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Ajụjụ 1 Ripọtì
The repetition of the same vowel sounds in a line is
Akọwa Nkọwa
The repetition of the same vowel sounds in a line is called "assonance." This literary device involves the repetition of vowel sounds in nearby words, but the consonant sounds may be different. Assonance is often used in poetry to create a musical effect or to emphasize certain words or ideas. For example, in the sentence "The rain in Spain stays mainly in the plain," the repetition of the long "a" sound in "rain," "Spain," and "plain" is an example of assonance.
Ajụjụ 2 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Caliban: Ay, that I will; and I'II be wise hereafter,
And seek for grace. What a thrice-double ass
Was I, to take this drunkard for a god,
And worship this dull foot!
Prospero : Go to; away!
Alonso : Hence, and bestow your luggage where you found it.
Sebastian : Or stole, rather.
(Act V, scene one lines 293 - 299)
The contents of ''your luggage'' are
Ajụjụ 3 Ripọtì
A person's life story written by another person is
Akọwa Nkọwa
A person's life story written by another person is called a biography. A biography is a written account of a person's life, usually written by someone else. It typically covers the person's achievements, experiences, and significant events in their life, often in chronological order. The purpose of a biography is to inform and educate readers about the person's life and legacy.
Ajụjụ 4 Ripọtì
_ in drama operates against a character who is unawares of a situation which the audience know about
Akọwa Nkọwa
The term that describes a situation in drama where the audience knows more than a character who is unaware of the circumstances is "dramatic irony." In this type of irony, the audience is aware of the full situation, while the character is not, leading to a sense of tension and anticipation as the story unfolds. The audience knows what is going to happen, but the character does not, and this creates a sense of dramatic tension as the events unfold. Verbal irony involves saying one thing but meaning another, satire is a literary device that uses humor to criticize society or individuals, and parody is a work that imitates the style or content of another work for comedic effect.
Ajụjụ 5 Ripọtì
Read the extract and answer the question
If I speak true! if hollowly, invert
What best is boded me to mischief! I,
Beyond all limit of what else i' the world,
Do love, prize, honour you.
(Act 111, scene one line 70-73)
The speaker is lured to that place by
Akọwa Nkọwa
Ajụjụ 6 Ripọtì
An understatement is otherwise called
Akọwa Nkọwa
An understatement is otherwise called litotes. An understatement is a figure of speech where a writer or speaker deliberately makes a situation or thing seem less important or serious than it actually is. Litotes is a specific type of understatement that involves using a negative statement to express a positive sentiment. For example, saying "I'm not unhappy with my test result" instead of "I'm happy with my test result" is a use of litotes. It is often used for rhetorical effect and can convey irony or sarcasm.
Ajụjụ 7 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
The goldsmith at work is a priest at the altar . As though he was were performing the Eucharist, he is engaged in deliberate motions of reverence. The small vials of various liquids such as mercury are little vessels of communion wine. The minuscule rings of intricately crafted gold are like miniature wafers.
He dips one tiny ring into a liquid, lifts it up to the sky and presses it onto a space in the growing length of necklace. It fits- it is like dipping bread into wine and slipping it between the parted lips of a communicant.
Our lent vigils are not as solemn as the goldsmith's silent solemnity that directs his work. We look on as the wizardry of the master matter craftsman displays itself. We are held in thrall....
The writer's attitude is one of
Akọwa Nkọwa
The writer's attitude in the passage is one of reverence. The writer compares the goldsmith's work to that of a priest performing the Eucharist, which is a highly respected and revered religious ceremony. The writer uses language that suggests awe and admiration for the goldsmith's craft and skill. For example, the writer describes the goldsmith's motions as deliberate and full of reverence and compares the small vials of liquids to vessels of communion wine. The writer also notes that the onlookers are held in thrall, which suggests a sense of admiration and respect.
Ajụjụ 8 Ripọtì
Read the extract and answer the question
X : So they are.
My spirits, as in a dream, are all bound up.
My father's loss, the weakness which I feel,
The wrack of all my friends, nor this man's threats
To whom I am subdued, are but light to me,
Might I but through my prison once a day
Behold this maid. All corners else o'th' earth
Let liberty make use of,...
