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Ajụjụ 1 Ripọtì
In a play, unfolding events reach their peak in the
Akọwa Nkọwa
In a play, unfolding events reach their peak in the "climax." The climax is the moment of highest tension or drama in a play, where the conflict or main problem of the story is resolved. It is the point in the story where the audience is most engaged and invested in the outcome. The climax is often followed by the "denouement," which is the resolution or conclusion of the story. The denouement may tie up loose ends and provide closure for the audience. "Catharsis" is a term used to describe the emotional release or purification that the audience may experience during or after a play. It is often associated with tragedy and the feeling of release that comes with a character's recognition or acceptance of their fate. "Conflict" refers to the struggle or tension between characters in a play. While conflict is often a driving force in the plot, it does not necessarily reach its peak at the same time as the climax.
Ajụjụ 2 Ripọtì
A long and serious narrative about heroic characters is a/an
Akọwa Nkọwa
A long and serious narrative about heroic characters is an "epic." An epic is a type of poem that tells the story of a hero or heroes and their adventures. Epics often involve gods and goddesses, battles, and journeys to other worlds or realms. The heroes in epics are typically larger-than-life and possess qualities such as bravery, strength, and cunning. The language used in epics is often grand and elevated, and the poem is structured in a way that emphasizes the importance and grandeur of the story being told. Therefore, option C - "epic" - is the correct answer to this question.
Ajụjụ 3 Ripọtì
Read the poem and answer the question
I'm going soldering:
Mad the rhythm runs
With drumming and with trumpeting
And glory of the guns.
I've come home again:
I know that blood is red;
I know how sodden falls the rain
Where flesh lies dead.
The rhyme scheme in the first stanza is
Akọwa Nkọwa
Ajụjụ 4 Ripọtì
In poetry _ is made up of stressed and unstressed syllables
Akọwa Nkọwa
In poetry, the combination of stressed and unstressed syllables is called "meter." Meter creates a rhythmic pattern in a poem and helps to establish its musical quality. There are different types of meters in poetry, but one common type is called "iambic meter." An "iamb" is a metrical foot consisting of two syllables, the first unstressed and the second stressed. This pattern is often compared to the rhythm of a heartbeat: da-DUM, da-DUM, da-DUM. When iambic meter is used consistently throughout a poem, it is called "iambic pentameter," meaning there are five iambs (or ten syllables) per line. Other types of meters include "trochaic meter," which is the opposite of iambic meter and consists of a stressed syllable followed by an unstressed syllable (DUM-da, DUM-da, DUM-da), "anapaestic meter," which consists of two unstressed syllables followed by a stressed syllable (da-da-DUM, da-da-DUM, da-da-DUM), and "dactylic meter," which consists of a stressed syllable followed by two unstressed syllables (DUM-da-da, DUM-da-da, DUM-da-da). In summary, the combination of stressed and unstressed syllables in poetry is called "meter," and one common type of meter is "iambic meter," which consists of two syllables, the first unstressed and the second stressed.
Ajụjụ 5 Ripọtì
A question used for effect which does not require an answer is
Akọwa Nkọwa
A question used for effect which does not require an answer is called a rhetorical question. It is a figure of speech used to make a point or persuade the audience. The speaker already knows the answer to the question, and the audience is not expected to answer it. Rhetorical questions are often used in speeches, debates, and other forms of communication to engage the audience and emphasize a point.
Ajụjụ 6 Ripọtì
Read the extract and answer the question
Look thou be true. Do not give dalliance
Took much the rein. The strongest oaths are straw
To the fire i' the blood. Be more abstemious.
Or else, good night your vow!
(Act IV, scene one lines 51-54)
The speaker is
Akọwa Nkọwa
Ajụjụ 7 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Thou liest, most ignorant monster! I am in case to justle a constable. Why, thou deboshed fish, thou, was there ever man a coward that hath drunk so much sack as I today. Wilt thou tell a monstrous lie, being but half a fish and half a monster?
(act 111, scene two lines 23-27)
The speaker is
Akọwa Nkọwa
Ajụjụ 8 Ripọtì
Read the extract and answer the question
Look thou be true. Do not give dalliance
Took much the rein. The strongest oaths are straw
To the fire i' the blood. Be more abstemious.
Or else, good night your vow!
