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Ajụjụ 1 Ripọtì
The types of literary work are
Akọwa Nkọwa
The types of literary work are genres. Genres are categories or types of literature that share similar characteristics, such as style, form, and subject matter. Examples of literary genres include poetry, drama, fiction, non-fiction, comedy, tragedy, romance, horror, and science fiction, among others. Each genre has its own conventions and expectations, and understanding these can help readers appreciate and interpret works within that genre more effectively. Eras refer to historical periods, episodes refer to individual events or segments within a larger work, and cantos are sections of long poems, such as Dante's "The Divine Comedy".
Ajụjụ 2 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
P : Mark his condition, and the answer questions
If this might be a brother.
Q: I should sun
To think but nobly of my grandmother:
Good wombs have borne bad sons.
(Act 1, scene two lines 116-120)
Speaker Q is
Akọwa Nkọwa
Ajụjụ 3 Ripọtì
Read the extract and answer the question
X : Come on then; down, and swear.
Y : I shall laugh myself to death at this puppy-headed monster
A most scurvy monster! I could find in my heart to beat him
X: Come, kiss.
(Act 11 scene two lines 139-143)
Speaker Y is a
Akọwa Nkọwa
Speaker Y is a jester. The use of words such as "laugh myself to death" and "puppy-headed monster" suggest a playful and humorous character. Additionally, jesters were often employed in the courts of kings and queens during the Elizabethan era to entertain with their jokes and witty remarks, which is consistent with the context of the passage being from a play by William Shakespeare.
Ajụjụ 4 Ripọtì
Use the following lines to answer the question
Truth may bend but will never break:
It will ever rise above falsehood as oil above water.
The alliteration in the first line
Akọwa Nkọwa
Ajụjụ 5 Ripọtì
The use of dialogue, creates a/an _ effect
Akọwa Nkọwa
The use of dialogue creates a dramatic effect. Dialogue is an important tool for creating a sense of drama in literature, as it allows characters to interact with one another in a way that can reveal their thoughts, feelings, and motivations. By using dialogue, writers can create tension, conflict, and suspense, as well as reveal important information about the characters and the plot. Additionally, dialogue can help to bring a story to life by giving readers a sense of the characters' personalities and relationships. While dialogue can certainly be used for humorous, poetic, or ironic effect, its most fundamental purpose is to create drama by bringing characters into conflict with one another.
Ajụjụ 6 Ripọtì
Read the following lines and answer the question
But since, alas! frail beauty must decay,
curled or uncurled, since looks will turn to gray;
since painted or unpainted, all shall fade.
The device used in the second and third lines is
Akọwa Nkọwa
Ajụjụ 7 Ripọtì
Identify the odd item
Akọwa Nkọwa
The odd item in the given list is "melodrama". Poetry, prose, and drama are all literary forms that involve written or spoken language to convey meaning, while melodrama is a type of dramatic work that combines exaggerated emotions with stereotypical characters to create an emotional response from the audience. Unlike poetry, prose, and drama, melodrama relies heavily on spectacle, music, and other theatrical elements to elicit an emotional response, rather than relying solely on the written or spoken word. Therefore, melodrama is not a literary form like the other three items in the list.
Ajụjụ 8 Ripọtì
The clash of interest that originates from opposing forces in literature is
Akọwa Nkọwa
The clash of interest that originates from opposing forces in literature is known as conflict. Conflict is an essential element of literature that creates tension and drives the plot forward. It can arise from various sources, including characters' goals, values, beliefs, and actions, as well as from external factors such as nature, society, or fate. Conflict can be internal or external, and it can take many forms, such as man vs. man, man vs. nature, man vs. society, or man vs. self. Ultimately, the resolution of conflict determines the outcome of the story and its impact on the characters and the reader.
Ajụjụ 9 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
I wonder how long, you awful parasite
Shall share me this little bed,
And make me, from sweet dreams be lost
By sucking blood from my poor head.
I should but say man has much
Blood, which you and your families do feed
on; for supper, dinner, and lunch,
And besides, you do in my bed breed.
