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INSTRUCTIONS: ANSWER ONE(1) QUESTION FROM EACH SECTION
SECTION I – AFRICAN DRAMA
(1)
In Let Me Die Alone by John K. Kargbo, the Governor’s visit to the Mende Chiefdom serves as a dramatic turning point in the play, exposing themes of betrayal, abuse of power, colonial interference, and the erosion of traditional values. The visit acts as a catalyst that brings the political tension and hidden agendas to the forefront, highlighting the decay in leadership and the desperation for control among the ruling elite. It also represents the overarching theme of colonial manipulation and the exploitation of indigenous institutions for selfish ends.
The Governor, representing British colonial authority, visits the Mende Chiefdom under the guise of diplomatic interaction, but the political undertones of the visit reveal deeper motives. Central characters like Chief Gbanya and his subordinates Yoko, Lamboi, and Musa are forced to respond to his presence. Chief Gbanya is portrayed as eager to please the colonial government, hoping to secure favor and recognition. He orders preparations to impress the Governor and shows submission, hoping it will elevate his standing. However, this desire for validation becomes his undoing when he is betrayed and publicly humiliated by the Governor, who has him flogged in front of his people. Gbanya’s expectation that loyalty would protect him proves false, revealing the colonial administration’s disregard for traditional rulers.
The event is rich in dramatic irony and foreshadowing. Gbanya anticipates honour from the Governor but is instead met with disgrace. The flogging is symbolic, stripping Gbanya not only of his dignity but of his authority in the eyes of his people. This moment is crafted with strong pathos, evoking sympathy for the chief despite his earlier flaws. The scene also uses situational irony, as the very person Gbanya hoped would elevate his prestige becomes the agent of his humiliation and downfall. Helena’s earlier manipulations of loyalty, echoed later in other betrayals in the play, show a pattern of false alliances, underscoring the theme of betrayal.
The Governor’s visit and its consequences have far-reaching effects on the chiefdom. It creates a leadership vacuum after Chief Gbanya’s assassination, encourages political scheming, and allows Yoko to ascend the throne. However, even Yoko’s rise to power is tainted by the same colonial interference that led to Gbanya’s downfall. The chiefdom becomes unstable, with its traditional authority undermined by external control and internal treachery. The visit not only exposes the fragility of leadership under colonial rule but also signals the beginning of deeper chaos. Ultimately, it marks a decisive shift in the power dynamics of the chiefdom and intensifies the tragic progression of the play.
Through this episode, John Kargbo not only develops the plot but also reflects on the devastating effects of colonialism on African societies. The Governor’s presence is not simply ceremonial, it represents a foreign system of power that distorts indigenous governance, fuels conflict, and strips communities of self-determination. The humiliation and betrayal that follow his visit leave a lasting mark on the chiefdom, serving as a microcosm of the broader historical and political tensions that the play seeks to dramatize.
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(3)
In The Lion and the Jewel by Wole Soyinka, Sidi’s character plays a crucial role in the exploration of themes such as beauty, pride, tradition versus modernity, gender roles, and the conflict between youthful vanity and societal expectations. Through her interactions with other characters particularly Lakunle and Baroka, Sidi becomes a symbol of both youthful defiance and the complex expectations placed upon women in a patriarchal society. Her choices and development throughout the play are instrumental in shaping its comic, yet thought-provoking resolution.
Sidi is portrayed as the village belle, admired for her striking beauty and idolized by many, especially after her photographs appear in a foreign magazine. Her physical appearance becomes her identity and a source of pride, inflating her ego and leading her to believe she holds power over both modernity and tradition. She initially mocks Lakunle, the young schoolteacher who seeks to marry her without paying her bride price, as well as Baroka, the aging chief who desires her for his last wife. Sidi’s perception of her own importance is closely tied to the theme of appearance versus reality. Her youthful confidence blinds her to deeper wisdom, which is revealed gradually through her interaction with Baroka.
Sidi’s behavior reveals her immaturity and vanity. She sees herself as modern and empowered, yet her decisions are driven by flattery and emotional impulse rather than reasoned thinking. When Lakunle attempts to impose Western ideas of marriage and gender equality, she resists not necessarily because she supports tradition, but because she sees value in the cultural symbolism of the bride price. She declares that Lakunle only refuses to pay it to avoid being labeled as a man who could not afford it, saying, “You are just a cheap skate!” Her attachment to traditional customs, even when she claims to oppose them, reflects the complexity of her identity, a mix of youthful pride and societal conditioning.
