WAEC Literature in English 2018 Theory Past Questions

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Kabria's presence at Agbogbloshie is of great significance. Prior to the agreement between Kabria and Fofo to meet again at Agbogbloshie market, Kabria arrives early to perform her market chores. However, her mission will be incomplete if she does not embark on an investigative role as agreed with MUTE. Kabria's aim is to unravel the mystery that surrounds Baby T's death. Fofo has promised to tell her the truth concerning the identity of the body that was found at the back of the hairdressing salon, and the curiosity to unravel this mystery propels her to make enquiries at the salon. As Kabria awaits Fofo's arrival, she decides to use that opportunity to make enquiries about the dead body that was found behind the blue rasta hairdressing salon, close to where Fofo had robbed her the last time they met. She meets the madam who owns the salon. The madam is described as having bleached skin. At the corner of the salon is her huge portrait. The madam thinks that Kabria has come to plait her hair. Rather, Kabria has come to investigate the issue of a dead body found at the back of the hairdressing salon. She brings out her ID card and introduces herself as one of the members of an organization called MUTE. Kabria's efforts to get words from the madam's mouth prove abortive at first. As a business woman, the madam does not have time for such; besides, she does not want to add a police work to her hairdressing work. She questions Kabria if she really has a serious-minded person would never embark on such investigation — something that is of little significance. The woman complains of her own plight of having to cope with the stress of raising her only child on her own, without the support of her absentee husband. Kabria finds familiarity in the woman who evidently experiences domestic challenge similar to hers (Kabria) though hers is not a severe case. She uses that opportunity to open up on her own challenges at home, having to deal with the challenge of raising her 'two kids' alone. She lies that her husband left her for four years, came and asked for forgiveness. With this, Kabria is able to capture the interest of the madam with whom she thinks they are both 'struck in a similar soup', and Kabria is able to elicit some information from the madam who was initially hostile. The madam, knowing little about the dead body, directs Kabria to her apprentices whom she thinks know much about the happening. Kabria is led to one of the apprentices: the senior apprentice, who updates her about the story. The senior apprentice gives her own account of the story, although there was an argument on whether the dead girl was killed there or her corpse was brought there. Her own account is based on the rumour that the dead girl was one of the Kayayoos. One of the apprentices also hints the senior one about the issue of the white fowl. The senior apprentice confirms that three days after the dead body was found, 'a pure white fowl was lying slaughtered at the spot where the body was found' and a pastor in the market came to pray over it, 'after which a man took it away'. Kabria is very much concerned about how the Kayayoos have been influenced to accept that the dead girl was one of them. This is a widespread opinion engineered by Poison who controls the streets. Kabria thanks the apprentices and appreciates them for their cooperation. From the interview, Kabria is able to obtain the necessary information which will be vital in unravelling the mystery surrounding the death of Baby T. Kabria's interaction with the owner of the salon also reveals how women are being treated by men. It also consolidates the phenomenon of absentee fathers and the theme of parental irresponsibility in the novel.

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Sodom and Gomorrah, as the name suggests, connotes vices. This is typical of immoral and sinister acts that are common in the place. Sodom and Gomorrah is an enclave around Agbogbloshie. It is a dwelling place of prostitutes, thieves and all kinds of vicious people who are products of parental irresponsibility and a decadent society. Sodom and Gomorrah becomes populated 'with the increasing influx of migrants from the north', and the acts of some irresponsible parents result in children leaving home to live on the street. The prevalent activities in Sodom and Gomorrah are sex, prostitution, theft and other vicious acts resulting from suffering, helplessness, ignorance and woes. Sodom and Gomorrah is an enclave with its own rules and regulations. Fofo attests to this: 'one can do anything and everything in peace here so long as one follows the rule.' This confirms the fact that Sodom and Gomorrah is governed by its own rules. In fact, there is a hierarchy: there is a street lord being served by the lieutenants. The activities in Sodom and Gomorrah are nocturnal. The inhabitants operate in the night and sleep in the day. This is contrary to what entails the other domains in Accra. In their visitation to Sodom and Gomorrah in the day, Sylv Po is surprised to find the place quiet, serene and normal. He is surprised at the absence of the prostitutes, the drug traffickers and the thieves who are said to be prevalent in the place. Kabria also sees in Sodom and Gomorrah some evidence of innovation and initiatives that could be of benefit to the rest of Accra. Sodom and Gomorrah is home for the likes of Fofo, Odarley, Baby T, Poison, Macho and others who are products of parental irresponsibility. They represent the street children phenomenon both in Ghana and in the world at large. Sodom and Gomorrah brings to memory the shanties, ghettos and favelas and the lives that entail there. People live in cruelty and fear, and life is brutish and nasty. The likes of Poison and Macho and the street lieutenant are the oppressive forces, while the likes of Fofo, Odarley and Baby T are the subjects of their cruelty. In Sodom and Gomorrah, horror begets horror, and vices and immorality are on the increase. Their actions result from their experiences at home. Poison unleashes terror based on his experience as a child from the unfair treatment by his parents' pitches Fofo, Baby T and Odarley against their parents. Immorality continues as children think they have freedom to live on their own: 'Boys and girls slept together, stripped together, and did things together with each other, many times under the influence of alcohol.' The females get pregnant at will and abort at will. The females are also subjects of sexual rape in the hands of the street lords and the lieutenants. Baby T's death results from her refusal to perform her sexual role and in the first chapter, one is introduced to the bestial nature of Poison as he attempts to forcefully rape Fofo. There is also oppression, bullying and influence from the likes of Poison, Macho and the lieutenants. Poison single-handedly sponsors the Kayayoos through the direct order from their head to spread fake news concerning Baby T's death. The mystery that surrounds Baby T's death is the handiwork of poison. Poison also uses his influence to frustrate the activities of MUTE and Sylv Po in their efforts to unravel the mystery around Baby T's death. Despite the cruelty that characterizes the activities of the inhabitants of Sodom and Gomorrah, there is still a spirit of friendship demonstrated by Fofo and Odarley.

