A Level Commentary Volume 1 Sample Compressed

1
UNDERSTANDING LITERATURE IN ENGLISH A’LEVEL

COMMENTARY VOLUME 1
S SITHOLE
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CONTENTS
PAPER 2: ZIMBABWEAN LITERATURE ...................................................5
Songs from the Temple – Emmanuel Ngara ............................................... 5
The Tribe of Graves – Basil Diki .............................................................. 56
PAPER 3: AFRICAN, CARIBBEAN AND AFRICAN-AMERICAN
LITERATURE ...............................................................................................72
Things fall apart – Chinua Achebe ............................................................ 72
PAPER 4: ENGLISH LITERATURE .......................................................90
Volpone – Ben Jameson ............................................................................ 90
Gulliver’s Travels – Jonathan Swift ........................................................ 101
PAPER 5: WORLD LITERATURE ............................................................117
Purple Hibiscus – Chimamanda Ngozi Adichie ...................................... 117
In the Continuum, and other plays – Roy Kilalea ................................... 130
Death of a Salesman – Arthur Miller ...................................................... 149

PAPER 2: ZIMBABWEAN LITERATURE
This is a compulsory paper which has three sections: Section A- Zimbabwean
Poetry, Section B- Zimbabwean Drama and Section C- Zimbabwean Prose.
SECTION A – POETRY
Songs from the Temple – Emmanuel Ngara

Introduction
The analysis covered all the five sequences and eventually established the
connecting thread from the title to the last poem in the sequence. A lot more
could have been done in the analysis but greater attention was given to
allusions, allegorical references and parabolic statements-nursing the
conviction that students are often dazzled by these in sleuthing meaning, and
when these are clear, sifting of possible metaphorical meanings will be within
reach. Also to widen the route to possible meaning, synonyms, hypernyms
holonyms, meronyms and hyponyms were used in the analysis. The student is
also invited occasionally to make some errands into the poems through
questions so as to goad attention and concentration.
Title Analysis
 Use of the definite article “the” in the title indicates “Temple: with
precision…these are not songs from any temple {a temple} but “the temple”-
a place known already and hence a reliable source.
 SONG…by definition it is a distinctive or characteristic sound…and there

are many types of songs e.g.
 Carol-joyful religious song [celebrating the birth of Christ]
 Cradle-song/Lullaby-a quiet song intended to lull a child to sleep.
 Requiem/Dirge-a song or hymn of mourning composed as a memorial to

a dead person.

 Temple-a place of worship consisting of an edifice for the worship of a
deity.
 From the title we know a temple to be a house of god, house of prayer,

house of worship and a place of worship hence we can surmise the types of
songs we are to hear from the temple…e.g. praise, supplication, veneration,
adoration, deification, apotheosis.
SEQUENCE 1
Knocking On the Sacred Door
 SACRED…We already know the persona is at this place at least for

religious purposes…this is a place worthy of respect or dedication. This is a
consecrated, heavenly or pious door, and also this sanctified door {a door of
solace, relief, succor or ministration} is metaphorical for the persona knows
this is the spiritual realm and even the knocking is not a vigorous blow {a
smash, a rap, a whang or a knap} but a tap, some gentle blow for it is some
providential visitation - seeking divine providence. And, the first poem of
sequence 1 ‘The Prologue’ takes the reader directly to this ‘pietistical' or
sanctimonious journey.
The Prologue
The persona is using the first person singular ‘I’ in introducing the search into
this extraterrestrial journey...a pilgrimage to have tellurian {worldly} issues
computed or puzzled out. The use of the first person singular indicates that
matters of the soul are personal, no team work is involved. The persona has
[travelled far]…implying divine providence is a clamber. And, the search has
been made to fine a shrine- {some place of god, prayer, worship or a place of
worship}.The pilgrimage is longish [many moons and many suns] and has
taken a toll to the persona’s physical being. The persona is physically

exhausted [knock kneed…joins aching…limbs wobbling]. It is a wearisome
journey and even upon arrival, there is no relief at the holy entrance-the
persona is afraid to knock.
The persona has this feeling of diffidence and indecision to knock -implying
there are inadequacies that usurp the search for spiritual salvation…absolution
and expiation can be fetched when piety appears not a whole number. A series
of rhetorical questions nudge the persona…in fact this thinking aloud indicates
emotional turmoil.
There are inmates in the shrine, the persona notes, but doubts the audibility of
his the knock although fully aware the teachers [sages] and other students
[initiates] are inside to give the spiritual guidance so desperately hunted for
and is not within earshot. The persona cites some own deficiencies…knows
about songs but never sings, knows about dances but does not dance--this
implies the persona is aware of the rules of piety but is into impiety. The
persona contemplates singing Randy Crawford’s song…after all “randy”
means desire, the persona equally has desire… but unlike “Randy’s which is
sexual, the persona’s is spiritual.
The general expectations in the shrine are known by the persona, like
possession of instruments of worship or singing e.g. drum, flute and the mbira
{a Shona hand piano}.These are concerns that make the persona have a [timid
knock] and a [frightened face].The persona is also aware visiting the shrine
is required of an emissary, not direct confrontation hence the possibility to be
asked what royalty [King] would have given the authority to embark on such
a journey. Also there is the mythical which can be solicited like the voice of a
mermaid. A mermaid is mythical sea creature with a woman’s body and a
fish’s tail. To see or hear a mermaid is generally considered a portent of danger
and disaster hence the persona is in some oxymoronic situation.

In summary, the persona is in search of spiritual rebirth…travels to the
anticipated source [shrine] and this proves elusive for the persona bombards
self with rhetorical questions{a sign of doubt or uncertainty} and eventually
fails to access the much desired expiation or propitiation…not because it was
denied him but chiefly because of peradventure or arriere pensee…and
although at the end there appears to be a compulsion to go ahead [let me knock
and enter],that obduracy appears cosmetic as it is a result of negative
introspection {the rhetorical questions}.
Of Singers and Frogs
The persona is now equipped with a singing gadget [flute] but still doubts own
ability to sing and emphatically introspects [Am I a singer…].The persona
doubts the humanness of his voice, equates it to animal voices… [croaking] -
a frog and [grunt…pig]…It would have been if he sounded like a bird
[swallow].A frog generally represents empty noise and a pig filthy.
A tacit admission is made by the persona of own disability to sing and

contemplates to seal [wax] the mouth and allow those who are [sweet voiced]
to sing. Compares self to a cripple being asked to scale a tree top. The
persona’s voice is so bad that he can’t attract a crowd/audience to own
performance. Surely no gentlemen [who wears a tie] or an aromatic fellow
[Perfume] will dare attend a cacophonous.
In that vein of despondency, the persona questions the perceived totality of the
inability of disability…nobody is totally unable if given a challenge
congruent to their state, for example, a cripple can scale the tree stump…after
all it is not because they are dump, the voice is there [hoarse voice] and
condemnation of the dump is questioned by the persona.

