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Pịa Ebe a ka Imechi |
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Ajụjụ 1 Ripọtì
The pattern of end rhymes in a poem is called
Akọwa Nkọwa
The pattern of end rhymes in a poem is called "rhyme scheme". It refers to the way in which the end sounds of lines of a poem are organized or repeated. Rhyme scheme is often denoted by assigning a different letter of the alphabet to each new rhyme, with matching sounds given the same letter. For example, a poem with the rhyme scheme ABAB has the first and third lines ending in words that rhyme with each other, and the second and fourth lines ending in words that rhyme with each other, creating a pattern. The rhyme scheme of a poem can help to create a sense of unity and structure, and it can also help to create a particular mood or tone.
Ajụjụ 2 Ripọtì
Read the extract and answer the question
And for your part,..., I do wish
That your good beauties be the happy cause
Of ...wildness: so shall I hope your virtues
Will bring him to his wonted way again,
To both your honours,
(Act Three, Scene I, lines 37-42)
The wildness referred to can also be called
Akọwa Nkọwa
Ajụjụ 3 Ripọtì
A short poem lamenting the death of someone is a
Akọwa Nkọwa
A short poem lamenting the death of someone is a threnody. Threnody is a type of poem that is composed as an expression of grief or mourning for someone who has died. It typically has a melancholic tone and is meant to convey a sense of sorrow and loss. Threnodies can be written in various forms and structures, but they usually share a common theme of lamentation and mourning.
Ajụjụ 4 Ripọtì
Read the extract and answer the question
And for your part,..., I do wish
That your good beauties be the happy cause
Of ...wildness: so shall I hope your virtues
Will bring him to his wonted way again,
To both your honours,
(Act Three, Scene I, lines 37-42)
The character being addressed is
Akọwa Nkọwa
The character being addressed in the given extract is Ophelia. This speech is spoken by Laertes, the brother of Ophelia, to her while giving her advice before he leaves for France. Laertes tells Ophelia that he hopes her beauty and virtues will be the reason behind Hamlet's madness and that her good qualities will bring Hamlet back to his normal behavior. Therefore, the answer is option D, Ophelia.
Ajụjụ 5 Ripọtì
A literary piece used to mock of ridicule a society or practice is called
Akọwa Nkọwa
A literary piece used to mock or ridicule a society or practice is called a satire. Satires are often humorous and use exaggeration or irony to criticize societal issues or individuals. They can be found in various forms of literature, including poetry, plays, and novels. Satires are meant to draw attention to the flaws of a society or individual in a way that encourages reflection and improvement.
Ajụjụ 6 Ripọtì
Read the extract and answer the question
H : Where is this sight?
l : What is it ye would see?
If aught of woe or wonder, cease your search
(Act Five, Scene 11,lines 348-350)
Other characters who died earlier were
Ajụjụ 7 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Think it no more:
For nature, crescent, does not grow alone
In thews and bulk, as this temple waxes,
The inward service of the mind and soul
Grows wide withal. Perhaps he loves you now.
And now no soil or cantle doth besmirch
The virtue of his will
(Act One, Scene 111, Lines 10 - 16)
The speaker is
Ajụjụ 8 Ripọtì
Read the extract and answer the question
H : Where is this sight?
l : What is it ye would see?
If aught of woe or wonder, cease your search
(Act Five, Scene 11,lines 348-350)
Speaker l is
Akọwa Nkọwa
Ajụjụ 9 Ripọtì
Read the extract and answer the question
And for your part,..., I do wish
That your good beauties be the happy cause
Of ...wildness: so shall I hope your virtues
Will bring him to his wonted way again,
To both your honours,
(Act Three, Scene I, lines 37-42)
Another character present on the scene is
Akọwa Nkọwa
The given extract is spoken by Queen Gertrude in Act Three, Scene I of Shakespeare's play Hamlet. In this scene, Rosencrantz and Guildenstern are also present, but they are not mentioned in this particular extract. The only other character present in this scene who is mentioned in the given extract is Polonius. Therefore, Polonius is the answer to the question.
