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Ajụjụ 1 Ripọtì
This question is based on Ahmed Yerima's Attahiru.
Characterization in the play comprises three major groups of
Akọwa Nkọwa
Ajụjụ 2 Ripọtì
This question is based on Literary AppreciationIf I cannot slaughter other tribes men If I do not say my prayer in the morning If I turn my back on some of your advice... Is meal Heron:Pardon me.The repetition in the lines above is a poetic device of
Akọwa Nkọwa
Ajụjụ 4 Ripọtì
This question is based on selection poems from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African Verse
In Odia Ofeimuun's We must Learn Again to Fly, the use of 'we' gives the poem a
Akọwa Nkọwa
The use of 'we' in Odia Ofeimuun's poem "We Must Learn Again to Fly" gives the poem a universal appeal. By using 'we', the speaker is addressing a collective group of people, rather than a specific individual, race, or gender. This suggests that the message of the poem is not limited to a particular group but applies to all human beings. The use of 'we' creates a sense of inclusivity and a shared experience, making it easier for readers to relate to the poem's themes and message. Therefore, the answer to this question is the 'universal appeal.'
Ajụjụ 5 Ripọtì
This question is based on �Literary Appreciation
And the fountain of Tololo is an Oasis it quenches the thirst of travellers The myriad paces of the mind fold their wings, For here too, growth emerges from sleep; from a beginning that was the end of an era.'
Mazisi Kunene: The Ancestors and the Sacred Mountain From the excerpt above, it can be said that the poet is being
Ajụjụ 6 Ripọtì
This question is based on Literary Appreciation. '' 'The white man of God is coming here for Easter! The white man of God is coming to spend Easter with us!' This was the talk everywhere in Nkar among the old and young, even among the pagans. We had been taught everything about him in advance, When he comes we should observe his beard and see if it was not forked like that of .Christ.''
Kenjo Jumban:The white man of God From the passage, the white man of God is treated with
Ajụjụ 7 Ripọtì
This question is based on ?Literary Appreciation
KATE:No shame but mine. I must, forsooth be forcedTo give my hand opposed against my heart Unto a mad-brain rudesby, full of spleen, Who wooed in haste and means to weel at leisure, I told you, I, he was a frantic fool,Hiding his bitter jests in blunt behaviourWilliam Shakespear:The Taming of the ShrewIn the excerpt above, it is clear that the speaker is
Ajụjụ 8 Ripọtì
This question is based on Thomas Hardy's Tess of the d'Urbrvilles.
Mrs.Joan Durbeyfield is portrayed as
Akọwa Nkọwa
Ajụjụ 9 Ripọtì
This question is based on selection poems from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African Verse
In Clark's Agbor Dancer, the the poet watches the dancer with
Akọwa Nkọwa
In Clark's "Agbor Dancer," the poet watches the dancer with nostalgia. This means that the poet is experiencing a feeling of wistful or sentimental longing for a time or place in the past. The poem describes the dance as an ancient ritual that connects the people to their ancestors and their cultural heritage. The poet feels a sense of longing for this connection and the traditions of his people, which he sees in the dancer's movements. The use of words such as "lost," "ghosts," and "shadows" suggests that the poet is mourning the loss of this connection and is trying to recapture it through the performance of the dance. Overall, the poem portrays a deep sense of nostalgia for a culture that is being lost or forgotten.
Ajụjụ 10 Ripọtì
This question is based on selection poems from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African Verse
In Senghor's I will pronounce Your Name, 'cinnamon'is significant for its
Akọwa Nkọwa
In Senghor's "I will pronounce Your Name," the word "cinnamon" is significant for its olfactory image. This means that the word is used to create a sensory impression related to the sense of smell. The use of the word "cinnamon" evokes a warm, spicy, and sweet aroma that is associated with comfort, pleasure, and intimacy. This image reinforces the speaker's affectionate and reverent tone towards the addressee, which is further emphasized by other sensory images throughout the poem. Therefore, the answer is option C, olfactory image.
Ajụjụ 11 Ripọtì
This question is based on General Literary Principles
A final stanza of a poem that is shorter than the preceding one is called
Akọwa Nkọwa
Ajụjụ 12 Ripọtì
This question is based on Ayi Kwei Armah's Fragments
It can be safely assumed that the novel is
Akọwa Nkọwa
Ajụjụ 13 Ripọtì
This question is based on William Shakespeare's Hamlet.IN THE PLAY, THE TWO REVENGE PLOTS REVOLVE AROUND
Akọwa Nkọwa
In the play "Hamlet" by William Shakespeare, the two revenge plots that revolve around are Hamlet's revenge against his uncle Claudius for killing his father, and Laertes' revenge against Hamlet for killing his father Polonius. These two revenge plots are the main driving force behind the actions of the characters and the plot of the play.
