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Poison is a product of a dysfunctional home, hits the street by the age of eight. By age fifteen, he has acquired sufficient experiences and boldness to become his own master. He soon recruits girls into prostitution, becomes a feared pimp and the Lord of a portion of Accra streets. He attempts to rape fofo as a way of silencing her mother about the death of Baby T. He threatens the Kayayoos into silence about the identity of the dead girl. Poison is responsible for the calls made to Sylv Po’s GMG show with the intention to make people not direct attention or link him with the dead girl.
He sponsors the delivery of a parcel containing shit to MUTE. His actions in the story marks him out as the novel’s antagonist. His actions and denial delay the resolution of the conflict in the novel. He is central to some if the major theme in the novel. He is a symbolic character in the novel.
He is used to illustrate what becomes of children at dysfunctional families.


(4) Victimisation and oppression of women: In many African societies, men see themselves as superior beings who should be held in high esteem by their inferior beings―women. A man cannot die a natural death; a woman must be the cause of his death through her sins. Therefore, the woman must be made to suffer humiliation, insult and assault.
Men beat women at the slightest provocation and one cannot help but wonder who gave them the right. A woman must carry out her tasks dutifully ranging from working on the farm, taking care of the children, cooking for the family and showering love and affection on her husband, failure in any of these leading to serious argument and beating.
As if women have not had enough, men arrogate to themselves the right to marry as many wives as they want. They change their older wives as they change their dirty linens. As a result, the women see themselves fighting and competing for the love and affection of one man―their husband.


Mary’s ignorance of her privilege and the fear it causes Bigger form the backdrop of the series of events that unfortunately spell her end. In other words Mary Dalton respond to her death is due to careless life so she and Jan take Bigger out for food. As they drive through the night, the two white folks hand a bottle of rum back and forth. Then
they give Bigger a few swigs. Mary gets out of the car, clearly drunk, and asks Bigger to help her to her room. She passes out in Bigger’s arms while his fear grows as he tries to find her room.
Mary keeps falling against Bigger, brushing various parts of her body
against him. He notices these glancing brushes and eventually leans into a kiss, knowing it is wrong. His hands slide along her body and her breasts fall into them. Mary sleeps all through his groping. Suddenly, Mary’s blind mother walks into the room. Bigger holds first
his hand and then a pillow in front of Mary’s mouth to try and keep
her from making a noise to reveal him. He ends up pushing too hard and Mary dies while her mother is in the room. Mrs. Dalton only believes Mary to be ”dead drunk” and eventually leaves. In other words Bigger disposes of Mary’s body by putting her in the Dalton family furnace, thus prompting a city-wide search for Mary, and leading, later, to Bigger’s imprisonment and sentencing to execution for his crimes.



Yaremi is mocked at and abandoned by those who should be there for her to comfort her. She is left to cater for herself and her grandson, Woye. Woye is Yaremi’s grandson. He is the son of Segi, Yaremi’s daughter. He lived with Yaremi until it was time for him to start school in Olode. He kept Yaremi company and assisted her in making taffeta products which she sold in different markets. In other words Yaremi is now left with her grandson and her taffeta dyeing business. These are her only consolation and she wastes no time in giving herself to them. Woye is not bothered by the present state of things, being only a child. Lately, he has begun to show serious signs of his interest in schooling. Without hesitation, he tells his mother Segi, about his desire to go back to Olode with her to start schooling. The time is ripe to enroll Woye in the kindergarten school and the Anglican Junior Primary School at Olode is Segis choice for her son. Early the following morning, Segi and her son bid farewell to Yaremi, leaving her lonelier than before. She is not happy with Woyes departure, but she is not going to deny her grandson education.


(8) Matilda is the beautiful 18-year-old daughter of Manfred and Hippolita, and Conrad’s sister. Matilda is intelligent, pious, and completely devoted to her mother. Though she originally intended to become a nun rather than marry, she falls in love with Theodore and helps him escape her father. Seeing her in a church with Theodore, Manfred thinks she is Isabella and accidentally kills her. She dies as an innocent, and her death transforms her father who immediately repents of all of his actions.


