prepared and the preparation maintained,they will enjoy life, but, if they are ill-prepared and did not change, they will

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suffer. It reflects the freedom of choice on how to prepare and live theirlives. The poet also advised that the length of time one lives is also tied tohow one prepares his life. That if one wants a stress-free life, one has toprepare his life well and this will warrant long life. But if one ill-preparesone’s life, it will be full of stress which will cut one’s life short. For instance,stanza 1 line 1 – 3

Igbo TranslationNdx bx ekete.Ka onye siri kpaa nke ya,Ka q ga-ad[r[ ya.

Life is basketAs one weaves his ownIs how it will be for him

Stanza 1 line 4 – 6Igbo TranslationAfq ole q ga-anq,Si n’xd[ ekwere,Onye jiri kpa nke ya.

The number of years it will lastIs determined by the type of ropeOne weaves his own with

The poet also said that one’s achievement in life depends on how heprepares his life. With well prepared life there will be more achievementbut with ill prepared life, there will be less achievement. For instance,stanza 3 line 5 – 8:

Igbo Translation{ kpaa ekete anya oghe,O ritere g[ anya oghe.Ma [ kpaa ekete anya nsxchi,O ritere g[ anya nsxchi.

If you weave a loosely knit basketIt will get you lessBut if you weave closely knit basketIt will get you more.

The tone of voice of the poet is that of caution, but the language issimple. It reflects a fundamental concern over people’s inability tounderstand that their destinies are in their hands.

The caution is remarkable especially in the way people are made tobecome aware of the fact that as you make your bed so you lie on it.

The poet however, shows an interesting Igbo view about destiny.Destiny is seen to be the sole prerogative of one and no other thing, like bythe gods.

The message is that one has to prepare one’s life well as well as live itwell.

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ONYE BX CHIOnye bxd[ chi?Onye bxd[ chi ibe ya?Onye ka q ga-abx chi txqrq ibeyaOnye ahx atxghar[a?

Who is even God?Who is even his fellow human being’s God?Who is it that can counterWhat God has ordained for his fellow human being

Onye ahx [ na-emegide{ chqgh[ ka q gaa n’ihu{ maara ihe ya na chi kpebiri?{ maara akara aka ya?{ maara ma q bx yaGa-alqpxrx g[ ji n’qkx echi,Ma q bx menyere onye nke g[Mgbe q na na mkpa?

That person you are maltreatingThat you don’t want to progressDo you know the decision between himand his godDo you know his destiny?Do you know whether he is the oneThat will solve your problem tomorrowOr help your relationWhen he is in need?

A gaara s[ na mmadx bx chiQ gaara akpokqta ikuku na-enyendxKpqchie n’xlq ngwa ah[aRewe ya oke qnx ah[aMgbe q sqrq ya, q kpqchie xzq,Gwa any[ na q gwxla!

Had it been that man is GodHe would have collected all the life giving airLock it up in the ware houseAnd be selling it exorbitantlyLocking the warehouse at willAnd informing us that it is finished.

A gaara s[ na mmadx bx chiXfqdx ka q gaara enye xmxGbawa nd[ qzq akaNye xfqdx otu anya na otu nt[Nye nd[ qzq otu aka na otuqkpa.

Had it been that man is GodHe would have given some childrenLeaving others childlessGive some one eye and one earGiving others one hand and one leg.

A gaara s[ na mmadx bx chiNaan[ nd[ bx akajiakxGaara na-eku ume na-a]x mmiriNa-anya anwx, na-agx akwxkwqNa-amxta xmx.

Had it been that man is GodOnly the very wealthy onesWould have been breathing and drinking waterEnjoying the sun, studyingAnd be having children

Xwa d[ ogbu The world is not a bed of rosesThe world is mysterious

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Xwa d[ omimiQ d[gh[ onye o zuuruE nwegh[ qnqdx qbxlaNa-ad[gide ebighebiYa mere na e rikata n’ala,E riwe n’qkxE rikata n’qkxE riwe n’ala.

No one has enoughNo conditionIs permanentThat is why at times there is scarcityAt times there is plentyAfter a phase of plentyThere is scarcity

Onye bx chiAtxghakwarala nd[ qzq chi.Bxrx chi nke g[ na nke nd[ qzqNaan[ n’xzq d[ mmaMa cheta na ihe onye mereonweKa q na-abx.Ma omegbu nwa ogbenye,Ya chetakwa chi ya.

Who is GodDon’t change other people’s destinyBe your own and other people’s God Only positivelyBut remember that what one sowsThat one reapsBut one who maltreats the less privilegeShould remember his God.

The above poem is philosophical and a wonder on what would havebeen the activities of one of God’s creations – “man” if he has been giventhe power to be the provider of the necessities of life to fellow men. Thingswould have been very difficult for the have nots made so by the haves.

The poet starts off the poem by asking rhetorical questions signifyinghis wonder at what man can do to change what God has ordained. Hepresents what would have been the activities of man had he the power tobe the provider of the necessities of life to his fellow men. For instance,stanza 3 from line 1-6:

Igbo TranslationA gaara s[ na mmadx bx chiQ gaara ekpokqta ikuku na-enye ndxKpqchie n’xlq ngwa ah[aRewe ya oke qnx ah[aMgbe q sqrq ya, q kpqchie xzq,Gwa any[ na q gwxla!

Had it been that man is GodHe would have collected all the lifegiving airLock it up in the warehouseAnd be selling it very exorbitantlyLocking the warehouse at willAnd informing us that it is finished.

The poet initially used rhetorical questions to show that nobody iscapable of altering what God has ordained. For instance, stanza 1 line 3-4.

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Igbo TranslationOnye ka q ga-abx chi txqrq ibeyaOnye ahx atxghar[a?

Who is it that can counter whatGod has ordained for his fellowhuman being.

Another illustration, stanza 4 line 1 -5Igbo TranslationA gaara s[ na mmadx bx chiXfqdx ka q gaara enye xmxGbawa nd[ qzq akaNye xfqdx otu anya na otu nt[Nye nd[ qzq otu aka na otuqkpa.

Had it been that man is GodHe would have given some childrenLeaving others childlessGive some one eye and one earGive others one hand and one leg

The poem is an example of the lampoon device although thelanguage is not harsh but it is personally attacking the vices in thecharacter of man as the target. The poet ends by advising man not toattempt to change the destinies of others as well as his own negatively butpositively for what he makes of himself is what he becomes. But he whomaltreats the poor has to remember his God.

