Literature in English NECO question 2020 will be shared here for free
NECO Literature Drama
and Poetry Answers
The NECO Literature in English Drama &
Poetry answers will be posted here
tomorrow during the NECO English
Literature drama and poetry exam.
NECO Lit. Drama and Poetry Answers
Loading…
Today’s Literature Drama and Poetry
Answers:
(3) wara is a stranger in mandoland too
but has lived there long enough to detest
being called stranger, and She is also in
love with Kindo, She not born in
Mandoland, her mother was taken prisoner
by one of mando’s warriors during the war;
her mother ran away after giving birth to
her.
Wara cautions kindo form doing anything
which will anger the spirit, Wara is the only
Kindo’s woman that will be sexually
assaulted by Whitehead. Maligu and soko
lot abduction into a sack and then take to
whitehead’s compound. she fortunately
escapes.
For her love for Kindo, she is ready to risk
anything to be with him, likes to follow him
everywhere and Kindo is not comfortable
with that as a warrior. Her love for Kindo is
so intense that she refuses to leave with
her grandfather to their homeland but
remains in Mandoland in order to be with
Kindo. In a way, her mother is seen as a
slave ofthe Mando people. This reality
poses a great threat to her relationship
with Kindo. This is why Kindo cannot take
her to the palace.
Even though she has absolute faith in
Kindo, she is still very mindful of her
integrity as a woman and also respects the
customary norms of her society. This is
one of the reasons she resists Kindo
having her just anywhere and pushes to be
taken to the palace. Wara’s steadfastness
in preventing Whitehead from raping her is
indicative of the resilience of the
bloggingAfrican space to Western
plundering schemes.
(5) [Pick two]
(i)Charles Marlow:
Charles Marlow, the play’s central male
character, is a modest and well-educated
man who has set out to court Kate
Hardcastle. Believing the Hardcastle home
to be an inn, Marlow is rude to Mr.
Hardcastle, whom he thinks is the
innkeeper. Marlow is extremely shy around
upper-class women, becoming a nervous,
bumbling fool in their presence. But around
women below his status, he becomes a
confident and dashing rogue.
(ii)Miss Kate Hardcastle:
Miss Hardcastle is the other central
character and the one who does the titular
stooping. The daughter of Mr. Hardcastle,
she shows her father great respect and
love. Unlike Mr. Hardcastle, she
appreciates the town and all it offers. Kate
is cunning, posing as a maid to deceive
Marlow—attracted as he is to women of
lower status—into falling in love with her.
Kate sees that in order for her relationship
with Marlow to blossom, she must
drastically alter her personality.
(iii) Tony Lumpkin:
Tony Lumpkin is Mrs. Hardcastle’s son and
Mr. Hardcastle’s stepson. He is a
mischievous and uneducated playboy who
is fond of gambling and performing at the
alehouse. Lumpkin is promised in marriage
to Constance Neville, his cousin. However,
because he despises Constance, he goes
to great lengths to help her and Hastings
elope to France. The joke that he plays on
Marlow—convincing him that the
Hardcastle home is an inn—is the central
deception that drives the plot forward.
(iv) Mr. Hardcastle:
Mr. Hardcastle is a level-headed man who
is in love with all things old. He despises
the town and its follies, preferring instead
to recount the tales of his time at war. He
cares very deeply for his daughter, and he
is the one who arranges the marriage
between Kate and Marlow. Despite being
greatly insulted by Marlow’s initial
treatment of him, he manages to keep his
temper and, after realizing the deception
and misunderstanding at work, forgives
Marlow and consents to Marlow’s marriage
to Kate.
(v)Mrs. Hardcastle:
The mother of Tony and the wife of Mr.
Hardcastle, Mrs. Hardcastle is a corrupt
and greedy widow. She desires the
socialite lifestyle of the London elite and
often complains that she and her husband
never entertain. She spoils Tony, and her
love for him blinds her to his flaws. She
promises Tony to Constance in marriage in
an attempt to keep her inheritance within
the family and to take advantage of
Constance’s social standing. Mrs.
Hardcastle’s greed and vanity prevents her
from seeing Tony’s dislike of Constance.