Ajụjụ 10 Ripọtì
The most exciting and tense part of a story is the
Akọwa Nkọwa
The most exciting and tense part of a story is the climax. The climax is the point of maximum tension or conflict in a story, where the main character(s) face their greatest challenge or conflict, and the outcome is uncertain. It is usually the turning point in the story, and the moment of highest emotion or excitement for the reader. After the climax, the story begins to wind down towards its resolution, or denouement.
Ajụjụ 11 Ripọtì
Read the extract and answer the question
I have to thank God I'm a woman,
For in these ordered days a woman only
Is free to be very hungry, very lonely.
The tone of the poem is one of
Akọwa Nkọwa
The tone of the poem is sarcasm. The speaker is thanking God for making her a woman, but it is clear from the context that she is being ironic. The lines "For in these ordered days a woman only/Is free to be very hungry, very lonely" suggest that being a woman is not really something to be grateful for, as women are limited in their choices and opportunities. The use of sarcasm is a way of criticizing the society that places these restrictions on women.
Ajụjụ 12 Ripọtì
Read the extract and answer the question
And for your part,..., I do wish
That your good beauties be the happy cause
Of ...wildness: so shall I hope your virtues
Will bring him to his wonted way again,
To both your honours,
(Act Three, Scene I, lines 37-42)
After this speech, the speaker
Ajụjụ 13 Ripọtì
Read the poem and answer the question
In front of the gate, the guard stands with his rifle,
Above, untidy clouds are carrying away the moon,
The bedbugs are swarming around like army tanks on manoeuvers
While the mosquitoes form squadrons, attacking like fighter planes.
My heart travels a thousand miles towards my native land.
My dream interwines with sadness like a stein of a thousand threads,
Innocent, I have endured a whole year in prison
Using my tears for ink, I turn my thoughts into verses.
The imagery in the first four lines is predominantly
Akọwa Nkọwa
Ajụjụ 15 Ripọtì
''Mathematics is my Achilles' heel'' is an example of
Ajụjụ 16 Ripọtì
Read the extract and answer the question
H : Where is this sight?
l : What is it ye would see?
If aught of woe or wonder, cease your search
(Act Five, Scene 11,lines 348-350)
Speaker H is
Akọwa Nkọwa
Ajụjụ 17 Ripọtì
The story of a person's life written by another is
Akọwa Nkọwa
A story of a person's life written by another person is called a biography. It is a narrative of a person's life that is written by someone else who has researched and compiled information from various sources, including interviews with the subject or their acquaintances, historical records, and other relevant materials. Biographies can provide insight into the life, personality, achievements, and challenges faced by the person they are written about.
Ajụjụ 18 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Think it no more:
For nature, crescent, does not grow alone
In thews and bulk, as this temple waxes,
The inward service of the mind and soul
Grows wide withal. Perhaps he loves you now.
And now no soil or cantle doth besmirch
The virtue of his will
(Act One, Scene 111, Lines 10 - 16)
The speaker is
Ajụjụ 19 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Think it no more:
For nature, crescent, does not grow alone
In thews and bulk, as this temple waxes,
The inward service of the mind and soul
Grows wide withal. Perhaps he loves you now.
And now no soil or cantle doth besmirch
The virtue of his will
(Act One, Scene 111, Lines 10 - 16)
A character being addressed is
Akọwa Nkọwa
The character being addressed is Ophelia. The speaker is advising Ophelia to stop thinking about Hamlet because as people grow physically, their mental and emotional capabilities also increase. The speaker suggests that Hamlet may love her at present and his intentions are pure.
Ajụjụ 20 Ripọtì
Read the poem and answer the question
In front of the gate, the guard stands with his rifle,
Above, untidy clouds are carrying away the moon,
The bedbugs are swarming around like army tanks on manoeuvers
While the mosquitoes form squadrons, attacking like fighter planes.
