WAEC 2024 LITERATURE DRAMA AND POETRY QUESTIONS
WAEC 2024 LITERATURE DRAMA AND POETRY
WAEC LITERATURE DRAMA AND POETRY QUESTIONS
WAEC 2024 LITERATURE DRAMA AND POETRY
(NUMBER 1)
(1)
In the African drama “Let Me Die Alone,” the deaths of Yoko and Gbanya are pivotal moments that encapsulate the themes of power, betrayal, and sacrifice. These events are deeply intertwined with their personal struggles and the political tensions of their time.
Yoko, a historical figure and the drama’s tragic heroine, becomes overwhelmed by the pressures and turmoil in Moyamba. Feeling humiliated and unfit to rule, she decides that the only way to achieve peace is through death. This sense of overwhelming despair drives her to poison herself. In her final speech, Yoko articulates her longing for peace, saying, “If I’m to die, then let me die alone… and now I will know peace. Now I will never be used again. Gbanya, make way, Yoko is coming in search of peace.” Her words reveal her profound disillusionment and her desire to escape the burdens of leadership.
Gbanya, the chief of Senehun and Yoko’s husband, plays a crucial role in the unfolding tragedy through his broken promises and political missteps. Although he initially promises to pass the chiefdom to Yoko, he later retracts, citing the threats from external enemies and the turbulent political environment. This betrayal deepens Yoko’s sense of despair. Gbanya’s failure to keep his promise is evident when he reflects on the changing circumstances: “Remember you made a promise a long time ago that at the time of your death the chiefdom passes into my hands.” His vacillation and eventual poisoning by Lamboi and Musa, who conspire to prevent Yoko from gaining power, precipitate Yoko’s final, tragic decision.
Yoko’s empathetic nature and deep sensitivity to her people’s plight make her a compassionate leader, but these qualities also render her vulnerable to the immense stress and emotional toll of leadership. The constant pressures become unbearable, leading her to conclude that taking her own life is the only way to find peace. Her ultimate act of self-poisoning is a testament to her desire to bear the burdens alone. In her final moments, she declares, “I have savored the fruits of power alone… let me die alone… and now I will know peace,” underscoring her isolation and the weight of her sacrifices.
The political intrigue and external pressures further complicate their lives. Gbanya’s rule is undermined by the British colonial influence, particularly Governor Samuel Rowe, who humiliates him in front of his people. This public degradation symbolizes the erosion of traditional authority and foreshadows the instability that leads to both their deaths. Lamboi and Musa’s conspiracy to poison Gbanya to prevent Yoko from assuming power adds to the tragic unraveling of their lives.
Yoko’s final act of poisoning herself is the culmination of her profound sense of betrayal, loss, and yearning for peace. Her last words, “I… did not bring a child into this world. So let no one mourn my death. Tell the entire Chiefdom, none should mourn my death,” reflect her resignation and desire to be forgotten, highlighting her loneliness and the depth of her sacrifices. This self-imposed isolation in death underscores the tragic dimensions of her character and her quest for peace.
WAEC 2024 LITERATURE DRAMA AND POETRY
(NUMBER 2 VERSION 1)
(2)
Foreshadowing is a powerful literary device that adds depth, suspense, and anticipation to storytelling. In the play about Madam Yoko, foreshadowing is expertly used to hint at future events and outcomes, allowing the audience to anticipate key developments and their consequences. Through subtle clues and hints scattered throughout the narrative, the playwright effectively creates a sense of foreboding and tension, enriching the dramatic experience for the audience.
One prominent use of foreshadowing in the play is evident in Gbanya’s promise to pass power over to Yoko upon his death. This initial promise sets the stage for the power struggle that unfolds after Gbanya’s demise. As the audience witnesses Gbanya’s determination to uphold his promise and Yoko’s eagerness to assume leadership, they are subtly foreshadowed about the potential conflict and turmoil that will arise regarding Yoko’s succession to power.
The impending danger of Gbanya’s death is foreshadowed through various ominous signs and events. The arrival of the messenger with the Governor’s message and the subsequent accusations against Gbanya hint at the events that lead to his downfall. Gbanya’s insistence on Yoko inheriting the chiefdom further reinforces the audience’s anticipation of the turmoil that will follow his passing, setting the stage for the tragic events that unfold.
