JAMB UTME - Literature In English - 1998

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The writer of the passage above arrests the interest of the reader by employing a suspenseful opening. The opening sentence creates a sense of tension and anticipation by introducing the idea that the main character is being sought after by the police. The fact that he had just returned from a night's vigil on the mountain and was reading the Book of Revelation adds to the mysterious and intriguing nature of the situation. This makes the reader want to continue reading to find out what happens next. The use of short, clear sentences also helps to build suspense by creating a quick pace and a sense of urgency. There are no images of violence in the passage, but the suspenseful opening is enough to capture the reader's attention.

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When two statements or comparisons are apparently contradictory, we have an example of a paradox. A paradox is a literary device that involves a statement or situation that appears to be self-contradictory, but upon closer examination, reveals a deeper truth. It often involves two ideas or concepts that seem to be at odds with each other, but are actually connected in a meaningful way. For example, the phrase "less is more" is a paradox because it seems to be contradictory - how can less be more? However, upon reflection, it reveals a deeper truth about the value of simplicity and the idea that sometimes having less can lead to greater satisfaction or impact. Paradoxes are commonly used in literature to create a sense of complexity, depth, and intellectual challenge for the reader.

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The author, by allowing Sule to return to the village despite his earlier vow, suggests the existence of a bond between man and his roots. This means that people, no matter how far they have gone, are still connected to their home and their culture. The author implies that one cannot forget one's roots, and no matter where one goes, the place where one was born and raised will always be a part of them. The bond between man and his roots is an essential aspect of human life, and it is something that cannot be broken easily.

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In Nyi Osundare's poem "They Too Are The Earth", the people who "live that the earth may die" are those who fritter the forest and harry the hills. The poem is a critique of those who exploit the natural resources of the earth without any consideration for the environment or the long-term consequences of their actions. The line "They live that the earth may die" is a powerful statement that highlights the destructive nature of human activities such as deforestation, mining, and pollution. The people who fritter the forest and harry the hills are the ones who engage in such activities and contribute to the destruction of the earth. The poem is a call for environmental awareness and a plea for a more sustainable way of living.

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Soyinka's depiction of Brother Jero in the play is symbolic. Brother Jero is a self-proclaimed prophet and leader of a religious sect, but Soyinka uses him as a symbol of the corrupt and manipulative nature of power. Throughout the play, Jero uses his charisma and supposed divine authority to exploit his followers and advance his own interests. However, his true nature is gradually revealed as the play progresses, and he is ultimately exposed as a fraud. This symbolizes the danger of blindly following charismatic leaders without questioning their motives and authority. Jero's character is also a commentary on the religious and political corruption that was rampant in Nigeria during the time the play was written, and it highlights the need for critical thinking and skepticism in the face of authority. Overall, Soyinka's depiction of Brother Jero is a powerful and complex symbol that critiques the abuse of power and the dangers of blind faith.

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Brother Chume, as a member of Jero's congregation, can be described as a disgruntled and gullible follower. He is portrayed as being naive, easily manipulated and misled by Brother Jero's false prophecies. Despite being aware of Jero's deceitful ways, he remains loyal and obedient to him, even at the expense of his own well-being. His blind faith in Brother Jero's abilities makes him vulnerable to exploitation, and he is often used as a pawn in Jero's schemes. Therefore, the correct option is "a disgruntled and gullible follower."

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In the play "The Trials of Brother Jero" by Wole Soyinka, the author's sympathies lie with the exploited. This is evident through the character of Chume, who is a victim of Brother Jero's manipulations and is exploited by him. Soyinka uses humor and satire to expose the corrupt nature of religious leaders who take advantage of the vulnerable and gullible individuals in society. Through his play, Soyinka highlights the need for people to be aware of such manipulations and to resist exploitation.

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In Zaynab Alkali's The Stillborn, Li's initial aspiration in the novel is to escape from village life to the city. She dreams of going to the city, where she believes she can lead a more fulfilling life than in the restrictive and mundane village environment. She is curious about the outside world and wants to explore it to satisfy her thirst for knowledge and self-discovery. However, her aspirations are cut short by her marriage to a man who takes her away from the village but does not allow her to pursue her dreams.

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The play She Stoops to Conquer by Oliver Goldsmith is built on the idea of mistaken identities. The plot of the play revolves around a young man named Charles Marlow, who is tricked by his friend into believing that the house of Mr. Hardcastle, where he is supposed to stay for a night, is actually an inn. This mistaken identity leads to a series of comedic events, misunderstandings, and confusion, which are the main driving force of the play. The play is a classic example of a "comedy of errors," where the humor arises from the characters' misinterpretations and miscommunications.