My heart travels a thousand miles towards my native land.
My dream interwines with sadness like a stein of a thousand threads,
Innocent, I have endured a whole year in prison
Using my tears for ink, I turn my thoughts into verses.
The poem is written in
Akọwa Nkọwa
The poem is written in free verse. Free verse is a type of poetry that does not follow a specific rhyme scheme, meter, or structure. It allows the poet to use irregular line lengths and various poetic devices to convey their message. In this poem, there is no consistent rhyme scheme or meter, and the lines vary in length, indicating that it is a free verse.
Ajụjụ 21 Ripọtì
A poem consisting of fourteen lines is
Akọwa Nkọwa
A poem consisting of fourteen lines is a sonnet. A sonnet is a type of poem that originated in Italy and is characterized by its fourteen-line structure. It typically follows a specific rhyme scheme and often explores themes of love, beauty, and nature.
Ajụjụ 22 Ripọtì
The art of giving human attributes to non-human objects is
Akọwa Nkọwa
Personification is the art of giving human attributes to non-human objects. It is a figure of speech that is commonly used in literature and poetry to make the objects more relatable or to create a specific mood or tone. For example, saying "the wind howled" gives the wind a human quality of making a loud, mournful sound, which helps the reader to visualize and connect with the description.
Ajụjụ 23 Ripọtì
A poem of four lines is called
Akọwa Nkọwa
A poem of four lines is called a quatrain. "Qua" means four in Latin and "-train" comes from the French word "train" meaning a sequence or stanza. A quatrain can have various rhyme schemes and meter, but it always has four lines.
Ajụjụ 24 Ripọtì
Read the poem and answer the question
In front of the gate, the guard stands with his rifle,
Above, untidy clouds are carrying away the moon,
The bedbugs are swarming around like army tanks on manoeuvers
While the mosquitoes form squadrons, attacking like fighter planes.
My heart travels a thousand miles towards my native land.
My dream interwines with sadness like a stein of a thousand threads,
Innocent, I have endured a whole year in prison
Using my tears for ink, I turn my thoughts into verses.
The impression created of the persona is one of
Akọwa Nkọwa
Ajụjụ 25 Ripọtì
Read the extract and answer the question
H : Where is this sight?
l : What is it ye would see?
If aught of woe or wonder, cease your search
(Act Five, Scene 11,lines 348-350)
sight refers to
Ajụjụ 26 Ripọtì
Read the extract and answer the question
I have to thank God I'm a woman,
For in these ordered days a woman only
Is free to be very hungry, very lonely.
The dominant device in the above lines is
Akọwa Nkọwa
The dominant device in the above lines is irony. Irony is a literary device that involves the use of words to convey a meaning that is opposite of their literal meaning or expectations. In the lines above, the speaker is thanking God for being a woman, but the reasons given - being very hungry and very lonely - are not usually considered positive attributes. This creates a sense of irony as the speaker seems to be expressing gratitude for something that is not conventionally desirable.
Ajụjụ 27 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
''Diversion through Larteh!'' This is the sign in the middle of the road. They have diverted the 24 - Kilometre Mamfe-Aburi-Adenta Road because of the major read works. The Mamfe-Larteh-Adenta diversion makes the journey twice as long. The longer route is the shorter.
\The little jeep flashes past the deserted police checkpoint. The howling wind, like a stretching comb, stretches Kwyeiwa's hair in flapping furrows behind her as she stands clinging to metal support in the back of the open jeep, petrified. The jeep negotiates the hairpin bend below the overhang near Tamara's place at breakneck speed; now it is on the stretch to the Kodiable junction. The little vehicle laps up the distance. Presently the travellers arrive at the last crossroads. Kodiabe lies as the crow flies, Somanya to the left. The jeep turns right towards Accra.
