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NECO GCE Literature In English (Poetry and Drama) Question and Answer 2023

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NECO GCE Literature In English (Poetry and Drama) Question and Answer 2023

NECO GCE Literature In English (Poetry and Drama) Question and Answer 2023

The National Examination Council (NECO) Has Scheduled The 2023 NECO GCE Literature In English Poetry and Drama Question and Answer Paper To Kick of Friday 24th November 2023.

This brings the attention of candidates writing the exam in to searching for NECO GCE Literature In English Poetry and Drama Questions and Answers 2023, NECO GCE Literature In English Expo 2023, Neco GCE Literature In English 2023 (Poetry and Drama) and etc.

NECO GCE Literature In English (Poetry and Drama) Question and Answer 2023

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NECO GCE Literature In English (Poetry and Drama) Question and Answer 2023

 

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Past NECO GCE Literature In English (Poetry and Drama) Answers

(1)
Physically, Baroka wrestles with his private wrestler as a form of exercise just as psychologically he wrestles with Sidi’s intelligence in order to seduce hen Itis a meeting of two guilers, each set to overcome the other. The loneliness of the household just as the psychological wrestling is to commence has a slight foreboding meaning. The impression is that acontest is to take place, a psychological and mental contest, which does not require a crowd to be present. Part of Baroka’s method of overcoming Sidi and her emotional stance is to hold on to the view that he is as interested in modernity as anyone can be, including the school teacher. The other approach is to insist that he is a firm head of a household who does not tolerate the abuse of liberties. Baroka ‘weakens’ Sidi by pretending that he is not so keen about the visit, probably to further project the notion that he is no longer sexually virile.When Sidi is beginning to be pissed off for being referred to as “unwanted stranger,” he tones down his earlier no-nonsense posture. Sidi’s wish is that the court wrestlerwins over his master, Baroka. The Bale asks her, “Is that a wish, my daughter?” Here a meaning may beread from this circumstance. Sidi’s inner wish is to succeed in making a mockery of Baroka akin to what the palace wrestler is about to achievewith what looks like an impending victory over his master. There is anidea embodied in Baroka’s remark: “I change my wrestlers when I have learnt/To throw them.” This statementis connected in meaning to why Sidi is there. When the Bale wins his wrestler and Sidi screams, “You won!” repeatedly, it is ironical. That is how Baroka will winher in due course. Baroka’s riddling discourse with Sidi is akin to the wrestling going on between the Bale and his palace wrestler on the one hand, and the psychological warfare between him and Sidi on the other. At some point, Sidi discovers to her chagrin that the man who is rumoured to lack sexual strength from the manner he carries himself may not bewho he is said to be. His carriage is that of force and prowers. One who is painted by Lakunle and other antagonists as conservative and backward proves to Sidi that he is as contemporary as anyone of his age could be, where as Sidi remains at the point of admiring herself on magazine leaves, he goes as far as conceiving and making a machine with its lever and promises to put her image and his on a stamp. Sidi is charmed by these possibilities.
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(3)
THEMES OF GENDER EQUALITY; In Senehun and Mendeland at large, women are not treated as equals of men. Women are considered fragile, vulnerable and incapable of managing crises. At the beginning of the play when Gbanya drags Yoko into the inner chamber, he claims that he needs Yoko more than her Sande girls. To him, women have no responsibility than to satisfy men’s sexual urge. Initially, Gbanya has promised Yoko she would be his successor. However, with troubles around, he feels reluctant to handover the throne to her because he believes women cannot handle a land at war. This is the same stance of Lamboi. The excuse he gives for wanting to kill Gbanya is because he does not want the latter to appoint Yoko as his successor. Obviously, if not for Yoko’s doggedness and insistence, a woman would not have become the chief of Mendeland; talk more of expanding the chiefdom. In Mendeland, women usually are not allowed into the Poro cult. Yoko is the only exception. In the village, there is a certain prejudice held against women. They are considered inferior and except for Yoko who forges ahead, women are not assigned ruling positions.
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(4)
