Ana ebu...
|
Tẹ & Di mu lati Gbe Yika |
|||
|
Pịa Ebe a ka Imechi |
|||
Ajụjụ 1 Ripọtì
This question is based on Thomas Hardy's Tess of the d'Urbervilles.
Angel Clare is depicted as
Akọwa Nkọwa
Ajụjụ 2 Ripọtì
This question is based on Ahmed Yerima's Attahiru.
Lord Lugard and the British military find it easy to penetrate the Sokoto Caliphate because the
Akọwa Nkọwa
Ajụjụ 3 Ripọtì
This question is based on General Literary Principles
Aesthetics in literature has to do with the creation of
Ajụjụ 4 Ripọtì
This question is based on selected poems from Ker, D. et al (eds.): New Poetry from Africa; Soyinka, W. (ed.): Poems of Black African; Senanu, K.E. and Vincent, T.(ds.): 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 subject matter of Senghor's I will Pronounce Your Name is
Akọwa Nkọwa
The subject matter of Senghor's poem "I Will Pronounce Your Name" is love. The poem is a declaration of love, in which the speaker pledges to pronounce the name of their beloved with tenderness and care, so as to honor and celebrate their love. The poem is filled with vivid imagery and sensory language that evoke the beauty and intensity of the speaker's emotions. Throughout the poem, the speaker uses metaphors and symbols to express the depth of their love. For example, the beloved is compared to a river and a tree, both of which are natural images that suggest growth, life, and vitality. The speaker also uses language that suggests a spiritual or mystical connection between the lovers, as when they describe their beloved as a "sacred spring" or a "sacrament." Overall, the subject matter of "I Will Pronounce Your Name" is the transformative power of love, and the way in which it can elevate and transform the human experience. Through the use of rich, poetic language, Senghor celebrates the beauty and intensity of human emotions and the power of love to transform and elevate the human spirit.
Ajụjụ 5 Ripọtì
This question is based on William Shakespeare's Hamlet.
Claudius, though a murderer, is presented as a character
Akọwa Nkọwa
In William Shakespeare's Hamlet, Claudius is presented as a character with a living conscience that torments him despite being a murderer. Throughout the play, Claudius experiences moments of guilt and remorse for his actions, showing that he is not entirely without conscience. He confesses his guilt in private, prays for forgiveness, and even attempts to make amends through his marriage to Gertrude. However, his guilt ultimately leads to his downfall, as he is unable to escape the consequences of his past actions.
Ajụjụ 6 Ripọtì
This question is based on selected poems from Ker, D. et al (eds.): New Poetry from Africa; Soyinka, W. (ed.): Poems of Black African; Senanu, K.E. and Vincent, T.(ds.): 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
In Keats'On the Grassihopper and Cricket 'poetry of earth' refers to
Akọwa Nkọwa
Ajụjụ 7 Ripọtì
This question is based on General Literary Principles
A careful choice of words dictated by a particular mood or an event refers to
Akọwa Nkọwa
A careful choice of words dictated by a particular mood or an event refers to tone. Tone is the attitude or approach that an author takes toward the subject matter, character or audience in their writing. It is conveyed through the author's choice of words, imagery, and other literary devices, and can be formal or informal, serious or humorous, or any other emotion or mood that the author wishes to convey to the reader. A skilled writer can use tone to create a particular atmosphere or feeling, and to shape the reader's response to the text. In this way, tone is a powerful tool in the writer's arsenal, and can be used to great effect to convey a wide range of emotions and ideas to the reader.
Ajụjụ 8 Ripọtì
This question is based on Literary Principles
''She wanted to spit herself. But she checked herself. 'Get dressed,' she said earnestly. 'Get dressed and let's go You known I have a lot of things to do. And if we are going to meet again like this, ...'she slapped the Samson and Deliah.'''
Festus lyayi: Violence
In the passage above, the speaker can described as
Akọwa Nkọwa
In the passage above, the speaker can be described as "domineering." The speaker is commanding the person she is talking to, telling them to get dressed and leave. She also slaps them at the end of the passage, which is an act of physical aggression and control. The use of the phrase "she wanted to spit herself" suggests that the speaker is angry and frustrated, and her domineering behavior may be a way for her to assert her power in the situation. Therefore, the most appropriate label for the speaker's behavior is "domineering."
Ajụjụ 9 Ripọtì
This question is based on Ahmed Yerima's Attahiru.'I wish him luck with his infidel friends But he must remember that there is only one moon at a time, one sun at a time'
The speaker in the passage above is referring to a
Akọwa Nkọwa
Ajụjụ 10 Ripọtì
This question is based on Literary Principles
'History's stammerer when will your memory master the vowels of your father's name?
Niyi Osundare: Waiting Laughter's
The literary device used in the excerpt above is
Akọwa Nkọwa
Ajụjụ 12 Ripọtì
This question is based on Thomas Hardy's Tess of the d'Urbervilles.
