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2017 WAEC GCE Literature-In-English Answers

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2017 WAEC GCE Literature-In-English Answers by : 12:00 am On September 18, 2017

2017 WAEC GCE Literature-In-English Answers

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DRAMA & POETRY

(4)
Chief Haladu Ade-Amaka is the Minister of External Relations and the epitome of corruption in the play. He is the ring leader of a criminal network of drug peddlers. He engages in bribery, large scale embezzlement of public funds,s****l 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.

(6)
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 w***h 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.

(9)
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.

(12)
(i)The Ocean
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.

(ii)The Night
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.

(iii)The Sounds
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.

(iv)The Sailing
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.

Literature OBJ:
1-10: ADCDBCBDCD
11-20: ACACDAAADA
21-30: BDACCAADBC
31-40: ACDBBBCADC
41-50: ACCABBCBAD

Prose
(2)
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 in Faceless is 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.

SECTION B
(Choose only ONE from this Section)

(5)
Bigger’s relationship with Mary:
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.

(8)
Character and role of Matilda in the play
First and foremost, Matilda, the beautiful and good daughter of Manfred, is intrigued by the portrait of the young Alfonso the Good that hangs her castle. On the other hand, it is clear that she longs for someone like Alfonso in her life. She begins to get to know Theodore when he is imprisoned and realizes that he is a man of quality. Matilda has never been close to her father and is trying to figure out why he is so intent on bringing Isabella back to the castle.

For instance, when all of the men leave the castle to find Isabella , Matilda frees Theodore and insists that he leaves the castle to save his life. She has noticed that Theodore resembles the p*****e of the former prince, Alfonso, and she falls in love with him. Before Manfred can find Isabella and force her to marry him , a huge entourage of knights and courtiers arrive in search of Isabella. One of the knights, unbeknownst to Manfred, is Frederic, Isabella’s father. When Theodore escapes the castle, he goes to a wood, and finds a cave.
Equally important, he accidentally meets up with Isabella and vows to protect her. In the meantime, all of Manfred’s men and Vincenza, as well, are looking for Isabella. Additionally, Vincenza finds the cave, and Theodore fights with him, nearly mortally wounding the man, without realizing that Vincenza is Isabella’s father.

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