Clever thou art, tiny creature;
You attend me when I am deep asleep;
When thou art sure, I cant you capture,
Just as the time I snore deep.
''Tis so strange that before twilight,
The bed clear of you would seem;
For not one you is in my sight
As if your presence was in a dream.
The dominant attitude of the poet is one of
Akọwa Nkọwa
Ajụjụ 10 Ripọtì
Read the extract ans answer your question
M : No, as I am a man.
N : There's nothing ill can dwell in such a temple\If the ill spirit have so fair a house,
Good things will strive to dwell with it.
(Act 1, scene two lines 459 - 462)
Speaker N
Akọwa Nkọwa
Ajụjụ 11 Ripọtì
Lines and stanzas are to poetry as action and dialogue are to
Akọwa Nkọwa
Lines and stanzas are to poetry as action and dialogue are to drama. In poetry, lines and stanzas are the basic structural units used to organize the poem and convey meaning. A line is a single row of words that may or may not be complete sentences, while a stanza is a group of lines arranged together. The way lines and stanzas are organized can affect the way the poem is read and understood. In drama, action and dialogue are the basic elements used to tell a story and convey meaning. Action refers to what happens on stage, including physical movement, gestures, and other nonverbal communication. Dialogue refers to the spoken words of the characters and the way they interact with each other. The way action and dialogue are organized can affect the way the story is told and the meaning that is conveyed to the audience.
Ajụjụ 12 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
P : Mark his condition, and the answer questions
If this might be a brother.
Q: I should sun
To think but nobly of my grandmother:
Good wombs have borne bad sons.
(Act 1, scene two lines 116-120)
The speakers are
Ajụjụ 13 Ripọtì
Read the extract ans answer your question
M : No, as I am a man.
N : There's nothing ill can dwell in such a temple\If the ill spirit have so fair a house,
Good things will strive to dwell with it.
(Act 1, scene two lines 459 - 462)
Speaker M is a
Akọwa Nkọwa
Speaker M is not identified in the given extract by any specific title or name. Therefore, it is not possible to determine whether M is a prince, traitor, king, or sailor based on the information provided.
Ajụjụ 14 Ripọtì
Read the passage and answer the question
The bright sun continued to smile. Andrew's face beamed with pleasure with every passing moment.
Very few of his contemporaries have so succeeded in reaching the top of the ladder. Andrew in particular
had been an orphan of storm. His father's death during his third year in the secondary school coupled with the physical misfortune which he suffered when a stockfish machine severed his left middle finger, constituted a serious setback but Andrew did not despair.
The courage to fail is very cheap; every fool can afford of fail. But it raises one above the herd of cowards and never-do-wells to be up and struggling. The reward of forbearance in the end is resounding success.
And so it was for was for Andrew ever since he finished his university education; it had been success galore. He had got a good job in one of the country's insurance companies. His pay was good, his prospects seemed bright. The habitual Thomases in his family found it very hard to believe. At forty he had a good car and had already built a house of his own.The world was at his feet.
''The world was at his feet'' implies that Andrew
Akọwa Nkọwa
The phrase "The world was at his feet" implies that Andrew had achieved great success and had a lot of opportunities open to him. The phrase suggests that Andrew was in a position of power and influence, and that he had the ability to accomplish anything he wanted. It does not necessarily imply that Andrew was loving or standing on the world, or that he achieved his success easily or was arrogant about it. Rather, it suggests that Andrew had worked hard to overcome obstacles and had achieved a high level of success and recognition as a result.
Ajụjụ 15 Ripọtì
A long narrative chronicling a family's heroic deeds is a/an
Akọwa Nkọwa
The term that best fits the description of a long narrative chronicling a family's heroic deeds is a "saga". A saga is a type of narrative that typically tells the stories of heroic deeds and adventures, often featuring characters from a particular family or group. Sagas are typically long and complex, and often feature elements of fantasy or myth. They are commonly associated with Scandinavian culture, but similar types of narratives can be found in many other cultures as well. Sagas often feature themes of courage, honor, and loyalty, and are often used to reinforce cultural values and traditions.
