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Ajụjụ 2 Ripọtì
During this speech
Ajụjụ 3 Ripọtì
A humorous imitation of a serious literary work is
Akọwa Nkọwa
A humorous imitation of a serious literary work is called a parody. It's when someone takes a famous book, poem, or song and makes fun of it by copying its style and tone but changing the words to create a funny effect. Parodies can be used to poke fun at the original work or to comment on contemporary events. It's a type of comedy that relies on making people laugh by cleverly mocking something else.
Ajụjụ 4 Ripọtì
A poem with fourteen lines of rhymed iambic pentrametre is
Akọwa Nkọwa
A poem with fourteen lines of rhymed iambic pentameter is a sonnet. A sonnet is a type of poem consisting of 14 lines, typically written in iambic pentameter with a specific rhyme scheme. The sonnet has been used by poets throughout history to express various themes and emotions, from love and beauty to loss and grief. The most famous form of the sonnet is the Shakespearean sonnet, which consists of three quatrains followed by a rhyming couplet, with the rhyme scheme ABAB CDCD EFEF GG.
Ajụjụ 5 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 Three, Scene I, lines 1-4)
The response given to this speech indicates that the attempt was
Akọwa Nkọwa
Ajụjụ 6 Ripọtì
UNSEEN PROSE AND POETRY
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 round 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, he sleeps on steadily. Once in a while, one of the sleepers will not wake; he will have had his wish to die in the great droning centre of the hive rather than in some lonely room fulfilled.
The passage conveys a mood of
Akọwa Nkọwa
The mood conveyed in this passage is one of despair. The description of the old men clinging to their seats, sleeping with painful awkwardness, and being nudged awake by a policeman creates a sense of hopelessness and resignation. The final sentence about some of the sleepers not waking up and fulfilling their wish to die in the busy station adds to the overall feeling of sadness and despair.
Ajụjụ 7 Ripọtì
Read the poem and answer the question
Sleep, O sleep
With thy Rod of Incantation
Charm my Imagination,
Then, only then, I cease to weep
By thy power,
The virgin, by Time O' ertaken,
For Years forlorn, forsaken,
Enjoys the happy Hour.
What's to sleep?
'Tis a visionary Blessing;
A dream that's past expressing;
Our utmost Wish possessing;
So may I always keep.
''Sleep'' in the poem is an example of
Akọwa Nkọwa
The word "Sleep" in the poem is an example of a pun. A pun is a play on words that involves using a word with multiple meanings or using words that sound similar but have different meanings. In this poem, the word "sleep" is used both in a literal sense as a state of rest and also in a figurative sense as a form of escape or relief from sorrow. The pun creates a double meaning, adding depth and complexity to the poem.
Ajụjụ 8 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract below and answer the question
If thou hast any sound, or use of voice,
Speak to me;
If there be any good thing to be done,
That may to thee do ease and grace to me,
Speak to me:
If thou art privy to the 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 One, Scene I, lines 128 - 139)
The Speaker is
Ajụjụ 9 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 Three, Scene I, lines 1-4)
The person being discussed is
Akọwa Nkọwa
The person being discussed in this extract is Hamlet. The speaker is asking if there is any way to find out from Hamlet why he is behaving in such a confused and erratic manner, which is causing disruption to his normally peaceful life.
Ajụjụ 10 Ripọtì
Read the extract and answer the question
Why, now you speak
Like a good child and a true gentleman.
That I am most sensible in grief for it,
It shall as level to your judgement pierce
As day does to your eye.
(Act Four Scene V, lines 128 - 133)
The character who has just been murdered is
Akọwa Nkọwa
The character who has just been murdered is Polonius. In this scene, Queen Gertrude is speaking to her son, Hamlet, about the recent death of Polonius. She is expressing her grief and telling Hamlet that he is now speaking like a good and true gentleman. She also assures him that her grief is genuine and that she feels it just as deeply as he does. The other characters mentioned in the options - Hamlet, Gertrude, and Claudius - are all characters in the play, but they are not the character who has just been murdered in this particular passage.
