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FOR SIERRA LEONE AND GHANA
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THEORY
Q1
Adah’s options in life are determined by her gender. In Lagos, Adah must beg to go to school; as a girl, her formal education is much less important than that of her brother. Once she is finally able to begin her education, she must work to continue on to high school by winning a scholarship, and she repeatedly faces questions about why she is still going to school as she reaches a marriageable age.
As a teenager, Adah marries Francis Obi for security. However, in a reversal of traditional gender roles, Adah is the breadwinner of the family. Francis devotes his time to studying accounting, while Adah earns a good job at the American Consulate. Very early in the marriage, she becomes pregnant with their first two children in quick succession. Nevertheless, Francis does not work, and Adah continues to work and support the family.
Much of Adah’s life trajectory is determined by her biological identity as a woman, largely because she becomes pregnant so frequently
Q6.
One of the most memorable characters in the novel, Ras the Exhorter (later called Ras the Destroyer) is a powerful figure who seems to embody Ellison’s fears for the future of the civil rights battle in America. Ras’s name, which literally means “Prince” in one of the languages of Ethiopia, sounds simultaneously like “race” and “Ra,” the Egyptian sun god. These allusions capture the essence of the character: as a passionate black nationalist, Ras is obsessed with the idea of race; as a magnificently charismatic leader, he has a kind of godlike power in the novel, even if he doesn’t show a deity’s wisdom. Ras’s guiding philosophy, radical at the time the novel was published, states that blacks should cast off oppression and prejudice by destroying the ability of white men to control them. This philosophy leads inevitably to violence, and, as a result, both Ellison and the narrator fear and oppose such notions. Yet, although Ellison objects to the ideology that Ras embodies, he never portrays him as a clear-cut villain. Throughout the novel, the reader witnesses Ras exert a magnetic pull on crowds of black Americans in Harlem. He offers hope and courage to many. By the late 1960s, many black leaders, including Malcolm X, were advocating ideas very similar to those of Ras.
Ras, who is depicted as a West Indian, has reminded many critics of Marcus Garvey, a Jamaican-born black nationalist who was influential in the early 1920s. Like Ras, Garvey was a charismatic racial separatist with a love of flamboyant costumes who advocated black pride and argued against integration with whites. (Garvey even endorsed the Ku Klux Klan for working to keep whites and blacks separate.) However, Ellison consistently denied patterning Ras specifically on Garvey. If any link does exist, it is probably only that Garvey inspired the idea of Ras, not that Ellison attempted to recreate Garvey in Ras.
SL
Q7 The theme of revenge in Wuthering heights.
Writing Quality Home Page Theme Of Revenge In Wuthering Heights
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In the novel Wuthering Heights, Emily Bronte strongly emphasizes the dynamic and increasingly complex relationship of Mr. Heathcliff and Catherine. Heathcliff, the abandoned gypsy boy is brought to Wuthering Height by Mr. Earnshaw to be raised with his family. After Mr. Earnshaw's death, he suffers harsh abuses from his "brother" Hindley and from Catherine, whom he dearly loves. This abuse will pave the way for revenge. The evolving and elaborate plans for revenge Mr. Heathcliff masterminds for those who he feels had hurt him and betray him is what makes
Wuthering Heights a classic in English literature. The sudden change in feelings and emotions in Mr. Heathcliff are powerful scenes. Revenge becomes the only reason to live for him. Revenge is the main theme in Wuthering Heights because it highlights important events, personality flaws, and the path of destruction.
In the novel Wuthering Heights, the dark and mysterious Heathcliff once began his life with an open heart, but after mistreatment from Edgar and Hindley he turns to revenge. Heathcliff's actions are reasonable; he has been hurt from the unfair reason of discrimination. Heathcliff slowly becomes sickly obsessed with planning an elaborate revenge after eavesdropping a conversation between his beloved Catherine to Nelly. He hears his young beautiful and idolized Catherine say, “It would degrade me to marry Heathcliff” (77). Heathcliff, heartbroken and hopeless, abruptly leaves Wuthering Height for two years. Catherine is left wondering where he is. Heathcliff leaves in search of revenge.
Not only does revenge highlights important events, but also highlights personality flaws. Heathcliff is convinced that Hindley and Catherine are the reason for his loneliness and how he...
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...his is impossible to prevent. This leads to Mr. Heathcliff self destruction, because all of his life he has been looking for strategies to get revenge on those he hates. He does not want Wuthering Heights to be a haven, rather a purgatory. To his dismay he realizes his years of revenge, will not last all generations. Seeing how both families, the Linton and the Earnshaw's stand up for one another, Heathcliff understands that the one thing that kept him alive has now been defeated. Therefore his life has no purpose, and he has lost.