The atmosphere in the passage is one of
Ajụjụ 28 Ripọtì
''....a thousand miles'' is an example of
Akọwa Nkọwa
''...a thousand miles'' is an example of hyperbole. Hyperbole is an exaggerated statement or figure of speech not meant to be taken literally, but used for emphasis or effect. In this case, the phrase "a thousand miles" is an exaggeration to emphasize the strong desire of the speaker to be in their native land.
Ajụjụ 29 Ripọtì
In a story, the adversary of the protagonist is the
Akọwa Nkọwa
In a story, the adversary of the protagonist is the antagonist. The protagonist is the main character who drives the story forward, and the antagonist is the character who opposes the protagonist and creates conflict in the story. The antagonist can be a person, an animal, a force of nature, or even an idea. Their purpose is to challenge the protagonist and prevent them from achieving their goals. The antagonist is an essential element in a story as they create tension, drama, and suspense.
Ajụjụ 30 Ripọtì
Read the extract and answer the question
X : Tis gone will not answer.
Y : How now....! You tremble and look pale;
Is not this something more than fantasy?
What think you on't?
Z : Before my God. I might not this believe
Without the sensible and true avouch
Of mine own eyes.
(Act One, Scene I, lines 52-58)
Tis gone and will not answer refers to the
Akọwa Nkọwa
The phrase "Tis gone and will not answer" refers to the ghost. In the context of the passage, X is referring to the appearance of the ghost, which has now disappeared and is not responding. Y then questions whether the appearance is something more than fantasy, to which Z responds that he cannot deny what he has seen with his own eyes.
Ajụjụ 31 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
''Diversion through Larteh!'' This is the sign in the middle of the road. They have diverted the 24 - Kilometre Mamfe-Aburi-Adenta Road because of the major read works. The Mamfe-Larteh-Adenta diversion makes the journey twice as long. The longer route is the shorter.
\The little jeep flashes past the deserted police checkpoint. The howling wind, like a stretching comb, stretches Kwyeiwa's hair in flapping furrows behind her as she stands clinging to metal support in the back of the open jeep, petrified. The jeep negotiates the hairpin bend below the overhang near Tamara's place at breakneck speed; now it is on the stretch to the Kodiable junction. The little vehicle laps up the distance. Presently the travellers arrive at the last crossroads. Kodiabe lies as the crow flies, Somanya to the left. The jeep turns right towards Accra.
The narrative technique is
Akọwa Nkọwa
The narrative technique used in the passage is third person. This is because the narrator is not a character in the story and refers to the characters as "they" and "Kwyeiwa" instead of using "I" or "we". The narrator is an outside observer who is describing the events of the story from a distance.
Ajụjụ 32 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Think it no more:
For nature, crescent, does not grow alone
In thews and bulk, as this temple waxes,
The inward service of the mind and soul
Grows wide withal. Perhaps he loves you now.
And now no soil or cantle doth besmirch
The virtue of his will
(Act One, Scene 111, Lines 10 - 16)
The subject of discussion is
Akọwa Nkọwa
Ajụjụ 34 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
''Diversion through Larteh!'' This is the sign in the middle of the road. They have diverted the 24 - Kilometre Mamfe-Aburi-Adenta Road because of the major read works. The Mamfe-Larteh-Adenta diversion makes the journey twice as long. The longer route is the shorter.
\The little jeep flashes past the deserted police checkpoint. The howling wind, like a stretching comb, stretches Kwyeiwa's hair in flapping furrows behind her as she stands clinging to metal support in the back of the open jeep, petrified. The jeep negotiates the hairpin bend below the overhang near Tamara's place at breakneck speed; now it is on the stretch to the Kodiable junction. The little vehicle laps up the distance. Presently the travellers arrive at the last crossroads. Kodiabe lies as the crow flies, Somanya to the left. The jeep turns right towards Accra.
The passage is
Akọwa Nkọwa
The passage is narrative. It tells a story about a journey on a diverted road, with details about the surroundings, the journey, and the characters involved. There is no argument being presented or analyzed, and the passage is not expository, as it is not providing information or explaining a topic.
