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Friday, 24th May 2024
Literature-In-English 3 (Drama & Poetry) 3:30pm – 6:00pm
NOTE: EACH NUMBER CONTAINS TWO DIFFERENT SOLUTIONS
VERSION 1 AND VERSION 2
PLEASE PICK ONE
YOU ARE INSTRUCTED TO ANSWER FOUR QUESTIONS ONLY
ONE FROM EACH SECTION
DONT ANSWER MORE THAN 4 QUESTIONS THERE
WE SENT EVERYTHING
1-12
INCLUDING DIFFERENT VERSION FOR EACH NUMBER
NUMBER 1 VERSION 1)
(1)
In the African drama "Let Me Die Alone," the deaths of Yoko and Gbanya are pivotal moments that encapsulate the themes of power, betrayal, and sacrifice. These events are deeply intertwined with their personal struggles and the political tensions of their time.
Yoko, a historical figure and the drama’s tragic heroine, becomes overwhelmed by the pressures and turmoil in Moyamba. Feeling humiliated and unfit to rule, she decides that the only way to achieve peace is through death. This sense of overwhelming despair drives her to poison herself. In her final speech, Yoko articulates her longing for peace, saying, “If I’m to die, then let me die alone… and now I will know peace. Now I will never be used again. Gbanya, make way, Yoko is coming in search of peace.” Her words reveal her profound disillusionment and her desire to escape the burdens of leadership.
Gbanya, the chief of Senehun and Yoko’s husband, plays a crucial role in the unfolding tragedy through his broken promises and political missteps. Although he initially promises to pass the chiefdom to Yoko, he later retracts, citing the threats from external enemies and the turbulent political environment. This betrayal deepens Yoko’s sense of despair. Gbanya’s failure to keep his promise is evident when he reflects on the changing circumstances: “Remember you made a promise a long time ago that at the time of your death the chiefdom passes into my hands.” His vacillation and eventual poisoning by Lamboi and Musa, who conspire to prevent Yoko from gaining power, precipitate Yoko’s final, tragic decision.
Yoko’s empathetic nature and deep sensitivity to her people’s plight make her a compassionate leader, but these qualities also render her vulnerable to the immense stress and emotional toll of leadership. The constant pressures become unbearable, leading her to conclude that taking her own life is the only way to find peace. Her ultimate act of self-poisoning is a testament to her desire to bear the burdens alone. In her final moments, she declares, “I have savored the fruits of power alone… let me die alone… and now I will know peace,” underscoring her isolation and the weight of her sacrifices.
The political intrigue and external pressures further complicate their lives. Gbanya’s rule is undermined by the British colonial influence, particularly Governor Samuel Rowe, who humiliates him in front of his people. This public degradation symbolizes the erosion of traditional authority and foreshadows the instability that leads to both their deaths. Lamboi and Musa’s conspiracy to poison Gbanya to prevent Yoko from assuming power adds to the tragic unraveling of their lives.
Yoko’s final act of poisoning herself is the culmination of her profound sense of betrayal, loss, and yearning for peace. Her last words, “I… did not bring a child into this world. So let no one mourn my death. Tell the entire Chiefdom, none should mourn my death,” reflect her resignation and desire to be forgotten, highlighting her loneliness and the depth of her sacrifices. This self-imposed isolation in death underscores the tragic dimensions of her character and her quest for peace.
(NUMBER 1 VERSION 2)
(1)
The deaths of Yoko and Gbanya serve as turning points in the African drama "Let Me Die Alone," capturing the themes of sacrifice, betrayal, and power. The political unrest of their era and their personal hardships are intricately linked to these occurrences.
The tragic heroine of the play and a historical character, Yoko, is overtaken by the stress and unrest in Moyamba. She believes that death is the only way to bring about peace because she feels degraded and unable to be in charge. She poisons herself because of this overwhelming sense of hopelessness. Yoko expresses her desire for peace in her last speech by stating,“If I’m to die, then let me die alone… and now I will know peace. Now I will never be used again. Gbanya, make way, Yoko is coming in search of peace.” Her statements express her deep disappointment and wish to be freed from the responsibilities of leadership.
Through his unfulfilled promises and political gaffes, Gbanya, the chief of Senehun and Yoko’s husband, plays a pivotal role in the tragedy that is developing. Despite his original pledge to give Yoko the chiefdom, he later backtracks, citing the unstable political climate and threats from outside foes. Yoko becomes more depressed as a result of this betrayal. When Gbanya considers the evolving situation, it is clear that he has broken his word: “Remember you made a promise a long time ago that at the time of your death the chiefdom passes into my hands.” Yoko’s last, fatal decision is sparked by his indecisiveness and the eventual poisoning by Lamboi and Musa, who plot to keep Yoko from becoming powerful.
Yoko is a caring leader because of her empathy and acute awareness of the suffering of her people, but these traits also leave her susceptible to the extreme stress and emotional toll that come with being in a position of authority. She comes to the conclusion that the only way to achieve peace is to end her own life since the incessant pressures grow intolerable. Her final act of self-poisoning demonstrates her determination to carry the weight by herself. In her final moments, she declares, “I have savored the fruits of power alone… let me die alone… and now I will know peace,” underscoring her isolation and the weight of her sacrifices.
Their lives are made more difficult by outside influences and political intrigue. The British colonial influence weakens Gbanya’s rule, especially through Governor Samuel Rowe’s humiliation of him in front of his people. This public humiliation foreshadows the instability that ultimately results in their murders and represents the deterioration of established authority. The terrible disintegration of Lamboi and Musa’s life is exacerbated by their plot to poison Gbanya in order to keep Yoko from seizing control.
