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Ajụjụ 1 Ripọtì
''But at my back I always hear
Time's winged chariot hurrying near'' illustrates
Akọwa Nkọwa
The lines "But at my back I always hear / Time's winged chariot hurrying near" illustrates a metaphor. The speaker is comparing time to a chariot with wings, suggesting that time is moving quickly and relentlessly, and it is catching up with the speaker from behind. The metaphor helps to convey a sense of urgency and the inevitability of the passing of time.
Ajụjụ 2 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
What a morning!
The sound of guns was everywhere
The city was trapped,
I heave a mournful sigh-
Rebels!
Boom Boom Boom!
The heart pants at the sound of the blast
Lord! When will all this end?
This is the fourth day.
You say you are free
Oh no, you are not
You are trapped-
A prisoner in your own home.
The song is everywhere.
What next?
Food - water - a hiding place
Far from the sound of the gun.
''The song is everywhere'' refers to
Akọwa Nkọwa
Ajụjụ 3 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Your leave and favour to return to France;
From whence though willingly I came to Denmark,
To show my duty in your coronation.
Yet now, I must confess, that duty done.
My thoughts and wishes bend again toward France
And bow them to your gracious leave and pardon.
(Act 1, Scene two, Lines 51 -57)
''Duty'' in the extract refers to
Ajụjụ 4 Ripọtì
Unrhymed iambic pentametre lines illustrate
Akọwa Nkọwa
Unrhymed iambic pentameter lines illustrate blank verse. Blank verse is a type of poetry that consists of unrhymed lines of iambic pentameter. This means that each line has ten syllables with a pattern of an unstressed syllable followed by a stressed syllable (iambic). Blank verse is often used in Shakespeare's plays and is sometimes referred to as "Shakespearean verse." It is commonly used in dramatic and epic poetry and provides a natural and rhythmic flow to the language without the constraints of rhyme.
Ajụjụ 5 Ripọtì
Read the passage and answer the question
Here in the station it is in no way different save that the city is busy in its snow. But the old men cling to their seats as though they were symbolic and could not be given up. Now and then they sleep, their grey old heads resting with painful awkwardness on the backs of the benches
Also they are not at rest. For an hour they may sleep in the gasping exhaustion of the ill-nourished and aged. who have to walk in the night. Then a policeman comes by on his rounds and nudges them upright.
''You can't sleep here'', he growls.
A strange ritual then begins. An old man is difficult to wake. One man after a slight lurch, does not move at all, droning centre of the hive rather than in some lonely room fulfilled.
The passage conveys a mood of
Akọwa Nkọwa
The mood conveyed in the passage is despair. The description of the old men clinging to their seats, sleeping with painful awkwardness, and being nudged upright by the policeman, all evoke a sense of hopelessness and desperation. The use of words such as "ill-nourished" and "aged" also contribute to this mood. The passage paints a bleak picture of the situation of the old men and their struggle to find a place to rest.
Ajụjụ 6 Ripọtì
Pick the odd item out of the options listed
Akọwa Nkọwa
The odd item out is "Rhythm". Euphemism, oxymoron, and hyperbole are all figures of speech, which are used in literature and everyday language to create certain effects. Euphemism is a way of expressing something unpleasant or offensive in a more polite or indirect way. Oxymoron is a figure of speech in which contradictory terms are combined for effect. Hyperbole is a figure of speech that involves exaggeration for emphasis or effect. On the other hand, rhythm is a musical term that refers to the pattern of beats or accents in a piece of music, and it is not a figure of speech.
Ajụjụ 7 Ripọtì
The major distinctive feature of drama is
Akọwa Nkọwa
The major distinctive feature of drama is dialogue. Dialogue is the spoken interaction between characters on stage, and it is what moves the story forward. Unlike other forms of literature, such as prose or poetry, drama is meant to be performed and heard, rather than read. Therefore, dialogue is essential for conveying the characters' emotions, motivations, and relationships, as well as the plot and themes of the play. While setting and plot are important elements of drama, it is through the dialogue that the characters and their conflicts come to life on stage. Epilogue, on the other hand, is a concluding section that follows the main body of a literary work, and it is not a distinctive feature of drama.