The wherewithal for existence can be there [flute…voice…mouth] but
society can insist on quality…in this case only high quality is a paragon of
virtue and hence imposing destitution to fellow human beings…and the
persona thought aloud about this through rhetorical questions.
Task
1. What in your opinion is represented by these;
 Flute
 Pig
 Birds
 Cripple
 Tree
 Tree-stump
Fully explain each in relationship to what you think is the meaning of the
poem.
2. Backed by words/phrases from the poem, describe the mood and tone in this
poem.
Murmurs of a Novice
Keywords
Pyramids - Colossal monuments built by the ancient Egyptians to house their

Pharaoh’s tombs. Pyramids date from around 2660BC. The shape of the
pyramid is thought to symbolize a staircase to the sun, so that the king could
climb to heaven.
Oracle - Greek shrines at which a deity was consulted about the future. An
oracle was also the priest through whom the prophecy was given; as well as

the prophecy itself. The Delphic oracle was the most influential, the shrine at
which Apollo answered questions about the future. The Temple of Apollo at
Delphi was built over a volcanic chasm on Mount Parnassus, where a priestess
inhaled the sulphurus fumes, entered into a trance and acted as the medium for
Apollo’s prophetic message. These messages where so ambiguous that a priest
had to interpret them.
Gaia - The “earth goddess’’ of Greek mythology. The daughter of Chaos, she
was both mother and wife of Uranus, by whom she produced the Cyclopes and
Titans.
I) Gaia hypothesis Theory, proposed by the English scientist James Lovelock

in 1979, that the earth can be regarded as a single integrated living organism
composed of a delicate web of interconnected ecosystems. This network,
named “Gaia” after the “Earth Mother” of Greek mythology, regulates the
global environment, but pollution created by human beings may be upsetting
this stability, damaging the ozone layer and giving rise to global warming.
Ramses - any of 12 Kings of ancient Egypt 1315 and 1090 BC. Ramses the
great (1304-1237) built many monuments.
Muses - Nine goddesses in Greek mythology, all daughters of Zeus. Each

muse presided over a different art or science;
Calliope - epic poetry
Clio - history
Erato - love poetry
Euterpe - lyric poetry
Melpomene - tragedy
10

Polyhymnia - hymns
Terpsichore - dance
Thalia - comedy
Urania - astronomy
The persona is grumbling/rumbling although admitting he is an initiate

{novice}, but although a tyro opens with declaration of some independence -
- some self-direction not subject to interrogation. No queries about the drum
the persona beats, or song he plays, or dance or tale or cry. This protest is not
a result of obstinacy, impertinence or intransigence but a result of the piety of
its source.
The drum was carved and warmed by the fire of the pyramid furnace, the drum
came from the gate to heaven, for the shape of the pyramid is thought to
symbolize a staircase to the sun, so that kings could climb to heaven. Nobody
should question the song, it is from the Oracle, a deity was consulted and hence
it has the endorsement of the Gods. It is a tune from the [sacred Temple] and
endorsed by Muses--most likely Polyhymnia, a goddess responsible for
hymns.
The persona’s dance apparently is endorsed by royalty [The sons of Ramses]

and all to the satisfaction and certification by mother earth [Gaia].
The poem can be taken to mean that even a novice {someone who has entered
a religious order but has not taken final vows} has room space if support is got
from the gods.
11