The pinnacle of Yoko’s intense feelings of loss, betrayal, and desire for peace was her ultimate act of poisoning herself. Her last words, “I… did not bring a child into this world. So let no one mourn my death. Tell the entire Chiefdom, none should mourn my death,” which emphasize her loneliness and the extent of her sacrifices. Her self-imposed seclusion in death highlights the tragic aspects of her personality and her search for tranquility.
(NUMBER 2 VERSION 1)
(2)
Foreshadowing is a powerful literary device that adds depth, suspense, and anticipation to storytelling. In the play about Madam Yoko, foreshadowing is expertly used to hint at future events and outcomes, allowing the audience to anticipate key developments and their consequences. Through subtle clues and hints scattered throughout the narrative, the playwright effectively creates a sense of foreboding and tension, enriching the dramatic experience for the audience.
One prominent use of foreshadowing in the play is evident in Gbanya’s promise to pass power over to Yoko upon his death. This initial promise sets the stage for the power struggle that unfolds after Gbanya’s demise. As the audience witnesses Gbanya’s determination to uphold his promise and Yoko’s eagerness to assume leadership, they are subtly foreshadowed about the potential conflict and turmoil that will arise regarding Yoko’s succession to power.
The impending danger of Gbanya’s death is foreshadowed through various ominous signs and events. The arrival of the messenger with the Governor’s message and the subsequent accusations against Gbanya hint at the events that lead to his downfall. Gbanya’s insistence on Yoko inheriting the chiefdom further reinforces the audience’s anticipation of the turmoil that will follow his passing, setting the stage for the tragic events that unfold.
Lamboi’s treachery and plot to kill Gbanya with poison are also foreshadowed through secretive conversations and hesitant actions. The audience senses the impending danger as Lamboi’s true intentions become clear, creating a palpable sense of foreboding and suspense. The tension builds as the plot unfolds, leading to the inevitable tragedy that befalls Gbanya and sets the stage for further conflict and turmoil within the kingdom.
As Yoko assumes the role of chief after Gbanya’s death, the challenges she faces are foreshadowed through ongoing interference from the Governor and conspiracies orchestrated by Lamboi and Musa. The audience anticipates the struggles Yoko will encounter in maintaining her reign and protecting her people, heightening the tension and suspense as the narrative progresses.
Ultimately, Yoko’s decision to commit suicide serves as the climax of the play and is foreshadowed by her mounting despair and disillusionment. The Governor’s betrayal and the betrayal of her own people serve as the final catalysts for her tragic end. Through Yoko’s declaration of finding peace in death and the absence of mourning for her departure, the audience is foreshadowed about her ultimate fate, bringing the narrative full circle and leaving a lasting impact on the audience.
(NUMBER 2 VERSION 2)
(2)
A strong literary device that gives stories depth, tension, and suspense is foreshadowing. In the play about Madam Yoko, foreshadowing is skillfully used to allude to future events and results, enabling the audience to predict significant breakthroughs and their ramifications. The playwright skillfully builds tension and a sense of foreboding throughout the story through subtly placed clues and hints, which enhances the audience’s emotional experience.
The drama makes extensive use of foreshadowing, as shown in Gbanya’s pledge to give Yoko control after his death. This first pledge establishes the parameters for the power battle that follows Gbanya’s death. The audience is gently warned about the possible strife and chaos that may occur with regard to Yoko’s accession to power as they observe Gbanya’s resolve to keep his word and Yoko’s yearning to take charge.
Numerous frightening signals and incidents anticipate the imminent risk of Gbanya’s death. The messenger’s arrival bearing the Governor’s letter and the charges that follow point to the circumstances that ultimately bring Gbanya down. Gbanya’s determination that Yoko inherit the chiefdom sets the atmosphere for the sad events that transpire by reinforcing the audience’s expectation of the unrest that would follow his death.
With his cautious behaviors and cryptic words, Lamboi also foreshadows his betrayal and plan to poison Gbanya. As Lamboi’s actual intentions become apparent, the viewer senses the oncoming peril, resulting in a tangible feeling of tension and foreboding. As the story progresses, the tension increases, setting the stage for more strife and unrest throughout the kingdom as well as the ultimate catastrophe that befalls Gbanya.
Following Gbanya’s death, Yoko becomes the new chief, but her obstacles are hinted at by the Governor’s persistent meddling and the schemes of Lamboi and Musa. The tension and suspense in the story increase as the spectator predicts the difficulties Yoko will have in upholding her rule and defending her people.
The drama culminates with Yoko’s resolve to end her life, which is hinted at by her increasing feelings of hopelessness and disappointment. Her sad demise is ultimately brought about by the treachery of both her own people and the Governor. The audience is given a hint about Yoko’s eventual destiny by her assertion that she finds peace in death and the lack of grieving upon her departure, which completes the cycle of the story and leaves a lasting impression on them.
(NUMBER 3 VERSION 1)
(3)
The playwright makes use of some dramatic irony. Dramatic irony refers to the audience’s knowledge of something that the character who is speaking does not know. When the character makes an innocent remark action that refers to the “inside knowledge” that the audience has the character does not have, contains dramatic irony. For example, dramatic irony is seen when Sidi goes to the Bale’s palace to mock and taunt his impotence.
The audience is very much aware that Baroka’s much-publicized impotence is just a ploy to have Sidi to himself and woo her for marriage. It is also ironic that Sadiku, the head wife has also dragged into the trick and manipulation also. When Sidi makes up her mind to honor Baroka’s visit which she earlier turns down, the audience and the Bale himself are pretty aware that she will become the object of Baroka’s expensive joke when he eventually wins.