From the tragedy of Tess, it can be said that Thomas Hardy is concerned with the evils of
Akọwa Nkọwa
Thomas Hardy's Tess of the d'Urbervilles explores the theme of the evils of industrialization. The novel portrays the negative effects of modernity and progress on the rural countryside, as traditional agricultural practices are replaced by modern technology and urbanization. Hardy shows how these changes disrupt the social and economic balance of rural communities, leading to the exploitation and suffering of the rural poor. Tess herself is a victim of these changes, as she is forced to leave her rural home and family to work in a mechanized dairy, where she is ultimately betrayed and ruined by a wealthy urban man. Thus, Hardy's novel critiques the negative impact of industrialization on traditional rural communities and the individuals who inhabit them.
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 African; Senanu, K.E. and Vincent, T.(ds.): 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
J.P Clark's Agbor Dancer portrays
Akọwa Nkọwa
Ajụjụ 14 Ripọtì
This question is based on General Literary Principles
Unity of time in a tragedy implies that all actions should take place
Ajụjụ 15 Ripọtì
This question is based on selected poems from Ker, D. et al (eds.): New Poetry from Africa; Soyinka, W. (ed.): Poems of Black African; Senanu, K.E. and Vincent, T.(ds.): 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 theme of Wangusa's A Taxi Driver on His Death is
Akọwa Nkọwa
Ajụjụ 16 Ripọtì
This question is based on General Literary Principles
Cast in a play refers to
Akọwa Nkọwa
In theater, "cast" refers to all the actors who have been assigned specific roles in a play. These actors are typically listed in the playbill or program, and each actor's role is identified along with their name. The cast is an important element of the production, as the actors bring the characters to life and help to convey the themes and messages of the play to the audience.
Ajụjụ 17 Ripọtì
This question is based on Literary Principles
'Mr. Beckley exploded: I do not come here to ask for a school report on my son. Did you or or did you not savagely attack the child, knowing fully well that his health is most delicate at best of times?
Wole Soyinka: Isara: A Voyage Around Essay
In the excerpt above, Mr. Beckley is trying to
Ajụjụ 18 Ripọtì
This question is based on Literary Principles
''It is a beauteous evening, calm and free The holy time is quiet as a Nun Breathless with adoration; the broad sun Is sinking down in its tranquility; The gentleness of heaven broods O'er the sea: Listen! the might Being is awake And doth with his eternal motion make A sound like thunder-everlasting'.
W. Wordsworth: It is a Beauteous Evening
The rhyme scheme of the stanza above is
Akọwa Nkọwa
Ajụjụ 19 Ripọtì
A tragic hero, according to the Aristotelian precept must be a
Akọwa Nkọwa
According to Aristotle's definition of a tragic hero, the character must be of noble birth or have a high status, known as the "hamartia". This means that the character has a tragic flaw or a fatal error in judgment which leads to their downfall. The tragic hero also experiences a reversal of fortune and must recognize their own responsibility for their fate. Therefore, the correct option is a "noble character with hubris".
Ajụjụ 20 Ripọtì
This question is based on Literary Principles
''They came on like a whirlwind, and dashed over the line snorting, kicking, squealing in a compact, pie bald tossing mob of bay,brown, grey backs, eyes staring, necks extended, nostrils red,long tails, streaming. As soon as they had leaped upon the road the thick dust flew upwards from under their hoofs, and within six yards of Glorgio only a brown cloud with vague forms of necks and cruppers rolled by, making the soil tremble..
Joseph Conrald: Nostromo
The passage above describes a troop of
Akọwa Nkọwa
The passage above describes a troop of horses. The description of their physical characteristics, such as their backs, necks, and long tails, along with their behavior of snorting, kicking, and squealing, are all typical of horses. The dust kicked up by their hoofs is also characteristic of horses running on a road or track. Therefore, it can be concluded that the passage is describing a troop of horses.
Ajụjụ 21 Ripọtì
This question is based on General Literary Principles
A short, carefully phrased expression meant to elicit amusement and surprise is
Akọwa Nkọwa
A short, carefully phrased expression meant to elicit amusement and surprise is called "wit." It is a literary device that uses words in a clever and humorous way to express a thought or idea. Witty expressions often involve a play on words, double entendres, or unexpected twists in meaning. The goal of wit is to surprise the reader or listener with a clever turn of phrase that makes them laugh or think. It is commonly used in comedy, satire, and other forms of humorous writing. Some examples of witty expressions include puns, one-liners, and clever metaphors.
