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Swali 1 Ripoti
In drama, catharsis is the
Maelezo ya Majibu
In drama, catharsis refers to the purging or release of emotions, especially pity and fear, that is evoked in the audience through witnessing the resolution of the plot's tension and conflicts. It is the feeling of emotional release or purification that the audience experiences after experiencing a work of drama. The term was first used by Aristotle to describe the effect that tragedy has on its audience. Therefore, the correct option is "purgation of emotion from tension".
Swali 2 Ripoti
Read the extract below and answer the following questions
Speaker X: Thou runaway, thou coward,
art thou fled?
Speak! In some bush? Where dost thou hide thy head?
Speaker Y: Thou coward, art thou bragging to the stars,
Telling the bushes that thou look'st for wars,
And wilt not come? Come, recreant, come, thou child;
I'll whip thee with a rod. He is defiled
That draws a sword on thee.
(Act III, Scene Two, Lines 405 - 411)
Speaker Y's intention is to stop
Maelezo ya Majibu
Speaker Y's intention is to stop Speaker X from fleeing or running away from a fight. He taunts and challenges Speaker X to come back and face him, calling him a coward and threatening to whip him if he does not come back. Therefore, the answer is "flight".
Swali 3 Ripoti
Read the extract below and answer the following questions
Speaker X: Thou runaway, thou coward,
art thou fled?
Speak! In some bush? Where dost thou hide thy head?
Speaker Y: Thou coward, art thou bragging to the stars,
Telling the bushes that thou look'st for wars,
And wilt not come? Come, recreant, come, thou child;
I'll whip thee with a rod. He is defiled
That draws a sword on thee.
(Act III, Scene Two, Lines 405 - 411)
Speaker Y speaks in the voice of
Maelezo ya Majibu
Puck(Robin Goodfellow) was speaking as Lysander in this scene
Swali 4 Ripoti
Read the extract below and answer the following questions
... seest thou this sweet sight?
Her dotage now I do begin to pity;
For meeting her of late behind the wood,
Seeking sweet favours for this hateful fool,
I did upbraid her, and fall out with her.
For she his hairy temples then had rounded
With coronet of fresh and fragrant flowers;
(Act IV, Scene One, Lines 42 - 28)
This sweet sight refers to
Maelezo ya Majibu
In the given extract from an unidentified source, the phrase "this sweet sight" refers to the encounter between Bottom and Titania. Based on the context provided, it appears that the speaker is reflecting on a recent encounter they had with a person referred to as "her." This person, whom the speaker now pities, was found by the speaker behind the wood while seeking favors for a foolish individual. The speaker admits to rebuking and arguing with this person because at that time, they had adorned the hairy temples of the foolish individual with a crown made of fresh and fragrant flowers. Given this information, we can infer that "this sweet sight" mentioned in the extract refers to the sight of the person (referred to as "her") adorning the foolish individual's head with a crown of flowers. As the options do not directly align with the description provided, it is important to note that this analysis is based solely on the given extract and its context.
Swali 5 Ripoti
Read the extract below and answer the following questions
... Man is but an ass if he go about to
expound this dream. Methought I was - there
is no man can tell
what. Methought I was, and methought I had -
but man is
But a patched fool, if he will offer
To say what methought I
had. The eye of man hath not heard, the ear of
man hath not
seen, man's hand is not able to taste, his
tongue to conceive, nor
his heart to report, what my dream was
(Act IV, Scene One, Lines 201 - 207)
The speaker is
Swali 6 Ripoti
Read the extract below and answer the following questions
... Man is but an ass if he go about to
expound this dream. Methought I was - there
is no man can tell
what. Methought I was, and methought I had -
but man is
But a patched fool, if he will offer
To say what methought I
had. The eye of man hath not heard, the ear of
man hath not
seen, man's hand is not able to taste, his
tongue to conceive, nor
his heart to report, what my dream was
(Act IV, Scene One, Lines 201 - 207)
It is a state of
Maelezo ya Majibu
The extract is describing a state of illusion. The speaker is struggling to explain what they experienced in their dream and emphasizes that it is beyond the limits of human perception and understanding. The use of phrases such as "there is no man can tell what," "not able to taste," and "not able to conceive" highlight the limitations of human perception and the elusive nature of the dream. Thus, the overall tone of the passage suggests that the speaker is caught in an illusory state that is beyond human comprehension.
Swali 7 Ripoti
The literary term describing individuals in a work of literature is
Maelezo ya Majibu
The literary term describing individuals in a work of literature is "characters." In a story, characters are the people, animals, or other beings that the author creates and develops to drive the plot forward. They are the individuals who experience events, have thoughts and feelings, and engage in actions within the story. Characters can be the central focus of the narrative (protagonist), the one who opposes the protagonist (villain), or other supporting or secondary roles. They add depth, complexity, and relatability to the story, allowing readers to connect with and understand the events unfolding in the literary work.
Swali 8 Ripoti
Read the extract below and answer the following questions
... seest thou this sweet sight?
Her dotage now I do begin to pity;
For meeting her of late behind the wood,
Seeking sweet favours for this hateful fool,
I did upbraid her, and fall out with her.
For she his hairy temples then had rounded
With coronet of fresh and fragrant flowers;
(Act IV, Scene One, Lines 42 - 28)
The speaker is
Swali 9 Ripoti
William Shakespeare: A Midsummer Night's Dream
Read the extract below and answer the following questions
Go, Philostrate,
Sir up the Athenian youth to merriments;
Awake the pert and nimble spirit of mirth;
Turn melancholy forth to funerals:
The pale companion is not our pomp
Hippolyta, I wooed thee with my sword,
And won thy love doing thee injuries;
But I will wed thee in another key,
With pomp with triumph, and with reveling ( Act 1, Scene One, Lines 12-20)
Who is the speaker?
Maelezo ya Majibu
The speaker in the given extract from William Shakespeare's play A Midsummer Night's Dream is Theseus. Theseus, the Duke of Athens, is addressing Philostrate, instructing him to rouse the Athenian youth to engage in merriment and festivities. Theseus is the authoritative figure in the play and holds a position of power as the ruler of Athens. In this particular scene, he is making plans for the upcoming wedding celebration with Hippolyta, whom he addresses in the later part of the extract. As the Duke and central character, Theseus takes charge of organizing and directing the events in the play, including the entertainment and festivities associated with the wedding. Therefore, based on the context provided, Theseus is the speaker in the given lines.
Swali 10 Ripoti
More haste, less speed illustrates the use of
Maelezo ya Majibu
The phrase "more haste, less speed" illustrates the use of a paradox. A paradox is a statement that appears to contradict itself, but in reality, it contains some truth. In this case, the phrase seems to suggest that by going too fast, one will actually take longer to accomplish a task. While the statement seems contradictory, it contains an underlying truth: rushing through a task can lead to mistakes, which will ultimately slow down the process.
Swali 11 Ripoti
In literature, the two components of diction are
Maelezo ya Majibu
In literature, the two components of diction are vocabulary and syntax. Vocabulary refers to the choice of words used by an author in their writing. It encompasses the specific words and terms selected to convey meaning, evoke certain emotions, or create a particular atmosphere. The vocabulary used in literature can vary from simple and everyday language to more complex and specialized terms, depending on the style and purpose of the writing. Syntax, on the other hand, refers to the arrangement and structure of words and phrases within a sentence or a passage. It deals with how words are organized to create meaning, convey relationships between ideas, and establish the overall flow and rhythm of the text. Syntax includes aspects such as sentence structure, sentence length, word order, and the use of punctuation. The combination of vocabulary and syntax in diction is crucial for expressing the intended message and style of the author. The choice of words and their arrangement in a sentence or a literary work can greatly impact the tone, mood, and overall effectiveness of the writing. By carefully selecting specific words and employing various sentence structures, authors can create different effects, evoke specific imagery, and convey their ideas in a unique and compelling manner. Therefore, in literature, the two components of diction, vocabulary and syntax, work together to shape the language and style of the writing, influencing the reader's experience and understanding of the text.
