The West African Examinations Council WAEC Literature (Drama & Poetry) Questions Answers 2021 Update.
LITERATURE DRAMA & POETRY
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.
In conclusion, the poet uses the attitude of deviance to portray death as a normalcy ,a necessity and the uniting force in society
Many of figures of speech are explored in the poem Binsey Poplars felled of which are:
(a) Alliteration – This is the repetition of the same consonant sound on the same line. The
following alliterates in the poem:
(i) ’….leaves….leaping….’ /L/
(ii) ’….fresh….following folded….’ /f/
(iii)’….swam… sank’ /s/
(iv) ’….wind – wandering weed.. winding….’
(v) ’….when we’ /w/
(vi) ’….growing green’ /g/
(vii) ’since …so’ /s/
(viii) ’To touch …so slender’ /s/
(ix) ’where we’ /w/
(x) ’when we’ /w/
(xi) ’…comers cannot ..beauty been’ /k/ and /b/
(xii) ’….ten….twelve’ /t/
(xiii)’….sweet…scene’ /s/ lines 23 and 24.
(b) Assonance: This is the repetition of the same vowel sound in a line of a poem. The following Assonate:
(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: This is the casual re-writing or calling of the same word word for emphasis. The following are repeated for emphasis –
(i) ’quelled’ lines(1 and 2)
(ii) ’felled’ line/3/
(iii) ’not’ line/5/
(iv) ’we’ line/9/
(v) ’so’ lines/2/13
(vi) ’where we(line 6)
(vii) ’when we’ lines(10 and 18)
(viii) ’Ten or twelve’ (line 20)
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.