ConclusionHaving gone through the selected poems in Echiche by Uba-Mgbemena,A. and the selected ones in Echiche Miri Emi by Nwadike, I.U., involvingtwo satirical and two philosophical poems, the researcher was able todeduce that both authors follow a good systematic literary form. She isable to make this assertion thus:

The authors are well versed for their skillful creativity andlanguage style. If my judgement should count, I will say thatthey are wizards in poetic writing. The poems analysed arehighly didactic, valued, appreciated and are unequalled. “Ifwriting is leaves, they have really supplied us with the springone”.

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References

Akwanya, A. (2003). “Africa and World Literature”. University of NigeriaJournal of Literature Studies. Nigeria: New Generation Books.

Chinweizu, Onwuchekwa, Jemie, Ikechukwu Madubuike (1980). Towardsthe decolonization of African literature. Enugu: Fourth DimentionPublishers.

Eliot, I.S. (1973). “The Metaphysical Poets”. Oxford anthology of Englishliterature, vol. 2 Kermode et al. London: OUP.

Evans, I. (1979). A history of English literature. Harmonds Worth: Penguin.Frye, N. (1970). Anatomy of criticism. New York: Atheneum.Gillie, C. (1972). Longman companion of English literature. London:

Longman.Grayling, A.C. (1998). Philosophy I: A guide through the subject. Oxford:

OUP.Ike, O (ed) (2008). “Nigerian democracy in Nigeria: Perspective from

Popper’s critical philosophy”: Nigerian democracy and worlddemocracy. Awka: Afab Educational Book.

Jenny, T. & Katherine, N.C. (1999). Philosophy: A beginner’s guide.London: Blackwell Publishers.

Jill, P.B. (1990) Poetry. New York: Harcourt Brace Jovanovich Publishers.Maduakor, O. (1991). Introduction to poetry. Nsukka: Fulladu Publishing

Company.Mbiti, J.S. (1969) African religions and philosophy. Nairobi: East African

Educational Publishers.Murphy, M.J. (1992). Understanding the unseens. London: Allen and

Unwin.Ndianaefo, (2008) Philosophy and the African experience. Enugu: CIDJAP

Publications.Nwadike, I.U. (1990). Echiche miri emi. Onitsha: Kawuriz & Manilla

Publishers Ltd.Onuigbo, S. (ed) (2006). “The heritage of African poetry” Essays and

literary concepts in English. Nsukka: Afro-Orbis publishing Co. Ltd.Onyekaonwu, G.O. (1989) Uche bu afa. Nigeria: Vasity Press.Uba-Mgbemena, A. (1990) Echiche. Lagos: Macmillan Nigeria Publishers

Limited.

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CRITICAL LITERARY ANALYSIS

OF FOUR IGBO POEMS

BY

NSOLIBE, OBIAGELI THERESA (MRS)

DEPARTMENT OF IGBO LANGUAGEANAMBRA STATE UNIVERSITY, ULI

IGBARIAM CAMPUS

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Nsolibe, O. T., (2013); Critical Literary Analysis of Four Igbo Poems, ANSU Journal of Arts and Social Sciences, 2 (1):85-99

Critical Literary Analysis of Four Igbo Poems

Nsolibe, Obiageli TheresaDepartment of Igbo LanguageAnambra State University, UliIgbariam campus

AbstractFor in-depth appreciation of Igbo poetry one must be conversant with Igbo culture (Igbo way oflife), their history and their philosophy about life. Armed with such knowledge, one’s analysis ofIgbo poetry and its interpretation will be carried out without much difficulty. In this study, theresearcher is concerned with critically analyzing the selected poems in Uche Bu Afa and EchicheMiri Emi by Prof. Onyekaonwu G.O. and Prof. Nwadike I.U. respectively. The study interprets theselected poems and presents evidence to justify the points raised. The aim is to examine criticallythe elements responsible for the assertion given. The work also x-rays the poems and exhibits thecultural values and explores the moral values in Igbo community through the selected poems understudy.

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ANSU Journal of Arts and Social Sciences

IntroductionAccording to Onuigbo (2006:141), “Poetry is agenre in literature with the earliest beginningsin Greece. Maduako (1991:72) defines poetryas, “a charged utterance at a particular momentin time”. This assertion is true because whetherthe poem is written or spoken by a praise-singer, it is suffused with emotion, whichcommunicates messages to the listener. Poetrydeals with diverse ideas and themes such aslove, belief, weather, hatred, sports, politics,etc.

As a vehicle of communication, Onuigbo(2006:1) states that “poetry represents a poet’sinsight, perception or vision of people and ofsociety through a careful, conscious anddeliberate presentation of the figurativelanguage”.

According to Chinweizu, et al (1980,166), “a poem cannot just be, it must alsomean”. A poem must be meaningful. It has tomake sense so that the reader will not miss thepoint. Poetry should not be a puzzle. Thesurface meaning should be readily available.

A poem has to read well, be smooth,musical, pleasurable and with striking images.It should not be heavy, tongue twisting,difficult to articulate and unable to capture thelistener’s attention.

What then is a poem and what can it do?As Jill (1990), quoting Dylan Thomas said, “apoem makes your toe nails twinkle”. A poemtransforms the ordinary, and in the process itmay delight, surprise and upset your usual wayof seeing or hearing. Even though a poem mayadopt a philosophic, religious, satiric orpolitical stance, it is not a secret code to bedeciphered or picked apart to uncover orobscure “message”. Getting to know poemsand becoming comfortable with them takepatience and practice, but you must not look atpoetry as you look at a machine which once

mastered, acquires utilitarian significance.Poetry is simply a means of human expressionthat exists because there are readers and writerswho are involved and engaged in humanexperience.

Poetry shows the poet’s art ororganization of experiences and the effect theseexperiences have on the readers who respond tothem intellectually and emotionally as thechoice of words impinge on the readers’ minds,his knowledge, feelings, experiences,personalities and his mood (Onuigbo2006:141).

Who is a Poet?A poet is one who is usually more sensitive,though, to the sights, sounds and sensation ofthe world around him, to the behaviour of otherpeople, their follies, sufferings and certainpertinent questions they often ask aboutthemselves and their world: Where do we comefrom? What are we doing here? Where are wegoing? (Murphy 1972:26). More importantly, apoet is capable of expressing these things inlanguage.