Ajụjụ 8 Ripọtì
The timing and location of a literary work is
Akọwa Nkọwa
The timing and location of a literary work is known as the setting. Setting refers to the time, place, and social environment in which the events of a story take place. It can include physical surroundings, historical time period, cultural context, and even the weather. Setting is important because it can create a sense of atmosphere, provide context for the characters' actions and motivations, and establish the mood or tone of the story.
Ajụjụ 9 Ripọtì
Read the passage and answer the question
Here in the station it is in no way different save that the city is busy in its snow. But the old men cling to their seats as though they were symbolic and could not be given up. Now and then they sleep, their grey old heads resting with painful awkwardness on the backs of the benches
Also they are not at rest. For an hour they may sleep in the gasping exhaustion of the ill-nourished and aged. who have to walk in the night. Then a policeman comes by on his rounds and nudges them upright.
''You can't sleep here'', he growls.
A strange ritual then begins. An old man is difficult to wake. One man after a slight lurch, does not move at all, droning centre of the hive rather than in some lonely room fulfilled.
This style of writing is
Akọwa Nkọwa
The style of writing in this passage is narrative. The author is describing a scene in a train station and telling a story about the old men who are sleeping and being woken up by a policeman. The language used is descriptive and paints a picture in the reader's mind, rather than presenting an argument or explaining a topic (expository) or writing in the form of a letter (epistolary).
Ajụjụ 10 Ripọtì
Read the extract and answer the question
If thou hast any sound, or use of voice,
Speak to me;
That may be any good thing to be grace to me,
Speak to me;
If thou art privy to thy country's fate,
Which, happily, foreknowing may avoid,
O, speak!
Or if thou has uphoarded in thy life
Extorted treasure in the womb of earth,
For which, they say, you spirits oft walk in death
Speak of it:
(Act 1 scene one, lines 129-139)
The speaker is
Akọwa Nkọwa
Ajụjụ 11 Ripọtì
Read the passage and answer the question
Here in the station it is in no way different save that the city is busy in its snow. But the old men cling to their seats as though they were symbolic and could not be given up. Now and then they sleep, their grey old heads resting with painful awkwardness on the backs of the benches
Also they are not at rest. For an hour they may sleep in the gasping exhaustion of the ill-nourished and aged. who have to walk in the night. Then a policeman comes by on his rounds and nudges them upright.
''You can't sleep here'', he growls.
A strange ritual then begins. An old man is difficult to wake. One man after a slight lurch, does not move at all, droning centre of the hive rather than in some lonely room fulfilled.
'',....gasping exhaustion of the ill-nourished and aged....'' infers
Akọwa Nkọwa
Ajụjụ 12 Ripọtì
The central idea of a story or a poem is the
Akọwa Nkọwa
The central idea of a story or a poem is the theme. It refers to the underlying message or meaning conveyed by the author through the characters, plot, setting, and other literary elements. The theme can be a universal truth, a lesson about life, or a commentary on society, among other things. It is what gives the work its depth and significance beyond the surface level plot.
Ajụjụ 13 Ripọtì
Read the extract and answer the question
If thou hast any sound, or use of voice,
Speak to me;
That may be any good thing to be grace to me,
Speak to me;
If thou art privy to thy country's fate,
Which, happily, foreknowing may avoid,
O, speak!
Or if thou has uphoarded in thy life
Extorted treasure in the womb of earth,
For which, they say, you spirits oft walk in death
Speak of it:
(Act 1 scene one, lines 129-139)
The speaker's mood is one of
Akọwa Nkọwa
The speaker's mood is one of anxiety. He is desperate for any information that may be useful to him, even asking a ghost to speak of any knowledge it may have about the country's fate. The urgency in his tone suggests a feeling of anxiety.
Ajụjụ 14 Ripọtì
The elegy
Akọwa Nkọwa
The elegy is a type of poem that has a mournful tone and is written to lament the death of a person or a group of people. It is not fixed to a specific pattern of lines, nor is it necessarily set in the countryside. While the elegy may sometimes mention heroic deeds of the person being lamented, it is primarily focused on expressing sorrow and grief.
Ajụjụ 15 Ripọtì
''Poetry gets bored of being alone. It wants to go outdoors to chew on the winds''
The dominant figure of speech in the above lines is
Akọwa Nkọwa
The dominant figure of speech in the above lines is personification. Personification is a figure of speech in which human qualities are attributed to non-human entities or objects. In the given lines, poetry is personified as wanting to go outdoors and chew on the winds, which is a human characteristic, and thus, it is an example of personification.