SECTION B - DRAMA
The Tribe of Graves – Basil Diki

Summary of Scenes
Act 1 Scene 1
The audience is introduced to King Mbano and his wife Vahosi. The play is a
traditional story, evidenced by the scene introduction, “They are sleeping on
hides on the floor.” Moreover, the costume “Both sleepers are clad in hides
around their waists”, alludes to the traditional setting. Through the simile, “he
starts wailing like a child “, the audience know that something is wrong with
the king. As such the audience’s interest is aroused. The stage direction,
(Laughs), shows the casual relationship between Vahosi, who laughs, and the
king who has a nightmare. The king dreams about his “late father and his
father” building a hut of poles and grass. The hut is however destroyed by
termites and it crumbles “trapping both tribesmen in its debits.” The dream is
a foreshadowing of the destruction of king Mbano of the Shumba totems’
kingdom. King Mbano boasts of his prowess, “Kings don’t withdraw into
shells like tortoises. They champion bravery and tribal interests’ blood.”
Vahosi brings in the idea of a lion which dies in front of the people. The king
argues that the lion was sick, but Vahosi insists on it being unusual for a lion
to die before the people’s eyes. Vahosi advises the king to ‘Consult Svikiro
Gondo.” King Mbano undermines Gondo’s powers, “Is it a medium who has
leadership over this level?” The King prepares for war against whatever might
attack the Rozvi Kingdom.
Act 1 Scene 2
Scene Two opens with a wedding feast, and the Rozvi are celebrating the
marriage between the newly married couple. Among the characters are elders,
who include Mushore and Wedenga. Suddenly, a herd boy arrives, agitated
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and shouting “Behold everybody the aliens! We are no more!” The dramatic
punctuation confirms the herd boy’s agitation. The herd boy’s description of
the aliens shows that they are totally different from the Rozvi, He uses a series
of similes to describe them, “Their garbs are like the rainbow, their skin is like
a fresh wound and their hair like on ox’s tale.” The use of malapropism “tale”
reflects on the herd boy’s illiteracy. A hyperbole is used by the herd boy, to
allude to the aliens’ strangeness, “I don`t think they relieve themselves.” The
costume of the aliens is different from the Rozvi’s hides. Supernatural allusion
worsens the whole scenario,” ghosts walking in broad daylight! “The issue of
Chitekwe’s son, who sleeps with a dog is linked to the coming of the aliens,
as it is said to have angered the spirits. Humour is employed as someone
mentions that the perpetrator killed the dog because it “had become fat with
his seed.” The humour is meant to ease the tension among the elders. The
crowd is advised to disperse except Mushore, Wedenga, Zindoga and the herd
boy. Duri comes from his errands, and joins the other elders. The latter laughs
at Wedenga when he tells him about the “ghosts.” Duri tells the other elders
that what they saw are not ghosts but people. Duri condemns “svikiro Gondo,”
“His prophesies are smeared by his adulterous life.” Duri describes the aliens
in detail, and mentions their sticks which could kill a leopard with a bang.
Juxtaposition is employed when Wedenga is infuriated by Duri’s
condemnation of Svikiro Gondo. Duri goes on to insult Wedenga saying that
he is “an elder in vain.” Wedenga is further accused of doing “household
chores.”
Act 1 Scene 3
There is the employment of song in the scene, when at Gondo’s court, young
maids and boys dance to the music. The song, entitled “Kusarima Kwangu”
alludes to the theme of poverty. Svikiro Gondo’s attire is described as
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consisting of “hides of a leopard. An ordinary hide covers his loins. His
headgear is a combination of eagle furthers and the skin of a python. Around
his neck, waist and ankles are scary amulets and beads.” The costume portrays
him as a traditional man. Svikiro Gondo sings a war song, “Ndipei gano
rangu”. Through the use of poetry, the king’s official greets Svikiro Gondo. It
is ironic that King Mbano consults Svikiro Gondo after he has been rebuking
his wife’s advice to consult the medium about his dream. Svikiro Gondo
advises the king not to kill the “ghosts.” Svikiro Gondo goes on to advise the
clan not to follow the ways of the aliens like being immersed in water. He also
tells them that if they follow the ways of the aliens, they would be ruled by
them. Duri once again rebukes the “svikiro” “spirits that leave abruptly do not
have’ the tribal interest at heart. They are cowardly and mean!” The truncated
statement brings about tension between the king and elder Duri. The former
Chides Duri, “A medium is not subject to public ridicule.” A hunter comes in
abruptly. His snare has caught one of the aliens. The King assures the hunter
that the snare has caught a human being, whom he describes as a “curse”.
Warriors are ordered to go and bring the alien. Duri is still bent on picking on
Gondo, calling him “a shameless scandal.”
Act 2 Scene 1
In a series of rhetorical questions, King Mbano expresses his worry about the
aliens. He venerates the ancestral power, “Ancestral decrees are not
debatable.” The audience learn about the king’s polygamous marriage”… a
little time to attend to my sick second wife.” The mentioning of the setting
“Valley of Vultures” brings with it, connotations about war. The place is so
called because vultures would feast on bodies of killed enemies. Flashback is
used as the king tells Mushore about his dream about termites. The king’s
daughter is introduced in the scene. She is described as “a beautiful teenage
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daughter of the king. The gesture of kneeling before the king, her father,
portrays a well-mannered girl. The warriors bring the white man, “handling
him like an animal or garbage.” His costume is juxtaposed to the Rozvi’s.
Zindoga explains to King Mbano that the Whiteman is harmless. The
Whiteman’s name is Edward Johns. The latter explains that they are
missionaries from England. He also tells the king that, “I am actually a
messenger, pathfinder and aide of Reverend Raymond of the Evangelical
Church of England.” The mention of a gun, shows that the Rozvi use different
weapons from those of the Whites. King Mbano orders his warriors to go and
bring the gun. Edward John tells King Mbano that the missionaries bring the
word of God to the Rozvi but the king is not impressed. The king goes on to
threaten the Whiteman, through a simile, “We can squash you like flies or slit
your throats but it is not our custom to kill strangers especially passersby.”
The statement by king Mbano reveals that there is, after all, a good side of the
Rozvi. To cleanse, themselves, these who touched Johns should use “pungent
herbs to bath in the Runde.” The use of nature imagery shows that the Rozvi
are still backward. Biblical allusion is used by the Whiteman, “May God
shower you with blessings,” to allude to the theme of Christianity. Reverend
Raymond is described by Johns as “a man with unwavering sense of purpose,”
to portray him as a devout Christian. The king employs derogatory language
when he says that going to “a land whose people have no totem” is ridiculous.
He goes on to insult John, calling him “a forsaken, deaf rogue - a rabid
scoundrel!”
Act 2 Scene 2
There are now three Whites at King Mbano’s court, that is Reverend
Raymond, his wife, and Johns. The natives are aggressive towards the
missionaries. The Rozvi prove to be a warlike tribe as they are quick and ready
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to kill the intruders. Reverend Raymond acknowledges his wife Alice’s
dedication and loyalty,” Without her I doubt if I would be as strong an
evangelist as I am today.” Duri exclaims that Alice is a witch, when it is said
that she left her children in England. Juxtaposition is used to portray the Rozvi
and Whiteman’s attitude towards women, when one of the chiefs remarks that
a woman is meant to bring “babies to the land.” Reverend Raymond introduces
the Bible to the Rozvi, telling them that “this is the word-the living word of
God.” The title of the play is brought out as the Reverend tells the Rozvi in
metaphorical language” if you don’t know God you are a tribe of graves”. He
also uses irony to tell the Rozvi that they boast about “many graves of your
rivals in this land and yet you too are graves.” Gondo comes in, determined to
make things right. A Song is used to introduce him “Chirombo
Chinemakushe,” to delineate him as reverend. Reverend Raymond points at
Gondo with his Bible and calls out, “Devil come out I command you in the
name of Christ.” In peripety, Gondo is overpowered by the Reverend through
the Bible.
Act 2 Scene 3
Zindoga and Duri approach king Mbano’s homestead. Zindoga is carrying a

heavy log on his shoulder, which depicts him as a hard-working young man.
The log is a present to the Mbano family. It actually symbolizes Zindoga’s
interest in Yemurai, the king’s daughter. Yemurai engages herself in a
soliloquy, contemplating her fate as a young woman. Vahosi praises Zindoga
as a “man who wakes with elephants, mumuki.” Zindoga is an apt name as
Yemurai tells her mother that his parents died when he was still very young.
The king’s second wife is said to be fully recovered after being given some
liquid medicine by Raymond’s wife. For the second time, modernity has
triumphed over tradition. The Whites are referred to as vadzinamabvi, alluding
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to their modern clothes (costume) which make them look like they do not have
knees. So far, Gondo and king Mbano’s wife have become the reverend’s
followers. Ironically, Gondo is the one who discouraged the Rozvi from being
immersed in water by the Whites. When her mother leaves her on her own,
Yemurai sings about her suitors’ names, Tapfuma, Rupango, Mapanda and
Zindoga. Edward Johns approaches her from behind. When Yemurai is invited
by Johns to come to Gondo’s court, she is vehement in refusing to go there,
“Please leave me in peace.” Johns admires Yemurai as a beautiful girl, but the
latter is not impressed as she believes that Johns is likening her to a whore.
The two exchange words which reveal a clash of cultures until Yemurai
consents to come to Gondo’s court out of curiosity.
Act 3 Scene 1
The Rozvi and their King try in vain to conjure spirits. The king laments
impending drought. He blames all that on the coming of the Whites, who
described them “as a tribe of graves.” King Mbano blames himself for the
calamities that befall the clan, but Duri assures him that he is not to blame.
Duri suggests that Gondo should be killed in cold blood. He believes that
killing is the solution to most problems, “kill him and rains will fall!” One of
the chiefs suggests killing all the Whites. While the chiefs and elders are
discussing, Raymond arrives with his bible. He is adamant when he is told to
leave. Raymond tries, in vain, to explain religion to the Rozvi but he promises
to work on convincing the people about God.
Act 3 Scene 2
The king’s costume, “oversize khaki clothes, a single-breasted shirt, a

pocketless pair of trousers. His feet are in plain, irregular worn out sailor’s
shoes,” marks a turning point in the play. Peripety is employed as the king
consents to the White man’s ways. Even the dramatic interaction between the
61

