2024 WAEC GCE SECOND SERIES (NOVEMBER) LITERATURE: WAEC GCE Second Series (November) Literature (Lit) III 2024 Legit Answers and questions (4377)

(2)
Jilo, she is Ndapi’s adulterous wife. She thrives hard to become a good wife to Ndapi, but Jilo wouldn’t reciprocate such affectionate love gesture. This drives her into the hands of Lansana who has a sugar-coated tongue and they become lovers until they are caught in the bush embracing each other. Meanwhile, they have been meeting secretly in Ndapi’s house whenever he’s not around.

When brought to Yoko, she orders her to be put in stocks pending when Lansana who had gone to Taiama and be back in three days’ time is found. She attempts to defend the act, but unfortunately, there is no reason why she should cheat on her husband.
Jilo also confesses to Fanneh that she is a woman who is constantly abused by a man whom she gives her body.
she admits that it is frustration from her marital home that compelled her to flirt and have an affair with Lansana.

(3)

Lakunle's strength lies in his youthful enthusiasm and determination to bring about change in his village by introducing Western civilization. As a young and educated teacher, he represents the potential for progress and modernization. His desire to educate the villagers and implement reforms reflects a genuine ambition to uplift the community.

However, Lakunle's weakness is rooted in his naivety and disregard for the existing traditions of his people. His rash and uncompromising approach makes his ideas repulsive and complicated for the villagers, especially Sidi. The derogatory term "mad man" used by Sidi illustrates the resistance and mockery Lakunle faces.

The humor in Lakunle's character adds a comic element to the play, highlighting the absurdity of his revolutionary ideas and the clash between traditional values and modern aspirations. His scenes with Sidi, where he tries to impress her with his Westernized demeanor, contribute to the comedic tone.

Ultimately, Lakunle's failure underscores the complexity of cultural transformation. It reveals that the imposition of Western ideals, even with good intentions, may not always succeed. The acknowledgment that Western civilization sometimes bows down to tribal tradition and customs suggests the limitations of Lakunle's approach and emphasizes the importance of understanding and respecting the cultural context in any transformative endeavor.

(5)

COLONEL REDFERN is Alison’s father who is also a former colonel in the British army stationed in the English colony of India (back before 1947 that is, when India was still a colony of England. He represents Britain’s great Edwardian past. He was a military leader in India for many years before returning with his family to England. He is quite particular and critical of Jimmy and Alison and Alison’s marriage, but admits that he is to blame for many of their problems because of his undue meddling in their affairs. He is gentle and kind in his approach to issues and this makes him command respect.

 He is very incisive and he believes every standard should be maintained. He feels discouraged about Jimmy resorting to below-standard Jobs such as sweet-stall. It does not seem an extraordinary thing for an educated young man to be occupying himself with. Why should he want to do that, of all things”. The Colonel admits that both he and Alison’s mother are to blame for everything; he also becomes mystified when Alison reveals that her marriage to Jimmy is built on revenge mission. As a believer of true love, Colonel wonders why youths of nowadays don’t marry for love. “They have to talk about challenges and revenge. I just can’t believe that love between men and moment is really like that.

 Colonel Redfern is a calm and easy-going soldier who does not use his Juicy office to maltreat others. He 'copied from e x p o c o d e . n e t free' refuses to approach Alison’s maltreatment with military fashion, but waits patiently to listen to both parties involved.

Mrs. Redfern represents the older, traditional generation, embodying the societal norms and expectations of her time. Her influence is felt through Alison, who is married to the play's protagonist, Jimmy Porter. Alison's background and upbringing with a more conservative mother contribute to the tension and conflict in her marriage with Jimmy, who rebels against societal conventions and expresses his discontent through anger and frustration.

Alison's ties to her mother become a source of conflict, highlighting the generation gap and the clash between the traditional values represented by Mrs. Redfern and the rebellious, iconoclastic attitude of Jimmy. The unseen but ever-present influence of Mrs. Redfern contributes to the theme of societal expectations and the struggle to break free from them.

Alison's internal conflict, torn between her loyalty to her mother's values and her desire for independence with Jimmy, reflects the broader social changes occurring in post-war Britain. Mrs. Redfern's role, therefore, is not just that of a distant figure but a symbol of the societal expectations that the characters grapple with, adding depth and context to the play's exploration of class, relationships, and cultural shifts.

(6)
The nature of Jimmy’s talk to Alison is quite controversial; as it’s effect in Jimmy and Alison’s marriage is consummated in the ground of revenge. Their relationship is seen as master and servant relationship and they barely enjoy peace and harmony at home as Jimmy is always at the control of everything, while Alison’s business is to remain silent. Jimmy believes that love is pain and suffering. He therefore scorns Cliff and Alison’s love for each other, which is gentle fondness that does not correspond to his own brand of passionate, angry feeling. Jimmy’s definition of love has to do with the class tensions between Jimmy and Alison, and she tells her father, colonel Redfern that Jimmy married her out of sense of revenge against the upper classes. It was born out of sense of competition between classes.

