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Ajụjụ 1 Ripọtì
In drama, the ............. creates humour
Akọwa Nkọwa
The correct answer is "clown". In drama, the clown is a character who is used to create humour. They often use physical comedy, witty remarks, and absurd behaviour to make the audience laugh. The clown is typically a supporting character and is often portrayed as a bumbling fool who provides a contrast to the more serious characters in the play. Their role is to provide comic relief, to lighten the mood, and to break the tension in the play. They can also serve as a commentator on the action, providing a different perspective on the events that are unfolding. Overall, the clown is an essential part of many plays and is an important tool for creating humour and entertainment.
Ajụjụ 2 Ripọtì
Read the extract and answer the question
You cram these words into mine ears against
The stomach of my sense. Would I had never
Married my daughter there! For, coming thence,
My son is lost, and, in my rate, she too,
(Act II, Scene One, lines 99 - 102)
The setting is
Akọwa Nkọwa
Based on the given extract, the setting is on a ship. This is indicated by the phrase "coming thence," which implies that the speaker and his daughter were on a journey by ship. Additionally, the mention of the speaker's son being lost suggests that something untoward happened during their voyage, further indicating that the scene takes place on a ship.
Ajụjụ 3 Ripọtì
Answer all the questions in this section
WILLIAM SHAKESPEARE: The Tempest
Read the extract and anser the question.
Silence ! One word more
Shall make me chide thee, if not hate thee. What!
An advocate for an impostor! Hush!
(Act 1,Scene Two, lines 478 - 480)
The addressee is
Akọwa Nkọwa
Ajụjụ 4 Ripọtì
Answer all the questions in this section
WILLIAM SHAKESPEARE: The Tempest
Read the extract and anser the question.
Silence ! One word more
Shall make me chide thee, if not hate thee. What!
An advocate for an impostor! Hush!
(Act 1,Scene Two, lines 478 - 480)
The Speaker is
Ajụjụ 5 Ripọtì
Read the extract and answer the question
X: We two, my lord.
Will guard your person while you take take your rest,
And watch your safety.
Y: Thank you - Wondrous heavy .
(Act II, Scene One, lines 184 - 187)
X and Y are
Ajụjụ 6 Ripọtì
...........is a literary device used to express unpleasant in a more acceptable manner
Akọwa Nkọwa
A euphemism is a literary device used to express unpleasant things or ideas in a more acceptable or pleasant manner. It is often used to avoid causing offense or discomfort to the listener or reader. For example, instead of saying "he died," a euphemism like "he passed away" may be used.
Ajụjụ 7 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and the question
A modest two-room hut built of mud and roofed with straw graciously sheltered the Mensahs. One of the rooms advertised itself as a living room. The kind earthenware pot willingly kept company with four ever-smilling stools. The pot eternally contained cool water for guests. The second room was a warm-hearted bedroom without a bed. The poor pair had to sleep on bare straw mats on the polished dirt floor Some overwashed rags deputised for blankets and sheets and pillows. Two strong dry logs, facing each other like bitter rivals burned themselve out at night, not merly to keep the couple warm but mainly to ward off hungry mosquitoes and other hostile pests.
There was no door to ward off the cold night air. Some rude devices, however, were contrived to keep the room quite safe from prying eyes and curious domestic animals. Would any thief be ever tempted to peep into such a rude room of such a poor pair?
The expression 'such a rude room of such a poor pair' illustrates
Akọwa Nkọwa
Ajụjụ 8 Ripọtì
Use the line to answer the questions.
'Our leaders will not compromise freedom
Nor will our heads give up liberty.'
A character that develops in the course of a novel or play is described as
Akọwa Nkọwa
A character that develops in the course of a novel or play is described as a "round" character. This is because the character undergoes significant development and change throughout the story, becoming more complex and multi-dimensional as a result. In contrast, a "flat" character is one that remains relatively unchanged and one-dimensional throughout the story, without undergoing significant development or growth. The line given in the question does not provide enough information to identify a specific round or flat character.