Another instance of dramatic irony is evident in the scene when Lakunle expects Sidi to be back from Bale’s palace. He is very much tensed and anxious to have her back. The audience is aware that Sidi has fallen victim to Baroka’s fake impotence. Also, the women are busy making sarcastic and sneering comments about the Bale’s supposed impotence while Baroka is busy exercising his manliness on Sidi in the palace.
There is also an instance of situational irony in the play. Situation irony is a situation in which actions that are opposite occurring that are not intended and the outcome is contrary to what is expected. For instance, it is ironic that the old Baroka, a man who does not want the railway to be built through llunjunle and consequently bribes the surveyor to stop the project, decides he must embrace modernity by having a stamp machine that would print Sidi’s images, given that his images are poorly treated as they are placed next to the latrine in the magazines.
(NUMBER 3 VERSION 2)
(3)
The playwright employs dramatic irony, which occurs when the audience knows something that the character does not. This creates a layer of meaning in the character’s innocent remarks or actions that the audience understands, but the character does not. For instance, dramatic irony is evident when Sidi goes to Baroka’s palace to mock and taunt him for his supposed impotence. The audience is well aware that Baroka’s widely publicized impotence is merely a ruse to lure Sidi and win her for marriage. It is also ironic that Sadiku, the head wife, is unwittingly involved in the scheme and manipulation. When Sidi decides to honor Baroka’s visit, which she initially rejected, both the audience and Baroka are aware that she will ultimately become the target of his elaborate scheme.
Another example of dramatic irony occurs when Lakunle anxiously awaits Sidi’s return from Baroka’s palace. The audience knows that Sidi has been deceived by Baroka’s feigned impotence. Meanwhile, the women make sarcastic and mocking remarks about Baroka’s supposed impotence, unaware that he is actually asserting his manliness with Sidi in the palace.
There is also an instance of situational irony in the play. Situational irony occurs when actions have the opposite effect of what was intended, and the outcome is contrary to what is expected. For example, it is ironic that the old Baroka, who opposes the construction of a railway through Ilujinle and even bribes the surveyor to halt the project, ultimately decides to embrace modernity by acquiring a stamp machine to print Sidi’s images. This decision is prompted by his dissatisfaction with how his own images are poorly treated, being placed next to the latrine in the magazines.
(NUMBER 4 VERSION 1)
(4)
In Wole Soyinka’s "The Lion and the Jewel," Lakunle’s attitude towards Baroka is complex and multifaceted, reflecting his deep-seated animosity and ideological differences with the older man. Lakunle’s disdain for Baroka, the Bale of Ilujinle, is fueled by several factors, each contributing to his passionate hatred and rivalry.
Firstly, Baroka’s interest in Sidi, which is sparked by her sudden fame, intensifies Lakunle’s loathing. When Sadiku, Baroka’s eldest wife, is sent to convey the Bale’s message of love to Sidi, she is met with rejection by the conceited girl. Baroka’s pursuit of Sidi becomes a significant point of contention for Lakunle, who already harbors deep resentment towards the Bale. Lakunle perceives Baroka’s intentions as yet another manifestation of his oppressive and archaic ways, further fueling his hatred.
Additionally, Lakunle blames Baroka for hindering progress in Ilujinle. He accuses the Bale of deliberately blocking the railway that would have passed through the village, believing that Baroka fears the changes and attractions that such development would bring. This act, in Lakunle’s view, epitomizes Baroka’s resistance to modernization and progress, which Lakunle fervently advocates. For Lakunle, Baroka symbolizes the stagnation and backwardness that he despises, intensifying his animosity towards the old man.
Despite Lakunle’s intense displeasure, Baroka remains undeterred in his pursuit of Sidi. In fact, Lakunle’s hatred seems to spur Baroka’s desire even further, possibly as a means to antagonize his rival. Baroka’s determination to win Sidi’s affection leads him to employ cunning tactics. He concocts a ruse of sudden impotence, using Sadiku to spread the false news to Sidi. This deception is part of Baroka’s strategy to manipulate Sidi into letting her guard down, thus enabling him to seduce her.
Sadiku plays a crucial role in Baroka’s scheme. She unwittingly becomes the bearer of the Bale’s deceit, naively believing the fabricated story of Baroka’s impotence. In her mischievous excitement, Sadiku taunts Baroka, thinking she has bested the powerful Bale. However, this belief in a lie ultimately leads Sidi into Baroka’s embrace, resulting in her marriage to him and the rejection of Lakunle.
Lakunle’s reaction to Sidi’s marriage to Baroka encapsulates his ultimate defeat and the futility of his efforts. Despite his vehement opposition to Baroka and his attempts to thwart the Bale’s plans, Lakunle is unable to prevent Sidi from succumbing to Baroka’s charm and cunning. This outcome not only solidifies Baroka’s dominance but also highlights the stark contrast between Lakunle’s idealistic but ineffective approach and Baroka’s pragmatic and manipulative strategies.
(NUMBER 4 VERSION 2)
(4)
Lakunle has a complicated and nuanced attitude toward Baroka in Wole Soyinka’s "The Lion and the Jewel," which reflects his enduring hostility and ideological disagreements with the elder man. Lakunle harbors a deep-seated animosity and hostility with Baroka, the Bale of Ilujinle, for a number of reasons.
First of all, Lakunle’s hatred of Sidi is heightened by Baroka’s interest in her, which is prompted by her unexpected prominence. The arrogant girl rejects Sadiku, Baroka’s oldest wife, when she tries to deliver the Bale’s love letter to Sidi. Lakunle, who already has a great deal of animosity for the Bale, finds that Baroka’s pursuit of Sidi is a major source of disagreement. Lakunle’s animosity is heightened by his perception of Baroka’s goals as just another example of his tyrannical and antiquated methods.