(Act 1, scene two lines 487-496)
''this man'' is
Akọwa Nkọwa
In the given extract, "this man" refers to Prospero. X is expressing how his spirits are all bound up and how he feels weak, and the wrack of all his friends is light to him as long as he can see this maid once a day. He says that he is subdued by Prospero's threats, and if he could see this maid through his prison once a day, he would let all the corners of the earth use their liberty. Therefore, "this man" is Prospero, who has subdued X and is threatening him.
Ajụjụ 9 Ripọtì
Read the extract and answer question
Said the Lion: ''On music I dote
But something is wrong with my throat
When I practice a scale
The listeners quail
And flee at the first note''.
The rhyme scheme of the poem is
Akọwa Nkọwa
The rhyme scheme of the poem is AABBA. In this rhyme scheme, the first, second and fifth lines rhyme with each other, while the third and fourth lines rhyme with each other. In the given poem, the first, second and fifth lines end with the words "throat," "note" and "dote," which all rhyme with each other, while the third and fourth lines end with "scale" and "quail," which rhyme with each other. Therefore, the rhyme scheme of the poem is AABBA.
Ajụjụ 10 Ripọtì
Read the extract and answer the question
If I speak true! if hollowly, invert
What best is boded me to mischief! I,
Beyond all limit of what else i' the world,
Do love, prize, honour you.
(Act 111, scene one line 70-73)
The speaker is
Akọwa Nkọwa
The speaker in the given extract is Ferdinand. He is professing his love, admiration, and devotion to Miranda, daughter of Prospero, the protagonist of the play "The Tempest". He is telling her that he loves, prizes, and honors her beyond all limits in the world.
Ajụjụ 11 Ripọtì
The loneliest people live in the most crowded places illustrates
Akọwa Nkọwa
The statement "The loneliest people live in the most crowded places" is an example of a paradox. It seems contradictory at first because we usually associate crowded places with a sense of community and social interaction, which would make one less lonely. However, the paradox highlights the fact that one can feel isolated even in a crowded place, perhaps because they don't feel a genuine connection with those around them or because they feel overwhelmed by the sheer number of people. Thus, the statement is an example of a paradox, where two seemingly contradictory ideas are presented together to create a deeper meaning.
Ajụjụ 12 Ripọtì
The term used to depict the freedom of a poet with language is
Akọwa Nkọwa
The term used to depict the freedom of a poet with language is "poetic licence." It refers to the freedom that poets have to depart from the normal rules of language and grammar to create a desired effect in their writing. Poetic licence allows poets to use words in unusual ways, to bend syntax and grammar, to create new words, and to break punctuation rules. It gives poets the flexibility to express themselves in their own unique style and to create a distinctive voice in their poetry.
Ajụjụ 13 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
The goldsmith at work is a priest at the altar . As though he was were performing the Eucharist, he is engaged in deliberate motions of reverence. The small vials of various liquids such as mercury are little vessels of communion wine. The minuscule rings of intricately crafted gold are like miniature wafers.
He dips one tiny ring into a liquid, lifts it up to the sky and presses it onto a space in the growing length of necklace. It fits- it is like dipping bread into wine and slipping it between the parted lips of a communicant.
Our lent vigils are not as solemn as the goldsmith's silent solemnity that directs his work. We look on as the wizardry of the master matter craftsman displays itself. We are held in thrall....
The narrative technique captures the _ of the scene.
Akọwa Nkọwa
The narrative technique captures the vividness of the scene. The passage uses a metaphor to compare the goldsmith's work to the performance of the Eucharist, which creates a sense of reverence and sacredness. The use of sensory details, such as the description of the liquids and rings, also adds to the vividness of the scene, making it feel real and tangible to the reader. The language used is also descriptive, which helps to create a clear mental image of the goldsmith at work. Overall, the narrative technique is successful in capturing the liveliness of the scene.
Ajụjụ 14 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Caliban: Ay, that I will; and I'II be wise hereafter,
And seek for grace. What a thrice-double ass
Was I, to take this drunkard for a god,
And worship this dull foot!
Prospero : Go to; away!
Alonso : Hence, and bestow your luggage where you found it.
Sebastian : Or stole, rather.