Ajụjụ 16 Ripọtì
Read the passage and answer the question
Here in the station it is in no way different save that the city is busy in its snow. But the old men cling to their seats as though they were symbolic and could not be given up. Now and then they sleep, their grey old heads resting with painful awkwardness on the backs of the benches
Also they are not at rest. For an hour they may sleep in the gasping exhaustion of the ill-nourished and aged. who have to walk in the night. Then a policeman comes by on his rounds and nudges them upright.
''You can't sleep here'', he growls.
A strange ritual then begins. An old man is difficult to wake. One man after a slight lurch, does not move at all, droning centre of the hive rather than in some lonely room fulfilled.
''.... on the backs of the benches'' illustrates
Akọwa Nkọwa
The phrase "on the backs of the benches" illustrates personification. This is because personification is the attribution of human qualities to non-human things. In this context, the benches are given the human quality of having a back, which allows the old men to rest their heads on them.
Ajụjụ 17 Ripọtì
Read the poem and answer the question
''No longer mourn for me when I am dead
Then you shall hear the surly sullen bell
Give warning to the world that I am fled
from this vile world, with vilest worms to dwell''
The rhyming pattern of the lines is
Akọwa Nkọwa
The rhyming pattern of the lines is "abab". This means that the last word of the first and third line rhymes, and the last word of the second and fourth line rhymes. In this poem, "dead" and "fled" rhyme, as do "bell" and "dwell".
Ajụjụ 18 Ripọtì
The limerick
Akọwa Nkọwa
A limerick is a form of poetry that is always light and humorous. It consists of five lines and follows a strict rhyming pattern, with the first, second, and fifth lines rhyming with each other, and the third and fourth lines rhyming with each other. Limericks are often nonsensical, and they frequently use wordplay and puns to create humor. They do not have a serious subject matter, and they do not use lofty language.
Ajụjụ 19 Ripọtì
Read the extract and answer the question
Do not forget: this visitation
Is but to what thy almost blunted purpose
But, look, amazement as thy mother sits:
O, step between her and her fighting soul:
(Act 111, scene four, lines 107 -110)
''fighting soul'' implies
Akọwa Nkọwa
Ajụjụ 20 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Your leave and favour to return to France;
From whence though willingly I came to Denmark,
To show my duty in your coronation.
Yet now, I must confess, that duty done.
My thoughts and wishes bend again toward France
And bow them to your gracious leave and pardon.
(Act 1, Scene two, Lines 51 -57)
The speaker is
Akọwa Nkọwa
Ajụjụ 21 Ripọtì
''The strong gongs groaming as the guns born far'' illustrates
Akọwa Nkọwa
The phrase "The strong gongs groaning as the guns born far" illustrates onomatopoeia, which is the use of words that imitate the sound they represent. In this case, the words "gongs" and "groaning" imitate the sound of bells ringing, and the word "guns" imitates the sound of explosions. The use of onomatopoeia in this line helps to create a vivid auditory image of a battle, adding to the overall sensory experience of the poem.
Ajụjụ 22 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
What a morning!
The sound of guns was everywhere
The city was trapped,
I heave a mournful sigh-
Rebels!
Boom Boom Boom!
The heart pants at the sound of the blast
Lord! When will all this end?
This is the fourth day.
You say you are free
Oh no, you are not
You are trapped-
A prisoner in your own home.
The song is everywhere.
What next?
Food - water - a hiding place
Far from the sound of the gun.
The theme of the poem is
Akọwa Nkọwa
The theme of the poem is war. The poem describes the sounds of guns and blasts that were heard everywhere, and how the city was trapped by rebels. The persona in the poem expresses sadness and worry about the situation, and feels like a prisoner in their own home. The poem talks about the need for food, water, and a hiding place far from the sound of the gun, indicating the danger and violence of war.
Ajụjụ 24 Ripọtì
A poem written in praise of someone or something is
Akọwa Nkọwa
An ode is a poem written in praise of someone or something. It is a type of lyrical poetry that expresses deep admiration or reverence for its subject. An ode usually has a complex structure and may contain stanzas of varying lengths and rhyme schemes. It often celebrates the beauty, power, or significance of its subject and is characterized by a highly elevated and formal tone.
