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Ajụjụ 1 Ripọtì
A Poem that celebrates an object, person or event is
Akọwa Nkọwa
A poem that celebrates an object, person or event is an ode. An ode is a type of poem that expresses praise, admiration, or celebration for its subject. Odes often have a formal structure and use elevated language to convey their message. They can be written about anything, from a person to a place, a thing, or an idea. Odes are meant to be joyful and uplifting, and they serve to honor and celebrate the beauty and significance of their subject.
Ajụjụ 2 Ripọtì
Through ........ the ills of society are criticised with the objective of having them corrected
Akọwa Nkọwa
The literary technique through which the ills of society are criticized with the objective of having them corrected is called satire. Satire is a literary form that uses irony, sarcasm, and ridicule to expose and criticize people's stupidity or vices, particularly in the context of contemporary politics and other topical issues. It is usually intended to bring about change by exposing and ridiculing social or political issues, often using humor or wit to do so.
Ajụjụ 3 Ripọtì
Gymnosperms bear naked seeds because they lack
Akọwa Nkọwa
Gymnosperms are plants that have seeds which are not enclosed in a fruit or ovary. This is because they lack an ovary, which is the female reproductive structure that encloses and protects the ovules (future seeds) in angiosperms (flowering plants). In gymnosperms, the ovules are exposed on the surface of a cone or cone-like structure, and they are not enclosed by an ovary or fruit. This is why gymnosperms are said to bear "naked" seeds. The lack of an ovary also means that gymnosperms do not produce fruits.
Ajụjụ 4 Ripọtì
Muscles act in opposite direction in order to
Akọwa Nkọwa
Muscles act in opposite directions in order to cause a bone to move. The muscle fibers in opposing muscle groups are arranged in a way that allows them to work together to produce movement. For example, when the biceps muscle in the upper arm contracts, it pulls the forearm towards the upper arm. However, the triceps muscle, which is the opposing muscle group, must relax in order for the biceps to contract and move the arm. Similarly, when the triceps muscle contracts, the biceps must relax to allow movement. This coordinated action of opposing muscle groups enables us to perform a wide range of movements, such as bending and straightening our arms or lifting and lowering our legs.
Ajụjụ 6 Ripọtì
Read the following lines to answer this question
The livid waters roared and snarled and flapped
At the poor battered and weeping yacht.
The picture presented is one of
Akọwa Nkọwa
The picture presented in the lines is that of stormy weather. This is suggested by the words "livid waters", which implies rough and angry waves, and "roared and snarled and flapped", which is a personification of the water, as if it were alive and furious. The use of the adjectives "poor, battered, and weeping" to describe the yacht also adds to the sense of violence and danger in the scene. Overall, the lines suggest a tumultuous and potentially dangerous situation at sea.
Ajụjụ 7 Ripọtì
Read the poem and answer the question
We have come to the crossroads
And I must either leave or come with you
I lingered over the choice
But in the darkness of my doubts
You lifted the lamp of love
And I saw in your face
The road that I should take.
The theme of the poem is
Akọwa Nkọwa
Ajụjụ 8 Ripọtì
Read the extract and answer the question
Work on,
My medicine work! Thus credulous fools are caught,
And many worthy and chaste dames even thus,
All guiltless, meet reproach. What ho! My lord!
My lord, I say!
(Act IV, Scene One, Lines 45 - 49)
The speaker is addressing
Akọwa Nkọwa
Ajụjụ 9 Ripọtì
The major part of the Petrarch sonnet is the
Akọwa Nkọwa
A Petrarchan sonnet consists of 14 lines and is typically divided into two parts: an octave (8 lines) and a sestet (6 lines). The major part of the Petrarchan sonnet is usually considered to be the sestet, as it typically provides a resolution or conclusion to the ideas presented in the octave. The octave usually sets up a problem or situation, while the sestet often offers a solution or reflects on the situation in a new way. However, both the octave and sestet are important parts of the sonnet, and together they create a complex and unified whole.