(Act V, scene one lines 293 - 299)
Sebastian says ''Or stole it, rather'' because the luggage
Ajụjụ 15 Ripọtì
A struggle between opposing forces in a story or play is
Akọwa Nkọwa
A struggle between opposing forces in a story or play is known as conflict. Conflict refers to the central problem or issue that characters in a story or play must face and resolve. It is the source of tension and drama in the plot and can arise from various sources, such as external circumstances or internal emotions and desires of the characters. Conflict can be resolved in different ways, leading to various outcomes, such as a happy ending or a tragic conclusion.
Ajụjụ 16 Ripọtì
Read the extract and answer the question
X : So they are.
My spirits, as in a dream, are all bound up.
My father's loss, the weakness which I feel,
The wrack of all my friends, nor this man's threats
To whom I am subdued, are but light to me,
Might I but through my prison once a day
Behold this maid. All corners else o'th' earth
Let liberty make use of,...
(Act 1, scene two lines 487-496)
The speaker is
Akọwa Nkọwa
The speaker is Ferdinand. In this excerpt, Ferdinand is expressing his love for Miranda, whom he believes to be dead, and says that nothing else matters to him, not even his father's loss or being threatened by his captor. He wishes to see Miranda, even if it's just for a moment, and considers everything else to be meaningless in comparison.
Ajụjụ 17 Ripọtì
Read the extract and answer the question
X : So they are.
My spirits, as in a dream, are all bound up.
My father's loss, the weakness which I feel,
The wrack of all my friends, nor this man's threats
To whom I am subdued, are but light to me,
Might I but through my prison once a day
Behold this maid. All corners else o'th' earth
Let liberty make use of,...
(Act 1, scene two lines 487-496)
Those present in this scene are
Akọwa Nkọwa
Ajụjụ 18 Ripọtì
Read the extrat and answer the question
Prospero: Of my instruction hast thou nothing bated
In what thou hadst to say. So, with good life
And observation strange, my meaner ministers
Their several kinds have done. My high charms work,
And these, mine enemies are all knit up
In their distractions. They now are in my power;
And in these fits I leave them,....
(Act 111, scene three lines 85-91)
The first line means that the addressee
Akọwa Nkọwa
The first line means that the addressee did not leave out anything from what Prospero had instructed. In other words, the addressee followed Prospero's instructions exactly without leaving anything out.
Ajụjụ 19 Ripọtì
Read the extract and answer the question
If I speak true! if hollowly, invert
What best is boded me to mischief! I,
Beyond all limit of what else i' the world,
Do love, prize, honour you.
(Act 111, scene one line 70-73)
The setting is
Akọwa Nkọwa
Ajụjụ 20 Ripọtì
A character whose actions or qualities serve to heighten those of the hero through contrast is
Akọwa Nkọwa
A character whose actions or qualities serve to heighten those of the hero through contrast is called a "foil". A foil is a character who is used to emphasize or contrast the qualities of another character, usually the protagonist. The foil character may share certain traits with the hero but typically has opposite personality or behavior. This contrast highlights the hero's positive traits and makes them stand out more clearly to the audience or reader.
Ajụjụ 21 Ripọtì
Read the poem and answer the question
At dawn must I rise to till the rock
That our land has turned into
The land where on we'd gleefully harvested paddy
Planted and nurtured and tended on plots marshy
Our woes are bloody woes of accursed revenges
Of the land spirits aggrieved and by his fellow
Kindred blood has counted for less than no value
Brother's wife has been wife to other brother's brother
Communal loot has emptied our country silos
The earth has stooped breathing and sighed
Soldered tears has the moon shed
The earth was scorched at noon-day night
And our land has turned to hoeing rock.
''The earth has stopped breathing and sighed'' illustrates
Akọwa Nkọwa
The phrase "The earth has stopped breathing and sighed" illustrates personification. Personification is a figure of speech in which human qualities are attributed to non-human things or abstract ideas. In this case, the poet has attributed the human quality of breathing and sighing to the earth, giving it a more relatable and emotional quality. This helps to convey the depth of the poet's despair and the devastation of the land.
Ajụjụ 22 Ripọtì
A character in the story who narrates what happens to him or her is
Akọwa Nkọwa
A first person narrator is a character in the story who narrates what happens to him or her. They use words like "I," "me," "my," etc., to tell the story from their perspective. They can provide a personal and subjective account of events, including their thoughts and feelings, and may have limited knowledge of what other characters are thinking or doing.