A good poet avoids hackneyedexpressions and clichés and painstakinglychooses the right expression to present hisideas or experiences. His feelings are subtle,special and so new that sometimes he hasdifficulty in achieving the rightcommunication, and so he communicates inform of a poem. The poet sets out at times tocommunicate some human experiences notnecessarily his own with the emotions andattitudes that accompany those experiences.Since these emotions and attitudes are almostcertainly very complex and since poetry is avery compressed form of communication, it isunlikely that the reader will immediatelyunderstand what the poet has written. As hereads, he will be aware of the meaning in

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general terms, but full understanding will comeonly after considerable effort is made by aliterary critic.

A number of poems in this study will becritically analysed with the aim of ascertainingthe type of poem, the message in the poem, thecultural value and the poetic elements in thepoems. These poems are selected fromEchiche by Uba-Mgbemena, G.O. and fromEchiche Miri Emi by Nwadike, I.U. Thepoems are four in number – two philosophicaland two satirical poems. The poems areunpretentious, persuasive and full of grace.The magic by which the poems enhance thepictorial and other imagery and expresses thepoets’ moods is beyond analysis.

With particular task on the selected poemand related purpose of study, there is demandfor a new reasonableness in public conduct andreflection on different areas of experience.This study aims to expose the extent to whichthe poets through their activities have gone onx-raying varieties of human experiences inIgbo community which could help in reshapingour contemporary society at large.

Satiric PoetrySatire is derived from the Latin word ‘Satura’meaning medley or hotchpotch. It is a termapplied to any work of literature whose objectis to ridicule. From ancient times, satiristshave shared a common aim to exposefoolishness in all its guise – vanity, hypocrisy,pedantry, idolatry, bigotry, sentimentality andthrough such exposure effect reform (IanJonathan, 2007:1). Satire is a literary workwhich exposes and ridicules human vices orfollies. It is didactive in nature and intended asa moral criticism directed against the injusticeof social wrongs. Satire may be written withwithy jocularity or with anger and bitterness.(Poetry Glossary Online).

Popular among poetic satirists were twoRoman poets – Horace and Juvenal and theirworks later became models for writers of laterages. The satire of Horace is mild, gentlyamused, yet supplicated whereas that ofJuvenal is vitriolic and replete with moralindignations (Online tutorials, 2007).

Formally defined, satiric poetry is acomposition in verse of an attack on whateverthat causes offence with the intention ofholding it up as a vice or folly for ridiculing orlampooning. The purpose is to expose theoffence and then discourage such vice or folly.

In other words, satire is a particular use ofhumour for overtly moral purposes. It seeks touse laughter, not just to remind us of ourcommon often-ridiculous humanity, but alsorather to expose those moral excesses, thosecorrigible sorts of behaviour, which transgresswhat the writer sees as the limits of acceptablemoral behaviour. For instance, if we seesomeone or some groups behaving in a way wethink is morally unacceptable, and we wish tocorrect such a person or group, we have anumber of options. They can be forced tochange their ways (through threats ofpunishment). We can deliver stern morallectures seeking to persuade them to changetheir ways; we can try the Socratic approach ofengaging them in conversation which probesthe root of their beliefs, or alternatively we canencourage everyone to see them as ridiculous,to laugh at them, to render them objects ofscorn for the group. In doing so, we willprobably have at least in mind, first, to effectsome changes in the behaviour of the targets(so that they reform) and second, to encourageothers not to behave in such a manner. Satirefocuses rather on those things which we cancorrect in order to be better than we are. Itinvites us to scorn the target in order to spurnthat activity.

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Satire depends upon a shared sense ofcommunity standards so that what is identifiedas contrary to it can become the butt of thejokes.

Dryden in “Mac Flecknoe” does notdiscuss what good literature is but by attackingbad literature; he makes it clear what needs tooccur if literature is to be valued. So, byattacking what is wrong and exposing it toridicule, the satirist is acquainting the readerwith a shared positive moral doctrine, whetherthe satire actually goes into that doctrine indetail or not.

Satire may be very topical, that is, referdirectly to people and events known to thereaders from their own immediate context (forexample, satires on Nigerian former PresidentOlusegun Obasanjo) or it may focus upon moregeneral human characteristics or upon both.Very topical satires which have no interest inuniversal characteristics tend to lose theirimpact very quickly once the details of thecontext are no longer shared by the readers.Satires which focus on the lastingcharacteristics of human experience (inaddition to their topical interest) tend to have alonger life.

The satirist has a number of traditionalstylistic techniques at his disposal. Some of themore common ones are as follows:

1. Invective: Describes with very abusive,usually non-ironical language aimed at aparticular target (e.g., a string of curses orname calling).

2. Caricature: Refers to the techniques ofexaggerating for comic and satiric effect.It is often associated with drawing thanwith writing. For instance, cartoons!

3. Burlesque: This refers to ridiculousexaggeration in language, usually on thatwhich makes the discrepancy between the

words and the situation or the charactersilly.

4. Mock Heroic: Appeals to thesophistication of the reader familiar withthe epic original and encourages thereader to see the ridiculousness of theheroic pretensions of really trivial people.This makes fun of people’s pride.

5. Irony: A stylistic device or figure ofspeech in which the real meaning of thewords is different from (and opposite to)the literal meaning.

6. Lampoon: Generally refers to a veryharsh and personal attack on a veryparticular recognizable target, focusing onthe target’s character or appearance.

7. Parody: A style which deliberately seeksto ridicule another style. This may involvea less talented parody, simply offering upa very silly version of the original.

8. Reductio Ad Absurdum: Is a satiricaltechnique (especially of Swift’s) wherebythe author agrees enthusiastically with thebasic attitudes or assumptions he wishesto satirize and by pushing them to alogically ridiculous extreme, exposes thefoolishness of the original attitudes andassumptions.

Most of these devices are wide spread intraditional culture not only because they help todiscourage certain excesses in the society butalso because they give individuals one meansof relieving their pent up emotions.

Philosophical PoetryPhilosophy is derived from a Greek wordPhilosophia meaning “love for knowledge”.Philosophy may be defined as “reflection onthe variation of human experiences or as therational, methodical and systematic

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consideration of the topics that are of greatestconcern to humanity”. (Mbiti; 1969:108)

Philosophical enquiry is a central elementin the intellectual history of many civilizations.Difficulty in achieving a consensus about thedefinition of the discipline partly reflects thefact that philosophers have differently come toit from different fields and have preferred toreflect on different areas of experience(Ndianefo 2008:85).

That philosophy is the pursuit ofknowledge by rational enquiry is an elasticterm. It began with scientific speculation but italso included speculation as to the conduct ofpolitical and social life. Social life was one ofthe main concerns of philosophers in the fourthand fifth centuries BC. Later, Greek philosophydealt with moral and religious questions, theconcept of virtue and the individual’s relationswith God. It had then become not merely amental activity but a way of life to be followedin accordance with philosophical beliefs. Inthis sense, philosophy is what happens when apractice becomes self-conscious.