Ajụjụ 9 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and the question
A modest two-room hut built of mud and roofed with straw graciously sheltered the Mensahs. One of the rooms advertised itself as a living room. The kind earthenware pot willingly kept company with four ever-smilling stools. The pot eternally contained cool water for guests. The second room was a warm-hearted bedroom without a bed. The poor pair had to sleep on bare straw mats on the polished dirt floor Some overwashed rags deputised for blankets and sheets and pillows. Two strong dry logs, facing each other like bitter rivals burned themselve out at night, not merly to keep the couple warm but mainly to ward off hungry mosquitoes and other hostile pests.
There was no door to ward off the cold night air. Some rude devices, however, were contrived to keep the room quite safe from prying eyes and curious domestic animals. Would any thief be ever tempted to peep into such a rude room of such a poor pair?
The dominant literary device used in the passage is
Ajụjụ 11 Ripọtì
'Let me not love thee if I love thee not' illustrates
Akọwa Nkọwa
The phrase 'Let me not love thee if I love thee not' illustrates a paradox. A paradox is a statement or situation that appears to be contradictory or absurd, but in reality, it may be true. In this phrase, the speaker is saying that they cannot love the person if they do not love them. It seems contradictory because loving someone is an action that is not within the control of the individual, but the speaker is making it conditional upon their will. Hence, it is an example of a paradoxical statement.
Ajụjụ 12 Ripọtì
Read the stanza and the question
Pan, O great Pan, to thee
Thus do we sing!
Thou who keep'st chaste and free
As the young spring:
Ever be thy honour spake
From that place the more is broke
To the place day doth unyoke
The rhyme scheme of the stanza is
Akọwa Nkọwa
The rhyme scheme of the stanza is "ababcdd". The first and second lines rhyme with each other with the "ee" sound (sing/spring), while the third and fifth lines end with the "oke" sound (spake/broke/unyoke). The fourth and sixth lines do not rhyme with any of the other lines. Therefore, the pattern of the rhyme scheme in the stanza is ABABCDD.
Ajụjụ 13 Ripọtì
Use the line to answer the questions.
'Our leaders will not compromise freedom
Nor will our heads give up liberty.'
The lines illustrate
Akọwa Nkọwa
The lines illustrate parallelism. Parallelism is the use of components in a sentence that are grammatically the same or similar in their construction, sound, or meaning. In this case, the parallel structure is used to emphasize the idea of freedom and liberty, highlighting that neither one will be compromised.
Ajụjụ 14 Ripọtì
'heads' in the second line is an example of
Akọwa Nkọwa
The word "heads" in the second line is an example of synecdoche. Synecdoche is a figure of speech in which a part of something is used to represent the whole or vice versa. In this case, "heads" represents the people who have authority or power over the speaker. It's a part of the whole person that is being used to refer to the entire group of people.
Ajụjụ 15 Ripọtì
Answer all the questions in this section
WILLIAM SHAKESPEARE: The Tempest
Read the extract and anser the question.
Silence ! One word more
Shall make me chide thee, if not hate thee. What!
An advocate for an impostor! Hush!
(Act 1,Scene Two, lines 478 - 480)
The speaker's utterance betrays his
Akọwa Nkọwa
Ajụjụ 16 Ripọtì
A metrical foot in which a stressed syllable is followed by an unstressed syllable is
Akọwa Nkọwa
Ajụjụ 17 Ripọtì
Read the extract and answer the uestion
Ariel: All hail, great master! Grave sir, hali ! I come
To answer the best pleasure; be't to fly,
To swim, to dive into the fire, to ride
On the curled clouds, to thy strong bidding task
Ariel and all his quality.
(Act I Scene Two, lines 189 - 193)
Ariel has 'come' because
Akọwa Nkọwa
Ariel has come because he has been summoned by Prospero. In the opening lines of the extract, Ariel greets Prospero and declares that he is there to fulfill whatever task Prospero desires, whether it be to fly, swim, dive into fire, or ride on the clouds. This suggests that Ariel is under Prospero's command and has come in response to his summons. Therefore, the correct option is that he has been invited by Prospero.