(Act IV, scene one lines 51-54)
The literary device in lines 52 and 53 is
Akọwa Nkọwa
The literary device in lines 52 and 53 is a metaphor. This is because the speaker is comparing the strongest oaths to straw that can be easily burned by the fire in one's blood. The comparison is not directly stated as in a simile, but rather implied through the use of the words "are" and "to". The metaphor helps to emphasize the speaker's warning to the addressee to be more abstemious and not let their passions control them.
Ajụjụ 9 Ripọtì
Read the poem and answer the question
I'm going soldering:
Mad the rhythm runs
With drumming and with trumpeting
And glory of the guns.
I've come home again:
I know that blood is red;
I know how sodden falls the rain
Where flesh lies dead.
The two contrasting moods in the poem is are
Akọwa Nkọwa
The two contrasting moods in the poem are excitement and disappointment. The first stanza conveys the speaker's excitement as they prepare to go soldering, with the rhythm running madly and the glory of the guns. However, in the second stanza, the speaker's mood changes to disappointment as they reflect on the reality of war, with the knowledge that blood is red and the rain falls heavily on dead flesh.
Ajụjụ 10 Ripọtì
Read the poem and answer the question
I'm going soldering:
Mad the rhythm runs
With drumming and with trumpeting
And glory of the guns.
I've come home again:
I know that blood is red;
I know how sodden falls the rain
Where flesh lies dead.
The dominant sound device in the second stanza is
Akọwa Nkọwa
Ajụjụ 11 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
As they trooped off down the field with their sullen dogs, the farmer started the tractor up and the cutter blade blurred into life
Left alone, Grooby sank into a shocked stupor. His mind whirled around like a fly that dared not alight. A blank vacancy held him. He seemed unable to move, even to wipe away the sweat that collected in his eyebrows and leaked down into his eyes. He sensed that the sun had settled over the earth, so that the air was actually burning gas. He watched the tractor dwindle in the bottom of the field, as if it were melting into a glittering muddle in the haze.
The setting of the extract is
Akọwa Nkọwa
The setting of the extract is most likely midday or afternoon. This can be inferred from the description of the sun settling over the earth and the air feeling like "burning gas", which suggests that it is hot and sunny. Additionally, the farmer starts up his tractor and begins cutting something in the field, which is a task typically done during daylight hours. Therefore, the correct answer is either midday or afternoon.
Ajụjụ 12 Ripọtì
'The king has joined his ancestors' is an example of
Akọwa Nkọwa
The statement "The king has joined his ancestors" is an example of a euphemism. A euphemism is a mild or indirect word or expression used in place of one considered to be too harsh or blunt when referring to something unpleasant or embarrassing. In this case, the phrase is a way of saying that the king has died, without using the word "died" directly, which may be considered too harsh or impolite in some cultures or contexts.
Ajụjụ 14 Ripọtì
Read the extract and answer the question
You are three men of sin, whom Destiny -
That hath to instrument this lower world
And what is in't - the never-surfeited sea
Hath caused to belch up you; and on this island,
Where man doth not inhabit - you 'mongst men
Being most unfit to live.
(Act 111, scene three lines 53-58)
In the first line, 'Destiny' is
Akọwa Nkọwa
In the given context, 'Destiny' is an example of personification. Personification refers to the attribution of human qualities or characteristics to non-human things, such as animals or inanimate objects. In this case, 'Destiny' is being given the human quality of having the ability to act as an instrument and cause events to occur.
Ajụjụ 15 Ripọtì
In the line 'season of mist and mellow fruitfulness', the main appeal is to the sense of
Akọwa Nkọwa
In the line "season of mist and mellow fruitfulness," the main appeal is to the sense of sight. The words "mist" and "mellow fruitfulness" create vivid mental images of autumnal scenery, which appeals to our visual sense. The image of mist suggests a hazy, dreamlike atmosphere, and the phrase "mellow fruitfulness" evokes the idea of ripe, colorful fruit hanging from trees, both of which are visual descriptions. Therefore, the line appeals to our ability to imagine or visualize a beautiful, serene autumn season.
Ajụjụ 16 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
As they trooped off down the field with their sullen dogs, the farmer started the tractor up and the cutter blade blurred into life
Left alone, Grooby sank into a shocked stupor. His mind whirled around like a fly that dared not alight. A blank vacancy held him. He seemed unable to move, even to wipe away the sweat that collected in his eyebrows and leaked down into his eyes. He sensed that the sun had settled over the earth, so that the air was actually burning gas. He watched the tractor dwindle in the bottom of the field, as if it were melting into a glittering muddle in the haze.
