WAEC SSCE - Literature In English - 2010 (Drama & Poetry)

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Nikolai Gogol's The Government Inspector is a comic masterpiece full of ridiculous situations that satirise corruption, vanity and folly. Three scenes in particular stand out for their comic power.

1. The bribing of Khlestakov by the officials. One of the funniest sequences occurs when the corrupt town officials come, one after another, to offer Khlestakov money, believing him to be the dreaded inspector. Each nervous official, the Judge, the Postmaster, the Charity Commissioner and others, sidles in to press a "loan" upon him, while Khlestakov, at first bewildered, quickly grasps the situation and cheerfully takes all he can get. The comedy lies in the officials' terror and clumsy flattery and in Khlestakov's growing boldness as the bribes pile up. It exposes the universal corruption of the town in a stream of laughter.

2. Khlestakov's simultaneous courtship of Anna and Marya. A scene of delicious farce is Khlestakov's love-making to both the Mayor's wife, Anna Andreyevna, and her daughter, Marya, almost in the same breath. He flings extravagant compliments at the mother, then, when she steps aside, drops to his knees before the daughter, and is nearly caught switching from one to the other. The absurd speed of his flattery, and the vanity of both women in believing him, make the scene irresistibly funny while satirising social pretension and empty gallantry.

3. Khlestakov's boasting about his life in St Petersburg. Emboldened by wine and the officials' awe, Khlestakov launches into wild, self-glorifying lies, claiming intimacy with ministers, authorship of famous works and management of whole government departments. His boasts grow more and more preposterous, yet the terrified officials swallow every word. The gap between his real insignificance and his monstrous exaggerations, and the gullibility of his listeners, produces high comedy and lays bare the officials' cowardice and self-interest.

Overall effect. These scenes generate laughter not merely for its own sake but in the service of satire. Each ridiculous situation exposes the greed, cowardice, vanity and stupidity of the provincial officials and of the impostor who dupes them, so that comedy becomes a weapon of social criticism.

In conclusion, the bribing of Khlestakov, his double courtship of mother and daughter, and his grandiose boasting are three richly comic scenes through which Gogol both delights his audience and satirises the corruption and folly of society.

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In Athol Fugard's Sizwe Bansi Is Dead, symbols carry much of the play's meaning. Through a few powerful objects and names, Fugard exposes the dehumanising machinery of apartheid and the desperate struggle of black South Africans to survive with dignity.

The passbook (the dompas). The most important symbol is the passbook that every black man is forced to carry. It stands for the whole apartheid system of control: it dictates where a man may live and work, and without the right stamp he is denied employment and can be arrested or expelled. The passbook reduces a human being to a set of official entries, symbolising the state's power to define, restrict and dehumanise black life.

The photograph. The photograph that Sizwe has taken in Styles' studio symbolises identity, memory and the wish to be remembered as a real, dignified person. It is the means by which Sizwe sends proof of himself to his family, an assertion of individual existence against a system that treats black men as anonymous units of labour.

The name Sizwe Bansi. The hero's name is itself symbolic. Suggesting the strength or the people of the nation, it represents black South Africans as a whole. When Sizwe is forced to abandon his own name and take that of the dead Robert Zwelinzima in order to obtain work papers, the title "Sizwe Bansi is dead" symbolises the death of black identity and manhood under apartheid: a man must bury his very name to survive.

The dead man and the new identity. Robert Zwelinzima's corpse and the pass taken from it symbolise how the system compels the living to trade away their true selves. Survival demands a kind of self-erasure, a symbolic death of the individual so that the body may go on living and working.

Styles' photographic studio. The studio symbolises a small space of freedom and self-assertion. In having their pictures taken, ordinary black people record their dreams and dignity, momentarily controlling their own image in a society that otherwise denies them agency.

Significance. Together these symbols dramatise the central conflict between the individual's humanity and a state determined to erase it. They allow Fugard to make an abstract political injustice concrete, immediate and deeply moving.