Ajụjụ 16 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
I wonder how long, you awful parasite
Shall share me this little bed,
And make me, from sweet dreams be lost
By sucking blood from my poor head.
I should but say man has much
Blood, which you and your families do feed
on; for supper, dinner, and lunch,
And besides, you do in my bed breed.
Clever thou art, tiny creature;
You attend me when I am deep asleep;
When thou art sure, I cant you capture,
Just as the time I snore deep.
''Tis so strange that before twilight,
The bed clear of you would seem;
For not one you is in my sight
As if your presence was in a dream.
The poem is generally made up of
Akọwa Nkọwa
Ajụjụ 17 Ripọtì
Read the extract and answer the question
At mine unworthiness, that dare not offer
What I desire to give; and much less take
What I shall die to want. But this is trifling;
And all the more it seeks to hide itself,
The bigger bulk it shows. Hence, bashful cunning!
And prompt me, plain and holy innocence!
(Act 111, scene one lines 78 - 83)
The character addressed is
Akọwa Nkọwa
Ajụjụ 18 Ripọtì
The choice of words to create special effects is called
Akọwa Nkọwa
The choice of words to create special effects is called diction. Diction refers to the style of language used by an author or speaker. It involves the selection and use of words, phrases, and sentence structures to create a desired tone, atmosphere, or mood. Diction can be formal or informal, simple or complex, and can include a variety of literary devices such as imagery, figurative language, and sound devices. By choosing certain words, an author or speaker can convey a particular mood or atmosphere to the reader or listener, which can help to create a more engaging and effective piece of writing or speech.
Ajụjụ 19 Ripọtì
Read the extract and answer the question
X : Come on then; down, and swear.
Y : I shall laugh myself to death at this puppy-headed monster
A most scurvy monster! I could find in my heart to beat him
X: Come, kiss.
(Act 11 scene two lines 139-143)
Speaker Y is
Akọwa Nkọwa
Speaker Y is Trinculo. In this extract, he is mocking Caliban by calling him a "puppy-headed monster" and a "scurvy monster". He also expresses his desire to beat him. When X tells him to come and kiss, it can be interpreted as X trying to stop the conflict between Trinculo and Caliban.
Ajụjụ 20 Ripọtì
Read the extract ans answer your question
M : No, as I am a man.
N : There's nothing ill can dwell in such a temple\If the ill spirit have so fair a house,
Good things will strive to dwell with it.
(Act 1, scene two lines 459 - 462)
The other character present is
Ajụjụ 21 Ripọtì
Read the extract and answer the question
At mine unworthiness, that dare not offer
What I desire to give; and much less take
What I shall die to want. But this is trifling;
And all the more it seeks to hide itself,
The bigger bulk it shows. Hence, bashful cunning!
And prompt me, plain and holy innocence!
(Act 111, scene one lines 78 - 83)
The character who secretly watches and listens is
Akọwa Nkọwa
Ajụjụ 22 Ripọtì
_ in drama operates against a character who is unaware of a situation which is known to the audience
Akọwa Nkọwa
Dramatic irony in drama operates against a character who is unaware of a situation which is known to the audience. Dramatic irony is a literary device in which the audience knows something that a character does not, which creates tension and suspense in the story. This can be used to create comedic or tragic effects, as the audience watches a character make decisions or take actions based on incomplete information. In the case of drama, the audience is often privy to information that a character on stage is not, which creates a sense of dramatic tension as the audience waits to see how the character will react when they eventually learn the truth. This technique is often used in plays to keep the audience engaged and to create a deeper sense of involvement with the story.
Ajụjụ 23 Ripọtì
Read the extract ans answer your question
M : No, as I am a man.
N : There's nothing ill can dwell in such a temple\If the ill spirit have so fair a house,
Good things will strive to dwell with it.