Philosophical poetry is the poem usedtraditionally to educate the young or citizens onthe values of the society.We will now critically analyse these two poemsfrom Echiche.

(a) Agarachaa - Satirical poem(b) Ndx bx Ekete -

Philosophical Poem.

And another set of two poems fromEchiche Miri Emi.(a) Naira Naijiria- Satirical poem(b) Onye bx Chi - Philosophical

poem.

Now, we have to delve into theenlisted poems one after the other to

interpret without bias their satiricaland philosophical elements.Appraisal of the satirical poems:

AGARACHAAXtxtx Nkwq ruoehihie Afq

Q nq n’ime kampqs

Ma mgbe Afq ruoxtxtx Nkwq

Xlq ya ad[ n’imeobodo

A hapx obodo lqbatana kampqs.E kolie akpa akwxkwqKa nnakoche bu itemmiri n’ugwu iyi

Q sxrx ude gawa [gxakwxkwq.

Morning of Nkwqmarket day toafternoon of Afqmarket dayShe is inside thecampusBut Afq markettime to morning ofNkwq market dayHer house is insidethe villageLeaving the villagefor the campusSchool bag iscollected Like grandfathercarrying water poton the hill to thestreamBreathing hard onher way to go andstudy.

Q dqwa akpa namkpxrx qmxmx ihe

Q txghee otuakwxkwqNnx onyinyo eju yaisi;Nga q nq n’xm[ oriri,

Nga q nq n’xm[ q]x]x,

Nga qnx ya tqrq nanke nwoke;

Nga ire ya txrx udon’qnx;

Nga ha tiri onwe haxtaarx.

Dropping her bagwith books in thestudy roomShe opens herbookForty memoriesfills her headWhere she isdeeply enjoyingeatingWhere she isdeeply enjoyingdrinkingWhere her mouthis stuck on theman’s mouthWhere her tongueis entwined in themouth

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Where they areboth joinedtogether.

Nga q nq agxakwxkwq,Ahx ya nq n’Igbo,

Ma uche ya nq n’qrx.

Xdq ji echiche tibee,

Echiche ach[ri[ mmabawa qh[a.Ntakanta qs[sqq sin’oke echicheSi n’elu, si n’alaWxkwasa ya mmiriqkx n’isiElu ntaka,Onwe ta ntakaOnye nq ya n’akxkx,Aghqrqla nk[r[ka ute.

Where she isstudyingHer physical self isin one placeWhile her mind isin another placeOn breaking thelink restrainingthinkingThe mind entersthe forest withmatchetsScanty sweatsaccruing fromserious thinkingFrom everywherePouring hot wateron her headEverything tornHerself tornEveryone besideherHave turned totorn mat.

Ada agarachaa,Ada xwa niile,

{ bx ekwu emejaaala,

E jidoro gbuoro ala,

O ruo mgbe q nqn’ite,Nwa ite siri n’qkx,Q hapx nwa elekenta,Tugowara nwa iteolu?Ka q bx Qkwaraji ]xchaa mma[

O gbuwezie Ezeqfq?

Ada, walk aboutAda for the wholeworldYou arecontroversial andyou do not careCaught andslaughtered for thelandWhen she is insidethe potSmall pot on fireShe leaves thekillersAnd is annoyedwith the innocentOr is it whenQkwaraji getsdrunkIt will disturb

Ezeofo?G[ bxnwanzakotookpo,Na-efe n’elu,Na-efe n’ala,Mgbe [ na-ekwenchiche n’aka,Mgbe [ na-ekwe otoron’aka,Q bx na [ matagh[,Na nchiche na-ekwoimi;Na ozu otoro ga-arahx n’ajq qh[a?

You the little wrenthat eats wormsThat flies upThat flies downWhen you wereshaking hands withchicken poxWhen you wereshaking hands withcholeraDon’t you knowThat chicken poxdestroys the nose.That the corpse ofcholera patientsleeps in the evilforest?

The above poem is a satire. It is attackingthe wayward girls who gallivant from thecampus to the society. During the day, they arein the campus but at night they are off thecampus. The poem is a serious, simple tounderstand and satirical poem.

The message the poet is presenting asatirical picture of a class of girls in the campustoday who are living wayward lives. They livelives of deceit x-rayed in their incessantmovements from the campus to their boyfriends’ houses. They lead people intobelieving that they are reading their bookswhen they go to the class, open their books asif they are reading, while in fact their mindswander off recollecting all the enjoyment andentertainment received from their lovers,sweating in the process. Stanza 2 line 1 – 5.

IgboTranslation

Q dqwa akpa namkpxrx qmxmx ihe,Q txghee otuakwxkwq

Dropping her bagwith books in thestudy roomShe opens her book

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Nnx onyinyo eju yaisi;

Nga q nqn’xm[ oriri,

Nga q nqn’xm[ q]x]x,

Forty memories fillsher headWhere she is deeplyenjoying eatingWhere she is deeplyenjoying drinking

Stanza 3 line 1 – 8Igbo TranslationNga q nq agxakwxkwq,Ahx ya nq n’Igbo,

Ma uche ya nqn’qrx.Xdq ji echiche tibee,Echicheach[ri[ mma bawaqh[a.Ntakanta qs[sqq sin’oke echicheSi n’elu, si n’alaWxkwasa ya mmiriqkx n’isi

Where she isstudyingHer physical self isin one placeWhile her mind is inanother placeOn breaking of thelink restrainingthinkingThe mind enters theforest with matchetsScanty sweatsaccruing fromserious thinkingFrom everywherePouring hot water onher head

The society is advising andcautioning them to beware for theconsequences of their actions willcome to them and they should notblame other people for what they aredoing to themselves – stanza 4 line 9– 10.

IgboTranslationKa q bx Qkwaraji ]xchaa mma[O gbuwezie Ezeqfq?

Is it when Qkwarajigets drunkIt will disturbEzeqfq?

5 line 4 – 8Igbo TranslationMgbe [ na-ekwenchiche n’aka,Mgbe [ na-ekweotoro n’aka,Q bx na[ matagh[,Na nchiche na-ekwo imi;Na ozu otoro ga-arahx n’ajq qh[a?

When you wereshaking handswith chicken poxWhen you wereshaking handswith choleraDon’t you knowThat chicken poxdestroys the noseThat the corpseof cholera patientsleeps in the evilforest?

