WAEC Literature in English 2019 Theory Past Questions

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PAPER 2 — PROSE (Answer two: one from each section)

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SECTION A: AFRICAN PROSE

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Points to develop: Background; Deprivation; Misery; Decadence; Lawlessness; Positive side of Agbogbloshie Market. Agbogbloshie Market came into being after the destruction of Makola Market in 1979. It started as a market for floating traders. The first chapter of the novel records Fofo's new job, which is washing vegetables and carrots in Agbogbloshie Market. Agbogbloshie becomes a haven for street children and all kinds of homeless folks who have lost the trace of home or who are business wanderers. The first chapter also captures the sorry situation of street children who sleep together in a cramped shack. The market lacks security, facilities and amenities, and it is located in Sodom and Gomorrah, which is a ghetto inhabited by street children. The name Sodom and Gomorrah emanates from 'vices' and anomalies that characterize the place. In Agbogbloshie, people live in misery. Exploitation of characters like Maa Tsuru and Baby T by Kpakpo is an attestation to this. Baby T is portrayed to have suffered such suffering warrants her being a sex worker. Fofo's poverty leads her to dressing like a boy to rob Kabria. Fofo eats bread for breakfast, lunch and supper and Odarley cannot go back home for the fact that she is not wanted. The interview conducted by Harvest FM on the street children also reveals the abject poverty that characterises Agbogbloshie market. Macho also takes Fofo's saving for a week. This reveals the plight and oppression in Agbogbloshie Market. Agbogbloshie Market is characterized by lawlessness, lewdness, sexual immorality, bullying, drinking, theft, extortion, filth and lack of facilities and many immoral acts. An example of sexual abuse or rape is Poison's attempt to rape Fofo at the opening of the novel. Another example is an attempt by the shoe shine boy to have sexual intercourse with Odarley whom he takes for the ice water girl. Youths are exposed to adult lives. Also, in Agbogbloshie Market, there are cases of murder. The corpse of Baby T that lies for days behind the Blue Rasta kiosk is an example. The criminal acts in Agbogbloshie Market are unchecked. The police can do nothing to arrest or prosecute Poison for killing Baby T. Macho oppresses without scruples and goes unchecked. There is breakdown of law and order in Agbogbloshie Market. Despite the negative sides of Agbogbloshie Market, it has its own positive side. Agbogbloshie Market is a business centre for traders and buyers of all kinds. Particularly, it is the place where Kabria encounters Fofo, which leads to Fofo's rehabilitation and the resolution of mystery surrounding Baby T's death.

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Points to develop: Definition of the street child; What makes a child leave home and live on the street; Children entrapped in streetism; The helplessness of the street child; Facelessness of the street child. A street child is a minor living on the streets and fending for himself or herself. This is caused by parental irresponsibility on the part of the parents. The parents procreate continually not bearing in mind the responsibilities of procreation and raising a child to become a total child. Lack of education and extreme poverty and lack of will power on the side of the parents contribute to the street children phenomenon. The government is also to blame for not including the poor and the destitute in their agenda for the state. A street child is faceless; s/he takes on the characteristics of the street and therefore loses his or her identity, hence becomes faceless. He is a subject of lack of parental care and societal neglect and harassment at home. Vulnerable to such excruciating suffering is Fofo. Fofo is an intelligent girl of 14. She drops out from primary school and faces the oppression from a randy stepfather, Kpakpo. The same experience is typical of Baby T. who is sexually abused by Kpakpo and Uncle Onko. She eventually becomes a sex worker and this leads to her death. Odarley too is a product of lack of parental care. None of these mentioned characters are in good terms with his/her parents. Fofo's visit to Maa Tsuru after Poison's rape attempt is an attestation to this. Exposed to sheer suffering on the street, these street children are subjected to oppression and molestation from the older ones such as Poison and Macho, who themselves are a product of parental irresponsibility. Poison was once flogged with belt by his stepfather. Having been exposed to life of cruelty, Poison bullies and kills under-aged prostitutes. He also attempts to rape Fofo and threatens to use her as replacement for the late Baby T. Macho also collects 'spot-fine' unaccounted for. All these happen on the street. The street child is helpless and vulnerable. He or she has nobody to defend him/her. Baby T's death is taken with a pinch of salt; her attempts to defend herself against the brute force of Poison results in her death. Fofo has to use her own tactics to escape from Poison. On Kabria's second visit to Agbogbloshie Market, she finds Fofo badly beaten up. It can be concluded that the street child has no identity. Fofo, Baby T, Macho, Odarley and the rest of them have no family names. They are lumped together and not cared for.

