This question is based on selected poems from R. Johnson and D. Ker et al (eds.): New poetry from Africa;Wole Soyinka (ed.): Poems of Black Africa; K.E. Senanu and T. Vincent (eds.): A Selection of African poetry; M. Umukoro and A Sani et al (eds.): Exam Focus: Literature in English; A.E. Eruvbetine and M. Jibril et al (eds.): Longman Examination Guides: Poetry and E.W. Parker (ed.): A Pageant of Longer Poems.

In Wole Soyinka's Telephone Conversation, the dominant literary technique deploye

• A. alliteration
• B. onomatopeia
• C. oxymoron
• D. simile

Read the passage and answer the question

world have been Heathcliff's miseries, and I watched and felt each from the beginning.My great thought in living is himself.If all else perished, and he remained, I should still continue to be. And if all else remained, and he wereannihilated, the universe would be turned to a mighty stranger _ is should not seem a part of it.My love for Linton is like the foliage in the woods; time will change it, I'm well aware, as winter changes the trees.My love for Heathcliff resembles the eternal rocks beneath _ as source of little visible delight, but necessary. Nelly, I am Heathcliff!. He's always, always in my mind _ not as a pleasure to myself, but as my own being....

annihilated in the extract implies

• A. rebirth
• B. death
• C. marriage
• D. problems

These questions are based on General Literary Principles. The physical,historical or cultural background of a literary work is referred to as

• A. plot
• B. time
• C. setting
• D. episode

Read the extract and answer questions

If after every tempest come such calms.

May the winds blow till they have wakened death,

And let the labouring bark climb hills of seas

Olympus-high, and duck again as low

As hell's from heaven. If it were now to die,

'T were now to be most happy: for I fear

My soul hath her content so absolute

That not another comfort like to this

Succeeds in unknown fate.

(Act II, Scene One, lines 179 - 187) 46.

The occasion is _________

• A. Othello's return from war
• B. Othello's departure for Cyprus
• C. Montano expressirig his delight after the tempest.
• D. the defeat of the Turks.

This question is based on William Shakespeare's Romeo and Juliet

The atmosphere of tragedy in the play is created through the use of

• A. dreams and foreboding
• B. fights and quarrels
• C. wars and hatred
• D. ideas and dramatization

This question is based on BAT.

Use the excerpt to answer questions .

"Where light pushes through;

A sudden turning upon itself of a thing in the air.

A dip to the water.

And you think:

"The swallows are flying so late!"

Swallows?"

The dominant poetic device in the excerpt is___

• A. Rhetorical question
• B. imagery
• C. Alliteration
• D. Paradox

These question is based on General Literary Principles.

A fable is a brief narrative illustrating wisdom and

• A. custom
• B. truth
• C. urgency
• D. origin

This question is based on Abubakar Gimba's Witnesses To Tears

The events in the novel span

• A. forty days
• D. seven days
• C. five days
• D. seven days

We did not go to school on that Friday morning. The night before had been rough. It was turbulent and scary. The strange cry non-indigenes must go rent the air. Little did i Known what it meant. That carry all the same haunted me in my sleep. My dreams were horrible. Why was mum so troubled? Why was Dad suddenly so pale and sickly? That night Mum and Dad had a forboding silence. They looked at each other, they did not smile. They were utterly silent. Their silence spoke millions. Fear rules the night. When the family bell summoned us to the family altar, it seemed that it tolled its last for the humans. Death smelled in the air, death was in the eyes..... But why? We were not told. Yes during the prayer at the family altar, Dad had told us there was trouble in town. No one who was a non-indigene was safe.

The passage is__________

• A. In First person
• B. In Third Person
• C. A Dialogue
• D. Monologue

Read the extract and answer Questions

I will rather sue to be despised than to deceive so good a

commander with so slight, so drunken, and so indiscreet

an officer. Drunk! And speak parrot! And squabble!

swagger! Swear! And discourse fustian with one's own

shadow! a thou invisible spirit of wine, if thou hast no

name to be known by, let us call thee devil!

(Act II, Scene Three, lines 262-267)

.... so good a commander refers to

• A. Brabantio
• B. Duke
• C. Othelo
• D. Roderigo