The imagery in the poem is very effective.The language is metaphorical and strikes thereader, moving his emotions.

The poet chooses his words tactfully. Thewords are simple and communicable althoughthere are few dialectal words like ‘mkpuru’ instanza 2 line 1, meaning ‘house’ but in thecontext ‘classroom’. The grammar he uses getshis meaning across effectively. This is a verysuccessful satirical poetry because the poem isno doubt an attack on the bad life-style whichour girls live these days on campus as a resultof greed and avariciousness. The title of thepoem is derived from coinage of word‘agarachaa’ – A gaghar[chaa, a lqta. The title isshortened and it means that the track you aremoving on is a wrong track, that after treadingon the path, you have to come back, meaningthat what you are doing is wrong and it will notpay a good dividend.

The satire in this poem is by irony. Forinstance, in stanza 2 line 6-7.

Igbo TranslationNga qnx ya tqrq Where her mouth

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na nke nwokeNga ire ya txrxudo n’qnx

is stuck on theman’s mouthWhere her tongueis entwined in themouth

What it means is that they are always kissingwhich is far from the actual words.

On the whole, there is a musical, sing-song movement to this poem – achievedthrough repetition of some words and phraseswhich are intended to emphasize the frequencyof her actions.

NA{RA NA{JIR{ANa[ra,Mpempe akwxkwqna-ehi odoMpempe akwxkwqna-ada xdaMpempe akwxkwqx]amx]a yaenwegh[ oyiriI bu isi qgaranyaanqMa haanagh[ any[ g[ arq.

Naira,Piece of paper thatreigns everywherePiece of paper thatmakes a lot of noisePiece of paper thatmoves like no otherYou are carrying theheads of fourwealthy menBut they do notweigh you down.

Na[ra,Q d[ mfe any[ arqI jezuru IgboJezuo oruN’ihi na aha g[ bxNa[raI narala qtxtx ucheNapx ha obiNapx ha amamiheNapx ha nke ha jiribxrx mmadxI wee bxrx Chi hana-efeChi nke ji ha ndxNke na a kpqqg[ ahaHa nqrqgodx

Naira,You are small butmightyYour fame has gonefarAnd wide.Because your nameis NairaYou have removedthe minds of manyRemoved theirheartsRemoved theirunderstandingRemoved from themwhat made themhuman beings

n’qnwxHa ebilieJxwa ebe [ nq.

And became the Godthey worshipGod that hold theirlives.That when yourname is calledEven if they aredeadThey will riseAsking where youare.

Na[ra,I meela qtxtxagbqghq ala any[Haamakwagh[ onwehaI meela qtxtx inyomHa agbapx na dichqrq g[ jeweKa a ga-as[ na { bxqgwxHa na-afanye namparaKa qr[a ji ha laa.

Naira,You have made mostof our young girlsThey no longerunderstandthemselvesYou have mademany womenTo leave theirhusbands in searchof youAs if you aretalismanThey insert insidetheir laps.So that they will behealed of theirillness.

Na[ra,{ lqrq xwa na 1973n’usoro nke metricMgbe [ b[aranqchie anyaNna g[ ochie bx“Pound” na“Shilling”Na 1979A gbanwee g[Iji nyekwuo g[ ugwuMa chqkwuog[ mmaSite n’ibo g[ isiqgaranya anq a maama:Macauly, Abubakar,Alvan na Murtala

Naira,You came intoexistence in 1973according to matricsystemWhen you came toreplaceYour grandfatherwhich is Pound andshillingIn 1979You were changedTo accord you moreprestigeAnd beautify you themoreBy adding to youfour heads of

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Sitekwa n’ime ka Inwee okere #20.

wealthy andinfluential menMacaulay, Abubakar,Alvan and MurtalaAnd by creatingtwenty naira piece.

Na[ra,Ma o tegh[ akaI bxrx ihe e ji emeakajeNd[ omekomebugara g[ TaiwanMetqq g[ site n’ibig[ aghara agharaXfqdx agbaa g[ nakatqn biyaBulaara nne ha nqn’ime obodoKa q dqwara han’xd[ ihe q]x]xNd[ qzq asxq g[ nadrqnDee ya “HighlyExplosive” ka a ga-as[Na ha na-akpxbqmbxQtxtx ebxrxg[ gafee bqdaMewe g[ gbanworogbanworoNd[ qzq kwa,nd[ akatakpoAha ha bx maf[aEburu g[ felien’xgbq eluGaa sxq g[ pimpimna bank[ nd[ qchaEbe ha na ezinaxlqhaGa-erigideg[ xwatxxwaHmm! Nd[ egbebere ma ugo ebela.Nd[ nq n’isi mmirielegh[ anya n’azxN’ibukq g[ ga zoo

Naira,But it didn’t takelongYou became a thingof mockeryHooligans took youto TaiwanDisgraced you byminting youeverywhereSome stacked you inbeer cartonsTook you to theirmothers in thevillagesTo keep for them asdrinksSome stacked you indrumsWrote on it ‘HighlyExplosive” as if tosayThey manufacturebombsSome took youacross the borderStarted exchangingyouOthers, the big dosWhose name ismafiaFlew you onaeroplaneWent and dumpedyou in the whiteman’s banksWhere they withtheir familiesWill continue toenjoy you untileternity

g[Xfqdx na nde nandeNd[ qzq n’ijeli n’ijeliSite n’xzq d[ otu aTaa mmadx ibe haChukwu kere ahxhxNd[ nkuzi nand[ qrx obodoJxq ajxjx xgwqqnwa haA gwa ha na g[ bxNa[raAlaala kana[ nd[ agba ochieChei!Ihe mmadx mereibe ya.

Hmm! You who wantto live but othersshould not liveThe highly placed insociety that do notthink twiceIn collecting andhiding youSome in millionsOthers in billionsThrough thesemeansPunished their fellowhuman beingscreated by GodTeachers andgovernment workersOn asking abouttheir salariesThey will be told thatyou NairaHas gone like theproverbial coinChei!What human beingshave done to fellowhuman beings.