(Act 1, scene two lines 459 - 462)
The other character present is
Akọwa Nkọwa
Ajụjụ 24 Ripọtì
Read the following lines and answer the question
But since, alas! frail beauty must decay,
curled or uncurled, since looks will turn to gray;
since painted or unpainted, all shall fade.
The use of the word 'since' illustrates
Akọwa Nkọwa
The use of the word 'since' illustrates repetition. In this passage, 'since' is used repeatedly at the beginning of each line to emphasize the inevitability of beauty fading away. This repetition of the word 'since' is a rhetorical device used to create a rhythmic and memorable effect. It also adds a sense of resignation and acceptance to the passage, as the speaker acknowledges the unavoidable truth of the passage of time and the fading of beauty.
Ajụjụ 25 Ripọtì
Read the passage and answer the question
The bright sun continued to smile. Andrew's face beamed with pleasure with every passing moment.
Very few of his contemporaries have so succeeded in reaching the top of the ladder. Andrew in particular
had been an orphan of storm. His father's death during his third year in the secondary school coupled with the physical misfortune which he suffered when a stockfish machine severed his left middle finger, constituted a serious setback but Andrew did not despair.
The courage to fail is very cheap; every fool can afford of fail. But it raises one above the herd of cowards and never-do-wells to be up and struggling. The reward of forbearance in the end is resounding success.
And so it was for was for Andrew ever since he finished his university education; it had been success galore. He had got a good job in one of the country's insurance companies. His pay was good, his prospects seemed bright. The habitual Thomases in his family found it very hard to believe. At forty he had a good car and had already built a house of his own.The world was at his feet.
''habitual Thomases'' is an example of an
Akọwa Nkọwa
The phrase "habitual Thomases" is an example of an allusion. An allusion is a figure of speech where the author refers to a person, place, event, or work of art, which is not directly related to the story, but which the author assumes the reader will recognize. In this case, the author is referring to the biblical story of doubting Thomas, who doubted the resurrection of Jesus until he saw him in person. The author is using this allusion to refer to Andrew's family members who are skeptical of his success and find it hard to believe.
Ajụjụ 26 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
P : Mark his condition, and the answer questions
If this might be a brother.
Q: I should sun
To think but nobly of my grandmother:
Good wombs have borne bad sons.
(Act 1, scene two lines 116-120)
Speaker P wants his partner to
Akọwa Nkọwa
Ajụjụ 27 Ripọtì
A narrative in which characters and events are invented is
Akọwa Nkọwa
A narrative in which characters and events are invented is called fiction. Fictional works are imaginative and not based on real people or events. The author of a fictional work creates the characters, plot, setting, and other elements of the story. Fiction can include novels, short stories, plays, and other forms of literature.
Ajụjụ 28 Ripọtì
The performers in a play constitute the
Akọwa Nkọwa
The performers in a play constitute the cast. The cast refers to the actors and actresses who portray the characters in a play. They are responsible for bringing the words and actions of the play to life, and they work closely with the director to ensure that the play is performed as intended. The cast is an essential part of any theatrical production and their performances can greatly influence the success of the play.
Ajụjụ 29 Ripọtì
Read the extract and answer the question
X : Come on then; down, and swear.
Y : I shall laugh myself to death at this puppy-headed monster
A most scurvy monster! I could find in my heart to beat him
X: Come, kiss.
(Act 11 scene two lines 139-143)
Speaker X is
Akọwa Nkọwa
Speaker X is Stephano. In this passage, he is telling Y (who is likely Trinculo) to swear allegiance to him and then commands him to come and kiss him. This exchange takes place after the two of them have met Caliban, whom Y describes as a "puppy-headed monster" that he wants to beat. Stephano is a drunken butler who has joined forces with Trinculo and they plan to make Caliban their servant.
Ajụjụ 31 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
I wonder how long, you awful parasite
Shall share me this little bed,
And make me, from sweet dreams be lost
By sucking blood from my poor head.
I should but say man has much
Blood, which you and your families do feed
on; for supper, dinner, and lunch,
And besides, you do in my bed breed.
Clever thou art, tiny creature;
You attend me when I am deep asleep;
When thou art sure, I cant you capture,
Just as the time I snore deep.
