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ANSWER FOUR (4) ONE FROM EACH SECTION.
SECTION A
(1)
In Wole Soyinka’s The Lion and the Jewel, Lakunle is portrayed as an idealistic, albeit flawed, character whose devotion to Western ideals clashes with the traditional values of Ilujinle. His idealism is evident in his vision for a modern, progressive society, but his impracticality and condescending attitude undermine his efforts and render him a somewhat comical figure.
Lakunle’s idealism is manifested in his fervent belief in the power of education and modernization. He dreams of transforming Ilujinle into a modern, Westernized town, complete with schools, roads, and modern amenities. He is critical of the village’s traditional customs, viewing them as backward and outdated. For example, he opposes the practice of bride-price, seeing it as a barbaric custom that reduces women to mere commodities. His vision for Ilujinle is rooted in a genuine desire to improve the lives of its inhabitants, reflecting his idealistic aspirations.
However, Lakunle’s idealism is often detached from reality. He is more concerned with abstract principles than with the practical needs and desires of the people he seeks to help. His attempts to modernize Ilujinle are often clumsy and ineffective, as he fails to understand the nuances of the local culture. For instance, his efforts to introduce Western-style clothing and etiquette are met with resistance and ridicule. In other words, Lakunle’s idealism is often tainted by arrogance and self-importance. He sees himself as superior to the villagers, viewing them as ignorant and uneducated. His condescending attitude alienates him from the community and undermines his credibility as a reformer.
In other words Lakunle is a complex character whose idealism is both admirable and flawed. His vision for a modern, progressive Ilujinle is commendable, but his impracticality, arrogance, and detachment from reality undermine his efforts.
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(2)
Wole Soyinka masterfully employs several dramatic techniques to develop the plot in The Lion and the Jewel, enhancing the play’s thematic depth and comedic effect.
(i)Flashbacks: Soyinka utilizes flashbacks to provide crucial background information and to reveal the characters’ motivations. The most significant flashback occurs when Sidi recounts her encounter with the photographer from the foreign magazine. This scene not only establishes Sidi’s elevated status in the village but also highlights the allure of modernity and the power of image. The flashback is presented through vivid storytelling and dramatic reenactment, engaging the audience and providing insight into Sidi’s character and her growing sense of self-importance.
(ii)Dance and Mime: Dance and mime are integral to the play’s dramatic structure, serving to convey emotions, advance the plot, and underscore thematic concerns. The most prominent example is the mime sequence depicting Baroka’s supposed impotence. This scene is highly theatrical, relying on physical comedy and exaggerated gestures to create a humorous and satirical portrayal of Baroka’s cunning. The dance and mime sequence not only entertains the audience but also reveals Baroka’s strategic manipulation of appearances to maintain his power.
(iii)Verbal Irony: Soyinka’s use of verbal irony is pervasive throughout the play, adding layers of meaning and contributing to the play’s satirical tone. Lakunle’s pronouncements on progress and modernity are often laced with irony, as his actions frequently contradict his words. For example, he extols the virtues of Western education but is unable to effectively communicate with the villagers. Similarly, Baroka’s claims of being a simple and traditional ruler are undermined by his manipulative behavior and his desire to maintain his power at all costs. The use of verbal irony invites the audience to critically examine the characters’ motivations and to question the validity of their claims.
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(3)
In John K. Kargbo’s Let Me Die Alone, symbolism is a powerful tool used to advance the plot and deepen the play’s thematic resonance. The playwright employs various symbols to represent abstract ideas, societal values, and the characters’ inner struggles.
One of the most potent symbols in the play is the Bundu mask. The Bundu mask represents tradition, cultural identity, and the power of the secret society. It embodies the values and beliefs of the Mende people and serves as a symbol of continuity and resistance against external forces. The mask’s appearance at key moments in the play underscores the importance of preserving cultural heritage in the face of colonial influence and political upheaval. The Bundu mask is also associated with female initiation rites, highlighting the role of women in preserving cultural traditions.