king and Raymond, shows that the formers attitude has changed, “You use a
lot of noble words”. King Mbano asks Raymond about the slavery that is said
to exist in Sofala. Raymond assures the king that he is not part of the slave
traders, “We are not some of them and will never be.” Vahosi does not approve
of the costume that the king now wears, “People will see nothing but a great
betrayal.” Vahosi also tells the king that she is worried about Yemurai and
Johns, “You said he could see her briefly every week but now he sees her
almost every day.” According to Yemurai’s mother, her daughter has changed
and now she defies some of the traditional beliefs like undergoing “a regular
chastity examination.” An interracial marriage is condemned by Vahosi, in no
uncertain terms, “I’ll wither with embarrassment.”
Act 3 Scene 3
Two elders, Mushore and Wedenga discuss the events taking place in their
territory. Mushore confesses that he has failed to stop his family from going
to Gondo’s court for Raymond’s teachings. Wedenga also says the same thing
is happening at his homestead. Mushore laments the ‘death’ of all family
values after Wedenga says that his wife says “she can`t sleep with a pagan.”
The Whites have done away with norms such as “Vachemedzwi” and
“mazita”, which they “denounced as tantamount to wizardry.” The two talk
about the many incidence which mark change among the Rozvi. For instance,
a married woman takes her sick baby to Raymond, against her husband, and
the baby dies. The two divorce because of the incident. At one time, Raymond
is attacked by the people after a woman is killed by alleged spirits. Mushore
pokes fun at Wedenga after the latter has left. Appearance versus reality comes
into play as Mushore praises Wedenga in his presence, “I envy men who don`t
quarrel with their wives but tolerate the impossible to save their matrimony.”
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PAPER 3: AFRICAN, CARIBBEAN AND AFRICAN-AMERICAN
LITERATURE
This is an optional paper which consists of three sections: Section A – African
Literature, Section B – Caribbean Literature and Section C – African-
American Literature.
Three questions are to be answered, one from each section.
SECTION A – AFRICAN LITERATURE
Things fall apart – Chinua Achebe

Full Book Summary
The Umuofia clan, a lower-class Nigerian tribe that is made up of a network

of nine interconnected villages, is led by Okonkwo, a wealthy and well-
respected warrior. His cowardly and wasteful father Unoka, who passed away
in disgrace and left numerous village debts unpaid, haunts him for his deeds.
As a result, Okonkwo excelled as a clansman, warrior, farmer, and family
provider. Okonkwo worries that his son Nwoye, who is twelve years old and
lazy, will become unsuccessful like Unoka.
Umuofia wins a virgin and a teenage boy in a settlement with a nearby tribe.
Ikemefuna, the boy in Okonkwo's care, proves to be the ideal son. Nwoye also
develops a strong bond with the newcomer. Despite his affection for
Ikemefuna and the fact that the boy starts referring to him as "father,"
Okonkwo does not permit himself to express it.
Okonkwo accuses his youngest wife, Ojiugo, of negligence during the Week
of Peace. He brutally beats her, upsetting the holy week's calm. He makes
some sacrifices to demonstrate his penitence, but he has irreparably shocked
his community.
72

Ikemefuna spends three years living with Okonkwo's family. As a result of his
influence as an older brother, Nwoye begins to act more manly, much to
Okonkwo's delight. The locusts arrive in Umuofia one day and stay for seven
years, returning once a year before going extinct. Because they taste good
when cooked, the village eagerly gathers them.
Respected village elder Ogbuefi Ezeudu tells Okonkwo in private that

Ikemefuna needs to be put to death according to the Oracle. Because
Ikemefuna refers to him as "father," he tells Okonkwo that he shouldn't take
part in the boy's demise. Okonkwo deceives Ikemefuna by insisting that they
take him back to his village. Nwoye sobs uncontrollably.
Ikemefuna imagines seeing his mother as he strolls alongside the men of

Umuofia. The boy is attacked with machetes by some of Okonkwo's clansmen
after several hours of walking. Ikemefuna rushes to Okonkwo for assistance.
The boy is cut down by Okonkwo despite the Oracle's warning because he
doesn't want to appear weak in front of his fellow tribesmen. Nwoye surmises
that his friend is dead when Okonkwo gets home.
Okonkwo falls into a depressive state and is unable to eat or sleep. He sees his
friend Obierika and starts to feel a little more alive. Ezinma, Okonkwo's
daughter, becomes ill, but after Okonkwo collects leaves for her medicine, she
recovers.
The ekwe, a musical instrument, is used to inform the nearby villages of

Ogbuefi Ezeudu's passing. Okonkwo feels bad because Ezeudu's last visit was
to caution him against taking part in the murder of Ikemefuna. The men beat
drums and fired guns at the large and elaborate funeral of Ogbuefi Ezeudu.
When Okonkwo's gun bursts, killing Ogbuefi Ezeudu's 16-year-old son, the
tragedy intensifies.
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Okonkwo must exile his family for seven years in order to make amends for
killing a clansman, which is a crime against the earth goddess. He gathers his
most priceless possessions and drives his family to Mbanta, the village where
his mother was born. To rid the village of Okonkwo's sin, the men from
Ogbuefi Ezeudu's quarter burn down his residence and slaughter his animals.
His relatives, especially his uncle Uchendu, warmly welcome Okonkwo. They
lend him yam seeds to start a farm and assist him in creating a new compound
of huts. Okonkwo accepts life in his motherland despite being deeply
disappointed by his misfortune.
After selling Okonkwo's yams, Obierika returns to Okonkwo's exile during the
second year with several bags of cowries (shells used as money). Obierika
intends to carry on doing this until Okonkwo arrives back in the village. The
bad news that another village, Abame, was destroyed by the white man is also
delivered by Obierika.
Six missionaries depart shortly after for Mbanta. The leader of the
missionaries, Mr. Brown, converses with the villagers via an interpreter named
Mr. Kiaga. He explains to them that their gods are false and that serving
multiple deities is idolatry. But it is unclear to the villagers how the Holy
Trinity can be regarded as one God. Mr. Brown does not permit his adherents
to incite hostility among the clan, despite the fact that his goal is to convert the
people of Umuofia to Christianity.
After falling ill, Mr. Brown is replaced by the rigid and intolerable Reverend
James Smith. The more fervent adherents are happy to be free of Mr. Brown's
restraint policy. One such convert, Enoch, takes the risk of revealing an
egwugwu during the yearly ceremony honouring the soil deity, which is the
spiritual equivalent of killing an ancestor. The egwugwu destroy Reverend
Smith's church and Enoch's home the following day.
74