Ajụjụ 23 Ripọtì
Read the extrat and answer the question
Prospero: Of my instruction hast thou nothing bated
In what thou hadst to say. So, with good life
And observation strange, my meaner ministers
Their several kinds have done. My high charms work,
And these, mine enemies are all knit up
In their distractions. They now are in my power;
And in these fits I leave them,....
(Act 111, scene three lines 85-91)
Prosero decides to
Ajụjụ 24 Ripọtì
Read the extract and answer the question
If I speak true! if hollowly, invert
What best is boded me to mischief! I,
Beyond all limit of what else i' the world,
Do love, prize, honour you.
(Act 111, scene one line 70-73)
The speaker wants to
Akọwa Nkọwa
The speaker wants to prove his love. In the passage, he is saying that he loves, prizes, and honors the person he is speaking to beyond anything else in the world. He is emphasizing the truthfulness of his words, saying that if he is lying, he wishes that the worst possible outcome befall him.
Ajụjụ 26 Ripọtì
A literary work that vividly portrays life can be described as
Akọwa Nkọwa
A literary work that vividly portrays life can be described as realistic. Realistic literature aims to present life as it is, without idealizing or romanticizing it. It seeks to depict human behavior and social interactions as accurately as possible, often by using detailed descriptions of everyday life and characters that are relatable to readers. Realistic literature often addresses social issues and attempts to provide insight into the complexities of human nature and society.
Ajụjụ 27 Ripọtì
Read the poem and answer the question
At dawn must I rise to till the rock
That our land has turned into
The land where on we'd gleefully harvested paddy
Planted and nurtured and tended on plots marshy
Our woes are bloody woes of accursed revenges
Of the land spirits aggrieved and by his fellow
Kindred blood has counted for less than no value
Brother's wife has been wife to other brother's brother
Communal loot has emptied our country silos
The earth has stooped breathing and sighed
Soldered tears has the moon shed
The earth was scorched at noon-day night
And our land has turned to hoeing rock.
The mood of the poet is one of
Akọwa Nkọwa
Ajụjụ 28 Ripọtì
A curtain raiser is an introductory performance that is
Akọwa Nkọwa
A curtain raiser is an introductory performance that is not part of the main play. It is typically a short performance, such as a one-act play or musical number, that is presented before the main event. The purpose of a curtain raiser is to set the tone for the main performance and to give the audience a taste of what is to come. It is often used to warm up the audience and build anticipation for the main event.
Ajụjụ 29 Ripọtì
Read the poem and answer the question
At dawn must I rise to till the rock
That our land has turned into
The land where on we'd gleefully harvested paddy
Planted and nurtured and tended on plots marshy
Our woes are bloody woes of accursed revenges
Of the land spirits aggrieved and by his fellow
Kindred blood has counted for less than no value
Brother's wife has been wife to other brother's brother
Communal loot has emptied our country silos
The earth has stooped breathing and sighed
Soldered tears has the moon shed
The earth was scorched at noon-day night
And our land has turned to hoeing rock.
There is a predominance of words associated with
Ajụjụ 30 Ripọtì
Read the extrat and answer the question
Prospero: Of my instruction hast thou nothing bated
In what thou hadst to say. So, with good life
And observation strange, my meaner ministers
Their several kinds have done. My high charms work,
And these, mine enemies are all knit up
In their distractions. They now are in my power;
And in these fits I leave them,....
(Act 111, scene three lines 85-91)
Prospero is speaking to
Akọwa Nkọwa
Ajụjụ 31 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
The goldsmith at work is a priest at the altar . As though he was were performing the Eucharist, he is engaged in deliberate motions of reverence. The small vials of various liquids such as mercury are little vessels of communion wine. The minuscule rings of intricately crafted gold are like miniature wafers.
He dips one tiny ring into a liquid, lifts it up to the sky and presses it onto a space in the growing length of necklace. It fits- it is like dipping bread into wine and slipping it between the parted lips of a communicant.
Our lent vigils are not as solemn as the goldsmith's silent solemnity that directs his work. We look on as the wizardry of the master matter craftsman displays itself. We are held in thrall....
