2018 NABTEB GCE Literature in English Prose Questions and Answers

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👑 2018 NABTEB GCE LITERATURE IN ENGLISH ANSWERS👑

100% VERIFIED LITERATURE IN ENGLISH PROSE ANSWERS

SECTION A
(AFRICAN-DRAMA)
(4)
Andrew Samuel Stevenson Thomson-Parker (esq.) is an african who is the secretary, assistance, interpreter, adviser and the right hand man of whitehead, Parker often serves as whitehead’s voice and solicitor advocate, he hates Maligu and does not trust him He gets into trouble with Kindo for encouraging the white man to undermine African traditional values and cultural practic Kindo flogs him thoroughly Whitehead schemes him into his plan to kill Soko, the chief priest: a sacrilegious act that earns him death too in the hands of Kindo.
Parker typifies the African who concedes superiority to the whiteman on account of his skin colour. He also derives his importance from been associated with the white man, He insists to be addressed as Mr Parker as status symbol. It elevates him above his other local folks. He defends Whitehead often to curry his favour and to remain relevant in his scam project. He knows Maligu is very smart and has the attention of Whitehead most times as a result his relevance is being undermined. That is why he hates Maligu
s guts He is taught a lesson by Kindo for undermining African norms to assert the dignity of African traditional values. It is also a clear message to foreigners that those who aid and abet with them would not go unpunished. His death is the ultimate price he pays for his stupidity
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SECTION B
(NON-AFRICAN DRAMA)
(8)
Class consciousness: The decisions the characters make and their perspectives on one another, are all largely based on what class they are a part of. Where Tony openly loves low-class people like the drunks in the Three Pigeons, Marlow must hide his love of low-class women from his father and “society.” His dynamic relationship with Kate (and the way he treats her) is defined by who he thinks she is at the time – from high-class Kate to a poor barmaid to a woman from good family but with no fortune. In other words they find him impudent and absurd, because they believe him to be of low class, but his behavior would be perfectly reasonable and expected from a member of the upper class, as he truly is.
VIVID EXAMPLES: Hastings’ and Marlow’s reaction to Hardcastle. Until Kate teaches him a lesson, Marlow responds to women solely on the basis of their status in society. He looks down on women of the lower class but is wholly at ease around them; he esteems women of the upper class but is painfully shy around them. Like the London society in which he was brought up, he assumes that all women of a certain class think and act according to artificial and arbitrary standards expected of that class. As for Mrs. Hardcastle, she appears to assess a person by the value of his or her possessions.

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SECTION C
(AFRICAN POETRY)
(10)
The use of imagery in Kofi awoonors the anvin and the hammer:
The poem contains powerful imagery that helps to deepen the reader’s thoughts. The poet uses many symbols beginning from the use of the words “anvil” and “hammer” which represent clash of cultures. The old African ways are described as follows: The trapping of the past, tender and tenuous/woven with fibre of sisal and/Washed in the blood of the goat in the fetish hut/. Western civilisation is described as follows: “…flimsy glories of paved streets/ The jargon of a new dialectic comes with the/ Charisma of the perpetual search on the outlaw’s hill”.

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SECTION D
(NON-AFRICAN POETRY)
(11)
The poet use of dramatic monologue as a literary device in George Herbert’s “The Pulley”
This is prominent techniques that was through the poem by unfolding the relationship between the addresser and addressee. Thus there is that position of an audience. In other words It must be noted that romantic poetry made dramatic monologue very popular among poetry lovers. A situation where a single person, who is patently not the poet, utters the speech that makes up the whole of the poem. The dramatic monologue added a conversational tone to the poem making it seem as if the poem speaker and the creator of man were characters at the scene of creation; their dialogue began in line 3 of the poem till the poem ended: “Let us,” said he, “pour on him all we can. Let the world’s riches, which dispersed lie, Contract into a span.”

 

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