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Ajụjụ 1 Ripọtì
recurring dominant idea in a work of a art is called
Akọwa Nkọwa
A recurring dominant idea in a work of art is called a motif. A motif is a recurring symbol, image, theme or idea that runs throughout a literary or artistic work. It helps to unify the work and convey a particular message or idea to the audience. The motif can be a physical object, a repeated action or gesture, a color, or even a sound. By repeating the motif throughout the work, the artist or author emphasizes its importance and deepens the meaning of the work.
Ajụjụ 2 Ripọtì
Read the extract and answer the question
Thrift, thrift,....! the funeral baked meats
Did coldly furnish forth the marriage tables.
Would I had seen that day,.....!
My father! _ Me thinks I see my father.
(Act 1, Scene Two, Lines 180-184)
The other character who comes on the scene after this is
Akọwa Nkọwa
Ajụjụ 3 Ripọtì
A literary work written in from of a letter is
Akọwa Nkọwa
A literary work written in the form of a letter is called an epistolary work. This type of literature is structured as a series of letters exchanged between characters or as a single letter written by a character to another character or an intended audience. The letters may be real or fictional, and they reveal the characters' thoughts, feelings, and motivations. Examples of epistolary works include "The Color Purple" by Alice Walker, "Dracula" by Bram Stoker, and "Les Liaisons Dangereuses" by Pierre Choderlos de Laclos.
Ajụjụ 4 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
It is here,......thou art slain;
No medicine in the world can do thee good,
In thee there is not half an hour of life;
The treacherous instrument is in thy hand,
Unbated and envenom d: the foul practice
Hath turn'd itself on me; lo; here I lie,
(Act 5, Scene Two, Lines 298-303)
The speaker is
Akọwa Nkọwa
The speaker in this passage is Laertes. He is speaking about his own impending death as a result of the poisoned sword he used to wound Hamlet during their final duel. Laertes realizes that he himself has become a victim of the "foul practice" he had intended for Hamlet, and laments that there is no cure for the deadly poison that is now coursing through his body.
Ajụjụ 5 Ripọtì
Drama is meant to
Akọwa Nkọwa
Drama is a form of literature that is meant to educate and entertain the audience. Through the portrayal of characters and their actions, drama provides insight into human behavior, society, and culture. It may also serve to criticize social norms or institutions. While it is primarily intended to be performed, drama can also be read and studied as a form of literature. Therefore, the correct answer is "educate and entertain".
Ajụjụ 6 Ripọtì
A piece of writing which teaches morals is
Akọwa Nkọwa
A piece of writing which teaches morals is "didactic". It is intended to instruct or educate the reader or audience about a particular moral or ethical issue. Didactic writing can take many forms, including fables, parables, allegories, and even some forms of poetry and drama. The primary purpose of didactic writing is to teach a lesson or impart a moral, rather than simply to entertain or amuse.
Ajụjụ 7 Ripọtì
Read the extract and answer the question
I prithee, when thou seest that act afoot,
Even with the very comment of thy soul
Observe mine uncle: if his occulted guilt
Do not itself unkennel in one speech,
It is a dammed ghost that we have seen.....
(Act 1, Scene Two, Lines 73-77)
The speaker is
Akọwa Nkọwa
The speaker is Hamlet. He is asking his friend Horatio to observe his uncle's reaction during the play to determine whether he is guilty of the murder of Hamlet's father or not. Hamlet suspects his uncle's guilt and hopes to confirm it through his uncle's behavior during the play.
Ajụjụ 8 Ripọtì
''Pregnant clouds'' is an example of
Akọwa Nkọwa
The phrase "pregnant clouds" is an example of a metaphor. A metaphor is a figure of speech in which a word or phrase is applied to something to which it is not literally applicable, in order to suggest a resemblance. In this case, the clouds are being compared to a pregnant woman, suggesting that they are full and heavy with the possibility of releasing precipitation.
Ajụjụ 9 Ripọtì
The concluding part of a play where the conflict is resolved is the
Akọwa Nkọwa
The concluding part of a play where the conflict is resolved is the denouement. It is the final part of the plot where the loose ends are tied up, questions are answered, and the main conflict is resolved. The denouement comes after the climax of the story and leads to the resolution of the story. It is the final moment where the audience can reflect on the outcome of the play.