LITERATURE (Drama & Poetry)-Answers..
Section C

The Theme of Culture / Conflict
Culture in Piano and Drums by Gabriel Okara
In the poem “Piano and Drums” the poet Gabriel Okara depicts and contrasts two different cultures through symbolism of pianos and drums. The Poem is divided into four stanzas. The first two stanzas represent the “drum” culture and the second two stanzas show the “piano” culture. The description of the drums is in two stanzas, but is one sentence long. The first line of the first stanza:
‘When at break of day at a riverside’
Uses trochees to emphasize the deliberate broken rhythm. The stanza has savage words, “bleeding flesh,” “urgent raw,” “leopard snarling,” “spears poised,” to show that this is a primitive culture, one which has dependency on the environment, as is represented by the “hunters crouch with spears poised.” The environment in this culture is physically dangerous, surrounded by wild animals. Drums here are a way of communication, and “jungle drums telegraphing the mystic rhythm, urgent, raw…” shows the way of life in this culture. This is life which is simple, near the beginnings of man. The stanza … … middle of paper …
…with one another, with Drums illustrating primitive behaviour, and a savage, dangerous culture. The connotations of the piano are complex and technical. The piano uses significantly different word sounds, showing that it is learnt, westernized and intricate compared to the drums which is instinctive and naturally acquired, and simple. The poem uses no set rhyme pattern which suits the poem as it has an undecided effect, emphasizing the confusion of the persona over his future.

Mama’s plant represents both Mama’s care and her dream for her family. In her first appearance onstage, she moves directly toward the plant to take care of it. She confesses that the plant never gets enough light or water, but she takes pride in how it nevertheless flourishes under her care. Her care for her plant is similar to her care for her children, unconditional and unending despite a less-than-perfect environment for growth. The plant also symbolizes her dream to own a house and, more specifically, to have a garden and a yard. With her plant, she practices her gardening skills. Her success with the plant helps her believe that she would be successful as a gardener. Her persistence and dedication to the plant fosters her hope that her dream may come true. In other words she have struggled to survive under the strain of life in Chicago’s South Side. Mama’s unending devotion to her small houseplant signifies her constant care for her family and her attention to its dreams. “Growing doggedly” in a small pot by the apartment’s kitchen window, Mama’s plant has “spirit,” despite the fact that “this little old plant . In the final moments of the play, Mama picks up her plant and leaves the South Side apartment for the last time, showing that this symbol of perseverance will accompany the family as it faces new challenges in Clybourne Park.

CHECK OUT:  2020/2021 Animal Husbandry Syllabus from JAMB

Section A
Two symbols or symbolic events took place in the play.
The first one is the appearance of the madman. He is tattered”carrying a heavy bundle of tightly wrapped bits or pieces of junk drooping over his face. This symbolic of the country of jacassa said to be in need of “sanitation” of “evrometa” face. Being a mad country,a country morally debased ,Jacassa required a madman to rule her.”Yes! I want to run this country well.”Part of the problem of the country is stealing , therefore, “no stealing” after all the madman swears,”I never steal anybody property. I no be thief because I dey satisfy for wetin I get”. Even ACP Yakubu understands the symbolism of the madman’s appearance, his junk on his head and his suggestion of cleaning out the entire place .Says the ACP:”I think the madman himself symbolizes he country ,which is ridden with madness and lawlessness”.
The other symbolism in the play is Aloho’s dream. It is nightmare whose head or tail she cannot fathom. In the dream she saw a coffin right in front of her . She could not know whose coffin it was. Suddenly her mother,sisters and brothers “gathered around it and were crying “. In a moment the coffin disappeared and Aloho woke up with sweat all over her face . Ogeyi may or may not have known the significance of her friend’s dream but she plays down on it by blaming her for forgetting ” to pray before you slept”.
Symbolically, the truth is that the coffin is Aloho’s and these crying now that one of them would be no more . She herself could not cry because she would be the one to be missed sooner or later

Pulley is a wheel or set of wheels over which a rope or chain is pulled in order to lift or lower a heavy object. Outside the semantic analysis of the word “PULLEY” the poet uses a metaphysical pulley on man to illustrate how GOD always keep a pull on man to come to his salvation. God as our father uses his pulley to pull us back o him and keep us good. In a nutshell “The pulley” is a life of man growing up,experiencing life and developing a pulley relationship with God.
For instance, in stanza one,the poet brings to. our knowledge that when God created man,God gave everything at his disposal to the man.

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