Ajụjụ 18 Ripọtì
Read the poem and answer the question
Proud mothers of the coming age,
'Tis good to find you now engage
Your minds and time your lives to raise
Above the level of bygone days.
'Tis good to see you play your part
With spirit and undaunted heart,
It gives young Afric's throbbing soul
A glimpse of a bright and glorious goals.
God bless you, mothers of our race,
God cause to shine on you His face;
And give you strength and all you crave
To bring forth sons and daughters brave
The poet's tone is one of
Akọwa Nkọwa
The poet's tone is one of joy. The poem praises and encourages the mothers of the coming age, commending them for their efforts in raising their minds and lives above the past, and inspiring the younger generation with hope for a brighter future. The tone is positive, uplifting, and grateful, as seen in the lines "God bless you, mothers of our race" and "God cause to shine on you His face." There is no sense of sadness, condemnation, or sarcasm in the tone of the poem.
Ajụjụ 19 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and the question
A modest two-room hut built of mud and roofed with straw graciously sheltered the Mensahs. One of the rooms advertised itself as a living room. The kind earthenware pot willingly kept company with four ever-smilling stools. The pot eternally contained cool water for guests. The second room was a warm-hearted bedroom without a bed. The poor pair had to sleep on bare straw mats on the polished dirt floor Some overwashed rags deputised for blankets and sheets and pillows. Two strong dry logs, facing each other like bitter rivals burned themselve out at night, not merly to keep the couple warm but mainly to ward off hungry mosquitoes and other hostile pests.
There was no door to ward off the cold night air. Some rude devices, however, were contrived to keep the room quite safe from prying eyes and curious domestic animals. Would any thief be ever tempted to peep into such a rude room of such a poor pair?
The rhetorical question that ends the passage stresses the
Akọwa Nkọwa
Ajụjụ 20 Ripọtì
A story in which characters or actions represent abstract ideas or moral qualities is
Akọwa Nkọwa
An allegory is a story in which characters or actions represent abstract ideas or moral qualities. In an allegory, the author intends to convey a symbolic meaning through the characters, events, and actions in the story. The characters may represent moral qualities such as greed, envy, or kindness, and their actions may depict universal concepts like love, justice, or truth. Through an allegory, the author aims to teach a lesson or communicate a message to the reader in an indirect and engaging way.
Ajụjụ 21 Ripọtì
Read the extract and answer the uestion
Ariel: All hail, great master! Grave sir, hali ! I come
To answer the best pleasure; be't to fly,
To swim, to dive into the fire, to ride
On the curled clouds, to thy strong bidding task
Ariel and all his quality.
(Act I Scene Two, lines 189 - 193)
Soon after, Ariel
Akọwa Nkọwa
Based on the given extract, soon after Ariel offers to do Prospero's bidding, he will fly off to do his duty.
Ajụjụ 22 Ripọtì
A ballad is essentially a ........... poem
Akọwa Nkọwa
A ballad is essentially a narrative poem. It tells a story, often in a simple and direct way, and often focuses on a single dramatic event. Ballads are often associated with folk traditions and were originally meant to be sung or recited aloud. The narrative structure of a ballad makes it well-suited to storytelling, and it often features a strong sense of plot and character development. While ballads can be descriptive and include elements of drama or pastoral settings, at their core, they are primarily focused on telling a story through verse.
Ajụjụ 23 Ripọtì
Read the extract and answer the uestion
Ariel: All hail, great master! Grave sir, hali ! I come
To answer the best pleasure; be't to fly,
To swim, to dive into the fire, to ride
On the curled clouds, to thy strong bidding task
Ariel and all his quality.