Soyinka employs the literary technique of satire in Sidi’s character. She is used to mock the superficiality of both Western modernity (as seen in Lakunle) and traditional authority (as represented by Baroka). Yet, Sidi is not merely a comic figure; her final choice to marry Baroka, despite her initial rejection, reveals her as a character who is ultimately influenced by power, tradition, and personal pride. This choice is a turning point in the play and represents a return to the traditional order, even though it is laced with irony. Baroka tricks her into believing he is impotent, then uses that lie to seduce her. Her capitulation suggests not just the victory of tradition over modernity, but also the limitations placed on women’s agency in her society.
The character and role of Sidi are central to the dramatic and thematic resolution of the play. She represents the collision between youthful ideals and societal norms, between self-perception and social reality. Her transformation from a proud, self-assured young woman to one who ultimately conforms to patriarchal expectation mirrors the broader societal resistance to change. Through Sidi, Soyinka critiques the romanticism of both tradition and Westernization and highlights the complicated position of women in the negotiation of cultural identity. Sidi’s journey serves as a reflection of a society in flux, caught between admiration for the new and loyalty to the old, and underscores how individuals especially women navigate that tension within systems of power and control.
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SECTION II – NON AFRICAN DRAMA
(6)
The relationship between Alison and Helena is deeply intertwined with the central themes of the play, particularly those of loyalty, betrayal, and the search for identity. Their connection is not just a friendship but becomes a catalyst for the dramatic shifts in the play’s emotional landscape. Through their interactions, Osborne explores the complexities of female solidarity and rivalry within a patriarchal society, as well as the personal consequences of their choices.
Alison Porter is Jimmy’s wife, a woman from an upper-middle-class background who is emotionally reserved and often passive in the face of Jimmy’s anger. Helena Charles, Alison’s close friend, is more assertive and morally certain, coming from a similar social class as Alison. Helena’s arrival at the Porter household marks a turning point in the play, as she becomes both Alison’s confidante and, eventually, her rival.
The relationship between Alison and Helena is marked by both compassion and conflict. Helena initially comes to support Alison, offering her a sense of comfort and urging her to leave Jimmy for her own well-being. This act, though seemingly protective, introduces a complex dynamic of interference and control. Helena’s moral stance and decisive actions contrast sharply with Alison’s indecision. The complexity deepens when Helena herself becomes romantically involved with Jimmy after Alison’s departure, betraying her friend’s trust. This shift is captured in the play when Helena admits to Alison, “I did what I thought was right. I did what I had to do.” The transition from friendship to rivalry is not just a personal betrayal but also a commentary on the shifting allegiances and emotional turbulence that define the characters’ lives.
The significance of Alison and Helena’s relationship lies in how it propels the plot and intensifies the emotional stakes. Their interactions highlight the fragile nature of trust and the ease with which alliances can be broken or reformed under pressure. The relationship serves as a mirror to the broader themes of the play—alienation, class conflict, and the search for meaning in a changing world. Ultimately, the bond and subsequent rupture between Alison and Helena underscore the play’s exploration of human vulnerability and the complexities of personal loyalty, making their relationship central to the development and impact of the narrative.
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(8.)
In Fences by August Wilson, the character of Gabriel Maxson serves as a powerful symbol and emotional anchor within the play. His presence in the play helps to develop key themes such as responsibility, guilt, sacrifice, and redemption, and he serves as both a literal and figurative representation of divine intervention and the emotional cost of war and family neglect.
Gabriel Maxson is Troy Maxson’s younger brother, a war veteran who suffered a head injury during World War II that left him mentally impaired. As a result of his injury, he receives government compensation, which Troy uses to purchase the Maxson family home. Gabriel believes he is the angel Gabriel from the Bible, carrying a trumpet and frequently speaking about his mission to open the gates of heaven for St. Peter. Though mentally unstable, Gabriel exhibits a childlike innocence and unwavering belief in his divine purpose, contrasting sharply with Troy’s cynicism and moral complexity. His condition and behavior frequently serve as both a source of humor and sorrow in the play.
Wilson uses Gabriel’s character as a literary symbol. His delusions of spiritual purpose are not just symptoms of his mental state, but also serve to highlight the theme of spiritual redemption. Gabriel’s trumpet, which he intends to blow on Judgment Day, symbolizes a final reckoning, not only for Troy, but for the entire family. At the end of the play, during Troy’s funeral, Gabriel attempts to blow his trumpet to open the gates of heaven. When no sound comes out, he lets out a cry and begins to dance. This moment is rich in allegory and emotional weight, as it marks a release, a kind of spiritual acknowledgment of Troy’s life and flaws, and possibly his redemption.
