WAEC SSCE - Literature In English - 2017

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Catharsis is normally associated with Tragedy. Catharsis refers to a release of strong emotions, such as fear and pity, that the audience experiences when watching a tragic play. Tragedy is a genre of drama that typically depicts the downfall of a hero or protagonist, often as a result of a tragic flaw or mistake, and the audience experiences a range of emotions as they witness the events unfold. The cathartic effect is seen as a purging or cleansing of these emotions, allowing the audience to feel a sense of relief and release.

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The speech illustrates the use of irony. Irony is a figure of speech where the meaning of the words is opposite of what is actually said. In this speech, Othello is describing his trusted friend as someone who can be trusted with his wife, but the audience knows that this friend, Iago, is actually plotting against Othello and is far from trustworthy.

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"Death be not proud, though some have called thee might and dreadful" is an example of an apostrophe. In literature, an apostrophe is a figure of speech in which the speaker directly addresses an absent or imaginary person or entity. In this case, the speaker is addressing Death, which is personified as an entity with the ability to take lives. By addressing Death directly and challenging its power, the speaker is using apostrophe to express defiance and courage in the face of death. Therefore, the correct answer is apostrophe.

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One essential feature of drama is conflict. Conflict is a struggle between opposing forces or characters, and it creates tension and drama in the plot. It can be external, such as a physical battle, or internal, such as a character's internal struggle with a decision. Conflict drives the action of the play and keeps the audience engaged. It can create suspense and make the audience emotionally invested in the outcome. Without conflict, a play would be boring and lack tension. Soliloquy, irony, and aside are other features of drama, but they are not as essential as conflict. Soliloquy is a character speaking aloud to themselves, revealing their thoughts and feelings to the audience. Irony is a situation where the opposite of what is expected happens. An aside is a character speaking directly to the audience or to another character but not meant to be heard by the other characters on stage. While these features can add depth and complexity to a play, they are not necessary for it to be considered a drama. Conflict, on the other hand, is a crucial component of any dramatic work.

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An epic is a narrative poem that relates heroic exploits. It typically tells the story of a hero or a group of heroes who face extraordinary challenges and overcome them through courage, wit, or strength. The hero's actions often have a significant impact on their society, and their deeds are celebrated by the people around them. Epics are often characterized by their length, complexity, and grandeur. They are usually composed in a formal style, with elevated language and a metered structure. Examples of famous epics include Homer's "The Iliad" and "The Odyssey," Virgil's "The Aeneid," and Beowulf. Overall, epics are an important part of the literary canon and have been used throughout history to celebrate the values and ideals of a society, as well as to provide entertainment and inspiration.

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The underlined expression means "Make the best out of this". The speaker is advising Brabantio, a father, to handle a situation with care and try to make the best out of it, instead of using force or violence. The speaker is suggesting that it is better to find a peaceful solution rather than resorting to physical means.

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The speaker has just smothered his wife. In the given lines, the speaker, who is Othello, is speaking after he has killed his wife, Desdemona. He is realizing the enormity of his crime and is lamenting the loss of his wife. The repetition of "My wife! My wife! My wife?" indicates his shock and disbelief that he has killed the woman he loved. The phrase "I have no wife" suggests that he has killed her and can no longer claim her as his wife. The phrase "O, insupportable! O heavy hour!" expresses his agony and remorse. Therefore, the correct answer is "Smothered his wife."

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Iago is upset about Cassio's appointment as Lieutenant and believes that Cassio is not a good soldier. Iago thinks that Cassio's military skills are just talk and not backed up by actual actions. Iago believes that Cassio only got the appointment because of his relationship with Othello and not because of his abilities as a soldier.

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A short single act drama is called a playlet. A playlet is a brief play that typically consists of only one act or scene. It is usually shorter than a one-act play and is often performed as part of a larger program or event. Playlets can be comedies or dramas and may be used to showcase the talents of actors or to explore a particular theme or issue. Therefore, the correct answer is "Playlet."

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The poem evokes the senses of sight and hearing. The speaker talks about wanting to see Amina's smile and hear her soft voice again. The speaker also describes Amina venturing out into the moonlight, which creates a visual image. Additionally, the speaker talks about dreaming of touching Amina's "velvety texture," which implies a sense of touch, but this is not explicitly mentioned in the poem. Therefore, sight and hearing are the two senses that are most prominently evoked in this poem.

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The protagonist is the leading character in a literary work. This character is often the central figure in the story and is usually the one with whom the reader identifies or sympathizes. The protagonist is usually the hero of the story, and the events and conflicts in the plot revolve around this character. The protagonist is typically the main character who is trying to achieve a goal, overcome obstacles, and ultimately resolve the conflict in the story. The protagonist is often contrasted with the antagonist, who is the character or force that is working against the protagonist and trying to prevent them from achieving their goal. In this way, the protagonist plays a crucial role in shaping the events and outcome of the story, and is often the key factor in determining the overall meaning and message of the work.

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The passage is written in the first-person point of view. The use of first-person pronouns such as "we," "I," and "us" indicates that the narrator is a part of the story and is directly involved in the events that are being described. The passage describes the experience of the narrator and their family during a turbulent and scary night, where they heard the cry "non-indigenes must go" and feared for their safety. The use of first-person point of view also allows the reader to connect with the narrator's thoughts, feelings, and experiences. The narrator describes their dreams, their concern for their parents, and the fear that they felt during the night. This helps the reader to understand the impact that the events had on the narrator and their family. Therefore, the passage is written in the first-person point of view, which allows the reader to connect with the narrator's experiences and emotions.

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Othello is speaking to the Duke. In this scene, Othello is addressing the Duke and the members of the Venetian council to explain his recent marriage to Desdemona. He introduces his ancient, or trusted ensign, and explains that he has left his wife, Desdemona, in the care of this person while he attends to his duties. By referring to "your grace," Othello is addressing the Duke specifically, as he is the highest-ranking person in the room.

