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Swali 1 Ripoti
The cast appears at the end of a play for the ___________-
Maelezo ya Majibu
The cast appears at the end of a play for the "curtain call". A curtain call is a theatrical tradition where the actors come out on stage at the end of a performance to take a bow and acknowledge the audience's applause. It is called a "curtain call" because traditionally a theater's stage is separated from the audience by a curtain, which is closed at the beginning and end of the performance.
Swali 2 Ripoti
Poison ivy came up like a rose
in red and thorny garb
I look, liked and did dare touch
my pals my avid touch espied
with green and frosty eyes
I should've only looked, and not leapt,
For away and over my rising moon she flew
On clipped wings of my dream
Now a song-filled air pocket of serenades
A love's wretch, my dream is a hornbill
Flightless and tottering.
My dream remains a dream still
Now my dream is a locked-up serenade
The mood of the persona is one of___________
Maelezo ya Majibu
The mood of the persona in the poem is despondency. The poem uses a somber tone and melancholic language to convey the persona's sense of loss and disappointment. The persona speaks of their dream as being unattainable and locked away, which suggests a feeling of hopelessness or resignation. The use of words like "wretch" and "flightless and tottering" create a sense of sadness and despair, while the idea of a "song-filled air pocket of serenades" adds a touch of nostalgia and longing. Overall, the poem conveys a mood of sadness and disappointment, highlighting the persona's sense of loss and unfulfilled desires.
Swali 3 Ripoti
Jame's heart beat madly as he and Alice approached the beeping metal detector at the entrance. The oblivious swinging door hugged the couple with inviting, outstretched arms and ushered them into the lobby in genial welcome. The receptionist asked James to surrender any valuable items he had; if they got lost, management would be liable.
James looked at Alice, his wife returned his guilt-stricken, dubious look with an innocent, trusting smile. What would he do if jewels went missing? How would he explain it to himself? What would he have gained by his mischief? What had come over James so shamelessly to decide to rob his own wife? The swindled woman stood innocently beside her unrepentant husband as he took the key to their room with hands the shook slightly.
The setting is_____________
Maelezo ya Majibu
The setting in the passage is a modern hotel. This can be inferred from the details mentioned in the text, such as the beeping metal detector at the entrance, the swinging door that welcomes them into the lobby, the receptionist who asks James to surrender valuable items, and the fact that the couple is given a key to their room. These details suggest that the couple is staying in a hotel and not at their home, an airport or a school.
Swali 4 Ripoti
Othello: Not I. I must be found
My parts, my title, and my perfect soul
Shall manifest me rightly, is it they?
Iago: By Janus, I think so
Othello: The servants of the Duke? And my Lieutenant?
The goodness of the night upon you, friends
What is the news?
(Act 1, Scene Two, Lines 29 - 34)
By Janus is_____________
Maelezo ya Majibu
Swali 5 Ripoti
But the towering earth was tired of sitting in one position.
She moved suddenly and the houses crumbled, the mountains heaved horrible, and the work of a million years was lost
The effect of the extract is conveyed through the use of___________
Maelezo ya Majibu
The effect of the extract "But the towering earth was tired of sitting in one position. She moved suddenly and the houses crumbled, the mountains heaved horrible, and the work of a million years was lost" is conveyed through the use of climax. Climax is a literary device where the intensity of a situation or event increases gradually to reach a peak. In this extract, the tension builds as the description of the earth's movement becomes more dramatic. The use of the word "suddenly" adds to the effect, making the reader feel the abruptness of the earth's movement. The climax is reached with the phrase "the work of a million years was lost," which emphasizes the devastating effects of the earthquake.
Swali 6 Ripoti
Othello: Not I. I must be found
My parts, my title, and my perfect soul
Shall manifest me rightly, is it they?
Iago: By Janus, I think so
Othello: The servants of the Duke? And my Lieutenant?
The goodness of the night upon you, friends
What is the news?
(Act 1, Scene Two, Lines 29 - 34)
Later on, Brabantio accuses Othello of___________
Maelezo ya Majibu
In Shakespeare's play "Othello," Brabantio accuses Othello of stealing his daughter. Brabantio believes that Othello has used witchcraft or some other means to seduce and elope with his daughter, Desdemona, without his consent. Brabantio accuses Othello of being a "foul thief," and calls on the authorities to punish him for his crime. This accusation is significant because it sets the stage for the conflicts that unfold throughout the play, particularly those related to race, jealousy, and betrayal. It also highlights the patriarchal and racist attitudes of the society in which the play is set, and the difficulties that Othello, as a black man in a white-dominated society, must face in order to assert his dignity and honor. Overall, Brabantio's accusation of theft is a key moment in the play that sets the plot in motion and reveals the complex dynamics of power, race, and gender that underlie the story.
Swali 7 Ripoti
The Main Character in a Play or Novel is the ____________
Maelezo ya Majibu
The main character in a play or novel is typically referred to as the protagonist. This is the character who drives the plot forward and is often the hero or central figure of the story. They are usually the character who faces the main conflict or obstacle in the narrative and whose actions and decisions have the most significant impact on the outcome of the story. While the protagonist is not necessarily a "good" character, they are typically the character that the audience is meant to root for or sympathize with. In contrast, the antagonist is the character or force that opposes the protagonist, while the narrator is the voice that tells the story. The villain is a character who is typically portrayed as evil or immoral and may be an antagonist or a secondary character.