(Act I Scene Two, lines 189 - 193)
Prospero has actually
Akọwa Nkọwa
Ajụjụ 24 Ripọtì
In literature, repetition is used essentially for
Akọwa Nkọwa
Repetition is used in literature for emphasis. It is a literary device that involves repeating a word or phrase multiple times to create a sense of importance or to draw attention to a particular idea or theme. Repetition can also be used to create a specific rhythm or pattern in a text. By repeating certain words or phrases, the writer can make them more memorable and powerful, and can reinforce the overall message of the text. Overall, repetition can be a powerful tool for writers to emphasize key points and ideas, and to engage and impact their readers.
Ajụjụ 25 Ripọtì
A speech in a play in which a character speaks his or her thoughts alone is
Akọwa Nkọwa
A speech in a play in which a character speaks his or her thoughts alone is called a soliloquy. In a soliloquy, the character speaks directly to the audience, revealing their innermost thoughts and feelings. It is different from an aside, where the character speaks directly to another character on stage, but is not meant to be heard by the other characters. Soliloquies are commonly used in plays to provide insight into a character's motivations, fears, and desires, and can be powerful tools for character development and storytelling.
Ajụjụ 26 Ripọtì
A dirge is a poem sung
Akọwa Nkọwa
A dirge is a poem sung at a funeral. It is a mournful and melancholic song or poem that is usually performed at funerals to express grief, sorrow and mourning for the dead. The purpose of a dirge is to provide comfort and solace to the bereaved and to honor and pay respect to the deceased. Therefore, a dirge is not sung to send a child to sleep, to make workers happy, or at a birthday party.
Ajụjụ 27 Ripọtì
Answer all the questions in this section
WILLIAM SHAKESPEARE: The Tempest
Read the extract and anser the question.
Silence ! One word more
Shall make me chide thee, if not hate thee. What!
An advocate for an impostor! Hush!
(Act 1,Scene Two, lines 478 - 480)
The Speaker is
Akọwa Nkọwa
Ajụjụ 28 Ripọtì
The performers in a play constitute the
Ajụjụ 29 Ripọtì
Read the extract and answer the question
X: We two, my lord.
Will guard your person while you take take your rest,
And watch your safety.
Y: Thank you - Wondrous heavy .
(Act II, Scene One, lines 184 - 187)
''we two'' are
Akọwa Nkọwa
The speakers "we two" in the given lines are Sebastian and Antonio. They are offering to guard the sleeping Alonso's person and watch over his safety.
Ajụjụ 30 Ripọtì
........... Is the location of the action of the plot
Akọwa Nkọwa
Setting is the location of the action of the plot. It refers to the time and place where the story takes place. The setting can include physical, social, cultural, and historical context that influence the plot and characters. It is an important element of storytelling that helps to create a vivid and realistic world for the reader or audience. The setting can also create a particular mood or atmosphere that contributes to the overall effect of the story.
Ajụjụ 31 Ripọtì
Read the extract and answer the question
X: We two, my lord.
Will guard your person while you take take your rest,
And watch your safety.
Y: Thank you - Wondrous heavy .
(Act II, Scene One, lines 184 - 187)
X and Y are
Ajụjụ 32 Ripọtì
Read the extract and answer the question
You cram these words into mine ears against
The stomach of my sense. Would I had never
Married my daughter there! For, coming thence,
My son is lost, and, in my rate, she too,
(Act II, Scene One, lines 99 - 102)
Where did the wee\dding take place?
Akọwa Nkọwa
Ajụjụ 33 Ripọtì
Read the extract and answer the uestion
Ariel: All hail, great master! Grave sir, hali ! I come
To answer the best pleasure; be't to fly,
To swim, to dive into the fire, to ride
On the curled clouds, to thy strong bidding task
Ariel and all his quality.
(Act I Scene Two, lines 189 - 193)
Before Ariel's entry
Ajụjụ 34 Ripọtì
Read the poem and answer the question
Proud mothers of the coming age,
'Tis good to find you now engage
Your minds and time your lives to raise
Above the level of bygone days.
'Tis good to see you play your part
With spirit and undaunted heart,
It gives young Afric's throbbing soul
A glimpse of a bright and glorious goals.