Lamboi’s treachery and plot to kill Gbanya with poison are also foreshadowed through secretive conversations and hesitant actions. The audience senses the impending danger as Lamboi’s true intentions become clear, creating a palpable sense of foreboding and suspense. The tension builds as the plot unfolds, leading to the inevitable tragedy that befalls Gbanya and sets the stage for further conflict and turmoil within the kingdom.
As Yoko assumes the role of chief after Gbanya’s death, the challenges she faces are foreshadowed through ongoing interference from the Governor and conspiracies orchestrated by Lamboi and Musa. The audience anticipates the struggles Yoko will encounter in maintaining her reign and protecting her people, heightening the tension and suspense as the narrative progresses.
Ultimately, Yoko’s decision to commit suicide serves as the climax of the play and is foreshadowed by her mounting despair and disillusionment. The Governor’s betrayal and the betrayal of her own people serve as the final catalysts for her tragic end. Through Yoko’s declaration of finding peace in death and the absence of mourning for her departure, the audience is foreshadowed about her ultimate fate, bringing the narrative full circle and leaving a lasting impact on the audience.
WAEC 2024 LITERATURE DRAMA AND POETRY
(NUMBER 3 VERSION 1)
(3)
The playwright makes use of some dramatic irony. Dramatic irony refers to the audience’s knowledge of something that the character who is speaking does not know. When the character makes an innocent remark action that refers to the “inside knowledge” that the audience has the character does not have, contains dramatic irony. For example, dramatic irony is seen when Sidi goes to the Bale’s palace to mock and taunt his impotence.
The audience is very much aware that Baroka’s much-publicized impotence is just a ploy to have Sidi to himself and woo her for marriage. It is also ironic that Sadiku, the head wife has also dragged into the trick and manipulation also. When Sidi makes up her mind to honor Baroka’s visit which she earlier turns down, the audience and the Bale himself are pretty aware that she will become the object of Baroka’s expensive joke when he eventually wins.
Another instance of dramatic irony is evident in the scene when Lakunle expects Sidi to be back from Bale’s palace. He is very much tensed and anxious to have her back. The audience is aware that Sidi has fallen victim to Baroka’s fake impotence. Also, the women are busy making sarcastic and sneering comments about the Bale’s supposed impotence while Baroka is busy exercising his manliness on Sidi in the palace.
There is also an instance of situational irony in the play. Situation irony is a situation in which actions that are opposite occurring that are not intended and the outcome is contrary to what is expected. For instance, it is ironic that the old Baroka, a man who does not want the railway to be built through llunjunle and consequently bribes the surveyor to stop the project, decides he must embrace modernity by having a stamp machine that would print Sidi’s images, given that his images are poorly treated as they are placed next to the latrine in the magazines.
WAEC 2024 LITERATURE DRAMA AND POETRY
(NUMBER 4 VERSION 1)
(4)
In Wole Soyinka’s “The Lion and the Jewel,” Lakunle’s attitude towards Baroka is complex and multifaceted, reflecting his deep-seated animosity and ideological differences with the older man. Lakunle’s disdain for Baroka, the Bale of Ilujinle, is fueled by several factors, each contributing to his passionate hatred and rivalry.
Firstly, Baroka’s interest in Sidi, which is sparked by her sudden fame, intensifies Lakunle’s loathing. When Sadiku, Baroka’s eldest wife, is sent to convey the Bale’s message of love to Sidi, she is met with rejection by the conceited girl. Baroka’s pursuit of Sidi becomes a significant point of contention for Lakunle, who already harbors deep resentment towards the Bale. Lakunle perceives Baroka’s intentions as yet another manifestation of his oppressive and archaic ways, further fueling his hatred.
Additionally, Lakunle blames Baroka for hindering progress in Ilujinle. He accuses the Bale of deliberately blocking the railway that would have passed through the village, believing that Baroka fears the changes and attractions that such development would bring. This act, in Lakunle’s view, epitomizes Baroka’s resistance to modernization and progress, which Lakunle fervently advocates. For Lakunle, Baroka symbolizes the stagnation and backwardness that he despises, intensifying his animosity towards the old man.