Swali 12 Ripoti
Unseen Prose and Poetry
Read the passage below and answer the following questions
Marooned, Akpatse felt imprisoned. It was fifteen days since the storm. The flood waters were not receding; neither did Akpatse see any sign of help coming. Akpatse could not swim the expanse of flood waters. He meditated: when one looks upon the mountain for help and help comes from the Lord ... where does the Lord sit - in the cloud or on the mountain, or in the valley?
Well, Akpatse looked for salvation in the distance, far across the ocean of flood - the intimidating expense of his great gaoler - up to where the sky and the lips of the flood waters met in a mocking kiss. He had forgotten the feeling of hunger but knew he did not have any energy. What a foolish thing to think! He had not had any food for days. True. But hunger never said hello from the hollow of his 'person-tree' as they say in his language. Akpatse saw no help coming.
The overall feeling evoked by the passage is one of
Maelezo ya Majibu
The overall feeling evoked by the passage is empathy. The passage describes the difficult situation of Akpatse who is marooned in flood waters for fifteen days without any sign of help coming. The reader can empathize with Akpatse's feelings of being imprisoned and forgotten, and his struggle with hunger and exhaustion. The passage evokes a sense of compassion and understanding for Akpatse's plight.
Swali 13 Ripoti
Disguise in drama mostly portrays the theme of
Maelezo ya Majibu
Disguise in drama mostly portrays the theme of mistaken identity. Mistaken identity occurs when a character in a play or drama pretends to be someone else or is mistaken for someone else by other characters within the story. Disguise serves as a dramatic device that creates tension, humor, and confusion within the plot. It allows for mistaken identities to occur, leading to comedic or dramatic situations. Characters may wear masks, change their appearance, or adopt different personas to deceive others or achieve specific goals. Through mistaken identity, the theme of disguise in drama explores the idea of deception, misunderstandings, and the consequences that arise from such confusion. It can lead to humorous misunderstandings, romantic complications, or dramatic revelations when the truth is eventually revealed. Disguise in drama often highlights the gap between appearance and reality, emphasizing the notion that things are not always what they seem. It raises questions about identity, self-perception, and the masks people wear in different social situations. This theme allows for exploration of human behavior, relationships, and the complexities of communication. Overall, the use of disguise in drama primarily revolves around the theme of mistaken identity, showcasing the impact of deception and the resulting comedic or dramatic consequences that arise from characters assuming different identities or being mistaken for someone else.
Swali 14 Ripoti
William Shakespeare: A Midsummer Night's Dream
Read the extract below and answer the following questions
Go, Philostrate,
Sir up the Athenian youth to merriments;
Awake the pert and nimble spirit of mirth;
Turn melancholy forth to funerals:
The pale companion is not our pomp
Hippolyta, I wooed thee with my sword,
And won thy love doing thee injuries;
But I will wed thee in another key,
With pomp with triumph, and with reveling ( Act 1, Scene One, Lines 12-20)
Philostrate is
Maelezo ya Majibu
Philostrate is the Duke's entertainer. In the given extract from William Shakespeare's play A Midsummer Night's Dream, Philostrate is addressed and instructed by the speaker to stir up the Athenian youth to merriment. This implies that Philostrate holds a position of responsibility in organizing and managing entertainment for the Duke and his court. As the Duke's entertainer, Philostrate would be in charge of arranging various forms of amusement, such as performances, festivities, and celebrations, to entertain and bring joy to the people in the Athenian court. It is important to note that in the play, Philostrate's role is primarily associated with organizing and overseeing the entertainment activities rather than being a clown, fairy king's cuckold, or a rival of Puck. Therefore, based on the context provided in the extract, Philostrate can be identified as the Duke's entertainer.
Swali 15 Ripoti
A short play performed between the acts of a bigger play for entertainment is
Maelezo ya Majibu
An interlude is a short play performed between the acts of a larger play for entertainment purposes. It is a brief theatrical performance that is often used to provide a break from the main play or to entertain the audience while the stage is being set up for the next act. An interlude typically features a different cast of characters, plot, and setting than the main play, and can be comedic or dramatic in nature.
Swali 16 Ripoti
William Shakespeare: A Midsummer Night's Dream
Read the extract below and answer the following questions
Go, Philostrate,
Sir up the Athenian youth to merriments;
Awake the pert and nimble spirit of mirth;
Turn melancholy forth to funerals:
The pale companion is not our pomp
Hippolyta, I wooed thee with my sword,
And won thy love doing thee injuries;
But I will wed thee in another key,
With pomp with triumph, and with reveling ( Act 1, Scene One, Lines 12-20)
To win Hippolyta's love, the speaker
Maelezo ya Majibu
Theseus won Hippolyta's love by fighting against her as a strong warrior and doing her injuries.
Swali 17 Ripoti
My bounty is as boundless as the sea my love as deep
The above lines illustrate
Maelezo ya Majibu
The above lines illustrate hyperbole. Hyperbole is an exaggeration used for emphasis or effect, often used in poetry to create a strong emotional response in the reader or listener. In this example, the speaker compares the depth of their love to the boundlessness of the sea, which is an extreme exaggeration and therefore a hyperbole.
Swali 18 Ripoti
Read the extract below and answer the following questions
A little learning is a dangerous thing:
Drink deep, or taste not the Pierian Spring
The shallow droughts intoxicate the brain
And drinking largely sobers us again
The tone of the poet is
Maelezo ya Majibu
Sombre means to convey a deep feeling of seriousness.
Swali 19 Ripoti
Unseen Prose and Poetry
Read the passage below and answer the following questions
Marooned, Akpatse felt imprisoned. It was fifteen days since the storm. The flood waters were not receding; neither did Akpatse see any sign of help coming. Akpatse could not swim the expanse of flood waters. He meditated: when one looks upon the mountain for help and help comes from the Lord ... where does the Lord sit - in the cloud or on the mountain, or in the valley?
Well, Akpatse looked for salvation in the distance, far across the ocean of flood - the intimidating expense of his great gaoler - up to where the sky and the lips of the flood waters met in a mocking kiss. He had forgotten the feeling of hunger but knew he did not have any energy. What a foolish thing to think! He had not had any food for days. True. But hunger never said hello from the hollow of his 'person-tree' as they say in his language. Akpatse saw no help coming.
The reference to mountain illustrates
Maelezo ya Majibu
The reference to the mountain illustrates an allusion. An allusion is a figure of speech that makes a reference to a place, person, or event. In the passage, Akpatse meditates on where the Lord sits when one looks upon the mountain for help, implying a reference to the biblical story of Moses receiving the Ten Commandments on Mount Sinai. The allusion to the mountain is used to emphasize the desperation and hopelessness of Akpatse's situation, as he seeks salvation from a higher power but sees no sign of help coming.
Swali 20 Ripoti
The warriors conquered my men and my country illustrates the use of
Maelezo ya Majibu
The sentence "The warriors conquered my men and my country" illustrates the use of zeugma. Zeugma is a figure of speech in which a word is used in two different senses in the same sentence, often resulting in a humorous or unexpected effect. In this sentence, the word "conquered" is used in two different senses: "conquered my men" and "conquered my country."
Swali 21 Ripoti
Read the poem below and answer the following questions
Your lies are the withering strokes still, they come from the inner recesses of your dungeoned heart.
And though venomous than the venom, they inspire our once dociled minds to disorders
even as your angels of death pass us by with messages of hopeless hope.
Did you read our mind in your lies?
We know the seat of power in a castle of your evil heart; where your lies are imprisoned to be released again and again; they are never in rain! but they have soothed us calmly , your lies; the war is not of you anymore, it is of the angels who pass us by with messages of peace.