Ajụjụ 10 Ripọtì
Gymnosperms bear naked seeds because they lack
Akọwa Nkọwa
Gymnosperms are a group of plants that produce seeds without enclosing them in a fruit or ovary. They bear naked seeds because they lack an ovary. Ovary is a part of the flower that contains the ovules which eventually develop into seeds. In gymnosperms, the ovules are not enclosed in an ovary, and they are exposed on the surface of the scales of a cone or a modified leaf. The lack of an ovary is one of the characteristics that distinguish gymnosperms from angiosperms, which are flowering plants that produce seeds enclosed in a fruit or ovary.
Ajụjụ 11 Ripọtì
Poetry is written in
Akọwa Nkọwa
Poetry is written in lines. Unlike paragraphs or chapters, which are used in prose, poetry is composed of lines. These lines are typically shorter than the sentences found in prose, and they often contain rhythm, rhyme, and other poetic devices that are used to create a unique and artistic expression. The use of line breaks in poetry can also convey meaning and emotion, and can be used to create emphasis, pause, or other effects that contribute to the overall effect of the poem.
Ajụjụ 12 Ripọtì
The character assumed by the author in his writing is
Akọwa Nkọwa
The character assumed by the author in his writing is called the persona. The persona is a literary term that refers to the character that the author creates to be the narrator or speaker in a literary work. The persona can be similar to or different from the author, and can provide a unique perspective or voice to the text. It is important to note that the persona is not always the same as the protagonist, who is the main character in a story or play.
Ajụjụ 13 Ripọtì
Read the extract and answer the question
I am glad I have found this napkin;
This was her first remembrance from the Moor.
My wayward husband hath a hundred times
Wooed me to steal it; but she so loves the token
(For he conjured her she should ever keep it)
That she reserves it evermore about her
To kiss and talk to.
(Act III, Scene Three, Lines 289 - 95)
In the extract ''this napkin'' is ''the token'' of love between
Akọwa Nkọwa
The correct answer is option D - Desdemona and Othello. In the given extract, the speaker (Emilia) talks about finding a napkin and mentions that it was the first gift Desdemona received from Othello (the Moor). The speaker's husband (Iago) had tried to persuade her to steal the napkin many times, but Desdemona valued it so much that she always kept it with her and talked to it. Therefore, "this napkin" is "the token" of love between Desdemona and Othello.
Ajụjụ 14 Ripọtì
Read the stanza and answer this question
For days I wept and felt depressed
The one and all I loved had left
But then on me our Bill impressed
'Your love is where she looks bereft'
The lines are iambic
Akọwa Nkọwa
The lines in the stanza are iambic, meaning that they follow a specific metrical pattern. In iambic meter, each line contains a certain number of iambs, which are two-syllable units that consist of an unstressed syllable followed by a stressed syllable. In this stanza, each line has four iambs, making it iambic tetrameter.
Ajụjụ 15 Ripọtì
Read the poem and answer the question
We have come to the crossroads
And I must either leave or come with you
I lingered over the choice
But in the darkness of my doubts
You lifted the lamp of love
And I saw in your face
The road that I should take.
The speaker is
Akọwa Nkọwa
The speaker in the poem is "decisive." This means that the speaker has reached a point in their life where they have to make an important decision about whether to leave or stay with someone. The speaker is unsure of what to do, but the other person's love helps them see the right path. Therefore, the speaker ultimately makes a decision and chooses the road they should take.
Ajụjụ 16 Ripọtì
An example of an organism that exist as a colony is
Akọwa Nkọwa
Volvox is an example of an organism that exists as a colony. A colony is a group of individual organisms that are physically attached to each other and live together in a coordinated way. Volvox is a green algae that exists as a spherical colony made up of thousands of individual cells. The cells in the colony are specialized and perform different functions such as reproduction, movement, and photosynthesis. The colony also has a protective outer layer that helps to shield it from predators and environmental stress.
Ajụjụ 17 Ripọtì
''The sun smiled gently on the scene'' illustrates
Akọwa Nkọwa
The phrase "The sun smiled gently on the scene" is an example of personification. Personification is a figure of speech in which non-human objects or ideas are given human-like qualities or characteristics. In this case, the sun, which is a non-human object, is given the human-like quality of smiling, which is something only humans can do. By describing the sun as "smiling gently on the scene," the writer is using personification to create a vivid and memorable image in the reader's mind.