Ajụjụ 10 Ripọtì
A poem of fourteen lines is
Akọwa Nkọwa
A poem of fourteen lines is a sonnet. Sonnets typically follow a specific rhyme scheme and are often divided into two parts: an octave (eight lines) and a sestet (six lines). The most famous type of sonnet is the Shakespearean sonnet, which has the rhyme scheme ABAB CDCD EFEF GG in its 14 lines. Sonnets are often used to explore themes of love, beauty, and mortality.
Ajụjụ 11 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
It is here,......thou art slain;
No medicine in the world can do thee good,
In thee there is not half an hour of life;
The treacherous instrument is in thy hand,
Unbated and envenom d: the foul practice
Hath turn'd itself on me; lo; here I lie,
(Act 5, Scene Two, Lines 298-303)
The setting is
Ajụjụ 12 Ripọtì
A stanza of four lines in poetry is
Akọwa Nkọwa
A stanza of four lines in poetry is called a quatrain. The word "quatrain" comes from the French word "quatre," meaning "four." A quatrain is a common type of stanza used in various forms of poetry, including sonnets, ballads, and odes. It typically consists of four lines with a specific rhyme scheme and meter. Quatrains can be written in a variety of styles, such as alternating rhyme or enclosed rhyme, and can be used to convey different themes and emotions depending on the poem's context.
Ajụjụ 13 Ripọtì
Read the extract and answer the question
I prithee, when thou seest that act afoot,
Even with the very comment of thy soul
Observe mine uncle: if his occulted guilt
Do not itself unkennel in one speech,
It is a dammed ghost that we have seen.....
(Act 1, Scene Two, Lines 73-77)
The ''uncle'' being referred to is
Akọwa Nkọwa
In the given extract, the speaker is advising someone to observe his uncle's reaction during a play. The uncle being referred to in this extract is Claudius, the new king of Denmark and the brother of the previous king, Hamlet's father. Claudius is also Hamlet's uncle, and the play revolves around the suspicion of Hamlet that Claudius has murdered his father to become the king. Therefore, the correct answer is Claudius.
Ajụjụ 14 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
It is here,......thou art slain;
No medicine in the world can do thee good,
In thee there is not half an hour of life;
The treacherous instrument is in thy hand,
Unbated and envenom d: the foul practice
Hath turn'd itself on me; lo; here I lie,
(Act 5, Scene Two, Lines 298-303)
The addresses later
Akọwa Nkọwa
Ajụjụ 15 Ripọtì
A literary work in which action and characters represent ideas is
Akọwa Nkọwa
An allegory is a literary work in which action and characters represent ideas. An allegory is a form of extended metaphor in which objects, persons, and actions in a narrative are equated with meanings that lie outside the narrative itself. In other words, an allegory is a story or a poem in which characters and events symbolize or represent something else. The purpose of an allegory is to convey a moral or political message to the reader in a way that is both entertaining and thought-provoking.
Ajụjụ 16 Ripọtì
UNSEEN POETRY AND PROSE
Read the poem and answer the question
At the onset of the rain
The drought-stricken land
Suck up the wetness
And the gates to the field
Are flung widely open.
It is the signal for planting!
It is time for joyous toiling!
At various times of day
The hard and erect hoe
Would thrust and dig deep
Into the receiving wet soil.
Seeds on different quantities
Seeds of varying potency
Are broadcasted in layers
Into the womb of the earth
With time and much labour
The seed now transformed
Blossoms and grows into new life!
The last line of the extract suggested the
Akọwa Nkọwa
Ajụjụ 17 Ripọtì
''Peter's pretty partner paid the bills'' is an example of
Akọwa Nkọwa
This sentence is an example of alliteration, which is the repetition of the same sound or letter at the beginning of adjacent or closely connected words. In this case, the "p" sound is repeated in the words "Peter's," "pretty," "partner," and "paid."
Ajụjụ 18 Ripọtì
Read the passage and answer the question
Ralph wormed his way though the thicket towards the forest, keeping as far as possible beneath the smoke. Presently, he saw an open space and the green leaves of the edge of the thicket . A smallish savage was standing between him and the rest of the forest, a savage striped red and white, and carrying a spear. He was coughing, and smearing the paint about his eyes with the back of his hand as he tried to see through the increasing smoke.