In conclusion, the passbook, the photograph, the name Sizwe Bansi, the dead man's identity and the photo studio all function as potent symbols through which Fugard exposes the cruelty of apartheid and the heavy cost at which black South Africans preserve their lives and dignity.

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Kofi Awoonor's "Songs of Sorrow (I and II)" is an elegiac lament rooted in Ewe dirge tradition. The poet builds his grief through a sustained sequence of images drawn from nature, the body, death and the traditional world, and these images give the poem its mournful, brooding power.

Images of desolation and isolation

• The speaker declares that "Something has happened to me," and pictures himself standing at the edge of experience: "the fetish house by the road" and the image of being "far away in a bush" convey abandonment and spiritual dislocation.
• The wilderness and barren landscape images externalise inner sorrow, suggesting a man cut off from community and hope.

Images of death and decay

• Death dominates the poem. The land of the dead, the grave and dead kinsmen recur, and the speaker's dead relatives (Kpeti, Kove and the great household) are invoked, showing a family and lineage consumed by loss.
• Water imagery, such as the "vast ocean" that is too wide to cross, symbolises the overwhelming, uncontrollable flood of grief and the barrier of death.

Images of obstruction and helplessness

• The recurring picture of the "snail" without horns and the man whose way is blocked by the log or the great river conveys frustration and paralysis.
• The image of dew, the early bird and the creeping progress of the speaker suggests a life burdened before it can even begin.

Animal and traditional imagery

• The crab, the snail and the vulture ground the lament in an African rural setting and reinforce vulnerability and smallness before fate.
• References to the ancestral gods and the fetish house link personal sorrow to a communal, spiritual world.

Effect of the imagery. These images work cumulatively to dramatise a grief that is both personal and communal. By fusing nature, death and tradition, Awoonor makes the reader feel the weight of a sorrow that seems as vast as the ocean and as inescapable as death itself. The imagery is the very medium through which the elegy achieves its haunting emotional force.

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Andrew Marvell's "To His Coy Mistress" is a metaphysical carpe diem poem in which the speaker urges a reluctant lady to yield to his love. The "rejection" in the poem is the mistress's coyness, her holding back of love, and the whole argument is the speaker's response to this rejection: a persuasive attempt to overcome it before time destroys them both.

The situation of rejected love

• The lady's coyness is a form of refusal. She delays and withholds, treating the speaker's desire as something to be resisted rather than returned.
• The speaker frames his entire argument around this reluctance, so the theme of rejected or postponed love drives the poem's three-part structure.

First movement: if there were endless time

• The speaker concedes that if time were infinite, her coyness would be "no crime." He would spend "a hundred years" praising her eyes and forehead, "two hundred to adore each breast."
• The exaggerated, hyperbolic imagery mockingly grants her wish for delay, showing that in an ideal world her rejection could be tolerated.

Second movement: the pressure of time and death

• The tone darkens: "But at my back I always hear / Time's winged chariot hurrying near." Time is the enemy of love.
• The grim images of "deserts of vast eternity," the grave where "worms shall try / That long-preserved virginity," and beauty turning to dust warn that continued rejection leads only to loss. Love refused now is love destroyed by death.

Third movement: seize the day

• The speaker urges immediate union: "Now let us sport us while we may," and calls them to devour time "like amorous birds of prey."
• The energetic images of the "ball" of strength and "tearing pleasures through the iron gates of life" argue that active love can triumph over time even if it cannot stop it.

Conclusion. The theme of rejected love shapes the poem as a sustained argument against refusal. The mistress's coyness represents love denied or delayed, and the speaker answers it with wit, hyperbole and the sober reminder of death to persuade her that love postponed is love wasted. Marvell thus turns a lover's rejection into a brilliant meditation on time, desire and mortality.

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Athol Fugard's Sizwe Bansi Is Dead, created with John Kani and Winston Ntshona, is remarkable for its bold and inventive dramatic techniques. Written to protest against apartheid's pass laws, the play uses a spare, flexible theatrical form that draws the audience directly into its argument.

