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Ajụjụ 1 Ripọtì
This question is based on Abubakar Gimba's Witnesses to Tears
In the novel, Al-Amin's initial reservations about his daughter's engagement to Lahab are informed by
Akọwa Nkọwa
In Abubakar Gimba's "Witnesses to Tears," Al-Amin's initial reservations about his daughter's engagement to Lahab are informed by Lahab's doubtful morality. Al-Amin suspects that Lahab is a womanizer and a drunkard, and he worries about the kind of life his daughter would have with him. These concerns are supported by Lahab's behavior at a party, where he gets drunk and makes unwanted advances towards women. Al-Amin's fears are later confirmed when Lahab abandons his daughter after she becomes pregnant.
Ajụjụ 2 Ripọtì
This question is based on S.I Osammor's The Triumph of the Water Lily.
The persona of the novel sees death as a welcome event provided one
Akọwa Nkọwa
Based on the given information, the persona of the novel sees death as a welcome event provided one has fulfilled one's destiny on earth. The persona's perspective on death is not tied to leaving a legacy or having someone remember them, but rather it is about achieving a sense of completeness in life. This is evident in the phrase "A man can only die once; it would be foolish to die with a sense of unfulfillment," which suggests that the persona believes in the importance of living a full life and achieving one's purpose before death.
Ajụjụ 3 Ripọtì
This question is based on General Literary Principles
A system of plot development which creates the future through anticipation and the past through memory is
Ajụjụ 4 Ripọtì
This question is based on Literary Appreciation
'I'm not going to be drawn into that old trap of an argument and be picked up by the tail like some wet rat out of a sewer;
The speaker in the statement above is being
Ajụjụ 6 Ripọtì
"That that is why we must acc-c-cept the uni-versal d-d-dome, b-b-because ththere is no d-d-ddirection. The b-b-bridge is the d-d-dome of religion and b-b-bridges d-don't jjjjust g-g-go from hhhere to the there; a bridge also faces backwards". Wole Soyinka, The Interpreters
The idiolectical feature of the character's speech is the
Akọwa Nkọwa
Ajụjụ 7 Ripọtì
This question is based on selected Poems from Ker, D. et al (eds.): New poetry from African; Syinka, W. (ed.): poems of Black African; Senanu, K.E. and Vincent, T. (eds.): A Selection of African poetry; Umukoro, M. et al (eds.): Exam Focus: Literature- in - English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D.I. (ed.): West African Verse.
Lenrie Peters in 'She came in Silken Drapes' reflects
Akọwa Nkọwa
Ajụjụ 9 Ripọtì
This question is based on selected Poems from Ker, D. et al (eds.): New poetry from African; Syinka, W. (ed.): poems of Black African; Senanu, K.E. and Vincent, T. (eds.): A Selection of African poetry; Umukoro, M. et al (eds.): Exam Focus: Literature- in - English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D.I. (ed.): West African Verse.
And my children left their peaceful nakedness
For the uniform of iron and blood'
In the lines above from David Diop's Loser of Everything' the imagery depicts a displacement of
Akọwa Nkọwa
The lines from David Diop's 'Loser of Everything' depict the displacement of innocence by violence. The use of the words 'peaceful nakedness' emphasizes the natural and innocent state of being, which is then contrasted with the 'uniform of iron and blood', symbolizing violence and war. The displacement of innocence by violence is a recurring theme in African literature, as it represents the loss of traditional values and the impact of colonialism and war on African societies.
Ajụjụ 10 Ripọtì
These question are based on selected poems from Ker, D.et al (eds.)New poetry from Africa; Soyinka, (ed.): Poems of Black Africa; Senanu K.E. and Vincent, T.(eds.): A Selection of African poetry;Umukoro, M et al (eds.): Exam focus:Literature in English: Eruvbetine, A.E.et al (eds): Longman Examination Guide and Nwoga, D.I. (eds.): West African Verse.The predominant device in Launko's End of war is
Akọwa Nkọwa
The predominant device in Launko's "End of War" is paradox. The poem presents contrasting ideas and situations that are seemingly contradictory, yet they are true. The poem talks about the end of war, which is typically associated with peace and freedom. However, the poem describes the end of war as a time when soldiers return home, only to face poverty, hunger, and neglect. This creates a paradoxical situation where the end of war is not necessarily the end of suffering. The poem also uses other literary devices such as repetition, imagery, and alliteration to emphasize the message of the paradox.