God bless you, mothers of our race,
God cause to shine on you His face;
And give you strength and all you crave
To bring forth sons and daughters brave
The rhyme scheme is
Akọwa Nkọwa
Ajụjụ 35 Ripọtì
Read the stanza and the question
Pan, O great Pan, to thee
Thus do we sing!
Thou who keep'st chaste and free
As the young spring:
Ever be thy honour spake
From that place the more is broke
To the place day doth unyoke
Pan is used here as
Akọwa Nkọwa
Pan is used here as a symbol. In this stanza, Pan is being referred to as a symbol of purity, freedom and youthfulness. The speaker is calling on Pan, the Greek god of the wild, to whom this stanza is addressed, to maintain his purity and freedom. The use of Pan as a symbol helps to convey the message of the stanza in a more poetic and evocative way, rather than simply stating it directly.
Ajụjụ 36 Ripọtì
The use of imagery in prose or verse
Akọwa Nkọwa
The use of imagery in prose or verse appeals to the senses. Imagery is a literary technique used to create vivid descriptions and sensory experiences by using words that appeal to our senses of sight, hearing, touch, taste, and smell. It helps to create a more immersive and engaging experience for the reader or listener. The use of imagery can also convey emotions and mood, set the tone, and create atmosphere. By using imagery, writers can make their writing more memorable and impactful.
Ajụjụ 37 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and the question
A modest two-room hut built of mud and roofed with straw graciously sheltered the Mensahs. One of the rooms advertised itself as a living room. The kind earthenware pot willingly kept company with four ever-smilling stools. The pot eternally contained cool water for guests. The second room was a warm-hearted bedroom without a bed. The poor pair had to sleep on bare straw mats on the polished dirt floor Some overwashed rags deputised for blankets and sheets and pillows. Two strong dry logs, facing each other like bitter rivals burned themselve out at night, not merly to keep the couple warm but mainly to ward off hungry mosquitoes and other hostile pests.
There was no door to ward off the cold night air. Some rude devices, however, were contrived to keep the room quite safe from prying eyes and curious domestic animals. Would any thief be ever tempted to peep into such a rude room of such a poor pair?
The setting is
Akọwa Nkọwa
The setting in the passage is night. It is described as a cold night and the absence of a door and the contrivances to keep the room safe from prying eyes and curious domestic animals imply that it is a time when people are asleep and there is a need for privacy and security.
Ajụjụ 38 Ripọtì
The first four lines of the Shakespearian sonnet rhyme
Akọwa Nkọwa
The first four lines of the Shakespearian sonnet rhyme in the pattern "abab". This means that the first and third lines rhyme with each other, and the second and fourth lines rhyme with each other.
Ajụjụ 39 Ripọtì
The pattern of a poem without reference to its content is referred to as the
Akọwa Nkọwa
The pattern of a poem without reference to its content is referred to as the form. This refers to the structure and layout of a poem, including elements such as rhyme scheme, stanza length, line length, and overall organization. The form of a poem can greatly impact its overall effect and meaning, and is an important consideration for poets as they craft their work. While the content of a poem may be the most immediate and obvious aspect, the form is an underlying framework that gives the poem shape and structure.
Ajụjụ 41 Ripọtì
Answer all the questions in this section
WILLIAM SHAKESPEARE: The Tempest
Read the extract and anser the question.
Silence ! One word more
Shall make me chide thee, if not hate thee. What!
An advocate for an impostor! Hush!
(Act 1,Scene Two, lines 478 - 480)
The ''advocate'' and the ''impostor'' are
Akọwa Nkọwa
Ajụjụ 42 Ripọtì
Read the extract and answer the question
You cram these words into mine ears against
The stomach of my sense. Would I had never
Married my daughter there! For, coming thence,
My son is lost, and, in my rate, she too,
(Act II, Scene One, lines 99 - 102)
The speaker is
Akọwa Nkọwa
Ajụjụ 43 Ripọtì
Read the extract and answer the uestion
Ariel: All hail, great master! Grave sir, hali ! I come
To answer the best pleasure; be't to fly,
To swim, to dive into the fire, to ride
On the curled clouds, to thy strong bidding task
Ariel and all his quality.