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In Wole Soyinka's play "The Trials of Brother Jero", Brother Jero displays an act of ingratitude to his master by dispossessing him of his piece of land. Brother Jero, a self-proclaimed prophet, uses his influence to manipulate his master into signing over his land to him. This act of betrayal and exploitation is a clear sign of ingratitude and a violation of the trust placed in him by his master. The play is a satire on religious hypocrisy and the abuse of power, and Brother Jero's actions serve to highlight the dangers of blind faith and false prophets. Overall, Brother Jero's actions are a betrayal of his master and a testament to his lack of integrity and gratitude.

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The three main unities in drama are those of action, time, and place. These unities were first described by the ancient Greek philosopher Aristotle and were considered a fundamental principle of dramatic storytelling. Unity of action means that a play should have one main plotline with a clear beginning, middle, and end. Unity of time refers to the idea that the action of the play should take place within a limited time frame, usually no more than 24 hours. Unity of place means that the action of the play should take place in one location or at least in a limited number of locations. These unities were intended to create a sense of coherence and realism in the drama. By restricting the action to a single location and a limited time frame, the audience could more easily suspend their disbelief and become fully immersed in the story. The unity of action also helped to create a sense of dramatic tension and momentum, as the story unfolded in a clear and logical manner. Overall, the three unities were seen as essential components of successful dramatic storytelling.

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In the lines "Like as the waves make towards the pebbled shore, so do our minutes hasten to their end," Shakespeare is thinking of the passing of time and the shortness of life. He uses a simile to compare the movement of waves towards the shore to the passing of time, suggesting that just as the waves inevitably reach the shore, our lives are also moving inevitably towards their end. The use of the word "minutes" emphasizes the idea that time is passing quickly and that life is short. The theme of the passing of time and the transience of life is a common one in Shakespeare's work, and is particularly prominent in his sonnets.

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The lines, "I cannot rest from travel; I will drink life to the lees" from Tennyson's "Ulysses" reveal the persona as adventurous. The speaker, who is Ulysses (the Latin name for Odysseus), expresses his desire to keep traveling and experiencing everything that life has to offer. He wants to continue exploring and taking risks, even in his old age. This attitude suggests that he is adventurous, eager to seek out new experiences, and unwilling to be held back by age or convention.

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In drama, a conspicuous weakness in the character of the protagonist contributing to his downfall is referred to as a tragic flaw. This is a common literary device used in tragedies to create a sense of inevitability and to evoke a powerful emotional response from the audience. The tragic flaw is typically a character trait or flaw that is present from the beginning of the play and contributes to the protagonist's downfall. It is often related to the character's pride, ambition, or desire for power, and it leads to a series of events that ultimately culminate in the protagonist's tragic end. The concept of the tragic flaw is closely linked to the ancient Greek concept of hamartia, which refers to a fatal error or mistake made by a tragic hero.

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Persona refers to the image a character presents. It's the way a character appears to others, including their behavior, speech, and appearance. A persona can be deliberate or unintentional, but it's always the version of themselves that a character chooses to reveal to others. It's important to note that a persona can be different from a character's true personality, and may even be used to conceal their true selves. In literature, the persona of a character is often used to add depth to the story and create a more realistic portrayal of the character.

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An elegy is a poem that mourns for the deceased. It is a type of poem that expresses sorrow or lamentation for someone who has died, often written in tribute to the person's life and achievements. It is a form of elegiac poetry that is often characterized by its somber and melancholy tone, and is typically written in formal language and structure. The word "elegy" comes from the Greek word "elegeia," which means "song of mourning."

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The statement, "Time the magician, had wrought much here" is made in the novel when Susan Newson sees Henchard at Casterbridge. This statement refers to the changes that have occurred in Casterbridge over time. It highlights the idea that time can be a transformative force, bringing about both positive and negative changes in people's lives and in the world around them. The statement suggests that Casterbridge has changed significantly since Susan last saw it, and that time has played a major role in these changes. This theme of the transformative power of time is a recurring one throughout the novel.

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Poems that are not written in meter or regular line length are called free verses. Free verses are poems that do not follow a specific rhythmic pattern or rhyme scheme. Instead, they rely on natural cadences of speech and often use unconventional line breaks and structures to create a unique rhythm and flow. Free verse poems offer poets a great deal of freedom to experiment with language and explore complex themes in a more unconventional way.

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Kofi Awoonor's 'Songs of Sorrow' is concerned with devastation because of the destruction of the shrines of the ancestors. The poem mourns the loss of traditional African culture and values as a result of the spread of Westernization and colonialism. The destruction of the shrines symbolizes the erasure of African heritage and the loss of spiritual connection to the land and ancestors. Awoonor laments the devastation of the African continent and calls for a return to the traditional values that have been lost.