Ajụjụ 18 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
He was under the siege of three union executive members.
There was the Secretary standing over him ; there was the Treasurer puffing away at a cigarette; there was the Organiser lounging near the door, a deadpan look plastered on each of their faces like a death-mask.
Incredulous, he sat in a pensive mood. How cloud the others do such a thing? His discontent turned to silent anger that simmered.
''I think it is not right, '' he said, just managing not to explode from his growing anger.
''You sign that sheet, Mr President,'' ordered the Secretary in a barely audible but stern voice.
''Why are you doing this?'' he asked, his voice not giving any hint of the boiling cauldron of screaming anger in his chest.
''Will you sign, Mr President?''
''All right,'' he said, now seething amiably.
He took his pen, picked up the sheet of paper and looked over the signatures. Then he proceeded to tear up the paper into shreds.
The prevailing atmosphere is
Akọwa Nkọwa
The prevailing atmosphere in the passage is tense. This is evident from the description of the three union executive members as they stand over the President with deadpan expressions, and the President's growing anger that simmers beneath the surface. The Secretary's stern voice and the President's seething response further indicate the tension in the situation.
Ajụjụ 19 Ripọtì
The ....... produces comic relief in drama
Akọwa Nkọwa
The answer is "clown". In drama, a clown is a character who is intentionally funny and produces comic relief. The clown's role is to lighten the mood of the audience and provide a break from the serious and dramatic events happening in the play. The clown is often depicted as a foolish or silly character, and their antics are meant to make the audience laugh. They are a common feature in many types of drama, including Shakespearean plays and modern comedies.
Ajụjụ 20 Ripọtì
Read the poem and answer the question
We have come to the crossroads
And I must either leave or come with you
I lingered over the choice
But in the darkness of my doubts
You lifted the lamp of love
And I saw in your face
The road that I should take.
The dominant literary device used in the poem is
Akọwa Nkọwa
The dominant literary device used in the poem is metaphor. The poem compares the choice the speaker must make to a crossroads, where they must decide whether to leave or stay with the addressee. The choice is represented as a physical path, which the speaker must take. The metaphor is extended further with the image of the addressee lifting a lamp of love, illuminating the path for the speaker and showing them the way to go. The road, therefore, represents the speaker's choice or decision.
Ajụjụ 21 Ripọtì
A short play is also called a
Akọwa Nkọwa
A short play is also called a "playlet". A playlet is a brief, one-act play that is shorter than a full-length play but longer than a sketch. It usually has a small cast and a simple plot, often with a comedic or satirical tone. Playlets are popular in theatre competitions, as well as in classrooms for educational purposes.
Ajụjụ 23 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
He was under the siege of three union executive members.
There was the Secretary standing over him ; there was the Treasurer puffing away at a cigarette; there was the Organiser lounging near the door, a deadpan look plastered on each of their faces like a death-mask.
Incredulous, he sat in a pensive mood. How cloud the others do such a thing? His discontent turned to silent anger that simmered.
''I think it is not right, '' he said, just managing not to explode from his growing anger.
''You sign that sheet, Mr President,'' ordered the Secretary in a barely audible but stern voice.
''Why are you doing this?'' he asked, his voice not giving any hint of the boiling cauldron of screaming anger in his chest.
''Will you sign, Mr President?''
''All right,'' he said, now seething amiably.
He took his pen, picked up the sheet of paper and looked over the signatures. Then he proceeded to tear up the paper into shreds.
The last paragraph illustrates
Akọwa Nkọwa
The last paragraph illustrates a climax. The climax is the highest point of tension or turning point in the story. In this paragraph, the President tears up the sheet of paper instead of signing it, which is the peak of the conflict between him and the union executive members. The action of tearing up the paper resolves the conflict and brings closure to the story.
Ajụjụ 24 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
What has happened to the speaker?