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Points to develop: Description of Kufi village; The importance of the moonlit nights; The serenity of moonlit nights; The beauty of moonlit nights; The villagers' perception. Kufi village is typical of an African village with a population not tainted by modernization. It is surrounded by neighbouring villages such as Adeyipo, Ladunni, Kelebe, etc. A dog's bark or a cock's crow goes through the whole village. The village is driven by superstitious beliefs. The occupations are mainly farming, hunting, arts and craft and several other occupations typical of an African village. They practise old customs which include cap picking ceremony as typical of age-long practice in some traditional African communities. The absence of electricity in the village makes the moonlit night very significant to the people of Kufi. They even personify the moon: 'It peeps... reappears playfully among the woods.' Moonlit nights create a peaceful atmosphere that makes people engage in various lively activities. Examples are storytelling, and impartation and inculcation of moral and cultural values to the younger generation. The moonlit nights are beautiful. Villagers, especially children are mesmerized and enthralled. They see various images on the surface of the moon. The villagers also associate many myths with the moon. For instance, the shooting star that falls from the sky is symbolic of death.

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Points to develop: Introduction of Uncle Deyo; His assistance to Yaremi; His objection to Alani's adopted life style; His sacrifice to show Alani his late father's property; His advice to Alani. Uncle Deyo is portrayed as the bosom friend of Ajumobi when he was alive. They usually worked on their farmlands like twins. After Ajumobi's demise, he helps Yaremi with difficult chores such as mending the leaky roofs of her house and rebuilding the walls of her mud house. He assumes the role of overseeing Ajumobi's property left to Yaremi after his death. Yaremi turns to Uncle Deyo for assistance after the death of Ajumobi. He assumes the role of a father and a figure by trying to make Alani become responsible. He takes Alani on a tour of his father's farms and tells him what is expected of him as Ajumobi's son. Uncle Deyo objects to Ajumobi's adopted lifestyle. For this reason, he calls him a freak. He advises Alani to stay at Kufi and take an interest in his father's property. Unlike Lanwa who uses his position as half brother of Ajumobi to lay claim to Yaremi as a wife, Uncle Deyo remains loyal. He does not allow greed or selfish desire to take the best of him. He represents the few men in African tradition who are not motivated by desire to acquire wife and property as demonstrated by Lanwa, Ayanwale and Olonade in the novel.

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SECTION B: NON-AFRICAN PROSE

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Points to develop: Background of Mr. Dalton; His relationship with the blacks; His employment of black people in his mansion; His short-sightedness; Mr. Dalton's demonstration of hypocrisy. Mr. Dalton is a wealthy capitalist. He is husband to Mrs. Dalton and father to Mary Dalton. He owns property in Southside Chicago. Evidently, the Biggers are tenants in his estate. Mr. Dalton professes to be a lover of blacks. The ping pong game played by Bigger and his friends at Mr. Docs is one of his establishments. Mr. Dalton rents kitchenettes to the blacks at higher prices than apartments rented to the whites. He is indeed a capitalist. He donates large amounts of money to 'uplift' black citizens, yet he fleeces them with exorbitant house rent. This portrays him as a hypocrite. Mr. Dalton employs Peggy, the Irish as cook. He had earlier employed Green, a black as a chauffeur. Green is said to have spent ten years with the Daltons and he was able to further his education. All these are cover-ups for Mr. Daltons ills. Bigger is employed as chauffeur in replacement of Mr. Green. Mr. Dalton is wary of Communists and for this he has to interrogate Bigger. Mr. Dalton is oblivious of certain things that happen around him. He is not sensitive to the fact that Mary, his daughter moves with a Communist, Jan Erlone. He also undermines Bigger, not having imagined that Bigger could have the temerity to abduct Mary. Despite his material and financial success, he is outsmarted by Bigger that he almost pays off the boy ten thousand dollars after killing his daughter. Over Mary's movements, he interrogates Bigger. Not satisfied, he invites a private investigator (Mr. Britten) to help out. At the court scene, Boris Max confronts Mr. Dalton and argues that Mr. Dalton is a hypocrite. His philanthropic acts are meant to clear his conscience of the injustices he has done to the blacks. He extorts the blacks and offers poolroom games in return. The death of Mary serves as a lesson to Mr. Dalton and other whites on the adverse effect of racism. Mr. Dalton is used as a scapegoat for the racist whites.

