WAEC 2021 Literature-In-English Drama And Peotry Answer – Aug/Sept Expo

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*LITERATURE*

*SECTION A*

*(Number 1)*

Yoko is portrayed as a beautiful, ambitious, and courageous woman who joins an all-male secret society (the feared Poro society) and consequently loses her right to motherhood, though not to her sexuality. She knows not everyone is happy that she is the chief of Kpa-Mende, especially her brother Lamboi. Ruler of Mende Chiefdom who is described to have a brain made from music. She wants to inherit the chiefdom of Senehun after her husband and she played the politics of succession well.Because it is war time, her husband prefers Ndapi his chief warrior. She is greedy and insolent

        In becoming a male-female, Yoko is much feared by her male contemporaries, envied by women in her constituency, and doubly pliable in the hands of the British rulers. The Governor describes her as a shining example not only of African feminine pulchritude but of one who blends grace, magnanimity, bravery, audacity, tranquillity, and majesty.  She feels so disgraced by the Governor's boundary demarcations to reduce her territorial control in spite of her years of loyalty to him.

             In history, Yoko is seen by many of her subjects as a usurper and a friend of the colonial administration; she remained controversial throughout her reign until her death in 1906. In the play, this controversy is packaged as a defiance of the cultural norm that women should not dare rule during war times.Because of her loyalty to her husband and her desire to lead, being somebody else's wife after her husband does not appeal to her. Her insistence at having control of her space and fighting a culture set-up that has no consideration for women as rulers, she has to be tough and insolent to push her agenda through.

             Being a visionary who willingly gives up the privilege of childbearing for the leading chieftaincy title in all of Kpa-Mende, she is willing to disprove the myth of female inferiority. Kargbo has done a tremendous job of portraying Yoko as an impressive ruler of heroic proportions. Indeed, the historic Yoko was nothing short of the heroic present Yoko as a complex figure whose feminine comportment, sensuality, and beauty promoted her among women, but whose fearless soul and unrestrained ambition made her to competent and visionary leader  among her males counters. It is a painful realization for Yoko that all this while she was being used and now she is being humiliated.

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No 3a

*Difference between BAD DEBT and DEPRECIATION*

By definition 

*  Bad debt is an expense that a business incurs once the repayment of credit previously extended to a customer is estimated to be uncollectible and is thus recorded as a charge off.

*  Bad debt is a contingency that must be accounted for by all businesses that extend credit to customers, as there is always a risk that payment won't be collected.

*   Bad debt refers to loans or outstanding balances owed that are no longer deemed recoverable and must be written off.

*   This expense is a cost of doing business with customers on credit, as there is always some default risk inherent with extending credit.

*  To comply with the matching principle, bad debt expense must be estimated using the allowance method in the same period in which the sale occurs.

*  There are two main ways to estimate an allowance for bad debts: the percentage sales method and the accounts receivable aging method.

*While Depreciation goes thus:*

*  Depreciation may be defined as the measure of the exhaustion of the effective life of on asset from any cause during the given period.

*  Depreciation is calculated on the value of the depreciable assets like building, plant, machinery, furniture loose tools etc.

*   It is a permanent and continuous decreases in the value of an asset.

*  Depreciation is caused due to use, efflux of time, obsolescence etc.

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*VERSION II OF NUMBER 9*

(9)

“Rage” is personified throughout the poem. It is possible that the poet does this deliberately to underline this fact: 

Rage is the “chief” architect of man’s troubles on this earth. And, by extension, negative emotions constitute a powerful force in our lives. 

This is why they must be avoided at all cost before they destroy us.

Rage, anger or hatred only serve to deprive the individual of the things he most desires. Rage is like a raider. It will steal the laughter, the, peace and calmness, sweetness and, indeed, all light from you if you allow it a place in your heart and mind

In other words, rage is the thief or “raider” always lurking around the corner to rob us of our dreams for a life of contentment.

Like corrosive acid, rage is toxic. It eats away the treasures of happiness that all humans work so hard to achieve.

In effect, all human suffering can be attributed to man’s inability to rid himself of dark emotions like anger, jealousy and hatred and to replace them with love.