Ajụjụ 11 Ripọtì
Read the extract and answer the question
Y : Do you know me, my lord?
Z : Excellent well; you are a fishmonger
Y : Not I, my lord.
Z : Then I would you were so honest a man.
Y : Honest, my lord!
Z : Ay, sir; to be honest, as this world goes. Is to be one man picked out of ten thousand.
(Act Two, Scene II, lines 173-179)
The two characters who just left this scene are
Ajụjụ 12 Ripọtì
The dominant device used in drama is
Akọwa Nkọwa
The dominant device used in drama is dialogue. Dialogue is the conversation between characters that moves the plot forward and reveals their personalities, motivations, and conflicts. It is the most common and essential device used in drama as it helps to create tension, build relationships, and convey the story to the audience. Stage directions are important too, as they provide information about the setting, character movements, and actions. Characterisation is also crucial as it helps to create believable and relatable characters that the audience can connect with. Soliloquy, on the other hand, is a device used to reveal a character's inner thoughts and feelings to the audience, but it is not as commonly used as dialogue.
Ajụjụ 14 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 Three, Scene I, lines 1-4)
The character being addressed is
Akọwa Nkọwa
The character being addressed in this extract is Hamlet. The speaker is asking if there is any way to find out why Hamlet is behaving so erratically and causing chaos in his normally peaceful life.
Ajụjụ 15 Ripọtì
''....the dragon-fly
hangs like a blue thread
losened from the sky...'' illustrates
Akọwa Nkọwa
Ajụjụ 16 Ripọtì
Pick the odd item from the options listed below.
Akọwa Nkọwa
The odd item from the options listed is "Sonnet." A sonnet is a type of poem that traditionally consists of 14 lines, while the other options are all prose genres. Romance, novel, and short story are all forms of prose narrative that convey stories through characters, plot, and setting, while sonnets typically express a single idea or emotion in a structured poetic form. Therefore, the odd item is "Sonnet" as it does not belong to the category of prose genres.
Ajụjụ 17 Ripọtì
Read the extract and answer the question
Why, now you speak
Like a good child and a true gentleman.
That I am most sensible in grief for it,
It shall as level to your judgement pierce
As day does to your eye.
(Act Four Scene V, lines 128 - 133)
This speech can be best be interpreted to mean
Akọwa Nkọwa
Ajụjụ 18 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 Three, Scene I, lines 1-4)
The characters being addressed are
Akọwa Nkọwa
Ajụjụ 19 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract below and answer the question
If thou hast any sound, or use of voice,
Speak to me;
If there be any good thing to be done,
That may to thee do ease and grace to me,
Speak to me:
If thou art privy to the 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 One, Scene I, lines 128 - 139)
The speech was made after
Akọwa Nkọwa
The speech was made after the appearance of the ghost. The extract is from Act One, Scene I, and the ghost first appears in Scene IV. In this speech, the speaker is addressing the ghost and asking him to speak if he has any information that could be useful. The speaker asks the ghost to speak if he has any knowledge of good deeds that could ease the speaker's burden, or if he has any information about the country's fate. The reference to "spirits oft walk in death" suggests that the speaker is addressing a ghost or spirit, which would be consistent with the appearance of the ghost in Scene IV.
Ajụjụ 20 Ripọtì
The specific literary term used to distinguish a novel from a play is
Akọwa Nkọwa
The specific literary term used to distinguish a novel from a play is "genre." Genre refers to the category or type of literature that a particular work belongs to. A novel is a type of literary work that is usually written in prose and tells a long and complex story, while a play is a type of literary work that is usually written in dialogue and is meant to be performed on stage. So, while both novels and plays are forms of literature, they belong to different genres based on their unique characteristics and intended audience.
Ajụjụ 21 Ripọtì
Read the extract and answer the question
Why, now you speak
Like a good child and a true gentleman.