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Points to develop: 'Native Son' as a novel on the problems of racism; The trial exposes the vicious cycle of oppression; Racism — a reality; Hypocrisy of the whites; Outcome of the trial. The killing of Mary by Bigger brings out the problem of racism in the United States of America. Bigger is a product of a racist society and this reflects in his physical, psychological and social make-up. The killing of Mary by Bigger brings out the debate that Bigger should not be blamed for such act. He is a product of hate, fear, frustration and oppression that threaten his daily existence. Bigger could not have killed Mary in the first place. The killing is propelled by fear and the undue closeness. Although Bigger feels satisfied in the end that he killed Mary, this could have been as a result of societal pressure and of course as a payback for the racist oppressions suffered by the blacks. After the killing of Mary, the whites assert that Bigger should be executed for killing a white lady, not minding the fact that Bessie Mears, the fellow black has been killed by the same person. The trial of Bigger exposes the vicious of oppression. Bigger is supposed to be tried according to the law but some whites still demand that jungle justice should be passed on him because he is black. Some prefer that he should be lynched in the open. The Ku Klux Klan come out and protest. They demand his release so as to be lynched as other blacks in the past. The trial of Bigger also unleashes oppression on the entire black folks in the US. An example is Jack and Jill. One of the folks confesses to release Bigger for trial if he finds him, not minding the fact that they are fellow blacks. The trial reveals that racism is a reality in the US. This is evident in the fact that even the likes of Boris Max and Jan Erlone, not minding the fact that he is being implicated by Mary's death, decides to get a lawyer (Mr. Boris Max) for Bigger. Mr. Max defends Bigger in court and argues that racism is dangerous. He argues that Bigger's act is a result of racist oppression, which if not stopped, will result in several violent acts in the future. The likes of Mr. Buckley and Mr. Britten represent racism in their approach to Bigger's trial. The two are biased and prejudiced. Mr. Britten's prejudice is in his interrogation of Bigger, not minding the background information. He is moved by colour. Mr. Buckley is also prejudiced and biased by his own selfish ambition of becoming a State Attorney. He threatens Bigger into accepting that he is guilty and plays on people's emotion to make sure that he is sentenced to death. He calls Bigger all kinds of racist names. The trial of Bigger reveals that the whites are hypocrites. Mr. Buckley is spurred by his ambition. Mr. Dalton's philanthropic displays are meant to cover up for his guilt for oppressing and exploiting the blacks. The judiciary is also hypocritical. The case of Bessie Mears is not addressed in the court. This reveals the hypocrisy of the law in the US. The law favours the rich and the white. The outcome of the trial reveals that there is inequity in the American justice system. The media judges Bigger ahead of court trial. Bigger is finally sentenced to death by electrocution.

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Points to develop: Power as a central theme in the novel; The treatment of women; The women's submission/reaction to tradition; The women's emphatic relationship with one another; Manfred's oppressive role. Power is a central theme in the novel The Castle of Otranto. The novel portrays a typical patriarchal society with a pathological crave for power and dominance. This is demonstrated by Manfred's efforts to get his sickly son Conrad married prematurely so as to continue the reign. The result is the untimely death of the boy. Even with this, Manfred wants another son that will keep his reign and power. The females in the novel are mainly Hippolita, Matilda, Isabella and Bianca and their attitudes in the play show that women are being marginalized and have no say. Prince Manfred treats his wife (Hippolita) callously. The first instance is the death of Conrad. Hippolita is not allowed the true information that surrounds this boy's death. Manfred goes ahead in pursuit of Isabella. He also invites the priest, Father Jerome to dissolve the marriage between him and Hippolita on the ground that the latter is his cousin. Manfred's treatment of his own daughter: his lack of concern for Matilda's wellbeing also, shows the bad treatment of women in the novel. Hippolita is too submissive. She is a loyal woman both to the patriarchal structure and to her husband. Matilda on the other hand is quietly rebellious and wants no affectionate duty to Manfred her father. She hates her father's attitude to, and treatment of, her mother. Isabella is helpless, but not incapable of expressing herself. She rejects Manfred's proposal to substitute himself for his dead son (Conrad). Bianca loyally accepts the patriarchal structure. She is happy with the way Manfred treats Hippolita and Matilda. As a result of male dominance and treatment of women in the novel, the female characters in the novel are sympathetic with one another. This is shown in the relationships between Hippolita, Matilda and Isabella. Their individual attitudes are defined by their common experience. They are collectively bound by the norms and traditions of the society, though their attitudes vary considerably from one person to the other. Manfred's greed for power, though oppressive, provokes little or no reaction from the women. Manfred decides to give Matilda in marriage to Frederick (Isabella's father) so that he might marry Isabella. This is precluded though, Hippolita reacts to this. The tragic end in the novel (death of Manfred's family) is a result of oppression of women and their silence towards patriarchal structure in the novel.

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Points to develop: Varieties of irony in the novel; The murder of Alfonso the Good; Bianca's intimation to Matilda that Theodore and Isabella are having romantic understanding of each other; A dramatic irony unfolds; Mistaken identities. There are instances of irony in the novel, namely: verbal, dramatic and situational irony. These instances of irony advance the plot and contribute to the theme of mistaken identity in the novel. The first instance of irony in the novel is the murder of Alfonso the Good by a chamberlain he trusted (Don Ricardo, the usurper). No one could have thought that Don Ricardo could have murdered Alfonso. Their relationship was so cordial and Alfonso had confided so much in Don Ricardo. Alfonso was thought to have been killed in the war until this truth is brought to the fore through Father Jerome's narration. Another instance of irony in the novel is Bianca's intimation to Matilda that Theodore and Isabella are having romantic understanding of each other, which later turns out to be so not. The relationship between Theodore and Isabella is initially platonic. Theodore has helped Isabella through the trapdoor. Their situations are identical (being threatened by Manfred). They are not making love as thought by Bianca. A dramatic irony unfolds when Manfred decides to execute Theodore and Father Jerome pleads on his behalf only to realize at the end that Jerome is his son. Apart from this, Theodore who appears to be a common peasant at his first appearance in the novel turns out to be the rightful heir to the throne of Otranto. The use of irony in the novel contributes to the theme of mistaken identities in the novel. Manfred murders his own daughter (Matilda) in a bid to kill Isabella in a fit of jealousy. Theodore nearly kills Isabella's father (Frederick) after he vows to kill the great knight in her defense. The situational irony plays out in the end when Manfred claims to having a biological relationship with Hippolita, whereas Hippolita has already calmly accepted his offer of divorce. Manfred realizes in the end that the prophecy he has striven to prevent has just come to realization. He realizes that he has lost everything: Conrad, Isabella, Matilda, Hippolita and his family.