''The air was actually burning gas'' is a
Akọwa Nkọwa
The phrase "the air was actually burning gas" is a metaphor. This is because it is comparing the sensation of the air feeling very hot to the idea of something being set on fire, even though the air itself is not actually burning gas. The use of the word "actually" emphasizes the intensity of the heat being felt by the persona, and the metaphor helps to convey this sensation to the reader in a vivid and memorable way.
Ajụjụ 17 Ripọtì
''The fire gnawed ceaselessly at the bark of the tree'' illustrates
Akọwa Nkọwa
The phrase "The fire gnawed ceaselessly at the bark of the tree" is an example of personification, which is a figure of speech where inanimate objects or animals are given human characteristics. In this example, the fire is given the human characteristic of being able to "gnaw" on the bark of the tree, which is not possible for fire as it does not have a physical mouth or teeth to chew. Therefore, this is a personification because it attributes a human quality (gnawing) to a non-human entity (fire).
Ajụjụ 18 Ripọtì
This book should fill the memory, rule the heart and guide the feet.
The above expression illustrates the use of
Akọwa Nkọwa
The expression "This book should fill the memory, rule the heart and guide the feet" illustrates the use of a metaphor. A metaphor is a figure of speech that makes a comparison between two unlike things, without using "like" or "as". In this case, the book is being compared to something that can "fill the memory, rule the heart, and guide the feet", implying that the book has a powerful and lasting impact on the reader.
Ajụjụ 19 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
As they trooped off down the field with their sullen dogs, the farmer started the tractor up and the cutter blade blurred into life
Left alone, Grooby sank into a shocked stupor. His mind whirled around like a fly that dared not alight. A blank vacancy held him. He seemed unable to move, even to wipe away the sweat that collected in his eyebrows and leaked down into his eyes. He sensed that the sun had settled over the earth, so that the air was actually burning gas. He watched the tractor dwindle in the bottom of the field, as if it were melting into a glittering muddle in the haze.
The diction conveys a feeling of
Akọwa Nkọwa
The diction in the extract conveys a feeling of helplessness. This is evident from the description of Grooby's shocked stupor, his inability to move or wipe away his sweat, and the metaphorical comparison of his whirling mind to a fly that dared not alight. The description of the sun settling over the earth and the air burning gas also creates a sense of oppressive heat and discomfort, contributing to the overall feeling of helplessness.
Ajụjụ 20 Ripọtì
One of the following makes use of gesture only:
Akọwa Nkọwa
The performance art that makes use of gesture only is mime. Mime is a form of theatrical performance that emphasizes physical movement and gesture to tell a story or convey emotions, without the use of words or spoken language. The performers use their bodies to create characters, settings, and situations, using a range of techniques such as facial expressions, body language, and hand gestures. Mime performances can be humorous or serious, and often involve the use of props and costumes to enhance the visual impact of the performance. The art of mime has a long history, dating back to ancient Greece, and has been used in various forms of theater, including vaudeville and contemporary theater. In contrast, comedy, lampoon, and satire are forms of written or spoken humor that rely on language and wordplay to make their point. While physical gestures may be used to enhance these forms of humor, they are not the primary means of expression.
Ajụjụ 21 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Thou liest, most ignorant monster! I am in case to justle a constable. Why, thou deboshed fish, thou, was there ever man a coward that hath drunk so much sack as I today. Wilt thou tell a monstrous lie, being but half a fish and half a monster?
(act 111, scene two lines 23-27)
The character addressed is
Akọwa Nkọwa
The character addressed is Caliban.
Ajụjụ 22 Ripọtì
Read the extract and answer the question
You are three men of sin, whom Destiny -
That hath to instrument this lower world
And what is in't - the never-surfeited sea
Hath caused to belch up you; and on this island,
Where man doth not inhabit - you 'mongst men
Being most unfit to live.
(Act 111, scene three lines 53-58)
A character in the scene whom Prospero admires is
Akọwa Nkọwa
The character in the scene whom Prospero admires is Gonzalo. In the given extract, Prospero is rebuking the three men (Antonio, Sebastian, and Alonso) for their treachery and calling them "three men of sin." He then goes on to praise Gonzalo, stating that he is the only one among them who is fit to live on the island.