SECTION II
(7)
*The Value and Purpose of Dreams*
A Raisin in the Sun is essentially about
dreams, as the main characters struggle to
deal with the oppressive circumstances
that rule their lives. The title of the play
references a conjecture that Langston
Hughes famously posed in a poem he
wrote about dreams that were forgotten or
put off.
He wonders whether those dreams shrivel
up “like a raisin in the sun.” Every member
of the Younger family has a separate,
individual dream—Beneatha wants to
become a doctor, for example, and Walter
wants to have money so that he can afford
things for his family. The Youngers
struggle to attain these dreams throughout
the play, and much of their happiness and
depression is directly related to their
attainment of, or failure to attain, these
dreams. By the end of the play, they learn
that the dream of a house is the most
important dream because it unites the
family.
The Need to Fight Racial Discrimination
The character of Mr. Lindner makes the
theme of racial discrimination prominent in
the plot as an issue that the Youngers
cannot avoid. The governing body of the
Youngers’ new neighborhood, the
Clybourne Park Improvement Association,
sends Mr. Lindner to persuade them not to
move into the all-white Clybourne Park
neighborhood.
Mr. Lindner and the people he represents
can only see the color of the Younger
family’s skin, and his offer to bribe the -
Youngers to keep them from moving
threatens to tear apart the Younger family
and the values for which it stands.
Ultimately, the Youngers respond to this
discrimination with defiance and strength.
The play powerfully demonstrates that the
way to deal with discrimination is to stand
up to it and reassert one’s dignity in the
face of it rather than allow it to pass
unchecked.
(8)
Role And Character Of Ruth.
Walter’s wife and Travis’s mother. Ruth
takes care of the Youngers’ small
apartment. Her marriage to Walter has
problems, but she hopes to rekindle their
love. She is about thirty, but her weariness
makes her seem older. Constantly fighting
poverty and domestic troubles, she
continues to be an emotionally strong
woman.
Ruth is in some ways like a typical
housewife of the 1950s. She makes
breakfast, cleans the house, supports her
husband, and keeps her own desires to
herself. Unlike the stereotypical 1950s
housewife, though, she also goes out into
the world and works her butt off. Not only
does she struggle to maintain her own
household, she goes out to work in the
households of rich white people as well.
Ruth is a “soft” personality type. She is not
aggressive; she just lets life “happen” to
her. She is the “worn-out wife” with a
tedious, routine lifestyle. Hansberry
describes Ruth as being “about thirty” but
“in a few years, she will be known among
her people as a “settled woman”. Ruth has
only simple dreams and would be content
to live out her life being moderately
comfortable. Her biggest dream blossoms
only after Mama’s news of the possibility
of their moving to a better neighbourhood.
Ruth is easily embarrassed and tries too
hard to please others. When George
Murchison arrives in the middle of Walter
and Beneatha’s frenzied African dance,
Ruth is overly apologetic to George about
their behaviour. When Walter and Beneatha
argue, Ruth asks Walter not to bring her
into their conflict. And even though Ruth is
annoyed by Lena’s (Mama’s) meddling, she
still allows her mother-in-law to influence
her at times about the correct way to raise
Travis.
Very low key, Ruth reveals the most
emotion when Mama tells her that they
may not be able to move; it is only then
that Ruth assertively expresses her views.
Lacking education and sophistication, Ruth
relies upon the suggestions, advice, and
even what she thinks might be the wishes
of others. Her husband Walter is incredibly
dissatisfied with his life, and he constantly
takes it out on her. Ruth is far from a
doormat and tells her husband off when he
starts acting like a jerk.
However, it is clear in the play that the
turmoil in her marriage is taking a real toll
on Ruth. She often seems irritable,
depressed, and at times sinks into despair.
This all comes to a head for Ruth, when
she finds out she is pregnant and
considers an abortion. In the ’50s, an
abortion would have been (i) illegal and
(ii) dangerous. But according to Mama:
“When the world gets ugly enough – a
woman will do anything for her family. The
part that’s already living.” Though Ruth
hates the idea of aborting her child, she
feels it’s the best decision for her
financially strapped family. In the end,
though, Ruth chooses to keep her child.