Despite Lakunle’s intense displeasure, Baroka remains undeterred in his pursuit of Sidi. In fact, Lakunle’s hatred seems to spur Baroka’s desire even further, possibly as a means to antagonize his rival. Baroka’s determination to win Sidi’s affection leads him to employ cunning tactics. He concocts a ruse of sudden impotence, using Sadiku to spread the false news to Sidi. This deception is part of Baroka’s strategy to manipulate Sidi into letting her guard down, thus enabling him to seduce her.
Sadiku plays a crucial role in Baroka’s scheme. She unwittingly becomes the bearer of the Bale’s deceit, naively believing the fabricated story of Baroka’s impotence. In her mischievous excitement, Sadiku taunts Baroka, thinking she has bested the powerful Bale. However, this belief in a lie ultimately leads Sidi into Baroka’s embrace, resulting in her marriage to him and the rejection of Lakunle.
Lakunle’s reaction to Sidi’s marriage to Baroka encapsulates his ultimate defeat and the futility of his efforts. Despite his vehement opposition to Baroka and his attempts to thwart the Bale’s plans, Lakunle is unable to prevent Sidi from succumbing to Baroka’s charm and cunning. This outcome not only solidifies Baroka’s dominance but also highlights the stark contrast between Lakunle’s idealistic but ineffective approach and Baroka’s pragmatic and manipulative strategies.
WAEC 2024 LITERATURE DRAMA AND POETRY
(NUMBER 5 VERSION 1)
(5)
The play reverberates with the caustic echoes of sarcasm, serving as a multifaceted tool to dissect characters’ inner turmoil, interpersonal dynamics, and societal critiques. Through Osborne’s adept utilization of sarcasm, the play emerges as a poignant exploration of post-war disillusionment, class struggle, and the complexities of human relationships.
At the heart of the play lies the protagonist, Jimmy Porter, whose razor-sharp wit and biting sarcasm serve as both armor and weapon in his relentless battle against the perceived injustices of society. Jimmy’s sarcastic barbs are directed indiscriminately, targeting his closest confidants, Cliff and Alison, as well as broader societal constructs. His scathing remarks towards Cliff, a working-class friend, and Alison, his own wife, reveal a deep-seated frustration with their perceived inadequacies and the constraints of their respective social positions. Through sarcasm, Jimmy articulates his disillusionment with the status quo, using humor as a shield to mask his underlying pain and insecurity.
In turn, Alison and Cliff employ sarcasm as a means of self-defense and assertion of agency within their tumultuous relationships with Jimmy. Alison, initially portrayed as meek and submissive, gradually adopts sarcasm as a tool to challenge Jimmy’s dominance and assert her own autonomy. Her sarcastic retorts serve as a subtle rebellion against Jimmy’s oppressive behavior, signaling her growing disillusionment with their marriage and societal expectations.
Moreover, sarcasm emerges as a form of conflict resolution within the play, allowing characters to navigate their complex relationships while avoiding direct confrontation. Instead of engaging in open dialogue, characters resort to sarcastic exchanges as a means of expressing grievances and asserting their positions. This indirect approach to conflict resolution underscores the characters’ underlying insecurities and the fragility of their interpersonal connections.
Beyond the realm of individual relationships, sarcasm serves as a potent vehicle for social commentary, offering scathing critiques of post-war England’s societal norms and class distinctions. Through sarcastic dialogue, Osborne exposes the hypocrisy and absurdity inherent in the rigid social hierarchy, interrogating the disparity between societal ideals and lived realities. Sarcasm becomes a means of articulating the characters’ frustration with the ossified structures of class and privilege, fueling their desire for change and upheaval.
Ultimately, sarcasm functions as a coping mechanism for the characters, enabling them to navigate the complexities of their lives amidst turmoil and uncertainty. Through sarcastic banter, characters carve out moments of agency and empowerment, reclaiming a semblance of control in a world fraught with disillusionment and despair.
WAEC 2024 LITERATURE DRAMA AND POETRY
(NUMBER 6 VERSION 1)
(6)
Cliff’s treatment of Alison stands in stark contrast to that of Jimmy. As a gentle and empathetic individual, Cliff represents a more compassionate and understanding presence in Alison’s life, providing her with emotional support and protection against Jimmy’s abrasive behavior.