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PAPER 3 — DRAMA AND POETRY (Answer four: one from each section)

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SECTION A: AFRICAN DRAMA

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Points to develop: Statement of the central theme; The location of the shrine; The role of the shrine; The desecration of the shrine; The consequence of the desecration. The Blood of a Stranger by Dele Charley condemns the European exploitation of Africa and how African leaders were complicit in the exploitation of their own people. The play centres on the themes of colonialist exploitation, greed, corruption and the consequence of these in the desecration of the hallowed culture of Mando Land. Mando Land is a representation of African countries robbed by the imperialists. Mando people had been living in peace under the reign of King Santigi Mando V until the arrival of Whitehead whose greed and desire to rob the people of their diamond and the complicity of Maligu and Soko lead to eventual bloodbath in the play. Being a traditional society, the culture of Mando lends credence to the voice of the gods. For this reason they have a hallowed shrine located in the cave where no one else but the priest is allowed to be. The priest is expected to sleep in the cave where the shrine is located. The shrine is tended by Soko the priest and his men. The shrine is the inhabitation of the gods. It is likewise a place for rituals and sacrifices. The shrine is where the gods decree, give instruction and proclaim their intentions to the people through the priest. No wonder, Soko capitalizes on this and uses it to exploit the people of Mando Land. There is no doubt that despite the respect given to the shrine, the people still desecrate it in different ways. Soko sleeps in a hut in the forest instead of the cave as claimed. Kindo also attempts to sleep with Wara near the shrine. Soko uses his power and the people's belief in gods' commands from the shrine to decree a false virgin sacrifice in collusion with Maligu. The eventuality of the lies perpetuated by Soko, Maligu and Whitehead is the bloodshed that claims the lives of Soko, Whitehead and his right hand man, Parker. Consequent upon the desecration of the shrine is the banishment of Kindo by Santigi who is compelled by Maligu to banish him (Kindo) for having killed on the peace day. Santigi's uncritical adherence to culture plays out here. Although Kindo is recognized as the hero of the play and he promises to come back to reclaim the throne on his father's death, his banishment leaves us in doubts as to the possibility of Maligu becoming king after the death of Santigi.

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Points to develop: Statement of the central theme; The relationship between Santigi and Kindo; Seeds of separation/discord; The banishment of Kindo by Santigi supposedly to protect custom; Implication of the rift between father and son for the future of Mando Land. The Blood of a Stranger by Dele Charley condemns the European exploitation of Africa and how African leaders were complicit in the exploitation of their own people. The play addresses the themes of colonialist exploitation, greed, corruption and the consequence of these in the desecration of the venerated culture of Mando Land. Mando Land is a representation of African countries robbed by the imperialists. Mando people have been living in peace under the reign of King Santigi Mando V until the arrival of Whitehead whose greed and desire to rob the Mando people of their diamond and the complicity of Maligu and Soko lead to eventual bloodbath in the play. Kindo is the son of King Santigi; he is the heir apparent to the throne. Kindo is the Chief of the Warrior of Mando Land according to the custom and tradition. Kindo is educated although this is kept secret by his father. Father and son relationship exist as well as cordial relationship exist between him and his father until the arrival of Whitehead. With the arrival of Whitehead and his intrigues with Maligu and Soko, Kindo's relationship with Santigi becomes gradually strained. Whitehead comes to Mando Land on the pretext of establishing tobacco farm and a school but his aim is to exploit the diamonds which he dubs 'evil stones'. With the collusion of Whitehead, Maligu and Soko, the priest (Soko) falsely declares a virgin sacrifice. Kindo is averse to these intrigues having sensed the danger inherent in the arrival of Whitehead and hypocrisy in the services of Soko and Maligu. Santigi on the other hand falls for these intrigues. He welcomes Whitehead whose utter disregard to the custom invites punishment by Kindo. Santigi and Kindo become estranged on the account of Whitehead. The people of Mando Land take strange drink offered by Whitehead in place of their age-long mampama. Women offer themselves to men for sex and insanity becomes the order of the day. Santigi in his gullibility welcomes Whitehead to his palace, takes from the evil snuff offered by Whitehead and keeps the rest with one of his wives. Provoked by the desecration of custom by Whitehead, Kindo becomes deviant and in his deviance, he kills Parker and ironically kills Whitehead. With the killing of Whitehead, Maligu prevails on Santigi and compels him to invoke the law on Kindo, his son. Santigi commands the banishment of Kindo from Mando Land in protection of the custom. Kindo departs with his men and promises to come back to reclaim the throne on the death of Santigi. Kindo's banishment leaves us with the probability of Maligu becoming king after the death of Santigi and Mando Land may never regain the peace it has enjoyed before the arrival of Whitehead.