The last lines both stanza present
Maelezo ya Majibu
The last lines of both stanzas present similar ideas. The speaker talks about how the lies of the person being addressed have "soothed" them, and then in the second stanza, refers to the angels who "pass us by with messages of peace". Both lines suggest a calming or soothing effect, despite the presence of negative elements (the lies and the angels of death). This similarity in ideas creates a sense of continuity and connection between the two stanzas.
Swali 22 Ripoti
Maelezo ya Majibu
Outdoors reflects the sense of sight while chew reflects the sense of taste.
Swali 23 Ripoti
Read the extract below and answer the following questions
Speaker X: Thou runaway, thou coward,
art thou fled?
Speak! In some bush? Where dost thou hide thy head?
Speaker Y: Thou coward, art thou bragging to the stars,
Telling the bushes that thou look'st for wars,
And wilt not come? Come, recreant, come, thou child;
I'll whip thee with a rod. He is defiled
That draws a sword on thee.
(Act III, Scene Two, Lines 405 - 411)
Speaker Y's speech can be described as
Maelezo ya Majibu
Speaker Y's speech can be described as taunting. He is mocking Speaker X for being a coward and challenging him to come out of hiding and fight. The tone is meant to provoke and humiliate Speaker X, rather than being serious or solemn.
Swali 24 Ripoti
A novel that recounts the adventures of a likeable rogue is
Maelezo ya Majibu
A novel that recounts the adventures of a likeable rogue is called a picaresque novel. Picaresque novels are characterized by a rogue or an anti-hero as the central character, who embarks on a journey and encounters various social classes and situations, often using their wit and cunning to overcome challenges. The narrative style is episodic and tends to have a humorous tone. Examples of picaresque novels include "Don Quixote" by Miguel de Cervantes and "The Adventures of Huckleberry Finn" by Mark Twain.
Swali 25 Ripoti
Read the extract below and answer the following questions
... seest thou this sweet sight?
Her dotage now I do begin to pity;
For meeting her of late behind the wood,
Seeking sweet favours for this hateful fool,
I did upbraid her, and fall out with her.
For she his hairy temples then had rounded
With coronet of fresh and fragrant flowers;
(Act IV, Scene One, Lines 42 - 28)
The speaker appears to be
Swali 26 Ripoti
Unseen Prose and Poetry
Read the passage below and answer the following questions
Marooned, Akpatse felt imprisoned. It was fifteen days since the storm. The flood waters were not receding; neither did Akpatse see any sign of help coming. Akpatse could not swim the expanse of flood waters. He meditated: when one looks upon the mountain for help and help comes from the Lord ... where does the Lord sit - in the cloud or on the mountain, or in the valley?
Well, Akpatse looked for salvation in the distance, far across the ocean of flood - the intimidating expense of his great gaoler - up to where the sky and the lips of the flood waters met in a mocking kiss. He had forgotten the feeling of hunger but knew he did not have any energy. What a foolish thing to think! He had not had any food for days. True. But hunger never said hello from the hollow of his 'person-tree' as they say in his language. Akpatse saw no help coming.
The last sentence conveys the mood of
Maelezo ya Majibu
The last sentence of the passage conveys the mood of "despondency". Akpatse sees no sign of help coming and is stuck in flood waters, which makes him feel imprisoned. The fact that he has been without food for days and has no energy adds to his despair, and the sentence "Akpatse saw no help coming" suggests a feeling of hopelessness and resignation.
Swali 27 Ripoti
An aside in drama is used mostly to create a sense of
Maelezo ya Majibu
An aside in drama is used mostly to create a sense of conspiracy. An aside is a dramatic technique where a character speaks directly to the audience or to themselves, revealing their thoughts or intentions that are not meant to be heard by the other characters on stage. It provides insight into the character's inner thoughts, motives, or secret plans. By using an aside, the character shares information or expresses their true feelings, creating a sense of secrecy and intrigue. The audience becomes aware of information that other characters are unaware of, creating a feeling of being privy to a secret or hidden agenda. This sense of conspiracy adds depth to the plot, creates suspense, and engages the audience by allowing them to have a deeper understanding of the character's thoughts and actions. Therefore, an aside in drama is primarily used to create a sense of conspiracy, as it reveals hidden information and adds an element of intrigue to the story, captivating the audience's attention.
Swali 28 Ripoti
A novel that features spiritual apparitions as major character is
Maelezo ya Majibu
The correct answer is "Gothic." A Gothic novel is a genre that typically involves dark, mysterious settings and supernatural elements such as ghosts, spirits, or other spiritual apparitions. These elements often play a significant role in the plot and can be major characters in the story. Examples of Gothic novels featuring spiritual apparitions include "The Turn of the Screw" by Henry James and "The Woman in White" by Wilkie Collins.
Swali 29 Ripoti
William Shakespeare: A Midsummer Night's Dream
Read the extract below and answer the following questions
Go, Philostrate,
Sir up the Athenian youth to merriments;
Awake the pert and nimble spirit of mirth;
Turn melancholy forth to funerals:
The pale companion is not our pomp
Hippolyta, I wooed thee with my sword,
And won thy love doing thee injuries;
But I will wed thee in another key,
With pomp with triumph, and with reveling ( Act 1, Scene One, Lines 12-20)
While the speaker is talking
Maelezo ya Majibu
The speaker is talking while Philostrate departs.
Swali 30 Ripoti
Read the extract below and answer the following questions
A little learning is a dangerous thing:
Drink deep, or taste not the Pierian Spring
The shallow droughts intoxicate the brain
And drinking largely sobers us again
Lines 3 and 4 illustrate
Maelezo ya Majibu
Lines 3 and 4 illustrate an antithesis. An antithesis is a figure of speech that presents contrasting ideas in a balanced and parallel manner. In this case, the contrasting ideas are "shallow droughts intoxicate the brain" and "drinking largely sobers us again." The first part of the antithesis states that "shallow droughts intoxicate the brain." Here, "shallow droughts" refers to a small amount of knowledge or learning. The phrase "intoxicate the brain" suggests that a small amount of knowledge can lead to a sense of overconfidence or arrogance. It implies that when someone has only a limited understanding of a subject, they might feel excessively confident or knowledgeable about it, even though their understanding is shallow and incomplete. The second part of the antithesis states that "drinking largely sobers us again." Here, "drinking largely" refers to gaining a deep and comprehensive understanding of a subject. The phrase "sobers us again" suggests that acquiring extensive knowledge brings a sense of humility and awareness of the complexity and depth of the subject. It implies that when someone delves deeply into a topic, they realize how much more there is to learn and understand, leading to a more grounded perspective. The contrast between the intoxicating effect of shallow knowledge and the sobering effect of deep knowledge highlights the dangers of having only a superficial understanding. It emphasizes the importance of thorough learning and acquiring a comprehensive understanding of a subject rather than relying on limited or incomplete knowledge.
Swali 31 Ripoti
Read the extract below and answer the following questions
... Man is but an ass if he go about to
expound this dream. Methought I was - there
is no man can tell
what. Methought I was, and methought I had -
but man is
But a patched fool, if he will offer
To say what methought I
had. The eye of man hath not heard, the ear of
man hath not
seen, man's hand is not able to taste, his
tongue to conceive, nor
his heart to report, what my dream was
(Act IV, Scene One, Lines 201 - 207)
The speaker has just come out of
Maelezo ya Majibu
Bottom makes this speech after he wakes up from his adventure with Titania; his human head restored, he believes that his experience as an ass-headed monster beloved by the beautiful fairy queen was merely a bizarre dream
Swali 32 Ripoti
Read the extract below and answer the following questions
Speaker X: Thou runaway, thou coward,
art thou fled?
Speak! In some bush? Where dost thou hide thy head?