The District Commissioner demands a meeting with the Umuofia leaders
because he is angry about the church being set on fire. The leaders, however,
are handcuffed once they have all gathered and are placed in jail where they
are subjected to verbal and physical abuse.
Five court messengers arrive and tell the clansmen to stop during a conference
the clansmen have after the prisoners are freed. Okonkwo uses his blade to
slay the clan chief in anticipation of his fellow clan members joining him in
revolt. Okonkwo recognises that his clan is not ready for war when the throng
lets the other messengers flee.
The District Commissioner discovers that Okonkwo has hanged himself when
he gets to his compound. The commissioner is led to the body by Obierika and
his friends. Obierika notes that since suicide is considered a serious sin, no one
from Okonkwo's clan is allowed to touch his body. The commissioner thinks
the account of Okonkwo's uprising and demise will make for one or two
intriguing paragraphs in his book on Africa. The Pacification of the Prehistoric
Tribes of the Lower Niger is the title he has already decided on for the book.
Things Fall Apart's story is told in a cyclical fashion, including Okonkwo's

early years in Umuofia, his seven-year exile in Mbanta, and his final return.
One of these times in Okonkwo's life is covered in each of the novel's three
parts. A gendered narrative framework that follows Okonkwo from fatherland
to motherland and back to fatherland is likewise mapped onto the novel's three
sections. Okonkwo's continuous fixation on his own masculinity is contrasted
by this gendered narrative framework. Okonkwo experiences constant
emasculation despite his best efforts to rise in social standing and establish
himself as a model of traditional Igbo manhood. As a result of his ongoing
conflicts with his community as a result of his drive for recognition, Okonkwo
eventually falls, along with Umuofia and the nine villages.
75

The focus of Things Fall Apart's first section is on Okonkwo's coming-of-age
and his efforts to separate himself from his father Unoka's disreputable legacy.
Okonkwo has earned a spot among the titled men of Umuofia thanks to his
relentless labour and unwavering determination as well as his local notoriety
as a wrestling champion. However, Okonkwo's passion often gets the better of
him, as evidenced by the time he executed Ikemefuna, a little boy who had
grown to be his adopted son after being given to Umuofia by another town in
order to end a violent conflict. An elder by the name of Ogbuefi Ezeudu
cautions Okonkwo not to "have a hand in [Ikemefuna's] death" when the clan
elders decide it is time for Ikemefuna's execution.
Despite this caution, Okonkwo ultimately uses his machete to attack his
surrogate son out of panic: "He was scared of being weak." Several times in
Part One, Okonkwo demonstrates that he lacks patience with his kids and is
quick to get angry with his wives. He finds himself in a dangerous social
position because of his fixation with upward mobility and traditional
masculinity, which tends to alienate others.
Part One offers a comprehensive overview of the precolonial Igbo cultural

environment in addition to detailing Okonkwo's attempt to establish a
reputable name. To give the reader a flavour of the Igbo world, Achebe
highlights a variety of Igbo cultural values, religious beliefs, and ritual
activities. But, at the end of Part One, Okonkwo's life and the life of his
community are both on the verge of calamity. The death of Ogbuefi Ezeudu,
the village's eldest man and the one who warned Okonkwo not to kill
Ikemefuna, deals the first blow. The second blow occurs when Okonkwo's gun
accidentally discharges at Ezeudu's nighttime burial, killing Ezeudu's 16-year-
old son. Okonkwo and his family are exiled for seven years as a result of the
76

ominous killing of Ezeudu's son, which compels the other village elders to
burn down his cottages, butcher his animals, and murder him.
Okonkwo, who was exiled for committing a "feminine" (i.e., unintentional)

offence, retreats from his fatherland to the territory of his mother's ancestors,
a move that Okonkwo finds to be profoundly debasing. As white Christian
missionaries start to colonise the lower Niger region, including Umuofia and
Okonkwo's exiled city of Mbanta, this individual sensation of emasculation
reflects more significant cultural and historical shifts. When an old
acquaintance from Umuofia visits Okonkwo in Mbanta to let him know that
his eldest son, Nwoye, has given up traditional Igbo beliefs and converted to
Christianity, the feelings of personal and historical emasculation reach a
boiling point. Okonkwo disowns Nwoye after realising that this incident
represents a significant break in his patrilineal line.
By the time Okonkwo and his family depart Mbanta, Umuofia has already
experienced significant internal strife due to the foreign population that is
increasing there. Together with the missionaries who had come during his
absence, government representatives also start to trickle in, establishing a
foreign system of law. Okonkwo's return home, which he had anticipated
would signify a fresh beginning, is compromised by the changes in Umuofia.
Okonkwo becomes increasingly enraged with his fellow Umuofians for
refusing to take aggressive action against the missionaries and drive them out
as he finds himself in a passive, emasculated position once more. Okonkwo
views the British as a cancer whose existence will ultimately kill Umuofia and
the nine villages, in contrast to others who commend the British for increasing
access to resources, as well as medical and education.
Following yet another humiliating event in which colonial officials imprison

Okonkwo and others and set a high bail, Okonkwo adopts an unwavering
77

PAPER 4: ENGLISH LITERATURE
This is an optional paper which has three sections: Section A – Drama, Section
B – Prose and Section C – Poetry.
SECTION A: DRAMA
Volpone – Ben Jameson

Volpone takes place over the course of one day in Venice in the seventeenth
century. At the home of Venetian nobleman Volpone, the play begins. He
enters the shrine where Volpone stores his money along with his "parasite,"
Mosca, who is a hybrid of a slave, servant, and lackey. We find that Volpone
used dishonest methods to obtain his wealth; he is a con man. We also discover
that he enjoys spending money extravagantly.
We soon witness Volpone's most recent scam in action. Three people

interested in inheriting his estate after his death have shown an interest in him
during the past three years: lawyer Voltore, elderly gentleman Corbaccio, and
merchant Corvino. In addition to being wealthy and having no natural heirs,
Volpone is also well-known for being childless. Also, he is thought to be very
ill, so each of the legacy hunters showers him with presents in the hopes that
Volpone will designate him as his heir in return for their generosity. Volpone
is actually in wonderful health and is only pretending to be sick in order to
amass all those impressive "get-well" gifts, but the legacy hunters are unaware
of this.
Every legacy hunter shows up in the first act to give Volpone a gift, with the
exception of Corbaccio, who just brings a useless (and likely poisonous) vial
of medication. Yet in order for Volpone to repay the favour, Corbaccio
consents to come back later in the day and make Volpone his heir. Since
Corbaccio is very certain to pass away before Volpone does, this deed benefits
Volpone. Volpone and Mosca laugh at the hunters' credulity after they each
go. When Lady Elizabeth Would-be, the wife of an English knight residing in
90

