NECO Literature in English Drama & Poetry Questions and Answers – 2019

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NECO Literature in English Drama & Poetry Questions and Answers




(i) Deceit: This theme is observed in the play when Maligu’s Chief adviser, a chief and one of the corrupt person in the okay influenced the village priest Soko to tell lies to the king and the villagers about the visit of the Whiteman. His true intentions was to explore the community and enslave the people. The king and the people were deceived Kintin believing that the Whiteman was coming to establish tobacco farming. Human greed made Malibu and Solo to collaborate with a stranger to deceive, exploit and enslave their own people and community. Solo has also been able to deceive the villagers into believing that he sleeps in the cave by the shrine, not the cossy hut in the forest.

(ii) Believe in gods: The theme of over dependent on the gods made the gods so vulnerable to Solo lies and deceits. Maligu know this fact, that was why he contacted Soko the village priest to hatch a plan and tell the people that the gods say that the white man should be accepted into the village. Even the death of the stranger was as a result of the belief that the gods demanded for him to be sacrificed; Kindo said “spirits of our forefathers! Spirit on the mountain look down from your home up there and receive the blood which you asked for through the mouth of your priest. Thus the whiteman was sacrificed to the gods in place of a virgin. “There is no virgin in the land who is a stranger, so, receive the blood of a stranger who brought evil to the land.

(iii) Corruption: This theme played out in the life of Soko the village priest and Maligu the king’s adviser. Maligu a corrupt person played on the hidden secret of the priest knowing they both have something to hide. Since Maligu was determined to gain something from the whiteman, he influence Soko to collaborate with him and the white man for monetary gratification in return from the white man.

In the play “A Raisin In The Sun” uses the poverty to achieve his aim in the order to develop what he has in mind in relation to the younger family. The family of younger are the lower ebb of the ladder whereby the position they find themselves affect Walter Younger very much.
Walter himself has so many problems where he was obsessed with money issue and also view it as a transformative power. In the level of his power stricken life, money has a particularly strong on Walter’s reasoning.
Walter’s mother and wife are both reasonably accepts their situation and Beneatha is more concerned sociopolitical issues.
Like many Americans, the Youngers have had to struggle to make ends meet. They were describes by the writer as a family that is so poverty-stricken that Ruth herself must deny her child money required for class. She is so ‘crossed’ or ‘unfriendly’ with Travis the issue of “I don’t have “. The readers wonder if her “rudeness” could not bring her shame.
As a man, Walter tries as much as possible to prevent the family’s economic status from affecting his son and the coming generation. From the look of things, he wants his son to possess everything he need to have when he is still alive.

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(i) A forceful fusion: The poet applies the notion of a forceful coming together of the people of two cultures to the disadvantages of one in a colonial relationship. The African people are said to be “caught between the anvil and the hammer”. The traditional culture is “the anvil “. It is the indigenous. Africans sit on it while “the hammer” is the foreign which violently strives to strike. In order to mould new persons out of bad people. It is a forceful yoking together of two different peoples without due consultation. The result is “a new life” created “in the foreign home” which gives rise to “the jargon of a new dialectic”.

(ii) Tradition and modernity: The African culture constitutes tradition which has been visited by European culture, the modern matter what has happened in the experience of the African person, tradition is deep-rooted. That is probably why the poet speaks of the “trappings of the past” which be says are “tender and tenuous” is “woven with the fibre of sisal”. Thus, what is going on at the moment is “transforming the pangs that delivered me as in a new birth. Having been “washed in the blood of the goat in the fetish hut” we are merely laced with the flimsy glories of paved streets. The “paved streets” represent modernity which what emerges is only “the jargon of a new dialectic.

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(iii) Conflict of the way to go: The poet-speaker suffers from the conflict of the way to go, having been bombarded by the influence of the two cultures. Traditional socialization is worn “under our new garment” while modern education has enabled us to engage in “the perpetual search on the outlaw’s hill”, in addition to the whirlpool of the many rivers’ estuary. This is akin to the gathering of experiences from western learning. However these experiences are to be chosen according to their usefulness. Not all “their songs and rumors are acceptable. That is why the poet-speaker remarks that “determined to ignore these we use snatches from their tunes. The way to go is to be choosy of the new experiences to which we are exposed

(i) Symbolism/Imagery: The poet uses a lot of imageries and symbolisms that help to know actually what the “crossing the bar” means. For instance, “sunset” and “evening star” are symbolic of end of life while “call” denotes an unavoidable irritation to return to the creator after death. “Crossing ” is an important image in the poem suggesting Christian connotations, hence crossing refers both to crossing over into the next world and into religious faith and devotion. Also, the word “crossing” has an associative meaning with cross which is another image depicting Christ on the cross of Calvary. “Pilot” is used to represent the author and finisher of our faith which is Jesus Christ while “dark” is an image of death. Also “home” stands for eternal life or abode in heaven, and “sea” represent the earth and it’s fullness.

(ii) Form/Structure: This is a poem of four stanz (quatrain). It adopts a rhyme scheme of ABAB. The poem has sixteen lines of unequal lengths. Also, the first and third lines of each stanza are always a couple of beats longer than the second and fourth lines. It is necessary to note that the ABAB rhyme pattern of the poem echoes the stanza’s thematic patterning in the sense that the first and third stanza are connected to each other as well as second and fourth stanza.

(iii) Personification: There are some examples of this figure of speech as some inanimate objects are represented as possessing human qualities.
“But such a tide as moving seems asleep” – line 5
…”Moaning” of the bar” – line 3
“The flood may bear me far” – Line 14



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