Swali 8 Ripoti
Poison ivy came up like a rose
in red and thorny garb
I look, liked and did dare touch
my pals my avid touch espied
with green and frosty eyes
I should've only looked, and not leapt,
For away and over my rising moon she flew
On clipped wings of my dream
Now a song-filled air pocket of serenades
A love's wretch, my dream is a hornbill
Flightless and tottering.
My dream remains a dream still
Now my dream is a locked-up serenade
The theme of the poem is_______
Maelezo ya Majibu
The theme of the poem is unrequited love. The poem describes the speaker's infatuation with someone or something that is dangerous and harmful to them, like poison ivy. The speaker describes their desire to touch and embrace this thing but is ultimately hurt and left with a dream that is now a "locked-up serenade." The imagery in the poem creates a sense of longing and unfulfilled desire, which are central themes of unrequited love. Therefore, the theme of the poem is unrequited love, where the speaker is left longing and unfulfilled in their pursuit of something or someone they desire.
Swali 9 Ripoti
Before a play is performed, it is ___________
Maelezo ya Majibu
Before a play is performed, it is rehearsed. Rehearsals are the process of practicing and refining the various aspects of a play such as dialogue, blocking, lighting, sound effects, and stage design. During rehearsals, the actors work on their performances and interactions with each other, the director makes adjustments to the script and the production team work on perfecting technical elements. Rehearsals are crucial to ensure that the play is as polished and professional as possible before it is presented to the audience. Without rehearsals, the performance would be much more likely to have mistakes, and the overall quality of the play would suffer.
Swali 10 Ripoti
Jame's heart beat madly as he and Alice approached the beeping metal detector at the entrance. The oblivious swinging door hugged the couple with inviting, outstretched arms and ushered them into the lobby in genial welcome. The receptionist asked James to surrender any valuable items he had; if they got lost, management would be liable.
James looked at Alice, his wife returned his guilt-stricken, dubious look with an innocent, trusting smile. What would he do if jewels went missing? How would he explain it to himself? What would he have gained by his mischief? What had come over James so shamelessly to decide to rob his own wife? The swindled woman stood innocently beside her unrepentant husband as he took the key to their room with hands the shook slightly.
The narrative technique is___________
Maelezo ya Majibu
Swali 11 Ripoti
Beware her faintly failing health, and gentle gallands around her speed Illustrates_________
Maelezo ya Majibu
Swali 12 Ripoti
Poison ivy came up like a rose
in red and thorny garb
I look, liked and did dare touch
my pals my avid touch espied
with green and frosty eyes
I should've only looked, and not leapt,
For away and over my rising moon she flew
On clipped wings of my dream
Now a song-filled air pocket of serenades
A love's wretch, my dream is a hornbill
Flightless and tottering.
My dream remains a dream still
Now my dream is a locked-up serenade
The last line illustrates___________
Maelezo ya Majibu
The last line "Now my dream is a locked-up serenade" illustrates a metaphor. A metaphor is a figure of speech that compares two different things without using the words "like" or "as". In this case, the author is comparing their dream to a "locked-up serenade", which means that the dream is now unattainable or out of reach. The metaphor helps to convey the idea that the author's dream is no longer achievable and has been lost or locked away.
Swali 13 Ripoti
A dramatic performance with ONLY bodily movements and no speech is a _____________
Maelezo ya Majibu
A dramatic performance with only bodily movements and no speech is a mime. Mime is a form of theater in which actors use only their bodies, facial expressions, and gestures to convey a story or message to the audience. The performers do not speak, but instead use movements and gestures to imitate actions and emotions. Mime is a visual art form that has been popular for centuries, and is often associated with silent movies and street performers. It is a form of non-verbal communication that relies on the audience's imagination to fill in the details of the story being told.
Swali 14 Ripoti
Othello: Why, how now, ho? from whence ariseth this?
Are we turned Turks, and to Ourselves do that
Which heaven hath forbid the ottomites?
For Christian shame put by this barbarous brawl!
He hat stirs next to carve for his own rage
Holds his soul light; he dies upon his motion.
Silence the dreadful bell, it frights the isle
From her propriety, What is the matter, masters?
Honest Iago, that looks dead with grieving
Speak, Who began this? On thy love, I charge thee
Iago: I do not know
(Acts II, Scene Three, Lines 155 - 165)
The underlined expression refers to the____________
Maelezo ya Majibu
Swali 15 Ripoti
Poison ivy came up like a rose
in red and thorny garb
I look, liked and did dare touch
my pals my avid touch espied
with green and frosty eyes
I should've only looked, and not leapt,
For away and over my rising moon she flew
On clipped wings of my dream
Now a song-filled air pocket of serenades
A love's wretch, my dream is a hornbill
Flightless and tottering.
My dream remains a dream still
Now my dream is a locked-up serenade
Line 2 is in iambic___________
Maelezo ya Majibu
Swali 16 Ripoti
But the towering earth was tired of sitting in one position.
She moved suddenly and the houses crumbled, the mountains heaved horrible, and the work of a million years was lost
The extract is about____________
Maelezo ya Majibu
The extract is about an earthquake. The sentence describes the earth suddenly moving, causing destruction such as collapsing houses and heaving mountains, which are typical effects of an earthquake.