Akọwa Nkọwa
Ajụjụ 25 Ripọtì
Oral literature is part of
Akọwa Nkọwa
Oral literature is part of folklore. It refers to the cultural expressions such as myths, legends, proverbs, tales, and songs that are transmitted orally from one generation to another. These expressions reflect the beliefs, values, and customs of a particular community or society. Folklore encompasses not only oral literature but also other forms of traditional culture such as material culture, rituals, and festivals.
Ajụjụ 26 Ripọtì
Read the extract and answer the question
Work on,
My medicine work! Thus credulous fools are caught,
And many worthy and chaste dames even thus,
All guiltless, meet reproach. What ho! My lord!
My lord, I say!
(Act IV, Scene One, Lines 45 - 49)
Just before this speech,
Akọwa Nkọwa
Ajụjụ 27 Ripọtì
An...... is an indirect and usually unfavourable remark
Akọwa Nkọwa
The term that fits the definition provided is "innuendo." An innuendo is an indirect or subtle remark, typically with negative connotations. It is often used to insinuate or suggest something negative without explicitly stating it. For example, saying "I wonder how much that expensive car cost" to someone who has just bought a new car can be seen as an innuendo implying that the car was too expensive.
Ajụjụ 28 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
He was under the siege of three union executive members.
There was the Secretary standing over him ; there was the Treasurer puffing away at a cigarette; there was the Organiser lounging near the door, a deadpan look plastered on each of their faces like a death-mask.
Incredulous, he sat in a pensive mood. How cloud the others do such a thing? His discontent turned to silent anger that simmered.
''I think it is not right, '' he said, just managing not to explode from his growing anger.
''You sign that sheet, Mr President,'' ordered the Secretary in a barely audible but stern voice.
''Why are you doing this?'' he asked, his voice not giving any hint of the boiling cauldron of screaming anger in his chest.
''Will you sign, Mr President?''
''All right,'' he said, now seething amiably.
He took his pen, picked up the sheet of paper and looked over the signatures. Then he proceeded to tear up the paper into shreds.
The expression ''plastered on each of their face like a death mask'' illustrates.
Ajụjụ 29 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
The underlined expression shows that the speaker is
Akọwa Nkọwa
Ajụjụ 30 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
The speaker is
Ajụjụ 31 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
The speaker is
Akọwa Nkọwa
Ajụjụ 32 Ripọtì
Read the stanza and answer this question
For days I wept and felt depressed
The one and all I loved had left
But then on me our Bill impressed
'Your love is where she looks bereft'
The lines constitute
Akọwa Nkọwa
The lines constitute a quatrain. A quatrain is a four-line stanza in poetry, and this passage contains four lines.
Ajụjụ 34 Ripọtì
Read the poem and answer the question
We have come to the crossroads
And I must either leave or come with you
I lingered over the choice
But in the darkness of my doubts
You lifted the lamp of love
And I saw in your face
The road that I should take.
The poem can be described as
Akọwa Nkọwa
The poem is a lyric. It expresses personal feelings and emotions, and is typically meant to be sung or recited. In this case, the speaker is faced with a decision about whether to stay or go with someone, and through their doubts, the other person shows them the way forward with love and support. The poem is short and focused on a specific moment or experience, rather than mourning or reflection (elegy) or a gentle, soothing melody (lullaby). It is not an epitaph, which is an inscription on a tombstone to commemorate the deceased.
Ajụjụ 35 Ripọtì
Read the following lines to answer this question
The livid waters roared and snarled and flapped
At the poor battered and weeping yacht.
The dominant device used in the lines is
Akọwa Nkọwa
The dominant device used in the lines is personification. Personification is a figure of speech in which non-human objects are given human qualities. In the lines, the water is described as "livid," and it is personified as it "roared and snarled and flapped" at the yacht. This is a human quality given to the water, making it a personification.
Ajụjụ 36 Ripọtì
Read the extract and answer the question
I am glad I have found this napkin;
This was her first remembrance from the Moor.
My wayward husband hath a hundred times
Wooed me to steal it; but she so loves the token
(For he conjured her she should ever keep it)
That she reserves it evermore about her
To kiss and talk to.