Ajụjụ 15 Ripọtì
This question is based on �Literary Appreciation
'Emonemua: You it is who own me, and I speak by your permission. When I came home with my husband this morning, believing my mother was ill and needed nursing, I little knew I was walking into a house of ruin.'J.C Clark-Bekederemo: The BoatFrom the excerpt above, the speaker is
Ajụjụ 17 Ripọtì
This question is based on �Literary Appreciation'Though alien to this clime its capacity for bagging crime befits a legendary scion of the soil the brief sack with bulging stomach.'The poem achieves its significant effect through the use of
Akọwa Nkọwa
Ajụjụ 18 Ripọtì
This question is based on selection poems from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African Verse
The poet persona in Wangusa's A Taxi Driver on His Death is
Akọwa Nkọwa
Ajụjụ 19 Ripọtì
This question is based on General Literary Principles
Black theater is drama concerned with
Ajụjụ 20 Ripọtì
This question is based on selection poem from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African Verse
In Keats' On the Grasshopper and Cricket, the frost of winter evenings is said to cause
Akọwa Nkọwa
Ajụjụ 21 Ripọtì
This question is based on �Literary Appreciation
I will pronounce your name, Obi, I will declaim you, Obi!The device used in the line above is
Akọwa Nkọwa
The device used in the given line "I will pronounce your name, Obi, I will declaim you, Obi!" is repetition. Repetition is a literary device that involves repeating a word, phrase, or idea for emphasis or to create rhythm. In this line, the name "Obi" is repeated twice for emphasis, to emphasize the importance and significance of the name.
Ajụjụ 22 Ripọtì
This question is based on General Literary PrinciplesThe moment of recognition of truth when ignorance gives way to knowledge in a character is know as
Akọwa Nkọwa
The correct answer is "anagnorisis". Anagnorisis refers to the moment of recognition or discovery, often in tragedy, when a character realizes the truth about their situation or themselves. It is the point in the story when ignorance gives way to knowledge. This can lead to a reversal of fortune, and often contributes to the tragic nature of the work.
Ajụjụ 23 Ripọtì
This question is based on selection poems from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African VerseThe use of enjambment in Cheney-Coker's Myopia emphasizes the
Akọwa Nkọwa
Enjambment in Cheney-Coker's Myopia emphasizes the distressed mood of the persona. Enjambment refers to the technique of carrying the sense of a phrase or a sentence over the end of a line or stanza into the next without a syntactical break. In the poem, the enjambment creates a feeling of unease and disruption that mirrors the persona's own sense of unease and distress. It also adds to the overall sense of tension and urgency in the poem, emphasizing the psychological turmoil of the persona.
Ajụjụ 24 Ripọtì
This question is based on Ademiluyi's The New Man.
The metamorphosis that takes place in the novel is manly due to
Akọwa Nkọwa
Ajụjụ 25 Ripọtì
This question is based on Ahmed Yerima's Attahiru.
How does Lugard describe the battle between the white man and the Sokoto Caliphate?
Akọwa Nkọwa
In Ahmed Yerima's play, Attahiru, Lugard describes the battle between the white man and the Sokoto Caliphate as "One between superior and inferior powers." This suggests that Lugard sees the white man as a superior power compared to the Sokoto Caliphate, which he views as an inferior power. He believes that the white man has superior military technology, strategy, and resources, which give him an advantage in the battle. By describing the battle in this way, Lugard justifies the actions of the white man and portrays the Sokoto Caliphate as weak and inferior. Therefore, the answer to this question is "One between superior and inferior powers."
Ajụjụ 27 Ripọtì
This question is based on William Shakespeare's Hamlet.How does Question Gertrude finally die?
Akọwa Nkọwa
In William Shakespeare's play Hamlet, Queen Gertrude dies from drinking poisoned wine. The wine was intended for Hamlet, but she unknowingly drank it and suffered its deadly consequences.
Ajụjụ 28 Ripọtì
This question is based on Ahmed Yerima's Attahiru.
What is Dan Magaji's advice on the war with the white man?
Ajụjụ 29 Ripọtì
This question is based on General Literary Principles
Which of the following forms of poetry is an example of a monologue?