Ajụjụ 35 Ripọtì
The attitude of a writer towards the subject matter is the
Akọwa Nkọwa
The attitude of a writer towards the subject matter is the tone. Tone refers to the author's attitude towards the writing, the characters, the audience, or the subject matter. It can be serious, humorous, sarcastic, formal, informal, or any other combination of emotions that can be expressed through language. Tone is important because it affects the reader's emotional response to the text and can shape the overall interpretation of the work.
Ajụjụ 36 Ripọtì
Read the extract and answer the question
And for your part,..., I do wish
That your good beauties be the happy cause
Of ...wildness: so shall I hope your virtues
Will bring him to his wonted way again,
To both your honours,
(Act Three, Scene I, lines 37-42)
The speaker is
Ajụjụ 37 Ripọtì
Read the extract and answer the question
X : Tis gone will not answer.
Y : How now....! You tremble and look pale;
Is not this something more than fantasy?
What think you on't?
Z : Before my God. I might not this believe
Without the sensible and true avouch
Of mine own eyes.
(Act One, Scene I, lines 52-58)
The atmosphere is
Akọwa Nkọwa
The atmosphere in the given extract is frightening. This can be inferred from the reactions and dialogues of the characters X, Y, and Z. X's statement "Tis gone will not answer" suggests that something strange and unexplainable has happened, which has left him unnerved. Y's comment "Is not this something more than fantasy?" further adds to the feeling of unease and tension. Finally, Z's response "Before my God. I might not this believe Without the sensible and true avouch Of mine own eyes" emphasizes the magnitude of the event and the sense of fear it has induced.
Ajụjụ 38 Ripọtì
Read the extract and answer the question
H : Where is this sight?
l : What is it ye would see?
If aught of woe or wonder, cease your search
(Act Five, Scene 11,lines 348-350)
Shortly before this speech, _ died
Ajụjụ 39 Ripọtì
A poem written in an elaborate style to address or celebrate an object or event is called
Akọwa Nkọwa
An ode is a poem written in an elaborate style to address or celebrate an object or event. It is usually characterized by a serious and formal tone, and often includes complex metaphors and extended similes. Odes are typically written to praise or honor a particular subject, such as a person, place, or thing, and are often used in ceremonies or other formal occasions.
Ajụjụ 40 Ripọtì
Read the poem and answer the question
In front of the gate, the guard stands with his rifle,
Above, untidy clouds are carrying away the moon,
The bedbugs are swarming around like army tanks on manoeuvers
While the mosquitoes form squadrons, attacking like fighter planes.
My heart travels a thousand miles towards my native land.
My dream interwines with sadness like a stein of a thousand threads,
Innocent, I have endured a whole year in prison
Using my tears for ink, I turn my thoughts into verses.
The poem is about
Akọwa Nkọwa
The poem is about prison life. The poet describes the scene outside his cell, with the guard standing with a rifle, and the bedbugs and mosquitoes swarming around. He expresses his longing for his native land, and the sadness that interweaves with his dreams. The last two lines reveal that he has spent a year in prison and has been using his tears to write poetry.
Ajụjụ 41 Ripọtì
Read the extract and answer the question
X : Tis gone will not answer.
Y : How now....! You tremble and look pale;
Is not this something more than fantasy?
What think you on't?
Z : Before my God. I might not this believe
Without the sensible and true avouch
Of mine own eyes.
(Act One, Scene I, lines 52-58)
The setting is
Akọwa Nkọwa
The setting is a platform in front of the castle. This is indicated by the stage direction at the beginning of the scene: "Enter Barnardo and Francisco, two sentinels, and Horatio" (Act One, Scene I, line 1), and the conversation between Barnardo and Francisco about their watch duties on the platform in front of the castle.