Lakunle also accuses Baroka of impeding Ilujinle’s advancement. He believes that Baroka is afraid of the changes and attractions that come with progress, thus he blames the Bale of purposefully obstructing the train that would have traveled through the village. According to Lakunle, this deed embodies Baroka’s opposition to modernity and advancement, which Lakunle ardently supports. Lakunle’s dislike of Baroka is heightened by his perception of the elderly man as a symbol of the immobility and backwardness that he detests.
Even though Baroka is very offended by Lakunle, he doesn’t give up on Sidi. Actually, Baroka’s desire seems to be heightened by Lakunle’s hatred—possibly in an effort to rile up his opponent. Baroka uses devious methods because he is determined to gain Sidi’s love. He fabricates an act of sudden impotence and uses Sadiku to tell Sidi a lie. Baroka is using this lie as part of his plan to get Sidi to lower her guard so he may entice her.
Sadiku is an essential component of Baroka’s plan. Because she gullibly accepts the false narrative of Baroka’s helplessness, she unintentionally becomes the messenger of the Bale’s deception. Sadiku teases Baroka in a playful way, believing she has defeated the formidable Bale. But in the end, Sidi’s acceptance of a falsehood brings her into Baroka’s arms, whereupon she marries him and rejects Lakunle.
Lakunle’s response to Sidi being married to Baroka perfectly captures his demise and the pointlessness of his endeavors. Even though Lakunle is fiercely against Baroka and tries to stop the Bale’s schemes, he can’t stop Sidi from falling for Baroka’s cleverness and charm. This result not only confirms Baroka’s supremacy but also emphasizes how different Baroka’s cunning and practical tactics are from Lakunle’s idealistic but ineffectual strategy.
(NUMBER 5 VERSION 1)
(5)
The play reverberates with the caustic echoes of sarcasm, serving as a multifaceted tool to dissect characters’ inner turmoil, interpersonal dynamics, and societal critiques. Through Osborne’s adept utilization of sarcasm, the play emerges as a poignant exploration of post-war disillusionment, class struggle, and the complexities of human relationships.
At the heart of the play lies the protagonist, Jimmy Porter, whose razor-sharp wit and biting sarcasm serve as both armor and weapon in his relentless battle against the perceived injustices of society. Jimmy’s sarcastic barbs are directed indiscriminately, targeting his closest confidants, Cliff and Alison, as well as broader societal constructs. His scathing remarks towards Cliff, a working-class friend, and Alison, his own wife, reveal a deep-seated frustration with their perceived inadequacies and the constraints of their respective social positions. Through sarcasm, Jimmy articulates his disillusionment with the status quo, using humor as a shield to mask his underlying pain and insecurity.
In turn, Alison and Cliff employ sarcasm as a means of self-defense and assertion of agency within their tumultuous relationships with Jimmy. Alison, initially portrayed as meek and submissive, gradually adopts sarcasm as a tool to challenge Jimmy’s dominance and assert her own autonomy. Her sarcastic retorts serve as a subtle rebellion against Jimmy’s oppressive behavior, signaling her growing disillusionment with their marriage and societal expectations.
Moreover, sarcasm emerges as a form of conflict resolution within the play, allowing characters to navigate their complex relationships while avoiding direct confrontation. Instead of engaging in open dialogue, characters resort to sarcastic exchanges as a means of expressing grievances and asserting their positions. This indirect approach to conflict resolution underscores the characters’ underlying insecurities and the fragility of their interpersonal connections.
Beyond the realm of individual relationships, sarcasm serves as a potent vehicle for social commentary, offering scathing critiques of post-war England’s societal norms and class distinctions. Through sarcastic dialogue, Osborne exposes the hypocrisy and absurdity inherent in the rigid social hierarchy, interrogating the disparity between societal ideals and lived realities. Sarcasm becomes a means of articulating the characters’ frustration with the ossified structures of class and privilege, fueling their desire for change and upheaval.
Ultimately, sarcasm functions as a coping mechanism for the characters, enabling them to navigate the complexities of their lives amidst turmoil and uncertainty. Through sarcastic banter, characters carve out moments of agency and empowerment, reclaiming a semblance of control in a world fraught with disillusionment and despair.
(NUMBER 5 VERSION 2)
(5)
The play is full with the sharp resonances of sarcasm, which may be used in a variety of ways to analyze the inner conflicts, interpersonal relationships, and social criticisms of the characters. Osborne’s deft use of irony makes the play a moving examination of post-war disillusionment, class conflict, and the intricacies of interpersonal relationships.
Jimmy Porter, the play’s main character, is a master of cutting wit and stinging sarcasm who uses them as both armor and a weapon in his constant fight against what he perceives to be societal injustices. Jimmy is full of caustic jabs, aimed not only at larger society structures but also at his closest confidants, Cliff and Alison. His harsh comments directed at his wife Alison and his buddy Cliff, who is a member of the working class, show a deep-seated annoyance with their perceived shortcomings and the limitations imposed by their different social classes. Jimmy expresses his dissatisfaction with the current situation through sarcasm, utilizing comedy as a front for his underlying hurt and insecurity.
Alison and Cliff, on the other hand, use sarcasm to establish their agency and defend themselves in their turbulent interactions with Jimmy. After being presented as timid and obedient at first, Alison eventually learns to use sarcasm as a tactic to question Jimmy’s authority and claim her own independence. Her sardonic responses demonstrate her growing disenchantment with their marriage and with society in general, acting as a subliminal protest against Jimmy’s controlling actions.
In addition, the play uses sarcasm as a kind of conflict resolution, letting individuals work through their complicated relationships without coming to blows with one another. Characters use caustic exchanges to air concerns and make their viewpoints known, rather than having open conversations. This deceptive method of resolving disputes highlights the individuals’ underlying fears and the brittleness of their relationships with one another.