Direct address to the audience. The play opens with Styles delivering a long monologue straight to the audience about his life at the Ford factory and his photographic studio. This direct address breaks the fourth wall, creating intimacy and turning the spectators into confidants who are made to think about the injustices described.

The play-within-a-play and role-playing. The drama is built on layers of role-playing. The two actors take on multiple characters, shifting swiftly from one to another. Styles becomes the photographer; the man being photographed reveals himself as Sizwe Bansi and then re-enacts, with Buntu, the discovery of the dead man and the assumption of a new identity. This doubling and enactment allow a two-man cast to present a whole world.

Non-linear structure and flashback. The action does not run in simple chronological order. It moves from Styles' studio into a flashback that recounts how Sizwe came to sit for his photograph, then works forward again. This fluid handling of time keeps the focus on ideas rather than mere sequence of events.

Minimal, suggestive staging. The set is deliberately bare, a few props such as a camera, a chair and the crucial passbook. This economy, along with mime and improvisation, forces the audience to use its imagination and concentrates attention on the human situation and its political meaning.

Use of the photograph and storytelling. The taking of the photograph frames the whole play and becomes the device through which Sizwe's story is told. Storytelling, monologue and re-enactment combine so that narration itself becomes dramatic action.

Elements of the epic (Brechtian) theatre. By addressing the audience directly, exposing the mechanics of role-play and inviting judgement rather than mere emotional absorption, the play works in the manner of epic theatre, using the stage as a platform for social protest.

Humour within protest. Fugard mixes comedy, especially in Styles' lively monologue, with serious political comment, so that laughter draws the audience in before the harsh realities of the pass system strike home.

In conclusion, the dramatic techniques of Sizwe Bansi Is Dead, direct address, role-playing, play-within-a-play, flashback, minimal staging and epic-theatre devices, are perfectly suited to its purpose, allowing two actors to mount a powerful and engaging protest against the dehumanising laws of apartheid.

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David Rubadiri's "An African Thunderstorm" describes the approach and arrival of a violent tropical storm over an African village. The poet uses the storm both literally, as a natural phenomenon, and symbolically, so that its characteristics and its effects on people and place carry wider meaning.

Characteristics of the storm

• Sudden and swift. The wind comes "from the west," "clouds come hurrying with the wind," moving "like a plague of locusts / Whirling." The speed and menace are immediate.
• Restless and turbulent. The clouds are compared to a swarm of locusts and to a "madman chasing nothing," images of chaos, aimless violence and disorder.
• Powerful and destructive. The wind "tosses up things on its tail" and pulls at clothes and trees. It is an overwhelming force that humans cannot resist.
• Dark and threatening. The gathering darkness, the "pregnant clouds" heavy with rain, and the lightning that "flash and flare" create an atmosphere of foreboding before the storm breaks.

Effects of the storm

• On nature. Trees bend, leaves and branches are tossed, and the whole landscape is thrown into agitation. The image of the "pregnant clouds" ready to burst shows nature charged and ready to release its fury.
• On the villagers. The scene shifts to human panic. Women "dart about / In and out / Madly," children scream in delight and fear, and clothes are blown to reveal "dangling breasts." The people are helpless before the storm.
• Contrasting reactions. While the women rush anxiously to protect home and children, the children respond with excited screaming, capturing both fear and the thrill the storm brings.

Symbolic effect. Many readers see the storm as a symbol of the disruptive, unstoppable arrival of colonialism or of sweeping change in Africa, something powerful, foreign in direction (from the west) and beyond the villagers' control. The mounting tension that ends with "the pelting march of the storm" leaves the reader with a sense of an overwhelming force about to break upon a defenceless community.

Conclusion. Through vivid simile, sound and movement, Rubadiri makes the storm both a real event and a metaphor. Its violent characteristics and the fear and confusion it causes give the poem its dramatic energy and its deeper resonance.

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In Nikolai Gogol's The Government Inspector, the Mayor (Anton Antonovich) and his wife, Anna Andreyevna, are a memorable comic pair. Though husband and wife, and alike in vanity and ambition, they are also sharply contrasted in their chief preoccupations.