Ajụjụ 11 Ripọtì
This Question is based on Oliver Goldsmith's She Stoops to Conquer.
The play is essentially about the
Akọwa Nkọwa
The play "She Stoops to Conquer" is essentially about the comedy of errors that occurs in one night, involving mistaken identities, miscommunications, and misunderstandings between characters. The play is known for its witty dialogue and humorous situations that arise as the characters try to navigate their way through the misunderstandings. While there are other plot points, such as the theft of Miss Neville's trinket box and the incompatibility of Mr. and Mrs. Hardcastle, the central focus of the play is the comedy of errors. Additionally, the play features a love story between Kate and Marlow, which adds to the humor and misunderstandings that occur throughout the play.
Ajụjụ 12 Ripọtì
This question is based on selected Poems from Ker, D. et al (eds.): New poetry from African; Syinka, W. (ed.): poems of Black African; Senanu, K.E. and Vincent, T. (eds.): A Selection of African poetry; Umukoro, M. et al (eds.): Exam Focus: Literature- in - English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D.I. (ed.): West African Verse.
John Donne's 'Death be not Proud is informed by a
Akọwa Nkọwa
John Donne's 'Death be not Proud' is informed by a metaphysical persuasion on the immortality of man. The poem argues that death should not be proud of its power over human beings, because it is only a temporary state that leads to eternal life. Donne's use of paradox, wit and metaphysical conceits (such as the comparison of death to sleep and a short rest) supports this central theme. The speaker affirms that death is not the end of life, but rather a passage to an afterlife where the soul will enjoy a greater and more perfect existence.
Ajụjụ 13 Ripọtì
This question is based on selected poems from Ker, D. et al (eds.): New Poetry from Africa; Soyinka, W. (ed.): Poems of Black Africa; Senanu, K.E. and Vincent, T.(eds.): A Selection of African Poetry; Umukoro, M. et al (eds.): Exam Focus: Literature in English; Eruvbetine, A.E.et al (eds.): Longman Examination Guides and Nwoga D.I. (ed.): Weast African Verse.
The subject matter of Wangusa's A Taxi Driver on His Death is
Akọwa Nkọwa
Ajụjụ 14 Ripọtì
this Question is based on J.P. Clark''s The Wives'' Revolt.The plot of the play is lineal as reflected in the
Akọwa Nkọwa
Ajụjụ 15 Ripọtì
This question is based on George Orwell's Animal Farm.
The execution of some of the animals on the orders Napoleon is to
Akọwa Nkọwa
The execution of some of the animals on the orders of Napoleon in George Orwell's Animal Farm is to pave the way for Napoleon to become an absolute ruler. The animals who were executed were accused of working with Snowball, Napoleon's political rival, even though some of them were innocent. The execution shows Napoleon's ruthless and authoritarian nature, and how he uses violence and fear to consolidate power and suppress opposition. It also marks the beginning of the pigs' transformation into a special class, which enjoys privileges and exemptions that the other animals do not.
Ajụjụ 16 Ripọtì
This Question is based on Oliver Goldsmith's She Stoops to Conquer.
Form the stage directions it is apparent that Oliver Goldsmith makes use of a
Akọwa Nkọwa
From the question, it is apparent that Oliver Goldsmith makes use of a variety of sets to suit the subject matter. This means that the different sets used in the play are chosen to correspond with the setting and mood of each scene, and not necessarily a single set throughout the play. This helps to create a realistic and engaging atmosphere for the audience, as they can easily imagine and relate to the different settings portrayed in the play.
Ajụjụ 17 Ripọtì
This question is based on selected Poems from Ker, D. et al (eds.): New poetry from African; Syinka, W. (ed.): poems of Black African; Senanu, K.E. and Vincent, T. (eds.): A Selection of African poetry; Umukoro, M. et al (eds.): Exam Focus: Literature- in - English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D.I. (ed.): West African Verse.
Yusuf Kassam's ' Maji Maji is presented as a
Akọwa Nkọwa
Yusuf Kassam's 'Maji Maji' is presented as a narrative poem. The poem tells the story of the Maji Maji rebellion, a historic event that took place in Tanzania in 1905-1907. The poem follows the journey of a young boy who witnesses the rebellion and its aftermath, and the narrative structure of the poem serves to tell the story of this historical event in a poetic and engaging way.
