BEST EXPO RUNZ ASSISTANCE WEBSITE. NO.1 BEST DELIVERY OF EXAM RUNZ
100% GUARANTEE OF GETTING ANSWERS MIDNIGHT..IT’S OUR CULTURE, NO DOUBT
===================================
SECTION A: ANSWER ONE(1) QUESTION FROM THIS SECTION
(1)
(i)The Lion: This symbolizes Baroka, the powerful and traditional chief of Ilujinle. The lion, often associated with strength, pride, and dominance, reflects Baroka’s position of authority and his resistance to change. He embodies the old ways and the traditional values of the village.
(ii)The Jewel: This represents Sidi, the beautiful and admired village belle. A jewel is precious, desired, and often seen as an object of beauty and value. Sidi is the focus of the play’s central conflict, desired by both Baroka and Lakunle. She embodies the potential for change and the appeal of modernity.
The metaphorical implications of the title are:
(i)Conflict between tradition and modernity: The lion (Baroka) represents the established, traditional ways of life, while the jewel (Sidi) represents the allure of the new and modern. The play explores the tension between these two forces.
(ii)The power dynamics: The lion’s strength and dominance over the jewel highlight the power dynamics in the play, particularly the patriarchal control over women and the struggle for power between the old and the new.
(iii)The value of beauty and tradition: The jewel’s beauty makes her a desired object, just as traditional values are valued in the community. The play examines the worth of both, questioning whether beauty alone is sufficient and whether tradition should be preserved at all costs.
(iv)The pursuit of desire: The title also reflects the pursuit of desire, as both Lakunle and Baroka vie for Sidi’s attention. This pursuit is not just about romantic love but also about the control and influence they seek.
===================================
(2)
(i)Conveying Messages: Sadiku acts as a messenger between Baroka and Sidi, facilitating their interactions and advancing the plot. She informs Sidi of Baroka’s proposal and later tells Baroka about Sidi’s refusal.
(ii)Manipulation and Deception: Sadiku is deceived by Baroka’s false claim of impotence, which ultimately leads to Sidi’s downfall. This deception highlights Baroka’s cunning nature and Sidi’s vulnerability.
(iii)Revealing Character Traits: Sadiku’s actions and dialogue expose her own character traits, such as her sassy and opinionated personality, as well as those of other characters, like Baroka’s cleverness and Sidi’s confidence.
(iv)Advancing Conflict: Sadiku’s involvement in the plot contributes to the conflict between Sidi and Baroka, as well as between Sidi and Lakunle. Her messages and actions fuel Sidi’s decisions and reactions, driving the plot forward.
(v)Highlighting Themes: Sadiku’s role also underscores themes such as deception, manipulation, and the complexities of relationships between men and women in the play’s cultural context.
===================================
(3)
In Let Me Die Alone, John K. Kargbo skillfully weaves traditional myths into the fabric of the plot, using them not only as narrative devices but also as means of shaping characters, motivating actions, and highlighting cultural tensions. The myths serve both to root the play in Sierra Leonean heritage and to comment on the dilemmas faced by individuals and the community.
One of the most significant uses of myth is the story of Yoko herself, which is intertwined with the legendary figure of Madam Yoko, the historical female ruler of the Kpa Mende people. By dramatizing her life, aspirations, and struggles, Kargbo elevates Yoko to a mythic status, making her both a product and a creator of legend. Her rise to power, her visionary leadership, and her tragic end are all cast in the mold of myth, lending her character a timeless, almost archetypal resonance.
Myths in the play also manifest through ritual and prophecy. The frequent reference to ancestral spirits, divination, and traditional beliefs in the supernatural shapes the actions and decisions of the characters. For instance, the role of the soothsayer, whose prophecies foreshadow Yoko’s fate, adds a layer of inevitability and tragic tension to the plot. The community’s reverence for omens and spiritual authority influences political choices and personal relationships, driving the narrative forward and deepening the conflict between tradition and ambition.
The myth of female leadership, as portrayed through Yoko’s journey, serves as both inspiration and warning. Her attempt to break gender norms and assert her authority challenges not only societal expectations but also the sacred myths that define leadership roles within the society. In the end, the mythic dimension of her life her achievements and her isolation underscores the costs and contradictions of challenging deeply held beliefs.