Another significant symbol is the character of Yoko. Yoko, the paramount chief, symbolizes leadership, authority, and the burden of responsibility. Her rise to power in a patriarchal society challenges traditional gender roles, but her reign is marked by controversy and ultimately leads to her downfall. Yoko’s character embodies the complexities of power and the challenges of leadership in a time of social and political change. Her tragic fate serves as a cautionary tale about the dangers of corruption and the importance of accountability.
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(4)
(i)Colonialism and its impact on African societies: The play is set against the backdrop of British colonialism in Sierra Leone, and it examines the profound impact of colonial rule on the indigenous population. Colonialism is depicted as a disruptive force that undermines traditional social structures, economic systems, and cultural values. The play highlights the exploitation of natural resources, the imposition of foreign laws and customs, and the erosion of African sovereignty. The characters grapple with the challenges of navigating a world dominated by colonial powers, and they struggle to preserve their cultural identity in the face of external pressures.
(ii)The abuse of power and corruption: Let Me Die Alone also explores the theme of the abuse of power and corruption, both within the colonial administration and among the indigenous elite. Yoko’s reign is marred by allegations of corruption and abuse of authority, and she is ultimately accused of betraying her people for personal gain. The play suggests that power corrupts, and that those in positions of authority are often tempted to exploit their power for their own benefit. The theme of corruption is closely linked to the theme of colonialism, as the colonial system creates opportunities for corruption and undermines accountability.
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SECTION B
(5)
In August Wilson’s Fences, the term “strike” carries significant metaphorical weight, extending beyond its literal meaning in baseball or labor disputes. Wilson employs “strike” to represent missed opportunities, failures, and the characters’ inability to connect with their dreams and aspirations. The recurring motif of the strike underscores the play’s themes of deferred dreams, racial injustice, and the limitations imposed by societal constraints.
On a literal level, Troy Maxson’s past as a promising baseball player who was denied the opportunity to play in the major leagues due to racial discrimination looms large. He recounts how he “striked out” against the color barrier, a strike that had profound and lasting consequences on his life. This “strike” represents the systemic racism that prevented African Americans from achieving their full potential, forcing them to settle for less than they deserved.
Furthermore, the concept of a “strike” can be interpreted as a failure to connect or to make a meaningful impact. Troy’s relationships with his sons, Lyons and Cory, are marked by conflict and estrangement. His inability to understand and support their aspirations can be seen as a series of “strikes” against their emotional well-being. His rigid and authoritarian parenting style, coupled with his own unresolved bitterness, prevents him from fostering genuine connection and understanding with his sons.
In other words, the metaphorical use of “strike” in Fences serves as a powerful symbol of the characters’ struggles to overcome adversity, to achieve their dreams, and to connect with one another on a meaningful level. It underscores the play’s exploration of the ways in which societal forces, personal limitations, and individual choices can lead to missed opportunities and unfulfilled potential.
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(6)
Mr. Rand, though a minor character in August Wilson’s Fences, plays a crucial role in the development of the plot. As Troy Maxson’s supervisor at the garbage company, Mr. Rand is instrumental in setting in motion a pivotal event that significantly impacts Troy’s life and shapes the play’s central themes.
Mr. Rand’s primary contribution lies in his agreement to Troy’s request to become the first African American truck driver at the garbage company. This decision, while seemingly progressive, sets off a chain of events that exposes Troy’s complex character and highlights the themes of racial inequality and personal responsibility. Troy’s promotion to driver is a hard-won victory, but it also brings about unintended consequences.
Troy’s new position as a driver isolates him from his co-workers, who resent his promotion and accuse him of being an “Uncle Tom.” This isolation exacerbates Troy’s already existing sense of alienation and fuels his bitterness. Furthermore, Troy’s newfound status as a driver leads to increased financial stability, which ironically contributes to his downfall. His affair with Alberta is partly enabled by his increased income, as he is able to provide her with material comforts that he could not afford before.
In other words, Mr. Rand’s decision to promote Troy to driver serves as a catalyst for the unfolding of the play’s central conflicts and themes. It sets in motion a series of events that expose Troy’s flaws, test his relationships, and ultimately lead to his tragic demise. While Mr. Rand himself is not a major character, his actions have a significant impact on the lives of the other characters and on the overall trajectory of the play.