Ajụjụ 18 Ripọtì
This question is based on Literary Appreciation
'The old Squire was an implacable man: he made resolutions in violent anger, but he was not moved from them after his anger subsided as fiery as volcanic matters cool and harden into rock
George Eliot, Silas Marner
In the statement above, the Squire is portrayed as a
Akọwa Nkọwa
The statement portrays the Squire as a quick-tempered and adamant man. This is evident from the description of the Squire as an "implacable man" who makes "resolutions in violent anger" and is not moved from them even after his anger subsides. The comparison of his anger to "volcanic matters" that "cool and harden into rock" reinforces the idea of his stubbornness and inflexibility. Therefore, it can be inferred that the Squire is not a kind and generous friend or a father figure to the community, but rather a harsh and unyielding ruler.
Ajụjụ 19 Ripọtì
This Question is based on Oliver Goldsmith's She Stoops to Conquer.
Kate could best be described as
Akọwa Nkọwa
Ajụjụ 20 Ripọtì
This question is based on Abubakar Gimba's Witnesses to Tears
The witnesses to the tears in the novel are
Akọwa Nkọwa
The novel "Witnesses to Tears" by Abubakar Gimba is a story that revolves around the life of a woman named Hussaina who was married off to a wealthy man named Al-Amin. The witnesses to the tears in the novel are the characters who witness the various trials and tribulations faced by Hussaina throughout the story. Of the options given, two characters are mentioned in common: Lahab and Hussaina. Lahab is Hussaina's childhood friend who remains a constant presence in her life, while Hussaina is the main character whose struggles and hardships are at the center of the story. Therefore, the correct answer is: Lahab and Hussaina.
Ajụjụ 21 Ripọtì
'Oshor:...Winds howl forth-howl forth,
Hold back hold back-is the time- oh
Endless time-slung in oblivion,
Make minced meat of your prey.'
Charity Angya, The Cycle of the Moon.
The mood captured in the lines above is one of
Akọwa Nkọwa
Ajụjụ 22 Ripọtì
This question is based on Abubakar Gimba's Witnesses to Tears
The novel is largely set in
Akọwa Nkọwa
The novel Witnesses to Tears by Abubakar Gimba is largely set in Sabonville city. The city serves as the primary setting for the novel, and the story revolves around the lives of the characters in this city. The author describes the city in vivid detail, highlighting its landmarks, streets, and neighborhoods, as well as the social, economic, and political issues affecting its inhabitants. Through the characters and events in the novel, Gimba explores themes such as corruption, poverty, love, betrayal, and the clash between tradition and modernity in Sabonville city.
Ajụjụ 23 Ripọtì
This question is based on Literary Appreciation
'Those years of my travels. Years of innocence and experience...months of twidding my thumbs with insecurity in search of my true people. Yes in search of my true people. But wherever I went I did not find people but caricatures of people who insisted on being taken seriously as people Perhaps I was on the wrong planet.
In the wrong skin.
Dambudzo- Marechera, Black Sunlight.
The passage above expresses the state of mind of
Akọwa Nkọwa
The passage above expresses the state of mind of an alienated man. The speaker expresses his frustration and disillusionment with the people he meets during his travels. He feels that he has been searching for his true people, but has only encountered caricatures of people who are not genuine. The speaker also suggests that he feels out of place, describing himself as being in the wrong skin and on the wrong planet. These feelings of displacement and alienation suggest that the speaker is struggling to find a sense of belonging and identity in the world around him.
Ajụjụ 24 Ripọtì
This question is based on General Literary Principles
In the plot of a novel emphasis should be placed on
Akọwa Nkọwa
In the plot of a novel, emphasis should be placed on showing the causal connection of incidents. This means that events in the story should be connected in a way that makes sense and leads the reader to understand the cause and effect of the actions taking place. It's important that the plot follows a logical sequence, with each event having an impact on the next. The vivid and accurate presentation of incidents is also important, but without a clear causal connection between events, the plot can become confusing and disjointed, leading to a less engaging reading experience. Narrating the truth of incidents is also important, but this should not come at the expense of the plot's coherence and readability.
Ajụjụ 25 Ripọtì
This question is based on selected Poems from Ker, D. et al (eds.): New poetry from African; Syinka, W. (ed.): poems of Black African; Senanu, K.E. and Vincent, T. (eds.): A Selection of African poetry; Umukoro, M. et al (eds.): Exam Focus: Literature- in - English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D.I. (ed.): West African Verse.