Throughout the play, Kargbo uses myth as a double-edged sword: it is a source of cultural identity and collective memory, but it can also act as a constraint, reinforcing fatalism and resistance to change. By embedding myth into the structure of the plot and the psychology of the characters, the playwright creates a narrative that is both specific to the Sierra Leonean context and universal in its exploration of power, destiny, and the human longing for meaning. In other words, the use of myths in Let Me Die Alone is central to the development of the plot. Myths drive the characters’ motivations, foreshadow events, and frame the tragic arc of Yoko’s rise and fall, while also inviting the audience to reflect on the enduring power and complexity of cultural narratives.
===================================
(4)
Yoko in John K. Kargbo’s Let Me Die Alone is portrayed as a classic tragic heroine. She rises from being an ordinary woman to a powerful chief, breaking through strong traditional and gender barriers in her society. Her ambition, intelligence, and courage set her apart as a noble figure worthy of admiration.
However, Yoko’s determination to lead and her desire to secure her legacy become her tragic flaws. She sacrifices personal happiness and relationships for the sake of her people and her position. Despite her achievements, she faces jealousy, betrayal, and resistance from those around her, which ultimately isolates her. The pressures of leadership and the weight of tradition make her vulnerable, and she becomes increasingly lonely.
Yoko’s tragic fate is sealed by the betrayal of trusted allies and the community’s unwillingness to fully accept her. In the end, she chooses to die alone, symbolizing the ultimate price of her ambition and the struggle against societal norms. Her story evokes sympathy and serves as a warning about the personal cost of greatness and challenging tradition. This combination of noble qualities, personal flaws, and a sorrowful end firmly establishes Yoko as a tragic heroine in the play.
===================================
SECTION B: ANSWER ONE(1) QUESTION FROM THIS SECTION
(5)
In August Wilson’s Fences, Troy Maxson’s problems are largely self-made, though elements of fate and social circumstance also play a role.
Troy’s personal choices and flaws are the main sources of his struggles. He is stubborn, proud, and often refuses to change or listen to others. His affair with Alberta, for example, causes pain and conflict within his family, especially with his wife Rose. His rigid attitude toward his son Cory’s football ambitions rooted in his own disappointments creates tension and ultimately drives a wedge between them. Troy’s inability to move beyond his own bitterness and resentment, especially about his failed baseball career, leads him to make decisions that hurt those closest to him.
At the same time, fate and external forces do influence Troy’s life. He grew up in a time of intense racial discrimination, which limited his opportunities as a Black man. His dreams of playing Major League Baseball were crushed not just by age, but also by the color barrier that existed during his prime. These hardships shape his worldview and contribute to his sense of frustration and mistrust of the system.
However, while fate and society set the stage for Troy’s hardships, it is his own actions and choices that deepen and perpetuate his problems. His inability to forgive, his fear of change, and his personal mistakes are the true sources of the conflict in his life. In other words, Troy’s problems are influenced by fate and the circumstances of his time, but they are mostly self-made, resulting from his personal flaws and the decisions he makes throughout the play.
===================================
(6)
August Wilson creates a powerful sense of time passing and character change in Fences through several key elements:
First, Wilson structures the play with significant time jumps between scenes and acts. The story moves from 1957 to 1965, but the audience only sees selected, pivotal moments. These gaps force viewers to recognize that life has continued offstage, and the characters have evolved in ways that are revealed through dialogue and situation.
Second, Wilson uses the ongoing construction of the backyard fence as a symbolic marker of time. In the beginning, the fence is only partly built, and as the play progresses, it slowly comes together. Its completion by the end of the play reflects both the literal passage of time and the changes in the Maxson family’s relationships.
Third, the aging and development of the characters themselves show the effects of time. Cory grows from a hopeful teenager into a mature young man. Raynell is born during the play and later appears as a young child, marking the years that have passed. Rose becomes more independent, and Troy ages visibly, becoming more isolated as the consequences of his actions accumulate.
Fourth, Wilson’s dialogue is filled with references to offstage events and past experiences. Characters discuss things that have happened since the last scene Cory’s graduation, Gabriel’s institutionalization, or Troy’s death which help the audience piece together the passage of time and understand how these moments have changed the characters.
Finally, environmental and routine changes like the completion of the fence, new family roles, or the absence of old habits signal that both the setting and the people in it are not static.
Together, these elements structural time jumps, symbolic props, character growth, dialogue about offstage events, and environmental shifts give the audience a vivid sense that time has passed and that the characters in Fences have changed in meaningful and realistic ways.
===================================
(7)
John Osborne’s Look Back in Anger does not use traditional, staged flashbacks where the action shifts physically to an earlier time. Instead, Osborne employs verbal and emotional flashbacks through the memories and conversations of his characters. This technique is crucial to the development of the plot and the understanding of the relationships between the characters.