Mana na Disemba31, 1983Nd[ nzqpxta sx uwekak[ awxchieWebata Chenji 83Nke ny[r[ nd[ politikoji qnx egbu qj[Ka akx na xbaany[ guzorokwemkemKa g[ bx Na[ragwqdewe n’ajaN’ekwugh[ ekwun’akagh[ akaIwu maka [gbanweg[ bx Na[ra azqchieKa nd[ gwuru ala lieg[Lelie anya n’elu,

But in December 31,1983Saviours came inform of soldiersBrought change 83That supercede themouthy politiciansSo that our economywill strongly standSo that you Naira willstop being degradedWithout warningA law to change theNaira waspromulgatedSo that those whoburied you on thegroundLook up towards

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taa aka n’ezeBido n’Eprel 25 ruoMee 6, 1984Qh[a na xzq na-atap[atap[ataBank[ d[ n’alaany[ abakwagh[ mmadxQ bxrx oke n’qh[angwere n’xzqKa g[ bx Na[raghara [tq onyen’akaMaka na agha akara akaAnagh[ eri ngwqrq.

heaven and regretStarting from April25 to May 6, 1984There was confusioneverywhereBanks in our countryno longer containpeopleThere wasscramblingeverywhereSo that you Naira willnot waste on themBecause thepreviouslyannounced warCannot get the lame.

Na[ra,Chineke nd[ Na[jir[ana-efeWere gbanweexcha yaOtu Na[ra wegharaNa[ra iri abxqNa[ra ise ewegharanke Naira iriNa[ra iri ewegharaxcha otu Na[raNa[ra iri abxqeweghara nkeNa[ra ise.

Naira,God that NigeriansworshipNow changed itscolourOne Naira changedto twenty nairaFive Naira changedto that of ten NairaTen Naira took thecoloour of one NairaTwenty Nairachanged to that offive Naira.

This poem is satirically attackingthe society members who abuse theNigerian currency “Naira”.

The poem is long, humorous andcommunicable. The poet started byextolling the virtue of ‘naira’ and itsversatility. For instance, stanza 2 line 1– 4.

Igbo TranslationNa[ra, qd[ mfeany[ arq,I jezuru Igbo, jezuooru

‘Naira’, you aresmall but mightyYour fame has gonefar and wide.

The poet also presents the time‘Naira’ came into existence replacing“pound” and “shilling” and also thetime it was changed in order tobeautify it and accord it moreprestige. For instance, stanza 4 line2, 5 – 7

Igbo TranslationI lqrq xwa na 1973n’usoro nke metrikNa 1979, agbanwee g[ iji nyekwuog[ ugwu ma chqkwuog[ mma.

You came intoexistence in 1973according to themetric system. In 1979, you werechanged To accord you moreprestige.And beautify youthe more

The poet also presents thenegative power of “Naira” as well asthe craze for its acquisition by somegroups in the society at the detrimentof the others. The groups with thiscraze for the acquisition of Nairainclude young girls, married women,criminals and highly placed people inthe society who lack the spirit of liveand let live. For instance, stanza 6line 1 – 2.

Igbo TranslationNd[ nq n’isi mmirielegh[ anya n’azx N’ibukq g[, gaa zoog[.

The highly placedin the society didnot think twice in acquiring andhiding you.

There is also the presentation bythe poet of the army take over ofpower on the last day of December,1983 to rescue the Naira from

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becoming ordinary paper and also torevive the economy. To achieve thisfeat, a law was promulgated tochange the “Naira”. Bank became abeehive of activity as there isscramble by those who mint, hordeand stash away the ‘Naira’ to changethe money. For instance, stanza 7line 7 – 8, 12 – 15

Igbo TranslationN’ekwugh[ ekwun’akagh[ akaIwu maka [gbanweg[ bx Na[raazqchie.Ka nd[ gwuru alalie g[Lelie anya n’elu,taa aka n’eze.Bido n’Eprel 25 ruoMee 6, 1984Qh[a na xzq na-atap[atap[ataBank[ d[ n’ala any[abakwagh[ mmadxQ bxrx oke n’qh[a,ngwere n’xzqKa g[ bx Na[raghara [tq onyen’aka.

Without warning, A law to changeyou Naira waspromulgatedSo that those whoburied you in thegroundLook towardsheaven and regret.Starting from 25th

April to 6th May,1984There wasconfusioneverywhereBanks in thecountry no longercontain peopleThere wasscramblingeverywhereSo that you Nairawill not waste onthem.

The poet presents a very serioussituation where the ‘naira’ isburlesque by having the charactersbehave in ridiculously inappropriateways towards it. In other words,there is a large gap between what the‘naira’ is supposed to be used for and

what the characters act out with it.So, the tone of satire used in thepoem is burlesque. The ideas andsymbols are introduced in thelanguage of personification. Thepoem examines the responsibility ofthe poet to his society and in theprocess takes a very critical look atthe social vices ‘Naira’ is put into atthe time the poem is written.

The poet also exposes the filthand corruption within and around thesociety. He could not afford tominimize the seriousness of thosebitter experiences and the pain thatis caused to the society. For instance,stanza 6, line 5 -9.Igbo TranslationSite n’xzq d[ otu a,taa mmadx ibe haChukwu kereahxhxNd[ nkuzi nand[ qrx obodo jxqajxjx xgwq qnwahaA gwa ha na g[ bxNa[ra alaala ka na[agba ochie

Through thesemeans, punishedtheir fellow humanbeings created byGod. Teachers and otherworkers on askingafter their salaries They will be toldthat you Naira hasgone like theproverbial coin.

In fact, the overriding mood ofthis poem is anger on the use naira isput into and serious effort to salvagethe situation. Such vices should befought to minimize the suffering ofthe masses.

NDX BX EKETENdx bx ekete.Ka onye siri kpaanke ya,Ka q ga-ad[r[ ya.

Life is basketAs one weaves hisownIs how it will be for

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Afq ole q ga-anq,Si n’xd[ ekwere,Onye jiri kpa nkeya.Ekete e jirixsql[ kpa,Na-aka ngwangwa.

himThe number ofyears it will lastIs determined bythe type of ropeOne weaves hisown with A basket wovenwith weak ropeGets spoilt easily.

Ekete bx njikwa.Ka onye siri ji nkeya,Ka q ga-esi nqrqya.A kpaa ekete txpxiro,Mmirierekagh[ ekete,Anwx akpqjieekete.E bo ekete oke ibu,Ibu any[p[a ekete.

Basket depends oncareful handlingAs one handles hisownWill determine howit will last for himIf a basket iswoven and thrownoutsideIf rain doesn’t spoilitSun will break thebasketIf heavy load isplaced on thebasketThe weight willdestroy the basket.

Etu onye siri kpaekete,Ka o si eritere yaihe.Xd[ ihe onye na-ebu n’ekete,Si ka onye si kpanke ya.{ kpaa ekete anyaoghe,O ritere g[ anyaoghe.Ma [ kpaa eketeanya nsxchi,O ritere g[ anyansxchi.