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Romantic poetry emphasizes the beauty of nature.

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The literary device used in the given quote from Shelley's "Ode to the West Wind" is a rhetoric called "rhetorical question". A rhetorical question is a figure of speech that is asked for effect or to make a point, rather than to elicit an answer. In this quote, the question "If Winter comes, can Spring be far behind?" is asked to suggest that even though winter may be cold and bleak, it is always followed by the warmer and brighter season of spring.

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The subject matter of the above extract is an earthquake. The extract describes the sudden movement of the earth, causing houses to crumble, mountains to heave and the loss of the work of a million years, which are all common effects of an earthquake.

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Dzogbesa Lisa in Kofi Awoonor's "Songs of Sorrow" can be equated to fate. The phrase appears in the third stanza of the poem, which describes the suffering and hardship endured by the people of the Ewe tribe in West Africa. The line reads: "Dzogbesa Lisa has turned his face away from us." In Ewe mythology, Dzogbesa Lisa is a god of fate and destiny, who determines the course of people's lives. The phrase "turned his face away from us" suggests that the god has abandoned the people and is no longer favoring them with good fortune. This is a common theme in African literature, which often explores the relationship between human beings and the gods or spirits that govern their lives. By equating Dzogbesa Lisa with fate, Awoonor is suggesting that the suffering of the Ewe people is not simply the result of their own actions or choices, but is determined by forces beyond their control. This idea of fate is an important theme in many African cultures, which often emphasize the importance of accepting one's destiny and making the most of the opportunities that come one's way. Overall, the phrase "Dzogbesa Lisa has turned his face away from us" suggests a sense of despair and hopelessness in the face of forces that are beyond human control. It underscores the importance of coming to terms with one's fate and finding meaning and purpose in the midst of adversity.

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In the passage above from Sembene Ousmane's novel 'Xala,' the writer suggests that El-Hadji Abdou Kader Beye is being manipulated. The passage describes how El-Hadji is received in princely style at the girl's home and is treated to exquisite food and the scent of incense. However, the description of "nothing was omitted in the careful process of conditioning the man" suggests that El-Hadji is being manipulated or conditioned in some way. The use of the word "conditioning" implies a deliberate attempt to influence or control El-Hadji's thoughts and actions. The passage suggests that El-Hadji may be unaware of this manipulation, and that it is being done for the benefit of others rather than for his own good.

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In Mtshali's "The Washerwoman's Prayer," the condition of the woman is portrayed through metaphor. Metaphor is a figure of speech that compares two different things without using the words "like" or "as." In this poem, the woman is compared to a river that is used to wash clothes. The river represents the woman's life, and just as the river is constantly flowing and working hard, the woman is constantly working hard to make a living. The metaphor helps to emphasize the difficult and exhausting life that the woman leads as a washerwoman.

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The lines "The woman whose breasts I sucked is gone to the worms" from Oculi's "Orphan" illustrate the use of euphemism. Euphemism is a figure of speech where a mild or indirect word or expression is used instead of a more explicit or unpleasant one. In this case, the speaker is using a euphemism to refer to death. Instead of saying "the woman I knew has died," which may be considered too direct or blunt, the speaker uses the expression "gone to the worms" as a more indirect and euphemistic way of referring to death. Euphemism is often used to soften the impact of unpleasant or uncomfortable topics, or to avoid causing offense or discomfort to the listener or reader. It can also be used to add a touch of humor to a serious or somber topic. In the case of the quoted lines, the use of euphemism helps to convey the speaker's sadness and sense of loss, while also adding a touch of poetic language to the description of death.

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The passage above from Hemingway's "Farewell to Arms" is an example of understatement. Understatement is a figure of speech in which something is intentionally represented as less important than it really is. In this passage, the narrator mentions the outbreak of cholera in the army, but downplays its severity by saying that "only seven thousand" died from it. While the loss of even one life to cholera is tragic, the phrase "only seven thousand" suggests that the narrator views this number as relatively small compared to what it could have been. This understatement is a characteristic technique of Hemingway's spare, understated writing style.

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In Wordsworth's "The Solitary Reaper," the poet-persona's feeling for the reaper is admiration. The poem describes the reaper as she sings a "melancholy strain" while working in the fields. The poet is struck by the beauty of her song and the way it seems to echo throughout the valley. The poem emphasizes the power of music to evoke emotion and transport the listener to another time and place. The poet's admiration for the reaper and her song is clear in lines such as "Will no one tell me what she sings?— / Perhaps the plaintive numbers flow / For old, unhappy, far-off things, / And battles long ago." The poem suggests that the beauty of art, and particularly of music, can transcend time and place and speak to universal human emotions.