NECO Literature in English (Drama & Poetry) 2025
Instruction: You Are to Answer Four (4) Questions in All. One (1) Question from Each Section.
SECTION I
Number 1
(1)
The Governor’s visit in John K. Kargbo’s “Let Me Die Alone” serves as a pivotal event that exposes the underlying tensions and power struggles within the chiefdom.
The anticipation of his arrival brings a sense of urgency and anxiety among the chiefs and elders, who see the visit as an opportunity to gain favor or solidify their positions.
Yoko, the central character, feels particularly pressured to demonstrate her capability and legitimacy as the newly installed Chief.
The event intensifies the rivalry between Yoko and her adversaries, especially Lamboi and Musa, who view the Governor’s visit as a chance to undermine her authority.
The visit itself is marked by elaborate preparations and displays of loyalty, but beneath the surface, it reveals the deep divisions and mistrust among the leadership.
In other words, the Governor’s presence does little to resolve the chiefdom’s internal conflicts; instead, it exacerbates feelings of insecurity, leading to further plots and contributing to Yoko’s growing sense of isolation and despair. The event highlights the impact of colonial authority on traditional systems and the personal toll such external interventions can exact on local leaders.
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Number 2
(2)
In “Let Me Die Alone,” betrayal is a recurring theme that drives much of the conflict. One significant instance is Lamboi and Musa’s betrayal of Yoko. Despite Yoko’s trust in them as advisors, Lamboi and Musa secretly plot against her, driven by their own ambitions for power. They go so far as to orchestrate the poisoning of Jeneba to create chaos and cast suspicion on Yoko’s leadership. Another instance of betrayal occurs when Ndapi, who is supposed to be a loyal subject, allows himself to be manipulated by Lamboi and Musa into doubting and opposing Chief Yoko. This undermines the unity and trust necessary for the chiefdom’s stability. Finally, the betrayal of tradition by some elders, who prioritize personal gain over the welfare of the community, further destabilizes the chiefdom. Instead of upholding their roles as custodians of culture and unity, they participate in schemes that threaten the very fabric of their society. Each of these betrayals not only endangers Yoko’s position but also highlights the destructive impact of personal ambition and disloyalty within the play.
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Number 3
(3)
Sidi is a central character in Wole Soyinka’s “The Lion and the Jewel,” embodying both youthful beauty and the allure of tradition within the village of Ilujinle. She is portrayed as the “Jewel” of the play, celebrated for her physical attractiveness, which becomes a focal point when a visiting photographer’s images of her are published in a magazine, elevating her status and pride within the community. Sidi’s character is marked by her confidence, playfulness, and a certain naivety she is aware of her beauty and the power it gives her, yet she underestimates the cunning of others, particularly Baroka, the “Lion.” Throughout the play, Sidi resists Lakunle’s modern ideas about marriage and gender roles, refusing to marry him without a bride price, which she sees as essential to her dignity and cultural identity. Her interactions with Baroka showcase her boldness and wit, but also her vulnerability to manipulation, as Baroka ultimately outsmarts her to win her as his bride. Sidi’s role in the text is crucial; she represents the values and traditions of her society while also highlighting the tensions between tradition and modernity. Through her choices and experiences, the play explores themes of gender, power, and the complexities of cultural change.
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Number 4
(4)
In Wole Soyinka’s “The Lion and the Jewel,” the assertion that “change is inevitable” is explored through the interplay between tradition and modernity in the village of Ilujinle. The character of Lakunle, the young schoolteacher, represents the force of change. He rejects traditional customs such as the payment of bride price and wants to introduce Western education, modern marriage practices, and new ideas about gender roles. Lakunle’s presence and efforts to “enlighten” the villagers symbolize the coming of modernity and the impossibility of isolating the village from outside influences. Another major illustration is the arrival of the photographer and the publication of Sidi’s images in a foreign magazine. This outside attention changes how Sidi is viewed in her own community, giving her new confidence and status and showing how global influences inevitably penetrate traditional societies. Even Baroka, the crafty village chief who stands as the guardian of tradition, is affected by change. Though he initially opposes the railway project, he later cunningly manipulates the situation to his benefit, showing that even those who resist change must eventually adapt to survive. Through these characters and events, Soyinka demonstrates that while people may resist or delay changes, they cannot stop them altogether. The play ultimately suggests that change, whether social, cultural, or technological, is a constant and inescapable part of life.