(Act III, Scene Three, Lines 289 - 95)
'She' in the extract refers to
Akọwa Nkọwa
'She' in the extract refers to Desdemona. The speaker, Emilia, has found a handkerchief (napkin) that belonged to Desdemona, which was given to her by Othello. The handkerchief is important to Othello and is seen as a symbol of his love for Desdemona. The speaker mentions that her husband had wanted her to steal the handkerchief many times, but Desdemona treasures it so much that she keeps it with her all the time.
Ajụjụ 37 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
The setting is
Akọwa Nkọwa
Ajụjụ 38 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
The speaker is addressing
Akọwa Nkọwa
Ajụjụ 39 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
''Run from her guardege'' refers to
Akọwa Nkọwa
"Run from her guardage" refers to Desdemona, who is being described as someone who shuns wealthy and privileged suitors of her own nation and instead prefers the company of someone like Othello, who is considered by some to be beneath her in social standing. The term "guardage" suggests that Desdemona's behavior is being closely watched or guarded, perhaps by her family or society, which makes her choice even more shocking to some.
Ajụjụ 40 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
The addressee is
Akọwa Nkọwa
Ajụjụ 41 Ripọtì
...... refers to the structure of a work of art.
Ajụjụ 42 Ripọtì
Read the extract and answer the question
I am glad I have found this napkin;
This was her first remembrance from the Moor.
My wayward husband hath a hundred times
Wooed me to steal it; but she so loves the token
(For he conjured her she should ever keep it)
That she reserves it evermore about her
To kiss and talk to.
(Act III, Scene Three, Lines 289 - 95)
'My wayward husband' refers to
Akọwa Nkọwa
Ajụjụ 43 Ripọtì
Read the extract and answer the question
I am glad I have found this napkin;
This was her first remembrance from the Moor.
My wayward husband hath a hundred times
Wooed me to steal it; but she so loves the token
(For he conjured her she should ever keep it)
That she reserves it evermore about her
To kiss and talk to.
(Act III, Scene Three, Lines 289 - 95)
The speaker is
Akọwa Nkọwa
The speaker in the given extract is not explicitly mentioned by name, but based on the context, it can be inferred that the speaker is Emilia. Emilia is speaking about Desdemona's handkerchief, which has been a central plot device in the play. Emilia says that she is glad to have found the napkin, and reveals that her husband, Iago, has asked her to steal it several times. However, Desdemona loves the handkerchief and has been instructed by Othello to keep it always. This conversation takes place in Act III, Scene Three of Shakespeare's play Othello.
Ajụjụ 44 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
''Sooty bosom'' is a metaphor for
Akọwa Nkọwa
"Sooty bosom" is a metaphor for Othello. The word "sooty" means black or dark, while "bosom" refers to the chest or heart. The metaphor suggests that Othello is dark or black, and that he is not someone to be desired or delighted in, but rather someone to be feared. The use of the metaphor also suggests that the speaker, who is most likely Iago, sees Othello as inferior to the wealthy and privileged men of their society, whom he describes as "curled darlings."
Ajụjụ 46 Ripọtì
DNA formation is associated with
Akọwa Nkọwa
DNA formation is associated with the nucleus. The nucleus is a specialized organelle found in eukaryotic cells that contains most of the cell's genetic material, which is organized into structures called chromosomes. DNA (deoxyribonucleic acid) is the genetic material that carries the instructions for the development, functioning, and reproduction of all living organisms. The DNA is stored and replicated within the nucleus, making it the center of genetic control and cell activity.
Ajụjụ 47 Ripọtì
Muscles act in opposite direction in order to
Akọwa Nkọwa
Muscles act in opposite directions in order to cause a bone to move. The contraction of one muscle pulls the bone in one direction, while the contraction of the opposing muscle pulls the bone in the opposite direction, resulting in movement. This is how our body can perform complex movements such as walking, running, jumping, and lifting objects. The opposing action of muscles also helps to prevent dislocation at joints by keeping them stable and balanced. While muscles can experience fatigue, the opposing action of muscles does not prevent muscle fatigue directly. The regulation of bodily activities is controlled by the nervous and endocrine systems.