Ajụjụ 25 Ripọtì
Read the poem and answer the question
''No longer mourn for me when I am dead
Then you shall hear the surly sullen bell
Give warning to the world that I am fled
from this vile world, with vilest worms to dwell''
The poet uses
Akọwa Nkọwa
Ajụjụ 26 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
What a morning!
The sound of guns was everywhere
The city was trapped,
I heave a mournful sigh-
Rebels!
Boom Boom Boom!
The heart pants at the sound of the blast
Lord! When will all this end?
This is the fourth day.
You say you are free
Oh no, you are not
You are trapped-
A prisoner in your own home.
The song is everywhere.
What next?
Food - water - a hiding place
Far from the sound of the gun.
The atmosphere of the poem implies
Akọwa Nkọwa
The atmosphere of the poem implies danger and confusion. The use of words such as "sound of guns," "trapped," "rebels," "blast," and "prisoner" create a sense of danger and unease. The repetition of "Boom Boom Boom" further emphasizes the chaos and violence. The speaker's mournful sigh and the question "Lord! When will all this end?" suggest a feeling of hopelessness and despair. Overall, the poem portrays a disturbing and tense atmosphere of a city caught up in conflict and violence.
Ajụjụ 27 Ripọtì
Read the passage and answer the question
Here in the station it is in no way different save that the city is busy in its snow. But the old men cling to their seats as though they were symbolic and could not be given up. Now and then they sleep, their grey old heads resting with painful awkwardness on the backs of the benches
Also they are not at rest. For an hour they may sleep in the gasping exhaustion of the ill-nourished and aged. who have to walk in the night. Then a policeman comes by on his rounds and nudges them upright.
''You can't sleep here'', he growls.
A strange ritual then begins. An old man is difficult to wake. One man after a slight lurch, does not move at all, droning centre of the hive rather than in some lonely room fulfilled.
''droning'' and ''have'' illustrate
Akọwa Nkọwa
Ajụjụ 28 Ripọtì
The major genres of Literature are
Akọwa Nkọwa
The major genres of Literature are Poetry, Drama, and Prose. 1. Poetry is a form of literary art that uses language to evoke emotions and express ideas, often with a musical quality. Poems can be structured in many ways, such as rhyme, meter, or free verse. 2. Drama is a form of literature that is intended to be performed on stage in front of an audience. It includes plays, musicals, and operas, and often explores complex themes and issues through dialogue and action. 3. Prose refers to any written or spoken language that is not poetry or drama, and includes many forms such as novels, short stories, essays, and biographies. Prose typically follows a more straightforward narrative structure and can be either fiction or non-fiction. These three genres have different forms and techniques for expressing ideas and emotions, and are essential in understanding and appreciating literature.
Ajụjụ 29 Ripọtì
Read the extract and answer the question
If thou hast any sound, or use of voice,
Speak to me;
That may be any good thing to be grace to me,
Speak to me;
If thou art privy to thy country's fate,
Which, happily, foreknowing may avoid,
O, speak!
Or if thou has uphoarded in thy life
Extorted treasure in the womb of earth,
For which, they say, you spirits oft walk in death
Speak of it:
(Act 1 scene one, lines 129-139)
During the speech,
Akọwa Nkọwa
Ajụjụ 30 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Your leave and favour to return to France;
From whence though willingly I came to Denmark,
To show my duty in your coronation.
Yet now, I must confess, that duty done.
My thoughts and wishes bend again toward France
And bow them to your gracious leave and pardon.
(Act 1, Scene two, Lines 51 -57)
The other character present at the scene is
Ajụjụ 31 Ripọtì
Read the extract and answer the question
If thou hast any sound, or use of voice,
Speak to me;
That may be any good thing to be grace to me,
Speak to me;
If thou art privy to thy country's fate,
Which, happily, foreknowing may avoid,
O, speak!
Or if thou has uphoarded in thy life
Extorted treasure in the womb of earth,
For which, they say, you spirits oft walk in death
Speak of it:
(Act 1 scene one, lines 129-139)
The character being addressed is
Akọwa Nkọwa
Ajụjụ 32 Ripọtì
Read the extract and answer the question
And can you, by no drift of circumstance,
Get from him why he puts on this confusion,
Grating so harshly all his days of quiet.