Firstly, Cliff’s gentle demeanor and genuine fondness for Alison highlight his role as a comforting figure. Unlike Jimmy, who often exhibits fire, wit, and a bullying attitude, Cliff lacks any form of cruelty or verbal abuse. He appreciates Alison’s efforts in housekeeping and openly expresses his gratitude, creating a stark contrast to Jimmy’s harshness. This appreciation is evident in the way Cliff personally bandages Alison’s arm after she gets burnt, showcasing his caring nature and attentiveness to her well-being.
Cliff’s empathy and sensitivity further distinguish his character. He does not merely share in the problems of others but also seems to have an innate understanding of their feelings. Acting as a mediator between Jimmy and Alison, Cliff sacrifices his time and energy to try and maintain harmony in their tumultuous relationship. When Helena expresses her disdain for Jimmy, Cliff perceptively suggests that she might actually harbor deeper feelings for him. He is also the only person who senses Alison’s growing inclination to end her marriage, highlighting his intuitive understanding of her emotional state.
Moreover, Cliff’s relaxed and easy-going nature, combined with his self-taught intelligence, makes him a stabilizing force in the play. His affectionate relationship with Alison, while it has elements of sexual tension, remains rooted in a comfortable fondness rather than passionate desire. This platonic yet intimate bond provides Alison with a safe space amidst the chaos of her marriage. However, recognizing the need to pursue his own life, Cliff eventually decides to leave Jimmy’s apartment, demonstrating his desire for personal growth and independence.
Cliff’s good nature and supportive role make him a confidant for Alison. He is ever willing to offer his assistance and counsel, encouraging her to reconsider her decision to leave Jimmy. When Alison expresses her disillusionment with love, Cliff gently admonishes her, urging her not to give up on her relationship. His steadfast support underscores his commitment to Alison’s happiness and his belief in the possibility of reconciliation.
WAEC 2024 LITERATURE DRAMA AND POETRY
(NUMBER 7 VERSION 1)
(7)
Friday serves as a significant day that brings to light various crucial aspects of the characters’ lives and their interactions, symbolizing both routine and turning points. The recurrence of Friday in the play underscores the cyclic nature of their struggles, aspirations, and confrontations. Through different events that transpire on Fridays, Wilson weaves a complex narrative that highlights the importance of this day in shaping the characters’ experiences and the overall story arc.
The play opens on a Friday in 1957, marking payday for Troy and Bono, two garbage collectors and close friends. This day symbolizes a moment of temporary relief from their labor-intensive work, allowing them to engage in their ritual of drinking and talking. The payday ritual not only cements the bond between Troy and Bono but also offers a glimpse into their shared struggles as working-class African American men. Their conversation reveals Troy’s courage and determination as he questions their boss, Mr. Rand, about the racial discrimination in their workplace. Troy’s desire for equal job opportunities reflects his broader struggle against systemic racism, making Friday a day of reflection and resistance.
Friday also serves as a catalyst for tension between Troy and his family. On this day, Troy’s son Cory discusses his aspirations to play college football, which Troy vehemently opposes. Troy’s refusal to support Cory’s dreams is rooted in his own experiences of racial discrimination in sports. His skepticism about Cory’s future in football exposes the generational conflict and differing perspectives on opportunity and success. This tension is further amplified when Troy informs Cory’s coach that Cory can no longer play, effectively shattering his son’s hopes. The significance of Friday in this context lies in its role as a day when personal and familial conflicts come to a head, forcing characters to confront their fears and desires.
The events of Friday also highlight Troy’s complex relationships with other characters. For instance, when Lyons, Troy’s eldest son from a previous marriage, visits to borrow money, it underscores the strained relationship between father and son. Lyons’ request for financial assistance on payday reveals his dependence on Troy, while also illustrating Troy’s conflicting emotions as a provider who resents yet supports his son’s musical aspirations. Moreover, Bono’s accusation of Troy’s infidelity, sparked by Troy buying a drink for another woman, further complicates his relationship with Rose, his wife. These interactions on Fridays expose the fragility of familial bonds and the underlying tensions that permeate their lives.