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(7)
John Osborne’s Look Back in Anger is a searing commentary on the social, economic, and political climate of post-war England. The play captures the disillusionment, frustration, and anger of a generation that felt alienated and marginalized by the prevailing social order. Through the character of Jimmy Porter, Osborne gives voice to the pent-up rage of the “angry young men” who felt stifled by the rigid class structure, the decaying British Empire, and the lack of opportunity.
The play’s setting in a cramped, dilapidated apartment in the industrial Midlands reflects the economic hardship and social decay that characterized post-war England. The characters’ struggles to make ends meet, their limited prospects, and their sense of being trapped in a dead-end existence underscore the bleak realities of life for many working-class and lower-middle-class Britons.
Look Back in Anger also critiques the complacency and hypocrisy of the British establishment. Jimmy rails against the “posh” upper class, whom he sees as out of touch with the realities of ordinary people. He attacks their privilege, their complacency, and their inability to understand the struggles of those less fortunate. The play challenges the traditional social hierarchy and calls for a more egalitarian society.
In other words, Look Back in Anger explores the changing gender roles and sexual attitudes of post-war England. Jimmy’s relationships with Alison and Helena are marked by conflict, passion, and a deep-seated sense of dissatisfaction. The play challenges traditional notions of masculinity and femininity, and it explores the complexities of love, sex, and power in a rapidly changing society.
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(8)
Jimmy Porter, the play’s protagonist, is a working-class intellectual who feels trapped and stifled by the social and economic constraints imposed upon him by his class background. He is acutely aware of the privileges enjoyed by the upper classes, and he resents their complacency and their lack of understanding of the struggles faced by ordinary people.
Jimmy’s anger is directed primarily at the upper classes, whom he sees as responsible for the social and economic inequalities that plague British society. He attacks their privilege, their hypocrisy, and their detachment from the realities of working-class life. His tirades against the “Establishment” and the “old guard” reflect his deep-seated resentment and his desire for a more just and equitable society.
The class conflict in Look Back in Anger is not limited to the external world; it also manifests itself within Jimmy’s personal relationships. His marriage to Alison, who comes from a middle-class military family, is strained by their differing social backgrounds and their conflicting values. Jimmy sees Alison as a representative of the privileged class, and he often lashes out at her for what he perceives as her complacency and her lack of understanding.
In other words, the theme of class conflict is a driving force in Look Back in Anger, shaping the characters’ motivations, their relationships, and the overall dramatic tension of the play. Osborne uses the play to expose the deep-seated inequalities that existed in post-war England and to give voice to the anger and frustration of a generation that felt marginalized and disenfranchised by the prevailing social order.
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SECTION C
(9)
In Léopold Sédar Senghor’s “Black Woman,” the themes of pride and dignity are central to the poem’s celebration of African beauty and identity. Senghor uses evocative imagery and lyrical language to portray the Black woman as a symbol of grace, strength, and cultural richness. The poem is a powerful assertion of Black pride and a rejection of the colonial gaze that had historically denigrated African features and traditions.
The poem opens with a direct address to the “Naked woman, black woman,” immediately establishing the subject’s inherent beauty and naturalness. The use of the word “naked” is not meant to be objectifying but rather to emphasize the woman’s unadorned beauty and her connection to nature. Senghor celebrates the physical attributes of the Black woman, comparing her form to the fertile landscapes of Africa: “Firm-fleshed ripe fruit, somber ecstasies of black wine.” These images evoke a sense of abundance, vitality, and sensuality, celebrating the woman’s body as a source of life and pleasure.
Furthermore, Senghor emphasizes the Black woman’s inner strength and dignity. He describes her as a “savanna stretching to the clear horizons,” suggesting that she embodies the vastness and resilience of the African continent. The poem also alludes to the woman’s role as a nurturer and caregiver, highlighting her importance in preserving and transmitting cultural traditions.
The poem’s assertion of Black pride is particularly significant in the context of colonialism and its legacy of racial discrimination. Senghor’s celebration of Black beauty and identity is a direct challenge to the racist ideologies that had historically marginalized and oppressed African people. The poem reclaims the Black body as a site of beauty, strength, and cultural pride. It affirms the inherent worth and dignity of African womanhood, rejecting the imposition of Western standards of beauty.