Swali 17 Ripoti
A play that moves the audience to pity and fear is a ____________
Maelezo ya Majibu
A play that moves the audience to pity and fear is a tragedy. A tragedy is a type of play or literary work that presents a serious and somber story of human suffering and often ends in the downfall or death of the main character. The aim of a tragedy is to evoke emotions such as pity, fear, and catharsis in the audience, which can lead to a greater understanding of human nature and the human condition. Tragic plays typically feature a tragic hero, a character with a fatal flaw or error in judgment that leads to their ultimate downfall. The plot of a tragedy often involves a reversal of fortune or a moment of recognition or insight, known as anagnorisis, which contributes to the emotional impact of the play.
Swali 18 Ripoti
Jame's heart beat madly as he and Alice approached the beeping metal detector at the entrance. The oblivious swinging door hugged the couple with inviting, outstretched arms and ushered them into the lobby in genial welcome. The receptionist asked James to surrender any valuable items he had; if they got lost, management would be liable.
James looked at Alice, his wife returned his guilt-stricken, dubious look with an innocent, trusting smile. What would he do if jewels went missing? How would he explain it to himself? What would he have gained by his mischief? What had come over James so shamelessly to decide to rob his own wife? The swindled woman stood innocently beside her unrepentant husband as he took the key to their room with hands the shook slightly.
The writer's attitude towards James is ONE of ______
Maelezo ya Majibu
Swali 19 Ripoti
Othello: Not I. I must be found
My parts, my title, and my perfect soul
Shall manifest me rightly, is it they?
Iago: By Janus, I think so
Othello: The servants of the Duke? And my Lieutenant?
The goodness of the night upon you, friends
What is the news?
(Act 1, Scene Two, Lines 29 - 34)
Just before this, Iago advises Othello to____________
Maelezo ya Majibu
Just before this, Iago advises Othello to go in. In this scene, Othello is speaking with Iago and others, and he asks what the news is. Iago responds by saying that he thinks the servants of the Duke and Othello's Lieutenant are approaching, and then advises Othello to go in.
Swali 20 Ripoti
Speaker: Let me speak like yourself and
Lay a sentence
Which, as a grise or step, may help these lovers, When
remediea are past, the griefs are ended
By seeing the worst, which late on hopes depended
(Act !, Scene Three, lines 198-201)
The speaker is_________
Maelezo ya Majibu
In the given quote from Shakespeare's play "Othello," the speaker is the Duke. The Duke is speaking to the Senators of Venice and proposing a plan to help Desdemona and Othello reconcile after their elopement. The Duke suggests that they send Othello to Cyprus to lead the Venetian forces there, and that Desdemona should accompany him, with her father's permission. The Duke hopes that by separating Desdemona from her father and by giving Othello an opportunity to prove himself, the couple will be able to overcome the obstacles that stand in the way of their happiness. The Duke's speech is significant because it shows his concern for the welfare of his subjects, and his willingness to take action to solve their problems. It also foreshadows the events that unfold in the rest of the play, particularly those related to Othello's military career and his relationship with Desdemona. Overall, the Duke's speech is an important moment in the play that sets the stage for the conflicts and resolutions that follow.
Swali 21 Ripoti
Poison ivy came up like a rose
in red and thorny garb
I look, liked and did dare touch
my pals my avid touch espied
with green and frosty eyes
I should've only looked, and not leapt,
For away and over my rising moon she flew
On clipped wings of my dream
Now a song-filled air pocket of serenades
A love's wretch, my dream is a hornbill
Flightless and tottering.
My dream remains a dream still
Now my dream is a locked-up serenade
The envy of the persona's friends is expressed in the __________
Maelezo ya Majibu
Swali 22 Ripoti
Othello: Why, how now, ho? from whence ariseth this?
Are we turned Turks, and to Ourselves do that
Which heaven hath forbid the ottomites?
For Christian shame put by this barbarous brawl!
He hat stirs next to carve for his own rage
Holds his soul light; he dies upon his motion.
Silence the dreadful bell, it frights the isle
From her propriety, What is the matter, masters?
Honest Iago, that looks dead with grieving
Speak, Who began this? On thy love, I charge thee
Iago: I do not know
(Acts II, Scene Three, Lines 155 - 165)
In "Who began this" This refers to the ______________
Maelezo ya Majibu
In the passage, "Who began this" refers to the brawl that has broken out among the characters. Othello, the speaker of the line, is asking Iago who started the fight, as he is trying to put an end to the violence and restore order. The use of the word "this" suggests that the subject of the question is something that has just happened or is currently happening, which in this case is the brawl. Therefore, the answer is "brawl", as it is the most accurate and specific interpretation of the context.
Swali 23 Ripoti
Speaker: Let me speak like yourself and
Lay a sentence
Which, as a grise or step, may help these lovers, When
remediea are past, the griefs are ended
By seeing the worst, which late on hopes depended
(Act !, Scene Three, lines 198-201)
These lovers refers to_________
Maelezo ya Majibu
These lovers refers to Othello and Desdemona. Othello is a play written by William Shakespeare and it follows the story of the title character, Othello, and his relationship with his wife Desdemona. The quoted lines are spoken by a character named the Speaker, who is advising the lovers to look at the worst that could happen in their relationship, so that they can be prepared for any difficulties that may arise.