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SECTION II
Number 5
(5)
In John Osborne’s “Look Back in Anger,” the theme of betrayal is central to the emotional turmoil and conflict experienced by the characters. The most prominent example is the sense of betrayal felt by Jimmy Porter, the protagonist, who believes that those closest to him especially his wife, Alison have failed to understand or support him. Jimmy accuses Alison of emotional betrayal, feeling that she remains distant, passive, and unable to match his passion or share his ideals, which deepens his sense of isolation. Alison’s eventual decision to leave Jimmy, seeking refuge with her friend Helena, intensifies this betrayal, as Jimmy perceives her departure as abandonment at his moment of vulnerability. Betrayal is further complicated when Helena, originally Alison’s friend, enters into a romantic relationship with Jimmy after Alison leaves. This act is a double betrayal: Helena betrays Alison’s trust, and Jimmy betrays the marital bond he shared with Alison. The theme also extends to a broader social level, as Jimmy feels betrayed by the older generation and the complacency of post-war British society, believing they have failed to deliver on promises of progress and justice. Through these personal and societal betrayals, Osborne explores the destructive impact of disillusionment, highlighting how broken trust and unfulfilled expectations can lead to anger, resentment, and emotional chaos.
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Number 6
(6)
The relationship between Alison and Helena in John Osborne’s “Look Back in Anger” is complex and evolves significantly over the course of the play, playing a crucial role in the development of both the plot and its themes. At the beginning, Alison and Helena are close friends, with Helena visiting Alison in the Porters’ flat out of concern for her well-being amidst Jimmy’s emotional abuse. Helena is protective and supportive, encouraging Alison to leave Jimmy and seek safety and peace away from the toxic environment. However, this friendship is tested and ultimately betrayed when Helena becomes romantically involved with Jimmy after Alison leaves. This shift exposes the fragility of their bond and highlights the play’s central themes of betrayal, loyalty, and the search for emotional fulfillment.
The dynamic between Alison and Helena also serves to illuminate their contrasting personalities and values. Alison is passive, non-confrontational, and emotionally repressed, enduring Jimmy’s aggression in silence. Helena, in contrast, is assertive, morally rigid, and decisive; she takes action by convincing Alison to leave and, later, by openly pursuing a relationship with Jimmy herself. This contrast not only sharpens the emotional tension in the play but also challenges traditional notions of friendship and loyalty.
The significance of their relationship lies in how it propels the plot forward and deepens the emotional complexity of the characters. Alison’s departure and Helena’s betrayal force all three characters Jimmy, Alison, and Helena to confront their own desires, values, and vulnerabilities. Ultimately, the breakdown of Alison and Helena’s friendship mirrors the broader sense of disillusionment and instability that characterizes the world of the play, underscoring Osborne’s critique of post-war society and the personal cost of emotional and moral confusion.
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Number 7
(7)
In August Wilson’s “Fences,” the theme of lost opportunities is central to the struggles and motivations of the main character, Troy Maxson, and profoundly shapes the lives of those around him. Troy’s own life is marked by the lost opportunity to play professional baseball. Despite his exceptional talent, Troy is barred from the major leagues because of the color barrier that existed during his youth. The bitterness from this missed chance lingers throughout his life, fueling his cynicism and affecting his relationships, especially with his son Cory. Troy’s disappointment leads him to discourage Cory from pursuing a promising football scholarship, insisting that racial prejudice will prevent Cory from succeeding just as it did for him. This generational passing down of lost opportunities creates conflict and resentment, as Cory feels his father’s actions are stifling his own dreams. The theme is also reflected in the character of Rose, Troy’s wife, who sacrifices her own aspirations for the sake of family stability and later confronts the reality of her unfulfilled dreams after Troy’s betrayal. Through these characters, Wilson explores how systemic racism, personal shortcomings, and unresolved regrets can close doors to advancement, leaving individuals trapped by the consequences of missed chances and unfulfilled potential. The play ultimately reveals how the pain of lost opportunities can shape identities, relationships, and the choices people make for themselves and their loved ones.
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Number 8
(8)
Gabriel Maxson, Troy’s younger brother in August Wilson’s “Fences,” is a deeply symbolic and poignant character whose presence enriches the play’s exploration of suffering, innocence, and redemption. Gabriel is a war veteran who sustained a head injury during World War II, leaving him mentally impaired and causing him to believe he is the archangel Gabriel, tasked with opening the gates of heaven. His injury led to a government compensation payout, which Troy used to buy his family’s house, creating a sense of indebtedness and complexity in their relationship.
Gabriel’s character embodies innocence and spiritual faith, often wandering the neighborhood with his trumpet and singing religious songs. He is viewed by others as harmless and childlike, yet his actions and beliefs introduce a mystical element to the play. Gabriel’s frequent references to St. Peter and his conviction that he is preparing for judgment day create a powerful spiritual undercurrent, contrasting with Troy’s earthly struggles and skepticism.
Gabriel’s role becomes especially significant at the end of the play, during Troy’s funeral. After struggling to blow his trumpet a symbolic gesture to open the gates of heaven Gabriel performs a dance and lets out a cry, which is interpreted as a spiritual release for Troy’s soul. This moment provides a sense of closure and redemption, suggesting divine forgiveness and the possibility of grace, despite Troy’s flaws and mistakes. Through Gabriel, Wilson explores themes of family loyalty, the long-term effects of war, and the search for spiritual meaning amid hardship. Gabriel’s character ultimately serves as a bridge between the earthly and the divine, offering hope and suggesting that, even in a world defined by barriers and disappointments, there is a place for mercy and transcendence.