Akọwa Nkọwa
Ajụjụ 30 Ripọtì
This question is based on �Literary Appreciation'O'let us have him, for his silver hairs will purchase us a good opinion and buy men's voices to commend our deeds it shall be said his judgement rules our hands. Our youths and wildness shall not whit appear, But all be buried in his gravity.
William Shakespeare: Julius Caesar
In the excerpt above, his silver hairs refers to
Akọwa Nkọwa
In the excerpt, "his silver hairs" refers to old age. The speaker is saying that they should include this older man in their plans because his age and experience will give them a good reputation and make others praise their actions. The reference to his "silver hairs" is a poetic way of describing his advanced age and the respect that comes with it. It suggests that he has lived a long life and gained wisdom, and his presence will add gravity and credibility to their endeavors.
Ajụjụ 31 Ripọtì
This question is based on Ahmed Yerima's Attahiru.
The play is about
Akọwa Nkọwa
Ahmed Yerima's play, Attahiru, is about resistance to British administration. The play is set in the early 20th century in what is now northern Nigeria and is based on the historical figure of Attahiru, a leader of the Sokoto Caliphate who led a resistance movement against the British colonial administration. The play portrays Attahiru and his followers as heroic figures fighting against a powerful and oppressive force. Through the characters' speeches and actions, the play explores themes of power, identity, and the struggle for liberation from colonial rule. Overall, the play is a powerful depiction of the resistance movements that emerged in Africa during the colonial period.
Ajụjụ 32 Ripọtì
This question is based on Ayi Kwei Armah's Fragments
In the novel, the most prominent from of literature used is
Akọwa Nkọwa
Ajụjụ 33 Ripọtì
This question is based on General Literary Principles
A character that heavily relies on cultural types for his manner of speech, his personality and other distinguishing characteristics is
Ajụjụ 34 Ripọtì
This question is based on �Literary Appreciation
Truly sir, all that I live by is with the awl: I meddle with no trademan's matters nor women's matters, but withal- I am indeed, sir,a surgeon to ild shoes. When they are in great danger, I recover them.'William Shakespeare: Julius CaesarThe speaker in the excerpt above is a
Akọwa Nkọwa
The speaker in the excerpt is a cobbler. A cobbler is a person who repairs shoes, and in the excerpt, the speaker says that all he does is work with an awl (a tool used for making holes in leather) and fix shoes. He also mentions that he does not involve himself in other people's affairs, but when it comes to shoes that are in great danger, he is like a surgeon who can bring them back to life. Therefore, it can be concluded that the speaker is a cobbler.
Ajụjụ 35 Ripọtì
This question is based on ?Literary Appreciation
Cliph...Son. Open all your ears. May Allah grant us the fortitude to accept his commands..Now the rest is my burden. I am willing to accept Allah's will in the matter.The Language of the speaker above is
Akọwa Nkọwa
The language of the speaker above is submissive. The speaker uses phrases such as "Open all your ears," "May Allah grant us the fortitude to accept his commands," and "I am willing to accept Allah's will in the matter," which suggest a humble and obedient tone. The speaker is submitting to Allah's will and calling upon the listeners to do the same.
Ajụjụ 36 Ripọtì
This question is based on selection poems from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African Verse
The concern of the poet in Serenade is to
Akọwa Nkọwa
In the poem "Serenade," the concern of the poet is to appeal to the lady in question. The poem is a love poem in which the speaker expresses his desire and admiration for the lady, using romantic imagery and language to convey his feelings. The poem is not about boasting about wealth, examining the gloomy side of marriage, or expressing the lady's sense of grief. Instead, the poem is a celebration of love and desire, and an expression of the power of romantic attraction. The poet's concern is to persuade and woo the lady, to win her heart and her love, and to convince her of his sincerity and devotion.
Ajụjụ 37 Ripọtì
This question is based on Thomas Hardy's Tess of the d'Urbrvilles.
At what time does Tess often look so transformed before Angel Clare?
Akọwa Nkọwa
Ajụjụ 38 Ripọtì
This question is based on selection poems from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African Verse
In Milton's On His Blindness, the poet's attitude towards his blindness is one of
Akọwa Nkọwa
In Milton's "On His Blindness," the poet's attitude towards his blindness is one of fortitude. Although the poet mourns the loss of his sight and the limitations it places on his life, he ultimately accepts his situation and finds solace in his faith. The poem explores themes of loss, struggle, and redemption, and ultimately suggests that even in the face of adversity, one can find meaning and purpose in life. The poet's attitude is not one of anger or apathy, but rather one of acceptance and determination to persevere despite his physical limitations.