Ralph launched himself like a cat: stabbed, snarling, with the spear, and the savage doubled up. There was a shout from beyond the thicket and then Ralph was running with the swiftness of fear through the undergrowth. He came to a pig-run, followed it for perhaps a hundred yards and then swerved off. Behind him the ululation swept across the island once more and a single voice shouted three times. He guessed that was the signal to advance and sped away again till his chest was like fire.
Then he flung himself down under a bush and waited for a moment till his breathing steadied. He passed his tongue tentatively over his teeth and lips and heard far off the ululation of the pursuers.
The literary device used in ''Ralph launched himself like a cat'' is
Akọwa Nkọwa
The literary device used in ''Ralph launched himself like a cat'' is a simile. A simile is a figure of speech that compares two things using the words "like" or "as." In this case, Ralph's launching is being compared to a cat's movement, emphasizing the quickness and agility of his action.
Ajụjụ 19 Ripọtì
A writer's choice of words is his
Akọwa Nkọwa
A writer's choice of words is his diction. Diction refers to the specific words and phrases that an author uses to convey meaning and create a particular style in their writing. It involves the selection of vocabulary, syntax, and the use of figurative language to create a particular tone or atmosphere in a piece of writing. In other words, diction is the writer's use of language to communicate their ideas and evoke a particular response or feeling from the reader.
Ajụjụ 20 Ripọtì
Read the extract and answer the question
Thrift, thrift,....! the funeral baked meats
Did coldly furnish forth the marriage tables.
Would I had seen that day,.....!
My father! _ Me thinks I see my father.
(Act 1, Scene Two, Lines 180-184)
The setting is
Akọwa Nkọwa
Ajụjụ 21 Ripọtì
Shakespeare's poetry consists mainly of
Akọwa Nkọwa
Shakespeare's poetry consists mainly of blank verse. Blank verse is a type of poetry that has a regular meter, usually iambic pentameter, but doesn't rhyme. Shakespeare's plays, as well as his longer poems like "Venus and Adonis" and "The Rape of Lucrece," are written in blank verse. This type of poetry allows for a natural flow of speech while still maintaining a sense of structure and rhythm.
Ajụjụ 22 Ripọtì
Read the extract and answer the question
Thrift, thrift,....! the funeral baked meats
Did coldly furnish forth the marriage tables.
Would I had seen that day,.....!
My father! _ Me thinks I see my father.
(Act 1, Scene Two, Lines 180-184)
''The primrose path of dalliance'' means
Akọwa Nkọwa
Ajụjụ 23 Ripọtì
A question which does not require an answer is
Akọwa Nkọwa
A question which does not require an answer is called a rhetorical question. It is asked to make a point, create an effect or emphasize a statement rather than to elicit an answer. Rhetorical questions are commonly used in speeches, literature, and everyday conversations to grab attention, engage the audience, or convey a message indirectly. For example, "Who doesn't want to be happy?" or "Do you think I'm stupid?" are rhetorical questions that do not require a direct answer but convey a strong message or opinion.
Ajụjụ 24 Ripọtì
UNSEEN POETRY AND PROSE
Read the poem and answer the question
At the onset of the rain
The drought-stricken land
Suck up the wetness
And the gates to the field
Are flung widely open.
It is the signal for planting!
It is time for joyous toiling!
At various times of day
The hard and erect hoe
Would thrust and dig deep
Into the receiving wet soil.
Seeds on different quantities
Seeds of varying potency
Are broadcasted in layers
Into the womb of the earth
With time and much labour
The seed now transformed
Blossoms and grows into new life!
''The hard and erect hoe'' connotes
Akọwa Nkọwa
The phrase ''the hard and erect hoe'' suggests an agricultural tool that is being used to dig and prepare the soil for planting. It indicates the physical labor and effort involved in farming, and highlights the importance of having the right tools to work the land. It does not connote the uprooting of weeds or the sowing of seeds specifically, but rather the general act of preparing the soil for planting. Therefore, the correct option is (c) digging of the soil.