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SECTION III
Number 9
(9)
In Niyi Osundare’s poem “The Leader and the Led,” the poet employs several poetic devices to enhance the poem’s meaning and aesthetic appeal.
(i)Metaphor; is a central device in the poem, as the entire narrative is constructed around the comparison of animals to human political leaders and followers. The lion, hyena, zebra, elephant, and other animals each metaphorically represent different types of human leaders, with their characteristics such as the lion’s “jaw of power” or the hyena’s “laugh of a clown” serving as symbolic representations of traits seen in real-life leadership. This extended metaphor allows the poet to critique political leadership without directly naming individuals, making the poem universally relevant.
(ii)Imagery; is vividly present throughout the poem, as Osundare uses descriptive language to paint pictures of the animals and their behaviors. For example, phrases like “the aweful roar of his majesty’s voice,” “the hyena says the crown is made for jesters,” and “the zebra says stripes are the fashion” evoke strong visual and auditory images in the reader’s mind. These images not only bring the animal kingdom to life but also help readers draw parallels between the animal traits and qualities found in human society, deepening the poem’s satirical effect.
(iii)Alliteration; is another notable device in the poem, providing rhythm and musicality to the lines. Examples include phrases such as “the hyena says the crown is made for jesters,” where the repetition of the “c” sound in “crown” and “clown” creates a pleasing sonic effect. In other words Alliteration can also be found in lines like “the antelope is too timid,” where the repetition of the “t” sound adds emphasis and flow. Through these devices, Osundare crafts a poem that is both engaging and thought-provoking, using metaphor, imagery, and alliteration to underscore his message about the qualities of true leadership and the dangers of unfit rulers.
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Number 10
(10)
The saying “Rage is a thief of joy” means that uncontrolled anger can destroy the happiness, peace, and fulfillment that people might otherwise enjoy in life. In “Raider of the Treasure Trove” by Lade Wosomu, this idea is vividly illustrated through the poet’s use of metaphors and imagery. The “treasure trove” in the poem symbolizes the good qualities and inner riches every person possesses, such as joy, love, hope, and peace of mind. The “raider” represents rage or anger, which sneaks in and steals these treasures, leaving the heart empty and barren. The poet describes how anger, once allowed to take root, acts like a thief that cannot be easily stopped, turning the “golden fleece” of happiness into mere “rags.” Through lines that depict anger as a destructive force one that “devours the heart” and “blights the harvest of years” Wosomu shows that rage destroys what is precious and irreplaceable in a person’s life. The poem serves as a warning that harboring anger leads to loss, regret, and emptiness, and that only by guarding against rage can one preserve the joy and peace that make life meaningful. Thus, “Raider of the Treasure Trove” directly supports the saying by showing, through its vivid language and imagery, how rage truly is a thief of joy.
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SECTION IV
Number 11
(11)
In “Caged Bird” by Maya Angelou, the themes of freedom and limitation are vividly contrasted through the experiences of two birds: one free and one caged. The free bird symbolizes individuals who enjoy liberty, opportunity, and self-expression. It “leaps on the back of the wind,” “floats downstream,” and “dares to claim the sky,” all images that evoke a sense of boundless possibility and unrestricted movement. In contrast, the caged bird represents those who are oppressed, marginalized, or denied their rights. The caged bird’s “wings are clipped and his feet are tied,” which are powerful metaphors for physical, emotional, and societal confinement. Despite its limitations, the caged bird “sings of freedom,” suggesting that even in the harshest conditions, the longing for liberation and the human spirit’s hope persist. The repetition of the caged bird’s fearful and mournful song throughout the poem emphasizes the pain of limitation but also the enduring desire for freedom. Through these contrasting images, Angelou explores how freedom allows individuals to thrive while limitation leads to suffering, yet hope and resistance remain even in captivity.
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Number 12
(12)
In “Bat” by D.H. Lawrence, the poet uses symbols to deepen the poem’s exploration of human perception and cultural attitudes. The bat itself is the central symbol, representing things that are misunderstood, feared, or seen as repulsive due to cultural prejudice rather than inherent qualities. At first, the poet describes the twilight sky filled with what appear to be swallows, birds that are typically seen as graceful and positive symbols. As darkness falls, however, these shapes are revealed to be bats, which are often associated with darkness, the uncanny, and even evil in Western culture. The shift from swallows to bats symbolizes a change in perception from comfort and familiarity to discomfort and aversion. The bat’s physical features, such as its “webby wings,” “black pitter-patter,” and “little lumps that fly in the air like bits of umbrella,” further symbolize the poet’s sense of unease and the broader human tendency to reject what seems strange or different. Additionally, the poem’s references to Italy, where bats are less stigmatized, serve as a cultural symbol contrasting Western fears with other societies’ acceptance. Overall, Lawrence’s use of symbols in “Bat” highlights the roles of perception, prejudice, and cultural differences in shaping our responses to the unfamiliar.
COMPLETED!!!