2015 JAMB LITERATURE PAST QUESTIONS AND ANSWERS

The line employs personification, attributing human characteristics to the sun by calling it an “unruly fool.” This emphasizes the speaker’s frustration with the sun’s intrusion into his private space. Simile, diction, and pun are different literary devices that do not accurately describe this usage.

The allusion in Hughes’s poem primarily references literary sources, drawing connections to historical and cultural narratives of African heritage. Biblical, classical, and historical allusions are less central to the poem’s main themes, which focus on the enduring strength and depth of African-American history.

Sodium cyanide in Adeoti’s Hard Lines is depicted as poisonous, highlighting the dangers and lethal potential of this chemical. Adhesive, sweet, and fragrant are incorrect as they do not align with the context in which sodium cyanide is presented within the narrative.

The persona describes street beggars as being concerned with their daily needs, emphasizing their constant struggle for survival. Options like worrying about heaven, attending conferences, or rarely sleeping do not accurately capture the immediate concerns depicted in the poem.

In Serenade, the poet persona is portrayed as a suitor, expressing romantic intentions and admiration towards the beloved. Mother, spinster, and passer-by do not fit the context of the poem, which centers around themes of love and courtship.

In the context of Cheney-Coker’s Myopia, rural dwellers best describe the term “peasants,” highlighting their connection to agricultural life and countryside living. Under-privileged masses, politicians, and farmers are broader or less precise interpretations that do not fully capture the intended meaning.

The poet persona expresses sorrow over the problem of his family and their economic implications, highlighting personal and financial struggles. The other options like loss of property, harrowing experiences from strangers, or the presence of strangers do not directly address the familial and economic concerns central to the poem.

The poem utilizes synecdoche, a figure of speech where a part represents the whole, to enhance its lyrical quality. Antithesis, enjambment, and ballad are other poetic devices, but they do not specifically achieve the lyrical effect in the same manner as synecdoche does in this context.

In The Soul’s Errand, rhythm is primarily established through repetition, which creates a musical quality and reinforces thematic elements. While metaphor, alliteration, and antithesis contribute to the poem’s overall style, repetition is the key device for rhythm in this case.

The title employs irony, as it contrasts the grandeur associated with an ambassador with the bleakness of poverty, highlighting societal issues. Repetition, simile, and alliteration do not capture this contrasting and critical nuance.

This literary device is known as alliteration, where the initial consonant sounds are repeated to create a musical effect or emphasize particular words. Pun, onomatopoeia, and assonance refer to different sound-related literary techniques that do not specifically involve consonant repetition.

Such a play is described as episodic, where each act or scene functions independently without a cohesive or sequential narrative. Simple, linear, and convoluted structures imply different levels of narrative continuity and complexity, which do not accurately describe the episodic nature.

This technique is known as a flashback, which allows the audience to gain background information or context that enhances the current narrative. Climax, interlude, and catharsis are different dramatic elements that do not involve recalling past scenes or actions.

Criticism involves analyzing and evaluating a literary work to understand its strengths, weaknesses, themes, and overall impact. It goes beyond merely finding faults or comparing novels, aiming to provide a deeper appreciation and understanding of the work.

This technique is known as an aside, where a character speaks directly to the audience to reveal thoughts or intentions, without the other characters in the play being aware. Soliloquy, chorus, and solo have different functions in drama and do not specifically describe this interaction.

The chorus serves as a collective character in a play, providing commentary, summarizing action, and engaging the audience. Clown, playwright, and cast refer to different roles or groups within a production that do not perform this specific function.

Such a character is referred to as eponymous, meaning the title of the work is derived from the character’s name. Antagonist, round, and flat describe different character types that do not pertain to the naming convention of the title.

License in poetry refers to the liberty poets take with language, allowing for creative freedom in expression, structure, and form. This concept enables poets to bend traditional rules to enhance their artistic expression. Freedom to sell poems, approval to compose, and honor given do not accurately capture this literary freedom.

The protagonist is the main character who drives the story forward, facing challenges and undergoing development. Actor, antagonist, and actress refer to different roles or opposing characters that do not hold the primary narrative focus.

This form is known as pastoral, which idealizes rural life and landscapes, often reflecting a longing for simplicity and harmony with nature. Ballad, romance, and epic are different literary forms that focus on narrative storytelling, love stories, and grand adventures, respectively, rather than the nostalgic portrayal of rural life.

The speaker exhibits a reassuring tone, acknowledging the fallibility of human decisions while offering comfort that both right and wrong choices are part of the experience. Afraid, excited, and pessimistic do not align with the supportive and understanding nature of the statement.

The lines utilize a descriptive style, vividly portraying the physical attributes of a character to create a clear and vivid image in the reader’s mind. Narrative, argumentative, and dramatic styles serve different purposes and do not focus solely on detailed description.

The lines express jealousy, highlighting a shift from genuine emotional connection (“laugh with their eyes”) to superficial interactions (“laugh with their teeth”) and a sense of suspicion or envy (“ice-block-cold eyes”). Friendliness, insincerity, and sympathy do not fully capture the nuanced emotion conveyed.

The allusion to the climax of love relationship suggests a pivotal moment of emotional openness and connection, likening it to a savior’s image. Christian identity, heart surgery, and anti-climax do not accurately reflect the intended romantic or emotional peak implied by the allusion.

The phrase “like an inn” is a simile, comparing the old mansion to an inn using “like” to highlight similarities in appearance or function. Irony, euphemism, and metaphor are different figures of speech that do not utilize the explicit comparison structure of a simile.