''Tis so strange that before twilight,
The bed clear of you would seem;
For not one you is in my sight
As if your presence was in a dream.
The poem is a/an
Akọwa Nkọwa
The poem is a monologue. A monologue is a type of poem in which a single person is speaking or thinking aloud their thoughts, feelings or ideas. In this poem, the speaker is addressing a parasite and expressing their thoughts and emotions towards it. The speaker is not engaged in a conversation with anyone else, so it can be classified as a monologue.
Ajụjụ 32 Ripọtì
Read the extract and answer the question
At mine unworthiness, that dare not offer
What I desire to give; and much less take
What I shall die to want. But this is trifling;
And all the more it seeks to hide itself,
The bigger bulk it shows. Hence, bashful cunning!
And prompt me, plain and holy innocence!
(Act 111, scene one lines 78 - 83)
The speaker is expressing
Akọwa Nkọwa
Ajụjụ 33 Ripọtì
Read the extract ans answer your question
M : No, as I am a man.
N : There's nothing ill can dwell in such a temple\If the ill spirit have so fair a house,
Good things will strive to dwell with it.
(Act 1, scene two lines 459 - 462)
The speakers are
Akọwa Nkọwa
The speakers in this extract are M and N. They are having a conversation with each other. It is not clear from the given text whether they are arguing, in prison, dancing, or in love. However, they are discussing the idea that a good person cannot be inhabited by evil spirits, and vice versa. N suggests that if someone has a good heart, then good things will naturally be attracted to them.
Ajụjụ 35 Ripọtì
Read the extract ans answer your question
M : No, as I am a man.
N : There's nothing ill can dwell in such a temple\If the ill spirit have so fair a house,
Good things will strive to dwell with it.
(Act 1, scene two lines 459 - 462)
Speaker M is a
Akọwa Nkọwa
Speaker M is a man, as explicitly stated in his response to N's statement. The passage is a dialogue between two characters, M and N, and M's response is a straightforward answer to N's question. Therefore, there is no evidence to suggest that Speaker M is a prince, traitor, king, or sailor, as none of these identities are mentioned in the passage.
Ajụjụ 36 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
P : Mark his condition, and the answer questions
If this might be a brother.
Q: I should sun
To think but nobly of my grandmother:
Good wombs have borne bad sons.
(Act 1, scene two lines 116-120)
Speaker P is
Akọwa Nkọwa
Speaker P in the given extract is not explicitly mentioned by name, but based on the context of the scene, it can be inferred that the speaker is Prospero. He is asking his daughter Miranda to observe the shipwrecked men carefully and consider if one of them could be her long-lost brother.
Ajụjụ 37 Ripọtì
Read the passage and answer the question
The bright sun continued to smile. Andrew's face beamed with pleasure with every passing moment.
Very few of his contemporaries have so succeeded in reaching the top of the ladder. Andrew in particular
had been an orphan of storm. His father's death during his third year in the secondary school coupled with the physical misfortune which he suffered when a stockfish machine severed his left middle finger, constituted a serious setback but Andrew did not despair.
The courage to fail is very cheap; every fool can afford of fail. But it raises one above the herd of cowards and never-do-wells to be up and struggling. The reward of forbearance in the end is resounding success.
And so it was for was for Andrew ever since he finished his university education; it had been success galore. He had got a good job in one of the country's insurance companies. His pay was good, his prospects seemed bright. The habitual Thomases in his family found it very hard to believe. At forty he had a good car and had already built a house of his own.The world was at his feet.
The mood of the extract is one of
Akọwa Nkọwa
The mood of the extract is one of admiration. The passage describes Andrew's success and the challenges he faced along the way, but the overall tone is positive and laudatory. The author uses words like "pleasure," "beamed with," and "success galore" to convey a sense of pride and admiration for Andrew's achievements. The author also emphasizes Andrew's courage and perseverance in the face of adversity, further reinforcing the mood of admiration.
Ajụjụ 38 Ripọtì
Read the extract and answer the question
X : Come on then; down, and swear.