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Points to develop: Statement of the central theme; The use of allusion; The use of soliloquy; Use of symbolism; Use of irony; Foreshadowing; Use of contrast and conflict; The relevance of each dramatic element to the development of the plot. (Note: well developed points on any three of the given dramatic elements (2,3,4,5,6,7 in addition to points 1 and 8) earn good mark.) The play Harvest of Corruption by Frank Ogodo condemns the pervasive corruption and its negative consequences on society and individual. The play presents the sorry case of Aloho, a jobless and desperate graduate who becomes prey in the hands of Chief Ade Amaka, a depraved and roguish Minister of External Relations. Aloho, in her desperation to get a job goes to Jabu where she meets her old friend, Ochuole who was notorious for her untoward acts in the university days. Aloho secures a bogus job of a protocol officer with Chief Ade Amaka through her friend Ochuole and from there she is trapped in cocaine pushing, an event which leads to her tragic end in the play. At the end of the play all the characters that are complicit in corruption are sentenced to imprisonment. One of the dramatic elements in the play is allusion. There are instances of biblical allusion in the play. Aloho's response to Ogeyi's advice to go back to her parents in the village is an example of this. She says: 'I feel like a prodigal daughter.' Aloho's appreciation of Ogeyi's friendship and offer of advice also shows this: 'Blessed are those who comfort ... for they shall be comforted.' Another example of biblical allusion is the Judge's verdict on Chief Ade-Amaka and his accomplices: 'The holy book of God tells us that the wages of sin is death'. There is a use of historical allusion in the play. An example is Chief's reference to Biafra war in a joke with Madam Hoha in respect of her demand for a commission for her service. There is use of soliloquy in the play: ACP Yakubu's soliloquies which reveal his integrity and willpower to stand against corruption: 'How can all these be happening without any one having the willpower and the moral courage to say No!' Another use of soliloquy is ACP Yaubu's displeasure at the extent to which the society is engulfed in depravity: 'What a world we are in...a real craze for money that needs psychiatric therapy...' Another dramatic element used in the play is symbolism. Madam Hoha's Akpara Hotel is den of corrupt people and vice. For example, Madam Hoha confides in Ochuole: 'We will dangle this babe before Chief for a price.' The Wazobia Hospital is also a symbol of corruption in the health sector where a doctor extorts money to perform abortions. Justice Odili also symbolises the corrupt judiciary. The madman is a symbol of a state of disorder and lawlessness, in fact, ACP Yakubu thinks the madman 'symbolises a country that is riddled with madness and lawlessness.' Each dramatic element deployed in the play is relevant. They highlight the pervasiveness of corruption; they typify as well as characterize those involved in the corrupt practices in the play.

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Points to develop: Statement of the central theme; Physical attributes of ACP Yakubu; His commitment to work; He believes in teamwork; His eventual success in prosecuting crime. The play laments the pervasive corruption and its negative consequences on society and individual characters in the play. Despite the corruption that has eaten deep into the fabric of the society and individual characters in the play, ACP Yakubu stands out as an exception to the endemic corruption. ACP Yakubu is portrayed as a ray of hope and agent of social change in the play. He makes sure that those who are complicit in corrupt games in the play don't go scot free. At the end of the play they are sentenced to respective years of imprisonment. ACP Yakubu is a man of 39 years old although he looks 50: the look reflects his ponderings on the incessant corrupt practices that characterise the country Jacassa. He is stout and heavily built. He wears a scar running down his face. He wears a characteristic frown, giving the impression of a no-nonsense officer. ACP Yakubu is a disciplinarian to the core. He is zealous and always stays abreast of current happenings. He is frequently '...in his office reading newspaper. He is unwaveringly determined to succeed in tackling crime. This is evident in his words: 'We need a rebirth that will lead us into a new dawn.' ACP Yakubu is reputed to have 'cracked so many crime cases to his credit.' ACP Yakubu is also presented as someone who believes in teamwork. He has a good working relationship with other officers such as Inspector Inaku and Constable Ojo. He also exhibits openness to Ogeyi when she comes to complain about the Chief's excesses and how her friend, Aloho has died through his (Chief) corrupt practices. ACP Yakubu would have loved to work with the cooperation of the commissioner but the latter is too corrupt and unyielding. Through his discipline, teamwork and determination, ACP Yakubu is able to prosecute the crime cases in the play. He puts Chief Ade-Amaka and others before court. He successfully gets Chief Ade-Amaka and others convicted. For instance, Chief Ade-Amaka is sentenced to 25 years of imprisonment; Justice Odili is sentenced to 20 years of imprisonment; The Commissioner of Police is sentenced to 20 years of imprisonment; Madam Hoha and Ochuole are sentenced to 10 years of imprisonment each and Ayo is sentenced to 5 years of imprisonment.