Speaker Y: Thou coward, art thou bragging to the stars,
Telling the bushes that thou look'st for wars,
And wilt not come? Come, recreant, come, thou child;
I'll whip thee with a rod. He is defiled
That draws a sword on thee.
(Act III, Scene Two, Lines 405 - 411)
Speakers X and Y are
Maelezo ya Majibu
Self-explanatory.
Swali 33 Ripoti
William Shakespeare: A Midsummer Night's Dream
Read the extract below and answer the following questions
Go, Philostrate,
Sir up the Athenian youth to merriments;
Awake the pert and nimble spirit of mirth;
Turn melancholy forth to funerals:
The pale companion is not our pomp
Hippolyta, I wooed thee with my sword,
And won thy love doing thee injuries;
But I will wed thee in another key,
With pomp with triumph, and with reveling ( Act 1, Scene One, Lines 12-20)
The speaker's attitude towards melancholy is
Maelezo ya Majibu
Asking that melancholy forths be turned to funerals show Theseus intolerance to melancholy.
Swali 34 Ripoti
A word or a phrase that is repeated at regular intervals in a poem or a play is a
Maelezo ya Majibu
A word or a phrase that is repeated at regular intervals in a poem or play is called a refrain. A refrain is often used for emphasis and to create a rhythmic effect in a poem or song. It can be a single word or a whole phrase and it usually appears at the end of a stanza. The repetition of a refrain helps to reinforce a theme or idea in the work and can also make it more memorable to the audience or reader.
Swali 35 Ripoti
Read the poem below and answer the following questions
Your lies are the withering strokes still, they come from the inner recesses of your dungeoned heart.
And though venomous than the venom, they inspire our once dociled minds to disorders
even as your angels of death pass us by with messages of hopeless hope.
Did you read our mind in your lies?
We know the seat of power in a castle of your evil heart; where your lies are imprisoned to be released again and again; they are never in rain! but they have soothed us calmly , your lies; the war is not of you anymore, it is of the angels who pass us by with messages of peace.
The main theme of the poem is
Maelezo ya Majibu
From the poem, we can deduce that it engages the evil of lying.
Swali 36 Ripoti
Read the extract below and answer the following questions
... seest thou this sweet sight?
Her dotage now I do begin to pity;
For meeting her of late behind the wood,
Seeking sweet favours for this hateful fool,
I did upbraid her, and fall out with her.
For she his hairy temples then had rounded
With coronet of fresh and fragrant flowers;
(Act IV, Scene One, Lines 42 - 28)
The pair are lovers by
Maelezo ya Majibu
The given extract does not provide any clear indication that the pair mentioned are lovers. It only mentions a woman, who is being pitied due to her dotage (old age) and the speaker's recent encounter with her. The encounter involved the speaker upbraiding her for seeking favors for a fool, and for adorning his hairy temples with a crown of fresh and fragrant flowers. Therefore, the answer is none of the given options, as there is no information provided to support the idea that the pair are lovers by accident, fate, design, or fortune.
Swali 37 Ripoti
Several hands stretched out for free meals at the refugee camp illustrates
Maelezo ya Majibu
The image of several hands stretched out for free meals at the refugee camp illustrates synecdoche. Synecdoche is a figure of speech in which a part of something is used to refer to the whole, or vice versa. In this case, the hands represent the people who are in need of food and assistance in the refugee camp. The use of synecdoche helps to create a vivid and powerful image of the situation, emphasizing the large number of people who require aid in the camp.
Swali 38 Ripoti
Unseen Prose and Poetry
Read the passage below and answer the following questions
Marooned, Akpatse felt imprisoned. It was fifteen days since the storm. The flood waters were not receding; neither did Akpatse see any sign of help coming. Akpatse could not swim the expanse of flood waters. He meditated: when one looks upon the mountain for help and help comes from the Lord ... where does the Lord sit - in the cloud or on the mountain, or in the valley?
Well, Akpatse looked for salvation in the distance, far across the ocean of flood - the intimidating expense of his great gaoler - up to where the sky and the lips of the flood waters met in a mocking kiss. He had forgotten the feeling of hunger but knew he did not have any energy. What a foolish thing to think! He had not had any food for days. True. But hunger never said hello from the hollow of his 'person-tree' as they say in his language. Akpatse saw no help coming.
The narrative technique used is
Maelezo ya Majibu
The narrative technique used in the passage is 3rd person. The narrator is not a character in the story and refers to the character as "Akpatse" instead of "I" or "me". The narrator provides an external perspective on Akpatse's thoughts and actions, rather than being inside his head like in stream of consciousness. There is no dialogue in the passage.
Swali 39 Ripoti
Read the extract below and answer the following questions
A little learning is a dangerous thing:
Drink deep, or taste not the Pierian Spring
The shallow droughts intoxicate the brain
And drinking largely sobers us again
The poem is
Maelezo ya Majibu
The poem is didactic. It provides a moral lesson or piece of advice, encouraging readers to pursue a deep understanding of a subject rather than relying on a superficial or incomplete understanding. The poem is warning against the dangers of having only a small amount of knowledge or understanding, which can be misleading or even harmful.
Swali 40 Ripoti
Read the extract below and answer the following questions
... seest thou this sweet sight?
Her dotage now I do begin to pity;
For meeting her of late behind the wood,
Seeking sweet favours for this hateful fool,
I did upbraid her, and fall out with her.
For she his hairy temples then had rounded
With coronet of fresh and fragrant flowers;
(Act IV, Scene One, Lines 42 - 28)
The relationship between the speaker and thou in the first line is one of
Maelezo ya Majibu
Puck, also called Robin Goodfellow, the vivacious fairy, henchman for Oberon, and narrator in Shakespeare's A Midsummer Night's Dream.
Swali 41 Ripoti
Men swift to see things done , do not run their commanding.
The words in italics exemplify
Maelezo ya Majibu
Internal rhymes are defined by the position of the rhyme within the line of poetry. The placement of rhymes in the middle of lines is what distinguishes internal rhymes from end rhymes, in which rhyming words occur at the ends of lines.
Internal rhyme is also sometimes referred to as "middle rhyme."
Swali 42 Ripoti
Read the poem below and answer the following questions
Your lies are the withering strokes still, they come from the inner recesses of your dungeoned heart.
And though venomous than the venom, they inspire our once dociled minds to disorders
even as your angels of death pass us by with messages of hopeless hope.
Did you read our mind in your lies?
We know the seat of power in a castle of your evil heart; where your lies are imprisoned to be released again and again; they are never in rain! but they have soothed us calmly , your lies; the war is not of you anymore, it is of the angels who pass us by with messages of peace.
Did your read our minds in your lies? exemplifies
Maelezo ya Majibu
The phrase "Did you read our minds in your lies?" is an example of a rhetorical question. A rhetorical question is a figure of speech in the form of a question that is asked to make a point or to create emphasis, rather than to elicit an answer. In this case, the speaker is not actually asking a question but rather making a statement that the lies of the addressee seem to be able to understand their thoughts and feelings, suggesting a level of deception and manipulation.
Swali 43 Ripoti
A story with elements that have both literal and figurative meanings is
Maelezo ya Majibu
An allegory is a story with elements that have both literal and figurative meanings. In other words, it uses symbolic representations to convey deeper messages or truths. The events and characters in an allegory often have a direct correlation to real-life situations or abstract concepts, allowing the reader to interpret the story on different levels. Through these symbolic elements, an allegory can explore complex ideas, moral lessons, or social commentary in a captivating and engaging manner.
Swali 44 Ripoti
Read the poem below and answer the following questions
Your lies are the withering strokes still, they come from the inner recesses of your dungeoned heart.
And though venomous than the venom, they inspire our once dociled minds to disorders
even as your angels of death pass us by with messages of hopeless hope.
Did you read our mind in your lies?