Rage brings nothing other than trouble.

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*(NUMBER 11)*

In the Bimsey poplars ,so many literary terms were used but our major concern circulates among Alliteration, Assonance and Repetition

(a)Alliteration:

One of the significant figurative devices used in this poem is alliteration. By alliteration, one refers to the repetition of consonant sounds at the beginning of different words on the same line. A golden example of this in the poem can be found in line 4, where the poetic persona says, "of a fresh, following and folded rank'. In these lines, there is the repetition of the sound //. Another example can be found in line 8, where the poetic persona says, "wind-wandering 1-winding bank. Other examples within the poem include: "...swam of sank (line 7),'quelled... quenched' (line 2), 'all felled, felled, are all felled' (line 3), "fresh...following folded" (line 4), quelled or quenched in leaves' (line 2), 'growing

green' (line 11), 'sleek...seeing' (line 14) and beauty been' (line 19). Alliteration makes the different words blend into each other and weave into each other harmoniously. The use of alliteration also aids the poet's use of enjambment. The sounds and words do not end up clashing with each other, instead, they blend and give the work a kind of musicality.

(b)Assonance : This means the repetition of vowel found in a line of poetry. It is dominant literature term in the poem. In line 14, the sound |i:| is repeated in sleck and seeing. Also in 'mend' in and 'end' in linwell, sound |e| is repeated as well. The following are Assonate are repeated in the novel:

(i) 'Quelled ...quenched' /e/

(ii) '....dandled....sandlled' /æ/

(iii) '....knew....do' /u:/

(iv) '....we delve....' /e/

(v) 'Hack rack.... /æ/

(vi) '....sleek....seeing....' /i:/

(vii) '....prick will....' /i/

(viii) '....we....even....mean' /i:/

(ix) '....mend....end' /e/

(x) 'when ...delve' /e/

(xi) 'ten ...twelve' /e/

(xii) '...sweet ...scene' /i:/

(c)Repetition:

Repetition is a literary device that involves using the same word or phrase over and over again in a piece of writing or speech. Repetition appears in different dimensions in this poem.The poet's use of enjambement corroborates this. This is because enjambment is only possible if the lines are linked to each other ideationally and structurally. In line 3, there is another use of repetition. The word repeated here is "felled", and it is repeated three times. This word refers to the cutting down of the betweenThe repetition of the word "felled' also makes the line sound like the lamentation or cry of the poetic persona and lends a graveness to the entire line. On a deeper level, there are also repetitions of sounds like /f/ as in "felled, felled, are all felled' (line 3),/w/as in 'wind-wandering weed-winding... (Line 8) and other sounds like /d/ and/s/. The repetition of sounds makes the poem musical and creates the sounds of things found in Nature in the poem. /s/, for instance, reminds the readers of the hiss of a snake while sounds like /f/ and /w/ remind the readers of the sound of rushing air. The repetition o of "ten or twelve", twice, in line 20 emphasizes the vulnerability in Nature.In lines 22-24, "The sweet especial scene/Rural scene, a rural scene/Sweet especial rural scene, the poet also makes use of repetition. The repetition of these lines, especially the words, "sweet, 'especial", "rural', and 'scene' illustrates the beauty of the pristine countryside. This repetition is used to foreground the wholesomeness and purity of Nature when it is not polluted or damaged by human activities.

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*VERSION II OF NUMBER 12*

(12)

A poem tone is expressed through the attitude of emotional state of the speakers, 'Do not go gentle into that good night' has an unusual tone of defiant towards death rather than accepting or resigned. This explains the strong emotions that run through the poem. The poetic persona urges the listeners to rage, rage against the dying of the light. Rage is repeated for emphasis. It is also used to add taste of urgency to his request. He is desperately trying to appeal or provoke his listeners into finding the strength and audacity that he needs to stand up to death. He also affirms that old age should rave and burn only at the close of the day. The repetition rate of rage in the poem suggests desperation in the tone of the poet; in additional are anger and defiance. In the poem, the poetic persona portrays his attitude of defying death and encourages his listeners to do same. The poetic persona is angry at the despondence death brings and he believes strongly that the only way to counter the feeling of death is to defy it.

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