As one weavesbasketWill determine thething it will containfor himThe type of thingone carried in abasketDepends on howone wore his ownIf you weavebasket that isloosely knitIt will contain lessfor youBut if you weave atightly knit basket

It will contain morefor you.

The above poem is philosophicaland is beautiful for its dramatic use ofthe traditional basket to compare howone builds his life and also for itssolemness. In the poem, there is thelikening of the living with the non-living. The poet is telling humanbeings to note that their lives dependon what they make of it. The waythey prepare their lives is the waythey are going to live it. If they arewell prepared and the preparationmaintained, they will enjoy life, but, ifthey are ill-prepared and did notchange, they will suffer. It reflectsthe freedom of choice on how toprepare and live their lives. The poetalso advised that the length of timeone lives is also tied to how oneprepares his life. That if one wants astress-free life, one has to prepare hislife well and this will warrant long life.But if one ill-prepares one’s life, it willbe full of stress which will cut one’slife short. For instance, stanza 1 line1 – 3

IgboTranslation

Ndx bx ekete.Ka onye siri kpaanke ya,Ka q ga-ad[r[ ya.

Life is basketAs one weaves hisownIs how it will be forhim

Stanza 1 line 4 – 6Igbo Translation

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Afq ole q ga-anq,Si n’xd[ ekwere,Onye jiri kpa nkeya.

The number ofyears it will lastIs determined bythe type of ropeOne weaves hisown with

The poet also said that one’sachievement in life depends on howhe prepares his life. With wellprepared life there will be moreachievement but with ill prepared life,there will be less achievement. Forinstance, stanza 3 line 5 – 8:

Igbo Translation{ kpaa ekete anyaoghe,O ritere g[ anyaoghe.Ma [ kpaa eketeanya nsxchi,O ritere g[ anyansxchi.

If you weave aloosely knit basketIt will get you lessBut if you weaveclosely knit basketIt will get youmore.

The tone of voice of the poet isthat of caution, but the language issimple. It reflects a fundamentalconcern over people’s inability tounderstand that their destinies are intheir hands.

The caution is remarkableespecially in the way people aremade to become aware of the factthat as you make your bed so you lieon it.

The poet however, shows aninteresting Igbo view about destiny.Destiny is seen to be the soleprerogative of one and no otherthing, like by the gods.

The message is that one has toprepare one’s life well as well as liveit well.

Onye bx Chi?Onye bxd[ chi?Onye bxd[ chi ibeya?Onye ka q ga-abxchi txqrq ibe yaOnye ahxatxghar[a?

Who is even God?Who is even hisfellow humanbeing’s God?Who is it that cancounterWhat God hasordained for hisfellow human being

Onye ahx [ na-emegide{ chqgh[ ka q gaan’ihu{ maara ihe ya nachi kpebiri?{ maara akara akaya?{ maara ma q bx yaGa-alqpxrx g[ jin’qkx echi,Ma q bx menyereonye nke g[Mgbe q na namkpa?

That person youare maltreatingThat you don’twant to progressDo you know thedecision betweenhim and his godDo you know hisdestiny?Do you knowwhether he is theoneThat will solveyour problemtomorrowOr help yourrelationWhen he is inneed?

A gaara s[ nammadx bx chiQ gaara akpokqtaikuku na-enye ndxKpqchie n’xlq ngwaah[aRewe ya oke qnxah[aMgbe q sqrq ya, qkpqchie xzq,Gwa any[ na q

Had it been thatman is GodHe would havecollected all the lifegiving airLock it up in theware houseAnd be selling itexorbitantlyLocking thewarehouse at will

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gwxla! And informing usthat it is finished.

A gaara s[ nammadx bx chiXfqdx ka q gaaraenye xmxGbawa nd[ qzq akaNye xfqdx otu anyana otu nt[Nye nd[ qzq otu akana otu qkpa.

Had it been thatman is GodHe would havegiven somechildrenLeaving otherschildlessGive some oneeye and one earGiving others onehand and one leg.

A gaara s[ nammadx bx chiNaan[ nd[ bxakajiakxGaara na-eku umena-a]x mmiriNa-anya anwx, na-agx akwxkwqNa-amxta xmx.

Had it been thatman is GodOnly the verywealthy onesWould have beenbreathing anddrinking waterEnjoying the sun,studyingAnd be havingchildren

Xwa d[ ogbuXwa d[ omimiQ d[gh[ onye ozuuruE nwegh[ qnqdxqbxlaNa-ad[gide ebighebiYa mere na e rikatan’ala,E riwe n’qkxE rikata n’qkxE riwe n’ala.

The world is not abed of rosesThe world ismysteriousNo one hasenoughNo conditionIs permanentThat is why attimes there isscarcityAt times there isplentyAfter a phase ofplentyThere is scarcity

Onye bx chiAtxghakwaraland[ qzq chi.Bxrx chi nke g[ na

Who is GodDon’t changeother people’sdestiny

nke nd[ qzqNaan[ n’xzq d[ mmaMa cheta na iheonye mere onweKa q na-abx.Ma omegbu nwaogbenye,Ya chetakwa chi ya.

Be your own andother people’sGod Only positivelyBut rememberthat what onesowsThat one reapsBut one whomaltreats the lessprivilegeShould rememberhis God.

The above poem is philosophicaland a wonder on what would havebeen the activities of one of God’screations – “man” if he has beengiven the power to be the provider ofthe necessities of life to fellow men.Things would have been very difficultfor the have nots made so by thehaves. The poet starts off thepoem by asking rhetorical questionssignifying his wonder at what mancan do to change what God hasordained. He presents what wouldhave been the activities of man hadhe the power to be the provider ofthe necessities of life to his fellowmen. For instance, stanza 3 from line1-6:IgboTranslationA gaara s[ nammadx bx chiQ gaaraekpokqta ikukuna-enye ndxKpqchie n’xlqngwa ah[aRewe ya oke qnx

Had it been thatman is GodHe would havecollected all thelife giving airLock it up in thewarehouseAnd be selling it

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ah[aMgbe q sqrq ya,q kpqchie xzq,Gwa any[ na qgwxla!

very exorbitantlyLocking thewarehouse at willAnd informing usthat it is finished.

The poet initially used rhetoricalquestions to show that nobody iscapable of altering what God hasordained. For instance, stanza 1 line3-4.

IgboTranslationOnye ka q ga-abxchi txqrq ibe yaOnye ahxatxghar[a?