Sarcasm is a powerful tool for social commentary that extends beyond personal relationships. It may be used to provide biting criticism of the class divide and social mores that characterized post-war England. Osborne examines the discrepancy between society aspirations and life reality by exposing the absurdity and hypocrisy present in the strict social order through sardonic discourse. The characters’ unhappiness with the ossified institutions of privilege and class is expressed via sarcasm, which satisfies their need for change and disruption.
In the end, the characters use sarcasm as a coping strategy to help them work through the difficulties in their life when things are chaotic and unclear. Characters regain some agency and empowerment through sardonic conversation, giving them a feeling of control in an otherwise hopeless and disillusioned environment.
(NUMBER 6 VERSION 1)
(6)
Cliff’s treatment of Alison stands in stark contrast to that of Jimmy. As a gentle and empathetic individual, Cliff represents a more compassionate and understanding presence in Alison’s life, providing her with emotional support and protection against Jimmy’s abrasive behavior.
Firstly, Cliff’s gentle demeanor and genuine fondness for Alison highlight his role as a comforting figure. Unlike Jimmy, who often exhibits fire, wit, and a bullying attitude, Cliff lacks any form of cruelty or verbal abuse. He appreciates Alison’s efforts in housekeeping and openly expresses his gratitude, creating a stark contrast to Jimmy’s harshness. This appreciation is evident in the way Cliff personally bandages Alison’s arm after she gets burnt, showcasing his caring nature and attentiveness to her well-being.
Cliff’s empathy and sensitivity further distinguish his character. He does not merely share in the problems of others but also seems to have an innate understanding of their feelings. Acting as a mediator between Jimmy and Alison, Cliff sacrifices his time and energy to try and maintain harmony in their tumultuous relationship. When Helena expresses her disdain for Jimmy, Cliff perceptively suggests that she might actually harbor deeper feelings for him. He is also the only person who senses Alison’s growing inclination to end her marriage, highlighting his intuitive understanding of her emotional state.
Moreover, Cliff’s relaxed and easy-going nature, combined with his self-taught intelligence, makes him a stabilizing force in the play. His affectionate relationship with Alison, while it has elements of sexual tension, remains rooted in a comfortable fondness rather than passionate desire. This platonic yet intimate bond provides Alison with a safe space amidst the chaos of her marriage. However, recognizing the need to pursue his own life, Cliff eventually decides to leave Jimmy’s apartment, demonstrating his desire for personal growth and independence.
Cliff’s good nature and supportive role make him a confidant for Alison. He is ever willing to offer his assistance and counsel, encouraging her to reconsider her decision to leave Jimmy. When Alison expresses her disillusionment with love, Cliff gently admonishes her, urging her not to give up on her relationship. His steadfast support underscores his commitment to Alison’s happiness and his belief in the possibility of reconciliation.
(NUMBER 6 VERSION 2)
(6)
Cliff’s handling of Alison is very different from Jimmy’s. Cliff is a kind and sympathetic person who offers Alison emotional support and shields her from Jimmy’s harsh actions. He is a more understanding and caring presence in Alison’s life.
First of all, Cliff plays a soothing figure because of his kind nature and sincere affection for Alison. In contrast to Jimmy, who frequently demonstrates wit, fire, and a bullying demeanor, Cliff does not engage in verbal or physical violence. He is far more appreciative of Alison’s cleaning efforts and publicly shows his appreciation than Jimmy is. Cliff shows how much he cares about Alison by physically bandaging her arm after she is burned, demonstrating how concerned he is for her welfare.
Cliff’s sensitive nature and capacity for empathy set him apart even further. Not only does he participate in other people’s difficulties, but he also seems to have a natural empathy for other people. Cliff gives up his time and effort to serve as a mediator between Jimmy and Alison in an attempt to keep things peaceful in their turbulent relationship. Cliff slyly implies that Helena may perhaps have stronger feelings for Jimmy when she shows her contempt for him. In addition, he is the only one who notices Alison’s increasing desire to dissolve her marriage, demonstrating his keen awareness of her emotional condition.
In addition, Cliff provides stability to the play with his easygoing demeanor and intellect that he self-taught. Though there is some sexual tension in their relationship, his devotion for Alison is based more on a cozy warmth than on intense need. of the midst of the turmoil of her marriage, Alison finds comfort in this close but platonic relationship. But Cliff finally makes the decision to leave Jimmy’s flat, indicating his desire for independence and personal development as he realizes he needs to live his own life.
Cliff is a confidant to Alison because of his kindness and helpful demeanor. He is always ready to lend his support and advice, urging her to think again before deciding to part ways with Jimmy. Cliff gently chastises Alison for her disillusionment with love and exhorts her to stick with her relationship. His unwavering support demonstrates his dedication to Alison’s happiness and his faith in their potential for reunification.
(NUMBER 7 VERSION 1)
(7)
Friday serves as a significant day that brings to light various crucial aspects of the characters’ lives and their interactions, symbolizing both routine and turning points. The recurrence of Friday in the play underscores the cyclic nature of their struggles, aspirations, and confrontations. Through different events that transpire on Fridays, Wilson weaves a complex narrative that highlights the importance of this day in shaping the characters’ experiences and the overall story arc.
The play opens on a Friday in 1957, marking payday for Troy and Bono, two garbage collectors and close friends. This day symbolizes a moment of temporary relief from their labor-intensive work, allowing them to engage in their ritual of drinking and talking. The payday ritual not only cements the bond between Troy and Bono but also offers a glimpse into their shared struggles as working-class African American men. Their conversation reveals Troy’s courage and determination as he questions their boss, Mr. Rand, about the racial discrimination in their workplace. Troy’s desire for equal job opportunities reflects his broader struggle against systemic racism, making Friday a day of reflection and resistance.