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After the death of Ajumobi, Yaremi's life is left exposed. First of all, she becomes an object of suspicion from the mourners who think she was instrumental in the death of Ajumobi, her husband. Yaremi becomes a cynosure of eyes as mourners come to mourn Ajumobi's death: 'She is scanned by mourners in all directions. All eyes followed every step she took with hostile closeness.' Ajumobi's death means a lot to Yaremi. The implication is that she will live lonely and feel insecure for the rest of her life. Ajumobi dies when he is supposed to be keeping her company. Segi, Wura and Alani have all grown up. Segi and Wura have been married out while Alani is on his carpentry business in Ibadan. Yaremi's only consolation is Woye who will soon be schooling at Anglican Junior Primary School at Olode. Yaremi recalls her experience with Ajumobi when he was still alive. Their relationship was checkered with fights and companionship. She recalls having brawled with Ajumobi, raining abusive utterances on him. Yaremi and Ajumobi used to disagree and fight but now the reason to appreciate her husband dawns on her after his death. The cap-picking ceremony brings to confirmation the saying that 'no woman's life is ever complete without a man'. As it is believed that husband represents protection, security and care, a woman is incomplete without these. It is expedient that Yaremi must, like other widows, pick a cap and get married to another man. As the cap adorns the head and beautifies it, so does a man adorn and beautify a woman. A woman is regarded as incomplete without a man. Although Yaremi has turned down the hands of the likes of Ayanwale, Olonade and Lanwa in marriage, this does not imply that she can do without a man. Rather, it reveals the fact that Yaremi still owes allegiance to Ajumobi, her deceased husband, and she does not want to be regarded as second or third wife in another man's house. Her children are old enough to take care of her. After refusing to pick a cap as required by the custom, Yaremi's life becomes pitiable. She becomes more feeble and susceptible to insults from the villagers who have now become hostile. She confesses to Segi: 'See now, the people of Kufi have begun to jeer at me, Segi, thinking that my glory has come to a disgraceful end.' Segi does not compromise taking her child to Olode for further education despite Yaremi's plight. Yaremi's life is plunged into tragedy and insecurity by Alani's announcement and attitude. Yaremi, whom Yaremi thinks will stand in the position of a husband, breaks her heart with the announcement that he is very busy with his carpentry work in the city, his building and his plans to marry a 'pretty city girl who was now heavy with pregnancy'. Ajumobi appears elusive and irresponsible in his attitude. He advises Yaremi to lease out Ajumobi's property. Yaremi is traumatized by the elders' pronouncement that she will be ostracized by the villagers and she will be avoided like a leper. Her husband's property will also be confiscated. She strips herself of her brocade and ipele which circled her neck. Her eyes dim 'with tears of accumulated injustice.' Having been disappointed from all ends, she makes up her mind to stand strong. Yaremi's experiences after the death of Ajumobi show that a woman is insecure without a man. She becomes an object of oppression both emotionally and physically from all ends. This also brings to confirmation the saying that 'no woman's life is ever complete without a man.'

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The author uses the omniscient point of view. With this omniscient vantage point, he demonstrates his ability to observe people and events very closely and pass appropriate comments on them. The author likewise shows the thought flow of the characters, as evident in Yaremi. This is similar to the stream of consciousness. Yaremi demonstrates this several times in the novel. Yaremi manifest this at the cap-picking ceremony as she inwardly denounces the caps laid on the bench: 'But Yaremi was already resolved. For her, there was no going back... "Give this huge cap to the baboon swinging on the branches of tall trees to wear," she mumbled to herself, as she moved away from the first cap, "Not to Yaremi. Not to Yaremi."' The author also employs poetry in his narrative. The entirety of the novel could be summed as poetic. The novel is prefaced by a poetic prologue. The expressions in the novel are concise. There are instances of songs and folktales which are typical of African oral tradition. A good example of this is the interaction between Yaremi and Woye where Woye needs to draw from Yaremi's poetic song to speed up his work. The Widows: like the Dedewe, Radeke and Fayoyi are also expected to sing dirges to accompany the deaths of their husbands. This is evident in Radeke's widows' traditional song of innocence and lamentation. The author's leaning on African tradition also reflects on his use of myth and folktales. There are references to stories of tortoise who visited his in-law's house and 'messed himself up with a mess of hot pottage in the sitting room right in front of his new wife, Yanibo'; the proud antelope who lived like a prince and who was eventually subdued by the hunter's bullet; and many more. The author employs the use of incantation in the novel. As the language is poetic, the poet introduces words from his local language to communicate his message appropriately. This is evident in Yaremi's use of incantation to frustrate the efforts of her perceived enemies: 'Osibata floats tente on the surface of the river; she will float tente above enemies.' The author uses flashback to regale the readers with the past experiences of Yaremi. Woye is enthralled by the flashback on Yaremi's childhood story of climbing the nine hills that separate Adeyipo village from the neighbouring villages like Aderogba, Orita, Kange, Kufi, Ladunni, Idiogun, Kelebe and so on. The author also uses flashback to recall the relationship between Yaremi and Ajumobi. Ajumobi is not an active character in the novel but through the use of flashback, the author brings his actions to life. There is also a use of suspense in the novel. The readers' interests are sustained by instances of Woye's illness, the cap-picking ceremony and the aftermath of Yaremi after her refusal to the picking of a cap at the cap-picking ceremony. The readers are made to seek desperately the aftermath of Woye's sickness. They are also eager to know whose cap Yaremi is going to pick at the cap-picking ceremony. The destination of Yaremi is also worth questioning in the novel. The author also makes use of dialogue in the narration. There are instances of dialogue between Yaremi and her suitors, Yaremi and the widows, and Yaremi and Ajumobi, Yaremi and Woye.

