2019 Waec Literature In English Drama & Poetry Answers

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Section A

i- the theme of colonialist arrogance and expectations
ii- the theme of patriotism and resistance to oppression
iii- the theme beyond the irony of mandoland culture
iv- the theme of moral decadence and corruption
v- the theme of political social and spiritual decadence on mandoland

Section B
No 2
. won in this room.” As evidence of the apartment’s overcrowding, a young boy,
Travis , sleeps on a “make-down bed” at center stage.

…“feebly” into the apartment, and while Ruth begins preparing breakfast, she calls to her son
Travis to wake up. After her calls are ignored, Ruth goes over to
Travis and finally… (full context)
Travis returns from the bathroom and signals for his father to get inside before one of…
…reenters and, hearing the tail end of the argument between his wife and son, gives
Travis a dollar to take to school, which greatly angers Ruth. Walter’s defiance of Ruth’s decision…

…tells Ruth that he needs “some money for carfare,” having given his last cent to
Travis earlier. Ruth gives the money to her husband and in a “teasing, but tenderly” manner…
…money as a down payment on a “little old two-story somewhere, with a yard where
Travis could play.”

The relationship between Travis and mama is stated above👇

The son of Walter Lee and Ruth, Travis is the youngest member of the family. A “sturdy, handsome” boy of about ten years old, Travis sleeps on a make-down bed in the Youngers’ living room. Travis is a good-natured and persistent young boy who, for the most part, obeys his parents and grandmother. Travis is excited by the prospect of moving into the Youngers’ new house.

ACP YAKUBU Yakubu presented in the play as an Assistant Commissioner of Police. He stands out as an incorruptible and honest police officer. He withstood pressures from his boss, the Commissioner to stop investigating Chief’s activities at the Ministry of External Relations. His investigations led to the arrest and prosecution of Chief, Ochuole, Madam Hoha, the Commissioner of Police and the corrupt Justice. In other words ACP yakubu, laments bitterly on why the judge frees Aloho. And ACP yakubu asks Ojo to work on the embezzlement and smuggling allegations placed against Chief Ade Haladu-Amaka, the minister. He became very angry when his boss treates matters with levity. His actions ensures that the culprits are brought to book. His persistence in maintaining and upholding his integrity makes him a good officer.

Joseph Asagai courts the attentions of Beneatha. In trying to win her affections, he is persistent but never overbearing. He flatters her with gifts (something that George Murchison has not done); in addition, Asagai’s gifts are not meaningless trinkets but are things that are both useful to and desired by Beneatha — such as the Nigerian robes he clearly has gone to a lot of trouble to obtain. Asagai’s compliments to Beneatha are sincere and therefore believable. His peaceful ways and calm manner give Beneatha an appreciation of his views even when they disagree. Contrasted with George Murchison’s abrasive put-downs of Beneatha and George’s insistence on retaining his narrow-minded views, Asagai appears as Beneatha’s savior from the potential tragedy of her eventually becoming George’s wife. In other words Asagai is helpful and concerned about the welfare of others. He volunteers to assist in the move to Clybourne Park and offers much-needed consolation and good advice to Beneatha when she is at her lowest. He counsels Beneatha spiritually and emotionally, helping her to get back “on track” as she rails against her brother’s foolishness in having lost the money.
He was used in the play to make a radical point about race

The poet use of rhetorical question beginning from In stanza 2, the poet laments further that if Africans ”Cry roughly” of their torments which started from the colonial times which he refers to as, ”… the start of things”, he wonders who will watch their ”large mouths” when they yell for help.
In stanza 3, the poet continues to lament that nobody will be emotional(represented by ‘heart’) enough to listen to their ‘clamouring’ and if by chance, they realize their predicament and grow angry, nobody will hear them as he terms any late realisation and anger as, ‘pitiful’. In stanza 4 & 5, the poet supports the reoccurring belief that the dead serve as ancestors and protect the living from evil forces. In these stanzas,the poet wonders that when the living dies (our dead) and meet the ancestors (their dead) whose advice has fallen on deaf ears and whose ‘wild appeals’ have been ignored, they (the living, now dead) would remember their warnings and regret not ever listening. The poet continues that they (the ancestors) left their signs on earth, water and air for their ”blind, deaf and unworthy sons” who see ‘nothing’ they have made. In stanza 6, the poet continues that since the Africans did not heed the advice of their ancestors, he wonders who will hear their ‘sobbing hearts’ when they ‘weep gently’.


First, the speaker says of his beloved that she is more lovely and more “temperate” than a summer’s day. Temperate can mean the use of restraint. The speaker then goes on to say that the sun can be too hot or too hazy in its blazing heat:

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimm’d; (5-6)

Therefore, a summer’s day might be too hot or too hazy and humid; whereas, the speaker’s beloved is more temperate, restrained, not tending to go to either of those extremes. The other complaint the speaker has is that summer does not last long: it “hath all too short a date.” The speaker adds that the “summer” of his beloved (the beauty of her life and/or the memory of it) is eternal. So, summer is fleeting relative to the eternity by which his beloved will be remembered: even if it is in the “lines” of the sonnet (“this”) itself:

Nor shall Death brag thou wander’st in his shade,

When in eternal lines to time thou growest:

So long as men can breathe or eyes can see,

So long lives this and this gives life to thee.

Section D

No 12

In “Birches”, Robert Frost uses imagery and analogies as a way of conveying his message. Frost’s use of imagery and analogies are used in the themes of nature, analogies, and imagination. Frost uses imagery throughout the poem to create a vivid image of how he imagines the Birches to be. His use of comparisons enables the reader to view the Birches in numerous perspectives. His use of imagery and metaphors are appealing because they are pragmatic, and create a clear image for the reader.
Nature is an important theme in every frost poem. Nature usually symbolizes age or other things throughout Frost’s poems. In lines 5-10 it says, “Often you must have seen them loaded with ice a sunny winter morning after a rain. They click upon themselves


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