NECO 2020 - LITERATURE ANSWER


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I will likely update you with version 2 Solution when we are done solving.
I don't want everyone to write same thing.
Why I updated version one is for those that urgently need the Answers to urgently take it...
Stay tuned....
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LITERATURE ANSWERS (Version 1)


SECTION I
(3)
Role and character of WARA:
Wara was in love with kindo. wara is a stranger in mandoland too but has lived there long enough to detest being called stranger, and She is also in love with Kindo, She not born in Mandoland,her mother was taken prisoner by one of mando’s warriors during the war; her mother ran away after giving birth to her. Wara cautions kindo form doing anything which will anger the spirit, Wara is the only Kindo’s woman that will be sexually assaulted by Whitehead. Maligu and soko lot abduction into a sack and then take to whitehead’s compound. she fortunately escapes. For her love for Kindo, she is ready to risk anything to be with him, likes to follow him everywhere and Kindo is not comfortable with that as a warrior. Her love for Kindo is so intense that she refuses to leave with her grandfather to their homeland but remains in Mandoland in order to be with Kindo. In a way, her mother is seen as a slave ofthe Mando people. This reality poses a great threat to her relationship with Kindo. This is why Kindo cannot take her to the palace.
Even though she has absolute faith in Kindo, she is still very mindful of her integrity as a woman and also respects the customary norms of her society. This is one of the reasons she resists Kindo having her just anywhere and pushes to be taken to the palace. Wara’s steadfastness in preventing Whitehead from raping her is indicative of the resilience of the bloggingAfrican space to Western plundering schemes. In other words she looks up to kindo's only woman should look up to a man, does not doubt him and never ask too many questions.
She is Kindo's only woman that sexually assaulted by whitehead. maligu and soko plot her abduction into a sack and then take to whitehrad's compound. She fortunately escapes.

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SECTION II
(8)
Role And Character Of Ruth.
Walter's wife and Travis's mother. Ruth takes care of the Youngers' small apartment. Her marriage to Walter has problems, but she hopes to rekindle their love. She is about thirty, but her weariness makes her seem older. Constantly fighting poverty and domestic troubles, she continues to be an emotionally strong woman. Ruth is in some ways like a typical housewife of the 1950s. She makes breakfast, cleans the house, supports her husband, and keeps her own desires to herself. Unlike the stereotypical 1950s housewife, though, she also goes out into the world and works her butt off. Not only does she struggle to maintain her own household, she goes out to work in the households of rich white people as well. Ruth is a 'soft' personality type. She is not aggressive; she just lets life 'happen' to her. She is the 'worn-out wife' with a tedious, routine lifestyle. Hansberry describes Ruth as being 'about thirty” but “in a few years, she will be known among her people as a 'settled woman'. Ruth has only simple dreams and would be content to live out her life being moderately comfortable. Her biggest dream blossoms only after Mama's news of the possibility of their moving to a better neighbourhood. Ruth is easily embarrassed and tries too hard to please others. When George Murchison arrives in the middle of Walter and Beneatha's frenzied African dance, Ruth is overly apologetic to George about their behaviour. When Walter and Beneatha argue, Ruth asks Walter not to bring her into their conflict. And even though Ruth is annoyed by Lena's (Mama's) meddling, she still allows her mother-in-law to influence her at times about the correct way to raise Travis. Very low key, Ruth reveals the most emotion when Mama tells her that they may not be able to move; it is only then that Ruth assertively expresses her views. Lacking education and sophistication, Ruth relies upon the suggestions, advice, and even what she thinks might be the wishes of others. Her husband Walter is incredibly dissatisfied with his life, and he constantly takes it out on her. Ruth is far from a doormat and tells her husband off when he starts acting like a jerk. However, it is clear in the play that the turmoil in her marriage is taking a real toll on Ruth. She often seems irritable, depressed, and at times sinks into despair. This all comes to a head for Ruth, when she finds out she is pregnant and considers an abortion. In the '50s, an abortion would have been (i) illegal and (ii) dangerous. But according to Mama: “When the world gets ugly enough - a woman will do anything for her family. The part that's already living.” Though Ruth hates the idea of aborting her child, she feels it's the best decision for her financially strapped family. In the end, though, Ruth chooses to keep her child. She finds hope in the fact that the younger family will soon be moving out of their cramped, roach-infested apartment and into a new house. She'll still have to work to help pay the mortgage, and they'll all have to deal with the racist backlash of living in a white neighbourhood.