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The black clergy illustrate the role religion plays in the lives of the blacks in Richard Wright's United States in the novel. Living in a racist society in which the blacks are at the lower rung of the ladder necessitates the need for the blacks to be consoled by religion, especially the belief that heaven offers consolation for the injustice suffered by the minority blacks in the hands of the majority whites on earth. The blacks are portrayed as more religious than the whites in the novel. Perhaps this happens as a result of the make-belief that the world cannot offer them comfort, when in reality that comfort is made available to the whites. This confirms the saying that religion is the opium of the masses. The role of the clergy in the novel is represented by pastor Reverend Hammond, Bigger's mum's pastor. The appearance of Reverend Hammond is at Cook County Jail where Bigger is being remanded, and it is being significant. It becomes evident that Mrs Thomas, Bigger's mum, sent the pastor. The pastor plays the role of consolation, both to prepare Bigger's mind for the coming of his mum and siblings and for the imminent death which is to be passed on him by the white judge. He addresses Bigger as poor boy. This explains the pity he has for the boy. The reverend prays for Bigger. He also calls on God to show him mercy, to forgive him and to let the light of love guide him, to try help those trying to help him. The Reverend also preaches to Bigger on the creation of man, the fall of man, the coming of Christ, his crucifixion and resurrection. Bigger's disposition shows that he does not want to be preached to. He loathes the words. Although he pretends to be listening and sober, it is the reverend's face that commands his attention rather than the word of God. The role of the reverend is to prepare Bigger's soul for death and eternity if peradventure death happens. The reverend's preaching sums up the essence of man's life on earth and the eternity thereafter. Reverend Hammond asks Bigger to promise that he would stop hating so that God could come into his heart but Bigger refuses to oblige. Reverend Hammond also offers Bigger his wooden cross which he holds by chain around Bigger's neck, imploring him to meditate on it when alone. The cross in this sense represents 'Christ'.

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Bigger's conversation with Gus at the entrance of the poolroom reveals a lot about the race relations between the majority whites and the minority blacks in Wright's United States. Importantly, the conversation reveals how the whites feel towards the blacks and how the blacks feel towards whites. The conversation gives clearer insights into the treatment of the blacks by the whites in the United States. It shows that the blacks are the products of the society that defines their existence. As Bigger and Gus await other members of their gang in preparation to rob Mr. Blum, Bigger and Gus converse about the treatment of the blacks at the entrance of their rendezvous, which is the poolroom. The conversation reveals that just like the whites, the blacks are ambitious and also aspire for the pride of place in the society, but their only antagonists are the whites who have raised social standards against them. After exchanging pleasantries, Bigger and Gus share cigarettes and briefly comment on the shylock and egotistic white lords who would not provide necessary amenities commensurate with the prohibitive rents they charge. Shortly, Bigger notices a plane flying in the sky and displaying an advertorial. The advert reads: 'Use speed Gasoline.' Bigger marvels at the skill of the plane flyer and remembers how he wishes to be a pilot. Thinking aloud, Bigger says if he had the chance he would have been able to fly a plane like the pilot flying the one in the sky. Gus regards Bigger's thoughts as mere wishful thinking, given the discriminatory realities that define the North American society. He therefore sneers at the idea. In a mockery of the thought, Gus assumes the cringing and subservient attitude of the average black man to his white counterpart by stepping forward, squaring his shoulders, doffing his cap, bowing low and finally saying, 'Yessuh'. Bigger is not amused. He tells Gus to go to hell and insists that if he had a chance he could fly a plane. In a serious tone, Gus responds by pointing out the factors which will make it impossible for Bigger's dream to come true. They include race, money and law. Bigger further concludes that perhaps it is better that blacks are not allowed to fly planes because as a pilot, he would take a couple of bombs along and drop them, apparently, on the white people. In a jocund manner, Gus says that God will let Bigger fly a plane when he gets to heaven and he will receive wings from the Creator. They both laugh it off. Gus and Bigger mimic the whites in different categories: General, J.P Morgan, President of the United States, and the Secretary of State. Overtly or covertly, the mimic reveals the desires of Bigger and Gus and, of course, the entire black who are unable to attain such heights. The blacks have been conditioned to the low-profile jobs of chauffeur, clerk, messenger, attendant, baby sitter and others. They are regarded as the other or the minor within the American society. Bigger wonders why the blacks would never be allowed by the whites to attain such great heights as they do. Gus cautions him not to let that thought produce undue hatred in him towards the whites. The lesson from the conversation between Bigger and Gus is that blacks are wishful thinkers within the scope of the North American society because the society is not designed to favour them.

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The death of Conrad is significant in the novel, as it triggers the central issue in the story: Prince Manfred's desire to keep the lordship of Otranto in his family. It is the death of Conrad that pushes him into the desperate and abominable resolve to divorce his wife Isabella and marry another heir. The circumstances that surround Conrad's death bring to confirmation the significance of the supernatural in the story. There are manifestations of apparitions, unusual movements, reports of ghosts and giants, frightening sounds and claps of thunder and so on. This circumstance of death promptly hints at the Gothic component of the novel. The circumstance of the death and the reactions to it introduce the tragic atmosphere which would later characterize the greater part of the narrative. The incident also makes Manfred's subjects and servants recall the ancient prophecy that sooner or later the castle and lordship of Otranto will pass from the present family. This arouses the curiosity of the reader to whether the prophecy will come to reality or not. This contributes to the suspense in the novel. Manfred's response to the death is used to hint at his desperation to keep the sceptre of Otranto in his family. Rather than feel sorry for the poor boy and show concern for his mutilated body, he is more interested in the safety of Isabella for selfish reasons. The young peasant's observation about the semblance between the helmet that killed Conrad and the one on Alfonso's statue further adds to the mystery around the death. The link between the two helmets would later be established in the story. With the death of Conrad comes the conflict that will dominate the activities in the novel. Despite Conrad's death, Manfred is hell bent to retain the sceptre of Otranto in his family. With the arrest of the young peasant (Theodore) and his detainment in the castle, the conflict between good and evil in the novel is established.