She finds hope in the fact that the younger
family will soon be moving out of their
cramped, roach-infested apartment and
into a new house. She’ll still have to work
to help pay the mortgage, and they’ll all
have to deal with the racist backlash of
living in a white neighbourhood.
SECTION III
[Pick any three]
(9)
(i) Diction and Imagery:
Generally, the poet’s diction is quite simple
and easy to understand. The sentences
and other constructions are normal
mainstream ones. These make the poem
quite enjoyable, Furthermore, the images
that the poet evokes in Vanity help in our
easy appreciation of the themes they
convey to us.
(ii) Repetition:
Like everywhere else in poetry, repetition is
used here to emphasize the seriousness
the persona attaches to the issues he
raises.
In Vanity, however, the use of repetition is
quite extensive.
(iii) Parallelism
The poet’s repetitive use of parallel
grammatical structures succeeds in helping
us enjoy the flow of his thoughts. It also
makes it possible for us to follow his line
of argument with relative ease.
Significantly, parallelism in Vanity
reinforces the deep sense of urgency the
poet attaches to the African situation.
(iv) Apostrophe and Monologue:
The persona appears to be addressing an
audience that is not directly in his
presence. This is what the literary device
known as apostrophe is all about.
And since his audience is only imaginary,
the whole poem becomes a monologue – a
one-person conversation.
The poet’s use of such personal pronouns
as we, our, their portrays the poem as
both an apostrophe and a monologue.
These are effective in making the tone of
the poem interactive.
(v) Rhetorical Question:
A rhetorical question is used when a
speaker poses a question without
expecting any response from the audience.
The poet makes copious use of the
rhetorical question in the poem Vanity.
They largely go to underline the persona’s
reflective mood and his concerned attitude
or tone.
SECTION IV
(11)
“The Schoolboy” is a Romantic poem. The
Romantic era was marked by a celebration
of nature as the embodiment of perfection.
Apart from Williams Blake, other notable
Romantic poets include John keats, Percy
B Shelley, William Wordsworth and Samuel
Taylor Coleridge. English poets who have
their writings categorized as Romantic
poems unambiguously display their love for
nature and peace that nature embodied.
In “The Schoolboy”, nature becomes a
means of facilitating healing at different
levels of life. Romantic poets believed in
the use of their imagination to explore
literary creativity as a means of deifying
nature. They subscribe to the idea that the
only way to achieve satisfaction for the
soul is to have a profound power of
imagination and to also be radical and non-
conformists, hence they are perceived to
be irrational and daring as they aspire to
do things differently. Romantic poets
idolize nature and regard it as a great
source of inspiration or muse.
Romanticists believe that the Industrial
Revolution made the world artificial and
sterile, making it lose its humanity and
humaneness in the process.
They found solace in escaping in the
beautiful world of nature. Intensive formal
education was one of the fallouts of the
Industrial Revolution and as seen in the
poem, Blake maintains that education
takes away the individual’s sense of
fulfilment and quest for adventure. As a
romantic poem, “The Schoolboy”
celebrates and appreciates and condemns
every form of human and societal
restriction placed on it. It also critiques
the destruction of childhood innocence as
a result of the emphasis placed on the
importance of classroom education. in
other words the poetic persona is a young
boy who is happy when he wakes up to see
the dawn of a new and delightful summer
morning. Summer, for the Romanticists,
was the season of beauty and unparalleled
bliss and joy. The boy is amused by the
chirping of the birds announcing a new
dawn, he is also fascinated by the
melodious sounds coming from the
hunter’s horn, sounding from a distant field
and the mellow tunes from the skylark
bird. All these experiences from the
natural world attract the boy to the extent
that he exclaims “Oh what sweet
company!”.
The boy, in search of a practical solution
to his predicament, makes an appeal to his
parents. It is apparent in his Iamentation
that he is of the view that if a promising
child like him, is removed from the source
of his happiness and joy, nature, he would
not be able to flourish.
NECO Literature
Objectives and Essay
Answers 2020 (Expo)
The 2020 NECO Literature expo will be
posted here on the day of the NECO
Literature examination. Keep checking and
reloading this page for the answers.