Who is it that cancounter whatGod has ordainedfor his fellowhuman being.

Another illustration, stanza 4 line 1 -5

Igbo TranslationA gaara s[ nammadx bx chiXfqdx ka q gaaraenye xmxGbawa nd[ qzqakaNye xfqdx otuanya na otu nt[Nye nd[ qzq otuaka na otu qkpa.

Had it been that man is GodHe would have given some childrenLeaving others childlessGive some one eye and one earGive others one hand and one leg

The poem is an example of thelampoon device although thelanguage is not harsh but it ispersonally attacking the vices in thecharacter of man as the target. Thepoet ends by advising man not toattempt to change the destinies ofothers as well as his own negatively

but positively for what he makes ofhimself is what he becomes. But hewho maltreats the poor has toremember his God.

ConclusionHaving gone through the selectedpoems in Echiche by Uba-Mgbemena,A. and the selected ones in EchicheMiri Emi by Nwadike, I.U., involvingtwo satirical and two philosophicalpoems, the researcher was able todeduce that both authors follow agood systematic literary form. She isable to make this assertion thus:

The authors are wellversed for their skillfulcreativity and languagestyle. If my judgementshould count, I will saythat they are wizards inpoetic writing. The poemsanalysed are highlydidactic, valued,appreciated and areunequalled. “If writing isleaves, they have reallysupplied us with thespring one”.

ReferencesAkwanya, A. (2003). “Africa and World

Literature”. University of NigeriaJournal of Literature Studies.Nigeria: New Generation Books.

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Eliot, I.S. (1973). “The MetaphysicalPoets”. Oxford anthology ofEnglish literature, vol. 2 Kermodeet al. London: OUP.

Evans, I. (1979). A history of Englishliterature. Harmonds Worth:Penguin.

Frye, N. (1970). Anatomy of criticism.New York: Atheneum.

Gillie, C. (1972). Longman companionof English literature. London:Longman.

Grayling, A.C. (1998). Philosophy I: Aguide through the subject.Oxford: OUP.

Ike, O (ed) (2008). “Nigeriandemocracy in Nigeria:Perspective from Popper’s criticalphilosophy”: Nigerian democracyand world democracy. Awka: AfabEducational Book.

Jenny, T. & Katherine, N.C. (1999).Philosophy: A beginner’s guide.London: Blackwell Publishers.

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Mbiti, J.S. (1969) African religions andphilosophy. Nairobi: East AfricanEducational Publishers.

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Uba-Mgbemena, A. (1990) Echiche.Lagos: Macmillan NigeriaPublishers Limited.

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calledEven if they aredeadThey will riseAsking where youare.

Na[ra,I meela qtxtxagbqghq ala any[Haamakwagh[ onwehaI meela qtxtxinyomHa agbapx na dichqrq g[ jeweKa a ga-as[ na { bxqgwxHa na-afanye namparaKa qr[a ji ha laa.

Naira,You have made mostof our young girlsThey no longerunderstandthemselvesYou have mademany womenTo leave theirhusbands in searchof youAs if you aretalismanThey insert insidetheir laps.So that they will behealed of ttheirillness.

Na[ra,{ lqrq xwa na 1973n’usoro nke metricMgbe [ b[aranqchie anyaNna g[ ochie bx“Pound” na“Shilling”Na 1979A gbanwee g[Iji nyekwuog[ ugwuMa chqkwuog[ mmaSite n’ibo g[ isiqgaranya anq a maama:Macauly, Abubakar,Alvan na MurtalaSitekwa n’ime ka Inwee okere #20.

Naira,You came intoexistence in 1973according to matricsystemWhen you came toreplaceYour grandfatherwhich is Pound andshillingIn 1979You were changedTo accord you moreprestigeAnd beautify you themoreBy adding to youfour heads ofwealthy andinfluential menMacaulay, Abubakar,Alvan and MurtalaAnd by creating

twenty naira piece. Na[ra,Ma o tegh[ akaI bxrx ihe e ji emeakajeNd[ omekomebugara g[ TaiwanMetqq g[ site n’ibig[ aghara agharaXfqdx agbaa g[ nakatqn biyaBulaara nne ha nqn’ime obodoKa q dqwara han’xd[ ihe q]x]xNd[ qzq asxq g[ nadrqnDee ya “HighlyExplosive” ka a ga-as[Na ha na-akpxbqmbxQtxtx ebxrxg[ gafee bqdaMewe g[ gbanworogbanworoNd[ qzq kwa,nd[ akatakpoAha ha bx maf[aEburu g[ felien’xgbq eluGaa sxq g[ pimpimna bank[ nd[ qchaEbe ha na ezinaxlqhaGa-erigideg[ xwatxxwaHmm! Nd[ egbebere ma ugo ebela.Nd[ nq n’isi mmirielegh[ anya n’azxN’ibukq g[ ga zoo g[Xfqdx na nde nandeNd[ qzq n’ijeli n’ijeliSite n’xzq d[ otu aTaa mmadx ibe ha

Naira,But it didn’t takelongYou became a thingof mockeryHooligans took youto TaiwanDisgraced you byminting youeverywhereSome stacked you inbeer cartonsTook you to theirmothers in thevillagesTo keep for them asdrinksSome stacked you indrumsWrote on it ‘HighlyExplosive” as if tosayThey manufacturebombsSome took youacross the borderStarted exchangingyouOthers, the big dosWhose name ismafiaFlew you onaeroplaneWent and dumpedyou in the whiteman’s banksWhere they withtheir familiesWill continue toenjoy you untileternityHmm! You who wantto live but othersshould not liveThe highly placed insociety that do not

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Chukwu kere ahxhxNd[ nkuzi na nd[ qrxobodoJxq ajxjx xgwq qnwahaA gwa ha na g[ bxNa[raAlaala kana[ nd[ agba ochie. Chei!Ihe mmadx mereibe ya.

think twiceIn collecting andhiding youSome in millionsOthers in billionsThrough thesemeansPunished their fellowhuman beingscreated by GodTeachers andgovernment workersOn asking abouttheir salaries

They will be told thatyou NairaHas gone like theproverbial coinChei!What human beingshave done to fellowhuman beings.

Mana na Disemba31, 1983Nd[ nzqpxta sx uwekak[

But in December 31,1983Saviours came inform of soldiers

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Documents

Critical Literary Analysis of Four Igbo Poems …Critical Literary Analysis of Four Igbo Poems Nsolibe, Obiageli Theresa Abstract For in-depth appreciation of Igbo poetry one must