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The relationship between Manfred and Hippolita is hinged on the theme of male dominance and the marginalization of women in the novel. Lady Hippolita is a devoted, submissive and long-suffering wife of Prince Manfred. She abides and does whatever her husband wants. Even when he wants to selfishly and wickedly divorce her, she accepts the proposal without complaints, declaring that the lot of women is to obey their husbands and fathers. Her submissiveness and devotion actually amount to docility. Prince Manfred, on the other hand, is the husband of Hippolita and the lord of Otranto. He inherits the lordship from Don Manuel, his father, who also inherited it from his father, Don Ricardo. As the Prince of Otranto, he is feared by his subjects, especially servants. The revelation at the end of the story, however, shows that he occupies the position as a usurper. It belongs to Theodore. The relationship between Manfred and Hippolita is that of husband and wife, and of cousins. From their marriage, they have their two children, Conrad and Matilda. At first, Hippolita is presented as a wife, and later Manfred confesses being a blood relation of Hippolita. Perhaps this is the reason for the hatred. Manfred is being pricked by his conscience because his marriage to Hippolita is illegal. It is illegal because Hippolita is related to him 'in the fourth degree'. In other words, Manfred's relationship with Hippolita is incestuous. Also, Hippolita had been contracted to another person before she got married to Manfred. Hippolita is a subservient character in the novel. She worships and respects every one of his opinions even when such opinions seem not to make sense. Hippolita's fear of Manfred is shown in the first chapter of the novel. Prior to the death of Conrad, Hippolita is supposed to have a say on the death of her son but Manfred keeps her in the dark. The relationship between Manfred and Hippolita is also seen in the way Manfred enforces his opinions and no one dare question, not even his wife Hippolita who is the matriarch of the family. After the death of Conrad, Manfred decides to marry Isabella without Hippolita's consent. When Manfred pushes further in his decision to marry Isabella, Hippolita shrugs and bears it. Manfred blames Hippolita, his wife, for their failure to have another male besides Conrad. In spite of the fact that he could be responsible, the blame is put on the wife and the wife also accepts it without the slightest objection. Manfred also treats Hippolita's views with disdain, even where it concerns her son. The way Manfred goes about pursuing his plan to divorce her and marry Isabella shows total disregard for her. Hippolita's docile acceptance of the idea of Manfred getting married to Isabella shows the extent to which she has been brought under patriarchal dominance. At the end of the story, Hippolita chooses to support Manfred despite her own grief. Also, in spite of having been ill treated in the past and in spite of the shame that attends her husband's confession, she still stands by him. She also encourages her despairing husband to join her in dedicating the rest of their lives to serving God.

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The Blood of a Stranger is a play about the colonial exploitation of Africa and how Africans were complicit in the exploitation of their own people. The love for wealth and power drives the actions of some characters in the play, notably: Maligu, Soko, Whitehead and Parker, and this love for wealth and power leads to the tragic end of the play. The play opens with a conversation between Maligu, the king's adviser, and Soko, the village shrine priest. The conversation is surreptitious and it suggests that there is something to be kept confidential between the two characters (Maligu and Soko). Maligu has just received a letter from his brother announcing the coming of the white man. The white man (Whitehead) is to come on the pretext of establishing tobacco plantation meanwhile Whitehead's intention is to explore the diamonds in Mando land and exploit them for his own selfish gain. Mando land is blessed with natural resources, which the people, due to their ignorance and illiteracy, are oblivious of. The love for wealth and power influences the actions of Maligu and Soko. Maligu, being the right-hand man of the king, in collaboration with Soko, their spiritual head, plans to deceive the people into accepting the white man. This he believes will be of financial benefit to him and Soko. Maligu maintains a significant influence on the king. Soko is also the spiritual head and the voice of the gods. His words are highly believed by the people. Having such great influence on the king and the people, Maligu and Soko are able to manipulate the people into accepting Whitehead, a stranger into the land, even when the custom negates it. Soko summons a communal meeting to tell the people about the expected stranger. In the process of the ritual, Soko reveals that a stranger comes to the land, and if they love peace they should treat him well and throw more blood — 'the blood of a virgin, born in another place.' This is utter deception. Soko's poverty and Maligu's greed make them easy tools in the hands of Whitehead. Although they are fully aware of Whitehead's selfish plans and how these are going to be detrimental to the progress and peace of the land, they egg him on. This is typical of how Africans are instrumental in the exploitation of their own people. Although he comes with the pretext of establishing tobacco plantation, Whitehead's main plan is to explore the diamonds which he calls 'evil stones' and exploit them for his own selfish gain. Whitehead gains more influence and confidence through the supports of Maligu and Soko and King Santigi V's ignorance. Whitehead delves into the custom of Mando land, disrupts the people's sanity through the introduction of 'strange drinks' contrary to their local gin (mampama) and the use of what could be suspected as Indian hemp. The ploy to eliminate Kindo who stands as the main opposition to their selfish plans becomes the target of Whitehead, Maligu, Soko and Parker. On coming to Mando land without paying necessary regards to the custom, Kindo has dealt roughly with Whitehead and his right-hand man, Parker. Kindo is also aware of their selfish plans and the plans to deceive the Mando people. Wara becomes their focus. Whitehead demands Wara whom he thinks to be Kindo's strength. The plan to rape Wara and use her for sacrifice would have been successful if not for her resilience and this would have weakened Kindo as planned. The love for wealth and power leads to the tragic ending of the play. This brings about the killings of Parker, Soko and Whitehead. The killing on the peace day and the banishment of Kindo is an indication of how disastrous the love for wealth and power has been to the custom of Mando land.