Similarities.

• Vanity and social ambition. Both are intensely eager to rise in the world. When they believe the great inspector Khlestakov favours their family, both are swept up in dreams of grandeur, imagining a splendid life among the elite in St Petersburg.
• Gullibility. Both are completely deceived by the penniless impostor Khlestakov, taking the empty young clerk for a powerful inspector. Their shared self-importance blinds them to the truth.
• Pretension and self-interest. Neither is guided by honesty or humility. Both are ready to flatter, scheme and use others to advance their own standing.

Differences.

• Sphere of concern. The Mayor's world is that of corrupt public administration. His energies go into managing bribes, concealing the misdeeds of his town, silencing complaints and, above all, protecting himself from exposure. Anna's world, by contrast, is entirely social and domestic; she thinks of fashion, admirers, gossip and status.
• Cunning versus frivolity. The Mayor is shrewd, experienced and calculating, a seasoned rogue who has long survived by his wits. Anna is frivolous, coquettish and shallow, more concerned with charming Khlestakov and outshining other women than with any practical scheme.
• Flirtation. Anna is vain and flirtatious, even competing with her own daughter, Marya, for Khlestakov's attention. The Mayor shows no such romantic vanity; his ambitions are those of power and security.
• Temperament. The Mayor is fearful and anxious beneath his authority, haunted by the dread of discovery. Anna is comparatively carefree, absorbed in her own charms and social daydreams.

Dramatic significance. The pairing sharpens Gogol's satire. Through the Mayor, Gogol ridicules official corruption and hypocrisy; through Anna, he mocks social vanity, snobbery and empty affectation. Their shared humiliation at the end, when the deception is exposed, completes the comic and moral lesson.

In conclusion, the Mayor and Anna Andreyevna are alike in vanity, ambition and gullibility, but differ markedly in focus and temperament: he is the cunning, corrupt and fearful official, she the frivolous, flirtatious and status-hungry wife. Together they embody the follies Gogol sets out to satirise.

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In Robert Bolt's A Man for All Seasons, Sir Thomas More and Thomas Cromwell function as moral opposites. Their contrasting characters dramatise the central conflict of the play: the struggle between individual conscience and the ruthless demands of state power.

Sir Thomas More

• A man of conscience and integrity. More refuses to swear the Oath of Supremacy that would recognise Henry VIII as head of the Church, not out of treason but because it violates his conscience. His famous position is that he will not speak against the King, yet neither will he betray his own soul.
• Learned, witty and legally shrewd. A brilliant lawyer, More takes refuge in silence, knowing that the law cannot condemn a man for what he does not say. His wit and command of legal reasoning make him formidable until Rich's perjury destroys him.
• A devoted family man. His warmth toward Alice, Margaret and Roper reveals a loving husband and father, which makes his final sacrifice deeply moving.
• A martyr of principle. He goes to the scaffold rather than compromise, declaring himself "the King's good servant, but God's first." He embodies the play's title: a man whose integrity holds firm in every "season."

Master Thomas Cromwell

• Ambitious and pragmatic. Cromwell is the King's ruthless enforcer, willing to use any means to secure the royal will and advance his own position.
• Manipulative and unscrupulous. He engineers More's destruction through bribery, threats and finally the suborned perjury of Richard Rich, showing a complete disregard for justice.
• A servant of power, not conscience. Where More answers to God and self, Cromwell answers only to expediency and the Crown. He represents the corrupt machinery of the state.
• A foil to More. His cynicism and moral emptiness throw More's principled steadfastness into sharp relief.

Conclusion. More and Cromwell embody the play's great opposition of conscience against corruption. More's incorruptible integrity ennobles him even in death, while Cromwell's ambition reduces him to an instrument of tyranny. Through this contrast, Bolt affirms the enduring value of moral principle.