We know the seat of power in a castle of your evil heart; where your lies are imprisoned to be released again and again; they are never in rain! but they have soothed us calmly , your lies; the war is not of you anymore, it is of the angels who pass us by with messages of peace.
The tone of the speaker shows
Maelezo ya Majibu
The tone of the speaker in the poem is one of helplessness. The speaker expresses how the lies of someone else have caused disorder in their once docile minds, and how those lies continue to be released from the "castle" of the liar's heart. The speaker also acknowledges how the lies have had a calming effect, but ultimately, the war is not with the liar anymore, but with the "angels of death" who bring messages of peace. The use of words such as "venomous", "hopeless hope", and "imprisoned" all convey a sense of powerlessness and despair.
Swali 45 Ripoti
At the fall of their house, the widow lost her husband, her sewing machine and her ear-rings illustrates
Maelezo ya Majibu
Bathos is a literary device where a serious or important subject is suddenly turned into a ridiculous or ordinary one. It is an anticlimax that surprises the reader and disrupts their thoughts and emotions
Swali 46 Ripoti
Read the poem below and answer the following questions
Your lies are the withering strokes still, they come from the inner recesses of your dungeoned heart.
And though venomous than the venom, they inspire our once dociled minds to disorders
even as your angels of death pass us by with messages of hopeless hope.
Did you read our mind in your lies?
We know the seat of power in a castle of your evil heart; where your lies are imprisoned to be released again and again; they are never in rain! but they have soothed us calmly , your lies; the war is not of you anymore, it is of the angels who pass us by with messages of peace.
But they have soothed us calmly, your lies illustrates
Maelezo ya Majibu
The phrase "But they have soothed us calmly, your lies" is an example of irony. Irony is a literary device in which there is a contradiction between what is expected and what actually happens or is said. In this case, the speaker is saying that the lies have soothed them, which is unexpected because lies are typically seen as harmful or hurtful. Therefore, the statement is ironic because it goes against the expected outcome of lying.
Swali 47 Ripoti
Read the extract below and answer the following questions
... Man is but an ass if he go about to
expound this dream. Methought I was - there
is no man can tell
what. Methought I was, and methought I had -
but man is
But a patched fool, if he will offer
To say what methought I
had. The eye of man hath not heard, the ear of
man hath not
seen, man's hand is not able to taste, his
tongue to conceive, nor
his heart to report, what my dream was
(Act IV, Scene One, Lines 201 - 207)
The architect of the speaker's current state is
Maelezo ya Majibu
Titania, Queen of the Fairies, is under the influence of a love potion, given to her by her husband Oberon to punish her for her pride. The potion has made her fall in love with the weaver Nick Bottom, who in turn is under a spell which has transformed his head into that of an ass
Swali 48 Ripoti
Read the extract below and answer the following questions
... Man is but an ass if he go about to
expound this dream. Methought I was - there
is no man can tell
what. Methought I was, and methought I had -
but man is
But a patched fool, if he will offer
To say what methought I
had. The eye of man hath not heard, the ear of
man hath not
seen, man's hand is not able to taste, his
tongue to conceive, nor
his heart to report, what my dream was
(Act IV, Scene One, Lines 201 - 207)
The speaker's language is best described as
Maelezo ya Majibu
Bottom's tendency to make melodramatic rhetorical mistakes manifests itself plentifully, particularly in his comically mixed-up association of body parts and senses: he suggests that eyes can hear, ears see, hands taste, tongues think, and hearts speak.
Swali 49 Ripoti
Read the extract below and answer the following questions
Speaker X: Thou runaway, thou coward,
art thou fled?
Speak! In some bush? Where dost thou hide thy head?
Speaker Y: Thou coward, art thou bragging to the stars,
Telling the bushes that thou look'st for wars,
And wilt not come? Come, recreant, come, thou child;
I'll whip thee with a rod. He is defiled
That draws a sword on thee.
(Act III, Scene Two, Lines 405 - 411)
The wars are over
Maelezo ya Majibu
Helena is the cause of the rift between Lysander and Demetrius.
Swali 50 Ripoti
Unseen Prose and Poetry
Read the passage below and answer the following questions
Marooned, Akpatse felt imprisoned. It was fifteen days since the storm. The flood waters were not receding; neither did Akpatse see any sign of help coming. Akpatse could not swim the expanse of flood waters. He meditated: when one looks upon the mountain for help and help comes from the Lord ... where does the Lord sit - in the cloud or on the mountain, or in the valley?
Well, Akpatse looked for salvation in the distance, far across the ocean of flood - the intimidating expense of his great gaoler - up to where the sky and the lips of the flood waters met in a mocking kiss. He had forgotten the feeling of hunger but knew he did not have any energy. What a foolish thing to think! He had not had any food for days. True. But hunger never said hello from the hollow of his 'person-tree' as they say in his language. Akpatse saw no help coming.
Flood waters met in a mocking kiss illustrates
Maelezo ya Majibu
The phrase "flood waters met in a mocking kiss" is an example of personification. This is because the flood waters are given human-like qualities of being able to mock and kiss. It helps to create an image in the reader's mind that the flood waters are almost taunting the stranded Akpatse.
Swali 51 Ripoti
John K. Kargbo: Let me Die Alone
How do men behave towards women in the play?
The play criticises the gender roles assigned to women in the traditional society. In Senehun and Mendeland at large, women are not treated as equals of men. Women are considered fragile, vulnerable and incapable of managing crises. From the beginning of the play, Chief Gbanya tries to relegate Madam Yoko's duties to dancing and satisfying him in bed, and not to interfere in state affairs. To Chief Gbanya such responsibility is meant for men alone. Chief Gbanya shares the same sentiment with his Chief Warrior Ndapi who beats and pounds on his wife – Jilo, at any slightest opportunity. He beats Jilo for not always serving him his food at the right time, being lazy and not looking after their daughter. Initially, Gbanya has promised Yoko she would be his successor. However, with troubles around, he feels reluctant to handover the throne to her because he believes women cannot handle a land at war. This is the same stance of Lamboi. The excuse he gives for wanting to kill Gbanya is because he does not want the latter to appoint Yoko as his successor. However, the women protest in different ways. Jilo protests by having an affair with Lansana who takes her as a human being by showers her love, admires her good looks, qualities and praises her alluring waist which is in contrast to Ndapi who rarely appreciates her food, beauty and skills in bed. Obviously, if not for Yoko's doggedness and insistence, a woman would not have become the chief of Mendeland; talk more of expanding the chiefdom.
In Mendeland, women usually are not allowed into the Poro cult. Yoko is the only exception. In the village, there is a certain prejudice held against women. They are considered inferior and except for Yoko who forges ahead, women are not assigned ruling positions.
Maelezo ya Majibu
The play criticises the gender roles assigned to women in the traditional society. In Senehun and Mendeland at large, women are not treated as equals of men. Women are considered fragile, vulnerable and incapable of managing crises. From the beginning of the play, Chief Gbanya tries to relegate Madam Yoko's duties to dancing and satisfying him in bed, and not to interfere in state affairs. To Chief Gbanya such responsibility is meant for men alone. Chief Gbanya shares the same sentiment with his Chief Warrior Ndapi who beats and pounds on his wife – Jilo, at any slightest opportunity. He beats Jilo for not always serving him his food at the right time, being lazy and not looking after their daughter. Initially, Gbanya has promised Yoko she would be his successor. However, with troubles around, he feels reluctant to handover the throne to her because he believes women cannot handle a land at war. This is the same stance of Lamboi. The excuse he gives for wanting to kill Gbanya is because he does not want the latter to appoint Yoko as his successor. However, the women protest in different ways. Jilo protests by having an affair with Lansana who takes her as a human being by showers her love, admires her good looks, qualities and praises her alluring waist which is in contrast to Ndapi who rarely appreciates her food, beauty and skills in bed. Obviously, if not for Yoko's doggedness and insistence, a woman would not have become the chief of Mendeland; talk more of expanding the chiefdom.