Friday also serves as a catalyst for tension between Troy and his family. On this day, Troy’s son Cory discusses his aspirations to play college football, which Troy vehemently opposes. Troy’s refusal to support Cory’s dreams is rooted in his own experiences of racial discrimination in sports. His skepticism about Cory’s future in football exposes the generational conflict and differing perspectives on opportunity and success. This tension is further amplified when Troy informs Cory’s coach that Cory can no longer play, effectively shattering his son’s hopes. The significance of Friday in this context lies in its role as a day when personal and familial conflicts come to a head, forcing characters to confront their fears and desires.
The events of Friday also highlight Troy’s complex relationships with other characters. For instance, when Lyons, Troy’s eldest son from a previous marriage, visits to borrow money, it underscores the strained relationship between father and son. Lyons’ request for financial assistance on payday reveals his dependence on Troy, while also illustrating Troy’s conflicting emotions as a provider who resents yet supports his son’s musical aspirations. Moreover, Bono’s accusation of Troy’s infidelity, sparked by Troy buying a drink for another woman, further complicates his relationship with Rose, his wife. These interactions on Fridays expose the fragility of familial bonds and the underlying tensions that permeate their lives.
As the play progresses, Fridays continue to be pivotal. In Act One, Scene Four, which also occurs on a Friday, Troy celebrates his victory in becoming the first black garbage truck driver in the city. This achievement, while significant, is bittersweet as it comes amid ongoing familial discord. Cory’s anger towards Troy for sabotaging his football dreams resurfaces, leading to a confrontation that foreshadows deeper conflicts. Troy’s reflection on his past, his struggles, and his responsibilities as a father and husband all converge on this day, highlighting the duality of triumph and turmoil.
In the second act, the unraveling of Troy’s life is marked by significant events that also revolve around Fridays. Troy’s affair with Alberta and her subsequent pregnancy introduce a new layer of complexity to his relationships. When Alberta dies during childbirth, Troy is left to face the consequences of his actions. Rose’s decision to raise the baby, Raynell, while distancing herself emotionally from Troy, marks a turning point in their marriage. The culmination of these events on Fridays underscores the day’s role as a symbol of both routine and disruption, reflecting the ebb and flow of Troy’s life.
(NUMBER 7 VERSION 2)
(7)
Friday is a pivotal day that highlights a number of important facets of the lives and relationships of the characters, signifying both everyday events and big moments. The play’s repeated mention of Friday highlights how cyclical their conflicts, goals, and problems are. Wilson creates a complicated narrative that emphasizes the significance of Fridays in forming the experiences of the characters and the overarching plot through a variety of Friday-related occurrences.
On a Friday in 1957, when the play starts, Troy and Bono—two close friends and garbage collectors—are getting paid. This day represents a little reprieve from their arduous work, enabling them to partake in their custom of drinking and conversing. Troy and Bono’s relationship is strengthened by the payday ritual, which also provides insight into their common challenges as working-class African American males. Troy confronts their manager, Mr. Rand, about racial prejudice at work, and their interaction demonstrates Troy’s bravery and tenacity. Friday is a day for introspection and resistance since Troy’s fight against systematic racism is reflected in his desire for equitable work chances.
Troy and his family’s conflict is exacerbated by Friday as well. Today, Cory, Troy’s son, talks about wanting to play college football, something Troy strongly disagrees with. Troy’s own encounters with racial prejudice in athletics are the reason behind his inability to endorse Cory’s goals. His doubts about Cory’s football career highlight the generational divide and divergent views on success and opportunity. When Troy tells Cory’s coach that he can no longer play, thereby dashing his son’s ambitions, the tension is increased even further. In this sense, Friday is significant because it represents a day when familial and personal tensions escalate, compelling people to face their wants and anxieties.
The Friday events also bring Troy’s nuanced connections with other characters to light. For example, the tense connection between father and son is shown when Lyons, Troy’s oldest son from a previous marriage, comes to borrow money. The fact that Lyons asks Troy for money on payday not only shows how dependent he is on him, but it also highlights Troy’s mixed feelings as a parent who both supports and resents his son’s desire to pursue music. Furthermore, Troy’s relationship with his wife Rose is made more difficult by Bono’s charge of his adultery, which was prompted by Troy purchasing a drink for a different lady. These Friday conversations reveal the underlying tensions that underlie their lives and the brittleness of familial connections.
The play goes on to show how important Fridays are. Troy celebrates becoming the first black garbage truck driver in the city in Act One, Scene Four, which also takes place on a Friday. Even though this accomplishment is noteworthy, there is still continuous family strife, so it is bittersweet. When Cory confronts Troy, it foreshadows deeper issues as his resentment for ruining his football ambitions reappears. This day highlights the dichotomy of accomplishment and agony as Troy considers his background, his hardships, and his duties as a husband and parent.
Troy’s life begins to fall apart in the second act, with major incidents that likewise center around Fridays. Troy’s relationships become more difficult as a result of his romance with Alberta and her eventual pregnancy. Troy is forced to deal with the fallout from his actions when Alberta passes away during delivery. A turning point in Rose and Troy’s marriage was her decision to raise Raynell while emotionally separating herself from him. The fact that these occurrences culminate on Fridays highlights the significance of the day as a representation of both disruption and regularity, which reflects Troy’s life’s ups and downs.
(NUMBER 8 VERSION 1)
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Troy Maxson’s past profoundly shapes his present circumstances, influencing his actions, relationships, and worldview. Troy’s experiences as a young man and his struggles with racial discrimination have left deep scars that manifest in his interactions with his family and his approach to life.