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The dominant literary device used in the poem is repetition. Repetition is a literary device that involves repeating a word, phrase, or idea for emphasis, rhythmic effect, or to create a pattern. In this poem, the phrases "rest awhile" and "venture" are repeated to create a rhythmic effect and emphasize the speaker's longing for the subject of the poem, Amina. The repetition of these phrases also creates a sense of anticipation and highlights the speaker's uncertainty about when he will next see Amina. The repeated phrases help to convey the speaker's yearning for Amina's presence and his desire to experience her softness, brightness, and velvety texture once more. Therefore, the dominant literary device used in this poem is repetition, which creates a rhythmic effect and emphasizes the speaker's longing for Amina.

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The poet's tone in the given lines is one of nostalgia. Nostalgia is a feeling of longing or wistfulness for a past time or experience. In this poem, the speaker expresses a sense of longing and uncertainty about when they will be able to experience the pleasant memories of being with Amina again. They remember her smile and the sound of her voice, and dream of being close to her once more. The use of phrases such as "I know not" and "when again" emphasizes the speaker's sense of uncertainty and anticipation. The mention of the "silver moonshine" and "velvety texture" create a dreamy and romantic atmosphere, contributing to the overall feeling of nostalgia and longing for something that is no longer present. Overall, the tone of nostalgia in the poem reflects the speaker's desire to recapture a happy moment from the past, and the uncertainty of whether they will be able to experience it again in the future.

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The phrase "The family bell summoned us" is an example of personification. Personification is a figure of speech where human qualities are attributed to non-human things. In this case, the bell is given the human quality of being able to summon or call the family members. It creates a vivid and dramatic image of the bell acting like a person and demanding the attention of the family.

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The speaker in the above lines is Othello. Othello is a character in William Shakespeare's play "Othello," and he is the protagonist of the play. These lines are spoken by Othello in Act V, Scene Two, and they reflect his emotional state and his struggle to come to terms with the events that have transpired in the play. Othello is a military man who is deeply in love with his wife, Desdemona. However, he becomes consumed by jealousy and doubt, fueled by the lies and manipulation of the character Iago. As a result, Othello begins to doubt Desdemona's faithfulness and eventually kills her, only to realize too late that she was innocent. In these lines, Othello is expressing his feelings of disbelief and despair at what he has done. He wishes that the world would go dark, as if there were an eclipse of the sun and moon, to reflect the darkness and sorrow that he feels. These lines reveal Othello's deep emotional turmoil and the devastating effects of jealousy and manipulation on his life and relationships.

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The phrase "Their silence spoke millions" is an example of a tactile image. This is because it creates a vivid image in the mind of the reader of the powerful, unspoken emotions and fear that the parents are feeling. The use of the word "silence" as if it is a tangible object that can communicate, and the description of it as speaking "millions", creates a sensory experience for the reader that helps to convey the intensity of the situation. Overall, the phrase is a powerful example of the author's use of language to create a mood and atmosphere in the story.

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The play on words for literary effect is called a pun. A pun is a form of wordplay that exploits multiple meanings of a term or phrase, or the similarity of sound between two words with different meanings, for humorous or rhetorical effect. It is a type of figurative language that can add humor, wit, or cleverness to a text. For example, "I'm reading a book on anti-gravity. It's impossible to put down!" In this pun, the word "put down" has two meanings, one of which is literal (to physically place something down) and the other is figurative (to stop reading or to criticize something harshly). The pun plays on the multiple meanings of the phrase to create a humorous effect.

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Dramatis personae is the same as the cast. It is a Latin term that literally translates to "persons of the drama" and refers to the list of characters in a play or dramatic work. The cast refers to the group of actors who perform the various roles in a play. Therefore, the correct answer is "Cast."

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The poet's intention is to show contempt. They are referring to something as a "bug" and using words like "stinks" and "stings" to suggest that it is unpleasant and unworthy. The use of "gilded wings" and "painted child of dirt" contrasts with this negativity, emphasizing the poet's negative view. The overall tone is one of disdain and criticism.

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A literary work in which the characters are animals is called a "fable." A fable is a short story that typically features animals or inanimate objects that are personified and act as characters. These characters are often used to teach a moral or lesson to the reader, and the story usually ends with a simple and memorable statement summarizing the moral. Fables have been used for centuries as a way to teach and entertain people of all ages. They are often written for children and are used to help them learn about values such as honesty, kindness, and hard work in a fun and engaging way. Some famous examples of fables include "The Tortoise and the Hare," "The Boy Who Cried Wolf," and "The Ant and the Grasshopper." Therefore, "fable" is the correct answer as it best describes a literary work in which the characters are animals, and the story is used to teach a moral or lesson.

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The alliteration in "stinks and stings" effectively conveys distaste. Alliteration is a literary device that involves the repetition of consonant sounds in close proximity. In this case, the repeated "s" sound draws attention to the unpleasant aspects of the subject being described. The words "stinks" and "stings" also have negative connotations, which reinforces the sense of distaste being conveyed. Overall, the alliteration in "stinks and stings" helps to create a vivid and negative image in the reader's mind, which supports the idea that the speaker is expressing distaste.

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Othello entrusts Desdemona to his ancient's (Iago) care. In the given lines, Othello is speaking to the Duke and he requests permission to leave for Cyprus to lead the military campaign there. Othello tells the Duke that he trusts his ancient, Iago, completely and will leave his wife, Desdemona, in his care. The phrase "To his conveyance I assign my wife" means that Othello is leaving Desdemona in Iago's care. Therefore, the correct answer is "Entrusts Desdemona to Iago's care."

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The climax in a literary work is the peak of the conflict. It is the moment of greatest tension and emotional intensity in the story, where the conflict reaches its highest point and the outcome is decided. The climax is often the most memorable and impactful part of the story, as it is where the reader's investment in the characters and the plot is most strongly felt. The climax is a crucial part of the story, as it is where the main themes and ideas of the work are most fully realized. It is the moment where the characters are pushed to their limits and must confront their greatest challenges, and where the reader sees the consequences of their actions. The climax usually occurs towards the end of the story, after the rising action has built up to a crescendo. After the climax, the story begins to wind down towards its resolution, where the loose ends are tied up and the conflict is resolved. Overall, the climax is a crucial part of any well-crafted story, as it is where the narrative tension and emotional stakes of the work come to a head.