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Santigi's reign is peaceful save the crisis that accompanies the coming of the white man into the land. Santigi reigns at the time when Mando land is just coming out of wars with neighbouring towns and villages. King Santigi's reign is aided by the influences from Maligu, the chief adviser to the king, Soko, the village shrine priest and Kindo, the head of the warriors and Santigi's son. Santigi invests much trust in his advisers, especially Maligu and Soko whom he thinks to be aged, wiser and more experienced. He invests little trust in Kindo whom he thinks to be young, inexperienced and impetuous. Santigi's reign witnesses the arrival of the white man (Whitehead) into Mandoland. Through Santigi's gullibility, docility and uncritical adherence to culture, Maligu and Soko are able to worm their ways into his heart. Santigi's trust and confidence in Maligu, the chief adviser and Soko, the village priest, allows him not even a single doubt about their acclaimed mandate from the god that Whitehead should be accepted into Mando land. Santigi dogmatically consents to Soko's demand for sacrifice and ritual believing that this is coming directly from the gods. He partakes in the rituals and shows total readiness to welcome the white man. Santigi's ambivalence to culture is shown in the way he condones disregard to the custom of paying homage and respect as typical of Africa when this is done by Whitehead. This contradicts Santigi's claim to upholding the custom of Mando land. When Whitehead comes to Mando and refuses to pay homage to the king, Kindo takes it upon himself to defend the land by forcing Whitehead to kiss the ground and flogging Parker forty two strokes of cane in accordance with his age. Santigi remains passive to all these. Santigi's ignorance also comes into play as he sheepishly accepts the hemp offered to him by Whitehead. His inability to make the right judgement blindfolds him from seeing the serious havoc that Whitehead has wrought to the culture and tradition of Mando land by disrupting order and sanity among men and women through the use of strong drinks and hemps. Santigi's reign is characterized by lawlessness which contradicts what the king claims to stand against. In his own reign and royal presence, Maligu, Soko and Whitehead are able to conveniently perpetrate crimes and abet lawlessness in Mando land. Santigi's demonstration of mediocrity results in deaths and sacrilegious acts in the play. Parker kills Soko, the village priest; Kindo also kills Parker while Whitehead's blood is spilled on the sacrifice stone. All these happen on the peace day. Looking at Kindo's banishment, it is predictable that Maligu might eventually become king after Santigi's death.

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The proceedings at Wasa High Court are of great significance in the play. They indicate that justice must prevail in all situations and sinners must not go unpunished. After the death of Aloho, Ogeyi goes to the police station to report Aloho's death and to report the Minister of External Relation's illicit relationship with Aloho and how such has been instrumental in Aloho's tragedy and eventual death. Ogeyi also reports how Aloho has been used by the Minister to push cocaine and to satisfy his sexual urge and how she has ended up dying during childbirth after several failed attempts to abort the pregnancy. Ogeyi also reports Chief's connection with other law enforcement agents and his direct accessories (Madam Hoha and Ochuole). Ogeyi reports: 'In fact, these two are the real people behind Chief's atrocities.' Ogeyi's reports help the police in their investigations. They serve as evidence and reasons to press charges against the Chief at the law court. The Chief has been involved in several illicit, corrupt and illegal activities. One is the embezzlement of 1.2 billion naira. The Chief has also been involved in similar acts such as pen robbery, authorizing the Administration Officer (Ochuole) to apply, sign and collect about six million naira for the purchase of capital items, hiding large quantities of substances suspected to be cocaine in his house and working in concord with law enforcement agents such as the Commissioner of Police, Justice Odili, and using Madam Hoha's Akpara Hotel for several illicit activities. In the law court, after the Chief's arrest, Ogeyi attests to the truth. Ogeyi attests to the fact that the Chief is responsible for Aloho's death, the deception of the same and how she was falsely employed as the Protocol Officer and how the Chief has been the cause of her predicaments: 'The relationship turned sour when she discovered that she was being used as cocaine pusher under the cover of Protocol Officer.' Inspector Inaku (John Odey Inaku) also testifies to this. Efforts to defend these accusations both by the Chief and the defence counsel prove abortive. The Chief is found guilty of all the crimes levelled against him. The judge decides against the Chief that he shall no longer be addressed as 'Chief' because of the level of corruption attested against him. The judge decides that he shall not be addressed as chief because of the level of corruption attested by him. The Chief is convicted of several other crimes such as fraud, embezzlement, drug dealing, abuse and corruption, and betrayal of trust, and more crimes which the Chief and his defence counsel cannot successfully defend, despite their pleas for mercy. The proceedings of the court convict the Chief of all the crimes levelled against him. Chief Haladu Ade-Amaka, having been found guilty, is sentenced to twenty-five years of imprisonment. His accomplices, Justice Odili and the Commissioner of Police, are sentenced to twenty years of imprisonment each. The judge sees the two as 'a big disgrace to our noble profession,' as greed and avarice have blinded them against the ethical demands of their profession. Ayo, the clerk, is also sentenced to five years of imprisonment for failing to declare the ethical demands of his profession by keeping quiet about the illicit activities he was aware of.

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A foil is a character whose qualities and circumstances contrast with, and thereby highlight, those of another character. Aloho serves as a foil to Ogeyi in the play. Aloho and Ogeyi are university roommates and graduates of Mass Communication from the same university, and both are born-again Christians. However, their circumstances diverge sharply after graduation. While Ogeyi is fortunate to secure gainful, dignified employment and maintains her moral standing, Aloho becomes a victim of unemployment and economic desperation. This desperation makes her vulnerable to exploitation, and she is lured into an illicit relationship with the Minister/Chief, who uses her both to push cocaine and to satisfy his sexual urges under the guise of employing her as his Protocol Officer. Where Ogeyi remains steadfast, principled and resolute in exposing corruption — ultimately reporting Aloho's death and the Chief's atrocities to the police — Aloho's compromised circumstances lead to her tragic death during a botched, forced abortion. Through this contrast, the playwright uses Aloho's tragic fate to highlight Ogeyi's resilience, integrity and moral fortitude, and to underscore the devastating consequences of corruption and unemployment on vulnerable young people, especially women, in the society.