Y : I shall laugh myself to death at this puppy-headed monster
A most scurvy monster! I could find in my heart to beat him
X: Come, kiss.
(Act 11 scene two lines 139-143)
Another character present is
Akọwa Nkọwa
Ajụjụ 39 Ripọtì
One of the following is not a form of poetry
Akọwa Nkọwa
Suspense is not a form of poetry. Suspense refers to a feeling of excitement or anticipation about what may happen next in a story, movie, or other narrative form. Sonnet, ode, and lyric, on the other hand, are all forms of poetry. A sonnet is a 14-line poem with a specific rhyme scheme, while an ode is a type of lyrical poem that expresses admiration or celebration. A lyric poem, meanwhile, expresses personal feelings or emotions and often has a musical quality.
Ajụjụ 40 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
I wonder how long, you awful parasite
Shall share me this little bed,
And make me, from sweet dreams be lost
By sucking blood from my poor head.
I should but say man has much
Blood, which you and your families do feed
on; for supper, dinner, and lunch,
And besides, you do in my bed breed.
Clever thou art, tiny creature;
You attend me when I am deep asleep;
When thou art sure, I cant you capture,
Just as the time I snore deep.
''Tis so strange that before twilight,
The bed clear of you would seem;
For not one you is in my sight
As if your presence was in a dream.
The poet's mood is one of
Akọwa Nkọwa
The poet's mood is sarcasm. The speaker is addressing a bedbug and describing how it disturbs his sleep and feeds on his blood. The use of words like "clever" and "tiny creature" to refer to the bedbug is a sarcastic tone. The poet is also sarcastic in describing how the bedbug seems to disappear before twilight, as if its presence is a dream.
Ajụjụ 41 Ripọtì
A story which explains a natural phenomenon is
Akọwa Nkọwa
A story which explains a natural phenomenon is a myth. Myths are traditional stories that often involve gods or supernatural beings and are used to explain the origins of the world, natural phenomena, or cultural customs and beliefs.
Ajụjụ 42 Ripọtì
Read the extract and answer the question
At mine unworthiness, that dare not offer
What I desire to give; and much less take
What I shall die to want. But this is trifling;
And all the more it seeks to hide itself,
The bigger bulk it shows. Hence, bashful cunning!
And prompt me, plain and holy innocence!
(Act 111, scene one lines 78 - 83)
After this speech, the character addressed
Akọwa Nkọwa
The character kneels after this speech. In this passage, the speaker is expressing their unworthiness to receive what they desire and even less so to take what they would die without. The speaker then goes on to call their hesitation and reluctance 'bashful cunning' and asks for guidance from 'plain and holy innocence'. This passage is part of a larger scene where the speaker is seeking forgiveness and expressing their remorse for their past actions. After this speech, the character kneels, which is an act of humility and submission, suggesting they are seeking forgiveness or absolution for their past deeds.
Ajụjụ 43 Ripọtì
A major character whose flaws combine with external forces that lead to his downfall is a
Akọwa Nkọwa
A major character whose flaws combine with external forces that lead to his downfall is a tragic hero. A tragic hero is a character, typically the protagonist, who possesses admirable qualities but also has a tragic flaw or weakness that leads to their downfall. In addition to their own flaws, the tragic hero is also subject to external forces such as fate or societal pressure that contribute to their downfall. The tragic hero's downfall often leads to a catharsis, a release of emotions, in the audience. This type of character has been used in literature, theater, and film for centuries, and is still a popular archetype in modern storytelling. In summary, a tragic hero is a major character who has a fatal flaw or weakness, which, combined with external forces, leads to their downfall.
Ajụjụ 44 Ripọtì
Read the passage and answer the question
The bright sun continued to smile. Andrew's face beamed with pleasure with every passing moment.
Very few of his contemporaries have so succeeded in reaching the top of the ladder. Andrew in particular
had been an orphan of storm. His father's death during his third year in the secondary school coupled with the physical misfortune which he suffered when a stockfish machine severed his left middle finger, constituted a serious setback but Andrew did not despair.