Swali 24 Ripoti
The metrical beat in the The Splendor falls on castle walls is___________
Maelezo ya Majibu
The metrical beat in the line "The splendor falls on castle walls" is iambic. This means that the line consists of iambs, which are metrical feet made up of two syllables, with the stress on the second syllable. In the case of this line, the first syllable "The" is unstressed, and the second syllable "sple-" is stressed, followed by an unstressed syllable "n-", and a stressed syllable "-dor". The next three syllables follow the same pattern with the stress on the second syllable. The iambic meter is commonly used in English poetry and is often used to create a regular and rhythmic flow in the lines of a poem. The other options listed - anapaestic, dactylic, and trochaic - are other types of metrical feet that follow different patterns of stressed and unstressed syllables.
Swali 25 Ripoti
Othello: Why, how now, ho? from whence ariseth this?
Are we turned Turks, and to Ourselves do that
Which heaven hath forbid the ottomites?
For Christian shame put by this barbarous brawl!
He hat stirs next to carve for his own rage
Holds his soul light; he dies upon his motion.
Silence the dreadful bell, it frights the isle
From her propriety, What is the matter, masters?
Honest Iago, that looks dead with grieving
Speak, Who began this? On thy love, I charge thee
Iago: I do not know
(Acts II, Scene Three, Lines 155 - 165)
To Othello, Iago is________________
Maelezo ya Majibu
Swali 26 Ripoti
Speaker: I durst, my Lord, to wager she is honest
Lay down my soul at stake. If you think other,
Remove your thought. It doth abuse your bosom
If any wretch have put this your head,
Let heaven requite it with the serpents curse
For if she be not honest, chaste and true
There's no man happy. The purest of their wives
Is foul as slander
(Acts IV, Scene Two, Lines 12-19)
The speaker is__________---
Maelezo ya Majibu
Swali 27 Ripoti
But the towering earth was tired of sitting in one position.
She moved suddenly and the houses crumbled, the mountains heaved horrible, and the work of a million years was lost
The predominant figure of speech in the extract is____________
Maelezo ya Majibu
The predominant figure of speech in the extract is personification. Personification is a figure of speech in which human qualities are attributed to non-human things or abstract ideas. In this extract, the earth is described as if it were a tired person who suddenly moved, causing destruction. The use of the words "she" and "moved suddenly" to describe the earth personifies it, giving it human-like characteristics.
Swali 28 Ripoti
Speaker: I durst, my Lord, to wager she is honest
Lay down my soul at stake. If you think other,
Remove your thought. It doth abuse your bosom
If any wretch have put this your head,
Let heaven requite it with the serpents curse
For if she be not honest, chaste and true
There's no man happy. The purest of their wives
Is foul as slander
(Acts IV, Scene Two, Lines 12-19)
The line "Remove your thought, It doth abuse your bossom" Is best paraphrased ______________
Maelezo ya Majibu
The line "Remove your thought, It doth abuse your bosom" means that if someone thinks that a woman is not honest without any good reason, they are hurting themselves and their own reputation by having such a thought. The speaker is urging the listener to reconsider their unjustified suspicion and to trust that the woman in question is honest unless there is concrete evidence to the contrary. Therefore, the best paraphrase of this line is "You demean yourself by thinking so".
Swali 29 Ripoti
A Sonnet has a final couplet when it has___________
Maelezo ya Majibu
A Sonnet has a final couplet when it has two lines at the end of the poem that rhyme with each other. These two lines usually serve to summarize or conclude the theme of the poem. Out of the given options, an octave refers to the first eight lines of a sonnet, while a sestet refers to the last six lines. Three quatrains are a type of sonnet that has three stanzas of four lines each, but it doesn't have a final couplet. Therefore, only the option that includes a final couplet is correct, which is the one that mentions the final two lines of the sonnet.
Swali 30 Ripoti
Speaker: I durst, my Lord, to wager she is honest
Lay down my soul at stake. If you think other,
Remove your thought. It doth abuse your bosom
If any wretch have put this your head,
Let heaven requite it with the serpents curse
For if she be not honest, chaste and true
There's no man happy. The purest of their wives
Is foul as slander
(Acts IV, Scene Two, Lines 12-19)
The speaker is addressing__________
Maelezo ya Majibu
The speaker is addressing Othello. The speaker is expressing their confidence in the honesty and purity of a woman, and is willing to stake their own soul on it. They are urging Othello to reconsider any negative thoughts he may have about this woman, and to remove them, as they are not fair to her.
Swali 31 Ripoti
Who lied in the chapel
Now lies in the Abbey
The dominant device used is___________-
Maelezo ya Majibu
Swali 32 Ripoti
Othello: Why, how now, ho? from whence ariseth this?
Are we turned Turks, and to Ourselves do that
Which heaven hath forbid the ottomites?
For Christian shame put by this barbarous brawl!
He hat stirs next to carve for his own rage
Holds his soul light; he dies upon his motion.
Silence the dreadful bell, it frights the isle
From her propriety, What is the matter, masters?