'I said I had the tree. It wasn't true. The opposite was true. The tree had me'.
From Robert Frosts ' Wild Grapes' is
Akọwa Nkọwa
The given quote is from Robert Frost's poem "Wild Grapes". The quote speaks of the speaker's relationship with a tree. The speaker says that he had the tree, but in reality, the tree had him. This quote suggests the speaker's realization that nature is more powerful than humans and can hold a deeper meaning than what meets the eye. Therefore, the correct option is not about the adventures of wild children or the successful climbing of an adventurous boy, but instead, it speaks of man's transcendentalism and his connection with nature.
Ajụjụ 26 Ripọtì
'Oshor:...Winds howl forth-howl forth,
Hold back hold back-is the time- oh
Endless time-slung in oblivion,
Make minced meat of your prey.'
Charity Angya, The Cycle of the Moon.
The literary device used is
Akọwa Nkọwa
Ajụjụ 27 Ripọtì
This question is based on selected Poems from Ker, D. et al (eds.): New poetry from African; Syinka, W. (ed.): poems of Black African; Senanu, K.E. and Vincent, T. (eds.): A Selection of African poetry; Umukoro, M. et al (eds.): Exam Focus: Literature- in - English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D.I. (ed.): West African Verse.
'Pataki and mustard flowers Like blue and yellow eyes Peep through the green grass'The literary devices used in the lines above from Mohan Singh's 'A village Girl'are
Akọwa Nkọwa
Ajụjụ 28 Ripọtì
This question is based on selected Poems from Ker, D. et al (eds.): New poetry from African; Syinka, W. (ed.): poems of Black African; Senanu, K.E. and Vincent, T. (eds.): A Selection of African poetry; Umukoro, M. et al (eds.): Exam Focus: Literature- in - English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D.I. (ed.): West African Verse.
The dominant images in 'She Came in Silken Drapes' are
Akọwa Nkọwa
Ajụjụ 29 Ripọtì
This question is based on General Literary Principles
A body of imaginative men and women of letters is generally referred to as
Akọwa Nkọwa
A body of imaginative men and women of letters is generally referred to as "literati". This term is used to refer to people who are well-educated and knowledgeable in literature, and who are often regarded as intellectuals. The literati may include writers, critics, scholars, and other individuals who are engaged with literary pursuits. The term is often associated with a certain level of cultural elitism, and may imply that the literati are more refined and sophisticated than the general population.
Ajụjụ 30 Ripọtì
This question is based on Literary Appreciation
'But there was a stillness about Ralph as he sat that marked him out: there was his size and attractive appearance; and most obscurely, yet powerfully, there was the conch. The being that had blown that, had sat waiting for them on the platform with the delicate thing balanced on his knees, was set apart. '
Golding, Lord of the Flies.
In the passage above, the conch symbolises
Akọwa Nkọwa
In the passage above, the conch symbolizes authority. It is presented as a delicate and powerful object that sets Ralph apart from the other boys. The fact that it was blown by the being who sat waiting for them on the platform, and the way it is balanced delicately on his knees, suggests that it is a symbol of order and control. The conch is used to call the boys together and is a symbol of the power to speak and be heard. This reinforces the idea that it is a symbol of authority, as the ability to call people together and have them listen is a key aspect of leadership.
Ajụjụ 31 Ripọtì
This question is based on General Literary Principles
An irredeemable reversal of the hero's fortune in a tragedy is called
Akọwa Nkọwa
The term for an irredeemable reversal of the hero's fortune in a tragedy is "peripeteia". Peripeteia is a sudden and unexpected turn of events in a story, usually in a tragedy, which results in a reversal of the hero's fortune. It is often referred to as a "twist" in the plot, where the hero's situation changes from good to bad, or from bad to worse, due to a character flaw, a tragic mistake, or a twist of fate.
Ajụjụ 32 Ripọtì
"Of o cam fastem nut one cup upon him with that which he had drunk tonight already. He'll be as full of quarrel and offence as my young mistress' dog..." Shakespeare, Othello
From the statement above it can be inferred that the speaker is
Ajụjụ 33 Ripọtì
This Question is based on Oliver Goldsmith's She Stoops to Conquer.
Hardcastle:
And I love every thing that's old old friends, old times, old manners, old books, old wines; and I believe, Dorothy (taking her hand) you'll own I have been pretty fond of an old wife.