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"Over the cobbles it clattered and crashed" is an example of Onomatopoeia. Onomatopoeia is a figure of speech in which words imitate the sounds they describe. In this example, the words "clattered" and "crashed" imitate the sound of something rolling or moving roughly over a hard surface. Onomatopoeic words are often used in poetry and prose to create a more vivid and memorable description of sounds, and to help the reader experience a sensory connection to the words on the page.

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The statement "Ten thousand saw I at a glance" illustrates hyperbole. Hyperbole is a figure of speech in which an exaggeration is made for emphasis or effect. In this statement, the speaker is exaggerating the number of people they saw, using "ten thousand" as an exaggerated number. This exaggeration serves to emphasize the overwhelming number of people the speaker saw, making it a perfect example of hyperbole.

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In this passage from Shakespeare's Othello, "his soldiership" refers to Cassio. Iago is speaking about Cassio to Roderigo, and he is saying that Cassio is all talk and no action when it comes to being a soldier. However, Iago admits that Cassio was still chosen for the position of lieutenant, despite his lack of experience in actual combat, because of his good reputation and recommendation by Othello. Iago is frustrated with this decision because he believes that he is more qualified and deserving of the promotion.

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The expression "It's a matter of sad joy" illustrates an oxymoron. An oxymoron is a figure of speech that combines two contradictory or opposite terms in a single phrase or expression. In this case, the words "sad" and "joy" are two antonyms or opposite terms that are juxtaposed in the same sentence, creating a contradictory effect. The phrase implies that there are two conflicting emotions present at the same time. The word "joy" suggests happiness or delight, while the word "sad" suggests a feeling of sorrow or grief. It is possible to experience both emotions simultaneously, and this phrase acknowledges that complexity. Therefore, the phrase "It's a matter of sad joy" is an example of an oxymoron, which highlights the contradictions between opposing concepts, in this case, sadness and joy.

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The answer is "A Limerick." A Limerick is a type of poem that consists of five lines. The first two lines rhyme with the last, while the third and fourth lines have their own rhyme. Limericks are often humorous in nature and can have a bouncy or sing-song quality to them. They are commonly used in children's literature and are a fun way to teach kids about poetry and rhyme.

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Irony is a major device in Richard Wright's Native Son. Wright uses situational, dramatic and verbal irony to expose the contradictions of a racist society and to deepen the tragedy of Bigger Thomas.

The irony of the Daltons' charity

• The Daltons are celebrated philanthropists who donate generously to Black causes, yet they own the overcrowded, rat-infested slum tenements that keep Black families like Bigger's in misery. Their kindness funds the very oppression they claim to relieve.
• It is bitterly ironic that Bigger, hired as an act of charity, ends up killing their daughter. Their well-meant benevolence produces catastrophe.

The irony surrounding Mary's death

• Mary Dalton and Jan, the communists, try hardest to treat Bigger as an equal, yet their insensitive friendliness only terrifies and humiliates him, helping to set the tragedy in motion.
• Bigger kills Mary accidentally, out of fear of being discovered in her room, yet he is condemned as a deliberate murderer and rapist. The gap between the truth and the accusation is deeply ironic.

The irony of Bigger's empowerment

• In a cruel irony, it is only after committing murder that Bigger feels, for the first time, a sense of power, identity and freedom. The act that dooms him also makes him feel alive.
• A society that denied him any meaningful life gives him significance only as a criminal.

The irony of justice

• Bigger receives a "fair" trial in a system already determined to destroy him; the machinery of justice is used to confirm a racist verdict rather than to discover truth.
• The prosecutor exploits the accidental killing to inflame racial hysteria, making legal process a tool of injustice.

Verbal and dramatic irony

• Characters repeatedly misread one another; the reader knows the truth of Mary's death while the world condemns Bigger for the wrong reasons, creating sustained dramatic irony.

Conclusion. Through these layers of irony, Wright lays bare the hypocrisy and injustice of a racist society. The ironic reversals, charity that oppresses, kindness that terrifies, murder that empowers and justice that destroys, give Native Son its tragic force and its power as social protest.

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In Horace Walpole's The Castle of Otranto, Manfred, Prince of Otranto, is destroyed by his own actions. His downfall is caused largely by his lust for power, his determination to keep the principality his family has usurped, though this ambition is bound up with pride, cruelty and unbridled desire.

The root of his ambition: a usurped throne

• Manfred rules Otranto through an old wrong; his grandfather seized the principality from its rightful lord, Alfonso. An ancient prophecy warns that the true owner will one day reclaim it.
• Manfred's overriding aim is to secure and perpetuate this ill-gotten power by ensuring a male heir, so his lust for power drives every decision.

How the lust for power drives his crimes

• When his sickly son Conrad is crushed to death, Manfred, desperate for an heir, resolves to divorce his loyal wife Hippolita, an act of injustice motivated purely by dynastic ambition.
• He determines to marry the young Isabella himself, pursuing her ruthlessly and even with violence, to father a new heir. His obsession with the succession overrides all morality.
• His tyranny and paranoia lead him to threaten and imprison the innocent, including the virtuous Theodore.

The fatal outcome

• Manfred's frenzy climaxes in the accidental killing of his own daughter Matilda, whom he stabs in mistake for Isabella. His grasping ambition thus destroys what he loves most.
• Overwhelmed by guilt and confronted by the supernatural apparition of Alfonso, who proclaims Theodore the rightful heir, Manfred is forced to confess his family's usurpation, abdicate and retire to a monastery.

A balanced judgement

• Manfred's lust for power is the chief cause of his ruin, but it operates through related flaws, pride, cruelty and lust for Isabella, and it runs against a destiny fixed by the prophecy and enforced by Heaven.
• His downfall is therefore both self-inflicted, through ambition, and providential, the punishment of a usurping house.

Conclusion. To a very great extent, Manfred's downfall is caused by his lust for power. His obsession with securing his usurped throne leads him into injustice, cruelty and finally the killing of his own child, bringing about the collapse of his house and the restoration of the rightful line.