As the play progresses, Fridays continue to be pivotal. In Act One, Scene Four, which also occurs on a Friday, Troy celebrates his victory in becoming the first black garbage truck driver in the city. This achievement, while significant, is bittersweet as it comes amid ongoing familial discord. Cory’s anger towards Troy for sabotaging his football dreams resurfaces, leading to a confrontation that foreshadows deeper conflicts. Troy’s reflection on his past, his struggles, and his responsibilities as a father and husband all converge on this day, highlighting the duality of triumph and turmoil.
In the second act, the unraveling of Troy’s life is marked by significant events that also revolve around Fridays. Troy’s affair with Alberta and her subsequent pregnancy introduce a new layer of complexity to his relationships. When Alberta dies during childbirth, Troy is left to face the consequences of his actions. Rose’s decision to raise the baby, Raynell, while distancing herself emotionally from Troy, marks a turning point in their marriage. The culmination of these events on Fridays underscores the day’s role as a symbol of both routine and disruption, reflecting the ebb and flow of Troy’s life.
WAEC 2024 LITERATURE DRAMA AND POETRY
(NUMBER 8 VERSION 1)
(8)
Troy Maxson’s past profoundly shapes his present circumstances, influencing his actions, relationships, and worldview. Troy’s experiences as a young man and his struggles with racial discrimination have left deep scars that manifest in his interactions with his family and his approach to life.
Troy’s history as a talented baseball player who never made it to the major leagues is central to understanding his present outlook. Despite his skill, Troy was barred from the major leagues due to racial discrimination, which occurred just as these leagues began accepting black players. This exclusion has left him bitter and resentful, coloring his perception of the opportunities available to his son, Cory. When Cory is recruited by a college football team, Troy vehemently opposes it, fearing that Cory will face the same racial barriers and disappointments he did. This fear and protective instinct drive Troy to sabotage Cory’s football aspirations, believing he is shielding his son from inevitable heartache.
Troy’s harsh and domineering attitude towards his family is another consequence of his past struggles. Having endured a brutal upbringing and the hardships of life as a black man in a racially segregated society, Troy has developed a rigid, authoritarian approach to parenting. He imposes his own failed dreams and fears on his children, particularly Cory, whom he demands to abandon football and focus on practical, stable employment. Troy’s inability to express love and support is rooted in his own experiences of deprivation and hardship, leading him to equate providing materially with fulfilling his paternal duties.
The complexity of Troy’s character is further revealed through his relationship with his wife, Rose. Despite his genuine affection for her, Troy’s past failures and frustrations contribute to his extramarital affair with Alberta. The affair is an escape from the pressures and disappointments of his life, offering him a fleeting sense of control and freedom. However, when Alberta dies during childbirth, Troy is forced to confront the consequences of his actions. Rose’s decision to raise Alberta’s baby, Raynell, but distance herself emotionally from Troy, underscores the destructive impact of his inability to reconcile his past with his present.
Troy’s relationship with his eldest son, Lyons, also highlights the enduring influence of his past. Lyons, an aspiring musician, is often met with Troy’s disdain and skepticism. Troy’s experiences have made him cynical about artistic pursuits, which he views as impractical and unstable. He begrudgingly supports Lyons financially but does so with a sense of superiority and disappointment, unable to appreciate his son’s passion for music. This dynamic reflects Troy’s internal conflict between his desire to support his family and his deep-seated belief that dreams are futile in a world marred by racial and economic injustices.
Moreover, Troy’s interactions with his friend Bono reveal the enduring bonds and shared history that shape his present reality. Bono admires Troy’s strength and integrity, qualities forged through years of struggle. Their friendship, spanning over thirty years, is a testament to the solidarity and resilience required to navigate the harsh realities of their lives. Bono’s respect for Troy’s determination to challenge racial injustices at work, as seen in Troy’s questioning of why black employees are not allowed to drive garbage trucks, highlights the persistence of Troy’s fight against systemic oppression.
SECTION- C(Pls Answer One From each part!!!!!
(9)
In the short story “A Government Service Driver on His Retirement” by Ken Saro-Wiwa, the government driver’s reward upon retirement and death is a complex issue. Here are key points of some arguments for and against:
Arguments for:
-Dedication and loyalty: The driver has served the government faithfully for 35 years, deserving recognition and reward for his dedication and loyalty.
-Hard work and commitment: He has worked tirelessly, often under challenging conditions, and has been committed to his duties.
