WAEC GCE Literature in English Drama and Poetry Obj And Essay/Theory Questions and Answer – NOV/DEC 2017 Expo Runz.
THE PANIC OF GROWING OLDER
The gigantic hopes that one have at age twenty are
uncertain and at the age thirty brings emotional pains due
to failures. Even the proof that one will live longer enough
to achieve the expectations waiting to be achieved is not
certain. As one grows through adulthood, various
challenges confront one’s endeavors, affecting both the
personal expectations and the public expectations,i.e,
those things the world and the people around expect a
person to achieve as a growing adult. “From now on the
world has you” shows that every adult is a captive or a
slave to the world; one must impress with achievements to
be regarded as a success
i)Uncertainty of human future and expectations
ii)Varying challenges of adulthood
iii)Personal and Public expectations of adulthood
iv)Captivity of being an adult.
Travis represents the future of the Younger family. Hansberry drops some not-too-subtle on us when we hear that one of Travis’s favorite pastimes is playing with rats. It kind of sucks when your “future” is hanging out with vermin. Mama and Ruth understand that if they stay living in their crappy apartment, Travis is destined to always settle for less than he deserves. the Younger family will never escape the slums. Travis’s father, is planning to take the money from Mr. Lindner to not move into the white neighborhood, Mama insists that Travis stay and watch his father give in to “The Man.” Travis’s eyes are just too innocent, though, and Walter can’t bring himself to do it in front of his son. If Travis saw this, Walter would always feel like a giant tool and a bad father.
CHIEF ADE HALADU-AMAKA
He is the Minister of External Relations and the epitome of
corruption in the play. He is the ring leader of acriminal
network of drug peddlers. He engages inbribery, large
scale embezzlement of public funds,sexual immorality and
fraud. His character is ironical.
As a Minister of External Relations, he is supposed to
promote his country’s image in the comity of nations. On
the contrary, Chief Haladu-Amaka through his many vices
portrayed his country in a bad light.
Water water everywhere. And not a drop of it is literal. That’s right, folks, in this poem, the ocean is one whopper of a metaphor, representing that Great Gig in the Sky, death.
Sunset, Twilight. Dark. Yep, that’s pretty much how it goes when you die. First, you grow a little older, a little crustier. Then you grow really old and crusty. And finally, you reach the point.
For a poem about death, this one sure is noisy. Mostly, those noises are there to remind us of the human grief that surrounds death, but they’re also the death knell itself – a sound to remind.
If the sea represents death, well then sailing represents that long, slow journey toward death. Setting out from the safe harbor of life and into the great unknown of death is the central metaphor.
Change Your 1 – 20
issues of child-neglect, child abuse, defilement of girls, gender, child-trafficking, child-labour, absent fathers, reproductive health risks, violence and failed governance through the grim experiences of street children. In Accra, MUTE, a non-governmental organisation seeks to unravel the mysterious death of Baby T, a child prostitute whose battered body was found in a slum behind a rasta hair salon kiosk. MUTE’s encounter with Fofo, Baby T’s sister opens an investigative trail into the lives of neglected children. Where do street children come from? Why are they on the street? Who are their parents? These are some of the questions answered unequivocally inFaceless.
Firmly embedded inFacelessis the loud and clear message that parents should take responsibility for their children. More pronounced is the message that no child should be brought into the world without visible means of providing for him physically, financially, psychologically and emotionally.
Mary is a very rich white girl who has far leftist leanings. She is a Communist sympathizer recently understood to be frolicking with Jan, a known Communist party organizer. Consequently, she is trying to abide, for a time, by her parents’ wishes and go to Detroit. She is to leave the morning after Bigger is hired as the family chauffeur. Under the ruse of a University meeting, she has Bigger take her to meet Jan. When they return to the house, she is too drunk to make it to her room unassisted and thus, Bigger helps her. Mrs. Dalton comes upon them in the room and Bigger smothers her for fear that Mrs. Dalton will discover him. Although she dies earlier in the story, she remains a significant plot element, as Bigger constantly has flashbacks during stressful times, in which he sees various scenes from her murder.