Ajụjụ 25 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
It is here,......thou art slain;
No medicine in the world can do thee good,
In thee there is not half an hour of life;
The treacherous instrument is in thy hand,
Unbated and envenom d: the foul practice
Hath turn'd itself on me; lo; here I lie,
(Act 5, Scene Two, Lines 298-303)
The character being addressed is
Akọwa Nkọwa
The character being addressed in the given extract is Hamlet. The lines are spoken by Laertes in Act 5, Scene 2 of William Shakespeare's play "Hamlet". Laertes is referring to the poisoned sword wound he inflicted on Hamlet during their fencing match, and he realizes that he too has been struck by the same sword.
Ajụjụ 26 Ripọtì
Pick the odd item out of the underlisted
Akọwa Nkọwa
The odd item out is "simile" because it is a literary device used in poetry and prose to compare two things using "like" or "as", while the others are all types of poems. An ode is a lyrical poem usually dedicated to a person or event, while an elegy is a poem that mourns the death of someone. A sonnet is a 14-line poem with a specific rhyme scheme and structure.
Ajụjụ 27 Ripọtì
Read the passage and answer the question
Ralph wormed his way though the thicket towards the forest, keeping as far as possible beneath the smoke. Presently, he saw an open space and the green leaves of the edge of the thicket . A smallish savage was standing between him and the rest of the forest, a savage striped red and white, and carrying a spear. He was coughing, and smearing the paint about his eyes with the back of his hand as he tried to see through the increasing smoke.
Ralph launched himself like a cat: stabbed, snarling, with the spear, and the savage doubled up. There was a shout from beyond the thicket and then Ralph was running with the swiftness of fear through the undergrowth. He came to a pig-run, followed it for perhaps a hundred yards and then swerved off. Behind him the ululation swept across the island once more and a single voice shouted three times. He guessed that was the signal to advance and sped away again till his chest was like fire.
Then he flung himself down under a bush and waited for a moment till his breathing steadied. He passed his tongue tentatively over his teeth and lips and heard far off the ululation of the pursuers.
The passage is
Akọwa Nkọwa
Ajụjụ 28 Ripọtì
Read the extract and answer the question
I prithee, when thou seest that act afoot,
Even with the very comment of thy soul
Observe mine uncle: if his occulted guilt
Do not itself unkennel in one speech,
It is a dammed ghost that we have seen.....
(Act 1, Scene Two, Lines 73-77)
The ''occulted guilt'' here means
Akọwa Nkọwa
In this context, "occulted guilt" means hidden or secret guilt. Hamlet is asking his friend Horatio to watch his uncle's reaction during a play to see if his guilty conscience is revealed in any way. Therefore, the answer is "conscience".
Ajụjụ 29 Ripọtì
The art of creating fictional personages constitutes
Akọwa Nkọwa
The art of creating fictional personages constitutes characterization. It is the process by which an author develops and portrays the personalities of the characters in a literary work. Characterization involves describing a character's physical appearance, personality traits, behaviors, beliefs, and motivations. This allows readers to better understand and connect with the characters in the story.
Ajụjụ 30 Ripọtì
WILLIAM SHAKESPEARE: Hamlet
Read the extract and answer the question
It is here,......thou art slain;
No medicine in the world can do thee good,
In thee there is not half an hour of life;
The treacherous instrument is in thy hand,
Unbated and envenom d: the foul practice
Hath turn'd itself on me; lo; here I lie,
(Act 5, Scene Two, Lines 298-303)
The queen has just
Akọwa Nkọwa
Based on the given extract, the queen has died. The lines describe the moment when the queen is dying after being struck by the poisoned sword. The speaker is expressing his grief and remorse at the situation, acknowledging that there is no hope for her survival and that the treacherous instrument, the poisoned sword, is also responsible for his own impending death. Therefore, the correct option is "died".
Ajụjụ 31 Ripọtì
UNSEEN POETRY AND PROSE
Read the poem and answer the question
At the onset of the rain
The drought-stricken land
Suck up the wetness
And the gates to the field
Are flung widely open.
It is the signal for planting!
It is time for joyous toiling!
At various times of day
The hard and erect hoe
Would thrust and dig deep
Into the receiving wet soil.