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In She Stoops to Conquer, Tony Lumpkin is the son of Mrs Hardcastle by her first husband, which makes him the stepson of Mr Hardcastle. Goldsmith uses their relationship to contrast the sober values of Hardcastle with the indulgent spoiling of his wife.

Disapproval of Tony's behaviour

• Mr Hardcastle strongly disapproves of Tony's idleness and love of low company. He complains that the boy wastes his time at the alehouse among ostlers and stable-boys instead of improving himself.
• He blames Tony's coarse manners and mischief on Mrs Hardcastle's over-indulgence, believing she has ruined him with pampering.

Restrained tolerance rather than open hatred

• Despite his irritation, Hardcastle does not treat Tony with cruelty. His feeling is one of weary exasperation and disappointment rather than malice.
• He recognises that Tony is naturally sharp and cunning, even if that cunning is misapplied. Hardcastle can therefore laugh, at times, at the boy's roguery.

A guardian's honesty

• Hardcastle acts honourably in the matter of Tony's fortune, intending that the young man should come into his rightful inheritance once he is of age.
• When it is finally revealed that Tony is already of age, information Mrs Hardcastle had concealed, Hardcastle sees to it that Tony is set free to refuse the unwanted match with Constance.

Conclusion

Mr Hardcastle's feelings towards his stepson are a mixture of disapproval, frustration and reluctant tolerance. He deplores Tony's want of education and refinement, yet he bears him no real ill will and deals with him fairly, laying the blame chiefly on his wife's spoiling rather than on the young man alone.

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In Richard Wright's Native Son, Mrs Dalton, the wealthy white woman for whose family Bigger Thomas works, is literally blind. Wright makes her physical blindness a powerful metaphor for the wider moral and social blindness of white America toward the humanity and suffering of Black people.

Literal and symbolic blindness

• Mrs Dalton cannot see with her eyes, and it is precisely her presence in the darkened bedroom, when she cannot perceive what is happening, that leads to the accidental smothering of her daughter Mary. Her literal blindness triggers the catastrophe.
• This physical fact becomes a symbol: white society, for all its supposed goodwill, is blind to the real condition and inner life of Black people.

The blindness of white liberalism

• The Daltons see themselves as kind philanthropists who help Black causes, yet they own the slum housing that traps Black families like Bigger's in poverty and rats. They cannot see this contradiction.
• Their charity is blind to the human being before them; they treat Bigger as a project, not a person, never grasping his fear, anger or humanity.

Mutual blindness in race relations

• Whites are blind to Blacks, refusing to see them as full individuals, while the fear and hatred bred by racism also blind Bigger, so that he cannot see whites clearly either.
• This double blindness makes genuine understanding impossible and drives the tragedy of miscommunication and violence.

The metaphor extended

• Even well-meaning characters fail to "see" Bigger truly; only his lawyer, Max, begins to perceive the social forces that shaped him.
• Mrs Dalton's sightless groping in the dark mirrors a whole society groping blindly, unable or unwilling to see the injustice it perpetuates.

Conclusion. Mrs Dalton's blindness is far more than a physical trait. It is Wright's controlling metaphor for the moral blindness of white America, a society that cannot, or will not, see the humanity of the Black people it oppresses, and this blindness lies at the heart of the novel's tragic vision of race relations.

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Gabriel Okara's Piano and Drums is built almost entirely on symbolism. The two musical instruments of the title stand for two ways of life between which the African persona is torn.

The drums as symbol

• The drums, heard at daybreak, symbolise Africa's traditional, indigenous heritage. They are described as jungle drums telegraphing the mystic rhythm of the persona's roots.
• They call up images of the primal, the simple and the natural: hunters, leopards, spears, and a mother-lamb world of clear, direct instinct. The drums stand for a life that is raw, urgent and spontaneous.
• Their beat makes the persona's blood ripple and take flight, showing how deeply the ancestral call is felt in the body.

The piano as symbol

• The piano symbolises Western civilisation, culture and refinement. It is complex, learned and, in the poem, a little cold.
• Its music is described as coming in concerto, wailing and misty, full of far-away lands and new horizons. This suggests sophistication but also confusion and distance from the persona's roots.
• Where the drums are direct, the piano is winding and intricate, symbolising a modern life of subtlety, technology and complication.

Symbolism of the persona's position

• Standing between the two sounds, the persona symbolises the modern African caught between tradition and Western culture.
• The daybreak setting symbolises a moment of choice and awakening, while the closing image of being lost in the morning mist of an age at a riverside keep symbolises the persona's confusion and inability to belong wholly to either world.

Conclusion

Through the controlling symbols of the primitive drums and the sophisticated piano, Okara dramatises the cultural conflict of colonialism, leaving the persona, and the reader, aware that the modern African is suspended uneasily between two heritages.

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Wara's Role in the Development of the Plot

Wara is the principal female character in Dele Charley's The Blood of a Stranger. Attractive, skilful as a dancer and Kindo's beloved, she is central to several incidents that complicate and eventually help to resolve the action. Her role links the private love story of Kindo and Wara with the political intrigues, sexual exploitation and abuse of Mando custom in the play.

Wara is introduced early through the cave incident. Kindo tries to drag her into the sacred cave for sexual purposes, but she resists him. Soko nearly discovers them there. Had they been found in the cave, both Kindo and Wara could have been accused of sacrilege. Wara's presence of mind and their escape from immediate exposure prevent the action from reaching a crisis too early; thus, the incident creates suspense and advances the plot.

As Kindo's girlfriend, Wara becomes a vulnerable means through which his enemies can attack him. Although Kindo is protective of her, she is not fully aware of the intrigues at the King's court. Maligu and Soko exploit her relationship with Kindo in their schemes against him. In this way, Wara's position intensifies the conflict between Kindo and those who manipulate the authority and customs of Mando land for selfish ends.

Her importance becomes greater with the arrival of Whitehead. Whitehead lusts after Wara, and Maligu, Parker and Soko abduct her in order to expose her to him. Whitehead attempts to rape her, but Wara courageously fights him off and escapes. This escape delays a direct confrontation between Whitehead and Kindo and makes the eventual denouement more tense. It also reveals Whitehead's moral corruption and the complicity of the local plotters who aid him.