Honest Iago, that looks dead with grieving
Speak, Who began this? On thy love, I charge thee
Iago: I do not know
(Acts II, Scene Three, Lines 155 - 165)
Othello is brought to the scene because___________
Maelezo ya Majibu
Swali 33 Ripoti
Speaker: I durst, my Lord, to wager she is honest
Lay down my soul at stake. If you think other,
Remove your thought. It doth abuse your bosom
If any wretch have put this your head,
Let heaven requite it with the serpents curse
For if she be not honest, chaste and true
There's no man happy. The purest of their wives
Is foul as slander
(Acts IV, Scene Two, Lines 12-19)
The character being spoken of is described as___________
Maelezo ya Majibu
The character being spoken of is described as virtuous. The speaker is willing to bet his soul on her honesty and chastity, and believes that if she is not virtuous, then no one is happy and even the purest of wives are as foul as slander. Therefore, the speaker's language implies that the character being spoken of is morally upright and virtuous.
Swali 34 Ripoti
Oh spite! Oh Hell!! I see you are all bent
To set aganist me for your merriment.
The lines illustrate__________
Maelezo ya Majibu
The lines illustrate an example of an Apostrophe. An apostrophe is a literary device used to address someone or something that is not present or cannot respond. In this case, the speaker is addressing an abstract concept (spite) and the exclamation "Oh Hell" suggests they are frustrated with the situation. The use of apostrophe adds emphasis and emotional intensity to the speaker's words, which helps to convey their feelings effectively to the reader.
Swali 35 Ripoti
Speaker: Let me speak like yourself and
Lay a sentence
Which, as a grise or step, may help these lovers, When
remediea are past, the griefs are ended
By seeing the worst, which late on hopes depended
(Act !, Scene Three, lines 198-201)
The expression lay a sentence means _________
Maelezo ya Majibu
Swali 36 Ripoti
Weeping Pilliow illustrates________
Maelezo ya Majibu
The phrase "Weeping Pillow" is an example of Pathetic Fallacy. Pathetic fallacy is a literary device where human emotions and actions are attributed to inanimate objects, nature or animals. In this case, the pillow is personified and given human emotions of sorrow and weeping. The use of Pathetic fallacy in "Weeping Pillow" creates a vivid and emotional image for the reader, as it allows them to empathize with the emotions being conveyed. The phrase suggests that someone has been crying on the pillow, and the tears have soaked into the fabric, making it appear as if the pillow itself is weeping. Overall, Pathetic Fallacy is an effective way of creating a strong emotional connection between the reader and the text.
Swali 37 Ripoti
Speaker: Let me speak like yourself and
Lay a sentence
Which, as a grise or step, may help these lovers, When
remediea are past, the griefs are ended
By seeing the worst, which late on hopes depended
(Act !, Scene Three, lines 198-201)
The setting is_____________-
Maelezo ya Majibu
Swali 38 Ripoti
The eight-line part of a Petrarchan sonnet is the________________
Maelezo ya Majibu
The eight-line part of a Petrarchan sonnet is called the octave. The Petrarchan sonnet is a type of sonnet that consists of 14 lines, and is named after the Italian poet Francesco Petrarch. The octave comes after the first part of the sonnet, which is a set of four lines called the quatrain. The octave is made up of two quatrains that are linked by a common rhyme scheme, usually ABBAABBA. The octave sets up a problem or dilemma that the poet explores or resolves in the final six lines of the sonnet, known as the sestet.
Swali 39 Ripoti
A poem which celebrates simple country life is___________
Maelezo ya Majibu
A poem that celebrates simple country life is often referred to as a pastoral. Pastoral poetry typically presents a idyllic and idealized view of rural life, often focusing on the beauty and simplicity of nature, and the contentment and peacefulness of country living. This type of poetry often contrasts the peacefulness and harmony of the countryside with the chaos and corruption of city life. Pastoral poems often feature shepherds, farmers, and other rural characters, and they often celebrate the beauty of nature and the simple pleasures of rural life. The poems often have a nostalgic tone, longing for a simpler time and place. Overall, a pastoral poem is a type of poetry that celebrates the beauty and simplicity of country life, and presents a nostalgic view of rural life and nature.
Swali 40 Ripoti
Hamartia, in a literary work refers to a hero's_________
Maelezo ya Majibu
Hamartia, in a literary work, refers to a hero's tragic flaw. This is a defect or weakness in a character that leads to their downfall or tragic end. The concept of hamartia is often used in tragic plays, such as those written by ancient Greek playwrights like Sophocles and Euripides. In these plays, the tragic hero is usually a character who possesses great strengths and virtues, but who also has a fatal flaw or weakness that leads to their undoing. This flaw can be a character trait such as pride, ambition, or jealousy, or a physical or mental limitation that prevents them from achieving their goals. The hero's hamartia ultimately leads to their tragic end, often causing them to suffer greatly along the way.
Swali 41 Ripoti
Jame's heart beat madly as he and Alice approached the beeping metal detector at the entrance. The oblivious swinging door hugged the couple with inviting, outstretched arms and ushered them into the lobby in genial welcome. The receptionist asked James to surrender any valuable items he had; if they got lost, management would be liable.
James looked at Alice, his wife returned his guilt-stricken, dubious look with an innocent, trusting smile. What would he do if jewels went missing? How would he explain it to himself? What would he have gained by his mischief? What had come over James so shamelessly to decide to rob his own wife? The swindled woman stood innocently beside her unrepentant husband as he took the key to their room with hands the shook slightly.