Seeds on different quantities
Seeds of varying potency
Are broadcasted in layers
Into the womb of the earth
With time and much labour
The seed now transformed
Blossoms and grows into new life!
''Joyous toiling'' is an example of
Akọwa Nkọwa
The phrase "Joyous toiling" is an example of an oxymoron. An oxymoron is a figure of speech in which two seemingly contradictory words are used together to create a paradoxical effect. In this case, the words "joyous" and "toiling" are opposite in meaning, as toiling implies hard work and effort, while joyous suggests happiness and enjoyment. The use of these two words together creates a contrast that emphasizes the satisfaction that comes with the labor of planting and growing crops.
Ajụjụ 32 Ripọtì
Read the extract and answer the question
Thrift, thrift,....! the funeral baked meats
Did coldly furnish forth the marriage tables.
Would I had seen that day,.....!
My father! _ Me thinks I see my father.
(Act 1, Scene Two, Lines 180-184)
The speaker is
Akọwa Nkọwa
The speaker in this extract is Hamlet.
Ajụjụ 33 Ripọtì
UNSEEN POETRY AND PROSE
Read the poem and answer the question
At the onset of the rain
The drought-stricken land
Suck up the wetness
And the gates to the field
Are flung widely open.
It is the signal for planting!
It is time for joyous toiling!
At various times of day
The hard and erect hoe
Would thrust and dig deep
Into the receiving wet soil.
Seeds on different quantities
Seeds of varying potency
Are broadcasted in layers
Into the womb of the earth
With time and much labour
The seed now transformed
Blossoms and grows into new life!
The dominant device used in the extract is
Akọwa Nkọwa
The dominant device used in the extract is symbolism. Symbolism is the use of symbols to represent ideas or qualities. In this extract, the rain symbolizes hope and new beginnings after a long period of drought. The gates of the field being flung widely open represent an opportunity for planting, while the planting of the seeds represents the process of growth and transformation. The use of symbols helps to convey the message of the poem in a more powerful and memorable way.
Ajụjụ 34 Ripọtì
''The lawyer addressed the bench'' illustrates
Akọwa Nkọwa
The phrase "the lawyer addressed the bench" illustrates metonymy. Metonymy is a figure of speech in which a word or phrase is substituted for another word with which it is closely associated. In this case, "the bench" is a substitute for the judge or judges who sit on the bench in a courtroom.
Ajụjụ 35 Ripọtì
A character whose flaws combined with external force lead to his suffering is a
Akọwa Nkọwa
A tragic hero is a character who possesses a tragic flaw or hamartia, which when combined with external forces or circumstances, leads to their downfall or suffering. Tragic heroes are often the protagonists of a story, and their tragic flaw can be a character trait or a mistake that they have made. The concept of the tragic hero has been used in literature for centuries and is often associated with classical Greek drama, but it can be found in many different genres and forms of literature. The tragic hero is an important literary device that allows authors to explore themes such as fate, free will, and the human condition.
Ajụjụ 36 Ripọtì
A piece of writing or speech at the beginning of a work of art is the
Akọwa Nkọwa
A piece of writing or speech at the beginning of a work of art is called the prologue. A prologue is typically used in literature, theater, or film to provide important background information or to establish the tone of the work. It is often written by the author, playwright, or director and is intended to set the stage for the rest of the work. A prologue can be in the form of a poem, a speech, or a narrative and serves as an introduction to the main story or plot.
Ajụjụ 37 Ripọtì
''O happy torment'' is an example of
Akọwa Nkọwa
"O happy torment" is an example of an oxymoron. An oxymoron is a figure of speech in which two contradictory terms are combined to create a unique meaning. In this case, "happy" and "torment" are contradictory terms that are being used together to express a complex feeling.
Ajụjụ 38 Ripọtì
Read the extract and answer the question
I prithee, when thou seest that act afoot,
Even with the very comment of thy soul
Observe mine uncle: if his occulted guilt
Do not itself unkennel in one speech,
It is a dammed ghost that we have seen.....