It is clear that Jimmy and Alison’s love for each other is not characterized by much tenderness though they do manage to exhibit one when they play their animal game. Jimmy and Alison as the beer and squirrel are able to express more simple affection for each other, but only in a dehumanized manner. In the first scene, Jimmy describes the game as a retreat from organized society. Their relationship is marred by class struggle anger and suffering.

Jimmy and Alison’s relationship lack feeling and stability, because Jimmy especially, does not nurse any aorta of feeling for Alison, as he feels undaunted or not worry at all when she lost her first baby, Alison who is ever ready to be with Jimmy walks away and returns quickly to him and they both renew their vows and opts for peace.

(8)

Gabriel or Gabe is Troy’s brother who is mentally imbalance. He was injured in the Second World War, where he received a head injury that required a metal plate to be surgically implanted into his head. He’s given a cheque from the government, the part which Troy used to buy the Maxson’s home which is the setting of the play. Gabriel wanders around the neighborhood carrying a basket and singing. He sees himself as angel Gabriel who opens the gates of heaven with his trumpet for Saint Peter on Judgment Day.

             However, just before the play begins, Gabriel has moved out to live with a lady named Miss. Pearl, Troy who is afraid that he will no longer get Gabe’s disability cheque commits him to a mental hospital and continues to receive half of Gabe’s cheque.

(10)
In the poem, the poet attributes rage or uncontrolled anger to be the chief destroyer of human virtue and a thief that steals away our good morals such as happiness, joy and good life. Anger does not yield any good fruit, but rather it will “breach your sails with arrows unseen” – meaning, it exposes you to danger, “Which would blot out that brief”: reduces your lifespan. “No! Rob you of your life, rage is chief”. Here the persona sees anger as the most important vice that can ruin your life totally. “Rage drags rags after you” – anger breeds shame and spoils all other good virtues such as kindness, laughter, sweetness and light.

The poet therefore calls rage thief because it spoils so many good things in you. It is the enemy of equanimity, because it steals away your gentleness, kindness, calmness and loveliness. Anger also makes one unstable in character and does not allow one compose oneself especially under stress. “Rage spells calamity” – meaning, it engineers other evils like hard luck, violence, murder, insecurity and regret.

The poet persona therefore sees anger as the raider of treasure trove.

(7)

To Rose, Troy breaks their marital vow which spells out one man, one wife, and also kicks against adulterous act he committed with Alberta which result to the birth of Raynell. Rose being a kind-hearted woman ostensibly refuses to return evil for evil, and she forgives Troy and opts to bring up Raynell.

Rose however, is interested in building a united family with an enduring legacy and that is why she keeps talking about building fences which is symbolic of protection, oneness and unity. Her dream is to unite Troy, Cory and Lyons as one family. The more she thrives to attain that the more circumstances beyond her immediate control pull her down her dream of a monogamous family with rebirth is shattered by Troy’s adulterous act which results to the birth of Raynell. She compromises her dreams for Troy when he dies by accepting to bring up and train Raynell.

Rose shows the forgiving attitude by accepting to bring up Raynell, that is, the illegitimate daughter of Troy and Alberta who died shortly after child birth in order to promote peace harmony and family integration in Maxsons.

(11)

The poet delves into the profound impact of newfound love, crafting a sonnet that transcends mere romantic sentiments to explore the transformative nature of profound connection. The poem commences with an interrogation of past experiences, suggesting that the speaker's life before this love was akin to a dream—an existence lacking true awakening. The metaphorical sleep implies a state of incompleteness or unawareness, contrasting sharply with the vitality and awareness that the poet attributes to the awakening brought about by love.

As the poem unfolds,the poet artfully employs metaphors and vivid imagery to convey the depth of this transformative love. The line "And now good morrow to our waking souls" signals a departure from a past defined by superficial encounters to a present illuminated by an all-encompassing connection. The merging of souls implies a profound unity, transcending the physical and reaching into the metaphysical realm. The very fabric of reality seems altered, as if the lovers have discovered a new dimension of existence.

The poet accentuates the magnitude of this newfound love by dismissing past experiences as mere illusions, asserting that everything before was a "feigned common thing." The metaphorical reference to past lovers as "country pleasures" reinforces the idea that the speaker has moved beyond trivial or superficial connections, finding in this love a more profound and lasting 'copied from e x p o c o d e . n e t free' satisfaction.

The poet's choice of metaphors, such as "Seven hours to the, and the last lights off the black West went," paints a vivid picture of time passing unnoticed during the night, suggesting that the intensity of their connection transcends the ordinary markers of temporal existence. The mention of the "black West" may also symbolize the obscurity or lack of awareness before the dawn of this transformative love.

"The Good-Morrow" intricately explores the transformative power of profound love, depicting it as a force that awakens the soul, transcends past experiences, and elevates the lovers to a heightened state of existence. The poet employs rich imagery and metaphors to convey the depth and significance of this newfound connection, emphasizing its ability to redefine not only the present but also the entire fabric of one's past and future.