NECO Literature Drama
and Poetry Answers
The NECO Literature in English Drama &
Poetry answers will be posted here
tomorrow during the NECO English
Literature drama and poetry exam.
NECO Lit. Drama and Poetry Answers
Loading…
Today’s Literature Drama and Poetry
Answers:
(3) wara is a stranger in mandoland too
but has lived there long enough to detest
being called stranger, and She is also in
love with Kindo, She not born in
Mandoland, her mother was taken prisoner
by one of mando’s warriors during the war;
her mother ran away after giving birth to
her.
Wara cautions kindo form doing anything
which will anger the spirit, Wara is the only
Kindo’s woman that will be sexually
assaulted by Whitehead. Maligu and soko
lot abduction into a sack and then take to
whitehead’s compound. she fortunately
escapes.
For her love for Kindo, she is ready to risk
anything to be with him, likes to follow him
everywhere and Kindo is not comfortable
with that as a warrior. Her love for Kindo is
so intense that she refuses to leave with
her grandfather to their homeland but
remains in Mandoland in order to be with
Kindo. In a way, her mother is seen as a
slave ofthe Mando people. This reality
poses a great threat to her relationship
with Kindo. This is why Kindo cannot take
her to the palace.
Even though she has absolute faith in
Kindo, she is still very mindful of her
integrity as a woman and also respects the
customary norms of her society. This is
one of the reasons she resists Kindo
having her just anywhere and pushes to be
taken to the palace. Wara’s steadfastness
in preventing Whitehead from raping her is
indicative of the resilience of the
bloggingAfrican space to Western
plundering schemes.
(5) [Pick two]
(i)Charles Marlow:
Charles Marlow, the play’s central male
character, is a modest and well-educated
man who has set out to court Kate
Hardcastle. Believing the Hardcastle home
to be an inn, Marlow is rude to Mr.
Hardcastle, whom he thinks is the
innkeeper. Marlow is extremely shy around
upper-class women, becoming a nervous,
bumbling fool in their presence. But around
women below his status, he becomes a
confident and dashing rogue.
(ii)Miss Kate Hardcastle:
Miss Hardcastle is the other central
character and the one who does the titular
stooping. The daughter of Mr. Hardcastle,
she shows her father great respect and
love. Unlike Mr. Hardcastle, she
appreciates the town and all it offers. Kate
is cunning, posing as a maid to deceive
Marlow—attracted as he is to women of
lower status—into falling in love with her.
Kate sees that in order for her relationship
with Marlow to blossom, she must
drastically alter her personality.
(iii) Tony Lumpkin:
Tony Lumpkin is Mrs. Hardcastle’s son and
Mr. Hardcastle’s stepson. He is a
mischievous and uneducated playboy who
is fond of gambling and performing at the
alehouse. Lumpkin is promised in marriage
to Constance Neville, his cousin. However,
because he despises Constance, he goes
to great lengths to help her and Hastings
elope to France. The joke that he plays on
Marlow—convincing him that the
Hardcastle home is an inn—is the central
deception that drives the plot forward.
(iv) Mr. Hardcastle:
Mr. Hardcastle is a level-headed man who
is in love with all things old. He despises
the town and its follies, preferring instead
to recount the tales of his time at war. He
cares very deeply for his daughter, and he
is the one who arranges the marriage
between Kate and Marlow. Despite being
greatly insulted by Marlow’s initial
treatment of him, he manages to keep his
temper and, after realizing the deception
and misunderstanding at work, forgives
Marlow and consents to Marlow’s marriage
to Kate.
(v)Mrs. Hardcastle:
The mother of Tony and the wife of Mr.
Hardcastle, Mrs. Hardcastle is a corrupt
and greedy widow. She desires the
socialite lifestyle of the London elite and
often complains that she and her husband
never entertain. She spoils Tony, and her
love for him blinds her to his flaws. She
promises Tony to Constance in marriage in
an attempt to keep her inheritance within
the family and to take advantage of
Constance’s social standing. Mrs.
Hardcastle’s greed and vanity prevents her
from seeing Tony’s dislike of Constance.