(Act I Scene Two, lines 189 - 193)
'Ariel and all his quality' means Ariel and
Akọwa Nkọwa
Ajụjụ 44 Ripọtì
Read the poem and answer the question
Proud mothers of the coming age,
'Tis good to find you now engage
Your minds and time your lives to raise
Above the level of bygone days.
'Tis good to see you play your part
With spirit and undaunted heart,
It gives young Afric's throbbing soul
A glimpse of a bright and glorious goals.
God bless you, mothers of our race,
God cause to shine on you His face;
And give you strength and all you crave
To bring forth sons and daughters brave
'To bring forth sons and daughters brave'' illustrates
Akọwa Nkọwa
Ajụjụ 45 Ripọtì
Read the poem and answer the question
Proud mothers of the coming age,
'Tis good to find you now engage
Your minds and time your lives to raise
Above the level of bygone days.
'Tis good to see you play your part
With spirit and undaunted heart,
It gives young Afric's throbbing soul
A glimpse of a bright and glorious goals.
God bless you, mothers of our race,
God cause to shine on you His face;
And give you strength and all you crave
To bring forth sons and daughters brave
The literary device used in line 7 is
Akọwa Nkọwa
Ajụjụ 46 Ripọtì
Read the extract and answer the question
X: We two, my lord.
Will guard your person while you take take your rest,
And watch your safety.
Y: Thank you - Wondrous heavy .
(Act II, Scene One, lines 184 - 187)
What has happened to all the other characters in the scene?
Akọwa Nkọwa
Ajụjụ 47 Ripọtì
Read the extract and answer the question
You cram these words into mine ears against
The stomach of my sense. Would I had never
Married my daughter there! For, coming thence,
My son is lost, and, in my rate, she too,
(Act II, Scene One, lines 99 - 102)
''.......in my rate'' means
Akọwa Nkọwa
Ajụjụ 48 Ripọtì
Read the stanza and the question
Pan, O great Pan, to thee
Thus do we sing!
Thou who keep'st chaste and free
As the young spring:
Ever be thy honour spake
From that place the more is broke
To the place day doth unyoke
The stanza is an example of
Akọwa Nkọwa
The stanza is an example of an apostrophe. Apostrophe is a figure of speech in which the speaker directly addresses an absent or imaginary person, an abstract idea, or an inanimate object. In this stanza, the speaker directly addresses Pan, the Greek god of shepherds and nature, and praises his virtues. The use of the phrase "O great Pan" and the direct address "to thee" are clear examples of apostrophe.
Ajụjụ 49 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and the question
A modest two-room hut built of mud and roofed with straw graciously sheltered the Mensahs. One of the rooms advertised itself as a living room. The kind earthenware pot willingly kept company with four ever-smilling stools. The pot eternally contained cool water for guests. The second room was a warm-hearted bedroom without a bed. The poor pair had to sleep on bare straw mats on the polished dirt floor Some overwashed rags deputised for blankets and sheets and pillows. Two strong dry logs, facing each other like bitter rivals burned themselve out at night, not merly to keep the couple warm but mainly to ward off hungry mosquitoes and other hostile pests.
There was no door to ward off the cold night air. Some rude devices, however, were contrived to keep the room quite safe from prying eyes and curious domestic animals. Would any thief be ever tempted to peep into such a rude room of such a poor pair?
The write's attitude to the couple is one of
Akọwa Nkọwa
Ajụjụ 50 Ripọtì
Read the poem and answer the question
Proud mothers of the coming age,
'Tis good to find you now engage
Your minds and time your lives to raise
Above the level of bygone days.
'Tis good to see you play your part
With spirit and undaunted heart,
It gives young Afric's throbbing soul
A glimpse of a bright and glorious goals.