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(10)
Niyi Osundare’s “The Leader and the Led” is a powerful and effective poem that critiques the corruption and failures of leadership in post-colonial Africa. Osundare employs a variety of linguistic devices to convey his message with clarity, force, and satirical wit. The poem’s effectiveness lies in its accessibility, its vivid imagery, and its skillful use of irony and humor.
Osundare’s language is characterized by its simplicity and directness. He avoids complex metaphors and obscure allusions, opting instead for clear and straightforward language that resonates with a wide audience. The poem’s accessibility is particularly important in the context of African literature, where writers often seek to engage with a broad readership and to address issues of social and political concern.
The poem’s effectiveness is also enhanced by its vivid and memorable imagery. Osundare uses animal imagery to satirize the behavior of African leaders, comparing them to predatory animals such as lions, tigers, and vultures. These images evoke a sense of greed, cruelty, and exploitation, highlighting the leaders’ betrayal of their people. The image of the “leopard in a three-piece suit” is particularly striking, capturing the absurdity and hypocrisy of leaders who adopt Western trappings while perpetuating corruption and oppression.
In other words the poem’s use of repetition and parallelism also contributes to its effectiveness. The recurring phrase “the leader” emphasizes the leaders’ self-importance and their obsession with power. The parallel structures in the poem create a sense of rhythm and momentum, drawing the reader into the poem’s critique of leadership.
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SECTION D
(11)
In T.S. Eliot’s “The Journey of the Magi,” the poem’s power lies significantly in its intricate use of motifs, which resonate to create a complex portrayal of spiritual transformation and the unsettling nature of faith. A motif is a recurring element, symbol, or idea that develops and contributes to the central themes of a work. Eliot masterfully employs several intertwined motifs to explore the Magi’s arduous journey and its profound spiritual consequences.
One prominent motif is that of arduous journey and suffering. The opening lines immediately establish this, detailing the physical discomfort and psychological strain of the Magi’s travel: “A cold coming we had of it, / Just the worst time of the year / For a journey, and such a long journey”. This motif extends beyond mere physical hardship. The Magi experience social alienation and a sense of cultural dissonance, as the journey takes them through unfamiliar and unwelcoming territories. This motif underscores the idea that spiritual enlightenment often comes at a cost, requiring sacrifice and perseverance.
In other words The motifs are interwoven, creating a rich tapestry of meaning that invites multiple interpretations. The motifs collectively suggest that the journey to faith is not a simple or straightforward process but rather a transformative experience marked by suffering, disillusionment, and a profound sense of alienation. The Magi’s tale becomes a metaphor for the human quest for spiritual meaning in a world undergoing radical change.
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(12)
Dylan Thomas’s “Do not go Gentle into that Good Night” is a powerful villanelle, a nineteen-line poem with a specific rhyme scheme, that explores themes of death, resistance, and the will to live. The poem’s emotional impact is largely achieved through Thomas’s deliberate use of diction (word choice) and vivid imagery.
The poem’s diction is characterized by its forceful and emotive quality. Thomas chooses words that convey a sense of urgency and defiance. The imperative “Do not go gentle” immediately establishes the poem’s confrontational tone. Words like “rage,” “burn,” “rave,” and “curse” are employed to express the speaker’s vehement opposition to death. This strong diction creates a sense of passionate intensity, reflecting the speaker’s desperate plea for his father to resist the inevitable. The repetition of key phrases, such as “Do not go gentle into that good night” and “Rage, rage against the dying of the light,” reinforces the poem’s central message and amplifies its emotional weight.
The poem’s imagery is equally compelling, contributing to its overall emotional impact. Thomas uses light and darkness as central metaphors for life and death. The “dying of the light” represents the fading of life, while the “good night” symbolizes the darkness of death. The speaker urges his father to “burn and rave at close of day,” suggesting that he should fight against the encroaching darkness with all his remaining strength. This imagery is both vivid and visceral, evoking a sense of urgency and desperation.
In other words, The poem’s forceful diction conveys a sense of urgency and defiance, while its vivid imagery creates a compelling and emotionally resonant portrayal of the struggle against death. The poem is a testament to the power of language to evoke emotion and explore complex themes.
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