Ajụjụ 23 Ripọtì
The device used in 'Light as wind on water laid' is
Akọwa Nkọwa
The device used in the phrase 'Light as wind on water laid' is a "simile." A simile is a figure of speech that compares two things using the words "like" or "as." In this phrase, the comparison is between the lightness of something and the way that wind feels when it moves over water. By using this simile, the author is able to convey the idea that the thing being described is very light and delicate, just as the wind is when it moves over water. Therefore, option B - "simile" - is the correct answer to this question.
Ajụjụ 24 Ripọtì
Read the extract and answer the question
Oh, a Cherubin
Thou wast that did preserve me. Thou didst smile,
Infused with a fortitude from heaven,
When I have decked the sea with drops full salt.
Under my burthen groaned; which raised in me
An undergoing stomach, to bear up
Against what should ensue
(Act 1 scene two lines 154-161)
Soon after this dialogue appears
Akọwa Nkọwa
Ajụjụ 25 Ripọtì
A short witty saying is a/an
Akọwa Nkọwa
A short witty saying is called an epigram. It is a concise and clever statement that often includes a twist in meaning or a play on words. Epigrams are often used to express a humorous or satirical idea in a memorable way.
Ajụjụ 26 Ripọtì
A very brief story is an
Akọwa Nkọwa
A very brief story is an anecdote. An anecdote is a short and amusing or interesting story about a real incident or person. It often illustrates a particular point or character trait and is often used in conversation or speeches to entertain or make a point. Anecdotes are usually based on personal experiences or observations and are often shared to add a human element to a discussion or to create a connection with the audience.
Ajụjụ 27 Ripọtì
''But at my back I always hear
Time's winged chariot hurrying near'' illustrates
Akọwa Nkọwa
"But at my back I always hear Time's winged chariot hurrying near" illustrates a metaphor. A metaphor is a figure of speech in which a word or phrase is used to describe something by stating that it is something else. In this case, the metaphor compares time to a winged chariot that is hurrying towards the speaker's back. This comparison creates a vivid mental image of time as something that is constantly moving forward and is rapidly approaching. The use of a metaphor helps to convey the idea that time is relentless and unstoppable, and that it is always moving closer to us. Therefore, the line serves as an example of a metaphor.
Ajụjụ 28 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Thou liest, most ignorant monster! I am in case to justle a constable. Why, thou deboshed fish, thou, was there ever man a coward that hath drunk so much sack as I today. Wilt thou tell a monstrous lie, being but half a fish and half a monster?
(act 111, scene two lines 23-27)
The addressee asks that the speaker be
Akọwa Nkọwa
Ajụjụ 29 Ripọtì
Read the poem and answer the question
I'm going soldering:
Mad the rhythm runs
With drumming and with trumpeting
And glory of the guns.
I've come home again:
I know that blood is red;
I know how sodden falls the rain
Where flesh lies dead.
The theme of the poem is best described as the
Akọwa Nkọwa
The theme of the poem is the reality of war. The speaker describes the experience of soldering in realistic terms, with references to blood, rain falling on dead flesh, and the sound of drums, trumpets, and guns. The poem does not glorify war or express excitement about it, but rather acknowledges the harsh realities of combat.
Ajụjụ 30 Ripọtì
Read the extract and answer the question
Look thou be true. Do not give dalliance
Took much the rein. The strongest oaths are straw
To the fire i' the blood. Be more abstemious.
Or else, good night your vow!
(Act IV, scene one lines 51-54)
Another character present in the scene is
Akọwa Nkọwa
Ajụjụ 31 Ripọtì
Read the extract and answer the question
Oh, a Cherubin
Thou wast that did preserve me. Thou didst smile,
Infused with a fortitude from heaven,
When I have decked the sea with drops full salt.
Under my burthen groaned; which raised in me
An undergoing stomach, to bear up
Against what should ensue
(Act 1 scene two lines 154-161)
The speaker is
Akọwa Nkọwa
The speaker in this extract is Prospero. This can be determined by analyzing the context of the lines and looking at the other characters present in the scene. Prospero is a character in William Shakespeare's play "The Tempest," and is one of the main protagonists. In this extract, Prospero is reflecting on a past event where he was saved by a Cherubin when he was struggling to bear the burden of the sea. The other characters present in the scene are Alonso, Gonzalo, and Sebastian, but they do not speak in this particular extract.
Ajụjụ 32 Ripọtì
Read the extract and answer the question
Oh, a Cherubin
Thou wast that did preserve me. Thou didst smile,
Infused with a fortitude from heaven,
When I have decked the sea with drops full salt.