Wara is further made the proposed sacrificial victim. Soko and Maligu choose her because they regard her as a stranger and a virgin, qualities required for the sacrifice. She therefore becomes the intended sacrificial lamb. Her proposed sacrifice exposes the cruelty and hypocrisy of those who invoke tradition, not for the welfare of the community, but to protect their power and satisfy their private interests.

The final resolution is closely connected with Wara. Kindo declares that Wara is not a virgin and reveals that the body on the sacrificial stone is not Wara's but Parker's, whom he has killed. He also kills Whitehead, whose actions have threatened both his relationship with Wara and the integrity of Mando custom. Finally, Wara reveals that she is not a stranger in Mando land. This disclosure destroys the false basis on which her sacrifice has been planned and proves that custom has been deliberately manipulated by Maligu and Soko.

Thus, Wara develops the plot through the cave episode, her abduction and escape from Whitehead, the proposed sacrifice and the revelation of her true identity. Through her, the play exposes lust, betrayal, political intrigue and the exploitation of traditional practices for selfish purposes.

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In Amma Darko's Faceless, the friendship between Fofo and Odarley, two girls who survive on the streets of Accra, is central to the novel's exploration of poverty, homelessness and the vulnerability of the girl-child. Fofo's visit to Odarley is significant because it deepens our understanding of street life and advances the plot toward the investigation of Baby T's death.

The context of the visit

• Fofo and Odarley are close companions who share the hardships of life on the streets around Sodom and Gomorrah, the Accra slum.
• After the shock surrounding the murder of her sister Baby T, Fofo turns to Odarley for shelter, comfort and companionship.

Significance of the visit

• It reveals the harshness of street life. Through Odarley's circumstances, Darko exposes the squalor, insecurity and daily danger faced by homeless children, especially girls who are prey to abuse.
• It underscores the theme of friendship and survival. The bond between the two girls shows that solidarity among the poor is one of the few sources of safety and emotional support they possess.
• It advances the plot. The visit and the girls' shared knowledge feed into the effort by MUTE, the NGO run by Kabria and Dina, to uncover the truth behind Baby T's death and the wider abuse of street children.
• It highlights the plight of the girl-child. Odarley's own story mirrors Fofo's, reinforcing the novel's protest against a society that leaves young girls faceless, nameless and exposed to exploitation.

Conclusion. Fofo's visit to Odarley is significant because it dramatises the reality of street life, celebrates the sustaining power of friendship among the destitute, and moves the narrative toward exposing the truth about Baby T. It embodies the novel's central concern with the neglected, voiceless children of urban poverty.

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Gbanabom Hallowell's poem The Dining Table and the war poetry of the WAEC selection give the word ambush a heavy meaning, and where a poem titled Ambush is set, the title itself carries the whole theme of dreams that are cut down before they can be realised.

Meaning of the title

• An ambush is a hidden, sudden attack that strikes when the victim is unprepared and hopeful of safety. The word suggests concealment, betrayal and violence that comes from an unexpected quarter.
• As a title, it prepares the reader to see life, or the nation, or the persona's aspirations, as a traveller who sets out with hope only to be waylaid.

Link to frustrated dreams

• The dreams in the poem are pictured as a journey or an expectation of a better future, whether personal ambition, national progress after independence, or peace after conflict.
• Just as the traveller is halted by the ambush, so the dream is halted by war, corruption, poverty or violence. The hope never reaches its destination; it is struck down midway.
• The suddenness of the ambush mirrors the way in which the persona's expectations collapse without warning. What promised fulfilment turns into disappointment.
• The concealment in an ambush also suggests hidden forces, unjust leaders, betrayal by trusted people, that frustrate the ordinary person's aspirations from behind.

Effect

• By naming the poem Ambush, the poet insists that the destruction of the dream is deliberate and treacherous, not mere bad luck.
• The single, violent image controls the mood of the whole poem, leaving the reader with a sense of aspiration betrayed and potential wasted.

The title therefore is not decoration but the very key to the theme: dreams are the unsuspecting travellers, and the harsh forces of the persona's world are the ambush that lies in wait to frustrate them.

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Lorraine Hansberry's A Raisin in the Sun portrays the Youngers, a poor African-American family in Chicago's South Side, as a close-knit family. Despite poverty, cramped living conditions and sharp disagreements, the family is bound together by love, shared struggle and a common dream of a better life.

Living together under one roof

• Three generations, Mama (Lena), her son Walter Lee and his wife Ruth with their son Travis, and her daughter Beneatha, share one small, overcrowded apartment.
• Their close physical proximity, sharing space and even a bathroom down the hall, reflects and reinforces their tight family bond.

Shared dreams and sacrifice

• The family is united by the hope of using the ten thousand dollar insurance cheque to improve their lives, and each dreams for the family's future.
• Mama's dream of a house with a garden is a dream for all of them, and she puts the family's welfare above her own comfort.

Conflict within a loving frame

• They quarrel intensely, Walter over his business dream, Beneatha over her ambitions and beliefs, Ruth over money and her pregnancy, but these conflicts arise within, not against, a fundamental bond of love.
• When Walter loses much of the money to the swindler Willy, the family is angry yet ultimately rallies around him rather than casting him out.

Solidarity in crisis

• Faced with Mr Lindner's racist offer to buy them out of the white neighbourhood of Clybourne Park, the family stands together and refuses to sell their dignity.
• Walter's decision to reject the offer, made in front of Travis and with the family's support, is an act of collective pride that reunites them.

Mama as the unifying centre

• Mama holds the family together through faith, love and moral strength, teaching them to value one another above money.
• Her insistence that they never give up on a family member, even one who has failed, keeps the family whole.

Conclusion. Though the Youngers are poor and often at odds, they remain a genuinely close-knit family. Bound by love, shared dreams, sacrifice and a united stand for their dignity, they emerge from crisis stronger and together, affirming the enduring strength of family solidarity.

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Oliver Goldsmith presents two courtships that run side by side in She Stoops to Conquer, and the humour of the play partly depends on how differently the two couples pursue love.