God bless you, mothers of our race,
God cause to shine on you His face;
And give you strength and all you crave
To bring forth sons and daughters brave
The theme of the poem is
Akọwa Nkọwa
Ajụjụ 51 Ripọtì
Answer all the questions in this section
WILLIAM SHAKESPEARE: The Tempest
Read the extract and anser the question.
Silence ! One word more
Shall make me chide thee, if not hate thee. What!
An advocate for an impostor! Hush!
(Act 1,Scene Two, lines 478 - 480)
The ''impostor'' is
Akọwa Nkọwa
Ajụjụ 52 Ripọtì
Read the extract and answer the question
You cram these words into mine ears against
The stomach of my sense. Would I had never
Married my daughter there! For, coming thence,
My son is lost, and, in my rate, she too,
(Act II, Scene One, lines 99 - 102)
''These words'' refer to
Akọwa Nkọwa
"These words" refer to the information that Gonzalo has just shared with Alonso about how Naples is prospering and how Sebastian and Antonio's attempt to kill Alonso and Gonzalo failed. The speaker is expressing his regret for allowing his daughter to marry into a family with people who would attempt such treachery. Therefore, the correct option is 'the daughter's wedding'.
Ajụjụ 53 Ripọtì
NON - AFRICAN PROSE
ERNEST HEMINGWAY: THE OLD MAN AND THE SEA
To what extent was the old man successful on his last fishing trip?
Ajụjụ 54 Ripọtì
NON —AFRICAN POETRY
Comment on the errand of the soul in "The Soul's Errand".
Ajụjụ 55 Ripọtì
NON - AFRICAN PROSE
WILLIAM GOLDING: LORD OF THE FLIES
Consider Ralph as the hero in the novel.
Ajụjụ 56 Ripọtì
AFRICAN POETRY
How does the poet present his experiences as a blackman in "Expelled"?
Ajụjụ 57 Ripọtì
AFRICAN PROSE
ASARE KONADU: A WOMAN IN HER PRIME
What role does tradition play in the relationship between Pokuwaa and her mother?
Ajụjụ 58 Ripọtì
NON - AFRICAN PROSE
ERNEST HEMINGWAY: THE OLD MAN AND THE SEA
Comment on the significance of Santiago's dream about lions.
Ajụjụ 59 Ripọtì
AFRICAN PROSE
ADICHIE CHIMAMANDA NGOZI: PURPLE HIBISCUS
Examine the importance of the military in the novel.
Ajụjụ 60 Ripọtì
AFRICAN PROSE
ADICHIE CHIMAMANDA NGOZI: PURPLE HIBISCUS
Examine the relationship between Eugene and his wife in the novel.
Ajụjụ 61 Ripọtì
NON — AFRICAN DRAMA
OSCAR WILDE: THE IMPORTANCE OF BEING EARNEST
Comment on the use of irony in the play.
Ajụjụ 62 Ripọtì
NON — AFRICAN DRAMA
OSCAR WILDE: THE IMPORTANCE OF BEING EARNEST
Examine Miss Prism's importance in the play.
Ajụjụ 63 Ripọtì
NON - AFRICAN DRAMA
BERNARD SHAW: ARMS AND THE MAN
How is romantic love treated in the play?
Akọwa Nkọwa
None
Ajụjụ 64 Ripọtì
NON - AFRICAN PROSE
WILLIAM GOLDING: LORD OF THE FLIES
Comment on the significance of Piggy's glasses
Ajụjụ 65 Ripọtì
AFRICAN PROSE
ASARE KONADU: A WOMAN IN HER PRIME
Discuss the significance of Tano Kofi in the novel.
Ajụjụ 66 Ripọtì
NON — AFRICAN DRAMA
BERNARD SHAW: ARMS AND THE MAN
How is the conflict between Bluntschli and Sergius resolved in the play?
Ajụjụ 67 Ripọtì
NON —AFRICAN POETRY
Discuss the changing mood of the poet in "The Sun Rising"
Ajụjụ 68 Ripọtì
AFRICAN POETRY
Examine the identity crisis in "Boy on a Swing".
Ị ga-achọ ịga n'ihu na omume a?