Under my burthen groaned; which raised in me
An undergoing stomach, to bear up
Against what should ensue
(Act 1 scene two lines 154-161)
''When I have decked the sea with drops full salt'' suggests
Akọwa Nkọwa
"When I have decked the sea with drops full salt" suggests weeping. In the context of the extract, the speaker is expressing gratitude to the Cherubin who preserved them when they were at sea and mentions that they wept so much that the sea was "decked" or covered with their tears, which were "full salt".
Ajụjụ 33 Ripọtì
Read the extract and answer the question
Oh, a Cherubin
Thou wast that did preserve me. Thou didst smile,
Infused with a fortitude from heaven,
When I have decked the sea with drops full salt.
Under my burthen groaned; which raised in me
An undergoing stomach, to bear up
Against what should ensue
(Act 1 scene two lines 154-161)
The character addressed is
Akọwa Nkọwa
Ajụjụ 34 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Thou liest, most ignorant monster! I am in case to justle a constable. Why, thou deboshed fish, thou, was there ever man a coward that hath drunk so much sack as I today. Wilt thou tell a monstrous lie, being but half a fish and half a monster?
(act 111, scene two lines 23-27)
The ''lie'' is that the speaker is a/an
Akọwa Nkọwa
The "lie" referred to in the scene is that the speaker is a coward. The speaker is insulting the addressee, calling them a "ignorant monster" and a "deboshed fish," and then rhetorically asking if there has ever been a man who is both a coward and has drunk as much as the speaker has. The speaker is essentially calling the addressee a liar for accusing him of being a coward.
Ajụjụ 35 Ripọtì
Read the extract and answer the question
You are three men of sin, whom Destiny -
That hath to instrument this lower world
And what is in't - the never-surfeited sea
Hath caused to belch up you; and on this island,
Where man doth not inhabit - you 'mongst men
Being most unfit to live.
(Act 111, scene three lines 53-58)
The ''three men of sin'' are
Akọwa Nkọwa
In the given extract, the speaker is addressing three men who are described as "men of sin." Based on the clues provided in the text, we can infer that these three men are not fit to live on the island where the speaker is. The men are specifically identified as being brought to the island by the sea, which "belched them up." This suggests that they were shipwrecked or stranded on the island. The speaker also notes that the men are "amongst men" on the island, which implies that they are not alone but are part of a larger group. The three men are not explicitly named in the extract, but we can identify them by looking at the context of the play. In Act III, scene iii of William Shakespeare's play "The Tempest," the characters of Alonso, Antonio, and Sebastian are stranded on an island after a shipwreck. The speech in the extract is delivered by the spirit Ariel, who is a servant of the magician Prospero, the main character of the play. Therefore, based on the context of the play and the clues provided in the extract, the "three men of sin" are Alonso, Antonio, and Sebastian.
Ajụjụ 36 Ripọtì
Read the extract and answer the question
Look thou be true. Do not give dalliance
Took much the rein. The strongest oaths are straw
To the fire i' the blood. Be more abstemious.
Or else, good night your vow!
(Act IV, scene one lines 51-54)
The ''oath'' referred to in the scene is
Akọwa Nkọwa
The "oath" referred to in the scene is Ferdinand's promise to remain chaste with Miranda before they are married. The speaker (Prospero) warns Ferdinand not to let his desire take control, as the most solemn promises can be easily broken when passion runs high. Prospero cautions Ferdinand to be more moderate in his behavior, or else he will break his vow to Miranda.
Ajụjụ 37 Ripọtì
Read the extract and answer the question
You are three men of sin, whom Destiny -
That hath to instrument this lower world
And what is in't - the never-surfeited sea
Hath caused to belch up you; and on this island,
Where man doth not inhabit - you 'mongst men
Being most unfit to live.
(Act 111, scene three lines 53-58)
The speaker immediately
Akọwa Nkọwa
The speaker immediately reports the three men to Prospero. This is evident in the first line of the passage where the speaker addresses the three men as "three men of sin" and proceeds to accuse them of being unfit to live on the island. The speaker goes on to imply that the cause of their being on the island is destiny, which has used the sea to bring them there. The phrase "belch up" also suggests that the men were brought to the island against their will. The speaker's intention is to inform Prospero of their presence on the island.