(Act 1, Scene Two, Lines 73-77)
The scene after this consists of the
Akọwa Nkọwa
Ajụjụ 39 Ripọtì
Read the passage and answer the question
Ralph wormed his way though the thicket towards the forest, keeping as far as possible beneath the smoke. Presently, he saw an open space and the green leaves of the edge of the thicket . A smallish savage was standing between him and the rest of the forest, a savage striped red and white, and carrying a spear. He was coughing, and smearing the paint about his eyes with the back of his hand as he tried to see through the increasing smoke.
Ralph launched himself like a cat: stabbed, snarling, with the spear, and the savage doubled up. There was a shout from beyond the thicket and then Ralph was running with the swiftness of fear through the undergrowth. He came to a pig-run, followed it for perhaps a hundred yards and then swerved off. Behind him the ululation swept across the island once more and a single voice shouted three times. He guessed that was the signal to advance and sped away again till his chest was like fire.
Then he flung himself down under a bush and waited for a moment till his breathing steadied. He passed his tongue tentatively over his teeth and lips and heard far off the ululation of the pursuers.
The writer's diction portrays
Akọwa Nkọwa
The writer's diction portrays tension. The passage is filled with action and suspense as Ralph tries to escape from the savage pursuers. The descriptions of his movements, the sound of the ululation, and his physical reactions such as his chest feeling like fire all contribute to a sense of urgency and danger. There is no indication of repetition, irony, or humor in this passage.
Ajụjụ 40 Ripọtì
Read the extract and answer the question
I prithee, when thou seest that act afoot,
Even with the very comment of thy soul
Observe mine uncle: if his occulted guilt
Do not itself unkennel in one speech,
It is a dammed ghost that we have seen.....
(Act 1, Scene Two, Lines 73-77)
The character being addressed is
Akọwa Nkọwa
The character being addressed is Horatio. In this passage, Hamlet is asking Horatio to observe his uncle during a play he has arranged. He wants Horatio to watch his uncle's reaction to the play and see if it reveals any signs of guilt. Therefore, Horatio is the one being addressed in this passage.
Ajụjụ 41 Ripọtì
UNSEEN POETRY AND PROSE
Read the poem and answer the question
At the onset of the rain
The drought-stricken land
Suck up the wetness
And the gates to the field
Are flung widely open.
It is the signal for planting!
It is time for joyous toiling!
At various times of day
The hard and erect hoe
Would thrust and dig deep
Into the receiving wet soil.
Seeds on different quantities
Seeds of varying potency
Are broadcasted in layers
Into the womb of the earth
With time and much labour
The seed now transformed
Blossoms and grows into new life!
The subject matter of the extract is
Akọwa Nkọwa
The subject matter of the extract is farming. The poem describes the process of planting seeds and the joyous toiling that accompanies it, as well as the transformation of the seeds into new life with time and labor. The poem focuses on the beginning of the rain, which signals the start of the planting season, and the use of a hoe to dig deep into the wet soil to plant seeds of varying potency. Therefore, the main subject of the extract is the agricultural practice of farming.
Ajụjụ 42 Ripọtì
Read the extract and answer the question
Thrift, thrift,....! the funeral baked meats
Did coldly furnish forth the marriage tables.
Would I had seen that day,.....!
My father! _ Me thinks I see my father.
(Act 1, Scene Two, Lines 180-184)
The character being addressed is
Akọwa Nkọwa
Ajụjụ 43 Ripọtì
A deliberate use of exaggeration for the purpose of humour/emphasis is
Akọwa Nkọwa
Hyperbole is a deliberate use of exaggeration for the purpose of humour or emphasis. It is a figure of speech that uses extreme exaggeration to make a point or to create a humorous effect. Hyperbole is often used in everyday speech, literature, and poetry to add emphasis to a statement or to make it more interesting. For example, saying "I'm so hungry, I could eat a horse" is a hyperbole that exaggerates hunger to emphasize how much the person wants to eat.
Ajụjụ 44 Ripọtì
Read the passage and answer the question
Ralph wormed his way though the thicket towards the forest, keeping as far as possible beneath the smoke. Presently, he saw an open space and the green leaves of the edge of the thicket . A smallish savage was standing between him and the rest of the forest, a savage striped red and white, and carrying a spear. He was coughing, and smearing the paint about his eyes with the back of his hand as he tried to see through the increasing smoke.
