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Tambaya 1 Rahoto
Something a character says on stage that is meant for the audience alone is
Bayanin Amsa
An aside is something a character says on stage that is meant for the audience alone. It is a theatrical device used to reveal a character's inner thoughts or feelings directly to the audience, without other characters on stage being aware of it. The purpose of an aside is to provide the audience with insight into the character's motivations or to provide additional context to the scene. It is usually spoken in a lower voice or in an aside tone and can be marked by the character turning towards the audience or breaking the fourth wall.
Tambaya 2 Rahoto
Read the extract below and answer questions9 to 11.
What happened to a dream deferred?
Does it dry up Like a raisin in the sun?
Or fester like a sore
And then run?
Does it stink like rotten meat?
does it stink like rotten meat? makes use of the sense of
Bayanin Amsa
The line "Does it stink like rotten meat?" makes use of the sense of smell. It describes the potential odor of a deferred dream, suggesting that it could become unpleasant, much like the smell of decaying flesh. The question implies that the dream may become something undesirable and unpleasant over time, which can be associated with a foul smell. Smell is one of the five senses, and it refers to the ability to perceive scents and odors through the nose.
Tambaya 3 Rahoto
Read the extract below and answer questions 41 to 45
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue's force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that: ...
(Act llI, Scene One, Lines 116-121)
Speaker X's speech can be described as a
Bayanin Amsa
Tambaya 4 Rahoto
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108-114)
The speech is A. romanticB. satiric c. comicD. tragic
Tambaya 5 Rahoto
Utopia is a term used to describe
Bayanin Amsa
Utopia is a term used to describe an ideal society or community, where everything is perfect and everyone lives in peace and harmony. It is often used to describe a place or situation that is perfect or ideal in every way, without any flaws or problems. The term "utopia" comes from the Greek words "ou" (meaning "not") and "topos" (meaning "place"), so it literally means "no place". Utopia is often seen as a fantasy or a dream, because it is very difficult to achieve such a perfect and ideal society in reality.
Tambaya 6 Rahoto
The chorus normally features prominently in
Bayanin Amsa
The chorus normally features prominently in drama. A chorus is a group of performers who sing, dance, and speak together in unison. In drama, the chorus serves as a narrator, commentator, or participant in the action of the play. They can represent a group of people, such as citizens or soldiers, or they can be a group of supernatural beings, such as gods or spirits. The chorus helps to set the tone and mood of the play, and can also provide background information or commentary on the events that are unfolding on stage. The chorus can sing, chant, or speak their lines, and their performances are often accompanied by music or movement. Overall, the chorus plays an important role in enhancing the dramatic effect of the play and engaging the audience in the story.
Tambaya 7 Rahoto
An inscription on a tombstone is an
Bayanin Amsa
An inscription on a tombstone is an epitaph. An epitaph is a short text or verse that is written on a tombstone or monument to honor or commemorate a deceased person. It often includes the person's name, dates of birth and death, and a brief message that reflects on their life, personality, or accomplishments. Epitaphs can be serious, humorous, religious, or sentimental, and are meant to provide comfort and closure to the loved ones of the deceased.
Tambaya 8 Rahoto
Read the poem below and answer questions 26 to 30.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O great god, our cries
To thee from tortured souls arise
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
The rhyme scheme of the first stanza is
Bayanin Amsa
The rhyme scheme of the first stanza is "aabcc". The first and second lines end with words that rhyme with each other ("lies" and "eyes"), the third and fourth lines end with words that rhyme with each other ("guile" and "smile"), and the fifth and sixth lines end with words that rhyme with each other ("subtleties" and "lies"). The third and fourth lines also partially rhyme with the first two lines, and the fifth and sixth lines partially rhyme with the third and fourth lines.
Tambaya 9 Rahoto
A pause within a line of poetry is
Bayanin Amsa
A pause within a line of poetry is called a caesura. It is a deliberate interruption or break in the middle of a line of verse. It can be indicated by punctuation such as a comma, semicolon, or dash, or it can occur naturally in the flow of the words. The caesura is used to create a pause for emphasis, to change the rhythm of the verse, or to divide a line into two distinct parts.
Tambaya 10 Rahoto
A three-line stanza, rhymed ABA, BCB, CDC is a
Bayanin Amsa
The stanza described with three lines and a rhyme scheme of ABA, BCB, CDC is called terza rima. Terza rima is a form of poetry that originated in Italy and was used by Dante in his famous work, "The Divine Comedy." In terza rima, the first and third lines of each stanza rhyme with each other, while the second line of each stanza rhymes with the first and third lines of the following stanza. This creates a chain-like rhyme scheme that continues throughout the poem.