In Mendeland, women usually are not allowed into the Poro cult. Yoko is the only exception. In the village, there is a certain prejudice held against women. They are considered inferior and except for Yoko who forges ahead, women are not assigned ruling positions.
Swali 52 Ripoti
How effective is the use of contrast in The Song of the Women of my Land ?
Sesay's "Song of the Women of my Land'' examines the human condition, the suffering of women, oppression, pain, the ravages of time and death. Social criticism is at the heart of this poem. The poem further underscores the point that people die but artists or poets have the ability to preserve them in their art, for all eternity. Contrast is dominant in the poem and encompasses more in the use of metaphors and similes.
"They ploughed the terrain of their mindscape/ for a song" – This metaphor describes their minds as a garden or farmland that is ploughed in preparation for the sowing of seeds. This figure of speech suggests how they thought very seriously about the most appropriate song that can capture or describe their pathetic situation.
"They sponged off their anguish." -This is a very powerful metaphor that compares the way people mop floors or swab wounds to the way the women use their song to ease their anguish. This is almost therapeutic. This metaphor conveys not only what the women have in their lives (they do have a song) but more importantly, what they do not have in their lives – men. That is, they lack men who can champion their cause, or heal their pain and they now use their song as a balm for their agony.
The above excerpts are examples of how the poet uses vivid differences to show similarities and emphasize the central idea of the poem.
Maelezo ya Majibu
Sesay's "Song of the Women of my Land'' examines the human condition, the suffering of women, oppression, pain, the ravages of time and death. Social criticism is at the heart of this poem. The poem further underscores the point that people die but artists or poets have the ability to preserve them in their art, for all eternity. Contrast is dominant in the poem and encompasses more in the use of metaphors and similes.
"They ploughed the terrain of their mindscape/ for a song" – This metaphor describes their minds as a garden or farmland that is ploughed in preparation for the sowing of seeds. This figure of speech suggests how they thought very seriously about the most appropriate song that can capture or describe their pathetic situation.
"They sponged off their anguish." -This is a very powerful metaphor that compares the way people mop floors or swab wounds to the way the women use their song to ease their anguish. This is almost therapeutic. This metaphor conveys not only what the women have in their lives (they do have a song) but more importantly, what they do not have in their lives – men. That is, they lack men who can champion their cause, or heal their pain and they now use their song as a balm for their agony.
The above excerpts are examples of how the poet uses vivid differences to show similarities and emphasize the central idea of the poem.
Swali 53 Ripoti
WOLE SOYINKA: The Lion and the Jewel
Discuss the significance of the use of play-within-a play technique
The significance of the use of the play-within-a-play technique in "The Lion and the Jewel" can be understood in a simple and comprehensive way.
The play-within-a-play technique is a literary device where a drama or performance is embedded within the main play. In "The Lion and the Jewel," this technique is employed to serve multiple purposes.
Firstly, it provides a metatheatrical element to the play, blurring the boundaries between reality and fiction. By having the characters perform a play within the main story, the audience is reminded that they are watching a theatrical performance. This self-awareness adds depth to the storytelling and invites the audience to reflect on the nature of theater itself.
Secondly, the play-within-a-play allows for a different perspective on the themes and conflicts presented in the main story. It offers an opportunity to explore contrasting viewpoints, challenge assumptions, or provide commentary on the actions and choices of the characters. This technique enriches the narrative by offering multiple layers of meaning and fostering a deeper understanding of the central themes.
Additionally, the play-within-a-play can serve as a tool for characterization. It provides insights into the personalities, desires, and motivations of the characters involved in the performance. Their roles in the play-within-a-play may parallel or contrast their roles in the main story, shedding light on their relationships and internal conflicts.
Overall, the use of the play-within-a-play technique in "The Lion and the Jewel" adds complexity, depth, and thematic resonance to the narrative. It engages the audience intellectually and emotionally, highlighting the power of storytelling and the multifaceted nature of human experiences.
Maelezo ya Majibu
The significance of the use of the play-within-a-play technique in "The Lion and the Jewel" can be understood in a simple and comprehensive way.
The play-within-a-play technique is a literary device where a drama or performance is embedded within the main play. In "The Lion and the Jewel," this technique is employed to serve multiple purposes.
Firstly, it provides a metatheatrical element to the play, blurring the boundaries between reality and fiction. By having the characters perform a play within the main story, the audience is reminded that they are watching a theatrical performance. This self-awareness adds depth to the storytelling and invites the audience to reflect on the nature of theater itself.
Secondly, the play-within-a-play allows for a different perspective on the themes and conflicts presented in the main story. It offers an opportunity to explore contrasting viewpoints, challenge assumptions, or provide commentary on the actions and choices of the characters. This technique enriches the narrative by offering multiple layers of meaning and fostering a deeper understanding of the central themes.
Additionally, the play-within-a-play can serve as a tool for characterization. It provides insights into the personalities, desires, and motivations of the characters involved in the performance. Their roles in the play-within-a-play may parallel or contrast their roles in the main story, shedding light on their relationships and internal conflicts.
Overall, the use of the play-within-a-play technique in "The Lion and the Jewel" adds complexity, depth, and thematic resonance to the narrative. It engages the audience intellectually and emotionally, highlighting the power of storytelling and the multifaceted nature of human experiences.
Swali 54 Ripoti
WOLE SOYINKA: The Lion and the Jewel
How is the contest between tradition and modernity presented in the play?
In "The Lion and the Jewel," Wole Soyinka presents the contest between tradition and modernity through the characters of Sidi and Lakunle. Sidi represents traditional values and culture while Lakunle represents modernity and change. The play shows how these two ideologies clash and how difficult it is to reconcile them. Lakunle tries to convince Sidi to abandon her traditional ways and embrace modernity, while Sidi is reluctant to give up her culture. However, as the play progresses, both characters learn to appreciate and understand each other's perspectives, suggesting that a balance can be achieved between tradition and modernity. Ultimately, the play suggests that it is important to honor and respect tradition, but also embrace change and progress.
Maelezo ya Majibu
In "The Lion and the Jewel," Wole Soyinka presents the contest between tradition and modernity through the characters of Sidi and Lakunle. Sidi represents traditional values and culture while Lakunle represents modernity and change. The play shows how these two ideologies clash and how difficult it is to reconcile them. Lakunle tries to convince Sidi to abandon her traditional ways and embrace modernity, while Sidi is reluctant to give up her culture. However, as the play progresses, both characters learn to appreciate and understand each other's perspectives, suggesting that a balance can be achieved between tradition and modernity. Ultimately, the play suggests that it is important to honor and respect tradition, but also embrace change and progress.
Swali 55 Ripoti
Examine The Leader and the led as a criticism of leadership in Africa
"The Leader and the Led" by Professor Niyi Osundare is an allegorical poem that avers the kind of leadership in Africa and what leadership ought to be. The poem establishes the cat and mice relationship that exists between African leaders and their followers.
The poet's African origin and the siting of the tropics as the meeting place of the animals unmistakably point Africa as the point of reference in the poem. The poet no doubt addresses the eyesore of leadership deficiency Africa as a continent is plagued with. Osundare first addresses the issues of bad leadership, leadership ineptitude, and gross misgovernance which have become the rallying cries for many short-changed African followers. The poet, as he does, examines the kind of relationship that exists between African leaders and their followers. He then typifies the type of leadership peculiar to African countries since their purported independence from European colonialists.