How would he explain it to himself? exemplifies________
Maelezo ya Majibu
The sentence "How would he explain it to himself?" exemplifies a rhetorical question. This is because it's a question that is not meant to be answered, but to emphasize a point and engage the reader's attention. In this case, the question highlights the internal conflict and moral dilemma James is facing as he considers the consequences of his actions.
Swali 42 Ripoti
Othello: Not I. I must be found
My parts, my title, and my perfect soul
Shall manifest me rightly, is it they?
Iago: By Janus, I think so
Othello: The servants of the Duke? And my Lieutenant?
The goodness of the night upon you, friends
What is the news?
(Act 1, Scene Two, Lines 29 - 34)
The news Othello receives is that he must___________
Maelezo ya Majibu
Swali 43 Ripoti
Diction is a writer's choice of___________-
Maelezo ya Majibu
Diction is a writer's choice of words. In other words, diction refers to the vocabulary a writer uses in their writing. It includes the specific words, phrases, and tones a writer chooses to convey their message. The writer's diction can affect the tone, style, and overall meaning of the text. A writer's diction can also help to establish their voice and shape their reader's perception of the content.
Swali 44 Ripoti
Othello: Why, how now, ho? from whence ariseth this?
Are we turned Turks, and to Ourselves do that
Which heaven hath forbid the ottomites?
For Christian shame put by this barbarous brawl!
He hat stirs next to carve for his own rage
Holds his soul light; he dies upon his motion.
Silence the dreadful bell, it frights the isle
From her propriety, What is the matter, masters?
Honest Iago, that looks dead with grieving
Speak, Who began this? On thy love, I charge thee
Iago: I do not know
(Acts II, Scene Three, Lines 155 - 165)
The major consequence of the brawl is that___________
Maelezo ya Majibu
Swali 45 Ripoti
Othello: Not I. I must be found
My parts, my title, and my perfect soul
Shall manifest me rightly, is it they?
Iago: By Janus, I think so
Othello: The servants of the Duke? And my Lieutenant?
The goodness of the night upon you, friends
What is the news?
(Act 1, Scene Two, Lines 29 - 34)
Duke is in council that night because of_____________
Maelezo ya Majibu
Swali 46 Ripoti
A short play perfomed during the pause between the acts of a longer play is____________-
Maelezo ya Majibu
A short play performed during the pause between the acts of a longer play is called an Interlude. An interlude is a brief performance, often in the form of a play, that is staged in between the acts of a larger production. It serves to entertain the audience during the break and to provide a change of pace or subject matter. Interludes were popular in the medieval and Renaissance periods, and were often used to provide comic relief or to explore a separate story or theme. Today, interludes are less common, but the term is still used to refer to any short performance that takes place during the pause between the acts of a longer play.
Swali 47 Ripoti
He is my most beloved enemy ilustrates__________
Maelezo ya Majibu
The phrase "He is my most beloved enemy" illustrates an oxymoron. An oxymoron is a figure of speech that combines two contradictory or opposing ideas, words, or phrases. In this case, "beloved" and "enemy" are two words with opposite meanings that are being used together in the same phrase. It creates a paradoxical situation where the speaker expresses affection or admiration towards someone who is supposed to be an adversary or opponent. The use of oxymoron in literature or rhetoric can create a powerful effect by highlighting the complexity of human emotions and experiences.
Swali 48 Ripoti
Speaker: Let me speak like yourself and
Lay a sentence
Which, as a grise or step, may help these lovers, When
remediea are past, the griefs are ended
By seeing the worst, which late on hopes depended
(Act !, Scene Three, lines 198-201)
He is responding to_________
Maelezo ya Majibu
Swali 49 Ripoti
Speaker: I durst, my Lord, to wager she is honest
Lay down my soul at stake. If you think other,
Remove your thought. It doth abuse your bosom
If any wretch have put this your head,
Let heaven requite it with the serpents curse
For if she be not honest, chaste and true
There's no man happy. The purest of their wives
Is foul as slander
(Acts IV, Scene Two, Lines 12-19)
The speech is in response to___________
Maelezo ya Majibu
The speaker is responding to Othello's suspicion that Cassio and Desdemona are lovers. The speaker is trying to assure Othello that Desdemona is honest, chaste and true and that any suggestions otherwise are false. The speaker is willing to stake their own soul on Desdemona's honesty.
Swali 50 Ripoti
Jame's heart beat madly as he and Alice approached the beeping metal detector at the entrance. The oblivious swinging door hugged the couple with inviting, outstretched arms and ushered them into the lobby in genial welcome. The receptionist asked James to surrender any valuable items he had; if they got lost, management would be liable.
James looked at Alice, his wife returned his guilt-stricken, dubious look with an innocent, trusting smile. What would he do if jewels went missing? How would he explain it to himself? What would he have gained by his mischief? What had come over James so shamelessly to decide to rob his own wife? The swindled woman stood innocently beside her unrepentant husband as he took the key to their room with hands the shook slightly.
The expression door hugged the couple illustrates_________
Maelezo ya Majibu
The expression "door hugged the couple" illustrates personification. Personification is a figure of speech in which an inanimate object or abstraction is given human qualities or abilities. In this case, the door is described as "hugging" the couple, which is a human action. This description helps to create a sense of warmth and welcome, as if the door is a friendly and inviting presence. The use of personification in this sentence helps to make the writing more engaging and interesting to the reader.