With turbulent and dangerous lunacy?
(Act 111, scene one line, 1-4)
The enquiry is about
Akọwa Nkọwa
The enquiry is about Hamlet. The speaker is asking whether there is any way to find out from Hamlet himself why he is behaving in such a confused and disturbed manner, which is causing great discomfort to himself and others. The use of phrases like "turbulent and dangerous lunacy" suggests that the speaker is deeply concerned about Hamlet's mental state and is seeking answers to help him.
Ajụjụ 33 Ripọtì
Read the extract and answer the question
And can you, by no drift of circumstance,
Get from him why he puts on this confusion,
Grating so harshly all his days of quiet.
With turbulent and dangerous lunacy?
(Act 111, scene one line, 1-4)
The character being discussed is
Akọwa Nkọwa
The character being discussed is Hamlet. The speaker is asking if there is any way to find out why Hamlet is behaving in a confused and disturbed manner, and if there are any specific reasons behind his recent erratic behavior.
Ajụjụ 34 Ripọtì
Pick the odd item out of the options listed
Akọwa Nkọwa
The odd item out is "a man for all seasons". The other three options relate to family, parenting, and death, while "a man for all seasons" is the title of a play by Robert Bolt, and does not have a direct connection to these themes.
Ajụjụ 35 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Your leave and favour to return to France;
From whence though willingly I came to Denmark,
To show my duty in your coronation.
Yet now, I must confess, that duty done.
My thoughts and wishes bend again toward France
And bow them to your gracious leave and pardon.
(Act 1, Scene two, Lines 51 -57)
The speaker is addressing
Ajụjụ 36 Ripọtì
Read the poem and answer the question
''No longer mourn for me when I am dead
Then you shall hear the surly sullen bell
Give warning to the world that I am fled
from this vile world, with vilest worms to dwell''
The mood of the poet is one of
Akọwa Nkọwa
The mood of the poet is melancholy. The speaker is discussing his death, and the words "mourn," "surly," "sullen," "warning," "vile," and "worms" all contribute to a sense of sadness and gloom.
Ajụjụ 37 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
What a morning!
The sound of guns was everywhere
The city was trapped,
I heave a mournful sigh-
Rebels!
Boom Boom Boom!
The heart pants at the sound of the blast
Lord! When will all this end?
This is the fourth day.
You say you are free
Oh no, you are not
You are trapped-
A prisoner in your own home.
The song is everywhere.
What next?
Food - water - a hiding place
Far from the sound of the gun.
''Boom Boom Boom'' is an example of
Akọwa Nkọwa
"Boom Boom Boom" is an example of onomatopoeia. Onomatopoeia is a figure of speech in which words imitate the sounds they describe. In this poem, the phrase "Boom Boom Boom" imitates the sound of gunfire, creating a more vivid and immersive reading experience for the reader.
Ajụjụ 38 Ripọtì
Read the extract and answer the question
Do not forget: this visitation
Is but to what thy almost blunted purpose
But, look, amazement as thy mother sits:
O, step between her and her fighting soul:
(Act 111, scene four, lines 107 -110)
The speech is made in the
Akọwa Nkọwa
The speech is made in the Queen's closet. In the lines preceding the given extract, Hamlet has just seen his father's ghost and is following it to speak with him, and in the lines following the extract, Hamlet and his mother are discussing his behavior. Therefore, it can be inferred that Hamlet is in his mother's chambers or closet, making the speech to himself or to the ghost.
Ajụjụ 39 Ripọtì
Read the extract and answer the question
And can you, by no drift of circumstance,
Get from him why he puts on this confusion,
Grating so harshly all his days of quiet.
With turbulent and dangerous lunacy?
(Act 111, scene one line, 1-4)
The character being addressed are
Ajụjụ 40 Ripọtì
Read the extract and answer the question
Do not forget: this visitation
Is but to what thy almost blunted purpose
But, look, amazement as thy mother sits:
O, step between her and her fighting soul:
(Act 111, scene four, lines 107 -110)
The character being addressed is
Akọwa Nkọwa
The character being addressed is Hamlet. This is clear from the context of the excerpt, where the speaker is urging Hamlet to intervene as his mother's conscience is being affected by the play they have just watched. The use of the words "thy almost blunted purpose" further confirms that the speaker is addressing Hamlet, as he is referring to Hamlet's delayed revenge on his father's murderer.