Troy’s history as a talented baseball player who never made it to the major leagues is central to understanding his present outlook. Despite his skill, Troy was barred from the major leagues due to racial discrimination, which occurred just as these leagues began accepting black players. This exclusion has left him bitter and resentful, coloring his perception of the opportunities available to his son, Cory. When Cory is recruited by a college football team, Troy vehemently opposes it, fearing that Cory will face the same racial barriers and disappointments he did. This fear and protective instinct drive Troy to sabotage Cory’s football aspirations, believing he is shielding his son from inevitable heartache.
Troy’s harsh and domineering attitude towards his family is another consequence of his past struggles. Having endured a brutal upbringing and the hardships of life as a black man in a racially segregated society, Troy has developed a rigid, authoritarian approach to parenting. He imposes his own failed dreams and fears on his children, particularly Cory, whom he demands to abandon football and focus on practical, stable employment. Troy’s inability to express love and support is rooted in his own experiences of deprivation and hardship, leading him to equate providing materially with fulfilling his paternal duties.
The complexity of Troy’s character is further revealed through his relationship with his wife, Rose. Despite his genuine affection for her, Troy’s past failures and frustrations contribute to his extramarital affair with Alberta. The affair is an escape from the pressures and disappointments of his life, offering him a fleeting sense of control and freedom. However, when Alberta dies during childbirth, Troy is forced to confront the consequences of his actions. Rose’s decision to raise Alberta’s baby, Raynell, but distance herself emotionally from Troy, underscores the destructive impact of his inability to reconcile his past with his present.
Troy’s relationship with his eldest son, Lyons, also highlights the enduring influence of his past. Lyons, an aspiring musician, is often met with Troy’s disdain and skepticism. Troy’s experiences have made him cynical about artistic pursuits, which he views as impractical and unstable. He begrudgingly supports Lyons financially but does so with a sense of superiority and disappointment, unable to appreciate his son’s passion for music. This dynamic reflects Troy’s internal conflict between his desire to support his family and his deep-seated belief that dreams are futile in a world marred by racial and economic injustices.
Moreover, Troy’s interactions with his friend Bono reveal the enduring bonds and shared history that shape his present reality. Bono admires Troy’s strength and integrity, qualities forged through years of struggle. Their friendship, spanning over thirty years, is a testament to the solidarity and resilience required to navigate the harsh realities of their lives. Bono’s respect for Troy’s determination to challenge racial injustices at work, as seen in Troy’s questioning of why black employees are not allowed to drive garbage trucks, highlights the persistence of Troy’s fight against systemic oppression.
(NUMBER 9 VERSION 1)
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A Government Driver on His Retirement vividly depicts the life and tragic end of a government driver who, after thirty-five years of faithful service, succumbs to reckless celebration upon his retirement. The storyline provides a critical look at the vanity of human existence and the inherent dangers of living a careless life.
The government driver, after years of adhering to strict rules, especially the prohibition against drinking and driving, is finally free from his duties. His retirement is a moment of great celebration, marking an end to his years of dedicated service without any record of mishaps. The poet describes the driver as someone who has pledged allegiance to sobriety while on duty, reflecting his commitment to his role and his country. The driver’s impending freedom signifies a release from the stringent regulations that governed his life, allowing him to indulge in previously forbidden pleasures, such as drinking.
Upon retirement, the driver decides to celebrate his newfound freedom by drinking excessively. This celebration is not only a personal indulgence but also a communal event, as he invites friends to join in his revelry. The driver’s intent to drink and drive home recklessly underscores a dramatic shift from his previous adherence to rules, revealing a deep-seated desire to compensate for years of self-restraint. His declaration that he will drink to forget his sufferings highlights the toll his years of service have taken on him, both physically and emotionally.
The government rewards the driver’s exemplary service with a brand new car, a symbol of appreciation and recognition for his undented record over three and a half decades. This gesture is meant to honor his diligence and loyalty, providing him with a tangible reminder of his accomplishments. However, the irony of this reward becomes painfully clear as the driver, in his state of inebriation, takes to the wheel of his new car. The car, intended as a gift for his service, becomes the instrument of his demise.
The driver’s overindulgence in alcohol leads to a loss of judgment and coordination, resulting in a fatal accident. The poet describes how the driver’s impaired vision and judgment cause him to crash the very car that was meant to celebrate his retirement. This tragic end serves as a powerful commentary on the dangers of reckless behavior and the fleeting nature of human life. The driver’s life, which had been characterized by careful adherence to rules and regulations, ends in a moment of careless abandon.
The driver’s death raises questions about the appropriateness of his reward and the nature of his legacy. On one hand, his thirty-five years of faithful service warrant recognition and celebration. The new car symbolizes the respect and gratitude of the government for his unwavering dedication. On the other hand, the driver’s inability to handle his newfound freedom responsibly leads to his untimely death, suggesting that his reward, while deserved, also contributed to his downfall.
(NUMBER 10 VERSION 1)
(10)
The poet explores the dynamics of leadership and followership through the symbolic representation of animals in the animal kingdom. This metaphorical approach highlights the leadership challenges prevalent in African politics, particularly in Nigeria. The animals’ quest to find a suitable leader serves as a critique of the qualities often found in human leaders and the reasons such qualities are rejected.
The poem opens with the lion staking his claim to leadership, reflecting how certain politicians assert their authority through dominance and fear. The lion’s ferocious nature and aggressive tactics make him an unsuitable leader, as the other animals are too frightened to challenge his rule. This mirrors the political landscape in Nigeria, where leaders often use intimidation and violence to maintain power, causing the masses to feel powerless and afraid to demand change.