Swali 51 Ripoti
SECTION F: NON - AFRICAN PROSE
RICHARD WRIGHT: Native Son
With reference to three symbols, discuss Wright’s use of symbolism in the novel.
Swali 52 Ripoti
SECTION A: African Drama
DELE CHARLEY: The Blood of a Stranger
Consider the view that Whitehead is not to blame for the troubles of Mando land.
Swali 53 Ripoti
Section A: AFRICAN DRAMA
THE BLOOD OF A STRANGER — DELE CHARLEY
How does the love for wealth and power influence the actions of the characters in the play?
Swali 54 Ripoti
SECTION F: NON - AFRICAN PROSE
RICHARD WRIGHT: Native Son
What are Bigger’s reasons for his bitterness against the white man in the novel?
Swali 55 Ripoti
SECTION F: NON - AFRICAN PROSE
NATIVE SON - RICHARD WRIGHT
Discuss the role of the black clergy in the Novel?
Maelezo ya Majibu
None
Swali 56 Ripoti
SECTION F: NON - AFRICAN PROSE
NATIVE SON - RICHARD WRIGHT
What have you learned about black life from the conversation between Bigger and Gus at the entrance of the pool room?
Swali 57 Ripoti
Discuss the theme of oppression in “The Dining Table”.
Swali 58 Ripoti
SECTION E - African Prose
BAYO ADEBOWALE: Lonely Days
Discuss Ajumobi as a man and husband in the novel.
Swali 59 Ripoti
Discuss the use of any three images in Frost’s “Birches”
Swali 60 Ripoti
Examine the relationship between God and man in The Pulley.
Swali 61 Ripoti
Section A: AFRICAN DRAMA
HARVEST OF CORRUPTION - FRANK OGODO OGBECHE
Comment on the proceedings of the Wasa High Court of Justice
Swali 62 Ripoti
SECTION E - African Prose
BAYO ADEBOWALE: Lonely Days
What impression do you form of Yaremi in the novel?
Swali 63 Ripoti
Section B: NON - AFRICAN DRAMA
A RAISIN IN THE SUN - LORRAINE HANSBERRY
What is the significance of Karl Linder's visit to the Youngers?
Maelezo ya Majibu
None
Swali 64 Ripoti
SECTION E - African Prose
LONELY DAYS - BAYO ADEBOWALE
Examine the author's narrative technique in the novel?
Maelezo ya Majibu
None
Swali 65 Ripoti
Section A: AFRICAN DRAMA
FRANK OGODO OGBECHE - Harvest of Corruption
How does Chief Haladu Ade-Amaka manipulate justice to his advantage?
Swali 66 Ripoti
Section B: NON - AFRICAN DRAMA
SHE STOOPS TO CONQUER - OLIVER GOLDSMITH
Discuss the significance of night to the play.
Swali 67 Ripoti
Section B: NON - AFRICAN DRAMA
SHE STOOPS TO CONQUER - OLIVER GOLDSMITH
Examine the importance of the Jewels in the play
Swali 68 Ripoti
SECTION E: African Prose
AMMA DARKO: Faceless
Comment on Kabria’s challenges in the novel.
Swali 69 Ripoti
Section B: NON AFRICAN DRAMA
LORRAINE HANSBERRY - A Raisin In The Sun
Compare George Murchison’s and Karl Linder’s attitudes to the Younger family.
None
Maelezo ya Majibu
None
Swali 70 Ripoti
Section B: NON - AFRICAN DRAMA
OLIVER GOLDSMITH - SHE STOOPS TO CONQUER
How do Young Marlow and Hastings view Tony Lumpkin in the play?
Swali 71 Ripoti
SECTION F: NON-AFRICAN PROSE
HORACE WALPOLE: The Castle of Otranto
Comment on Manfred’s greed for power in the novel.
Maelezo ya Majibu
None
Swali 72 Ripoti
SECTION E - African Prose
BAYO ADEBOWALE: Lonely Days
Examine the attitude of the people of Kufi towards death in the novel.
Swali 73 Ripoti
SECTION C: AFRICAN POETRY
Examine the use of contrast in Okara's "Piano and Drums'
Swali 74 Ripoti
SECTION E - African Prose
FACELESS - AMMA DARKO
Explain Kabira's presence in the hairdressing salon at Agbogboshie.
Swali 75 Ripoti
Section B: NON AFRICAN DRAMA
LORRAINE HANSBERRY - A Raisin In The Sun
Comment on the relationship between Walter and Ruth Younger in the play.
None
Maelezo ya Majibu
None
Swali 76 Ripoti
SECTION F: NON - AFRICAN PROSE
RICHARD WRIGHT: Native Son
How does fear influence Bigger Thomas’ actions in the novel?
Swali 77 Ripoti
Consider the theme of culture neglect in Diop’s Vanity
Swali 78 Ripoti
SECTION F: NON-AFRICAN PROSE
THE CASTLE OF OTRANTO - HORACE WALPOLE
Examine the relationship between Manfred and Hippolita
Swali 79 Ripoti
SECTION D: NON-AFRICAN POETRY
How does the poet present death as a voyage in "Crossing the Bar"?