Throughout the play, the main character, Jimmy Porter, and his wife, Alison, often refer to their past experiences, especially during moments of conflict or intimacy. One of the most significant examples is their recollection of the “bear and squirrel” game a private fantasy world they once shared to escape their unhappiness. By talking about this memory, Osborne reveals the lost tenderness and connection between them. This reminiscence allows the audience to see what their relationship once was, making their current struggles more poignant and meaningful.
These flashbacks through dialogue also provide background information that explains the characters’ present emotions and actions. For instance, as Alison remembers her past with Jimmy, the audience understands the reasons for her emotional withdrawal and the depth of her suffering. Similarly, Jimmy’s references to his childhood and his mother’s death help explain his anger and frustration with life.
Osborne’s use of flashback in this way does not interrupt the play’s realism or flow but instead deepens the emotional context of the present action. The memories shared between characters make their motivations clearer and move the plot forward by influencing their decisions and reactions.
In other words, Osborne develops the plot of Look Back in Anger by weaving flashbacks into the characters’ conversations. These recollections are essential for revealing the history behind present conflicts, enriching the characters, and giving the audience insight into how the past shapes the drama unfolding on stage.
===================================
(8)
The source of Jimmy Porter’s anger in John Osborne’s Look Back in Anger is multi-layered, stemming from personal, social, and psychological factors.
First, Jimmy’s anger is rooted in his sense of social and class frustration. He is an educated man, yet he finds himself running a sweet stall, a job far below his intellectual capabilities. Jimmy feels alienated by the rigid class system of post-war Britain, and he is resentful towards the upper-middle-class society that his wife Alison represents. This class resentment is a constant source of bitterness, as Jimmy feels excluded and powerless in a society that favors privilege over merit.
Second, Jimmy feels emotionally unfulfilled and isolated. He craves deep, genuine connections, but finds those around him especially Alison emotionally reserved and unresponsive. His need for passion and honesty clashes with the restraint and indifference he perceives in others. This emotional isolation makes Jimmy lash out in anger as a way to provoke a reaction and force those close to him to engage more authentically.
Third, personal trauma plays a significant role. Jimmy’s anger is partly a response to the pain and helplessness he experienced during the prolonged illness and death of his father. This early loss left Jimmy with a profound sense of vulnerability and a belief that the world is indifferent to suffering. It contributes to his cynicism and his tendency to attack those who seem emotionally detached.
Fourth, Jimmy’s anger is a reflection of the disillusionment of his generation. He represents the post-war “angry young man,” frustrated by a lack of opportunity and a society that seems stagnant and directionless. He is aware of the world’s injustices but feels unable to change them, leading to deep frustration and resentment.
In other words, Jimmy Porter’s anger arises from a combination of social marginalization, emotional deprivation, personal trauma, and generational disillusionment. His rage is both a personal cry for meaning and a wider criticism of a society that he sees as complacent and unfeeling. Osborne uses Jimmy’s anger to capture the frustrations and anxieties of a changing post-war Britain.
===================================
SECTION C: ANSWER ONE(1) QUESTION FROM THIS SECTION
(9)
Onu’s poem “A Government Driver on His Retirement” is indeed a didactic poem, meaning it is designed to teach a lesson or convey a moral message to the reader. The poem tells the story of a government driver who is retiring after many years of service. On his last day, the driver is praised and rewarded for his discipline and careful conduct he has never had an accident or broken the law while on duty. However, in celebrating his retirement, he indulges in drinking alcohol, loses his sense of caution, and tragically dies in a car accident shortly after leaving his farewell party.
Through this narrative, the poem teaches several important lessons:
(i)The Value of Discipline and Responsibility: The driver’s long, accident-free career shows the importance of discipline, responsibility, and adherence to rules. This is a positive example for others to follow.
(ii)The Dangers of Carelessness and Excess: Despite his record, a moment of carelessness caused by over-celebration leads to his downfall. The poem warns against letting a single reckless act undo a lifetime of good behavior.
(iii)The Consequences of Actions: The driver’s fate serves as a cautionary tale that our actions have consequences, and that we must remain vigilant and responsible at all times not just in our professional lives, but also in our personal choices.
(iv)The Irony of Fate: The poem highlights the irony that after surviving all the risks of his career, the driver meets his end on the day of his retirement, teaching us not to take safety or life for granted.
===================================
(10)
“The Grieved Lands of Africa” by Agostinho Neto is a quintessential protest poem, using evocative imagery and poignant language to condemn the suffering inflicted on Africa by colonialism and to call for resistance and change.