Ajụjụ 39 Ripọtì
This question is based on selection poems from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African Verse
In Brutus'A Troubadour I Traverse, the poet juxtaposes
Akọwa Nkọwa
Ajụjụ 40 Ripọtì
This question is based on General Literary PrinciplesChanson is a term denoting a
Ajụjụ 41 Ripọtì
This question is based on General Literary Principles
That quality in a literary work which evokes tenderness, pity or sorrow is
Akọwa Nkọwa
The quality in a literary work which evokes tenderness, pity, or sorrow is called "pathos". It is an emotional appeal that aims to move the audience and make them feel sympathetic towards the characters or the situation described in the work. It can be achieved through the use of various literary devices such as vivid imagery, powerful metaphors, and poignant language. The term "pathos" is derived from the Greek word "pathos", meaning "suffering" or "experience".
Ajụjụ 42 Ripọtì
This question is based on Thomas Hardy's Tess of the d'Urbrvilles.
One thing that Angel Clare hates most is
Akọwa Nkọwa
Ajụjụ 43 Ripọtì
This question is based on William Shakespeare's Hamlet
'Fear it, Ophelia, fear it, my dear sister;
And keep you in the rear of your affection, Out of the shoot and danger of danger of desire.
The Chariest maid is prodigal enough if she unmask her beauty to the moon.
In the excerpt above, Laertes warns Ophelia to beware of Hamlet's attentions because
Akọwa Nkọwa
Ajụjụ 44 Ripọtì
This question is based on William Shakespeare's Hamlet
But, O, what from of prayer can serve my turn? Forgive me my foul murder!
That cannot be; since I am still possess'd of those effects for which I did the murder
Those effects which Claudius is still possessed of from the excerpt above are
Akọwa Nkọwa
In this excerpt from William Shakespeare's play, Hamlet, the effects which Claudius is still possessed of are the crown and the queen. Claudius is expressing regret for his foul murder but also acknowledges that he cannot ask for forgiveness since he is still enjoying the benefits of his crime. He is still the king and married to the queen, who was previously married to his brother, King Hamlet, whom he murdered. Therefore, the answer to this question is "the crown and the queen."
Ajụjụ 45 Ripọtì
This question is based on selection poem from Johnson, R. et al (eds.): New Poetry from Africa; Soyinka, W.. (ed.):Poems of Black African; Senanu, K.E. and Vincent, T. (eds.):A Selection of African Poetry; Maduka, C.T. et al: Exam Focus: Literature in English; Eruvbetine, A.E. et al (eds.): Longman Examination Guides and Nwoga, D. I. (ed.):West African Verse
The person in Houseman's To an Athlate Dying Young addressed the dead athlete using
Akọwa Nkọwa
Ajụjụ 46 Ripọtì
This question is based on General Literary Principles
Monometer is a
Akọwa Nkọwa
Monometer is a poetic term that refers to a line of verse consisting of a single metrical foot. In other words, a monometer is a line of poetry that contains only one stressed syllable and one or more unstressed syllables. It is the shortest metrical line in poetry and is not commonly used in traditional forms of poetry.
Ajụjụ 47 Ripọtì
This question is based on General Literary Principles
Zeugma is a figurative device in which a
Ajụjụ 48 Ripọtì
This question is based on Ahmed Yerima's Attahiru.
Abbas' money which is stone from his bag is
Akọwa Nkọwa
Ajụjụ 49 Ripọtì
This question is based on Ayi Kwei Armah's Fragments
The outdooring ceremony of Araba's child, fixed for the fifth day after his birth, is opposed to by Naana because the child
Akọwa Nkọwa
In Ayi Kwei Armah's Fragments, Naana opposes the outdooring ceremony of Araba's child because she believes that the child is still in the custody of the spirits and that holding the ceremony would anger the spirits. She believes that it is important to wait until the child is older and stronger before holding such a ceremony.
Ajụjụ 50 Ripọtì
This question is based on General Literary Principles
The part of a play when climax approaches is known as
Akọwa Nkọwa
The part of a play when the climax approaches is known as the catastasis. The catastasis is the fourth part of a five-part plot structure that is commonly used in drama. It is the point in the plot where the action reaches its highest tension and the conflict is at its most intense. This is the moment when the protagonist and antagonist are engaged in their final struggle, and the outcome of the story is about to be decided. The catastasis is followed by the fifth part of the plot, which is the resolution or denouement, where the conflict is resolved, and the story is brought to a close. Therefore, if a play is approaching its climax, it can be said that it is in the catastasis.
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