Venice, arrives at the mansion after Corvino has left, she is instructed to return
in three hours. Volpone also makes the decision to make an effort to get a good
look at Celia, Corvino's wife, whom Mosca rates as one of Italy's most
beautiful ladies. Her spouse has ten guards on her at all times and keeps her
under lock and key, but Volpone swears to employ disguise to get past these
barriers.
A little bit later in the day, Sir Politic Would-be, Lady Politic's husband, is
talking to Peregrine, a young English traveller who has just arrived in Venice,
in the second act. Sir Politic warms to the young lad and promises to teach him
a thing or two about Venice and Venetians; Peregrine also enjoys Sir Politic's
company, but only because he is hysterically vain and naïve. The two were out
on a stroll in the plaza in front of Corvino's home when "Scoto Mantua," who
was actually Volpone posing as an Italian mountebank or medicine show man,
arrived. Scoto delivers a protracted and colourful speech in which he promotes
his new "oil," which is advertised as a panacea for all ills and woes. Celia
complies as the speaker bids the birds toss him their handkerchiefs at the
conclusion of his speech. Just as she finishes, Corvino enters the scene and, in
a fit of jealous wrath, scatters the crows in the square. When Volpone returns
home and confides in Mosca that he is sick with lust for Celia, Mosca swears
she will be given to him. In the meantime, Corvino scolds his wife for
throwing her handkerchief because he thinks it's evidence of her infidelity and
threatens to kill her and her family if she doesn't stop. She will no longer be
permitted to attend church, she cannot stand by windows (as she did when
watching Volpone), and, most oddly, she will have to perform all future
actions backwards, including walking and speaking. When Mosca shows
there, he tells Corvino that Volpone will choose him as his heir if he allows
Celia to have sex with him (as a "restorative" for Volpone's failing health).
Corvino's jealousy abruptly vanishes, and he accepts the offer.
91

Beginning the third act with a soliloquy, Mosca shows that he is becoming
more aware of his power and his independence from Volpone. After that,
Mosca encounters Bonario, Corbaccio's son, and tells him that his father
intends to disinherit him. In order to witness Corbaccio signing the forms, he
arranges for Bonario to accompany him back to Volpone's home (hoping that
Bonario might kill Corbaccio then and there out of rage, thus allowing
Volpone to gain his inheritance early). Lady Politic returns to Volpone's home
in the meantime, suggesting that it is already mid-morning and getting close
to noon. This time, Volpone invites her in, but he quickly regrets it because he
finds her chattiness annoying. By informing the Lady that Sir Politic was
spotted on a gondola with a harlot, Mosca saves Volpone (a high-class
prostitute). Then, as Mosca secreted Bonario in a bedroom corner in
preparation of Corbaccio's arrival, Volpone got ready to seduce Celia. But,
Celia and Corvino are the first to arrive. Celia is irate at having to be unfaithful,
and Corvino advises her to be quiet and focus on her work. Volpone
significantly surprised Celia by getting out of bed when they are alone
together. Instead of the elderly, frail man Celia had anticipated, she is
approached by a lothario who makes overtures to her during a passionate
speech. Volpone makes an approach, but Celia, ever the good Christian,
declines, prompting Volpone to threaten to rape her. Nevertheless, Celia is
saved by Bonario, who has been watching the situation from his hiding
location the entire time. On his way out, Bonario strikes Mosca. Finally,
Corbaccio and Voltore show up, but it's too late. Voltore helps Mosca devise
a plan to rescue Volpone from this predicament.
Peregrine and Sir Politic are still conversing a short while later, in the early
afternoon. Sir Pragmatic advises the young visitor on how to live in Venice
and discusses a number of money-making plans he is considering. Lady Politic
quickly interrupts them because she is certain Peregrine is the prostitute Mosca
92

told her about—though admittedly in disguise. Mosca, however, shows up and
corrects Lady Politic, saying that the courtesan he was referring to is really in
front of the Senate (in other words, Celia). Lady Politic accepts his account
and bids Peregrine farewell before teasingly suggesting a second meeting. She
has angered Peregrine, who promises to exact revenge on Sir Politic. The
action then shifts to the Venetian Senate building known as the Scrutineo,
where Celia and Bonario have informed the judges of Venice about Volpone's
trickery, Volpone's attempt to rape Celia, Corbaccio's choice to deny his son
the inheritance, and Corvino's decision to prostitute his wife. Yet, the
defendants, assisted by their solicitor Voltore, present a compelling case for
themselves. Bonario and Celia are portrayed by Voltore as lovers, Corvino as
a betrayed husband and Corbaccio as a wounded father who was on the verge
of being murdered by his terrible son. When Lady Politic enters and accuses
Celia of seducing her husband Sir Politic, the judge is persuaded (fully set up
by Mosca). They are further persuaded when Volpone enters the courtroom
and acts erratically once more. The justices order the detention and separation
of Celia and Bonario.
In the third act, Volpone, who had been feigning symptoms of illness, returns
home exhausted and concerned that he is genuinely getting sicker. He decides
to play one last practical joke on the legacy hunters to allay his worries. After
spreading the story that he has passed away, he instructs Mosca to claim that
he is now his master's successor. The strategy works flawlessly, fooling all
three of the legacy hunters. Volpone then assumes the identity of a Venetian
guard so he can brag about each heritage hunter's humiliation without being
noticed. Mosca, however, informs the audience that Volpone is effectively
dead in the eyes of everyone, and that he will not be permitted to "return to the
land of the living" unless Volpone makes good on his obligation and gives
Mosca a cut of his fortune.
93

SECTION B – PROSE
Gulliver’s Travels – Jonathan Swift

Gulliver’s Travels recounts the story of Lemuel Gulliver, a practical-minded
Englishman trained as a surgeon who takes to the seas when his business fails.
Gulliver recounts the misadventures that occur to him on these journeys in a
deadpan first-person narrative that hardly ever demonstrates any symptoms of
self-reflection or intense emotional response.
When Gulliver wakes up after his shipwreck, he discovers that he is bound by

countless tiny threads and being addressed by tiny captors who are awestruck
by him but fiercely protective of their kingdom. This is the beginning of
Gulliver's adventure in Lilliput. Despite the fact that their arrows are hardly
more than pinpricks, they are not afraid to employ violence against Gulliver.
They risk hunger in their country by feeding Gulliver, who eats more than a
thousand Lilliputians could, although they are generally friendly. Gulliver is
transported into the capital by a sizable waggon that the Lilliputians built
specifically for the purpose. Gulliver entertains the emperor while presenting
him to him, and he is touched by the attention of royalty. The army eventually
uses Gulliver as a national asset in its conflict with the Blefuscuans, whom the
Lilliputians despise for holding different views on how to crack eggs.
However, all changes when Gulliver is found guilty of treason for using his
urine to put out a fire in the royal palace and is sentenced to die by being shot
in the eyes and starved. Gulliver manages to get away to Blefuscu, where he
may fix a boat he discovers and set sail for England.
After spending two months in England with his wife and family, Gulliver sets
out on his second sea journey, which will lead him to a place known as
Brobdingnag, a realm of giants. He is found by a field worker here. He is
initially kept by the farmer as nothing more than an animal for entertainment.
101