Tony Lumpkin and Constance Neville

• Theirs is a false, unwilling match. Mrs Hardcastle schemes to marry Constance to her son Tony so that the family jewels stay in the household, but neither party desires the other.
• Tony openly detests the arrangement. He calls Constance a bitter draught and would rather spend his time at the Three Pigeons alehouse than court her.
• Constance loves Hastings, not Tony, and only pretends affection to deceive Mrs Hardcastle and secure her inheritance.
• Tony and Constance therefore become co-conspirators rather than lovers. Tony helps Constance by stealing the jewels and by driving his mother round in circles in the dark, all to free himself and unite Constance with Hastings.

Young Marlow and Kate Hardcastle

• Theirs is a genuine match built on real, though comically delayed, attraction. Marlow is the intended suitor Kate's father approves.
• Marlow suffers a strange affliction: he is bold and free with barmaids and low women but tongue-tied and bashful before refined ladies. Kate must therefore stoop, disguising herself as a barmaid, to draw out his true feelings.
• Their relationship deepens through this device until Marlow falls sincerely in love with the supposed servant, only to discover she is the lady he was too shy to address.

Comparison

• Both relationships are shaped by pretence, but the purposes differ. Tony and Constance pretend to escape a marriage; Marlow and Kate use pretence to build one.
• The Tony-Constance bond is one of alliance and mutual convenience, warm in friendship but empty of romance. The Marlow-Kate bond grows into true love.
• Both couples end happily: Tony, on learning he is of age, refuses Constance and frees her for Hastings, while Marlow and Kate are united with the blessing of Mr Hardcastle.

Thus Goldsmith balances a comic anti-romance against a genuine romance, using both to satirise the artificial manners and mercenary matchmaking of his age.

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In Lorraine Hansberry's A Raisin in the Sun, the three women of the Younger family, Mama (Lena), Ruth and Beneatha, are drawn as distinct yet complementary figures. Each represents a different generation and outlook of African-American womanhood, and together they reveal the play's concerns with dignity, dreams and identity.

Mama (Lena Younger)

• Mama is portrayed as the strong, dignified matriarch and moral centre of the family. Deeply religious and rooted in traditional values, she holds the household together.
• She is loving but firm, insisting on respect for God, family unity and human dignity. Her dream of a house with a garden is a dream of a better life for all the Youngers.
• She embodies endurance and hope, the legacy of the older generation that survived hardship and racism through faith and sacrifice.

Ruth Younger

• Ruth, Walter's wife, is portrayed as patient, hardworking and long-suffering. Worn down by poverty and a strained marriage, she nonetheless keeps the family functioning.
• Her crisis over an unwanted pregnancy, and her thought of ending it because of their hardship, dramatises the pressures poverty places on women.
• She is practical and devoted, and her joy at the prospect of the new house shows her yearning for a decent, stable home.

Beneatha Younger

• Beneatha, the educated younger daughter, is portrayed as intelligent, ambitious, independent and modern. She dreams of becoming a doctor, a bold aspiration for a Black woman of her time.
• She questions tradition and religion, and her search for identity is expressed through her interest in her African heritage, encouraged by her suitor Asagai.
• Torn between the assimilated George Murchison and the proud African Asagai, she represents the new generation seeking self-definition and cultural roots.

Contrast and significance

• The three women span old faith and endurance (Mama), weary present-day struggle (Ruth) and forward-looking ambition (Beneatha).
• Together they show the strength, resilience and evolving aspirations of Black women, and they are central to the family's survival and dignity.

Conclusion. Hansberry portrays Mama as the dignified, faith-filled matriarch, Ruth as the patient, hardworking wife, and Beneatha as the ambitious, questioning modern woman. Their differing yet complementary portrayals enrich the play and highlight its themes of dreams, dignity and identity.

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Dele Charles's The Blood of a Stranger is set in the traditional African community of Mando Land, and the play reveals much about the culture, beliefs and social organisation of its people. This cultural world is important because the drama turns on the clash between tradition and the disruptive arrival of the outsider.

A community governed by tradition and kingship

• Mando Land is ruled by a king (Kabalah) supported by a council of chiefs and elders, showing a hierarchical, traditional system of authority.
• Respect for the throne, elders and established custom governs the people's conduct.

Strong religious and spiritual beliefs

• The people are deeply religious, worshipping their gods and consulting the oracle and the priest/priestess for guidance on important matters.
• They believe firmly in sacrifice, and the demand for the blood of a "stranger" to appease the gods reflects the centrality of ritual sacrifice in their worldview.

The place of the diviner and priest

• The priest and the oracle wield great influence, interpreting the will of the gods and directing communal decisions.
• Superstition and fear of divine anger shape how the community responds to crisis.

Festivals, customs and communal life

• The play depicts communal gatherings, rituals and festivals that bind the people together and express their shared identity.
• Hospitality toward strangers coexists uneasily with suspicion, and the treatment of the stranger tests the community's values.

Values challenged by greed and change

• The arrival of the outsider (Whitehead) and the lure of wealth expose the vulnerability of traditional culture to corruption and exploitation.
• The demand to shed a stranger's blood shows how tradition can be manipulated for selfish ends, inviting criticism of harmful customs.

Conclusion. The play teaches that Mando Land is a tradition-bound society governed by kingship, elders, gods, oracles and ritual sacrifice. Its culture of reverence, religion and communal solidarity is vividly portrayed, even as the drama exposes how such traditions can be abused, making culture central to the meaning of the play.

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In Bayo Adebowale's Lonely Days, the village of Kufi is deeply rooted in traditional belief, and the people show a strong attachment to superstition. The novel presents this superstitious outlook both as part of the community's culture and as a source of the injustice that widows like Yaremi suffer.

Belief in curses and the supernatural

• The people of Kufi readily attribute misfortune, death and hardship to spiritual causes, curses, witchcraft and the anger of ancestors, rather than to natural explanation.
• Widowhood itself is surrounded by superstition; a widow is suspected of complicity in her husband's death and must undergo rites to prove her innocence.