The dominant devices used are
Akọwa Nkọwa
The dominant devices used in the passage are metaphor and simile. The passage compares the work of the goldsmith to a priest performing the Eucharist through the use of metaphor, and also uses simile to compare the minuscule rings of intricately crafted gold to miniature wafers. These comparisons help to create a vivid and powerful image of the goldsmith's work and the reverence with which he performs it.
Ajụjụ 32 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Caliban: Ay, that I will; and I'II be wise hereafter,
And seek for grace. What a thrice-double ass
Was I, to take this drunkard for a god,
And worship this dull foot!
Prospero : Go to; away!
Alonso : Hence, and bestow your luggage where you found it.
Sebastian : Or stole, rather.
(Act V, scene one lines 293 - 299)
''this drunkard'' is
Ajụjụ 33 Ripọtì
A poem in which a lone speaker seems to be addressing someone else is a
Akọwa Nkọwa
A poem in which a lone speaker seems to be addressing someone else is a dramatic monologue. In this type of poem, the speaker reveals his or her thoughts, emotions, and character to an implied audience that remains silent. The speaker may address an actual person, such as in Robert Browning's "My Last Duchess," or may speak to an imaginary or abstract audience, as in T.S. Eliot's "The Love Song of J. Alfred Prufrock." The dramatic monologue allows for a more intimate and revealing exploration of the speaker's personality and motivations, as well as the themes and ideas of the poem.
Ajụjụ 34 Ripọtì
Read the extract and answer question
Said the Lion: ''On music I dote
But something is wrong with my throat
When I practice a scale
The listeners quail
And flee at the first note''.
What type of poem is this?
Akọwa Nkọwa
The type of poem presented in the given extract is a limerick. Limericks are humorous poems that often have five lines and follow the AABBA rhyme scheme. The first, second, and fifth lines typically have three stressed syllables, while the third and fourth lines have two stressed syllables. In this limerick, the speaker is a Lion who humorously describes his difficulty in singing due to a problem with his throat.
Ajụjụ 35 Ripọtì
Read the extract and answer the question
X : So they are.
My spirits, as in a dream, are all bound up.
My father's loss, the weakness which I feel,
The wrack of all my friends, nor this man's threats
To whom I am subdued, are but light to me,
Might I but through my prison once a day
Behold this maid. All corners else o'th' earth
Let liberty make use of,...
(Act 1, scene two lines 487-496)
''So they are'' refers to the
Akọwa Nkọwa
Ajụjụ 36 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Caliban: Ay, that I will; and I'II be wise hereafter,
And seek for grace. What a thrice-double ass
Was I, to take this drunkard for a god,
And worship this dull foot!
Prospero : Go to; away!
Alonso : Hence, and bestow your luggage where you found it.
Sebastian : Or stole, rather.
(Act V, scene one lines 293 - 299)
PROSPERO HAS ASKED CALIBAN TO
Ajụjụ 37 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
The goldsmith at work is a priest at the altar . As though he was were performing the Eucharist, he is engaged in deliberate motions of reverence. The small vials of various liquids such as mercury are little vessels of communion wine. The minuscule rings of intricately crafted gold are like miniature wafers.
He dips one tiny ring into a liquid, lifts it up to the sky and presses it onto a space in the growing length of necklace. It fits- it is like dipping bread into wine and slipping it between the parted lips of a communicant.
Our lent vigils are not as solemn as the goldsmith's silent solemnity that directs his work. We look on as the wizardry of the master matter craftsman displays itself. We are held in thrall....
The subject matter of the passage is
Ajụjụ 38 Ripọtì
Read the poem and answer the question
At dawn must I rise to till the rock
That our land has turned into
The land where on we'd gleefully harvested paddy
Planted and nurtured and tended on plots marshy
Our woes are bloody woes of accursed revenges
Of the land spirits aggrieved and by his fellow
Kindred blood has counted for less than no value
Brother's wife has been wife to other brother's brother
Communal loot has emptied our country silos
The earth has stooped breathing and sighed
Soldered tears has the moon shed
The earth was scorched at noon-day night
And our land has turned to hoeing rock.
