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Ajụjụ 2 Ripọtì
In The Victims, the affection between Ubaka and Bomboy is significant because it
Akọwa Nkọwa
Ajụjụ 3 Ripọtì
Pip's Flippant remarks concerning the tombstones in the opening chapter of Great Expectations indicate
Akọwa Nkọwa
Ajụjụ 4 Ripọtì
Which of the following best describes the speakers attitude to mother Idoto in Okigbo's poem 'Idoto'?
Akọwa Nkọwa
Ajụjụ 5 Ripọtì
'For i have known them all already, known them all.
Have known the evenings, mornings, afternoons,
I have measured out my life with coffee spoons'.
The tone in these lines suggest
Akọwa Nkọwa
Ajụjụ 8 Ripọtì
'what happens to a dream deferred?
Does it dry up
Like a raisin in the sun?
Or fester like a sore-
And then run?'
In the above lines, the poet achieves special effect by the use of
Akọwa Nkọwa
Ajụjụ 9 Ripọtì
At the end of the poem 'pianos and Drums', the protagonist is best described as
Akọwa Nkọwa
Ajụjụ 10 Ripọtì
'Have you got any hands today?
'No, i am working alone. My helpers are on strike
'Would you like to engage me? My fees are reasonable.'
'No thank you'.
In this brief dialogue, the first line contains the device known as
Akọwa Nkọwa
Ajụjụ 11 Ripọtì
In ''Abiku'', the statement ''Yams do not sprout in amulets To earth Abiku''s limbs....''Simply means
Akọwa Nkọwa
Ajụjụ 13 Ripọtì
'A white ball of fire tore through the dome of the night. It exploded into the branches of a colossal tree of fire - whose stem instantly leapt towards the earth'.
The passage directs is appeal primarily to the sense of
Akọwa Nkọwa
Ajụjụ 14 Ripọtì
'From forth the fatal lions of these two foes
A pair of star-crossed lovers take their life...'
These lines from Romeo and Juliet suggest that the
Ajụjụ 16 Ripọtì
In The Victims, the two old women play the role of
Ajụjụ 19 Ripọtì
'The all-seeing sun
Ne'er saw her match since first the world begun'
The above lines were spoken in Romeo and Juliet by
Akọwa Nkọwa
Ajụjụ 20 Ripọtì
'The early morning smoke had now gone off the eyes of the day. Trees and houses were still wet from last night's rain, but a cool breeze caressed the world like a gentle hand.'
The dominant literary device in this passage is
Akọwa Nkọwa
Ajụjụ 21 Ripọtì
'O she doth teach the torches to burn bright!
It seems she hangs upon the check of night
As a rich jewel in an Ethiop's ear'
Romeo and JulietIn these lines Juliet's beauty is presented
Akọwa Nkọwa
Ajụjụ 22 Ripọtì
''...her vesper done of all its wreathed pearls her hair she fees. Unclasps her warmed jewels one by one; Loosens her fragrant bodice; by degreesHer rich attire creeps rustling to her knees''.The passage gives ample evidence of the poet''s
Akọwa Nkọwa
Ajụjụ 23 Ripọtì
In Great Expectations. while Pip was going away from home to take the coach in London, Joe and Biddy threw old shoes at him because
Akọwa Nkọwa
Ajụjụ 24 Ripọtì
The sufferings of the protagonist in Birago Diop's 'vanity' are
Ajụjụ 27 Ripọtì
In J.P Clark's 'Olokun', the line 'No greater love has a woman' signifies
Akọwa Nkọwa
Ajụjụ 29 Ripọtì
At the very end of Great Expectations, Estella disclosed to Pip that the source of her present maturity and wisdom was
Akọwa Nkọwa
Ajụjụ 30 Ripọtì
She said you just had to make an emotional commitment in marriage. It was like skiing, you could not see in advance what would happen but you had to let go. Maybe that was why I failed, because I didn't know what I had to let go of. For me it hadn't been like skiing, it was more like jumping off a cliff. That was the feeling I had all the time I was married, in the air, going down, waiting for the smash at the bottom.
The passage indicates that the author's experience in marriage was
Akọwa Nkọwa
Ajụjụ 31 Ripọtì
The substitution of mild and pleasant expression for harsh and blunt one is called
Ajụjụ 36 Ripọtì
'The let these eyes around me close, Close close in sleep, close in sleep. That is my word-the mountain always sleeps. Sleep Sleep... sleep..sleep...'
These lines from The Gods Are Not To Blame were chanted by
Akọwa Nkọwa
Ajụjụ 37 Ripọtì
''But it is not the timeTo lay wreathsFor yesterdays crimes...''Lenrie Peters in his poem, We Have Come Home'' makes this statement because
Akọwa Nkọwa
Ajụjụ 42 Ripọtì
'Olu hissed, slammed the door and dash out screaming'.
The dominant figure of speech in the above sentence is
Akọwa Nkọwa
Ajụjụ 43 Ripọtì
Which of the following illustrate the element of chance in Romeo and Juliet?
Ajụjụ 44 Ripọtì
In 'Vanity', Birage Diop portrays the African predicament as arising from
Ajụjụ 45 Ripọtì
'No, let them attack me. Is it not Ignorance that makes the rat attack the cat? Ten thousand of them-let them ... attack me. they have the arms, they have the swords. But me... I have only one weapon and this i have used, and mine is the victory...'
The one weapon to which the speaker in The Gods Are Not To Blame refers is
Akọwa Nkọwa
Ajụjụ 46 Ripọtì
Any work of literature which sets out to instruct may be called
Ajụjụ 47 Ripọtì
In J.P Clark's Olokun', the line
'So drunken like ancient walls'
Means that the worshipers are drunken with
Akọwa Nkọwa
Ajụjụ 48 Ripọtì
'I shall sleep under the roof of other heads of hair in shelter from storms'.
In Leopold Senghor's poem 'Long long you have held between your hands', the word 'storms' in the above line refers to
Akọwa Nkọwa
Ajụjụ 49 Ripọtì
'A dungeon horrible, one all sides round'
As one great furnace flamed, yet for those flames
No light, but rather darkness visible'.
The phrase 'darkness visible' in the above lines is an example of
Akọwa Nkọwa
Ajụjụ 50 Ripọtì
In David Diop's 'The Vultures', the statement 'And the monotonous rhythm of the paternoster Drowned the howing on the plantations,' suggests that
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