Emily Bronte's master piece, Wuthering Heights, is a timeless story of love, deception, betrayal and revenge. It recognizes that life in the world is not a utopia. Revenge is the main theme in the book because it highlights important events, personality flaws, and the path to self-destruction. Bronte presents this loud and clear. …
Q5
The Prologue of Invisible Man introduces the major themes that define the rest of the novel. The metaphors of invisibility and blindness allow for an examination of the effects of racism on the victim and the perpetrator. Because the narrator is black, whites refuse to see him as an actual, three-dimensional person; hence, he portrays himself as invisible and describes them as blind.
The Prologue also helps to place the novel within larger literary and philosophical contexts. Especially apparent is the influence of existentialism, a philosophy that originated in France in the mid-twentieth century, which sought to define the meaning of individual existence in a seemingly meaningless universe. At the time of
Invisible Man’ s publication in 1952, existentialism had reached the height of its popularity; Ellison’s book proposes to undertake a similar examination of the meaning of individual existence, but through the lens of race relations in postwar America. In French existentialist works, physical infirmities (such as nausea in the work of Jean-Paul Sartre and disease in the work of Albert Camus) frequently symbolize internal struggles; Ellison locates the tension of race relations in similar conditions: invisibility and blindness.
The narrator’s central struggle involves the conflict between how others perceive him and how he perceives himself. Racist attitudes cause others to view him in terms of racial stereotypes—as a mugger, bumpkin, or savage. But the narrator desires recognition of his individuality rather than recognition based on these stereotypes. The “blindness” of others stems from an inability to see the narrator without imposing these alien identities on him. The narrator notes that, given this situation, it does not matter how he thinks of himself, because anyone—even the anonymous blond man on the street—can force him to confront or assume an alien identity, simply by uttering a racial insult. Thus confined, the narrator flees the outside world in search of the freedom to define himself without the constraints that racism imposes.
The episode with the blond man and its subsequent treatment in the newspaper serve to illustrate the extent of the narrator’s metaphorical slavery. The man’s insult, which we can assume was a derogatory racial epithet, dehumanizes the narrator, who attacks the man in order to force him to recognize the narrator’s individuality. The newspaper’s labeling of the incident as a mugging marshals the narrator’s act of resistance against racism into the service of racism: the blond man becomes the victim rather than the assailant, while the narrator and his motives become invisible to the public. Others have again managed to define the narrator’s identity according to their own prejudices.
The narrator also uses his invisibility to his advantage, however; he can exert a force on the world without being seen, without suffering the consequences. The narrator speaks to us through his written text without revealing his name, shrouding himself in another form of invisibility in order to gain the freedom to speak freely. We find ourselves confronted by a disembodied voice rising from underground, the voice of one whose identity or origin remains a secret. Invisibility also affords the narrator the opportunity to steal electricity from the power company. By illegally draining their resources—both electrical and otherwise—he forces the company to acknowledge his existence yet preempts any response from them, including any racist response. By remaining metaphorically and literally invisible to them, he announces himself as a presence but nonetheless escapes the company’s control.
The excessive lighting of the narrator’s underground hole (he uses 1,369 bulbs) not only emphasizes the narrator’s presence to the electric company authorities; the narrator also attempts, with this light, to “see” himself clearly without the clouding influence of outside opinion. Notably, 1,369 is the square of thirty-seven—Ellison’s age at the time of writing—which ties the narrator’s experience to Ellison’s own sense of self.
Stylistically, Ellison’s Prologue makes use of a great deal of ambiguity, both emotional and moral. The former slave woman whom the narrator encounters in his jazz daydream has mixed feelings toward her former master, loving him as the father of her sons but hating him for enslaving her and her children. Other ambiguities arise around the question of betrayal: one wonders whether the slave woman betrayed her master by poisoning him or whether she saved him from a worse fate at the hands of her sons. One may even ask whether the woman saved her sons by preventing them from becoming murderers or betrayed them by robbing them of their revenge. Similar questions arise regarding guilt in the narrator’s own act of violence against the blond man. Such inquiries come to the forefront as Ellison examines the question of moral responsibility in a racist society. Ellison asks how a woman can owe love or gratitude to a man who considered her a piece of property, devoid of any emotional life. Similarly, he questions how the narrator can have any responsibility to a society that refuses to acknowledge his existence.
Ellison works blues and jazz—specifically that of Louis Armstrong—into the novel to complement the narrator’s quest to define himself. Because jazz depends on the improvisational talents of individual soloists and because it developed primarily among African-American musicians, it serves as an elegant and apt metaphor for the black struggle for individuality in American society. It also makes an appropriate soundtrack, as it were, for a novel about the search for such individuality. Armstrong, widely considered the most important soloist in the history of jazz, almost single-handedly transformed jazz—which originally evolved as a collective, ensemble-based music—into a medium for individual expression in which a soloist stood out from a larger band.