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Walter Lee Younger is the eldest and the only son of Mrs. Lena Younger by her deceased husband, Big Walter. After the death of his father, Walter Lee Younger is due to assume the roles and responsibilities of a father, being the eldest and the only son in the family. Walter Lee Younger is the father of Travis and the husband of Ruth. Walter Lee Younger lacks those qualities that qualify him as a mature man until the tail end of the play when he evidently attains his maturity. Walter Lee Younger's efforts to act as a mature man and as a father fail several times in the play. This failure is due to several reasons ranging from emotional immaturity, financial challenges, level of education to low self esteem. All these are products of racial oppression suffered by Walter and the entire blacks in the play. Walter's immaturity does not place him in the best position to act as the head of the family. For this reason, Mama (Lena Younger) still acts as the matriarch and the family head pending the time when Walter will become a fully mature man. Walter's faltering nature and inability to take the right decision attests to the fact that he has not attained his manhood. He tries to act like a father and gives his son carfare to Travis, knowing that he does not have the financial capacity to do so. Walter acts irresponsibly when the issue of Ruth's pregnancy comes up. Mama castigates him for such cowardly act. Walter's inability to reason and desperation to own a liquor store makes him a victim of dupe by Willy Harris. Walter takes a rash decision by committing a whopping sum of 6,500 dollar into Willy Harris' hands. By the time Willy Harris refuses to show up and runs away with the money, it becomes glaring that not only the destiny of Walter is at stake, but that of Beneatha and the entire family. Mama not only castigates him for this, she also beats him. This stupid act of his puts the whole family in emotional trauma. Walter's immaturity also comes into play when he engages George Murchison in an argument. Ruth tries to come in between, having sensed that intoxicated Walter will say nothing reasonable but gibberish. The two (Walter Lee Younger and George Murchison) engage in verbal assaults. George, in a reply, says: 'You are whacked up with bitterness, man.' George takes his leave with a statement: 'Thanks, good night. Good night, Prometheus.' Walter who does not know what this means thinks it is an insult. Walter's transformation 'into his manhood' takes gradual steps. Having lost money to Willy Harris and having considered Karl Lindner's offer of selling their newly bought apartment in Clybourne Park, Walter invites Karl Lindner for a talk against the decision and wish of the family. As Karl Lindner arrives for the signing of contracts, the situation takes a sharp turn. Walter comes to the realization of the fact that it will be unwise to disappoint the family once again. Having stammered and faltered for a while, Walter regains his confidence and tells Lindner point blank that he is no longer interested in the deal and the family is ready to occupy the house in Clybourne Park. Karl Lindner takes his leave after this humiliation. At this point, it could be said that Walter has transformed 'into his manhood' having displayed courage and maturity. Mama attests to this: 'He finally came into his manhood today, didn't he kind of like rainbow after the rain...' It is evident that Mama helps Walter to attain this transformation, having talked sense to his head.

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The jewels are of huge significance in the play. The importance of the jewels brings about the importance of inheritance in the play. Just as Tony's fortune rests on 1,500 pounds a year when he comes of age, Constance Neville's fortune also rests on the jewels which become her possession by the time she marries. Mrs. Hardcastle who is in the possession of these jewels, does not want to let go of them. She wants Neville to get married to Tony so as to retain the jewels in her custody. Constance Neville wants to elope with Hastings whom she so much loves. However, Constance Neville is bedeviled by Mrs. Hardcastle whose love for material things gets her adamant in the possession of the jewels. Mrs Hardcastle demonstrates her excessive love for material things when she ostensibly claims that the jewels have been stolen and tries to cajole Neville into believing that. She tries to convince Neville that she does not need the jewels: 'Indeed, Constance, you amaze me. Such a girl as you want jewels? It will be time enough for jewels, my dear, twenty years hence, when your beauty begins to want repair.' Neville replies and gives reasons why she needs the jewels: 'But what repair beauty at forty will certainly improve it at twenty, Madam.' The jewels are a significant factor in the development of the plot of the play. The plot continues as Tony and Mrs. Hardcastle keep on deceiving each other. When Mrs. Hardcastle falsely tells Neville that the jewels have been stolen, Tony also consents to that, meanwhile Tony has just stolen the casket of jewels behind Mrs Hardcastle. Tony plays practical tricks on Mrs Hardcastle as he feigns knowledge of the disappearance of the jewels and Mrs Hardcastle is happy with that. By the time Mrs. Hardcastle disappears and goes to check her bureau, she discovers that the casket has been stolen. Tony has just handed the casket to Neville and tells her to elope with it. This makes a fool of Mrs. Hardcastle. Tony continues to play tricks on Mrs Hardcastle till the end of the play. The jewels are significant as they aid the use of dramatic irony in the text. Young Marlow who is oblivious of the happening in the Hardcastle's house still believes that Mr. Hardcastle is the inn keeper while Mrs. Hardcastle is the wife. When the casket of jewels was handed to Young Marlow, he is only given so as to keep it. Unknown to Young Marlow, he returns the casket to Mrs. Hardcastle from whom the casket has been stolen. This is quiet funny and ironical. The desire to be in the possession of the jewels continues to rule Mrs. Hardcastle until the end of the play when she has no option than to relinquish them. Mrs. Hardcastle finally gets the jewels that details Neville and Hastings plan to elope through Diggory's carelessness and Tony's illiteracy. To thwart their elopement plan, she decides to take Neville to Aunt Pedigree in another town. But Tony is instrumental here as he is the only option for Mrs. Hardcastle's journey. He uses the opportunity to deceive Mrs. Hardcastle and makes her suffer stress as he takes her through a fictitious journey, claiming to be 40 miles away and to be somewhere around Crackskull Common where highway robbers do operate. Mrs Hardcastle's plan to whisk Neville off and to be in the possession of the jewels fails and she becomes the only unhappy person at the end of the play when her plan to marry Tony and Neville fails and she has no option than to relinquish the jewels to Neville who will be getting married to Hastings.