That I am most sensible in grief for it,
It shall as level to your judgement pierce
As day does to your eye.
(Act Four Scene V, lines 128 - 133)
The setting is
Akọwa Nkọwa
The setting in this extract is a room in the castle. This is indicated by the fact that the character Hamlet is speaking to someone and mentions his judgment on the matter at hand, which is likely related to the political and personal turmoil surrounding the royal court. Additionally, this scene takes place in Act Four, which is primarily set in the castle and deals with the fallout of Hamlet's actions and the various schemes and plots of the other characters.
Ajụjụ 22 Ripọtì
Read the extract and answer the question
Y : Do you know me, my lord?
Z : Excellent well; you are a fishmonger
Y : Not I, my lord.
Z : Then I would you were so honest a man.
Y : Honest, my lord!
Z : Ay, sir; to be honest, as this world goes. Is to be one man picked out of ten thousand.
(Act Two, Scene II, lines 173-179)
Speakers Y and Z are
Ajụjụ 23 Ripọtì
UNSEEN PROSE AND POETRY
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 round 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, he sleeps on steadily. Once in a while, one of the sleepers will not wake; he will have had his wish to die in the great droning centre of the hive rather than in some lonely room fulfilled.
''....on the backs of the benches'' illustrates
Ajụjụ 24 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract below and answer the question
If thou hast any sound, or use of voice,
Speak to me;
If there be any good thing to be done,
That may to thee do ease and grace to me,
Speak to me:
If thou art privy to the 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 One, Scene I, lines 128 - 139)
The character addressed is
Akọwa Nkọwa
The character addressed in the extract is the ghost. In the play, the ghost of Hamlet's father appears to him and speaks to him, revealing that he was murdered by his own brother, who has now become the king of Denmark. In this particular scene, Hamlet is addressing the ghost, asking him to speak to him and reveal any information that may be helpful to him.
Ajụjụ 26 Ripọtì
The elegy
Akọwa Nkọwa
An elegy is a type of poem that has a mournful or sad tone and is often written to express grief or lament the loss of someone or something. It does not necessarily have to be set in the countryside or celebrate heroic deeds, but it typically does not conform to a fixed pattern of lines. The structure of an elegy can vary, but it usually has a formal and reflective tone that expresses sadness or sorrow.
Ajụjụ 27 Ripọtì
Read the poem and answer the question
Sleep, O sleep
With thy Rod of Incantation
Charm my Imagination,
Then, only then, I cease to weep
By thy power,
The virgin, by Time O' ertaken,
For Years forlorn, forsaken,
Enjoys the happy Hour.
What's to sleep?
'Tis a visionary Blessing;
A dream that's past expressing;
Our utmost Wish possessing;
So may I always keep.
The power of ''sleep'' is described as
Akọwa Nkọwa
The power of sleep is described as magical in the poem. The speaker asks for sleep to use its magical power to charm their imagination so that they can stop weeping. Sleep is also described as a visionary blessing, which is past expressing, possessing our utmost wish, and always to be kept.
Ajụjụ 28 Ripọtì
Read the extract and answer the question
Why, now you speak
Like a good child and a true gentleman.
That I am most sensible in grief for it,
It shall as level to your judgement pierce
As day does to your eye.
(Act Four Scene V, lines 128 - 133)
The speaker is
Akọwa Nkọwa
Ajụjụ 29 Ripọtì
Read the extract and answer the question
Y : Do you know me, my lord?
Z : Excellent well; you are a fishmonger
Y : Not I, my lord.
Z : Then I would you were so honest a man.
Y : Honest, my lord!
Z : Ay, sir; to be honest, as this world goes. Is to be one man picked out of ten thousand.