Tambaya 11 Rahoto
A dramatic performance without words is
Bayanin Amsa
A dramatic performance without words is called a mime. Mime is a type of performance art that involves acting out a story or scene using gestures, facial expressions, and body movements, but without speaking. The goal of mime is to communicate a message or tell a story to the audience through non-verbal means. It is often performed in a theatrical setting, and can be comedic or serious in nature.
Tambaya 12 Rahoto
Read the extract below and answer questions 41 to 45
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue's force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that: ...
(Act llI, Scene One, Lines 116-121)
Speaker X is
Tambaya 13 Rahoto
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108-114)
The occasion is
Bayanin Amsa
Tambaya 14 Rahoto
A Midsummer Night's Read the extract below and answer questions 31 to 35.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
Y: With the rich worth of your virginity.
Your virtue is my privilege: for that
it is not night when I do see your face,
Therefore I think I am not in the night;
Speaker X sees Speaker Y
Tambaya 15 Rahoto
When you are old and grey and full of sleep.
The rhythmic pattern of the above line is
Bayanin Amsa
The rhythmic pattern of the above line is iambic. The line consists of ten syllables and follows an iambic meter, which means that it contains five iambs. An iamb is a metrical foot consisting of two syllables, with the first syllable unstressed and the second syllable stressed. In the line "When you are old and grey and full of sleep", the first syllable in each iamb (marked in bold) is unstressed, and the second syllable is stressed. This creates a pattern of da-DUM, da-DUM, da-DUM, da-DUM, da-DUM, which is the rhythm of iambic pentameter. Many famous poets, such as William Shakespeare and John Keats, have used iambic pentameter in their works.
Tambaya 16 Rahoto
Read the extract below and answer questions 36 to 40
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by to-morrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse: for if we meet in the city, we shall be dogged with company, and Our devices known.
(Act I, Scene two Lines 79-84)
The main actors will be
Bayanin Amsa
The main actors in this extract are Quince and Bottom.
Tambaya 17 Rahoto
I feel a million times better than I felt yesterday is
Bayanin Amsa
The statement "I feel a million times better than I felt yesterday" is an example of hyperbole. This is because the speaker is exaggerating their feelings to emphasize how much better they are feeling compared to the previous day. Using the phrase "a million times better" is an exaggeration because it is impossible to feel a million times better, as feeling good is a subjective feeling and cannot be measured in numerical terms.
Tambaya 18 Rahoto
Read the extract below and answer questions 41 to 45
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue's force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that: ...
(Act llI, Scene One, Lines 116-121)
Speaker X has just
Bayanin Amsa
Speaker X has not done any of the options mentioned in the question. In the given extract, Speaker X is asking Speaker Y to sing again because they are enamoured with their singing and are also attracted to their appearance and virtue. Speaker X even goes on to say that they love Speaker Y at first sight. Speaker X has not escaped from the city, fallen into a world of dreams, woken up from an induced sleep, or abandoned a loved one.
Tambaya 19 Rahoto
Read the extract below and answer questions 36 to 40
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by to-morrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse: for if we meet in the city, we shall be dogged with company, and Our devices known.
(Act I, Scene two Lines 79-84)
The rehearsal is in preparation for
Bayanin Amsa
Tambaya 20 Rahoto
Read the extract below and answer questions 36 to 40
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by to-morrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse: for if we meet in the city, we shall be dogged with company, and Our devices known.
(Act I, Scene two Lines 79-84)
They intend to rehearse the play
Tambaya 21 Rahoto
a short play performed in the pause between the act of a longer play is
Bayanin Amsa
A short play performed in the pause between the act of a longer play is an interlude. An interlude is a short play, entertainment, or musical performance that is performed between the acts of a larger play or opera. It was a common practice in medieval and Renaissance theatre, and was used to provide a break in the action, add some humor, or add additional entertainment for the audience.
Tambaya 22 Rahoto
A Midsummer Night's Read the extract below and answer questions 31 to 35.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
Y: With the rich worth of your virginity.
Your virtue is my privilege: for that
it is not night when I do see your face,
Therefore I think I am not in the night;
Speaker Y is
Bayanin Amsa
Speaker Y is Helena. In the extract, Speaker X is cautioning someone against leaving the city and trusting someone who doesn't love them. In response, Speaker Y reassures the other person that their virtue is valuable and that they themselves do not feel like they are in the darkness of the night when they see the other person's face. This dialogue suggests that Speaker Y is deeply in love with the other person, and willing to defend them against any perceived attacks on their reputation or honor. The other options (Titania, Pease blossom, Hippolyta) are not supported by the context of the extract.