Ajụjụ 42 Ripọtì
A dramatic performance with only bodily movements and without words is
Akọwa Nkọwa
A dramatic performance that conveys a story or message through bodily movements, facial expressions, and gestures, without the use of words, is called a mime. The performer communicates through movements, creating a visual narrative or illusion that can be humorous, dramatic, or emotional. The audience must interpret the performance through visual cues rather than dialogue, making it a form of non-verbal communication. Miming is often used in comedy or in street performances, and requires precise movements and body control.
Ajụjụ 43 Ripọtì
A long narrative poem which deals with heroic deeds is
Akọwa Nkọwa
An epic is a long narrative poem that tells the story of heroic deeds or events significant to a culture or nation. It usually includes a hero, a series of challenges or obstacles, and a resolution. The hero in an epic is often larger-than-life and embodies the values and ideals of the society that produced the work. Epics can be found in many cultures and are often used to express and reinforce cultural identity and values. Examples of famous epics include Homer's Iliad and Odyssey, the Epic of Gilgamesh, and Beowulf.
Ajụjụ 44 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
''Diversion through Larteh!'' This is the sign in the middle of the road. They have diverted the 24 - Kilometre Mamfe-Aburi-Adenta Road because of the major read works. The Mamfe-Larteh-Adenta diversion makes the journey twice as long. The longer route is the shorter.
\The little jeep flashes past the deserted police checkpoint. The howling wind, like a stretching comb, stretches Kwyeiwa's hair in flapping furrows behind her as she stands clinging to metal support in the back of the open jeep, petrified. The jeep negotiates the hairpin bend below the overhang near Tamara's place at breakneck speed; now it is on the stretch to the Kodiable junction. The little vehicle laps up the distance. Presently the travellers arrive at the last crossroads. Kodiabe lies as the crow flies, Somanya to the left. The jeep turns right towards Accra.
''The little vehicle laps up the distance'' conveys the impression of
Akọwa Nkọwa
The phrase "The little vehicle laps up the distance" conveys the impression of speed. The phrase suggests that the jeep is covering the distance quickly and easily, as if it is devouring the road with ease. This implies that the jeep is moving at a fast pace, which is reinforced by the earlier description of the driver negotiating a hairpin bend at breakneck speed.
Ajụjụ 45 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
''Diversion through Larteh!'' This is the sign in the middle of the road. They have diverted the 24 - Kilometre Mamfe-Aburi-Adenta Road because of the major read works. The Mamfe-Larteh-Adenta diversion makes the journey twice as long. The longer route is the shorter.
\The little jeep flashes past the deserted police checkpoint. The howling wind, like a stretching comb, stretches Kwyeiwa's hair in flapping furrows behind her as she stands clinging to metal support in the back of the open jeep, petrified. The jeep negotiates the hairpin bend below the overhang near Tamara's place at breakneck speed; now it is on the stretch to the Kodiable junction. The little vehicle laps up the distance. Presently the travellers arrive at the last crossroads. Kodiabe lies as the crow flies, Somanya to the left. The jeep turns right towards Accra.
Kyeiwa is
Ajụjụ 46 Ripọtì
Read the extract and answer the question
X : Tis gone will not answer.
Y : How now....! You tremble and look pale;
Is not this something more than fantasy?
What think you on't?
Z : Before my God. I might not this believe
Without the sensible and true avouch
Of mine own eyes.
(Act One, Scene I, lines 52-58)
Speaker Y is
Akọwa Nkọwa
Ajụjụ 47 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Think it no more:
For nature, crescent, does not grow alone
In thews and bulk, as this temple waxes,
The inward service of the mind and soul
Grows wide withal. Perhaps he loves you now.
And now no soil or cantle doth besmirch
The virtue of his will
(Act One, Scene 111, Lines 10 - 16)
Thews and bulk means
Ajụjụ 48 Ripọtì
Read the extract and answer the question
X : Tis gone will not answer.
Y : How now....! You tremble and look pale;
Is not this something more than fantasy?
What think you on't?
Z : Before my God. I might not this believe
Without the sensible and true avouch
Of mine own eyes.