(Act Two, Scene II, lines 173-179)
The underlined statement illustrates
Ajụjụ 30 Ripọtì
A pause within a line of a poem is a
Akọwa Nkọwa
A pause within a line of a poem is called a "caesura." It is a literary device used in poetry to create a break or pause in a line of verse, often marked by punctuation like a comma, semicolon, or dash. The caesura is used to add emphasis or create a particular rhythm in the poem. It is also used to add variety to the poem's structure, as it allows the poet to break up long lines and add more nuance to the poem's meaning.
Ajụjụ 31 Ripọtì
UNSEEN PROSE AND POETRY
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 round 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, he sleeps on steadily. Once in a while, one of the sleepers will not wake; he will have had his wish to die in the great droning centre of the hive rather than in some lonely room fulfilled.
''droning'' and ''have'' illustrate
Akọwa Nkọwa
Ajụjụ 32 Ripọtì
Unrhymed iambic pentametre lines illustrate a
Akọwa Nkọwa
Unrhymed iambic pentameter lines illustrate blank verse. Blank verse is a type of poetry that doesn't have a rhyme scheme but is written in iambic pentameter. Iambic pentameter is a meter in which each line contains ten syllables, with a stress on every second syllable. This creates a rhythm that can be pleasing to the ear and helps to give the poem a sense of order and structure, even without rhyme. Blank verse is often used in long-form poetry such as epics, plays, and narrative poems, as well as in modern poetry.
Ajụjụ 33 Ripọtì
Read the extract and answer the question
Y : Do you know me, my lord?
Z : Excellent well; you are a fishmonger
Y : Not I, my lord.
Z : Then I would you were so honest a man.
Y : Honest, my lord!
Z : Ay, sir; to be honest, as this world goes. Is to be one man picked out of ten thousand.
(Act Two, Scene II, lines 173-179)
Speaker Z's responses suggest that he is
Ajụjụ 34 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 Three, Scene I, lines 1-4)
The speaker is
Akọwa Nkọwa
Ajụjụ 35 Ripọtì
A struggle between opposing forces in a literary work is the
Akọwa Nkọwa
In a literary work, the struggle between opposing forces is called conflict. Conflict is the main problem or challenge that the characters face in the story. It can be a struggle between a character and an external force (such as nature or another character) or an internal conflict (such as a character's own thoughts or emotions). Conflict is essential to the plot of the story and often leads to a climax, which is the most intense point of the conflict. The denouement is the resolution or outcome of the conflict, where the loose ends of the story are tied up.
Ajụjụ 37 Ripọtì
UNSEEN PROSE AND POETRY
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 round 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, he sleeps on steadily. Once in a while, one of the sleepers will not wake; he will have had his wish to die in the great droning centre of the hive rather than in some loney room fulfilled.
The style of writing is
Akọwa Nkọwa
The style of writing in the passage is narrative. This is because the author is describing a scene or a series of events that are taking place in a particular location. The passage is not meant to persuade or argue a point, nor is it written in a letter or epistolary format. It is also not an explanation or exposition of a topic, but rather a description of the actions and behaviors of the old men in the train station. The language used is descriptive and paints a picture for the reader, allowing them to visualize the scene and the characters.
Ajụjụ 38 Ripọtì
UNSEEN PROSE AND POETRY
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 round 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, he sleeps on steadily. Once in a while, one of the sleepers will not wake; he will have had his wish to die in the great droning centre of the hive rather than in some lonely room fulfilled.
''.....gasping exhaustion of the ill-nourished and aged'' infers
Ajụjụ 39 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" illustrate a metaphor. A metaphor is a figure of speech that compares two things without using the words "like" or "as." In this case, the speaker compares time to a winged chariot that is chasing him. The metaphor suggests that time is a relentless force that is always behind us, urging us to move forward and reminding us of our own mortality. The metaphor also creates a sense of urgency and tension in the poem, as the speaker feels the pressure of time running out.