Tambaya 23 Rahoto
Read the passage below and answer questions 21 to 25
When he was little, he would ask his mother. sometimes as he lay in the cold little room and looked up at her as she sat beside the bed stroking his hair why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, scattering them as some shricked and some laughed and he flaied about with his hard little fists and tears in his eyes. His mother would smile, say 'shhh' and he would drift to sleep with the heart shape of her face imprinted on his mind.
. ..and he had rushed at them, scattering them as some strieked and some laughed illustrates
Bayanin Amsa
Tambaya 24 Rahoto
The lawyer addressed the bench illustrates
Bayanin Amsa
The phrase "the lawyer addressed the bench" is an example of metonymy. In this figure of speech, a word or phrase is used to represent something else that it is closely associated with. In this case, "the bench" is used to represent the judge or judges who are sitting on the bench in a courtroom, and "the lawyer" is addressing them in court. The use of "the bench" in place of "the judge" is a common metonymy in legal contexts.
Tambaya 25 Rahoto
Read the poem below and answer questions 26 to 30.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O great god, our cries
To thee from tortured souls arise
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
The poet's tone is
Bayanin Amsa
Tambaya 26 Rahoto
A Midsummer Night's Read the extract below and answer questions 31 to 35.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
Y: With the rich worth of your virginity.
Your virtue is my privilege: for that
it is not night when I do see your face,
Therefore I think I am not in the night;
Speaker X is
Tambaya 27 Rahoto
ldentify the odd item:
Bayanin Amsa
The odd item in the list is "literary appreciation." It doesn't fit in with the other items, which are all narrative techniques used in writing. "Literary appreciation" refers to the act of enjoying and valuing literature, not a specific technique used in writing.
Tambaya 28 Rahoto
Read the poem below and answer questions 26 to 30.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O great god, our cries
To thee from tortured souls arise
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
The dominant mood is one of
Bayanin Amsa
Tambaya 29 Rahoto
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108-114)
The speech is part of the
Bayanin Amsa
Tambaya 30 Rahoto
A story which explains a natural phenomenon or justifies the beliefs of a society is A. myth B. legend C. motif D. fable
Bayanin Amsa
A story that explains a natural phenomenon or justifies the beliefs of a society is called a myth. Myths are traditional stories that often feature gods or heroes and are used to explain how the world works, why things are the way they are, and how people should behave. They can be found in many cultures around the world and are often passed down through oral traditions. Myths can include explanations for natural phenomena such as the creation of the world, the changing of the seasons, or the origin of animals.
Tambaya 31 Rahoto
Read the extract below and answer questions9 to 11.
What happened to a dream deferred?
Does it dry up Like a raisin in the sun?
Or fester like a sore
And then run?
Does it stink like rotten meat?
The dominant literary device is
Bayanin Amsa
The dominant literary device in this excerpt is the rhetorical question. This is because the author asks a series of questions that are not intended to be answered directly, but rather to provoke thought and create emphasis on the potential consequences of a deferred dream. The questions also serve to build up a sense of anticipation and create a mood of uncertainty about what might happen to a dream that is put off for too long. Overall, the use of rhetorical questions in this excerpt helps to convey the theme of the poem, which is the negative effects of delaying or denying one's aspirations.
Tambaya 32 Rahoto
Read the poem below and answer questions 26 to 30.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O great god, our cries
To thee from tortured souls arise
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
We wear the mask that grins and lies illustrate
Bayanin Amsa
Tambaya 33 Rahoto
Read the extract below and answer questions 41 to 45
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue's force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that: ...
(Act llI, Scene One, Lines 116-121)
Speaker Y is
Tambaya 34 Rahoto
Read the extract below and answer questions 41 to 45
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue's force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that: ...
(Act llI, Scene One, Lines 116-121)
Speaker Y is a member of
Tambaya 35 Rahoto
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108-114)
The speaker is involved in putting on
Bayanin Amsa
The speaker is involved in putting on a play.
Tambaya 36 Rahoto
Read the poem below and answer questions 26 to 30.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O great god, our cries
To thee from tortured souls arise
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
The poem is about
Bayanin Amsa
The poem is about appearances. Specifically, it describes the "mask" that people wear to hide their true emotions and experiences. The speaker suggests that society doesn't want to see the pain and suffering that people are going through, so they put on a mask to hide it. The poem acknowledges the pain that people feel while trying to maintain a certain appearance, but ultimately argues that the world prefers the illusion of happiness to the reality of suffering.