Superstition and the treatment of widows

• Yaremi is subjected to humiliating widowhood practices grounded in the belief that a widow is spiritually dangerous or guilty until cleansed.
• Fear of the dead husband's spirit shapes how the community treats her, showing how superstition licenses cruelty.

Faith in charms, omens and traditional medicine

• Villagers consult diviners, wear charms and read omens in dreams, birds and natural signs, trusting these to explain and control their lives.
• Traditional healers and soothsayers hold authority because the people believe in unseen forces.

A mixed attitude

• Superstition is bound up with genuine communal values, respect for ancestors, custom and social order, so it is not presented as wholly negative.
• Yet the novel is critical where superstition breeds injustice, especially against vulnerable women, inviting the reader to question harmful traditions.

Conclusion. The people of Kufi are strongly superstitious, explaining life through curses, spirits and omens and enforcing tradition-based rites. Adebowale portrays this attitude with understanding but also exposes how it fuels the mistreatment of widows, making superstition central to the novel's social criticism.

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In Bayo Adebowale's Lonely Days, Ajumobi is the late husband of Yaremi, the central character. Although he dies early in the story, Ajumobi is portrayed through Yaremi's memories, and his portrayal is largely positive, standing in contrast to the harsh treatment widowhood brings her.

A loving and devoted husband

• Through Yaremi's recollections, Ajumobi emerges as a caring, affectionate partner. Their marriage was marked by warmth, companionship and mutual respect.
• His memory sustains Yaremi in her loneliness, showing the depth of the bond they shared.

A hardworking farmer and provider

• Ajumobi is remembered as an industrious man who worked the farm and provided for his family, embodying the ideal of the responsible rural husband.
• His diligence and skill earned him respect in Kufi, the village community.

A brave and respected man

• He is recalled as courageous, a hunter and a man of standing whose presence commanded regard in the village.
• His strength and dignity made Yaremi proud to be his wife.

A figure of contrast

• Ajumobi's kindness in life highlights, by contrast, the cruelty Yaremi suffers after his death, when relatives and custom subject her to humiliating widowhood rites.
• His absence exposes the vulnerability of widows in a patriarchal, tradition-bound society.

Conclusion. Ajumobi is portrayed, chiefly through flashback and memory, as a loving, hardworking and respected husband. His warm image deepens the pathos of Yaremi's lonely widowhood and underscores the novel's concern with the plight of widows in traditional African society.

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George Herbert's The Pulley is a metaphysical poem in which God, at creation, pours His blessings on man but deliberately holds one back. The whole meaning of the poem turns on a pun.

The central pun on "rest"

• The key word is rest, and Herbert plays on its double meaning.
• In one sense rest means repose, peace and contentment, the settled ease that would make man perfectly satisfied.
• In the other sense rest means the remainder, that which is left over. God pours out strength, beauty, wisdom, honour and pleasure, and when almost all is gone, the poet says the rest lay in the bottom of the glass.
• The pun binds the two ideas together: the one gift God withholds (repose) is also literally the last thing remaining (the remainder). Withholding "rest" in one sense is withholding "the rest" in the other.

How the pun carries the theme

• God reasons that if man also had rest (contentment), he would adore the gifts instead of the Giver and would rest in Nature, not in the God of Nature.
• So God keeps back rest with repining restlessness. Man's very weariness and dissatisfaction become the pulley that draws him upward to God.
• The pun thus embodies the poem's argument: the absence of one "rest" ensures that man's final "rest" will be found only in God.

Related wordplay

• The title itself works like a small pun-image: a pulley lifts a weight by pulling down on the other side, just as man's restlessness pulls him up to heaven.

Conclusion

The pun on rest is the hinge of the poem. By exploiting the two meanings of a single word, Herbert compresses his whole theology into a witty, memorable paradox, showing man's discontent to be a divine device for salvation.

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Robert Frost's Birches uses the image of birch trees bent to the ground to explore how the human spirit endures the strains of life. The theme of endurance runs through the poem's contrast between hardship and recovery.

The bending as a picture of endurance

• The birches are bent down by ice-storms, loaded until they bow and even trail their leaves on the frozen ground. This weight symbolises the burdens and sufferings that press upon human life.
• Yet the poet notes that the trees are only bent, not broken. They stoop under the load but survive, an image of a spirit that bends beneath trouble without being destroyed.

Recovery and resilience

• Though the birches do not always straighten fully after the ice has bent them, they endure and go on living, marked but standing. Endurance here is not escaping suffering but outlasting it.
• The boy who swings the birches climbs to the very top and then flings himself out to ride the branch down. He learns to launch out only after climbing carefully, a picture of measured strength that knows how far it can go.

The persona's own weariness

• Frost admits that when he is weary of considerations and life feels like a pathless wood where the face burns and one eye weeps, he dreams of climbing a birch away from earth for a while.
• But he wants to go only to come back: Earth's the right place for love. This is the heart of the theme, endurance means returning to face life rather than fleeing it permanently.

Conclusion

Through the bent but unbroken birches and the swinger who climbs and returns, Frost celebrates endurance as the capacity to bear life's burdens, to bend without breaking, and to keep coming back to earth to live and love.

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In Amma Darko's Faceless, Baby T, the fourteen-year-old sister of Fofo, is one of the clearest victims of social injustice. Her tragic story, from abuse at home to prostitution and finally murder, embodies the novel's protest against a society that fails to protect its vulnerable children, especially the girl-child.

A victim of a broken home and irresponsible parenting

• Baby T is the daughter of Maa Tsuru, a poor, superstitious woman burdened by a supposed family curse, and is neglected by the men in her mother's life.
• Her stepfather figure, Kpakpo, and the household's poverty expose her to danger instead of protection. Those who should shield her betray her.

A victim of sexual abuse

• Baby T is sexually molested at a young age by men close to the family, and her innocence is destroyed by adults who exploit her helplessness.
• Rather than being defended, she is blamed and pushed further into vulnerability.

Sold into prostitution

• Driven by poverty, Baby T is effectively handed over to Maami Broni and forced into child prostitution, becoming merchandise for men's pleasure.
• She is exploited by Onko and others, showing how economic hardship and adult greed reduce a child to a commodity.