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In Joe de Graft's Sons and Daughters, Hannah and Fosuwa are female figures whose attitudes and roles can be usefully compared and contrasted. Both are drawn into the central quarrel of the family over the children's futures, yet they respond to it from different positions.

Points of comparison (similarities).

• Both are women of the older generation who are concerned about the welfare of the family and the destiny of the young people. Neither is indifferent to the fortunes of Ofosu's children.
• Both operate within the values of their society and share, at least initially, the conventional respect for practical, established professions over the uncertain world of the arts.
• Both function as supporting figures around the central conflict between father and children, helping to voice the concerns and expectations of the adult world.

Points of contrast (differences).

• Hannah, as Ofosu's wife and the mother of the children, stands at the emotional heart of the family. She is torn between loyalty to her husband's ambitions and tenderness towards her children's dreams. Her position is one of divided sympathy, and she is capable of compassion and of softening the father's rigidity.
• Fosuwa is positioned differently, more as an observer and commentator whose views reflect settled, traditional expectations. Her involvement is less intimately maternal and more that of a member of the wider circle whose opinions reinforce conventional attitudes.
• Where Hannah's feelings are complicated by the direct pull of motherhood, Fosuwa's stance is comparatively detached, so that Hannah shows greater inner conflict and emotional growth than Fosuwa does.

Dramatic significance. By setting these two women beside each other, de Graft broadens the range of adult responses to the children's rebellion. Hannah embodies the mother's anguished movement towards understanding, while Fosuwa represents the steadier voice of tradition. Together they enrich the play's exploration of how the older generation regards the aspirations of the young.

In conclusion, Hannah and Fosuwa are alike in their concern for the family and their initial traditional outlook, but they differ in intimacy and emotional involvement: Hannah, the conflicted and compassionate mother, contrasts with the more detached, convention-bound Fosuwa.

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Joe de Graft's Sons and Daughters is built upon a series of interlocking conflicts that dramatise the tensions within a Ghanaian family and, more broadly, between generations and value systems. These conflicts drive the plot and carry the play's central concerns about parental control, personal freedom and the worth of the arts.

Conflict over career and vocation. The principal conflict is between James Ofosu, the father, and his children over their choice of careers. Ofosu, an ambitious and well-meaning parent, wants his children to become respectable professionals such as lawyers, engineers and doctors. His children, however, are drawn to the arts: George longs to be a painter and Maanan to be a dancer. This clash between practical, money-minded ambition and artistic aspiration is the backbone of the play.

Generational conflict. Bound up with the career dispute is a wider conflict between the older and younger generations. The parents believe they know what is best and expect obedience, while the children assert their right to choose their own paths. The play questions how far parents should impose their will on their offspring and champions the young people's desire for self-determination.

Conflict between the arts and materialism. On the level of ideas, the play stages a conflict between a materialistic view of success, which values only lucrative, prestigious professions, and a belief in the dignity and value of artistic vocations. De Graft uses the family quarrel to argue that painting and dancing are worthy callings, not idle or shameful pursuits.

Conflict introduced by Lawyer Bonu. An external conflict is generated by the scheming Lawyer Bonu, a false friend who covets Ofosu's property and manipulates events for his own gain. His treachery, especially during Ofosu's absence, threatens the family and sharpens the drama, setting greed and dishonesty against family loyalty.

Internal and moral conflict. There is also inner conflict, particularly for the mother, Hannah, who is torn between loyalty to her husband's wishes and sympathy for her children's dreams. This divided loyalty adds emotional depth to the play's web of tensions.

Significance. Through these conflicts, de Graft explores the proper relationship between parents and children, the freedom of the individual to choose a vocation, and the value of the arts in society. The eventual movement towards understanding suggests the possibility of reconciling authority with freedom.

In conclusion, the major conflicts in Sons and Daughters, over careers, between generations, between materialism and the arts, and the treachery of Lawyer Bonu, together shape the play's action and express its central themes of parental control and personal freedom.