Tambaya 37 Rahoto
A recurring idea, image, or a group of images that unifies a work of literature is
Bayanin Amsa
A recurring idea, image, or group of images that unifies a work of literature is called a motif. This means that the same symbol or idea keeps appearing throughout the work, which helps to create a sense of unity and coherence. For example, in "To Kill a Mockingbird," the mockingbird is a motif that appears throughout the novel, representing innocence and vulnerability. The repetition of this symbol helps to reinforce the novel's themes and create a deeper meaning for the reader.
Tambaya 38 Rahoto
The most intense part of a conflict is the
Bayanin Amsa
The most intense part of a conflict is the climax. This is the point in the conflict where tensions are at their highest and the outcome of the conflict is uncertain. It's the part of the story where the protagonist and antagonist confront each other directly and the stakes are the highest. The climax is usually the most action-packed and emotionally charged part of the conflict, and it's where the story reaches its peak of intensity. After the climax, the story moves into the denouement or resolution, where loose ends are tied up and the conflict is resolved. The deus ex machina is a plot device where an improbable event or character suddenly appears to resolve the conflict, but it is not typically considered the most intense part of a conflict.
Tambaya 39 Rahoto
A Midsummer Night's Read the extract below and answer questions 31 to 35.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
Y: With the rich worth of your virginity.
Your virtue is my privilege: for that
it is not night when I do see your face,
Therefore I think I am not in the night;
Night evolves in the speakers'
Tambaya 40 Rahoto
A Midsummer Night's Read the extract below and answer questions 31 to 35.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
Y: With the rich worth of your virginity.
Your virtue is my privilege: for that
it is not night when I do see your face,
Therefore I think I am not in the night;
Both speakers are in the woods
Bayanin Amsa
The answer is C. for different reasons. Speaker X is telling speaker Y that it is not modest to leave the city and put herself in danger with someone who does not love her. Meanwhile, speaker Y is trying to convince speaker X that he is trustworthy and that he values her virtue. They both have different reasons for being in the woods and are not hiding or spying on each other. Therefore, the answer is C. for different reasons.
Tambaya 41 Rahoto
Read the extract below and answer questions 36 to 40
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by to-morrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse: for if we meet in the city, we shall be dogged with company, and Our devices known.
(Act I, Scene two Lines 79-84)
The speaker is addressing
Bayanin Amsa
The speaker is addressing actors. This can be inferred from the context of the passage, in which the speaker is asking the actors to review their parts and rehearse for a play they will perform. The speaker also expresses concern about being observed by other people in the city, suggesting that they need a private location to practice their play. This is consistent with the idea of actors rehearsing for a theatrical production. Therefore, it can be concluded that the speaker is addressing a group of actors.
Tambaya 42 Rahoto
Read the extract below and answer questions9 to 11.
What happened to a dream deferred?
Does it dry up Like a raisin in the sun?
Or fester like a sore
And then run?
Does it stink like rotten meat?
The mood of the poem is one of
Bayanin Amsa
The mood of the poem is one of uncertainty or doubt. The speaker is asking questions about what happens to a dream that has been postponed or delayed. They are considering various possibilities for what might happen, but they don't seem to have a clear answer.
Tambaya 44 Rahoto
Read the passage below and answer questions 21 to 25
When he was little, he would ask his mother. sometimes as he lay in the cold little room and looked up at her as she sat beside the bed stroking his hair why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, scattering them as some shricked and some laughed and he flaied about with his hard little fists and tears in his eyes. His mother would smile, say 'shhh' and he would drift to sleep with the heart shape of her face imprinted on his mind.
The dominant feeling in the passage is that of
Bayanin Amsa
The dominant feeling in the passage is nostalgia. The passage describes a childhood memory in which the narrator reflects on past experiences and conversations with his mother. Although the memories involve some negative events, such as being in a fight or witnessing others engaging in destructive behavior, the overall tone is one of fondness and longing for the past. The narrator's mother is portrayed as a source of comfort and reassurance, which contributes to the nostalgic feeling of the passage.
Tambaya 45 Rahoto
Read the passage below and answer questions 21 to 25
When he was little, he would ask his mother. sometimes as he lay in the cold little room and looked up at her as she sat beside the bed stroking his hair why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, scattering them as some shricked and some laughed and he flaied about with his hard little fists and tears in his eyes. His mother would smile, say 'shhh' and he would drift to sleep with the heart shape of her face imprinted on his mind.