Ajụjụ 48 Ripọtì
Read the stanza and answer this question
For days I wept and felt depressed
The one and all I loved had left
But then on me our Bill impressed
'Your love is where she looks bereft'
The rhyme scheme is
Akọwa Nkọwa
The rhyme scheme of the stanza is ABAB. This means that the last word of the first and third lines rhyme with each other, and the last word of the second and fourth lines rhyme with each other. In this stanza, the last words of the first and third lines, "depressed" and "impressed", rhyme with each other, and the last words of the second and fourth lines, "left" and "bereft", also rhyme with each other.
Ajụjụ 49 Ripọtì
Answer all the question in this section
WILLIAM SHAKESPEARE: Othell0
So opposite to marriage that she shunned
The wealthy, curled darlings of our nation,
Run from her guardage to the sooty bosom
Of such a thing as thou to fear, not to delight?
(Act 1, Scene Two, Lines 66 - 70)
The setting is
Akọwa Nkọwa
Ajụjụ 50 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
He was under the siege of three union executive members.
There was the Secretary standing over him ; there was the Treasurer puffing away at a cigarette; there was the Organiser lounging near the door, a deadpan look plastered on each of their faces like a death-mask.
Incredulous, he sat in a pensive mood. How cloud the others do such a thing? His discontent turned to silent anger that simmered.
''I think it is not right, '' he said, just managing not to explode from his growing anger.
''You sign that sheet, Mr President,'' ordered the Secretary in a barely audible but stern voice.
''Why are you doing this?'' he asked, his voice not giving any hint of the boiling cauldron of screaming anger in his chest.
''Will you sign, Mr President?''
''All right,'' he said, now seething amiably.
He took his pen, picked up the sheet of paper and looked over the signatures. Then he proceeded to tear up the paper into shreds.
''......... screaming anger'' is an example of
Akọwa Nkọwa
Ajụjụ 51 Ripọtì
Read the extract and answer the question
I am glad I have found this napkin;
This was her first remembrance from the Moor.
My wayward husband hath a hundred times
Wooed me to steal it; but she so loves the token
(For he conjured her she should ever keep it)
That she reserves it evermore about her
To kiss and talk to.
(Act III, Scene Three, Lines 289 - 95)
The characters that just left the scene are
Ajụjụ 53 Ripọtì
Read the extract and answer the question
Work on,
My medicine work! Thus credulous fools are caught,
And many worthy and chaste dames even thus,
All guiltless, meet reproach. What ho! My lord!
My lord, I say!
(Act IV, Scene One, Lines 45 - 49)
''medicine'' in the extract refers to the speaker's
Ajụjụ 54 Ripọtì
UNSEEN PROSE AND POETRY
Read the passage and answer the question
He was under the siege of three union executive members.
There was the Secretary standing over him ; there was the Treasurer puffing away at a cigarette; there was the Organiser lounging near the door, a deadpan look plastered on each of their faces like a death-mask.
Incredulous, he sat in a pensive mood. How cloud the others do such a thing? His discontent turned to silent anger that simmered.
''I think it is not right, '' he said, just managing not to explode from his growing anger.
''You sign that sheet, Mr President,'' ordered the Secretary in a barely audible but stern voice.
''Why are you doing this?'' he asked, his voice not giving any hint of the boiling cauldron of screaming anger in his chest.
''Will you sign, Mr President?''
''All right,'' he said, now seething amiably.
He took his pen, picked up the sheet of paper and looked over the signatures. Then he proceeded to tear up the paper into shreds.
The attitude of the writer towards the President is one of
Ajụjụ 55 Ripọtì
An example of an organism that exist as a colony is
Akọwa Nkọwa
Volvox is an example of an organism that exists as a colony. A colony is a group of individual organisms that live together and function as a unit, but are not dependent on each other for survival. Volvox is a type of green algae that forms spherical colonies of hundreds or thousands of individual cells. These cells are arranged in a single layer on the surface of the colony, with the flagella (whip-like structures) of each cell facing outward. The colony moves through the water by the coordinated movement of these flagella, which creates a current that propels the colony forward. The individual cells of the colony are specialized for different functions, such as reproduction, photosynthesis, and locomotion.