The courage to fail is very cheap; every fool can afford of fail. But it raises one above the herd of cowards and never-do-wells to be up and struggling. The reward of forbearance in the end is resounding success.
And so it was for was for Andrew ever since he finished his university education; it had been success galore. He had got a good job in one of the country's insurance companies. His pay was good, his prospects seemed bright. The habitual Thomases in his family found it very hard to believe. At forty he had a good car and had already built a house of his own.The world was at his feet.
The passage is an example of a/an
Akọwa Nkọwa
Ajụjụ 45 Ripọtì
Use the following lines to answer the question
Truth may bend but will never break:
It will ever rise above falsehood as oil above water.
The simile in the second line
Akọwa Nkọwa
Ajụjụ 46 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
I wonder how long, you awful parasite
Shall share me this little bed,
And make me, from sweet dreams be lost
By sucking blood from my poor head.
I should but say man has much
Blood, which you and your families do feed
on; for supper, dinner, and lunch,
And besides, you do in my bed breed.
Clever thou art, tiny creature;
You attend me when I am deep asleep;
When thou art sure, I cant you capture,
Just as the time I snore deep.
''Tis so strange that before twilight,
The bed clear of you would seem;
For not one you is in my sight
As if your presence was in a dream.
The poem is about a
Akọwa Nkọwa
Ajụjụ 47 Ripọtì
Read the extract and answer the question
At mine unworthiness, that dare not offer
What I desire to give; and much less take
What I shall die to want. But this is trifling;
And all the more it seeks to hide itself,
The bigger bulk it shows. Hence, bashful cunning!
And prompt me, plain and holy innocence!
(Act 111, scene one lines 78 - 83)
The speaker is
Akọwa Nkọwa
Ajụjụ 48 Ripọtì
Read the passage and answer the question
The bright sun continued to smile. Andrew's face beamed with pleasure with every passing moment.
Very few of his contemporaries have so succeeded in reaching the top of the ladder. Andrew in particular
had been an orphan of storm. His father's death during his third year in the secondary school coupled with the physical misfortune which he suffered when a stockfish machine severed his left middle finger, constituted a serious setback but Andrew did not despair.
The courage to fail is very cheap; every fool can afford of fail. But it raises one above the herd of cowards and never-do-wells to be up and struggling. The reward of forbearance in the end is resounding success.
And so it was for was for Andrew ever since he finished his university education; it had been success galore. He had got a good job in one of the country's insurance companies. His pay was good, his prospects seemed bright. The habitual Thomases in his family found it very hard to believe. At forty he had a good car and had already built a house of his own.The world was at his feet.
''Orphan of storm'' implies that Andrew
Akọwa Nkọwa
The phrase "Orphan of storm" implies that Andrew had a difficult early life. The passage states that Andrew's father died when he was in his third year of secondary school and he also suffered a physical misfortune that severed his left middle finger. These setbacks were referred to as a "storm" in his life, and the fact that he was an "orphan" of this storm implies that he had to face it alone and without the support of his father.
Ajụjụ 49 Ripọtì
Read the extract ans answer your question
M : No, as I am a man.
N : There's nothing ill can dwell in such a temple\If the ill spirit have so fair a house,
Good things will strive to dwell with it.
(Act 1, scene two lines 459 - 462)
Speaker M means to
Akọwa Nkọwa
Speaker M is not making any indication of wanting to defend himself, kill himself, escape from prison, or dine with N in the given extract. M simply responds with the statement "No, as I am a man," to an unknown question or statement made by N. The context and content of M's response do not provide any specific indication of what he means to do or achieve.
Ajụjụ 50 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
P : Mark his condition, and the answer questions
If this might be a brother.
Q: I should sun
To think but nobly of my grandmother:
Good wombs have borne bad sons.
(Act 1, scene two lines 116-120)
The dialogue recalls
Akọwa Nkọwa
Ajụjụ 51 Ripọtì
Read the extract and answer the question
X : Come on then; down, and swear.