The feelings is conveyed by the
Bayanin Amsa
The feeling conveyed in the passage is the tender care of his mother. This is shown through her actions of stroking his hair and trying to comfort him when he had questions or was upset about events in his life. The heart shape of her face is described as being imprinted on the boy's mind, showing the impact she had on him and the fond memories he had of her.
Tambaya 46 Rahoto
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108-114)
The speaker is
Tambaya 47 Rahoto
Read the passage below and answer questions 21 to 25
When he was little, he would ask his mother. sometimes as he lay in the cold little room and looked up at her as she sat beside the bed stroking his hair why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, scattering them as some shricked and some laughed and he flaied about with his hard little fists and tears in his eyes. His mother would smile, say 'shhh' and he would drift to sleep with the heart shape of her face imprinted on his mind.
The dominant literary device in the passage is
Tambaya 48 Rahoto
Read the extract below and answer questions 36 to 40
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by to-morrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse: for if we meet in the city, we shall be dogged with company, and Our devices known.
(Act I, Scene two Lines 79-84)
The speaker is A. Bottom B. PeaseblossomC.
Tambaya 49 Rahoto
A dramatist is someone who....plays
Bayanin Amsa
A dramatist is someone who writes plays. This means they create the script, the dialogue and the characters for a theatrical performance. They are responsible for putting the story and ideas down on paper, ready to be performed by actors on stage.
Tambaya 50 Rahoto
Read the passage below and answer questions 21 to 25
When he was little, he would ask his mother. sometimes as he lay in the cold little room and looked up at her as she sat beside the bed stroking his hair why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, scattering them as some shricked and some laughed and he flaied about with his hard little fists and tears in his eyes. His mother would smile, say 'shhh' and he would drift to sleep with the heart shape of her face imprinted on his mind.
The main character is
Bayanin Amsa
The main character is inquisitive, meaning he is curious and asks many questions. He is asking his mother about various events and experiences, trying to understand why they happened.
Tambaya 51 Rahoto
RALPH ELLISON: Invisible Man
Comment on the character and role of Mary in the novel
Tambaya 52 Rahoto
ALEX AGYEI-AGYIRI: Unexpected Joy at Dawn
Discuss Ni's encounter with -Put-t -to-me in the novel
Bayanin Amsa
None
Tambaya 53 Rahoto
SECTIONA (AFRICAN DRAMA) WOLE SOYINKA: The Lion and The Jewel
Why does Lakunle lose Sidi to Baroka?
Tambaya 54 Rahoto
SECTION C (AFRICAN POETRY)
Show how Africa suffered and survives still in Agostinho Neto's The Grieved Lands'
Tambaya 55 Rahoto
SECTION A (AFRICAN DRAMA) WOLE SOYINKA: The Lion and The Jewel 1.
Examine the theme of love and marriage in the play.
Bayanin Amsa
None
Tambaya 56 Rahoto
EMILY BRONTE: Wuthering Heights
Comment on the importance of setting in the novel
Tambaya 57 Rahoto
ALEX AGYEI-AGYIRI: Unexpected Joy at Dawn
consider Mama Orojo's relationship with her church members in Amen Kristi.
Bayanin Amsa
None
Tambaya 58 Rahoto
SECTIONB (NON-AFRICAN DRAMA) AUGUST, WILSON: Fences
Consider Raynell's contribution to the pilot.
Tambaya 59 Rahoto
SECTION D (NON-AFRICAN POETRY) Consider the use of alliteration, assonance and repetition in the poem 'Binsey Poplars'
Tambaya 61 Rahoto
SECTION B (NON-AFRICAN DRAMA) AUGUST, WILSON: Fences
Comment on the appropriateness of the title, Fences.
Tambaya 62 Rahoto
ALEX AGYEI-AGYIRI: Unexpected Joy at Dawn
consider Mama Orojo's relationship with her church members in Amen Kristi.
Bayanin Amsa
None
Tambaya 63 Rahoto
EMILY BRONTE: Wuthering Heights
Examine the relationship between Lockwood and Heathcliff in the novel
Tambaya 64 Rahoto
BUCHI EMECHETA: Second Class Citizen
Consider Adah's growth in confidence and determination in pursuit of her dreams
Tambaya 65 Rahoto
BUCHI EMECHETA: Second Class Citizen
How are women treated in the novel?
Za ka so ka ci gaba da wannan aikin?