The figure of speech is personification, attributing human actions (speaking) to the deity Amadioha, thereby giving human-like qualities to natural phenomena. Simile, hyperbole, and metaphor do not specifically involve giving human characteristics to non-human entities.

The overall tone conveyed by the figure of speech “like an inn” is frustrated, reflecting dissatisfaction with the lack of companionship despite the mansion’s appearance. Hopeful, regretful, and happy do not accurately represent the speaker’s underlying frustration.

The style is sympathetic, conveying concern for the character’s frail and unhealthy appearance. Ridicule, admonition, and anger do not align with the compassionate portrayal intended by the descriptive language.

The figure of speech is a metaphor, directly comparing the sunflower to a weary traveler without using “like” or “as.” Simile requires such comparative words, while irony and hyperbole serve different rhetorical purposes that do not apply here.

The gentleman betrays the speaker, undermining the trust placed in him despite his outward appearance as a gentleman. Annoys, fights, and detests are not as directly related to the act of betrayal described in the lines.

The fish market is located in Cleveland, serving as a vibrant setting that underscores the economic and social dynamics within the novel. St. Louis, Canary Island, and Havana are incorrect locations based on the context provided.

The old man is characterized as a Marxist, reflecting his ideological beliefs and possibly influencing his actions and perspectives within the narrative. Idealist, optimist, and realist offer different interpretations that may not fully capture his political and social stance.

The old man talks to himself because the boy has left him, indicating loneliness and the emotional toll of his isolation. Afraid of the sea, what all fishermen do, and making sharks leave do not directly address the emotional motivation behind his self-dialogue.

To the old man, the mandolin is a source of encouragement, providing comfort and motivation amidst his struggles. Symbol of oppression, cause of ill-luck, and typical of lazy youths misinterpret the positive role the mandolin plays in his life.

The novel primarily deals with religious zeal, exploring the fervent religious beliefs and their impact on the characters and plot. Domestic violence, child abuse, and marital infidelity are themes that may be present but do not encapsulate the main subject matter as accurately.

Kambili is the central character in the Achike family, around whom the primary themes of the novel revolve, including family dynamics, personal growth, and cultural conflicts. Mama, sisi, and Jaja play significant roles but are secondary to Kambili’s central thematic importance.

The novel exposes what happens in a family with a high-handed father, delving into the complexities and challenges faced by the family members under authoritarian leadership. Military dictatorship, travails of a single girl, and problem of running a large family in an urban society are different themes that are not the primary focus.

The incident is the burial of Yaw Boakye, a significant event that likely holds cultural and emotional weight within the play. Sacrifice to make pokuwaa pregnant, development of the Island, and search for Yaw Boakye are different events that do not align with the described ritualistic pouring of libation and waiting for results.

Gonzalo is a Milan Senator in the play, holding a position of political authority and influence. Antonio’s brother, a Neapolitan Councillor, and Sebastian’s co-conspirator are incorrect descriptions of Gonzalo’s role and identity within the narrative.

The medicine man states that pokuwaa has a miscarriage because her mother does not offer thanksgiving sacrifice, indicating a spiritual or cultural reason rooted in ritual practices. Kwadwo often beats her, she is barren from birth, and he wants his back, so he can rule do not align with the explanation provided by the medicine man.

The incident narrated is the search for Yaw Boakye, a pivotal event that drives the plot and character motivations within the play. Sacrifice to make pokuwaa pregnant, burial of Yaw Boakye, and search for the missing black hen are different events that do not correspond to the described actions of pouring libation and waiting for results.

In the play, the gods are portrayed as architects of man’s destiny, implying that they have control or influence over the fate and life paths of humans. Saviours of mankind, helpless, and amorous portrayals do not accurately reflect the depicted role of the gods in shaping destinies.

The central theme is heaven and earth, exploring the relationship and balance between the spiritual realm and the physical world. Man and nature, sin and forgiveness, and close to the cemetery are themes that may be present but do not encapsulate the primary focus of the play.

Prospero leaves his dukedom of Milan to devote his time to magic, showcasing his pursuit of supernatural powers and knowledge. War leader of Ijebu, Ooni of Ife, and Founder of Owu-Ipole are incorrect titles and roles for Prospero in the context of the play.

Prospero’s sense of justice is one-sided because while he is angry with Antonio, he enslaves Ariel and Caliban, showing his biased approach to punishment and mercy. This unilateral stance highlights his flaws and the moral complexities within his character. Enslaving others while punishing only Antonio underscores his inconsiderate and vengeful nature.

Osofisan portrays war as destructive, emphasizing its devastating impact on individuals and society. This perspective aligns with the broader themes of loss, suffering, and the futility of conflict. Injurious to the gods, builds human society, and must be fought with patriotic zeal present alternative viewpoints that contradict the depiction of war’s destructiveness.

Orisaye insists that she receives revelations from Orunmila, the deity associated with wisdom and divination, reflecting her spiritual connection and quest for guidance. Sango, Ogun, and Obatala are different deities that do not align with the specific revelations Orisaye seeks.

The General of the Allied Forces is identified as Okunade, a key military leader whose actions and decisions influence the course of events within the play. Erelu, Akinjobi, and Anlugbus are different characters that do not hold this specific military role.

Oba Asunkungbade is the Monarch of Oyo, a position of royal authority and leadership within the play’s setting. War leader of Ijebu, Ooni of Ife, and Founder of Owu-Ipole are incorrect titles and roles for Oba Asunkungbade.