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The cap picking ceremony organised by the community for Yaremi to
pick a man of her choice ends in fiasco.Cap picking are great events in
in Kufi.It was a day of great expectations for the people and their
neighours in the surrounding villages of Ope,Idiogun,Olusokun,Koleeyan
and Bankesa.It was a day a widow closes an old familiar chapter of her
life and opens a new known chapter.The celebration takes off on a
happy note: A long wooden bench was placed under the treeshade,with
three traditional capsdisplayed on it.On a low stool in front of two were
two calabash containers of ceremonial alligator pepper,bitter kola and
table salt plus a bottle of honey and locally made gin all for propitiation
to ensure the overall sucess of the day’s occassion.But true to her
conviction Yaremi dissapointed the expectant crowd as she turns down
the three suitors bowed to the elders and left for her house.Leaving
everybody under the odan tree grazing petrified stupidity.
Father Jerome is a devout, intelligent, and kind-hearted friar in one of
Otranto’s two convents.He is formerly prince of Falconara, now a priest.
Called to give absolution to the condemned Theodore, he discovers that
Theodore is his own son, born before he entered the Church.
Jerome sees through Manfred’s attempts to manipulate him and
attempts to deceive Manfred to protect Isabella. When this results in
Theodore’s death sentence, it sets in a motion a series of events in
which Jerome sees a mark on Theodore’s shoulder, realizes that
Theodore is his long lost son, and reveals his own past identity as the
Count of Falconara. After Manfred kills Matilda, Jerome reveals that
Theodore has a stronger claim to the throne than Frederic, because
Jerome’s wife (Theodore’s mother) was Alfonso’s daughter. Throughout
the story, Jerome acts as a true man of faith and goodness, working to
protect others and counseling against greed and lust.
Native Son opens with an important scene that gives us one of Book
One’s most significant symbols: the rat. Bigger and his family are
waking up together, and they suddenly spot a rat. After a few chaotic
moments of chasing the rat – and the rat attempting to fight back and
defend its life – Bigger ultimately kills the rat with a frying pan. We can
read the rat as Bigger himself, as he is clearly trying to survive, but is
seen as a nuisance. This is how Bigger perceives that white people see
him and other black people: as nuisances that are best kept out of the
way and might face danger if they enter the world of white people.
Not long after Bigger ventures outside his house that morning, he and
his friend Gus spot an airplane that is engaged in sky-writing. They
comment on how hard it is to see the plane and how far away it must
be. The two then go on to talk about the unlikelihood of black people
getting to fly airplanes, a job that is reserved for white people:
” ‘I could fly a plane if I had a chance,’ Bigger said. ‘If you wasn’t
black and if you had some money and if they’d let you go to that
aviation school, you could fly a plane,’ Gus said.” The combination of
the description of the airplane and the following conversation indicates
that the plane is a symbol for far-off, unreachable goals.
After the airplane scene, we move quickly to the next important symbol
in Book 1: the pigeon, which Bigger and Gus see as they continue to
walk down the street together. We read: ”a slate-colored pigeon
swooped down to the middle of the steel car tracks and began strutting
to and fro with ruffled feathers, its fat neck bobbing with regal pride. A
street car rumbled forward and the pigeon rose swiftly through the air on
wings stretched so taut and sheer that Bigger could see the gold of the
sun through their translucent tips.” the ability to fly away from the
forces in his own life that he feels are trying to crush him, just as the
pigeon escaped the street car.
i)The sorrows of widowhood: This is the most obvious central idea of the
story. Bayo Adebowale took his time to x-ray the parlous circumstances
surrounding the state of widowhood. In many African societies, widows
are regarded by the relatives of their dead husbands as the cause of the
death of their husbands. When a man dies, his wife must have done
something wrong to cause his death.
ii)Victimisation and oppression of women: In many African societies,
men see themselves as superior beings who should be held in high
esteem by their inferior beings―women. A man cannot die a natural
death; a woman must be the cause of his death through her sins.
Therefore, the woman must be made to suffer humiliation, insult and
iii)Rural-urban migration: This theme is exemplified in the relationship
between Alani and his mother Yaremi. Alani lives and works in the city
of Ibadan. He is so carried away by the city life that his own root has
become foreign and strange to him. In the same vein, his lifestyle has
become a dismal wonder to his people. His uncle sees him as a freak
because of his appearance.
iv)The negative effects of bad tradition: Bayo is very vocal in his
criticism of the tradition that treats women as second class citizens. In
the story, Lonely Days, the female characters we come across suffer one
form of mistreatment or the other occasioned by tradition. In Kufi
village, the people believe that men do not die a natural death.
v)Superstition: Superstition is an irrational belief that an object, action,
or circumstance not logically related to a course of events influences its
outcome. It is equally a belief, practice, or rite irrationally maintained
by ignorance of the laws of nature or by faith in magic or chance. It is a
fact that superstitious beliefs have still remained a disease in most
parts of Africa even up to this century of enlightenment.
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See Previous Neco Literature Answers
Kabria ’ s Encounter with Fofo
In sharp contrast to the life in Sodom and Gomorrah is
Kabria ’ s life with her family . A mother of three lively
children – Obea , Essie and Ottu , she lived in a decent
neighbourhood in Accra , worked with MUTE a non –
governmental agency and drove a problematic old car
nick – named Creamy . She ran into Fofo at the
Agbloghoshie market while shopping for vegetables .
Kabria was standing with other spectators at the spot
where Baby T ’ s body was found when Fofo, disguising
as a boy tried to steal her purse. Kabria rescued her from
the angry mob. Fofo revealed her female identity and told
Kabria that Baby T was her sister . Meanwhile, a lot of
people had been made to believe that the dead girl ( Baby
T ) was a kayayoo ( a market porter from the north ) to
conceal her true identity and discourage further enquiry
into her death . MUTE ( the non -governmental
organisation where Kabria worked ) got interested in Baby
T ’ s matter and granted Fofo protection by taking her into
custody temporarily while conducting investigations into
the circumstances surrounding the death of her sister
– BIANCA – CHARACTER –
A servant and confidante of Hippolita, Matilda , and
Isabella. Silly , nosy, and superstitious, Bianca often
gossips and shows that she is willing to be deceitful when
she tries to pry into Theodore’s life and when she agrees
to be Manfred’s spy . On her way to spy on Isabella,
Bianca witnesses a giant hand in arm or that scares her
and causes her to inadvertently reveal Manfred ’ s bribe
to Frederic . She often provides comic relief in an
otherwise melodramatic story .
– BIANCA – ROLE-
Her role in the story especially with respect to the letter
incident provides comic relief to the otherwise tense
atmosphere of the story.She also encourages matilda to
get married and insinuates about Isabella and Theodore
being in a
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