Gbanya is Yoko’s husband, ruler of Mende Chiefdom. He has 37 wives but cherishes Yoko the most because of her pragmatic nature and contributions to the affairs of the Senehun Chiefdom (p.87). Gbanya believes that a wonman is only good for the loins of a man and not for the important affairs of govemance. He commands the finest and most courageous band of fighters in Mende land but has diplomatic disposition; he chooses carefully the war to fight and thebones to ignore. He suffers intense humiliation in the hands of Governor Rowe who flogged him publicly and equally fined him in his own domain. Gbanya’s fear is not to die but the manner of dying. He died through poison in the hands of his trusted men. He saw through their treachery and manages to hand over power to Yoko, his wife, before his final breath.
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(8)
Helena Charles, a beautiful, elegant actress, a friend of Alison and a member of her social circle. Helena comes to spend a few days with the Porters, but, finding herself increasingly attracted to Jimmy, she stays on, intent on driving a wedge between Jimmy and Alison. As Alison’s confidant, Helena urges her to face up to Jimmy or to leave him; meanwhile, she increases the pressure by wiring Alison’s father to come for her. When Alison walks out, Helena remains, becoming Jimmy’s mistress and his housekeeper. By the time Alison comes back, Helena has realized that the affair is finished, and with her usual dignity she goes on her way. In other words She is described as having a “sense of matriarchal authority” that “makes most men who meet her anxious.” Helena has a strong code of middle class morals that eventually force her to leave Jimmy. Her sense of morality leads her to leave. She can be considered the play’s moral compass.
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(9)
(i)
The struggle for leadership among the animals is metaphorical. Words and expressions such as “pounce of the paws,” “the crown,” “lethal appetite,” “a place in front,” “eyes… too far from the ground,” “the duplicity of his stripes,” “a lion,” “a lamb,” etc, are metaphors. For instance, “the pounce of the paws” refers to the raw energy to subdue or subjugate; “the crown” stands for headship; “a place in front” refers to a leadership position; “eyes… too far from the ground” is a metaphor for being high-horsed, ways looking up which evinces arrogance, etc. One suspects that the “Forest Sage” is the tortoise kown in African folklore as standing for wisdom. Thus one locates some wisdom in the suggestion of hybrid of habits,” a middle-of-the-road approach.
(ii)
Simile starts where metaphors stop. We are told that because “the pack” has no leader, it “thrashes round” just like a snake without a head.” A snake without its head is quite rash and unmanageable. The leader the poetic persona recommends is one which is “tough like a tiger” and “compassionate like a doe. Similarly, such a leader ought to be “transparent like a river” and “mysterious like a lake.”
(iii)
Imagery; Osundare is known for his deployment of images in his poetry. The use of “stakes” in the very first line of the poem indicates there is a struggle for something. The antelopes which are easily frightened are the animals which are meant to “remember” the “ferocious pounce” of the lion’s paws. The hyena “says”; the zebra also “says” etc. The actions of these assertive animals are recorded with appropriate images. The giraffe is said to “crave” while “the pack points to the duplicity” of the stripes on the zebra. The elephant, weighed down by his heaviness, “trudges into the power tussle.” As the followers-“the pack” – have no leadership, they thrash around “like a snake without a head.” All these recall images appropriate with their behaviour or trait. While the thino may be disqualified for leadership because of his riotous nature, the warthog would lose out on the basis of his ugliness.
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(11)
This poem revolves around death and different responses or reactions to it. The poetic persona urges an unknown listener not to accept death or defeat so easily or even take it in stride. Rather, almost argumentatively and persuasively, the speaker asks that people should struggle and fight for the right to live at all costs. He refers to different types of men: the wise, the good, the wild and the grave. The term ‘men’, within the context of the poem, is used in the generic sense of the word. It represents different kinds of people, both men and women, old and young. The poet is urging them not to lamely accept death as part of life. It is only at the end of the poem that the poetic persona specifically refers to his father who most likely is on his deathbed and to whom all these arguments and pleas are actually directed. Thus, in this poignant poem, the poetic persona passionately urges humans to fight death every step of the way. He urges everyone not to docilely submit to death, but to fight it for all they are worth. While the poetic persona acknowledges the inevitability of death, he insists that one does not have to submit to it without a protest. This is why at various points in the poem he talks about different types of men who refused to “go gentle into that good night.”

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