The theme of the poem is
Akọwa Nkọwa
Ajụjụ 39 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
The goldsmith at work is a priest at the altar . As though he was were performing the Eucharist, he is engaged in deliberate motions of reverence. The small vials of various liquids such as mercury are little vessels of communion wine. The minuscule rings of intricately crafted gold are like miniature wafers.
He dips one tiny ring into a liquid, lifts it up to the sky and presses it onto a space in the growing length of necklace. It fits- it is like dipping bread into wine and slipping it between the parted lips of a communicant.
Our lent vigils are not as solemn as the goldsmith's silent solemnity that directs his work. We look on as the wizardry of the master matter craftsman displays itself. We are held in thrall....
The use of the above devices creates an atmosphere of
Ajụjụ 40 Ripọtì
Read the extract and answer the question
X : So they are.
My spirits, as in a dream, are all bound up.
My father's loss, the weakness which I feel,
The wrack of all my friends, nor this man's threats
To whom I am subdued, are but light to me,
Might I but through my prison once a day
Behold this maid. All corners else o'th' earth
Let liberty make use of,...
(Act 1, scene two lines 487-496)
''this maid'' is
Ajụjụ 41 Ripọtì
Read the extrat and answer the question
Prospero: Of my instruction hast thou nothing bated
In what thou hadst to say. So, with good life
And observation strange, my meaner ministers
Their several kinds have done. My high charms work,
And these, mine enemies are all knit up
In their distractions. They now are in my power;
And in these fits I leave them,....
(Act 111, scene three lines 85-91)
Prospero's enemies include the voyagers but not
Akọwa Nkọwa
Ajụjụ 42 Ripọtì
Read the poem and answer the question
At dawn must I rise to till the rock
That our land has turned into
The land where on we'd gleefully harvested paddy
Planted and nurtured and tended on plots marshy
Our woes are bloody woes of accursed revenges
Of the land spirits aggrieved and by his fellow
Kindred blood has counted for less than no value
Brother's wife has been wife to other brother's brother
Communal loot has emptied our country silos
The earth has stooped breathing and sighed
Soldered tears has the moon shed
The earth was scorched at noon-day night
And our land has turned to hoeing rock.
The run-on lines convey the speaker's
Akọwa Nkọwa
Ajụjụ 43 Ripọtì
A stanza of four lines is a
Akọwa Nkọwa
A stanza of four lines is called a quatrain. It is a common form in poetry, where a group of four lines is often used to develop a complete thought or idea. Each line in a quatrain may have a particular rhyme scheme, which can vary depending on the poem or the poet's preference. Quatrains are often used in sonnets and other forms of poetry, as well as in song lyrics and other types of creative writing.
Ajụjụ 44 Ripọtì
A story which explains a natural phenomenon is
Akọwa Nkọwa
A story which explains a natural phenomenon is called a myth. Myths are traditional stories that explain the beliefs, customs, and natural phenomena of a culture. They often involve gods and supernatural beings, and are used to explain the unexplainable in the natural world. For example, the ancient Greek myth of Demeter and Persephone explains the changing of the seasons.
Ajụjụ 45 Ripọtì
A short which expresses an idea in a clever way is
Akọwa Nkọwa
A short which expresses an idea in a clever way is called an epigram. An epigram is a concise, witty, and often satirical statement or poem that cleverly expresses an idea or observation. It usually uses paradox or irony and has a memorable or surprising ending. Epigrams can be humorous, critical, or philosophical and are often used in literature and speech as a way to make a memorable point or to criticize social or political issues in a clever way.
Ajụjụ 46 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Caliban: Ay, that I will; and I'II be wise hereafter,
And seek for grace. What a thrice-double ass
Was I, to take this drunkard for a god,
And worship this dull foot!
Prospero : Go to; away!
Alonso : Hence, and bestow your luggage where you found it.
Sebastian : Or stole, rather.
(Act V, scene one lines 293 - 299)
What is Caliban promising to do?
Ajụjụ 47 Ripọtì
Read the extract and answer the question
If I speak true! if hollowly, invert
What best is boded me to mischief! I,
Beyond all limit of what else i' the world,
Do love, prize, honour you.
(Act 111, scene one line 70-73)
Who is with the speaker?