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Tony Lumpkin is the son of Mrs. Hardcastle by her first husband (Mr. Lumpkin) and the stepson of Mr. Hardcastle. Tony Lumpkin is the half brother of Miss Kate Hardcastle and the cousin of Miss Neville Constance. His mother (Mrs Hardcastle) wants him to marry Neville whom he so much detests. Tony Lumpkin is over-pampered by his mother and he is always at variance with his stepfather and the entire household. He constitutes nuisance in the family through his unserious acts of tomfoolery. Tony is entitled to 1,500 pounds when he comes of age and this also contributes to his unserious acts which his stepfather partially tolerates. Mr. Hardcastle detests Tony's acts of impudence and practical jokes. He once makes mention of Tony's tricks as he converses with Mrs. Hardcastle: 'It was but yesterday he fastened my wig to the back of my chair...' Tony spends many hours at the ale house where he plays practical jokes and engages in drinking and betting. Tony takes an interest in horses, 'Bet Bouncer' and especially the hale house where he joyfully sings with members of the lower classes. The fact that he will be entitled to 1,500 pounds when he comes of age makes him indolent and more committed to the activities at the ale house. Tony Lumpkin plays a vital role in the development of the plot. Tony contributes to the development of the plot through his practical tricks and deceits. He successfully deceives Young Marlow and Hastings and through this deception, he advances the plot of the play. He deceives Young Marlow and Hastings with the misconception that Mr. Hardcastle's house is an inn (Buck's Head). Young Marlow in particular lives in this misconception. This misconception colours his relationship with Mr. Hardcastle, his prospective father-in-law, and Kate, his prospective wife as he assumes that Mr. Hardcastle is an inn keeper and Miss Kate Hardcastle is a maid. This misconception also betrays Mr. Hardcastle's initial perception of Young Marlow whom he has thought to be bashful. Having been told by Neville that they have come to Mr. Hardcastle's house, Hastings decides to keep Marlow in the dark. Marlow's ignorance of his true situation reveals his true nature as disrespectful or saucy if situation permits. This helps to reveal Marlow's true identity. Tony plays vital roles in the play. He helps in recovering Neville's jewels from Mrs. Hardcastle and when the jewels later get back to Mrs Hardcastle through Marlow's ignorance and when Mrs. Hardcastle gets to know about Hastings and Neville's plan to elope, he helps to foil Mrs. Hardcastle's plan of taking Neville to Aunt Pedigree. He not only plays practical jokes on her when he acknowledges the loss of the casket when he happens to have been the one that stole it. He also plays practical jokes on her by taking her through a fictitious journey. He also scares her with the false presence of Mr. Highway Man (who happens to be Mr. Hardcastle) and frustrates her emotionally. Although Tony is the genesis of the misconceptions in the play, he is also helpful in finding solutions to some misconceptions and conflicts. He helps Neville and Hastings to get married and openly renounces any attachment to Neville. He denies having loved Neville and this helps Neville to get married to Hastings. He contributes to the happy ending of the play.

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Contrast is the literary device that juxtaposes or emphasizes opposites both in idea and structure. Gabriel Okara's 'Piano and Drums' is a good example of this. The poem emphasizes both structurally and thematically the contrast between African and Western cultures. The title of the poem is symbolic and it shows the contrast between African and Western cultures. While 'piano' represents Western culture through its complexities, 'drums' represents African culture through its simplicity. The first and the second stanzas of the poem are concerned about African culture, beauty and ideals. These stanzas also record the poet's African experience. These are portrayed vividly through the use of natural and familiar images, metaphors and symbols. The naturalness and consciousness that accompany African culture are evident in natural and familiar images such as 'jungle drums', 'mystic rhythm', 'raw', 'bleeding flesh', 'panther ready to pounce', 'leopard snarling about to leap'. These represent the idyllic and natural African environment that the poet stands to portray in the poem. The second stanza of the poem tallies with the first in the sense that it is also concerned about Africa. The second stanza portrays innocence, simplicity, ease and naturalness that accompany African culture. The innocence, simplicity and naturalness of African culture are typified through familiar images such as 'walking simple path', 'paths with no innovations', 'rugged', fashioned with the naked warmth of hurrying feet and groping hearts', 'green leaves', 'wild flowers'. While the first stanza is mainly concerned about the naturalness of African culture, the second stanza is mainly concerned about the simplicity and innocence of African culture. However, the third stanza contrasts with the first two stanzas. The third stanza represents the Western culture's complexities, intricacies, sophistication, which contrast the naturalness, simplicity and innocence of African culture. The complexities and sophistication that accompany the Western culture are evident in the images: 'wailing piano', 'speaking of complex ways', 'concerto', 'diminuendo', 'crescendo'. The poet uses esoteric and alien words to typify the Western culture. This also shows the poet's disapproval of the Western culture because these expressions are derogatory in a way that typify the Western culture. Although it is recorded in the poem that the poet is in dilemma, the poet still tilts towards Africa through his presentation of the African culture.