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SECTION III
(9i)
Repetition; The poet uses repetition even though this is subtly done in some cases. The 'sudden throb of pain' in lines 10 and 11 is a subtle repetition of the panic' which could be a painful throb. Again 'nothing to show' (1.12), 'Nothing to show the world” (1. 20), 'No/specialist's effort there' (1. 23-24) and 'Hope/ is not a grain of sand” (1. 27-28) are repetitions of the same idea, namely that of a sense of futility.

(9ii)
Metaphor; When a writer or speaker asserts that something is or is equivalent to something else which may not really be like it, the figure used there is a metaphor. Peters uses a few of such a figure of speech in his poem.
i. 'Panic' is equated with 'fluttering wings” (I. 1 and 3)
ii. At the age of twenty, life is 'stilled by hope' (1.6).
iii. At the age of thirty, life is again 'a sudden throb of pain' (1. 10 & 11).
iv. The 'sudden leaps/at the moon' depicts agility and liveliness.
v. 'Copybook' is a record of life which in the case of Peters” poem is fitted with “red ink”. Red ink is a metaphor for failure grades.
vi. 'Hope/is not a grain of sand' is metaphorical, depicting what hope is not.
vii. The phrase 'blades of expectation' (1. 31) is a metaphor for a blend of what one looks out for in life as one ages.

(9iii)
Imagery; The imagery which is prominent in the poem is that of engulfment, of shrinkage as age mounts. The panic of growing older like a bird's wings spreads and engulfs the human person as he/she gains in age. There is a flowering of optimism at twenty and thirty, and shortly after that legs begin to lose their agility. The 'copybook of life is filled with failure marks, and one has little to show for all the years. Even inner satisfaction shrinks to a point of dissatisfaction as expectation has not been met.

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SECTION IV
(11)
'The Schoolboy' is a Romantic poem. The Romantic era was marked by a celebration of nature as the embodiment of perfection. Apart from Williams Blake, other notable Romantic poets include John keats, Percy B Shelley, William Wordsworth and Samuel Taylor Coleridge. English poets who have their writings categorized as Romantic poems unambiguously display their love for nature and peace that nature embodied.
In 'The Schoolboy', nature becomes a means of facilitating healing at different levels of life. Romantic poets believed in the use of their imagination to explore literary creativity as a means of deifying nature. They subscribe to the idea that the only way to achieve satisfaction for the soul is to have a profound power of imagination and to also be radical and non-conformists, hence they are perceived to be irrational and daring as they aspire to do things differently. Romantic poets idolize nature and regard it as a great source of inspiration or muse. Romanticists believe that the Industrial Revolution made the world artificial and sterile, making it lose its humanity and humaneness in the process. They found solace in escaping in the beautiful world of nature. Intensive formal education was one of the fallouts of the Industrial Revolution and as seen in the poem, Blake maintains that education takes away the individual's sense of fulfilment and quest for adventure. As a romantic poem, 'The Schoolboy' celebrates and appreciates and condemns every form of human and societal restriction placed on it. It also critiques the destruction of childhood innocence as a result of the emphasis placed on the importance of classroom education. in other words the poetic persona is a young boy who is happy when he wakes up to see the dawn of a new and delightful summer morning. Summer, for the Romanticists, was the season of beauty and unparalleled bliss and joy. The boy is amused by the chirping of the birds announcing a new dawn, he is also fascinated by the melodious sounds coming from the hunter's horn, sounding from a distant field and the mellow tunes from the skylark bird. All these experiences from the natural world attract the boy to the extent that he exclaims 'Oh what sweet company!'. The boy, in search of a practical solution to his predicament, makes an appeal to his parents. It is apparent in his lamentation that he is of the view that if a promising child like him, is removed from the source of his happiness and joy, nature, he would not be able to flourish.