Y : I shall laugh myself to death at this puppy-headed monster
A most scurvy monster! I could find in my heart to beat him
X: Come, kiss.
(Act 11 scene two lines 139-143)
The setting is
Akọwa Nkọwa
The extract is from William Shakespeare's play "The Tempest". Based on the dialogue, the setting is another part of the island.
Ajụjụ 52 Ripọtì
AFRICAN PROSE
ADICHIE CHIMAMANDA NGOZI: Purple Hibiscus
Examine the role of Papa-Nnukwu in the novel.
Ajụjụ 53 Ripọtì
AFRICAN POETRY
Discuss the suffering of the masses in "Myopia"
Ajụjụ 54 Ripọtì
NON-AFRICAN DRAMA
OSCAR WILDE: The Importance of Being Earnest
Comment on the role of Gwendolen Fairfax.
Ajụjụ 55 Ripọtì
NON — AFRICAN PROSE
WILLIAM GOLDING: Lord Of The Flies
Comment on Jack's leadership style
Akọwa Nkọwa
None
Ajụjụ 56 Ripọtì
AFRICAN DRAMA
FEMI OSOFISAN: Women of Owu
Comment on the agreement between Anlugbua and Lawumi to punish the allied forces
Akọwa Nkọwa
None
Ajụjụ 57 Ripọtì
NON — AFRICAN PROSE
ERNEST HEMINGWAY: The Old Man and The Sea
Examine the use of flashback and monologue in the novel.
Akọwa Nkọwa
None
Ajụjụ 58 Ripọtì
AFRICAN PROSE
ADICHIE CHIMAMANDA NGOZI: Purple Hibiscus
Compare Aunt Ifeoma and her brother's relationship with their children.
Ajụjụ 59 Ripọtì
NON — AFRICAN PROSE
ERNEST HEMINGWAY: The Old Man and The Sea
Discuss Santiago's struggle with the Marlin.
Ajụjụ 60 Ripọtì
NON-AFRICAN POETRY
Comment on the imagery in "The Sunne Rising
Ajụjụ 61 Ripọtì
NON-AFRICAN POETRY
Discuss the theme of fate in "Upon An Honest Man 's Fortune."
Ajụjụ 62 Ripọtì
AFRICAN DRAMA
KOBINA SEKYI: The Blinkards.
Consider Barrister Onyimdze as a defender of African culture.
Ajụjụ 63 Ripọtì
NON-AFRICAN DRAMA
BERNARD SHAW: Arms and the Man
How is Catherine revealed as an accomplished liar in the garden scene?
Ajụjụ 64 Ripọtì
AFRICAN POETRY
Comment on "Boy on a swing" as a search for self identity.
Ajụjụ 65 Ripọtì
AFRICAN PROSE
ASARE KONADU: A Woman In Her Prime
Comment on the significance of the search for Yaw Boakye
Ajụjụ 66 Ripọtì
AFRICAN PROSE
ASARE KONADU: A Woman In Her Prime
How does Pokuwaa cope with tradition in the novel?
Akọwa Nkọwa
None
Ajụjụ 67 Ripọtì
NON-AFRICAN DRAMA
OSCAR WILDE: The Importance of Being Earnest
Examine the satire in the play
Akọwa Nkọwa
None
Ajụjụ 68 Ripọtì
NON-AFRICAN DRAMA
BERNARD SHAW: Arms and the Man
Examine the differences between Louka and Raina.
Ajụjụ 69 Ripọtì
AFRICAN DRAMA
FEMI OSOFISAN: Women of Owu
Discuss Gesinde's contribution to the development of the plot.
Ajụjụ 70 Ripọtì
NON — AFRICAN PROSE
WILLIAM GOLDING: Lord Of The Flies
Discuss fear as a dominant theme in the novel.
Ajụjụ 71 Ripọtì
AFRICAN DRAMA
KOBINA SEKYI: The Blinkards.
Comment on the comportment of the cosmopolitan club members
Ị ga-achọ ịga n'ihu na omume a?