Correct Answer: B. Claudius

Correct Answer: C. farce

Correct Answer: A. spur them to action

Correct Answer: B. simile

Correct Answer: C. desolation

Correct Answer: A. abab

Correct Answer: D. nausea

Correct Answer: B. think and feel more deeply

Explanation

Athol Fugard employs a number of dramatic techniques to convey the conditions of black South Africans in an oppressive system. These include: The use of flashback: Flashback is a dominant dramatic technique used in the play. Events unfold through flashback as Styles reflects on the conditions of the black South Africans in Ford Motors. Through this technique, the audience is made to be aware of the oppressive and the exploitative nature of the apartheid system on the black worker who is kicked out if he dares challenge the white foreman. Sizwe's experiences in the house of Zola are also re-enacted through flashback.

The use of Characters: Fugard's use of a few characters is also an aspect of how he generates interest in the play. There are only three characters, namely; Styles, Sizwe and Buntu and the action of the play is seen from their perspective. Styles is the dominant character who re-enacts most of the injustices of the white regime and the inhuman treatment the black South African workers receive.

The use of the Dramatic Monologue: The dramatic monologue is seen as the dominant narrative technique employed by the playwright. Styles' utterances and actions as he plays several roles reveal the evils of apartheid in the plight, as well as the hopes of the oppressed blacks.

The use of Symbols: Several things stand for various ideas. The photographic studio itself represents a place where Styles creates a dream world for the suffering blacks in a situation where their hopes have been shattered by the unjust system. Buntu's house stands for a rehabilitation centre for the blacks. Cockroaches represent the oppressors whom Styles, who represents his people, is determined to exterminate. Other symbols include the use of the insecticide Doom, and the Cat, which also represent his attempt to overcome oppression, while the Camera offers hope. Styles' newspaper headlines open up his mind to the realities and possibilities in and outside his immediate world.

Use of Irony: Irony is used to reinforce the dehumanising condition of the black man. It is ironical that Sizwe has to use a dead man's passport to survive and earn a living in his own native land. Other dramatic techniques employed in the play include miming and mimicry, use of the epistolary style, the absence of features like acts and scenes and the concentration of the setting in styles' studio.

Explanation

Karl Lindner is a whitemen. He visits the Younger home twice on the same day. The purpose of his visits is to persuade the Youngers not to move into the house that Mama has bought in Clybourne Park for the family. These visits are significant for understanding some aspects of the world of the play.

The day Lindner goes to see the Youngers they are preparing to move. The Man meets Beneatha, Ruth and Walter. Mama is out. Lindner's mission is simple: The Clybourne Park Improvement Association has sent him to let you people know that they do not want the Younger family in the neighbourhood, for the whitemen there come from a common background to which the Youngers are unwanted aliens. He assures Walter that the overwhelming majority of our people out there feel that people get along better, take more of a common interest in the life of the community when they share a common background. For that reason, the whitemen want to buy the house from you at a financial gain to your family. The mission fails as Walter orders Lindner out of the house. As he goes out perplexed, Lindner leaves his card.

Lindner's second visit is at the invitation of Walter. Ostensibly, Walter wants to seal the deal of the sale of the house. But this does not happen. Walter has been inspired by his mother's fighting spirit to reject the offer of Lindner with finality. Lindner, of course, does not understand fully as he departs.

These visits are significant for understanding the Negro experience and the black-white relationship in America. Bobo's intervening report of the loss of the family money that Walter has handed over to Willy Harris for the liquor business gives the family a philosophical outlook. Walter learns from here and takes the bold decision. It will be incompatible with the family's pride to agree to sell the house since ain't nobody in my family never let anybody pay iern no money that was a way of telling us we wasn't fit to walk the earth. This is how succinctly Mama explains what Lindner seeks to do. Because we ain't never that poor , the family must stick to its purpose and move into the new house. Mama is larger than life, as they say, and her stand establishes her as such. The speed with which waiter picks the import of the philosophy is astonishing. This is a proud family and must hang on hope with tenacity. It is this that makes Walter decline Lindner's offer with finality and for which Mama commends Walter as having `finally come into his manhood'.

Though Lindner protests that his visit and the Clybourne Park residents' resistance to the Younger family's occupation of the property has no racial implications or racist undertones, that is not what the visit shows. The whiteman wishes to have little to do with the Negro as a neighbour. It is Lindner's conviction and that of the white community in CLybourne Park that our Negro families are happier when they live in their own communities.

Lindner's visits, therefore, reveal the reality of whie rejection of Negroes as neighbours and the determination of the Negroes to improve the circumstances of their life at all cost.