Ajụjụ 41 Ripọtì
Read the extract and answer the question
And can you, by no drift of circumstance,
Get from him why he puts on this confusion,
Grating so harshly all his days of quiet.
With turbulent and dangerous lunacy?
(Act 111, scene one line, 1-4)
The speaker is
Akọwa Nkọwa
Ajụjụ 42 Ripọtì
The recurrence of rhythmic pattern of stress in a poem is
Akọwa Nkọwa
The recurrence of a rhythmic pattern of stress in a poem is called "metre". Metre is a musical term that refers to the pattern of beats in a line of poetry. It is created by the arrangement of stressed and unstressed syllables in a line. The pattern can be regular or irregular, and different types of metre have different names, such as iambic pentameter or trochaic tetrameter. The metre of a poem can greatly affect its mood, tone, and overall impact on the reader.
Ajụjụ 43 Ripọtì
Read the extract and answer the question
If thou hast any sound, or use of voice,
Speak to me;
That may be any good thing to be grace to me,
Speak to me;
If thou art privy to thy country's fate,
Which, happily, foreknowing may avoid,
O, speak!
Or if thou has uphoarded in thy life
Extorted treasure in the womb of earth,
For which, they say, you spirits oft walk in death
Speak of it:
(Act 1 scene one, lines 129-139)
The speech is made after
Akọwa Nkọwa
The speech is made after the appearance of the ghost. The speaker is Hamlet, who is addressing the ghost of his father, asking him to speak if he has any knowledge that could be helpful to Hamlet. Hamlet is urging the ghost to reveal any secrets about his death or the political situation in Denmark. The speech highlights Hamlet's desire for revenge and his desperation for answers.
Ajụjụ 44 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Do not forget: this visitation
Is but to what thy almost blunted purpose
But, look, amazement as thy mother sits:
O, step between her and her fighting soul:
(Act 111, scene four, lines 107 -110)
The speaker is
Akọwa Nkọwa
The speaker is the Ghost. In this passage, the Ghost is reminding Hamlet about his purpose for revenge and urging him to focus on it. The Ghost then directs Hamlet's attention to his mother's distress, asking him to intervene and prevent her from feeling guilty.
Ajụjụ 45 Ripọtì
''My bounty is as boundless as the sea
My love as deep'' The above lines illustrate
Akọwa Nkọwa
The above lines illustrate hyperbole. Hyperbole is a figure of speech in which exaggeration is used for emphasis or effect. In this case, the speaker is using hyperbole to exaggerate the boundlessness of their love by comparing it to the vastness of the sea.
Ajụjụ 46 Ripọtì
Read the extract and answer the question
Do not forget: this visitation
Is but to what thy almost blunted purpose
But, look, amazement as thy mother sits:
O, step between her and her fighting soul:
(Act 111, scene four, lines 107 -110)
''blunted purpose'' implies
Akọwa Nkọwa
Ajụjụ 47 Ripọtì
A short introductory speech delivered as part of a play is called
Akọwa Nkọwa
A short introductory speech delivered as part of a play is called a "prologue". The prologue is typically spoken by a character called the "chorus" at the beginning of the play, and it serves to set the scene, provide some background information, and introduce the major themes or conflicts that will be explored in the play. The prologue can also help to establish the tone of the play and engage the audience's attention from the start.
Ajụjụ 48 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
Your leave and favour to return to France;
From whence though willingly I came to Denmark,
To show my duty in your coronation.
Yet now, I must confess, that duty done.
My thoughts and wishes bend again toward France
And bow them to your gracious leave and pardon.
(Act 1, Scene two, Lines 51 -57)
The speaker intends to return to
Akọwa Nkọwa
The speaker in the extract intends to return to France. This is evident from the line "Yet now, I must confess, that duty done. My thoughts and wishes bend again toward France". The speaker had come to Denmark willingly to show his duty in the coronation but now wishes to return to France, seeking the king's gracious leave and pardon.
Ajụjụ 49 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
What a morning!
The sound of guns was everywhere
The city was trapped,
I heave a mournful sigh-
Rebels!
Boom Boom Boom!
The heart pants at the sound of the blast
Lord! When will all this end?