In the end, the farmer sells Gulliver to the queen, who gives him a courtly
amusement and enjoys his musical abilities. After being discovered by the
court, Gulliver has an easy but unenjoyable social life. The physique of the
Brobdingnagians, whose common defects are many times amplified by their
enormous stature, frequently repulses Gulliver. He is therefore repelled by
their large skin pores and the sound of their torrential urinating when a couple
of courtly women allow him to play on their nude bodies instead of attracted
to them. He is often astounded by how ignorant everyone here is—not even
the monarch is knowledgeable about politics. Further unsettling discoveries in
Brobdingnag include different animals from the realm that put his life in risk.
He has trouble eating because even Brobdingnagian insects leave slimy trails
on their food. Gulliver is travelling with the royal couple to the frontier when
his cage is taken by an eagle and thrown into the water, forcing him to leave
Brobdingnag.
Gulliver then sets sail once more and, following a pirate attack, arrives in
Laputa, where a floating island called Balnibarbi, populated by theorists and
academics, oppresses the land below. The scientific research carried out in
Laputa and Balnibarbi seems completely absurd and impractical, and its
inhabitants also seem completely disconnected from reality. Gulliver takes a
quick detour to Glubbdubdrib where he witnesses the reenactment of historical
figures like Julius Caesar and other military leaders, who he finds to be much
less impressive than in books. He is able to sail to Japan and from there return
to England after visiting the Luggnaggians and the Struldbrugs, the latter of
which are senile immortals who demonstrate that age does not bring wisdom.
Finally, on his fourth journey, Gulliver sets sail as the ship's captain. However,
following a crew mutiny and a lengthy confinement in his cabin, he arrives in
an uncharted territory. Houyhnhnms, the intelligent horses who rule this land,
102

are here, along with Yahoos, the vicious, human-like creatures who work for
the Houyhnhnms. Gulliver begins to learn their language, and once he can
speak, he tells them about his travels and explains how England is governed.
He has many conversations with the horses and learns about their noble culture
while being treated with the utmost respect and kindness by them. He wishes
to remain with the Houyhnhnms, but is exiled when the horses notice that he
resembles a Yahoo greatly due to his exposed body. Despite being
inconsolable, Gulliver decides to go. Making a canoe out of scrap materials,
he travels to a nearby island where he is picked up by a Portuguese ship captain
who treats him well. However, Gulliver cannot help but now view the
captain—and all humans—as shamefully Yahoolike. Gulliver ends his
account by asserting that, despite his doubts about colonialism in general, the
places he has travelled to are legally England's colonies.
Themes
Could versus Should
Gulliver's Travels subtly raises the issue of whether social order should be
governed by physical might or moral rightness. Gulliver learns about the
benefits of physical strength both as a person who possesses it—as a giant in
Lilliput who, thanks to his enormous size, can defeat the Blefuscudian navy—
and as a person who lacks it—as a small visitor to Brobdingnag who is
constantly bothered by the enormousness of everything from household pets
to insects. He is physically restrained by the Lilliputians in his first interaction
with another society, and a farmer later enslaves him in Brobdingnag. He also
witnesses the use of physical force against others, such as when the
Houyhnhnms chained the Yahoos.
However, in addition to the use of physical force, there are numerous claims
to power based on moral propriety. The entire egg debate that pits Lilliput
103

against Blefuscu is not just about cultural differences; rather, it is about how
to properly interpret a passage in their holy book, which is a religious and
moral issue. In their eyes at least, this difference of opinion appears to justify
the conflict it has caused. For the Houyhnhnms, using physical force against
the Yahoos is also acceptable because they feel morally superior to them
because they are more orderly, well-behaved, and logical. But generally
speaking, the novel tends to demonstrate that assertions of moral superiority
as the basis for authority are frequently just as arbitrary as, and occasionally
merely cover for, straightforward physical subjugation. Although we may
consider the Laputans to be absurd and unpleasant, they believe themselves to
be more rational and use force to maintain order in the lower land of
Balnibarbi. Similar to this, the ruling class in Balnibarbi feels justified in
ousting Lord Munodi, despite the fact that we believe Munodi to be the more
sane candidate. In the end, moral superiority assertions are just as difficult to
defend as the arbitrary use of physical force to subjugate others.
Individual vs. Social Situation
Gulliver's Travels, like many stories about journeys to undiscovered lands,

explores the concept of utopia—an idealised version of the ideal society. The
portrayal of a city-state ruled by the wise in Plato's Republic is at least as old
as the idea of a utopia, which was most memorably represented in English in
Thomas More's Utopia. Swift acknowledges both pieces in his own writing,
but his view of utopia is far more pessimistic. One of the key things he
highlights about well-known historical utopias is their propensity to prioritise
the group as a whole over the individual. Without knowing who their
biological parents are, the children of Plato's Republic are reared collectively
with the belief that this arrangement promotes social justice. Swift had the
Lilliputians raise their children collectively in a same way, but the outcomes
104

PAPER 5: WORLD LITERATURE
This is an optional paper that consists of prose, poetry and drama by writers
from all over the world.
SECTION A – PROSE
Purple Hibiscus – Chimamanda Ngozi Adichie
Breaking Gods: Palm Sunday
Palm Sunday has come. After attending Mass, Kambili, her brother Jaja, and
their parents, Papa and Mama, head back to their lavish home in Enugu,
Nigeria. Brother Eugene Achike, Kambili's father, was honoured by Father
Benedict during Mass for his significant contributions to the church. Papa was
the first to receive communion. The family had sat in the front pew as usual.
Jaja didn't approach the altar today, though. At home, Jaja responds to Papa's
reprimand for skipping communion. Papa grabs a large religious book and
hurls it at Jaja in a fit of rage. Jaja is not hit by the book, but it does strike
Mama's collection of delicate ceramic figurines, shattering them. Mama
tidying up the mess on the marble floor with calm. Papa takes a seat and enjoys
his tea. Kambili questions why Papa doesn't take more action. The family's
cook and housekeeper Sisi serves them a brand-new juice variety from Papa's
factory for lunch. As expected, Mama and Kambili give the product their
praise, but Jaja remains silent and excuses himself to go to prayer. Kambili
spits up after choking on her beverage. That night as she lay in bed, she came
to understand that Jaja's resoluteness is comparable to the purple hibiscus that
flourishes in Aunty Ifeoma's garden in Nsukka.
117

Speaking with Our Spirits: Before Palm Sunday—Part 1
"Mom came into my room as I was sitting at my desk studying."
Kambili discovers that Mama is carrying a second kid, who is due in October.
Kambili informs Jaja of the pregnancy while Mama (Sister Beatrice) amuses
her women's prayer group. The news of a military coup is being relayed on the
radio. The Standard's proprietor, Papa, and his editor, Ade Coker, publish
editorials that are critical of the new administration. Roadblocks are manned
by soldiers in Enugu, yet daily life goes on as usual. Jaja and Kambili adhere
to their rigid academic schedules. Every Sunday, the family attends services
at St. Agnes. Infuriating Papa on Pentecost Sunday with Igbo worship songs
is a visiting young priest. Mama requests to stay in the van after Mass rather
than see Father Benedict because she feels sick. Kambili and Jaja notice loud
thuds coming from their parents' bedroom that afternoon. When they look
down, they find Papa dragging Mom like a bag. The blood on the floor is
cleaned up. The family's chauffeur, Kevin, transports Mother from the hospital
to their home. Mother explains that she lost the baby to Kambili and Jaja.
Mother next meticulously cleans her porcelain figurines. The following
Sunday, Papa insists that everyone stay after Mass to pray a novena in hopes
that God will pardon Mom. Kambili doesn't even question why Mama
demands pardon.
118