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The mood of the poet is that of hopelessness. This mood pervades the entire poem. The poet expresses his hopelessness on his country with sadness and fear. The mood of hopelessness is expressed in the poem as the poet becomes very hopeless about the situation in his country. The first stanza of the poem compares the country and the people (the land) to 'the giant whale that swallows the sinker with hook, line and bait.' Specifically, 'the land' and 'the giant whale' refer to the leaders, people in authority who use power to oppress the masses. The poet's hopelessness is conveyed in the expression 'aborting dreams of a good catch.' This attests to fact that the country, through the activities of the selfish leaders and those in authority, kills people's dreams and aspirations and renders them hopeless. The leaders who use power to achieve their selfish aims and to abet evils in the country are compared to 'the giant whale'. Their positions in the political echelons have placed them upon the masses whom they oppress mercilessly. The biblical allusion to Peter in 'all Peters with petered out desires' points to the futile efforts of the masses to achieve desired success. However, the reverse is the case as they end up with 'petered out desires.' The masses become hopeless and despondent due to their inability to achieve the desired success. The mood of hopelessness is also conveyed in the fear and intimidation that accompanies the activities of the oppressive ruling class. These rulers are compared to 'the sabre-toothed tiger that cries deep in the glade.' The corrupt leaders use their power and influence to intimidate the masses. They also use their power to foment crises and insecurity in the country. This is evident in the expression: 'The land is a giant hawk that courts unceasing disaster as it hovers and hoots in space.' The mood of hopelessness is conveyed in the last stanza of the poem as the poet envisages the disappointment that awaits the good-willed dreamers and aspirants in the country. It is unfortunate that failure awaits them: 'The land lies patiently ahead awaiting in ambush those who point away from a direction towards the shore of possibilities.' The situations in the country do not allow success and for these reasons, masses end up not achieving their dreams. All efforts to scale through against all odds become abortive and the hope of success is bleak.

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The poem 'Crossing the Bar' is a philosophical poem that meditates on death. Through the use of nautical imagery, the poet portrays death as a voyage: a journey on the sea. On the surface, the poet is set to embark on a voyage, but this voyage is not an ordinary one. It simply means death. The voyage as portrayed in this poem is death, which is a journey of no return. The poet sees death as a welcome phenomenon as he approaches death with hope. The first stanza of the poem presents the poet's persona as a person old enough to embrace his death. 'Sunset and evening star' is a metaphor for old age. The poet's persona is old and, as a result, death beckons: 'and one clear call for me.' The poet does not want the usual sadness and mourning to accompany his death: 'May there be no moaning of the bar/when I put out to sea.' The 'bar' and 'sea' in this context typify death. The poet's persona is set for this voyage of death and he is sure and certain that things are in order and in place to ascertain the success of his voyage: 'but such a tide as moving seems asleep/ too full for sound and foam.' It is evident that the voyage is going to be peaceful and devoid of impediments from the aquatic bodies. The third stanza of the poem re-echoes the idea in the first stanza. 'Twilight and evening bell' represents old age and the impending death. The poet opines that after his death, the loved ones should exercise no sadness of farewell: 'May there be no sadness of farewell when I embark.' The poet reiterates that his death should not be mourned or treated with sadness; rather, it should be treated as a natural and inevitable occurrence which must come in due time. The poet notifies the people to be left behind that 'the flood' may bear him far. The flood here means death. He also hopes to 'see my Pilot face to face when I have crossed the bar.' 'Pilot' here means God, to whom all souls must report. It is of note that the poet is conscious of heaven and the certainty of meeting his maker when he has 'crossed the bar.'

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Diction is the choice of words. The poet's choice of words has effects on the subject matter of the poem. Blake's 'The School Boy' is a Romantic poem that centres on the quest for fulfillment in nature. As a Romantic poet, the poet places preference on simplicity and clarity of expression and as a Romantic poem, words are carefully chosen to reveal the natural environment that the poet tries to portray in the poem. The poet is of the view that education acquired in the natural environment is better and more pleasurable than the one acquired in the classroom and words are carefully chosen to fit each of the two situations portrayed by the poet in the poem. The first stanza gives us an idyllic and beautiful picture of the natural environment which the poet's persona enjoys. Words are carefully chosen to express the jubilant mood of the poet's persona (the boy) for being in that natural environment where there is peace, freedom and easy interaction with the natural phenomenon: 'I love to rise in the summer morn/ When birds sing on every tree/ The distant huntsman winds his horn,/ And the skylark sings with me:/ O what sweet company!' The choice of words in the first stanza shows the joy the boy derives in being in a natural environment because it gives him a sense of freedom, joy and peace. The boy exclaims: 'O what a sweet company!' The tone is that of happiness and joy. The boy expresses joy in being in the company of such natural phenomena such as 'birds', 'skylark' and of course the beauty and allure of 'summer morn.' The choice of words expresses the contrast between the natural world and the world of rules, artifacts and formalities expressed in the second stanza. There is a change of environment in the second stanza and there is a proportionate change of mood from the boy: 'But to go to school in a summer morn, -/ O it drives all joy away!' The boy treats the formal education acquired in classroom with hatred because it comes with lack of freedom and especially the fear emanated by the presence of the teacher, 'the cruel eye' who dishes out command and metes out punishment to the defaulters. The poet uses the words 'sighing' and 'dismay' that accompany formal education to contrast the 'joy' and 'sweet company' that accompany the activities of nature. Being in a natural environment, you learn through the activities of nature but being in an academic environment should learn by commands and punishment. The boy asks further: 'how can the bird that is born for joy sit in a cage and sing?' The expression 'bird that is born for joy' lends more credence to freedom in the natural world. The poet expresses his distaste for the formal education and captures it in a derogatory term 'cage.' This shows that formal education stifles joy and impedes freedom. The poet also uses the words 'learning's bower,' 'dreary shower' and 'anxious hour' to express the boy's distaste for school. These words also portray formal education as boring, stifling and humdrum. Words are carefully chosen to express the poet's love for nature in the subsequent stanzas as he uses these natural expressions to convey his message. Examples of such are 'tender wings', 'youthful springs', 'buds', 'tender plants', 'springing day', 'summer fruits', 'mellowing year', etc. These words attest to the fact that the poem is a Romantic poem. The words used in the poem 'The School Boy' are clear, simple and easy to understand. They naturally convey the poet's message. These words also portray the simplicity of expression that accompanies Romantic poetry.