Ajụjụ 40 Ripọtì
''The strong gongs groaning as the guns boom far'' illustrates
Akọwa Nkọwa
The phrase "The strong gongs groaning as the guns boom far" illustrates onomatopoeia. Onomatopoeia is a literary device that uses words that imitate the sounds they describe. In this case, the words "gongs," "groaning," and "guns" imitate the sounds of the objects they refer to, while the word "boom" describes the sound made by the guns. The use of onomatopoeia in this phrase helps to create a vivid and sensory image in the reader's mind of the sounds of war. It is a way to bring the reader closer to the experience being described and to make the language more evocative and engaging.
Ajụjụ 41 Ripọtì
Pick the odd item from the options listed below.
Akọwa Nkọwa
The odd item among the options given is "Rhythm" because it does not belong to the category of figures of speech, whereas the other options such as "Euphemism," "Oxymoron," and "Hyperbole" are all figures of speech that are used to create meaning and emphasis in language. Euphemism is a figure of speech where a mild or indirect word or expression is used instead of one that is considered too harsh or blunt. For example, saying "passed away" instead of "died." Oxymoron is a figure of speech that combines two contradictory or opposite terms, creating a new and unexpected meaning. For example, "jumbo shrimp." Hyperbole is a figure of speech that uses exaggerated language to emphasize a point or create a vivid image. For example, "I've told you a million times." On the other hand, rhythm refers to the pattern of beats or sounds in music or language, and while it is an important aspect of poetry and speech, it is not a figure of speech.
Ajụjụ 42 Ripọtì
Read the extract and answer the question
Why, now you speak
Like a good child and a true gentleman.
That I am most sensible in grief for it,
It shall as level to your judgement pierce
As day does to your eye.
(Act Four Scene V, lines 128 - 133)
The underlined statement illustrates
Akọwa Nkọwa
The underlined statement is an example of a simile. This is because it makes a comparison between two things using the word "like". The speaker is saying that the listener's words are like those of a good child and a true gentleman. The simile is used to emphasize the positive qualities of the listener and to express appreciation for their words. A simile is a figure of speech that uses "like" or "as" to make a comparison between two things that are not alike but share some common qualities. In this case, the qualities being compared are the listener's words and the qualities of a good child and a true gentleman.
Ajụjụ 43 Ripọtì
Read the extract and answer the question
Y : Do you know me, my lord?
Z : Excellent well; you are a fishmonger
Y : Not I, my lord.
Z : Then I would you were so honest a man.
Y : Honest, my lord!
Z : Ay, sir; to be honest, as this world goes. Is to be one man picked out of ten thousand.
(Act Two, Scene II, lines 173-179)
Speaker Z thinks Y is
Ajụjụ 45 Ripọtì
Read the poem and answer the question
Sleep, O sleep
With thy Rod of Incantation
Charm my Imagination,
Then, only then, I cease to weep
By thy power,
The virgin, by Time O' ertaken,
For Years forlorn, forsaken,
Enjoys the happy Hour.
What's to sleep?
'Tis a visionary Blessing;
A dream that's past expressing;
Our utmost Wish possessing;
So may I always keep.
The dominant device used in the first line is
Akọwa Nkọwa
The dominant device used in the first line of the poem is an apostrophe. An apostrophe is a figure of speech in which the speaker addresses a person, thing, or concept that is not present. In this case, the speaker addresses sleep as if it were a person. The use of the apostrophe is evident in the phrase "Sleep, O sleep," which is a direct address to the concept of sleep. The apostrophe is a common literary device used in poetry to add emphasis, emotion, or rhetorical effect.
Ajụjụ 47 Ripọtì
Read the poem and answer the question
Sleep, O sleep
With thy Rod of Incantation
Charm my Imagination,
Then, only then, I cease to weep
By thy power,
The virgin, by Time O' ertaken,
For Years forlorn, forsaken,
Enjoys the happy Hour.
What's to sleep?
'Tis a visionary Blessing;
A dream that's past expressing;
Our utmost Wish possessing;
So may I always keep.