The poet uses the attributes, bodily features and predatory ability of some of the contending animals as proofs of the leadership inadequacies Africa is beset with. In "the lion" and "the hyena", Osundare shows African leaders as exploiters and oppressors. With their powers, they exploit Africa and its citizenry of resources and oppress the people they are supposed to lead. This makes them ideal replacements of their equally exploiting colonial masters. In the the typical ways of "the lion" and "the hyena", these leaders endanger the lives of those whom they have sworn to protect. In "the lion", the poet uses "the ferocious pounce of his paws" on antelopes as an analogy of the deliberate and calculated oppression of the citizenry by the machinery of the state. The poet also portrays the elitism of African leaders typified by the farness of the giraffe's eyes from the ground. African leaders are only close to the people before assuming power or when they are seeking for votes into elective posts. Once they assume power, they distance themselves from the masses. In "the zebra", the poet references the dubiousness and deceptiveness of African leaders. Using "the duplicity of his stripes" as a focal point, the poet posits that African leaders can not be trusted to do anything right or taken for what they say or on the face value because behind their sugar-coated lies are several ulterior motives. Like "the pack" of animals, the people are justifiably suspicious of their leaders' "duplicity".
No doubt, Niyi Osundare's "The Leader and the Led" has done justice in its depiction of the type of leadership in Africa. The poem figuratively describes African leaders as "ferocious", "lethal" in appetite, duplicitous, greedy, "riotous" and "trampling". The poem, however, offers insights on what ideal leadership is. It says ideal leadership embodies transparency, compassion, humility, legitimacy, the will to govern, the readiness to listen to the followers, and a balance between ideas on the opposite sides of the fringe.
Maelezo ya Majibu
"The Leader and the Led" by Professor Niyi Osundare is an allegorical poem that avers the kind of leadership in Africa and what leadership ought to be. The poem establishes the cat and mice relationship that exists between African leaders and their followers.
The poet's African origin and the siting of the tropics as the meeting place of the animals unmistakably point Africa as the point of reference in the poem. The poet no doubt addresses the eyesore of leadership deficiency Africa as a continent is plagued with. Osundare first addresses the issues of bad leadership, leadership ineptitude, and gross misgovernance which have become the rallying cries for many short-changed African followers. The poet, as he does, examines the kind of relationship that exists between African leaders and their followers. He then typifies the type of leadership peculiar to African countries since their purported independence from European colonialists.
The poet uses the attributes, bodily features and predatory ability of some of the contending animals as proofs of the leadership inadequacies Africa is beset with. In "the lion" and "the hyena", Osundare shows African leaders as exploiters and oppressors. With their powers, they exploit Africa and its citizenry of resources and oppress the people they are supposed to lead. This makes them ideal replacements of their equally exploiting colonial masters. In the the typical ways of "the lion" and "the hyena", these leaders endanger the lives of those whom they have sworn to protect. In "the lion", the poet uses "the ferocious pounce of his paws" on antelopes as an analogy of the deliberate and calculated oppression of the citizenry by the machinery of the state. The poet also portrays the elitism of African leaders typified by the farness of the giraffe's eyes from the ground. African leaders are only close to the people before assuming power or when they are seeking for votes into elective posts. Once they assume power, they distance themselves from the masses. In "the zebra", the poet references the dubiousness and deceptiveness of African leaders. Using "the duplicity of his stripes" as a focal point, the poet posits that African leaders can not be trusted to do anything right or taken for what they say or on the face value because behind their sugar-coated lies are several ulterior motives. Like "the pack" of animals, the people are justifiably suspicious of their leaders' "duplicity".
No doubt, Niyi Osundare's "The Leader and the Led" has done justice in its depiction of the type of leadership in Africa. The poem figuratively describes African leaders as "ferocious", "lethal" in appetite, duplicitous, greedy, "riotous" and "trampling". The poem, however, offers insights on what ideal leadership is. It says ideal leadership embodies transparency, compassion, humility, legitimacy, the will to govern, the readiness to listen to the followers, and a balance between ideas on the opposite sides of the fringe.
Swali 56 Ripoti
Consider the mood of the person in The Good Morrow .
"The Good Morrow" is a love poem by John Donne, and the mood of the speaker can be described as joyful and content. The speaker is expressing his love for his partner and the deep connection they share, suggesting that their love has awakened him to a new world of joy and meaning. The language used in the poem is positive and optimistic, creating a sense of happiness and fulfillment. Overall, the mood of the poem is one of love, joy, and satisfaction.
Maelezo ya Majibu
"The Good Morrow" is a love poem by John Donne, and the mood of the speaker can be described as joyful and content. The speaker is expressing his love for his partner and the deep connection they share, suggesting that their love has awakened him to a new world of joy and meaning. The language used in the poem is positive and optimistic, creating a sense of happiness and fulfillment. Overall, the mood of the poem is one of love, joy, and satisfaction.
Swali 57 Ripoti
JOHN, OSBORNE: Look Back in Anger
Comment on Alison's reactions to Jimmy's attacks on her family.
In the play "Look Back in Anger" by John Osborne, Alison's reactions to Jimmy's attacks on her family are complex and varied. Alison is married to Jimmy, who often expresses his anger and frustration by criticizing and mocking Alison's upper-class background and her family. Alison's reactions to these attacks can be seen as a mix of emotions and responses.
At times, Alison appears to be hurt and affected by Jimmy's harsh words about her family. She may feel a sense of shame or embarrassment, especially when Jimmy exposes the hypocrisy or pretentiousness of her family's social class. These attacks on her family may also cause Alison to question her own identity and values, leading to moments of inner turmoil and confusion.
On the other hand, Alison's reactions also indicate a certain level of tolerance and understanding. Despite Jimmy's relentless criticisms, she often remains calm and composed, showing resilience in the face of his attacks. She may choose not to engage in direct arguments or defend her family, perhaps recognizing the validity of some of Jimmy's critiques. This suggests a certain level of acceptance and self-awareness on Alison's part.
Overall, Alison's reactions to Jimmy's attacks on her family are a complex mix of emotional vulnerability, self-reflection, and resilience. She navigates the tension between her loyalty to her family and her growing awareness of the flaws within her social class. Her responses may vary depending on the specific context and the intensity of Jimmy's attacks, but they ultimately contribute to the exploration of class dynamics and personal identity in the play.
Maelezo ya Majibu
In the play "Look Back in Anger" by John Osborne, Alison's reactions to Jimmy's attacks on her family are complex and varied. Alison is married to Jimmy, who often expresses his anger and frustration by criticizing and mocking Alison's upper-class background and her family. Alison's reactions to these attacks can be seen as a mix of emotions and responses.
At times, Alison appears to be hurt and affected by Jimmy's harsh words about her family. She may feel a sense of shame or embarrassment, especially when Jimmy exposes the hypocrisy or pretentiousness of her family's social class. These attacks on her family may also cause Alison to question her own identity and values, leading to moments of inner turmoil and confusion.
On the other hand, Alison's reactions also indicate a certain level of tolerance and understanding. Despite Jimmy's relentless criticisms, she often remains calm and composed, showing resilience in the face of his attacks. She may choose not to engage in direct arguments or defend her family, perhaps recognizing the validity of some of Jimmy's critiques. This suggests a certain level of acceptance and self-awareness on Alison's part.
Overall, Alison's reactions to Jimmy's attacks on her family are a complex mix of emotional vulnerability, self-reflection, and resilience. She navigates the tension between her loyalty to her family and her growing awareness of the flaws within her social class. Her responses may vary depending on the specific context and the intensity of Jimmy's attacks, but they ultimately contribute to the exploration of class dynamics and personal identity in the play.
Swali 58 Ripoti
JOHN, OSBORNE: Look Back in Anger
Consider Jimmy's views about the Victorian society of his time.
In the play "Look Back in Anger," Jimmy Porter expresses his disdain for the Victorian society of his time. He criticizes the class system, gender roles, and cultural conservatism that characterized the era. Jimmy is particularly frustrated by the rigid expectations placed on individuals based on their social status and gender, which he feels stifles individuality and creativity. He sees the Victorian society as hypocritical, oppressive, and morally bankrupt, and he yearns for a more authentic and progressive way of life. Overall, Jimmy's views about the Victorian society reflect his rebellious and iconoclastic personality, as well as his desire for social and cultural change.