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SECTION B: NON-AFRICAN DRAMA

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Points to develop: Statement of the central theme of the play; Character identification; Asagai's intelligence and charm; Asagai's role in the play; Conclusion. The play A Raisin in the Sun by Lorraine Hansberry records the treatment of the blacks in the South Side Chicago in the US of the 1930s through 1950s. The play addresses the theme of racial discrimination and its impact on an African American family: the Youngers. Asagai stands as cultural identity in the play. Joseph Asagai is a young African man having his education in America. He is Beneatha's preferred boyfriend. Asagai is proud of his African heritage: 'Nigeria is my country, Yoruba is my tribal origin,' he tells Mama. Asagai engages in intellectual discourse with Beneatha about Africa and her views of the wider world. He worms his way into the favour of the Youngers. With his engaging personality, he is able to discuss issues with Beneatha without rancor; he is able to criticize her hairstyle. He has an idealistic view of Africa: 'I will show you mountains and stars; and give you cool drinks and teach you the old songs and the way of our people.' Asagai educates the Younger family about wider issues; he helps to widen their horizon. Asagai also serves as a counselor and comforter when the family is under stress from Walter's losing the rest of the insurance money. He is a timely lover of Beneatha. He replaces George Murchison as future husband of Beneatha. Asagai is a strong supporter of Beneatha and helps her to hold on to her dream of becoming a medical doctor with or without assistance from her family. Asagai is a young Yoruba man from Nigeria. Intelligent, charming, polite and kind, he is idealistic and proud of his African heritage. He is instrumental in making Beneatha and her family become aware of their African heritage.

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Points to develop: Statement of the central theme; Character identification; Mama's deep love for Travis and concern about his well being; Travis's reciprocal love and trust in Mama; Mama's wishes for a better life for Travis. The play A Raisin in the Sun by Lorraine Hansberry records the treatment of the blacks in the South Side Chicago in the US of the 1930s through 1950s. The play addresses the theme of racial discrimination and its impact on an African American family: the Youngers. Travis is the youngest person in the family of Youngers; he is the eleven year old son of Walter Younger and Ruth. Travis and Mama live with the others in Chicago's Southside, a typical black African American location; their often dark, three-room apartment is cramped: one room for Walter and his wife; one for Mama and Beneatha; Travis sleeps on the couch in the living room. Mama has deep love for Travis. She is concerned about Tavis's well being. She indulges him to the annoyance of Ruth, his mother. Mama is also very much concerned about Travis's sleeping place. She is particular about his menu. In fact, Travis is the key factor of Mama's buying the house for the family. Like Mama, Travis reciprocates his love. Travis is preoccupied with having Mama to be like the Joneses; he buys her a garden hat like the ones he sees in magazines. When his mother will not give Travis money for school, he is certain to get it from Mama, of whom he says, '...she just gives me sometimes.' Travis is convinced that Mama is always there for him. Mama wishes for a better life for Travis. Mama grooms Travis to become a responsible adult. She gives Travis the responsibility of monitoring and taking the insurance cheque (which his father gives away). When Walter seems to be on the verge of undoing all that Mama has done by accepting Lindner's offer to return the purchase price, Mama makes Travis watch his father, dare not fumble in front of his son.

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Points to note: Statement of the central theme; Character identification; The plan to elope; The attempt to elope; Tony's remedy. The play She Stoops to Conquer by Oliver Goldsmith is a comedy of manners that centres on the theme of love and marriage in the middle class society. The play features the love relationships between Mr. and Mrs. Hardcastle, Young Marlow and Kate Hardcastle, Hastings and Constance Neville. It is a play on mistaken identities, practical jokes and plots-within-plots. Tony plays an important role in the play. Tony is the stepson of Mr. Hardcastle and the son of Mrs. Hardcastle. Tony's role in the elopement brings in the relevance of other characters. Hastings is the friend of Young Marlow and lover of Constance Neville. Constance is the niece of Mrs. Hardcastle. Except Hastings, Tony and Constance live with the Hardcastles. This implies that they have known each other for long and Tony is being cajoled into marrying Constance so as to keep the jewel in the Hardcastle's family. The visit of Young Marlow and Hastings to the Hardcastles establishes the love relationship between Constance and Hastings, although they claim to have known each other beforehand. Their love relationship continues to develop as Hastings stays with the Hardcastles. Hastings gets to know that Mrs. Hardcastle could be an obstacle to marrying Constance Neville and Tony could be of help. This brings in the plan to elope. In order to elope, several attempts are made. Constance Neville's jewels have been with Mrs. Hardcastle and they have to be retrieved. Tony now offers to help in stealing the jewels from the over materialistic and greedy Mrs. Hardcastle and hand it over to them (Neville and Hastings). Tony succeeds in stealing the jewels but Hastings messes up by giving the jewels to Young Marlow for safe keeping, knowing that Young Marlow is oblivious of the happenings in that house. Young Marlow innocently hands the jewels over to Mrs. Hardcastle for safe keeping. Tony's second attempt to help is circumvented by Hastings's letter to Tony, which cannot be read and is seized by Mrs. Hardcastle. The negative comments on the elopement infuriate her and she decides to send Constance to Aunt Pedigree. In an attempt to remedy the situation, Tony drives them round and round the house, pretending that they have journeyed 40 miles away. Their discovery by Mr. Hardcastle foils the elopement plan. The declaration of Tony's true age enables him to pursue his love for Betty Bouncer. Tony, therefore, cannot be blamed for the failure of the elopement plan.