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LITERATURE ANSWERS (Version 2)

SECTION I

(3)
Wara is the main female character in the play. She was not born in Mandoland, her mother was taken prisoner by one of Mando's warriors during the war;her mother ran away after giving birth to her. She is portrayed as attractive and a seductive dancer. We meet her early in the play when Kindo attempts to drag her into the sacred cave for sex and she resists the attempt. But for her, Soko would have come Upon them in the cave. Both could have been charged with sacrilege. As kindo's girlfriend, Wara is naive about the intrigues of the king's court. While kindo jealously protects her, she is at the same time exposed to the machinations of Maligu and soko in their attempt to get at Kindo. Even thought she has absolute faith in Kindo, she is still very mindful of her integrity as a woman and also respect the customary norms of her society. This is one of the reason she resists Kindo having her just anywhere and pushes to be taken to the palace
The plot is further complicated when whitehead appears, lust after her and attempts to rape her after Maligu, Parker and Soko abduct her. She beats off Whitehead's charge on her and runs away. Her escape from Whitehead, later helped by Soko, avert an early and inevitable confrontation between whitehead and Kindo.
Wara also play the role of the sacrificial lamb that never was. Thought targeted for sacrifice by Soko and Maligu because she qualifies as a stranger and presumably a virgin, she lives. The plot unravels when Kindo asserts that Wara is not a virgin and the body on the sacrificial stone is not Wara's but Parker's whom he has killed. Kindo also kills Whitehead who has attempted to mar his relationship with Wara, as well as destroy Mando land's customary practices.
Wara in the end, proves that people can manipulate custom for their own interests by revealing to Kindo that she is not a stranger in Mandoland.

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SECTION III

(10)
The panic of growing older is a poem that is subdivided into three phases of life. The poet in his poem meant that life is a division. The first one is of 'beauty' and the second one is of 'thirty' while the third one is of 'three scores and the ten'.
There is no man that love to grow old in life without even having something to gain. The poet says 'At twenty' one needs to have achieved something in life. The expectation of people around you is to see you as a failure, not as a successful man. The poet says one needs to have a 'gigantic success' and explores so much to himself.
Another thing that is very important is at the age of thirty. The poet meant that, as at that time, man must most have been feeling old in his system 'copybook bisected' even with 'red ink' that indicates that age is not on the man's side. The poet says 'at least three children' to show the world.
In other words, man must have tremendously achieved something, including settling down for the family all because age will tell that man is not young again and that if he can not get such thing, it means he has failed.
The third phase of the poem is of the old age, that only God gives men such grace. That is 'three scores and ten'. The lifespan of man is limited. Man who reaches the age of 75 and beyond is the grace of God that he promised to give a man. As at that time, man is afraid of getting old because he thought he has not achieved anything in life.
'The world has you', that shows he is a failure and such a life is not worth living. Your achievement matters to you but other people around you want you dead without achievement.

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SECTION IV

(11)
The poem 'The School Boy' is a romantic poem that appreciates the beauty of nature as a therapeutic tool that awakens all societal problems.
The poem explores the downsides of formal learning within the four walls of a classroom. The poem focuses on a little boy whose imaginative vision is entrapped in the school system.
The innocent boy rises in the 'Summer Morning' radiating so much happiness with the birds in the trees.
'I love to rise in a summer morn When the birds sing on every tree'
He reveals from the sound coming from the horn of a distance huntsman while chanting a melodious tune with the 'Skylark bird' to him, he is having the best time in such a 'Sweet Company' of nature.
The boy was suddenly being interrupted to have the so-called school experience. He says to him 'It drives all joy away'. The boy shows little or no interest in going to school because the teachers are cruel and the environment is unfriendly while they spend the whole day in 'Sighing and Dismay'.
The boy feels the classroom is not a place where he belongs, unlike the natural environment that has made him happier all the former time. To him, learning is boring and also worn him out.
There was a time the boy asked a question 'How can the bird that is born for joy sit in a cage and sing?' He is comparing a bird in a cage to himself, that is, it derives no joy because he himself exhibits fear under a tutor who kept their 'Tender wing'.
This is a poem that calls for sober reflection for a nation that desires productivity from its youth. The concept of nature needs to be explored in order to give long-lasting therapy to children’s learning.


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