Akọwa Nkọwa
Ajụjụ 48 Ripọtì
Read the extrat and answer the question
Prospero: Of my instruction hast thou nothing bated
In what thou hadst to say. So, with good life
And observation strange, my meaner ministers
Their several kinds have done. My high charms work,
And these, mine enemies are all knit up
In their distractions. They now are in my power;
And in these fits I leave them,....
(Act 111, scene three lines 85-91)
What has just taken place is that
Akọwa Nkọwa
Ajụjụ 49 Ripọtì
An expression from which one derives a mental picture is
Akọwa Nkọwa
The expression from which one derives a mental picture is called imagery. Imagery refers to the use of figurative language, such as descriptive words and phrases, to create a mental image in the reader's mind. This technique allows the reader to vividly imagine the scene being described and can enhance the overall meaning and impact of the text. Examples of imagery include descriptions of sights, sounds, smells, tastes, and textures.
Ajụjụ 50 Ripọtì
One of the following is used to develop character
Ajụjụ 51 Ripọtì
NON - AFRICAN DRAMA
BERNARD SHAW: Arms and the Man
Comment on the significance of the battle at Slivnitza.
Ajụjụ 52 Ripọtì
NON - AFRICAN DRAMA
OSCAR WILDE: The Importance of Being Earnest
what impressions of the upper class life do you form from your study of the play?
Ajụjụ 53 Ripọtì
AFRICAN PROSE
ASARE KONADU: A Woman In Her Prime
What does the death of Yaw Boakye reveal about the Brenhoma society?
Ajụjụ 54 Ripọtì
NON - AFRICAN DRAMA
OSCAR WILDE: The Importance of Being Earnest
Discuss the significance of the revelation of Jack's true identity
Ajụjụ 55 Ripọtì
NON AFRICAN PROSE
WILLIAM GOLDING: Lord Of The Flies
to what extent is Jack a better leader than Ralph?
Ajụjụ 57 Ripọtì
AFRICAN POETRY
Examine the use of imagery in "Ambassadors of Poverty".
Ajụjụ 58 Ripọtì
NON AFRICAN PROSE
ERNEST HEMINGWAY: The Old Man and the Sea
What do you learn from the life of Santiago as a fisherman?
Ajụjụ 59 Ripọtì
AFRICA PROSE
ADICHIE CHIMAMANDA NGOZI: Purple Hibiscus
Discuss the relationship between Aunty Ifeoma and her father.
Ajụjụ 60 Ripọtì
NON AFRICAN PROSE
WILLIAM GOLDING: Lord Of The Flies
Discuss the conflict of order and chaos in the novel.
Ajụjụ 61 Ripọtì
NON AFRICAN PROSE
ERNEST HEMINGWAY: The Old Man and the Sea
Comment on the narrative techniques used in the novel.
Ajụjụ 62 Ripọtì
NON-AFRICAN POETRY
Examine the poet's attitude to man in "Upon An Honest Man's Fortune"
Ajụjụ 63 Ripọtì
NON-AFRICAN POETRY
Discuss the major regrets of the slain soldier in "Strange Meeting"
Ajụjụ 65 Ripọtì
AFRICAN DRAMA
FEMI OSOFISAN: Women of Owu
Discuss the significance of the meeting between Lawumi and Anlugbua.
Akọwa Nkọwa
None
Ajụjụ 66 Ripọtì
AFRICA PROSE
ADICHIE CHIMAMANDA NGOZI: Purple Hibiscus
Consider Amaka's view of Eugene.
Ajụjụ 67 Ripọtì
AFRICAN DRAMA
KOBINA SEKYE: The Blinkards.
Compare the characters of Mr. Onyimdze and Mr. Borofosem.
Ajụjụ 68 Ripọtì
AFRICAN DRAMA
FEMI OSOFISAN: Women of Owu
Examine the role of chorus in advancing the plot.
Akọwa Nkọwa
None
Ajụjụ 69 Ripọtì
AFRICAN POETRY
Consider the presentation of the theme of poverty in "Myopia"
Ajụjụ 70 Ripọtì
AFRICAN DRAMA
KOBINA SEKYE: The Blinkards.
Assess the negative impact of colonialism in the play.
Ị ga-achọ ịga n'ihu na omume a?