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Points to develop: Statement of the central theme of love and marriage; The different relationships outlined in the play; Introduction of characters and their relationship; Information on the characters; Implications for the advancement of the plot. The play She Stoops to Conquer is a comedy of manners that centres on the love relationships and marriage in a middle class society. The play is about love mistaken identity, appearance and reality and other themes which make interesting the love relationships and marriages between Mr. and Mrs. Hardcastle, Kate Hardcastle and Young Marlow, Constance Neville and Hastings and the feigned love relationship between Constance Neville and Tony, whose love is for Betty Bouncer. The mistakes caused by Tony at the beginning of the play are eventually corrected at the end of it. In Act 1, Scene 1 of the play we get to know the love relationships between each character: the relationship between Mr. and Mrs. Hardcastle; the relationship between Hastings and Constance Neville; the relationship between Young Marlow and Kate Hardcastle; the relationship between Tony and Betty Bouncer. Mr. and Mrs. Hardcastle are the father and mother of Kate Hardcastle. Tony Lumpkin is Mr. Hardcastle's stepson and the son of Mrs. Hardcastle. Kate Hardcastle is the daughter of Mr. and Mrs Hardcastle. Constance Neville is cousin of Kate and Tony and Mrs. Hardcastle's niece. In Act 1, Scene 1 of the play, Mr. and Mrs. Hardcastle have conversation about their living conditions in the countryside. Mrs. Hardcastle is unhappy and describes their house as old fashioned. She feels denied the opportunity to 'rub off the rust a little' in the city and feel as trendy as her neighbours. Mr. Hardcastle, on the other hand, is content with the old ways: 'I love everything that is old including an old wife and old stories.' This statement reveals Mr. Hardcastle's humour which will be treated in subsequent scenes. Act 1, Scene 1 also reveals the perception of Mr. and Mrs. Hardcastle on Tony Lumpkin. Mr. Hardcastle believes that Tony is being spoilt while Mrs. Hardcastle is of the opinion that he is not. Tony is addicted to liquor; he also plays pranks on everybody and with all that, his mother dotes on him. Another important issue raised in this scene is on Tony's real age. Act 1, Scene 1 shows Kate Hardcastle. She is free to wear such attractive dresses in the day but in the evening, she is to be in her house wear. This Act also reveals Mrs. Hardcastle's greed, her desire to get Tony and Constance Neville married so that she can be with the jewels. It also shows Kate's relationship with her father and her willingness to please him. Act 1, Scene 1 reveals the impending arrival of Kate's suitor, Young Marlow. Kate is surprised about Young Marlow's bashfulness. Act 1 Scene 1 of the play prepares the audience for subsequent events in the play. It also provides important knowledge of the characters and their idiosyncrasies which they play out in the rest of the play.

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SECTION C: AFRICAN POETRY

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Points to develop: Statement of the theme; Definition of rhetorical question; Appeal to the senses; Appeal to emotion; General effects of the various appeals. The poem 'Vanity' by Birago Diop draws from rhetorical questions to drive home the intended points. The poem is about the abandonment of traditional ways by the African elites and how this has led to their many woes in the present dispensation. This in no doubt reflects in their disregard for their traditional and cultural practices and how they have become the laughing stock of the Western world for doing so. Africans are dubbed as lacking identity and origin and having no history. The poet laments the sorry state of African elites. Rhetorical question is a question that requires no answer. It is asked for emphasis and rhetorical effects, to evoke pity, to pass across an important piece of information, to work on people's emotion, stir them to action and create in them an awareness of what they are not aware of. It is also a form of suspense. The use of rhetorical questions in the poem appeals to the senses in several ways: 'Who indeed will hear them without laughter?' This use of rhetorical question appeals to the sense of hearing. The rhetorical question above heightens the shame of educated Africans who have abandoned their cultures and who have become laughing stocks of the Western world. The poet asks further: 'What eyes will watch our large mouths / Shaped by the laughter of big children / What eyes will watch our large mouths?' These reveal the ludicrous situation of educated Africans. Their lamentations and comments about the discrimination and oppression by the Western world where they run for refuge are baseless. They are the causes of their own plights and sufferings. So, their complaints and reactions are empty and are compared to 'the laughter of big children'. 'What eyes will watch our large mouths' if we don't return to our cultural practices and shun baseless cries and complaints? The plights of African elites are also revealed in the rhetorical questions that echo their emotional appeals thus: 'What heart will listen to our clamouring? What ear to our pitiful anger Which grows in us like a tumour In the black depth of our plaintive throats?' Unfortunately, the emotional appeals of the oppressed, maligned, discriminated and marginalized African elites will not produce any positive results. Their complaints are in vain, their 'anger' funny and baseless and their 'clamouring' ineffective. Therefore, it becomes pertinent for the African elites to return to their cultural practices, appreciate what it means to be African. They should value their custom, aesthetics and philosophies and like a prodigal son, return mentally, emotionally and physically to their ancestral ways. This will bring the desired change and give a good image of Africans to the world.