In the Prologue, the narrator listens specifically to Armstrong’s “(What Did I Do to Be So) Black and Blue.” This track relates directly to Invisible Man on a thematic level, as it represents one of jazz’s earliest attempts to make an open commentary on the subject of racism. Fats Waller originally wrote the song for a musical comedy in which a dark-skinned black woman would sing it as a lament, ruing her lighter-skinned lover’s loss of interest in her. Later, however, Armstrong transformed the piece into a direct commentary on the hardships faced by black people in a racist white society. Like Invisible Man, the song’s lyrics emphasize the conflict between the singer/speaker’s inner feelings and the outer identity imposed on him by society. The narrator listens to Armstrong sing that he feels “white inside” and that “my only sin / is in my skin.” By placing this song in the background of his story without directly commenting on it, Ellison provides subtle reinforcement for the novel’s central tension between white racism against black people and the black struggle for individuality.
FOR NIGERIA, GAMBIA AND LIBERIA
LITERATURE OBJECTIVES
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SOLUTIONS
*WAEC LITERATURE SOLUTIONS*
Literature 🇳🇬🇳🇬🇳🇬
(Verified No 1)
Woman are seen as second class citizens in the novel because it is in accordance with their customs and traditions. Prominence is placed on the male gender in the story. That is why the birth of Adah brought disappointment to her parents. They were expecting a male as their first child. For this reason, her father refused her quality education. He sends her younger brother, boy to an expensive school at Ladi Lak while Adah is left in the care of her mother. Even when Adah sneaks out to the Methodist Church school to learn. It is her mother that is punished and humiliated at the police Station by being forced to drink Garri. The father is not punished.
Even when Adah gets married to Francis, she faces similar humiliated which is coupled with domestic violence and severe beatings.
At the end of the novel, Adah is able to gain freedom through the help of a lawyer who helps her secure a divorce from her husband.
The plight of Adah shows the predicament of women in the African society.
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PROSE-ANSWERS (You Are To Answer Only Two(2) Only.
(2)
Adah’s story begins when she is about eight years old, when she develops a dream to go to the United Kingdom. (Though she does not know her exact age, she does know that she “fe[els] eight” and was born during World War II.) As a Nigerian girl, however, she must overcome limitations placed upon her gender. She fights to be sent to school, as education is seen as unnecessary for girls. Adah takes it upon herself to go to school one day; thereafter, she is allowed to attend school with her younger brother, Boy, at an expensive private institution. In other words She is permitted to continue to pursue an education so that her family can charge a higher “bride-price.” Adah wins a scholarship for high school that includes room and board, so she moves out of her uncle’s house. Soon, though she wishes to continue studying. She decides she will have to marry. Her mother and others in the community have been encouraging Adah to consider suitors for some time already, but Adah did not want to marry a much older man. She ultimately marries Francis Obi, a young man who is studying accounting and cannot afford her bride-price. Adah lives with Francis and his parents, with whom she gets along well. She starts a good job at the American Consulate but is dismayed to discover that she will be the only one working to support the family. She quickly becomes pregnant with her first two children: a daughter, Titi, and a son, Vicky. While Adah is pregnant for the second time, a plan is conceived for Francis to study in England; Adah has shared her dream with Francis and he finally agrees that they can pursue it.
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(7)
Setting can be defined as the physical or social environment within the character in a work of prose operate. Setting is also the location and time frame in which the action of a narrative takes place. The setting is the backbone for a novel it sets the tone and gives the reader a mental image of the time and places the story takes place. The Wuthering Heights Estate in Emily Bronte’s novel “Wuthering Heights” is one of the most important settings in the story.
The spatial setting of the story straddles three important places, namely Wuthering Heights, Thrushcross Grange and the moors in between. Each of these places is important for different reasons. The two families the story centres around live in these houses, and the houses are symbolic in different ways. Wuthering Heights, as the word wuthering suggests, represents a world that is withered of humanity, a world of darkness in the figurative sense; while the Grange directly suggests a land being farmed, with its implication of fecundity. The Heights does not only experience wild wind and cold weather, its inhabitants are also people with a wild streak, generally cold and crude. Like a typical gothic setting, Wuthering Heights, from the beginning of the novel, is presented as a dark and ominous building. ancient and isolated, all of which foreshadow the gloomy atmosphere that dominates the novel, especially the events that take place there.
On the other hand, the Grange is peopled by a refined gentleman, a gentlewoman and their waited-on-children. The house is well furnished, the weather there more clement, and almost everything about the house in an ideal state. It is also closer to town and its inhabitants are more conscious of social manners as well as morals. The moors separating the two houses signify barrenness, wildness, coldness, and wilderness where people get lost easily; yet, it is a place of attraction to wild spirits such as those of Heathcliff and Catherine. In temporal terms, the story is set in the late 18th century England. Although the period preceding this time was already characterized by class stratification in England, social mobility through marriage gained currency in the 18th century following the emergence of the middle class that came to bridge the gulf between the aristocracy and the working class.
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