The poem presents Africa as a land overwhelmed by grief and sorrow, personifying the continent as a victim of relentless exploitation and violence. Neto’s use of the phrase “grieved lands” immediately sets a tone of mourning and loss, highlighting the collective trauma experienced by African people. The poem describes the land as being “continually raped by the world,” a metaphor that forcefully communicates the brutality and violation of colonial rule and exploitation by foreign powers. This choice of language is deliberately provocative, aiming to shock the reader and draw attention to the severity of Africa’s suffering.
Neto goes beyond the physical and economic plundering of the continent to protest the psychological and cultural impacts of colonization. He laments the erosion of African identity, dignity, and pride. The poem’s references to “children who do not sleep for fear of the unknown night” symbolize the ongoing insecurity, fear, and trauma that haunt the lives of ordinary Africans under oppressive systems.
The poem’s tone is both mournful and indignant, combining sorrow for Africa’s suffering with anger at the injustices perpetuated by colonial powers. The repetitive and rhythmic structure of the poem enhances its emotional intensity, making the sense of pain and protest more palpable.
In other words, “The Grieved Lands of Africa” is a protest poem because it condemns the oppression and exploitation of Africa, mourns the suffering of its people, and urges resistance and hope. Through vivid imagery, emotive language, and a passionate tone, Neto’s poem stands as a powerful literary weapon against injustice and a rallying cry for African dignity and liberation.
===================================
SECTION D: ANSWER ONE(1) QUESTION FROM THIS SECTION
(11)
In John Donne’s poem “The Good Morrow,” the theme of the immortality of true love is central and vividly developed through imagery, metaphysical conceits, and philosophical reflection.
Donne suggests that the love shared by the speaker and his beloved is a profound awakening, likening their previous experiences to a state of sleep or childishness. Upon discovering true love, they enter a new, more meaningful existence. This awakening marks the start of a love that transcends time and physical limitations.
Donne uses the imagery of “two hemispheres” to emphasize the completeness and perfection of their union. Their souls are so perfectly joined that they create a whole world together, suggesting a unity that cannot be broken or diminished. The poet asserts that “Whatever dies, was not mixed equally,” implying that perfect love where both partners are equally devoted cannot die. In other words, true love is immortal because it is based on balance, harmony, and mutual understanding. In other words, Donne contrasts their current love with their past, which he describes as insignificant and fleeting. The present love, by contrast, is enduring and eternal. The line “If our two loves be one, or thou and I / Love so alike that none can slacken, none can die,” directly expresses the poem’s central theme: that true, reciprocated love is beyond decay and death. For Donne, physical separation or even death cannot affect love that is sincere and perfectly shared.
===================================
(12)
In Gerard Manley Hopkins’ poem “Binsey Poplars,” the poet’s attitude toward nature is one of deep reverence, sorrow, and passionate advocacy for its preservation. Hopkins mourns the felling of the poplar trees near Binsey, expressing profound grief over the loss of their beauty and the irreplaceable harm done to the natural landscape.
Hopkins’s reverence for nature is evident in the way he describes the poplars as “my aspens dear,” showing a personal, affectionate connection to the trees. He appreciates not only their physical beauty but also the unique role they play in the environment, noting how their leaves “quelled or quenched in leaves the leaping sun.” This attention to sensory detail reveals his deep admiration for the subtle, living qualities of the natural world.
The poet’s sorrow is unmistakable as he laments the destruction:
“All felled, felled, are all felled.”
The repetition emphasizes his shock and heartbreak. Hopkins perceives the loss as more than just the removal of trees; it is a permanent scar on the landscape and a diminishment of nature’s wonder. He likens the ruined scene to “a rural scene, a rural scene, / Gone, gone;” the echoing words reinforce the sense of irretrievable loss.
Hopkins’s advocacy for nature comes through in his warning about the consequences of careless human actions. He suggests that such destruction is “a fresh and following folded rank / Not spared, not one / That dandled a sandalled / Shadow.” Here, he implies that each act of environmental harm is part of a larger pattern, with future generations deprived of nature’s beauty and solace.
The poet’s attitude is also shaped by his spiritual perspective. Hopkins often saw the natural world as a reflection of God’s creation, full of divine presence and meaning. The destruction of the poplars, therefore, is not just an ecological or aesthetic loss, but a moral and spiritual one as well.
===================================
COMPLETED….We Remain Your Favourite Site.
Ensure You Subscribe For Your Next Paper
===================================
Leave a Reply