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Points to develop: Statement of the theme; The traumatic experience of a family (soldiers) at table (battlefield); Hunger and cruelty in war society; All round insecurity and danger; The cumulative effect. 'The Dining Table' by Gbanabom Hallowell is a poem that chronicles the Sierra Leonean eleven-year civil war (1991–2002). The poem is a lamentation of cruelty and destruction that accompanies war whenever it happens. The poem records the ravages of war on the people and on society in general. It laments the devastating effects of war. The traumatic experience of a family at war is captured in the equivocal expressions: 'Dinner tonight comes with gun wounds'. It should be noted that the dinner refers to war and the devastating effects of war manifests in 'our desert tongue lick the vegetable blood.' This is disastrous. The fatal effects of war are accentuated in the expression: 'Guests look into the oceans of bowl as vegetables die on their tongue.' Hunger and cruelty accompany the war in this order: 'Children from Alphabeta with empty palm dine with us; switchblades in their eyes/ silence in their voices.' The cruelty of war is evident in the conscription of the unlettered children into the war. These children are hungry and this hunger shows in their facial expression 'switchblades in their eyes.' They are emotionless. The danger and insecurity of the war is heightened by the excesses and spoils of 'guerrillas' that 'walk the land' and 'crocodiles' that 'surf'. 'Playground' is also 'emptied of children's toys'. 'Cholera breaks its spell on cracked lips'. These are the mixtures of predatory and disease-laden images to heighten the effects of war. The persona becomes a revolutionary. He resolves to fight the injustice and oppression. Unfortunately, his energy is sapped and he has no or few followers. He is doomed to fail as evident in his words: 'My boots have suddenly become too reluctant to walk me. When remedies are past, griefs are ended By seeing the worst, which late on hopes depended, To mourn a mischief that is past and gone Is the next way to draw new mischief on. What cannot be preserved when fortune takes, The robbed that smiles, steals something from the thief, He robs himself that spends a bootless grief.'

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SECTION D: NON-AFRICAN POETRY

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Points to develop: Statement of the theme; Summer's inherent qualities; Defects of summer in comparison; Juxtaposition of a summer's day and lover's beauty; Consequences of summer's defects. The poem 'Shall I Compare Thee to a Summer's Day?' by William Shakespeare centres on the appreciation of a loved one. The poet compares his lover to a summer's day and concludes that his lover's beauty is beyond compare. Her beauty is eternal and immortal. This is captured in the last two lines that sum up the poem: 'So long as men can breathe, or eyes can see / So long lives this and this gives life to thee.' The poet highlights the inherent qualities of summer. It is moderate; it is temperate and it produces the 'darling buds of May'. By comparison, his lover is more temperate and more moderate. This is captured in the expression: 'Thou art more lovely and more temperate.' The poet also highlights summer's defects. Summer has its own defects which by comparison the poet's lover does not have. It is less lovely; it is less moderate; it is short lived; it is subjected to rough winds: 'Rough winds do shake the darling buds of May/ And summer's lease hath all too short a date.' Summer is sometimes too hot and it is subject to change and shortly passes away. This is captured in the expression: 'Sometime too hot the eye of heaven shines/ And often in his gold complexion dimmed/ And every fair from fair sometime declines'. In comparison and juxtaposition the lover's beauty is unparalleled. She is more temperate and she is not subject to defects and juxtaposition the lover's beauty is unparalleled. She is more temperate and she is not subject to defects to which summer's day is prone to. Summer is not permanent but her 'eternal summer shall not fade'. She shall be forever appreciated so far the artistic piece (poem) that documents her beauty is being read.

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Points to develop: Statement of the theme; Description of the birches; Use of sight and sound images; Use as pastime; Impact on persona's experience. The poem is a poem on nature, particularly the birches, tall, slender tree with papery, peeling back, native to America. The trees are resilient and their resilience shows in the way they come back to their form after the wind storm. The quality of the birches typifies one's ability to overcome the pressures of life by being resilient. Birches are strong and resilient and don't break easily. They are able to tolerate the winter ice storm and they revive as soon as summer breaks, even though the ice 'cracks and crazes its enamel'. This manifests in the persona's description of birches. One is made to visualize the ice storms that bend the birches, the snow crusts that weigh them down, the crystal shells of ice that create an impression of 'heaps of broken glass' and the 'dome of heaven' having fallen. Its trunks 'arching in the woods' and being loaded off as timber. The birches 'trail their leaves on the ground'. Birches are used as pastime. The poet imagines 'some boy been them' by 'riding them down over and over again'. The poet alludes to his having been a swinger of birches: 'So was I once myself a swinger of birches.' The impact of the birches on the persona shows in words and phrases appealing to the senses of sight and sound. His 'face burns and tickles with cobwebs' and he also sees 'life as a pathless wood'. Lesson from birches helps the poet's persona to withstand life's vicissitudes. This is evident in the pain of an eye 'weeping/ from twig's having lashed across it open.' This lesson fortifies him against the tedium of life.