-Entitlement: After decades of service, he has earned his pension and other retirement benefits as a matter of right.
-Dedication and loyalty
-Hard work and commitment
-Entitlement
Arguments against:
-Corruption and complicity: The driver has been complicit in the corrupt activities of his bosses, profiting from their wrongdoing and turning a blind eye to their abuses of power.
-Moral culpability: By supporting and enabling corrupt officials, he shares some responsibility for their misdeeds and the harm caused to others.
-Unworthy of reward: Given his complicity in corruption, some might argue that he does not deserve a reward or praise for his service.
-Corruption and complicity
-Moral culpability
-Unworthy of reward
Ultimately, whether the government driver deserves a reward is a matter of moral judgment, considering both his dedication and loyalty, as well as his complicity in corruption. The story highlights the complexities of accountability and moral responsibility in a corrupt system.
(10)
The story “The Leader and the Led” by Chinua Achebe, presents a critique of authoritarian leadership and explores the theme of resistance to oppressive leadership styles.
The rejection of the lion’s leadership qualities may symbolize the rejection of autocratic, domineering, or self-serving leadership traits. It could also reflect the desire for more inclusive, fair, and participatory forms of leadership within the animal community. Here are the key points they include:
-Autocracy: The lion’s dictatorial and oppressive rule, making decisions without consulting others.
-Selfishness: The lion’s prioritization of his own interests and needs over the well-being of the other animals.
-Injustice: The lion’s unfair treatment of others, using his power to exploit and oppress.
-Arrogance: The lion’s pride and arrogance, believing himself to be superior to others.
-Lack of empathy: The lion’s failure to understand and consider the perspectives and needs of the other animals.
The animals reject these qualities, seeking a more inclusive, fair, and compassionate leadership that values the well-being of all.
SECTION- D(Pls Answer One From each part!!!!!
(11)
In the poem “Bat,” the poet D.H. Lawrence presents a negative attitude towards bats. He describes them as “queer little house-creatures” that are “like brown paper parcels.” The poet also mentions that bats “hide in corners” and “dart out with an air of galantry.”
-These descriptions suggest that the poet sees bats as strange and sneaky creatures that are not to be trusted.
-Furthermore, the poet compares bats to “old women” who “must be secretly in league with the devil.”
-This comparison reinforces the negative attitude towards bats, as it implies that they are associated with evil or dark forces.
In other words on one hand, the poet expresses:
-Revulsion: Comparing bats to “disgusting old rags” and “bits of umbrella” conveys a sense of disgust and discomfort.
-Fear: The poet describes bats as “wildly vindictive” and “grinning in their sleep,” emphasizing their unsettling nature.
On the other hand, the poet also displays:
-Fascination: The poet is drawn to the bats’ ” queer little bodies” and “leathern wings,” suggesting a morbid curiosity.
-Empathy: The poet acknowledges the bats’ “blind, helpless faces” and “tiny, terrified eyes,” revealing a sense of understanding and compassion.
Overall, the poet’s attitude towards bats is one of ambivalence, oscillating between repulsion and fascination, highlighting the complexities of human emotions and perceptions.
(12)
In “The Journey of the Magi,” the poet T.S. Eliot portrays the suffering of the travellers as a necessary part of their spiritual journey. The poem describes the harsh winter conditions that the Magi face as they travel to Bethlehem, including “the worst time of year for a journey, and such a long journey.”
-The poet also mentions the “camels galled, sore-footed, refractory” and the “cities hostile and the towns unfriendly” that the Magi encounter on their journey.
-These descriptions suggest that the Magi are facing numerous obstacles and challenges that make their journey difficult and painful.
-However, the suffering of the Magi is not portrayed as a punishment or a curse, but rather as a transformative experience.
-The poem suggests that the Magi’s suffering is necessary for them to reach their spiritual destination and experience the birth of Christ.
-The poet writes, “We returned to our places, these Kingdoms, / But no longer at ease here, in the old dispensation.” This suggests that the Magi’s journey has changed them, and they can no longer go back to their old way of life. Overall, the poem portrays the suffering of the Magi as a necessary part of their spiritual journey and a transformative experience that leads to a deeper understanding of the divine.
Completed!!!!