Ajụjụ 23 Ripọtì
This question is based on Literary Principles
The expression 'The ripest is the saddest encounter' is an example of
Akọwa Nkọwa
The expression "The ripest is the saddest encounter" is an example of a paradox. A paradox is a statement that appears to be self-contradictory or absurd, but in reality, it contains some truth or validity. In this case, the paradox lies in the fact that something that is considered the ripest (most developed or mature) is also the saddest encounter. The contradiction is resolved by the underlying meaning, which is that when something is at its peak or most developed, it is also closer to its end or decay, which can be a sad experience.
Ajụjụ 24 Ripọtì
This question is based on William Shakespeare's Hamlet.
The call made on Hamlet to avenge his father's death makes him
Ajụjụ 26 Ripọtì
This question is based on General Literary Principles
A poem without a regular rhyme scheme is a
Akọwa Nkọwa
A poem without a regular rhyme scheme is called a "blank verse". Blank verse is a type of poetry that follows a consistent meter, but does not use a regular rhyme scheme. Instead, it relies on the rhythm of the language and the placement of stressed and unstressed syllables to create a musical quality. Blank verse is often used in epic poems, as well as in plays and dramatic monologues, because it can convey a sense of grandeur and seriousness. Some famous examples of blank verse include Shakespeare's plays and Milton's "Paradise Lost".
Ajụjụ 27 Ripọtì
This question is based on William Shakespeare's Hamlet.In The Mouse-trap, the murderer is
Ajụjụ 28 Ripọtì
This question is based on Femi Ademiluyi's The New Man.In the novel, Asejire refers to a
Akọwa Nkọwa
Ajụjụ 29 Ripọtì
This question is based on Literary Principles
'If an eagle be imprisoned On the back of a coin And the coin is tossed into the sky
That coin will flutter But the eagle will never fly.'
Henry Dumas: America
The poem above achieves its literary effect through the use of
Ajụjụ 30 Ripọtì
This question is based on Femi Ademiluyi's The New Man.The mob in the novel is portrayed as
Ajụjụ 31 Ripọtì
This question is based on William Shakespeare's Hamlet.
Hamlet: Suit the action to the word, the word to the action; with this special observance, that you o'erstep not the modesty of nature.
Here, Hamlet is urging the players to
Akọwa Nkọwa
Ajụjụ 32 Ripọtì
This question is based on selected poems from Ker, D. et al (eds.): New Poetry from Africa; Soyinka, W. (ed.): Poems of Black African; Senanu, K.E. and Vincent, T.(ds.): 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 the name died before the man.'From the statement above in Houseman's To an Athlate Dying Young, what happens to the athlata?
Akọwa Nkọwa
Ajụjụ 33 Ripọtì
This question is based on William Shakespeare's Hamlet.
The principal function of the play-within-the-play in Hamlet is to
Akọwa Nkọwa
The principal function of the play-within-the-play in Hamlet is to confirm the claim of the ghost. The play-within-the-play is a reenactment of the murder of King Hamlet, and Hamlet intends to watch Claudius' reaction to the play to determine if he is guilty of the murder as claimed by the ghost. The play-within-the-play serves as a dramatic device to advance the plot and reveal the truth about the murder.
Ajụjụ 34 Ripọtì
This question is based on Literary Principles
'My heart is a quiet drum, sometimes it flares like a parched thunder cracking through a damask sky it lifts me in its fired spectacle'.
Cynthia James: Drumology
The imagery in the excerpt above is largely
Ajụjụ 35 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.
Brutus'A Troubadour I Traverse paints the picture of
Akọwa Nkọwa
Ajụjụ 36 Ripọtì
This question is based on Literary Principles
'And the promised pleasure will the face of vanished treasure in the face of plundered pound hidden beneath roots of greener grasses in a land far from the masses
The tone of the poem above is
Akọwa Nkọwa
Ajụjụ 37 Ripọtì
This question is based on Ahmed Yerima's Attahiru.Madawaki: The whiteman is an uninvited guest to our land, he must observe, not dictate
The statement above is prompted by the
Akọwa Nkọwa
The statement "The whiteman is an uninvited guest to our land, he must observe, not dictate" from Ahmed Yerima's Attahiru is prompted by the introduction of direct rule. The play is set during the colonial era in Nigeria, and the statement reflects the sentiments of the people towards the British colonialists who imposed their rule over the indigenous people. The speaker suggests that the British should respect the culture and traditions of the native people and should not try to force their own ways on them. The statement highlights the theme of imperialism and resistance to colonialism in the play.
Ajụjụ 38 Ripọtì
This question is based on Ahmed Yerima's Attahiru.
Caliph Attahiru's dream about heavy smoke on the battlefield and the ancestors passing the flag of Islam from one head to another serves as
Akọwa Nkọwa
Ajụjụ 39 Ripọtì
This question is based on Ayi Kwei Armah's Fragments.