Ralph launched himself like a cat: stabbed, snarling, with the spear, and the savage doubled up. There was a shout from beyond the thicket and then Ralph was running with the swiftness of fear through the undergrowth. He came to a pig-run, followed it for perhaps a hundred yards and then swerved off. Behind him the ululation swept across the island once more and a single voice shouted three times. He guessed that was the signal to advance and sped away again till his chest was like fire.
Then he flung himself down under a bush and waited for a moment till his breathing steadied. He passed his tongue tentatively over his teeth and lips and heard far off the ululation of the pursuers.
''Ralph wormed his way'' is an example of
Akọwa Nkọwa
Ajụjụ 45 Ripọtì
NON-AFRICAN PROSE
GEORGE ELIOT: Scilas Manner
With evidence from the novel, show that "One reaps what one sows."
Akọwa Nkọwa
None
Ajụjụ 46 Ripọtì
AFRICAN DRAMA
Joe De Graft: Sons and Daughters
Discuss the conflict between the two youngest children and their father in the play.
Ajụjụ 47 Ripọtì
NON-AFRICAN DRAMA
ROBERT BOLT: A Man For All Seasons
Discuss the theme of friendship and betrayal in the play.
Ajụjụ 48 Ripọtì
NON-AFRICAN DRAMA
ROBERT BOLT: A Man For All Seasons
Discuss the decline of values in the play
Ajụjụ 49 Ripọtì
NON-AFRICAN POETRY
What is the poet's attitude to affliction in "On His Blindness"?
Ajụjụ 50 Ripọtì
NON-AFRICAN DRAMA
NIKOLAI GOGOL: The Government Inspector
Examine the character of the Postmaster and his contribution to the play.
Ajụjụ 51 Ripọtì
AFRICAN POETRY
How does Rubadiri use language to portray the effects of the storm in "An African Thunderstorm"?
Ajụjụ 52 Ripọtì
AFRICAN DRAMA
Athol Fugard: Sizwe Bansi is Dead
Discuss two dramatic techniques in the play
Ajụjụ 53 Ripọtì
NON-AFRICAN PROSE
GEORGE ELIOT: Scilas Manner
Discuss the theme of betrayal in the novel.
Ajụjụ 54 Ripọtì
AFRICAN PROSE
BUCHI EMECHETA: The Joys of Motherhood
Discuss Emecheta's narrative technique in the novel
Ajụjụ 55 Ripọtì
AFRICAN PROSE
ISIDORE OKPEWHO: The Last Duty
Comment on the theme of rivalry in the novel
Ajụjụ 56 Ripọtì
AFRICAN DRAMA
Joe De Graft: Sons and Daughters
Discuss the character and the role of Aunt Fosuma in the play
Ajụjụ 57 Ripọtì
AFRICAN DRAMA
Athol Fugard: Sizwe Bansi is Dead
Examine the view that life is meaningless for the blacks in South Africa
Ajụjụ 58 Ripọtì
AFRICAN PROSE
BUCHI EMECHETA: The Joys of Motherhood
Discuss three instances of conflict in the novel.
Akọwa Nkọwa
None
Ajụjụ 59 Ripọtì
AFRICAN POETRY
Discuss contrast as a poetic device in "In the navel of the soul."
Ajụjụ 60 Ripọtì
AFRICAN PROSE
ISIDORE OKPEWHO: The Last Duty
Comment on the theme of rivalry in the novel
Ajụjụ 61 Ripọtì
NON-AFRICAN DRAMA
NIKOLAI GOGOL: The Government Inspector
Discuss the significance of the encounter between the protesters and Hlestakov in the Mayor's house.
Ajụjụ 62 Ripọtì
NON-AFRICAN POETRY
Discuss the theme of change in Yeat's "The Second Coming."
Ajụjụ 63 Ripọtì
NON-AFRICAN PROSE
RICHARD WRIGHT: Black Boy
Discuss the contributions of Mr. Crane and Mr Olin to the development of the plot.
Akọwa Nkọwa
None
Ajụjụ 64 Ripọtì
NON-AFRICAN PROSE
RICHARD WRIGHT: Black Boy
Examine the factors that make Richard a distinct personality.
Akọwa Nkọwa
None
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