Speaking with Our Spirits: Before Palm Sunday—Part 2
"The text in my textbooks kept bleeding words."
Ade Coker is taken into custody by the authorities, and Papa steps in as editor.
Although though she normally places first, Kambili performs poorly on her
school examinations and places second. As the phone rings, Papa is already
berating Kambili for losing first place. Ade Coker has been badly tormented,
but Papa hears that he is no longer in jail. Papa decides that his publication
must become illegal. When Kevin takes Mama, Kambili, and Jaja to the
market, they see soldiers destroying stalls and beating customers. Papa gives
Kambili a lecture on the opening day of her subsequent academic year,
reminding her that God demands excellence. Kambili has shyness and anxiety
in school. Because she avoids them after school, other girls assume she is a
wealthy snob. Kambili, however, is unable to hang out with them because she
is aware that Kevin will inform Papa of any delays.
119

SECTION C – DRAMA
In the Continuum, and other plays – Roy Kilalea
Belonging
Summary
The play is about a young chicken Kuku who has just come of age. She fails
to fit into society among her folk because of her inquisitiveness and desire to
find out more about life.
She is not satisfied with just eating and mating as her type is prone to but wants
more out of life as such she is always at loggerheads with Jobo the rooster in
the flock whose authority she defies.
She also spurns his sexual advances which results in her leaving home and
finding temporary refuge among Bere and his lot in the caves.
Bere is at first fascinated by Kuku’s thinking and they later on become the best
of friends. Bere acknowledging he dies a better animal after having known
Kuku.
Kuku fails to belong among Bere’s lot, the other hyenas do not accept her they
take every chance they can get to scorn and threaten kuku.
She only survives under bere’s protection and as fate would have it after many
rains Bere gets seriously injured on a hunting trip and realises that he is dying.
He takes kuku back to her flock as she is not safe among the other hyenas.
Back amongst her own flock Kuku realises that she does not belong anywhere.
She scorns the way chickens feed and their narrow mindedness but even away
from them she cannot be anything else but a chicken.
130

Characterisation
Kuku asserts her identity as an inquisitive hen as she does not accept the status
quo, accepting what life dishes her like her lot .She wants to know why the
chickens are so low down the food chain.
Why the rooster gets to enjoy the mating act not the hens “if there is any that
enjoys that experience…it is only him”.
She questions her role as hen, laying eggs, hatching and looking after her
brood. Has a desire is to know if there is a kind that is free from narrow
mindedness.
Critical thinker /philosophic
She is able to realise that it is not enough for a chicken just to eat ,mate and
wait to be eaten she goes on a quest to find it .She does not delude herself into
thinking that she belongs among the hyenas. She is quick to read through
Ruma’s predatory stare.
She acknowledges that she does not belong anywhere because of her broad
mindedness,” she wants more than a chicken’s life” p.14.
Defiant
The opening line to the play refers to her as a" rebellious” hen.
She defies authority at every turn habitually grabbing worms from right under
Jobo’s beak arguing that she saw it first .Mama kuku explains the need to
respect the pecking order but kuku defies the order questioning Jobo’s
authority over all chickens.
She also spurns Jobo’s mating advances resulting in her fleeing to the bush
when Jobo attempts to mate her.
131

She mimics her mother and Jobo’s speech which is a sign of disrespect
She finds Bere’s voice soothing while her mother shudders at it .The rest of
the flock fleas when she comes home with Bere yet she befriended him which
proves that Kuku is indeed defiant.
Daring
She is brave enough to converse with Bere to trust him enough to stay with
him and other hyenas in their liar.
Despite the protection from Bere, her living arrangements are very dangerous
and unpredictable.
Idealistic
She thinks she can run away from her identity (chicken) but it is not practically
possible (p.14)
When Bere asks if she has been hurt by Jobo she clears Jobo explaining that it
is the way of all chickens. She temporarily manages to run but comes back
when she realises that her place is among her flock. Bere is wise enough to
advise her to go back home where she would be safe without Bere’s protection
now that he is dying.
Mama Kuku
Gullible - accepts chicken life as it is and advises her daughter to do the same
.She always reminds her that she is a chicken which is her answer to every
question asked by Kuku.
Accepts Jobo’s position as a leader of the flock. Accepts the rooster’s mating
habits.
132


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UNDERSTANDING LITERATURE IN ENGLISH A’LEVEL

DINGANI PUBLISHERS 00263 77 789 6159

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Printed in Bulawayo Zimbabwe by Dingani Publishers

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Songs from the Temple – Emmanuel Ngara

 SONG…by definition it is a distinctive or characteristic sound…and there

 Carol-joyful religious song [celebrating the birth of Christ]

 Cradle-song/Lullaby-a quiet song intended to lull a child to sleep.

 Requiem/Dirge-a song or hymn of mourning composed as a memorial to

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 From the title we know a temple to be a house of god, house of prayer,

Knocking On the Sacred Door

 SACRED…We already know the persona is at this place at least for

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Of Singers and Frogs

A tacit admission is made by the persona of own disability to sing and

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1. What in your opinion is represented by these;

Pyramids - Colossal monuments built by the ancient Egyptians to house their

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I) Gaia hypothesis Theory, proposed by the English scientist James Lovelock

Muses - Nine goddesses in Greek mythology, all daughters of Zeus. Each

Calliope - epic poetry

Erato - love poetry

Euterpe - lyric poetry

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The persona is grumbling/rumbling although admitting he is an initiate

The persona’s dance apparently is endorsed by royalty [The sons of Ramses]

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The Tribe of Graves – Basil Diki

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Zindoga and Duri approach king Mbano’s homestead. Zindoga is carrying a

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The king’s costume, “oversize khaki clothes, a single-breasted shirt, a

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Three questions are to be answered, one from each section.

SECTION A – AFRICAN LITERATURE

Things fall apart – Chinua Achebe

The Umuofia clan, a lower-class Nigerian tribe that is made up of a network

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Respected village elder Ogbuefi Ezeudu tells Okonkwo in private that

Ikemefuna imagines seeing his mother as he strolls alongside the men of

The ekwe, a musical instrument, is used to inform the nearby villages of

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Things Fall Apart's story is told in a cyclical fashion, including Okonkwo's

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Part One offers a comprehensive overview of the precolonial Igbo cultural

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Okonkwo, who was exiled for committing a "feminine" (i.e., unintentional)

Following yet another humiliating event in which colonial officials imprison