3. Humour

When we discuss Alapata Apata from the satirical standpoint, it is a sin to omit the efficient use of humour and exaggeration by Soyinka in his effort to bring the object of ridicule to correction. The central figure, Alaba, for one is very funny and evokes laughter in the reader each time he has an encounter with the objects of ridicule—Daanielebo, Prospector, Student etc. In various scenes in the play, Soyinka lampoons the cluelessness of the Nigerian elites through comic effects.

4. Pun

This discussion of pun as seen in the text is an addendum to the use of humour explained above. But two things can be deduced here.

First, when Alaba plays on the words: “accent”, “askew”, “axis” and “accident” (in page 70), the reader laughs hard. The wrong application of tone marks on Alapata by the student and General who reads Alaba’s signpost upside down and redirects his troop to the wrong location is also laughable.

Second, beyond the laughter, Soyinka is actually mocking the cluelessness and stupidity of the characters in question. Again, reeling from the title of the text, Alapata Apata is a classroom for Xenophiles, and the language enthusiasts who are using the language wrongly.

5. Metaphor

Alapata Apata is replete with metaphors. This is in line with Soyinka’s attempt to satirise  the greed and corruption in high places. The playwright codified certain meanings in words, names, actions and expressions of the characters. For example, General’s troop codenamed “operation longa  throat” signifies the repulsive greedy desires of the ruling elite.

6. Symbol

The “rock” on which Alaba sits idly is symbolic. It represents the untapped resources in Nigeria as a result of the cluelessness and ineptitude of the ruling elites. The rock could also mean the strength and courage needed for revolution while Alaba himself is a symbol of social reformation and revolution. His attempt to straighten the “crooked world” is significant.

The “crooked world” or “globe” is also symbolic. It represents the pathetic state of the writer’s society due to the ineptitude of clueless and self-seeking opportunistic leaders. The “asikiwu” globe could also represent the universality of the developed issues in the text. That is, the generality of human follies and idiosyncrasies.

7. Allusion

The text is also laced with several allusions to real events in the socio-political society of Nigeria which the dramatist lives. These serve as backdrops to the developed issues in Alapata Apata. For instance, Soyinka lampoons the high-handed General and his slavish troop using to Fela’s song—Zombie; which perfectly describes the military as one who do not have a mind of their own.

8. African Proverbs, Myth and Axioms

The playwright also shows his artistic qualities by deploying African proverbs, myths, songs and axioms in the play text. He blends these elements with the western form as dramaturgical weapon in a bid to sell African culture and tradition to the world. Alaba, the central character usually uses axioms and proverbs whenever he is in deep thought. With this, Soyinka also succeeds in his plan to correct the misuse of language among Africans.

Conclusion

In the final analysis, in assessing the style and techniques in Alapata Apata, we see that the character and their roles sit perfectly in the context which Soyinka places them. Allusions to social events, polices and historical figures through the satirical elements of metaphor, symbol and imitation contribute to the general development of the play text.

Reference

1. Kehinde, M.A. Alapata Apata Dramaturgy: “Dramatic Techniques in Wole Soyinka’s Alapata Apata.” Page 1-5
2. Soyinka, Wole. Alapata Apata. Ibadan: Bookcraft, 2011.

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