SECTION II
(7)
*The Value and Purpose of Dreams*
A Raisin in the Sun is essentially about
dreams, as the main characters struggle to
deal with the oppressive circumstances
that rule their lives. The title of the play
references a conjecture that Langston
Hughes famously posed in a poem he
wrote about dreams that were forgotten or
put off.
He wonders whether those dreams shrivel
up “like a raisin in the sun.” Every member
of the Younger family has a separate,
individual dream—Beneatha wants to
become a doctor, for example, and Walter
wants to have money so that he can afford
things for his family. The Youngers
struggle to attain these dreams throughout
the play, and much of their happiness and
depression is directly related to their
attainment of, or failure to attain, these
dreams. By the end of the play, they learn
that the dream of a house is the most
important dream because it unites the
family.
The Need to Fight Racial Discrimination
The character of Mr. Lindner makes the
theme of racial discrimination prominent in
the plot as an issue that the Youngers
cannot avoid. The governing body of the
Youngers’ new neighborhood, the
Clybourne Park Improvement Association,
sends Mr. Lindner to persuade them not to
move into the all-white Clybourne Park
neighborhood.
Mr. Lindner and the people he represents
can only see the color of the Younger
family’s skin, and his offer to bribe the -
Youngers to keep them from moving
threatens to tear apart the Younger family
and the values for which it stands.
Ultimately, the Youngers respond to this
discrimination with defiance and strength.
The play powerfully demonstrates that the
way to deal with discrimination is to stand
up to it and reassert one’s dignity in the
face of it rather than allow it to pass
unchecked.
(8)
Role And Character Of Ruth.
Walter’s wife and Travis’s mother. Ruth
takes care of the Youngers’ small
apartment. Her marriage to Walter has
problems, but she hopes to rekindle their
love. She is about thirty, but her weariness
makes her seem older. Constantly fighting
poverty and domestic troubles, she
continues to be an emotionally strong
woman.
Ruth is in some ways like a typical
housewife of the 1950s. She makes
breakfast, cleans the house, supports her
husband, and keeps her own desires to
herself. Unlike the stereotypical 1950s
housewife, though, she also goes out into
the world and works her butt off. Not only
does she struggle to maintain her own
household, she goes out to work in the
households of rich white people as well.
Ruth is a “soft” personality type. She is not
aggressive; she just lets life “happen” to
her. She is the “worn-out wife” with a
tedious, routine lifestyle. Hansberry
describes Ruth as being “about thirty” but
“in a few years, she will be known among
her people as a “settled woman”. Ruth has
only simple dreams and would be content
to live out her life being moderately
comfortable. Her biggest dream blossoms
only after Mama’s news of the possibility
of their moving to a better neighbourhood.
Ruth is easily embarrassed and tries too
hard to please others. When George
Murchison arrives in the middle of Walter
and Beneatha’s frenzied African dance,
Ruth is overly apologetic to George about
their behaviour. When Walter and Beneatha
argue, Ruth asks Walter not to bring her
into their conflict. And even though Ruth is
annoyed by Lena’s (Mama’s) meddling, she
still allows her mother-in-law to influence
her at times about the correct way to raise
Travis.
Very low key, Ruth reveals the most
emotion when Mama tells her that they
may not be able to move; it is only then
that Ruth assertively expresses her views.
Lacking education and sophistication, Ruth
relies upon the suggestions, advice, and
even what she thinks might be the wishes
of others. Her husband Walter is incredibly
dissatisfied with his life, and he constantly
takes it out on her. Ruth is far from a
doormat and tells her husband off when he
starts acting like a jerk.
However, it is clear in the play that the
turmoil in her marriage is taking a real toll
on Ruth. She often seems irritable,
depressed, and at times sinks into despair.
This all comes to a head for Ruth, when
she finds out she is pregnant and
considers an abortion. In the ’50s, an
abortion would have been (i) illegal and
(ii) dangerous. But according to Mama:
“When the world gets ugly enough – a
woman will do anything for her family. The
part that’s already living.” Though Ruth
hates the idea of aborting her child, she
feels it’s the best decision for her
financially strapped family. In the end,
though, Ruth chooses to keep her child.