Gabriel’s role in the play also underscores Troy’s internal guilt and moral conflict. Although Troy uses Gabriel’s disability money to buy his house, he never fully acknowledges the ethical implication of that act. His financial stability is tied to Gabriel’s suffering, adding a layer of tension to Troy’s already troubled relationships. Gabriel, unknowingly, carries the emotional burden of Troy’s decisions, and his presence becomes a constant, haunting reminder of the sacrifices others have made for Troy’s benefit. This contributes to the theme of family responsibility, as Troy’s inability to care properly for those around him contrasts sharply with Gabriel’s spiritual devotion and purity.
The significance of Gabriel Maxson lies in his symbolic function as both a Christlike figure and a moral mirror. He represents innocence damaged by war and society, yet he remains spiritually intact, unlike Troy, who becomes hardened and emotionally distant. Gabriel’s presence at the conclusion of the play brings a sense of closure and spiritual transcendence. His final dance, after failing to blow the trumpet, suggests that even when words or rituals fail, human expression through movement, faith, or presence can still offer grace and meaning. Thus, Gabriel’s character acts as the emotional and symbolic thread that binds the family’s suffering to a deeper hope for forgiveness and peace.
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SECTION III – AFRICAN POETRY
(10)
In Raider of the Treasure Trove by Lade Wosornu, the saying “Rage is a thief of joy” is vividly illustrated as the poet warns about the destructive consequences of uncontrolled anger. The poem’s central theme revolves around self-control, wisdom, and the dangers of allowing rage to dominate one’s actions. Rage, as portrayed in the poem, leads to the loss of valuable internal treasures such as peace, reason, and fulfillment. Through reflective tone and moral insight, the poet emphasizes that anger, when unchecked, can rob a person of joy and lasting satisfaction.
In poetic terms, personification, metaphor, and symbolism are the key literary devices used to convey the destructive nature of rage. Personification involves giving human qualities to non-human elements, while metaphor is a direct comparison between two unrelated things to create deeper meaning. Symbolism refers to using objects or concepts to represent broader ideas or values.
Rage is personified in the poem as a destructive raider who invades the mind and steals from within. In lines such as “When rage rules / Man is a flame,” the poet uses metaphor to liken an angry person to fire, dangerous and uncontrollable. This imagery supports the idea that rage burns away reason, making one act irrationally. The “treasure trove” in the poem symbolizes inner peace, wisdom, and moral integrity that are lost when rage takes over. The poet cautions that by choosing wrath over calm reflection, one becomes a “raider of the treasure trove,” destroying what is precious inside. The poetic voice laments the consequences, showing that rage leaves the soul empty, even when external goals are achieved.
The significance of these explanations lies in the moral message they carry. Through poetic devices and reflective narrative, Lade Wosornu reveals that joy, contentment, and true strength come from restraint and self-awareness. Rage may offer temporary satisfaction, but it ultimately steals peace and joy from the one who embraces it. The poem serves as a timeless reminder that self-mastery is more rewarding than vengeance, and that anger, if not tamed, becomes the enemy of happiness.
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SECTION IV – NON AFRICAN POETRY
(12)
In Bat by D.H. Lawrence, the use of symbols is central to expressing the poet’s complex emotions about change, fear, and the contrast between beauty and ugliness. The poem begins with a peaceful and beautiful setting at sunset, but this serenity is suddenly disturbed by the appearance of bats. The bats serve as powerful symbols of disgust, fear, and the invasion of darkness into the poet’s peaceful moment, reflecting the theme of inner conflict and emotional discomfort.
In literary terms, symbolism, imagery, and contrast are key elements used to convey deeper meanings in the poem. Symbolism is the representation of ideas and emotions through objects, characters, or actions. Imagery appeals to the senses and creates vivid mental pictures, while contrast highlights the difference between two opposing ideas or experiences to enhance the message.
The bats in the poem symbolize the poet’s unease and revulsion. Unlike birds, which often represent grace and freedom, bats are described in grotesque terms: “black on a backdrop of pale sky,” “flying madly,” and with “webby wings.” This unsettling imagery transforms the bat into a symbol of fear, chaos, and the uncomfortable aspects of nature and life. The poem shifts from admiration of the evening setting to horror as bats appear, disturbing the poet’s expectations. The line “bats! and an uneasy creeping in one’s scalp” emphasizes this emotional shift, where the bats become a metaphor for unpleasant change or realization.
The significance of the use of symbols in the poem lies in the way they reflect the poet’s inner tension and perception of transformation. The bat is not just a literal creature but a symbol of things that are misunderstood, unwanted, or feared. By using the bat to embody his discomfort, D.H. Lawrence highlights the conflict between what we admire and what we reject, even within ourselves. The poem challenges readers to examine their own reactions to difference and change, using symbolism to evoke emotional depth and reflection.
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