(Act One, Scene I, lines 52-58)
Speaker X is
Akọwa Nkọwa
Speaker X is Marcellus. In the extract, Y is addressing X, who seems to be shaken and afraid, suggesting that he has just witnessed something out of the ordinary. Z then responds by saying that he would not have believed it if he had not seen it with his own eyes. This dialogue takes place in Act One, Scene I of William Shakespeare's play, "Hamlet."
Ajụjụ 50 Ripọtì
NON-AFRICAN POETRY
Examine the relationship between man and nature in The Solitary Reaper
Ajụjụ 51 Ripọtì
AFRICAN PROSE
BUCHI EMECHETA: The Joys of Motherhood.
Examine Obi Umunna's influence on Ona.
Ajụjụ 52 Ripọtì
AFRICAN PROSE
ISIDORE OKPEWHO: The Last Duty
Discuss the impact of the war on Toje.
Ajụjụ 53 Ripọtì
AFRICAN PROSE
ISIDORE OKPEWHO: The Last Duty
Examine the relationship between Aku and Oshevire.
Ajụjụ 54 Ripọtì
NON-AFRICAN PROSE
GEORGE ELIOT: Silas Marner
Examine how William Dane affects the fortunes of Silas Marner
Ajụjụ 55 Ripọtì
NON-AFRICAN DRAMA
ROBERT BOLT: A Man For All Seasons
Discuss the notion that Sir Thomas More is naive
Ajụjụ 56 Ripọtì
AFRICAN DRAMA
ATHOL FUGARD: Sizwe Bansi is Dead.
Give an account of the preparations for Ford's visit to the Assembly Plant.
Akọwa Nkọwa
None
Ajụjụ 57 Ripọtì
NON-AFRICAN PROSE
GEORGE ELIOT: Silas Marner
Examine the role of money and gold in the life of Silas in the novel.
Ajụjụ 58 Ripọtì
NON-AFRICAN PROSE
RICHARD WRIGHT: Black Boy
With reference to the text ,discuss the character of Richard as a self-determined person.
Akọwa Nkọwa
None
Ajụjụ 59 Ripọtì
AFRICAN POETRY
How does J.P. Clark present the theme of Cultural alienation in Agbor Dancer?
Ajụjụ 60 Ripọtì
AFRICAN POETRY
Illustrate Senghor's use of figures of speech in I will Pronounce Your Name
Akọwa Nkọwa
None
Ajụjụ 61 Ripọtì
AFRICAN DRAMA
JOE DE GRAFT: Sons and Daughters
Discuss the character and role of Mr. James Ofosu in the play.
Ajụjụ 62 Ripọtì
AFRICAN DRAMA
ATHOL FUGARD: Sizwe Bansi is Dead.
Examine the significance of Sizwe's "death".
Ajụjụ 63 Ripọtì
NON-AFRICAN PROSE
RICHARD WRIGHT: Black Boy
Examine the role of Richard's mother in the novel
Akọwa Nkọwa
None
Ajụjụ 65 Ripọtì
AFRICAN PROSE
BUCHI EMECHETA: The Joys of Motherhood.
Discuss the significance of the Ona-Agbadi relationship in the novel.
Akọwa Nkọwa
None
Ajụjụ 66 Ripọtì
NON-AFRICAN DRAMA
ROBERT BOLT: A Man For All Seasons
Examine the contribution of Richard Rich to the development of the plot
Ajụjụ 67 Ripọtì
NON-AFRICAN POETRY
Discuss in detail, three images employed in "To His Coy Mistress"?
Ajụjụ 68 Ripọtì
NON-AFRICAN DRAMA
NIKOLAI GOGOL: The Government inspector
Compare and contrast Hlestakov and the Mayor.
Ajụjụ 69 Ripọtì
NON-AFRICAN DRAMA
NIKOLAI GOGOL: The Government inspector
Discuss the theme of deception in the play.
Ị ga-achọ ịga n'ihu na omume a?