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Robert Bolt's A Man for All Seasons is essentially the dramatisation of a conflict between the will of a king and the conscience of a man. King Henry VIII's personal desires collide with the moral and religious principles of Sir Thomas More, and the tragedy grows out of More's refusal to surrender his integrity to royal power.

Henry's desires. The King is determined to divorce his wife, Catherine of Aragon, who has borne him no male heir, in order to marry Anne Boleyn. When the Pope refuses to grant an annulment, Henry breaks with Rome and has himself declared Supreme Head of the Church of England. His desires are for a new marriage, a legitimate son, and absolute acknowledgement of his authority. He craves not merely obedience but approval, and above all the approval of the one man whose goodness he respects, Thomas More.

More's principles. More, a devout Catholic and Lord Chancellor, cannot in conscience accept the King's divorce or his claim to headship of the Church, which he believes belongs to the Pope. Yet he does not openly rebel. He resigns his office, withdraws from public life and takes refuge in silence, refusing to swear the Oath of Supremacy while giving no reason. His principle is that a man must not act against his own conscience, for "when a man takes an oath, he is holding his own self in his own hands like water".

The nature of the conflict. The clash is therefore between raw political power and private conscience, between what the state demands and what the individual believes to be right. Henry and his agents, chiefly Thomas Cromwell, cannot tolerate More's silence, for his very refusal to endorse the King is a loud reproach. Power seeks not only compliance but the surrender of the soul, and this More will not give.

The pressure and the outcome. More is pressed on every side: by Cromwell's cunning, by the threats of the Duke of Norfolk, by the pleas of his own family, and finally by the perjury of the ambitious Richard Rich, whose false testimony secures More's conviction. Sentenced to death, More at last breaks his silence to affirm his faith, and he goes to the scaffold rather than betray his conscience.

Significance. The conflict makes the play a study of integrity under tyranny. Against the compromisers, Rich, Cromwell, even the pragmatic Norfolk and Wolsey, More stands as the man who will not bend, "a man for all seasons", whose selfhood is inseparable from his conscience. His death is a defeat in worldly terms but a triumph of principle.

In conclusion, the play is indeed a conflict between King Henry's desires and More's principles: the King's craving for divorce, an heir and total supremacy meets the immovable conscience of a man who chooses death over self-betrayal, and in that collision Bolt affirms the supreme value of personal integrity.

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A. E. Housman's "To an Athlete Dying Young" mourns a young sportsman who dies at the height of his fame. Housman's imagery is highly effective because it fuses the images of triumph and death, using the language of athletic victory to explore the idea that dying young preserves glory that life would otherwise fade.

Images of triumph and celebration

• The poem opens with the athlete's victory: the townsfoolk "chaired you through the market-place," carrying him shoulder-high in triumph. This image of celebration establishes the height of his fame.
• The recurring image of the "race" and the runner frames the athlete's whole life as a contest, making his early death a kind of final, well-timed finish.

The central paradox: the road to the grave

• Housman brilliantly echoes the victory procession with the funeral procession: "Shoulder-high we bring you home, / And set you at your threshold down." The same image of being carried now marks his burial. The parallel is the poem's most effective stroke.
• The "threshold" and the "still" town of death present the grave as a new, quiet home.

Images of the fading laurel

• The laurel, symbol of victory, is central: "the laurel grows / And withers quicker than the rose." This vivid image warns that glory is short-lived, and so dying young spares the athlete the pain of seeing his fame decay.
• The contrast between the enduring laurel on the dead brow and the withering laurel of the living makes the abstract idea concrete and memorable.

Images of darkness, night and the shady runners

• Night, the "shady night," and the closing of the eyes present death gently, as rest rather than horror.
• The final image of "the garland briefer than a girl's" and the dead athlete crowned with an "unwithered" laurel among the "strengthless dead" leaves a haunting picture of preserved, eternal glory.

Effectiveness. Housman's imagery is effective because it is unified and paradoxical: images of running, victory, laurels and processions are turned to serve a meditation on death. By clothing a grim theme in the bright language of sport, he makes the consolation, that early death fixes glory forever, both persuasive and poignant.