Her murder and facelessness

• Baby T is finally murdered and her body dumped, discarded like refuse near Agbogbloshie market. Her death is the ultimate injustice.
• She dies nameless and unmourned by society, the very image of the "faceless" children the title condemns.

The wider indictment

• Through Baby T, Darko attacks poverty, the neglect of the girl-child, the failure of family and the indifference of society and authorities.
• The efforts of MUTE and Kabria to uncover her story are the author's call for these injustices to be exposed and corrected.

Conclusion. Baby T is indeed a victim of social injustice. Poverty, abuse, exploitation and neglect combine to destroy a defenceless child, and her fate stands as the novel's most powerful protest against the mistreatment of vulnerable young people.

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In Frank Ogodo Ogbeche's Harvest of Corruption, Ogeyi stands out as a rare figure of virtue in a society riddled with corruption. She serves as a moral contrast to the corrupt characters and helps drive the play toward the exposure of wrongdoing.

A principled and upright young woman

• Ogeyi is honest, morally upright and firm in her values. In a world where nearly everyone can be bought, she refuses to compromise her integrity.
• She embodies the decent conscience of the society, a standard against which the corruption of others is measured.

A loyal and caring friend

• Ogeyi is the close friend of Aloho, and she genuinely cares for her welfare. She warns Aloho against the dangerous, immoral path into which Chief Amaka and his associates lure her.
• Her concern shows compassion and foresight; she sees the ruin ahead when Aloho cannot.

A voice of moral counsel

• She repeatedly counsels honesty and caution, urging Aloho to avoid corrupt shortcuts to success.
• Her advice, though unheeded, underlines the play's moral message about the dangers of greed and easy money.

An agent of justice

• After Aloho's tragic fate, Ogeyi contributes to the effort to expose and bring the corrupt to justice, aligning herself with the honest forces in the play.
• Her courage in standing for the truth helps ensure that the "harvest" of corruption is finally reaped by its perpetrators.

Her thematic significance

• Ogeyi represents hope and the possibility of integrity in a decayed society.
• Her character affirms the playwright's belief that virtue, though embattled, can still resist and help defeat corruption.

Conclusion. Ogeyi is portrayed as an honest, caring and courageous young woman whose integrity contrasts sharply with the surrounding corruption. As a loyal friend, moral guide and ally of justice, she embodies the play's positive values and plays a key part in the eventual triumph of righteousness over corruption.

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Frank Ogodo Ogbeche's Harvest of Corruption is aptly titled, for the play dramatises a society in which corruption has been sown so widely that its bitter "harvest", exposure, disgrace and punishment, is finally reaped. The title captures both the pervasiveness of corruption and the idea that wrongdoing eventually yields destructive consequences.

Corruption as the seed sown throughout the play

• Corruption saturates every level of the society of Jabu. Public officials, the police, the judiciary and business people are all shown trading in bribery, abuse of office and moral decay.
• Chief Ade Amaka, the corrupt Commissioner for Health, embodies this: he abuses his position, engages in drug trafficking and sexual immorality, and uses wealth and influence to escape accountability.

The many forms of corruption

• Political corruption. Amaka secures and abuses public office for private gain.
• Bribery and perverted justice. Officials such as the police officer Inspector and the corrupt figures in authority take bribes; attempts are made to buy the courts.
• Drug trafficking and immorality. Amaka's involvement in hard drugs and his exploitation of young women, including the tragic case of Aloho, show moral rot.
• Abuse of the vulnerable. The innocent are used and discarded, as when Aloho is seduced, exploited and destroyed.

The harvest: consequences reaped

• The metaphor of harvest implies that what is sown must be reaped. After much wrongdoing, justice finally catches up with the offenders.
• Aloho pays with her life for her entanglement in Amaka's corrupt world, while the exposure and prosecution of Amaka and his accomplices show corruption bearing its destructive fruit.
• The eventual triumph of justice, through the efforts of upright characters like Ogeyi and the honest arm of the law, delivers the "harvest" of retribution.

Conclusion. The title is fully justified. The play depicts a society that has cultivated corruption in every institution, and it traces the inevitable harvest of that corruption in ruin, death and eventual punishment. Harvest of Corruption thus warns that a nation which sows corruption will surely reap its bitter consequences.

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Horace Walpole's The Castle of Otranto, regarded as the first Gothic novel, dramatises a clear struggle between good and evil. The forces of tyranny, usurpation and lust are ranged against innocence, rightful order and divine justice, and the novel's supernatural machinery ensures that good finally triumphs.

Evil embodied in Manfred

• Manfred, Prince of Otranto, represents evil. He is a tyrant and usurper whose family holds the principality through an old crime, his grandfather having seized it from its rightful lord.
• His ruthless ambition drives the plot: after his son Conrad is killed, he tries to divorce his faithful wife Hippolita and forcibly marry the innocent Isabella to secure his line, even pursuing her with lustful violence.
• His cruelty culminates in the accidental killing of his own daughter Matilda, the tragic cost of his wickedness.

Good embodied in the innocent characters

• Isabella and Matilda represent virtue, purity and gentleness, resisting Manfred's tyranny.
• Hippolita embodies patient goodness and piety, enduring her husband's cruelty with saintly resignation.
• Theodore, the brave and virtuous young peasant who proves to be the rightful heir, is the champion of good who ultimately restores justice.

The supernatural as the agent of divine justice

• The Gothic marvels, the giant helmet that crushes Conrad, the bleeding statue, the enormous armoured limbs and the final apparition of Alfonso, are instruments of Heaven working against the usurping house.
• These portents steadily undermine Manfred and announce that evil will be punished and the true line restored.

The triumph of good

• Manfred's schemes collapse; the castle falls, and the ghost of the true lord Alfonso proclaims Theodore the rightful prince.
• Order and justice are restored, and Theodore's eventual union with Isabella affirms the victory of virtue.

Conclusion. The novel is indeed structured as a contest between good and evil. Manfred's tyranny and lust are opposed by innocence, piety and rightful heirship, and the supernatural ensures that divine justice overthrows the usurper. The triumph of Theodore and the restoration of order confirm the moral pattern of good conquering evil.