Mrs. Hardcastle,
You're forever at your Dorothy's, and your old wife's. You may be a Darby, but l'll be no Joan, I promise you I am not so old as you'd make me, by more than one good year.
The dialogue above reveals the couple's
Akọwa Nkọwa
The dialogue above reveals the couple's difference in lifestyle. Hardcastle is portrayed as someone who cherishes old things, including his old wife, while Mrs. Hardcastle is portrayed as someone who is not interested in being labeled old, suggesting a preference for youthfulness and modernity.
Ajụjụ 34 Ripọtì
This question is based on selected poems from Ker, D, et al (eds.): New Poetry from Africa; Syinka, W. (ed.): Poems of Black African; Senanu, K.E. and Vincent, T. (eds.): A Selection of African Poetry; Umukoro, M. et al (eds.): Exam Focus: Literature-in-Enghish; Eruvbetine, A. E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.)west African Verse.
Arthur Nortje's Nightfall is written against the backdrop of
Akọwa Nkọwa
Ajụjụ 35 Ripọtì
This question is based on General Literary Principles
The overall design of a drama to which all other components relate is its
Ajụjụ 36 Ripọtì
This question is based on Literary Appreciation
'Fierce harmattan sun on innocent tendrils; torrential downpour on leaking thatch roofs; paintfull comfort of helpless eunuchs; thorny beauty of modern witches; the fatcon's call on day-old-chicks, ours is tragi-comic dialogue.... mute echoes of pains.'
The sonority and rhythmical structure of the lines above are achieved through a pause pattern called
Akọwa Nkọwa
The sonority and rhythmical structure of the lines above are achieved through a pause pattern called caesura. Caesura is a pause or break in a line of poetry, usually occurring in the middle of a line, which is used to create a rhythmical effect or to emphasize certain words or phrases. In the lines above, the use of pauses after "innocent tendrils," "helpless eunuchs," and "modern witches," among others, creates a distinct rhythm and emphasizes the images being described.
Ajụjụ 37 Ripọtì
This Question is based on Oliver Goldsmith's She Stoops to Conquer.
In the play the general picture depicted is that of
Akọwa Nkọwa
In Oliver Goldsmith's play "She Stoops to Conquer", the general picture depicted is that of chaotic value systems. The play satirizes the manners and morals of the upper-class in the 18th century, showing their vanity, pretentiousness, and hypocrisy. The characters are depicted as having skewed priorities, with a focus on superficial appearances and social status, rather than genuine connections and relationships. The play highlights the absurdity of these societal conventions and challenges them, ultimately advocating for a more authentic and genuine approach to human interactions.
Ajụjụ 38 Ripọtì
This question is based on S.I Osammor''s The Triumph of the Water Lily.The metaphor of the Water Lily'' in the novel is indicative of
Akọwa Nkọwa
In S.I Osammor's novel "The Triumph of the Water Lily," the metaphor of the Water Lily symbolizes victory over tribulation. The Water Lily represents the triumph of good over evil, hope over despair, and success over adversity. The character of Odibe, who is compared to the Water Lily, overcomes numerous obstacles and setbacks to achieve his goals, just as the flower emerges from the murky waters to bloom beautifully. The Water Lily also represents the resilience of the human spirit and the ability to rise above challenging circumstances. Therefore, the metaphor of the Water Lily in the novel is indicative of victory over tribulation.
Ajụjụ 39 Ripọtì
This question is based on General Literary Principles
An iambic metrical foot consists of
Akọwa Nkọwa
An iambic metrical foot consists of an unstressed syllable followed by a stressed syllable. It is a common metrical foot in poetry and is sometimes referred to as a "rising meter" because it creates a rising rhythm or cadence. For example, the word "above" is an iambic word because the first syllable "a-" is unstressed and the second syllable "-bove" is stressed.
Ajụjụ 40 Ripọtì
This Question is based on J.P. Clark's The Wives' Revolt.
Characterization in the play is
Ajụjụ 41 Ripọtì
This question is based on General Literary Principles
A limerick has
Akọwa Nkọwa
A limerick is a type of humorous poem with a specific rhyme scheme and a total of five lines. The rhyme scheme is AABBA, meaning that the first, second, and fifth lines rhyme with each other, and the third and fourth lines rhyme with each other. Limericks often have a light and playful tone and are commonly used to tell a joke or a funny story. Therefore, the correct answer is "humour, rhyme scheme, and five lines".
Ajụjụ 42 Ripọtì
This Question is based on J.P. Clark's The Wives' Revolt.