The poem makes use of
Akọwa Nkọwa
Ajụjụ 48 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract below and answer the question
If thou hast any sound, or use of voice,
Speak to me;
If there be any good thing to be done,
That may to thee do ease and grace to me,
Speak to me:
If thou art privy to the 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 One, Scene I, lines 128 - 139)
The speaker's mood is
Akọwa Nkọwa
Ajụjụ 50 Ripọtì
Read the poem and answer the question
Sleep, O sleep
With thy Rod of Incantation
Charm my Imagination,
Then, only then, I cease to weep
By thy power,
The virgin, by Time O' ertaken,
For Years forlorn, forsaken,
Enjoys the happy Hour.
What's to sleep?
'Tis a visionary Blessing;
A dream that's past expressing;
Our utmost Wish possessing;
So may I always keep.
The poem is
Akọwa Nkọwa
Ajụjụ 51 Ripọtì
AFRICAN POETRY
What does Clark find fascinating about the dancer in "Agbor Dancer?"
Ajụjụ 52 Ripọtì
AFRICAN PROSE ISIDORE OKPEWHO: The Last Duty
Examine the role of Major Ali in the novel.
Ajụjụ 53 Ripọtì
NON-AFRICAN DRAMA; Nikolai Gogol: The Government Inspector
Examine the satire in the play. Robert Bolt
Ajụjụ 54 Ripọtì
AFRICAN DRAMA; Joe De Graft Sons and Daughters
"Our society is sold on money: nothing is worth anything unless it brings money." How does this state ment reflect an aspect of the conflict in the play?
Ajụjụ 55 Ripọtì
NON-AFRICAN POETRY
Comment on the effectiveness of Houseman's use of imagery in "To An Athlete Dying Young."
Ajụjụ 56 Ripọtì
NON-AFRICAN PROSE RICHARD WRIGHT: Black boy
Examine the causes of violence in the novel.
Ajụjụ 57 Ripọtì
BUCHI EMECHETA: The Joys of Motherhood
"A man is never ugly". Using this statement as your starting point, examine the relationship between men and women in the novel.
Akọwa Nkọwa
None
Ajụjụ 58 Ripọtì
AFRICAN DRAMA Athol Fugard: Sizwe Bansi is Dead
Comment on the theme of the search for identity in the play.
Ajụjụ 59 Ripọtì
NON-AFRICAN DRAMA; Robert Bolt: A Man For All Seasons
What aspects of the Duke of Norfolk's character are revealed by his relationship with More?
Ajụjụ 60 Ripọtì
NON-AFRICAN PROSE RICHARD WRIGHT: Black boy
What does Wright's childhood experiences with his family reveal about him?
Ajụjụ 61 Ripọtì
BUCHI EMECHETA: The Joys of Motherhood
How does Nnu Ego's experiences in Amatokwu's house advance the plot of the novel?
Ajụjụ 62 Ripọtì
NON-AFRICAN PROSE; GEORGE ELIOT: Silas Marner
What role does fate play in the development of the plot.
Ajụjụ 63 Ripọtì
NON-AFRICAN POETRY
Examine the use of poetic devices in "The Solitary Reaper."
Ajụjụ 64 Ripọtì
AFRICAN DRAMA; Athol Fugard: Sizwe Bansi is Dead.
Discuss the dramatic techniques used in the play.
Ajụjụ 67 Ripọtì
NON-AFRICAN DRAMA; Nikolai Gogol: The Government Inspector
Discuss the theme of corruption in the play.
Ajụjụ 68 Ripọtì
AFRICAN PROSE; ISIDORE OKPEWHO: The Last Duty
Discuss the effects of the war on the people of Urukpe.
Ajụjụ 69 Ripọtì
NON-AFRICAN DRAMA; Robert Bolt: A Man For All Season
Discuss the conflict between Sir Thomas More and the authorities.
Ajụjụ 70 Ripọtì
AFRICAN POETRY
How does Rubadiri present the destructive force of the thunderstorm in "African Thunderstorm?"
Ị ga-achọ ịga n'ihu na omume a?