The hyena is another animal whose leadership qualities are rejected due to his "lethal appetite." This symbolizes politicians who are motivated by personal gain and corruption, feeding off the resources meant for the public. The impalas, representing the people, shudder at the thought of being led by someone whose intentions are purely self-serving. This rejection highlights the need for leaders who prioritize the welfare of the masses over their own desires.
The elephant, despite being the largest and potentially most powerful animal, is also deemed unfit to lead. The other animals dread his "trampling feet," suggesting that his leadership style would be oppressive and dictatorial. This critique points to the rejection of leaders who use their power to dominate and control, rather than to serve and uplift their followers. It emphasizes that sheer size or power should not be the sole criteria for leadership; rather, it should be the ability to govern with fairness and respect.
The giraffe, with his lofty perspective, is rejected because "his eyes are too far from the ground." This symbolizes leaders who are out of touch with the realities and needs of the people they are supposed to serve. Such leaders fail to see and address the everyday struggles of the masses, making them ineffective and disconnected. This rejection underscores the importance of leaders who are empathetic and responsive to the concerns of their constituents.
The zebra is dismissed due to the "duplicity of his stripes," symbolizing leaders who are untrustworthy and inconsistent. The zebra’s inability to inspire confidence and trust among the animals highlights the rejection of leaders who are perceived as deceitful and unreliable. Trustworthiness and integrity are essential qualities in leadership, as they ensure that leaders act in the best interest of those they lead.
The warthog and the rhino are also rejected based on their inherent traits. The warthog is seen as "too ugly," and the rhino is deemed "too riotous," reflecting the rejection of leaders who are either too unattractive in their conduct or too chaotic in their approach to governance. This critique emphasizes the need for leaders who present themselves with dignity and maintain order and stability.
(NUMBER 11 VERSION 1)
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D.H. Lawrence explores the poet’s deep-seated aversion to bats while highlighting the varied perceptions of this nocturnal creature across different cultures. The poet’s attitude towards bats is one of disdain and disgust, vividly portrayed through his descriptive language and contrasting imagery.
The poem opens with a serene depiction of the evening in Italy, where the poet sits on a terrace, observing the tranquil scenery around the Ponte Vecchio bridge and the Arno River. This peaceful setting soon shifts as the poet notices "things are flying" in the evening sky. Initially, the poet describes the swallows with admiration, noting their graceful and acrobatic flight patterns. The swallows are seen as symbols of hope and fulfillment, especially for sailors who view their appearance as a sign of nearing their destination. This positive depiction of swallows sets the stage for a stark contrast when the poet turns his attention to bats.
As the night falls, the swallows give way to bats, marking a significant shift in the poem’s tone. The poet’s language becomes harsh and critical as he describes the bats’ erratic and unsettling movements. The bats are portrayed as "wildly vindictive" and their flight is likened to the erratic flapping of "bits of umbrella." This imagery evokes a sense of chaos and malevolence, reflecting the poet’s deep dislike for these creatures. The bats’ presence in the night sky causes the poet unease, associating them with darkness, bad luck, and misfortune.
The poet’s disdain for bats is further emphasized through vivid and repulsive descriptions. He describes how bats "hang themselves up like an old rag to sleep," painting a grotesque image of these creatures suspended in the air like "disgusting old rags." This comparison to rags underscores the poet’s perception of bats as dirty and undesirable. The bat’s nocturnal nature, flying madly overhead and swooping through the night, adds to the poet’s sense of repulsion and discomfort.
In contrast to his own negative view, the poet acknowledges that bats are seen differently in other cultures. Specifically, in China, bats are considered symbols of happiness and good luck, even being consumed as food. This cultural difference highlights the subjective nature of perceptions and the idea that "one man’s meat is another man’s poison." Despite this acknowledgment, the poet firmly asserts his own stance with the declaration "Not for me," indicating that he cannot reconcile his disdain for bats with their positive symbolism in other cultures.
(NUMBER 12 VERSION 1)
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In "The Journey of the Magi" by T.S. Eliot, the journey of the wise men to Bethlehem serves as a metaphor for the arduous and often challenging path of life. The poem delves into the various difficulties and obstacles faced by the travelers, which symbolize the broader human experience of struggle, perseverance, and ultimately, hope.
The journey begins inauspiciously, as the wise men set out during a harsh winter. The cold weather is not merely a backdrop but a significant source of discomfort and hardship. The severe conditions cause physical suffering for both the travelers and their animals. The camels’ feet become swollen, and the wise men themselves are plagued by the biting cold, which saps their energy and resolve. This harsh environment underscores the physical toll that long and demanding journeys can take on individuals, highlighting the necessity of enduring through unfavorable conditions.
As the journey progresses, the wise men experience increasing frustration and fatigue. The physical difficulties of the journey are compounded by their mental and emotional strain. The constant grumbling, cursing, and murmuring among the travelers reflect their growing discontent and exhaustion. Their thoughts frequently turn to their comfortable homes, where they are accustomed to the luxury of servants and the presence of women who cater to their needs. This longing for comfort and the familiar further emphasizes the sacrifice and discomfort they endure on this journey.
The travelers also face external challenges, particularly the hostility and unfriendliness of the cities they pass through. These urban areas do not offer the warm welcome or hospitality the wise men might have hoped for. Instead, they encounter exorbitant prices for goods and services, adding to their frustration and sense of alienation. This experience highlights the difficulties of seeking refuge and support in unfamiliar or indifferent places, a common theme in the broader human journey.
Despite the numerous hardships, including doubts from their inner voices and the skepticism of those around them who deem the journey "folly," the wise men persist. Their perseverance in the face of adversity demonstrates their unwavering commitment to their goal. They do not turn back or abandon their quest, despite the many reasons to do so. This steadfastness serves as a powerful metaphor for the resilience required in life’s journey, where persistence often leads to eventual fulfillment and success.
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