The setting of the novel is the
Ajụjụ 40 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.In Lawrence's Bat, the poet persona mistakes the bats for
Akọwa Nkọwa
Ajụjụ 41 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 42 Ripọtì
This question is based on selected poems from Ker, D. et al (eds.): New Poetry from Africa; Soyinka, W. (ed.): Poems of Black African; Senanu, K.E. and Vincent, T.(ds.): 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 poet-persona in Serenade is
Akọwa Nkọwa
Ajụjụ 43 Ripọtì
This question is based on General Literary Principles
When an object is invested with a meaning beyond its immediate reference, it becauses
Akọwa Nkọwa
When an object is invested with a meaning beyond its immediate reference, it becomes a symbol. A symbol is a literary device where an object or action represents something beyond its literal meaning. This allows authors to add deeper meanings and layers to their writing. For example, a rose might symbolize love or passion, while a skull might symbolize death or mortality. Symbols can be used to convey complex ideas or emotions in a more subtle and nuanced way, and can add depth and richness to a literary work.
Ajụjụ 44 Ripọtì
This question is based on selected poems from Ker, D. et al (eds.): New Poetry from Africa; Soyinka, W. (ed.): Poems of Black African; Senanu, K.E. and Vincent, T.(ds.): 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.
Brutus'A Troubadour I Traverse is inspired by his struggle against
Akọwa Nkọwa
Brutus' "A Troubadour I Traverse" is inspired by his struggle against colonialism. Dennis Brutus, a South African poet, was an anti-apartheid activist and his poetry often reflects his political views and experiences. "A Troubadour I Traverse" speaks to the idea of traveling from place to place, spreading the message of freedom and resistance to colonial oppression. The poem highlights the importance of perseverance and courage in the face of injustice and oppression, and it reflects Brutus' personal experiences as a political prisoner and a poet who was banned by the apartheid government.
Ajụjụ 45 Ripọtì
This question is based on General Literary Principles
The insertion of material unrelated or distantly related to the insertion of material unrelated or distantly related to the specific subject under discussion in a given work is called
Akọwa Nkọwa
The insertion of material unrelated or distantly related to the specific subject under discussion in a given work is called a digression. It refers to a temporary departure from the main subject or theme of a literary work to provide background information or to explore related topics of interest. Digressions can help to enrich a work and provide context or perspective, but they can also distract from the main focus of the work if used excessively or inappropriately.
Ajụjụ 46 Ripọtì
This question is based on Ayi Kwei Armah's Fragments.
Naana's attitude is one of
Akọwa Nkọwa
Ajụjụ 47 Ripọtì
This question is based on Thomas Hardy's Tess of the d'Urbervilles.
'Phases' in the novel refers to
Akọwa Nkọwa
In Thomas Hardy's Tess of the d'Urbervilles, 'phases' refers to stages of development in the life of Tess. The novel is divided into seven phases that correspond to the different stages Tess goes through in her life. Each phase represents a significant event or turning point in Tess's life, such as her meeting with Alec d'Urberville, her marriage to Angel Clare, and her subsequent struggles and tragedies. These phases help to structure the novel and provide a framework for the reader to follow Tess's journey.
Ajụjụ 48 Ripọtì
This question is based on Ahmed Yerima's Attahiru.
To justify the deposition of the Emirs of Bida and Kontagora, the British authorities accuse them of
Ajụjụ 49 Ripọtì
This question is based on Ayi Kwei Armah's Fragments .
The novel suggests that an individual who stays apart from his society will
Akọwa Nkọwa
Ayi Kwei Armah's Fragments suggests that an individual who stays apart from his society will be alienated by that society. The novel portrays the experience of Baako, a young man who returns to his African homeland after studying in Europe. Disillusioned with the corruption and violence he encounters in his society, Baako withdraws from his community and seeks to live a life of solitude and contemplation. However, this decision ultimately leads to his isolation and estrangement from the people around him. Baako becomes increasingly disconnected from his cultural heritage and experiences a deep sense of loneliness and despair. Thus, the novel suggests that withdrawing from one's society can lead to a sense of alienation and disconnection from one's cultural identity and community.
Ajụjụ 50 Ripọtì
This question is based on Literary Principles
Where has my love blow his horn?
The tune of his horn is well-known
Young men of my clan
Have you heard the horn of my love?
Okot P'Bitek: Horn of My Love
The overriding feeling of the persona in this extract is
Akọwa Nkọwa
In this excerpt from Okot P'Bitek's "Horn of My Love," the persona expresses a sense of longing and a desire for connection with their love. The persona is asking if anyone has heard the sound of their lover's horn and expressing the hope that they will be reunited. This suggests that the overriding feeling of the persona is "anxiety," which is a feeling of unease or uncertainty about the future. The persona is anxious because they are separated from their lover and do not know when they will be reunited. The use of the phrase "well-known" suggests that the persona has heard the horn before and is familiar with its sound, which may be a source of comfort in their anxiety.
Ị ga-achọ ịga n'ihu na omume a?