Maelezo ya Majibu
In the play "Look Back in Anger," Jimmy Porter expresses his disdain for the Victorian society of his time. He criticizes the class system, gender roles, and cultural conservatism that characterized the era. Jimmy is particularly frustrated by the rigid expectations placed on individuals based on their social status and gender, which he feels stifles individuality and creativity. He sees the Victorian society as hypocritical, oppressive, and morally bankrupt, and he yearns for a more authentic and progressive way of life. Overall, Jimmy's views about the Victorian society reflect his rebellious and iconoclastic personality, as well as his desire for social and cultural change.
Swali 59 Ripoti
AUGUST, WILSON: Fences
To what extent does Gabriel provide comic relief in the play?
In August Wilson's play "Fences," Gabriel, the brother of the protagonist Troy, serves as a source of comic relief. Gabriel is portrayed as having suffered a head injury during World War II, which has left him with a mental disability. Despite his disability, Gabriel is depicted as a joyful and exuberant character who often bursts into song and dance. His antics and exaggerated behavior provide a break from the tension and drama that permeate the play, and his lightheartedness helps to balance out the more serious themes of the story. Additionally, Gabriel's childlike innocence and pure-heartedness make him endearing to the audience, and his presence in the play serves to humanize the other characters and emphasize their flaws and shortcomings. Overall, Gabriel provides a much-needed dose of humor and levity in an otherwise heavy and emotionally charged play.
Maelezo ya Majibu
In August Wilson's play "Fences," Gabriel, the brother of the protagonist Troy, serves as a source of comic relief. Gabriel is portrayed as having suffered a head injury during World War II, which has left him with a mental disability. Despite his disability, Gabriel is depicted as a joyful and exuberant character who often bursts into song and dance. His antics and exaggerated behavior provide a break from the tension and drama that permeate the play, and his lightheartedness helps to balance out the more serious themes of the story. Additionally, Gabriel's childlike innocence and pure-heartedness make him endearing to the audience, and his presence in the play serves to humanize the other characters and emphasize their flaws and shortcomings. Overall, Gabriel provides a much-needed dose of humor and levity in an otherwise heavy and emotionally charged play.
Swali 60 Ripoti
John K. Kargbo: Let me Die Alone
Discuss Gbanya as a remarkable character
Chief Gbanya is a great leader and warrior who chooses his wars carefully. He does not keep his promise to choose Yoko as his successor. He foresees his death and hopes he doesn't die a humiliating death. Hence, he decides not to ambush the Governor and his envoy instead he receives the Governor with a fun fare which leads to his humiliation in the presence of his chiefs. Chief Gbanya was poisoned and he died knowing that his most trusted person betrayed him and handed leadership of Senehun to Yoko.
Maelezo ya Majibu
Chief Gbanya is a great leader and warrior who chooses his wars carefully. He does not keep his promise to choose Yoko as his successor. He foresees his death and hopes he doesn't die a humiliating death. Hence, he decides not to ambush the Governor and his envoy instead he receives the Governor with a fun fare which leads to his humiliation in the presence of his chiefs. Chief Gbanya was poisoned and he died knowing that his most trusted person betrayed him and handed leadership of Senehun to Yoko.
Swali 61 Ripoti
AUGUST, WILSON: Fences
How does Troy's upbringing influence his relationship with his children?
Troy's upbringing significantly influences his relationship with his children in the play "Fences" by August Wilson. As a child, Troy had an abusive father who treated him poorly, and this shaped his view of the world and relationships. Troy's father was physically abusive, and Troy had to work hard to escape from him. As a result, Troy developed a hard exterior and a tendency to dominate others, especially his family.
This experience affected his relationship with his sons, Lyons and Cory. He is often harsh and dismissive towards Lyons, his oldest son, and criticizes him for not having a steady job. Troy sees Lyons as lazy and undisciplined, which causes friction between them.
Similarly, Troy's relationship with Cory is also strained. Troy doesn't want Cory to play football, and he sees it as a waste of time. This is because he believes that racism will always limit Cory's opportunities, and he wants him to focus on getting a practical job. Cory, on the other hand, is passionate about football and feels like his father doesn't understand him. This leads to a major conflict between them, and Troy's overbearing nature causes a rift in their relationship.
In summary, Troy's troubled upbringing has a significant impact on his relationship with his children. His tendency to dominate and control them leads to conflicts and misunderstandings. His experiences with his abusive father have made him overly protective and critical, and he struggles to understand and connect with his children as a result.
Maelezo ya Majibu
Troy's upbringing significantly influences his relationship with his children in the play "Fences" by August Wilson. As a child, Troy had an abusive father who treated him poorly, and this shaped his view of the world and relationships. Troy's father was physically abusive, and Troy had to work hard to escape from him. As a result, Troy developed a hard exterior and a tendency to dominate others, especially his family.
This experience affected his relationship with his sons, Lyons and Cory. He is often harsh and dismissive towards Lyons, his oldest son, and criticizes him for not having a steady job. Troy sees Lyons as lazy and undisciplined, which causes friction between them.
Similarly, Troy's relationship with Cory is also strained. Troy doesn't want Cory to play football, and he sees it as a waste of time. This is because he believes that racism will always limit Cory's opportunities, and he wants him to focus on getting a practical job. Cory, on the other hand, is passionate about football and feels like his father doesn't understand him. This leads to a major conflict between them, and Troy's overbearing nature causes a rift in their relationship.
In summary, Troy's troubled upbringing has a significant impact on his relationship with his children. His tendency to dominate and control them leads to conflicts and misunderstandings. His experiences with his abusive father have made him overly protective and critical, and he struggles to understand and connect with his children as a result.
Swali 62 Ripoti
Discuss the theme of regret in The Journey of the Magi
"The Journey of the Magi" is a poem by T.S. Eliot that explores the theme of regret. The poem is a dramatic monologue in which one of the Magi reflects on his journey to witness the birth of Christ. The Magus describes his journey as difficult and painful, and he expresses regret for having undertaken it. He describes the journey as a "hard and bitter agony," and laments that they were "no longer at ease" with the old dispensation.
The Magus also expresses regret for the way his life has changed since he encountered Christ. He describes himself as "no longer devout," and he no longer finds joy in the things he once enjoyed. He reflects on the difficulties he has encountered since he witnessed the birth of Christ, and he acknowledges that his life has been forever changed.
In the end, the Magus suggests that his journey was ultimately worth it, despite the difficulties and the regret he feels. He acknowledges that he and his fellow Magi were "led all the way" and that their journey was "satisfactory." However, the poem suggests that regret is an inevitable part of any journey, particularly one that involves significant change or transformation.
Maelezo ya Majibu
"The Journey of the Magi" is a poem by T.S. Eliot that explores the theme of regret. The poem is a dramatic monologue in which one of the Magi reflects on his journey to witness the birth of Christ. The Magus describes his journey as difficult and painful, and he expresses regret for having undertaken it. He describes the journey as a "hard and bitter agony," and laments that they were "no longer at ease" with the old dispensation.
The Magus also expresses regret for the way his life has changed since he encountered Christ. He describes himself as "no longer devout," and he no longer finds joy in the things he once enjoyed. He reflects on the difficulties he has encountered since he witnessed the birth of Christ, and he acknowledges that his life has been forever changed.
In the end, the Magus suggests that his journey was ultimately worth it, despite the difficulties and the regret he feels. He acknowledges that he and his fellow Magi were "led all the way" and that their journey was "satisfactory." However, the poem suggests that regret is an inevitable part of any journey, particularly one that involves significant change or transformation.
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