Swali 80 Ripoti
Examine the use of repetition and rhetorical question in Diop’s “Vanity”.
Swali 81 Ripoti
Comment on the poet’s use of imagery in The Dining Table.
Swali 82 Ripoti
Section B: NON AFRICAN DRAMA
LORRAINE HANSBERRY - A Raisin In The Sun
To what extent are the dreams of the Younger family fulfilled in the play?
Maelezo ya Majibu
None
Swali 83 Ripoti
SECTION A: African Drama
DELE CHARLEY: The Blood of a Stranger
Consider the view that tradition triumphs in the play.
Swali 84 Ripoti
SECTION A: African Drama
DELE CHARLEY: The Blood of a Stranger
Discuss the contribution of Parker to the development of the play.
Swali 85 Ripoti
Section A: AFRICAN DRAMA
FRANK OGODO OGBECHE - Harvest of Corruption
Examine the portrayal of Ochuole in the play.
Swali 86 Ripoti
Section B: NON AFRICAN DRAMA
LORRAINE HANSBERRY - A Raisin In The Sun
Discuss the living conditions of the Younger family.
Swali 87 Ripoti
Swali 88 Ripoti
SECTION A: African Drama
DELE CHARLEY: The Blood of a Stranger
Comment on Wara as an admirable character.
Maelezo ya Majibu
None
Swali 89 Ripoti
Section A: AFRICAN DRAMA
BLOOD OF A STRANGER — DELE CHARLEY
Assess Santigi's reign as King of Mando land.
Maelezo ya Majibu
None
Swali 90 Ripoti
Section A: AFRICAN DRAMA
FRANK OGODO OGBECHE - Harvest of Corruption
Examine the role of religion in the play.
Swali 91 Ripoti
SECTION D: NON-AFRICAN POETRY
Comment on the theme of uncertainty in “Crossing the Bar”
Swali 92 Ripoti
SECTION F: NON-AFRICAN PROSE
HORACE WALPOLE: The Castle of Otranto
Examine the importance of Frair Jerome in the development of the plot.
Swali 93 Ripoti
SECTION F: NON - AFRICAN PROSE
RICHARD WRIGHT: Native Son
How does the media respond to the disappearance of Mary Dalton in the novel?
Swali 94 Ripoti
SECTION E - African Prose
FACELESS - AMMA DARKO
Comment on the significance of Sodom and Gomorrah in the Novel
Swali 95 Ripoti
SECTION E - African Prose
BAYO ADEBOWALE: Lonely Days
How does Ajumobi’s death contribute to the development of the plot?
Swali 96 Ripoti
SECTION D: NON-AFRICAN POETRY
Examine Blake's use of diction in The School Boy.
Swali 97 Ripoti
Section B: NON AFRICAN DRAMA
A RAISIN IN THE SUN - LORRAINE HANSBERRY
Trace the transformation of Walter "Into his manhood' in the play?
Swali 98 Ripoti
Section B: NON - AFRICAN DRAMA
OLIVER GOLDSMITH - SHE STOOPS TO CONQUER
Discuss the significance of the alehouse in the play.
Swali 99 Ripoti
Section B: NON - AFRICAN DRAMA
OLIVER GOLDSMITH - SHE STOOPS TO CONQUER
What makes Mr. Hardcastle a humorous character?
Swali 100 Ripoti
Section B: NON - AFRICAN DRAMA
SHE STOOPS TO CONQUER - OLIVER GOLDSMITH
Assess the role of Tony Lumpkin in the play.
Swali 101 Ripoti
SECTION E - African Prose
LONELY DAYS - BAYO ADEBOWALE
"No woman's life is ever complete without a man" How is this applicable to Yaremi in the Novel?
Swali 102 Ripoti
SECTION F: NON-AFRICAN PROSE
THE CASTLE OF OTRANTO - HORACE WALPOLE
Comment on the issue of male dominance in the novel.
Swali 103 Ripoti
SECTION F: NON-AFRICAN PROSE
THE CASTLE OF OTRANTO - HORACE WALPOLE
Comment on the significance of Conrad's death in the novel?
Swali 104 Ripoti
SECTION E: African Prose
AMMA DARKO: Faceless
Examine the role and significance of Sylv Po in the novel.
Swali 105 Ripoti
SECTION E - African Prose
AMMA DARKO - FACELESS
Show how women are discriminated against in the novel.
Swali 106 Ripoti
SECTION F: NON-AFRICAN PROSE
THE CASTLE OF OTRANTO - HORACE WALPOLE
What does Theodore’s encounter with Isabella in the cavern in the forest reveal about his character?
Swali 107 Ripoti
Section A: AFRICAN DRAMA
HARVEST OF CORRUPTION - FRANK OGODO OGBECHE
Consider Aloho as a foil to Ogeyi.
Swali 108 Ripoti
Section A: AFRICAN DRAMA
FRANK OGODO OGBECHE - Harvest of Corruption
Discuss the major female characters in the play.
Swali 109 Ripoti
SECTION E: African Prose
AMMA DARKO: Faceless
Assess the role of MUTE in the novel.
Swali 110 Ripoti
SECTION C: AFRICAN POETRY
Comment on the mood of the poet in "Ambush"
Je, ungependa kuendelea na hatua hii?