Ajụjụ 38 Ripọtì
Read the extract and answer the question
You are three men of sin, whom Destiny -
That hath to instrument this lower world
And what is in't - the never-surfeited sea
Hath caused to belch up you; and on this island,
Where man doth not inhabit - you 'mongst men
Being most unfit to live.
(Act 111, scene three lines 53-58)
The speaker is
Akọwa Nkọwa
Ajụjụ 39 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
As they trooped off down the field with their sullen dogs, the farmer started the tractor up and the cutter blade blurred into life
Left alone, Grooby sank into a shocked stupor. His mind whirled around like a fly that dared not alight. A blank vacancy held him. He seemed unable to move, even to wipe away the sweat that collected in his eyebrows and leaked down into his eyes. He sensed that the sun had settled over the earth, so that the air was actually burning gas. He watched the tractor dwindle in the bottom of the field, as if it were melting into a glittering muddle in the haze.
''...the cutter blade blurred into life''.
The above expression appeals to the sense of
Ajụjụ 40 Ripọtì
Read the extract and answer the question
Look thou be true. Do not give dalliance
Took much the rein. The strongest oaths are straw
To the fire i' the blood. Be more abstemious.
Or else, good night your vow!
(Act IV, scene one lines 51-54)
The character addressed is
Akọwa Nkọwa
The character addressed in the given extract is Ferdinard. This can be inferred from the context of the lines where the speaker urges the person addressed to be true and not indulge in frivolous activities that can cause them to break their strong oaths. The use of the words "good night your vow" suggests that the speaker is warning the addressee of the consequences of not being careful. Therefore, based on the text, the character addressed is Ferdinard.
Ajụjụ 41 Ripọtì
Read the poem and answer the question
I'm going soldering:
Mad the rhythm runs
With drumming and with trumpeting
And glory of the guns.
I've come home again:
I know that blood is red;
I know how sodden falls the rain
Where flesh lies dead.
''Mad the rhythm runs'' is an example of
Akọwa Nkọwa
Ajụjụ 42 Ripọtì
UNSEEN PROSE AND POETRY
Read the poem and answer the question
As they trooped off down the field with their sullen dogs, the farmer started the tractor up and the cutter blade blurred into life
Left alone, Grooby sank into a shocked stupor. His mind whirled around like a fly that dared not alight. A blank vacancy held him. He seemed unable to move, even to wipe away the sweat that collected in his eyebrows and leaked down into his eyes. He sensed that the sun had settled over the earth, so that the air was actually burning gas. He watched the tractor dwindle in the bottom of the field, as if it were melting into a glittering muddle in the haze.
The expression ''like fly that dared not alight'' is a/an
Akọwa Nkọwa
The expression ''like fly that dared not alight'' is an example of a simile. A simile is a figure of speech that compares two things using the words "like" or "as" to show their similarity. In this case, the speaker is comparing the whirling of Grooby's mind to the constant movement of a fly that is too afraid to land. The use of "like" makes the comparison clear, and helps the reader to better understand the character's mental state.
Ajụjụ 43 Ripọtì
_ is fundamental to a play or novel.
Akọwa Nkọwa
Conflict is fundamental to a play or novel. Conflict refers to the struggle or clash between two or more opposing forces, which creates tension and drives the plot forward. It can be between characters, society, nature, or even within the protagonist. Conflict is what propels the story forward, creates suspense and keeps the audience or readers engaged. Without conflict, a story would be dull and uninteresting, lacking a sense of purpose or direction. Therefore, conflict is essential to the structure of a play or novel, as it drives the narrative and keeps the audience or readers engaged.
Ajụjụ 46 Ripọtì
An omniscient narrator in a novel
Akọwa Nkọwa
An omniscient narrator in a novel is a narrator who knows everything about the characters and events in the story. This means that the narrator can provide insights into the thoughts, feelings, and motivations of the characters, as well as describe events and settings in detail. Unlike a detached narrator who stays separate from the story, an omniscient narrator has a more active role in the storytelling process. They can provide commentary, offer opinions, and guide the reader's understanding of the story.
Ajụjụ 47 Ripọtì
Read the extract and answer the question
Oh, a Cherubin
Thou wast that did preserve me. Thou didst smile,
Infused with a fortitude from heaven,
When I have decked the sea with drops full salt.