Ajụjụ 56 Ripọtì
Read the extract and answer the question
Work on,
My medicine work! Thus credulous fools are caught,
And many worthy and chaste dames even thus,
All guiltless, meet reproach. What ho! My lord!
My lord, I say!
(Act IV, Scene One, Lines 45 - 49)
The speaker is
Akọwa Nkọwa
The speaker is lago. In this passage, he is talking to himself about how easily people can be fooled and falsely accused, and then he calls out to his lord.
Ajụjụ 57 Ripọtì
Read the extract and answer the question
Work on,
My medicine work! Thus credulous fools are caught,
And many worthy and chaste dames even thus,
All guiltless, meet reproach. What ho! My lord!
My lord, I say!
(Act IV, Scene One, Lines 45 - 49)
The character that enters immediately after is
Akọwa Nkọwa
Ajụjụ 58 Ripọtì
AFRICAN DRAMA
Frank Ogodo Ogeche: Harvest of Corruption
Discuss the role of Chief Maladu Ade -Amaka in the play.
Ajụjụ 59 Ripọtì
AFRICAN DRAMA
Dele Charley: The Blood of a Stranger
Examine the role of Kindo as a warlord in the play.
Ajụjụ 60 Ripọtì
NON-AFRICAN POETRY
Examine the theme of beauty in the poem "Shall I compare Thee to a Summer's Day?".
Ajụjụ 61 Ripọtì
NON-AFRICAN PROSE
RICHARD WRIGHT: Native Son
What is Max's attitude towards racial relations in the novel?
Ajụjụ 62 Ripọtì
NON-AFRICAN POETRY
Comment on the poet's attitude to nature in Frost's "Birches
Ajụjụ 63 Ripọtì
African Prose
BAY ADEMOWALE: Lonely Days
Discuss the theme of loneliness in the novel.
Ajụjụ 64 Ripọtì
NON AFRICAN DRAMA
OLIVER GOLDSMITH: She Stoops to Conquer
Assess the character of Mrs. Hardcastle in the play.
Ajụjụ 65 Ripọtì
AFRICAN DRAMA
Frank Ogodo Ogeche: Harvest of Corruption
Comment on Aloho as a victim of circumstance in the play.
Ajụjụ 66 Ripọtì
NON AFRICAN DRAMA
Lorraine Hansberry: A Raisin in the Sun
What impression do you form of Mama's character in the play?
Ajụjụ 67 Ripọtì
African Prose
AMMA DARKO: Faceless
Examine the significance of Vickoe and Kabria's visit to the police station.
Ajụjụ 68 Ripọtì
NON-AFRICAN PROSE
RICHARD WRIGHT: Native Son
Consider the view that it is the society that makes Bigger a murderer in the novel.
Ajụjụ 69 Ripọtì
AFRICAN DRAMA
Dele Charley: The Blood of a Stranger
Consider the view that the play exposes the colonialist exploitation of Africa.
Ajụjụ 70 Ripọtì
African Prose
BAY° ADEMOWALE: Lonely Days
Comment on the writer's narrative style in the Novel.
Ajụjụ 71 Ripọtì
NON AFRICAN DRAMA
OLIVER GOLDSMITH: She Stoops to Conquer
Examine the use of dramatic irony in the play.
Ajụjụ 72 Ripọtì
African Prose
AMMA DARKO: Faceless
Discuss the relationship between Nii Kpakpo and Maa Tsuru in the novel.
Ajụjụ 73 Ripọtì
AFRICAN POETRY
Examine the persona's view of ageing in "The Piano of Growing Older"
Ajụjụ 74 Ripọtì
AFRICAN POETRY
Discuss the clash of cultures in Okara's "Piano and Drum".
Akọwa Nkọwa
None
Ajụjụ 75 Ripọtì
NON AFRICAN DRAMA
Lorraine Hansberry: A Raisin in the Sun
Consider the importance of of the check in the play.
Ị ga-achọ ịga n'ihu na omume a?