This is the fourth day.
You say you are free
Oh no, you are not
You are trapped-
A prisoner in your own home.
The song is everywhere.
What next?
Food - water - a hiding place
Far from the sound of the gun.
The second stanza refers to
Akọwa Nkọwa
The second stanza refers to the uncertainty of life. The sound of guns and the blasts make the heart pant at the uncertain future. The poet wonders when all this chaos and violence will come to an end. The phrase "This is the fourth day" suggests that the violence has been going on for some time, which contributes to the sense of uncertainty and insecurity. The stanza ends with the speaker acknowledging that they are not free, but rather trapped in their own home, and seeking basic necessities such as food, water, and a hiding place.
Ajụjụ 50 Ripọtì
Read the extract and answer the question
And can you, by no drift of circumstance,
Get from him why he puts on this confusion,
Grating so harshly all his days of quiet.
With turbulent and dangerous lunacy?
(Act 111, scene one line, 1-4)
The response given to this speech indicates that the attempt was
Akọwa Nkọwa
Based on the given excerpt, the attempt made to get information from the person referred to was not successful. The speaker seems to be frustrated by the situation and is asking if there is any way to get information about the person's behavior, which is causing disturbance and confusion. The fact that the question is being asked suggests that the attempts made so far have not been successful.
Ajụjụ 51 Ripọtì
AFRICAN POETRY
Examine the poet's use of images in "Songs of Sorrow I and II".
Ajụjụ 52 Ripọtì
AFRICAN PROSE
ISIDORE OKPEWHO: The Last Duty
Discuss the view that Aku is a tragic character.
Ajụjụ 53 Ripọtì
NON-AFRICAN DRAMA
NIKOLAI GOGOL: The Government Inspector
Examine three comic scenes in the play.
Ajụjụ 54 Ripọtì
AFRICAN POETRY
Discuss the characteristics and effects of the storm in "An African Thunderstorm".
Ajụjụ 55 Ripọtì
NON-AFRICAN DRAMA
ROBERT BOLT: A Man For All Seasons
Examine the characters of Sir Thomas More and Master Cromwell.
Ajụjụ 56 Ripọtì
NON-AFRICAN POETRY
How effective is Housman's use of Imagery in "To An Athlete Dying Young?".
Ajụjụ 57 Ripọtì
NON-AFRICAN PROSE
RICHARD WRIGHT: Black Boy
Discuss the relationship between Richard and the members of his family.
Ajụjụ 58 Ripọtì
NON-AFRICAN POETRY
Examine the theme of rejected love in Marvel's "To His Coy Mistress".
Ajụjụ 59 Ripọtì
AFRICAN DRAMA
ATHOL FUGARD: Sizwe Bansi is Dead.
Discuss the dramatic techniques employed in the play.
Ajụjụ 60 Ripọtì
NON-AFRICAN DRAMA
NIKOLAI GOGOL: The Government Inspector
Compare the characters of the Mayor and Anna Andreyevna.
Ajụjụ 61 Ripọtì
NON-AFRICAN DRAMA
ROBERT BOLT: A Man For All Seasons
Examine the play as a conflict between king Henry's desires and More's principles.
Ajụjụ 62 Ripọtì
AFRICAN DRAMA
ATHOL FUGARD: Sizwe Bansi is Dead.
Discuss the use of symbols in the play.
Ajụjụ 64 Ripọtì
AFRICAN PROSE
ISIDORE OKPEWHO: The Last Duty
Discuss the horrors of war in the novel.
Ajụjụ 65 Ripọtì
AFRICAN PROSE
BUCHI EMECHETA: The Joys of Motherhood.
Comment on the theme of gender discrimination in the novel.
Ajụjụ 66 Ripọtì
AFRICAN PROSE
BUCHI EMECHETA: The Joys of Motherhood.
How important is Mama Abby to Nnu-Ego's survival in the city?
Ajụjụ 67 Ripọtì
AFRICAN DRAMA
JOE DE GRAFT: Sons and Daughters
Compare and contrast the roles of Hannah and Fosuwa in the play.
Ajụjụ 68 Ripọtì
NON-AFRICAN PROSE
RICHARD WRIGHT: Black Boy
Comment on the theme of racism in the novel.
Akọwa Nkọwa
None
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