OKORO: I'll kill her today.
IDAMA: No, you won't. There, run, Koko, oh,
I say run![He pushes her gently but
firmly towards her room]
The event above happens in
Akọwa Nkọwa
The event described in the dialogue above happens in J.P. Clark's play, The Wives' Revolt, in the third act, specifically in the second scene of the act, in Erhuwaren. Okoro expresses his intention to kill someone, and Idama tries to calm him down and persuade him not to do so. He then pushes Koko, who is present in the scene, gently but firmly towards her room, indicating that he wants her to leave the room and stay safe. Therefore, the correct answer is "Erhuwaren when Okoro suspects Koko of infidelity". This is the point in the play where Okoro has become suspicious of Koko's fidelity and is contemplating taking drastic action against her. The dialogue between Okoro and Idama shows the tension and conflict that arises when infidelity is suspected in a relationship, and the emotions that can lead to violence.
Ajụjụ 43 Ripọtì
This question is based on George Orwell's Animal Farm.
Old Major ends his speech to the animals with a song in order to
Akọwa Nkọwa
Old Major ends his speech to the animals with a song in order to spur them to action. The song, "Beasts of England", becomes the anthem of the animal rebellion and inspires them to work towards a better future. By ending his speech with a rousing song, Old Major seeks to instill in the animals a sense of purpose and motivation to work towards their shared goals. The song serves as a unifying force for the animals, bringing them together and giving them hope for a brighter future.
Ajụjụ 44 Ripọtì
This question is based on Literary Appreciation
'It was January and Monday my father had to gather his nerve to go back to teaching During the Christmas vacation he became slack and in a fury of screw-turning had to retighten himself. The long haul he called the stretch between Christmas and Easter.'
John Updike, The Centaur.
The long haul in the narrative above describes
Ajụjụ 45 Ripọtì
This question is based on General Literary Principles
What does the protagonist do in a picaresque novel?
Akọwa Nkọwa
In a picaresque novel, the protagonist typically embarks on a journey of some sort. Picaresque novels are a genre of fiction that originated in Spain in the 16th century and typically feature a rogue or anti-hero as the main character. These novels often follow the adventures of the protagonist as he travels from place to place, encountering a variety of people and situations along the way. The term "picaresque" comes from the Spanish word "picaro," which means "rogue" or "rascal." The protagonist in a picaresque novel is often a lower-class individual who engages in petty theft, deception, and other unsavory activities in order to survive. The novel may be episodic in nature, with each chapter or section detailing a different adventure or encounter. While the protagonist in a picaresque novel may slow down the narration at times to provide detailed descriptions or reflections on his experiences, he does not typically draw illustrative pictures or become an artist. The focus is on the character's journey and the situations he finds himself in, rather than on any particular artistic or creative pursuits. In summary, the protagonist in a picaresque novel typically embarks on a journey and engages in various adventures and encounters along the way.
Ajụjụ 46 Ripọtì
This Question is based on J.P. Clark's The Wives' Revolt.
The play is preoccupied with
Akọwa Nkọwa
Ajụjụ 47 Ripọtì
This question is based on General Literary Principles
Empathy is achieved when the audience
Akọwa Nkọwa
Empathy is achieved when the audience vicariously participates in the stage experience. This means that the audience is able to emotionally connect with the characters and situations on stage, and feel what they are feeling. It involves understanding and sharing the emotions and experiences of the characters, which in turn can create a deeper emotional connection between the audience and the work of literature or performance. This is important in creating a meaningful and impactful experience for the audience, as it allows them to relate to the characters and situations on a personal level.
Ajụjụ 48 Ripọtì
This question is based on S.I Osammor's The Triumph of the Water Lily.
The dominant impression of the first person narrative in the novel gives it
Akọwa Nkọwa
Ajụjụ 49 Ripọtì
This question is based on George Orwell's Animal Farm.
The message of the novel is that
Akọwa Nkọwa
Ajụjụ 50 Ripọtì
This question is based on General Literary Principles
A poem written to celebrate one's wedding is
Akọwa Nkọwa
A poem written to celebrate one's wedding is an epithalamium. An epithalamium is a poem written specifically for a bride and groom on their wedding day, usually to celebrate their love and wish them happiness in their marriage. It is a form of occasional poetry that has been popular throughout literary history, with examples found in works from ancient Greece to the Renaissance to modern times.
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