Under my burthen groaned; which raised in me
An undergoing stomach, to bear up
Against what should ensue
(Act 1 scene two lines 154-161)
The speaker sees the addressee as a/an
Akọwa Nkọwa
Ajụjụ 48 Ripọtì
An epilogue
Akọwa Nkọwa
An epilogue is a concluding section added to a literary work, such as a play, novel, or memoir. Its purpose is to provide closure to the story or to offer final thoughts on the themes and characters. Unlike a prologue, which is an introductory section, an epilogue comes at the end of the work and is often used to sum up the events of the story or to offer a glimpse into the characters' futures. It can also be used to reflect on the themes or messages of the work, or to provide a final commentary on the story. Therefore, option C - "sums up a play" - is the correct answer to this question.
Ajụjụ 49 Ripọtì
WILLIAM SHAKESPEARE: The Tempest
Read the extract and answer the question
Thou liest, most ignorant monster! I am in case to justle a constable. Why, thou deboshed fish, thou, was there ever man a coward that hath drunk so much sack as I today. Wilt thou tell a monstrous lie, being but half a fish and half a monster?
(act 111, scene two lines 23-27)
Later in the scene the addressee proposes a plot to
Ajụjụ 50 Ripọtì
NON-AFRICAN POETRY
What is the poet's attitude towards the sun in " The Sunne Rising"?
Ajụjụ 51 Ripọtì
AFRICAN PROSE
ASARE KONADU: A Woman In Her Prime
Compare Pokuwaa's and Koramoa's Marital experiences.
Ajụjụ 52 Ripọtì
AFRICAN DRAMA
FEMI OSOFISAN: Women of Owu
Discuss Maye Okunade's reasons for attacking Owu Kingdom
Ajụjụ 53 Ripọtì
NON AFRICAN PROSE
WILLIAM GOLDING: Lord Of The Flies
Comment on the significance of Simon's death.
Ajụjụ 54 Ripọtì
NON-AFRICAN DRAMA
BERNARD SHAW: Arms and the Man
How significant is Major Petkoff's coat in the development of the plot?
Ajụjụ 55 Ripọtì
NON AFRICAN PROSE
ERNEST HEMINGWAY: The Old Man and The Sea
What role does Manolin play in Santiago's domestic life?
Ajụjụ 56 Ripọtì
NON-AFRICAN DRAMA
OSCAR WILDE: The Importance of Being Earnest
How important is marriage in the play?
Ajụjụ 57 Ripọtì
AFRICAN POETRY
In what ways are the fortunes of the Rich and the poor linked in "Homeless not Hopeless"?
Ajụjụ 58 Ripọtì
NON-AFRICAN DRAMA
BERNARD SHAW: Arms and the Man
What are your impressions on Sergius as a Soldier?
Ajụjụ 59 Ripọtì
AFRICAN PROSE
ADICHIE CHIMAMANDA NGOZI: Purple Hibiscus
Examine the relationship between Kambili and father Amadi.
Akọwa Nkọwa
None
Ajụjụ 60 Ripọtì
NON AFRICAN PROSE
ERNEST HEMINGWAY: The Old Man and The Sea
Examine santiago's attitude to nature.
Ajụjụ 61 Ripọtì
AFRICAN POETRY
Examine the changes in the persona's in "Expelled"
Ajụjụ 62 Ripọtì
NON AFRICAN PROSE
WILLIAM GOLDING: Lord Of The Flies
Consider the view that the struggle for power is a major issue in the novel.
Ajụjụ 63 Ripọtì
AFRICAN DRAMA
KOBINA SEKYE: The Blinkards
Comment on the role of Mr. Okadu in the play?
Akọwa Nkọwa
None
Ajụjụ 64 Ripọtì
NON-AFRICAN POETRY
Examine the case against astrologers in "Upon an Honest Man's Fortune
Akọwa Nkọwa
None
Ajụjụ 66 Ripọtì
NON-AFRICAN DRAMA
OSCAR WILDE: The Importance of Being Earnest
Discuss the use of humour in the play.
Ajụjụ 67 Ripọtì
AFRICAN PROSE
ADICHIE CHIMAMANDA NGOZI: Purple Hibiscus
What aspect of Kambili's character are revealed during the children's visits to Aunty Ifeoma?
Ajụjụ 68 Ripọtì
AFRICAN PROSE
ASARE KONADU: A Woman In Her Prime
Comment on the superstitions beliefs and practices in the novel.
Ajụjụ 69 Ripọtì
AFRICAN DRAMA
KOBINA SEKYE: The Blinkards
How is African Life presented in the play?
Akọwa Nkọwa
None
Ị ga-achọ ịga n'ihu na omume a?