She finds hope in the fact that the younger
family will soon be moving out of their
cramped, roach-infested apartment and
into a new house. She’ll still have to work
to help pay the mortgage, and they’ll all
have to deal with the racist backlash of
living in a white neighbourhood.
SECTION III
[Pick any three]
(9)
(i) Diction and Imagery:
Generally, the poet’s diction is quite simple
and easy to understand. The sentences
and other constructions are normal
mainstream ones. These make the poem
quite enjoyable, Furthermore, the images
that the poet evokes in Vanity help in our
easy appreciation of the themes they
convey to us.
(ii) Repetition:
Like everywhere else in poetry, repetition is
used here to emphasize the seriousness
the persona attaches to the issues he
raises.
In Vanity, however, the use of repetition is
quite extensive.
(iii) Parallelism
The poet’s repetitive use of parallel
grammatical structures succeeds in helping
us enjoy the flow of his thoughts. It also
makes it possible for us to follow his line
of argument with relative ease.
Significantly, parallelism in Vanity
reinforces the deep sense of urgency the
poet attaches to the African situation.
(iv) Apostrophe and Monologue:
The persona appears to be addressing an
audience that is not directly in his
presence. This is what the literary device
known as apostrophe is all about.
And since his audience is only imaginary,
the whole poem becomes a monologue – a
one-person conversation.
The poet’s use of such personal pronouns
as we, our, their portrays the poem as
both an apostrophe and a monologue.
These are effective in making the tone of
the poem interactive.
(v) Rhetorical Question:
A rhetorical question is used when a
speaker poses a question without
expecting any response from the audience.
The poet makes copious use of the
rhetorical question in the poem Vanity.
They largely go to underline the persona’s
reflective mood and his concerned attitude
or tone.
SECTION IV
(11)
“The Schoolboy” is a Romantic poem. The
Romantic era was marked by a celebration
of nature as the embodiment of perfection.
Apart from Williams Blake, other notable
Romantic poets include John keats, Percy
B Shelley, William Wordsworth and Samuel
Taylor Coleridge. English poets who have
their writings categorized as Romantic
poems unambiguously display their love for
nature and peace that nature embodied.
In “The Schoolboy”, nature becomes a
means of facilitating healing at different
levels of life. Romantic poets believed in
the use of their imagination to explore
literary creativity as a means of deifying
nature. They subscribe to the idea that the
only way to achieve satisfaction for the
soul is to have a profound power of
imagination and to also be radical and non-
conformists, hence they are perceived to
be irrational and daring as they aspire to
do things differently. Romantic poets
idolize nature and regard it as a great
source of inspiration or muse.
Romanticists believe that the Industrial
Revolution made the world artificial and
sterile, making it lose its humanity and
humaneness in the process.
They found solace in escaping in the
beautiful world of nature. Intensive formal
education was one of the fallouts of the
Industrial Revolution and as seen in the
poem, Blake maintains that education
takes away the individual’s sense of
fulfilment and quest for adventure. As a
romantic poem, “The Schoolboy”
celebrates and appreciates and condemns
every form of human and societal
restriction placed on it. It also critiques
the destruction of childhood innocence as
a result of the emphasis placed on the
importance of classroom education. in
other words the poetic persona is a young
boy who is happy when he wakes up to see
the dawn of a new and delightful summer
morning. Summer, for the Romanticists,
was the season of beauty and unparalleled
bliss and joy. The boy is amused by the
chirping of the birds announcing a new
dawn, he is also fascinated by the
melodious sounds coming from the
hunter’s horn, sounding from a distant field
and the mellow tunes from the skylark
bird. All these experiences from the
natural world attract the boy to the extent
that he exclaims “Oh what sweet
company!”.
The boy, in search of a practical solution
to his predicament, makes an appeal to his
parents. It is apparent in his Iamentation
that he is of the view that if a promising
child like him, is removed from the source
of his happiness and joy, nature, he would
not be able to flourish.
NECO Literature
Objectives and Essay
Answers 2020 (Expo)
The 2020 NECO Literature expo will be
posted here on the day of the NECO
Literature examination. Keep checking and
reloading this page for the answers.
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