2025 WAEC GCE FIRST Series Literature in English Questions and Answers

(1)
In John K. Kargbo’s play “Let Me Die Alone,” the theme of deception is intricately woven into the fabric of the narrative, reflecting the complexities of human relationships and societal expectations. The characters navigate a landscape filled with lies, half-truths, and self-deception, which ultimately leads to tragic consequences. One of the primary manifestations of deception in the play is through the character of the protagonist, who grapples with his own identity and the societal roles imposed upon him. He often finds himself at odds with the expectations of his community, leading him to adopt a facade that conceals his true feelings and desires. This self-deception not only affects his personal relationships but also reflects a broader commentary on the societal pressures that compel individuals to conform, regardless of their authentic selves. Moreover, interpersonal relationships in the play are rife with deception. Characters engage in manipulation, using falsehoods to exert control over one another. This is particularly evident in the dynamics between family members, where love and loyalty are overshadowed by betrayal and deceit. The interactions reveal a profound sense of mistrust, as characters are often more concerned with their own agendas than with the well-being of those they claim to care for. This betrayal becomes a catalyst for conflict, driving the narrative forward and leading to moments of intense emotional turmoil. The theme of deception is also explored through the lens of societal norms and traditions. Kargbo critiques the ways in which cultural expectations can lead individuals to live inauthentic lives. Characters often feel compelled to uphold certain appearances, leading to a cycle of deception that permeates their interactions. This societal pressure to maintain a façade not only isolates individuals but also perpetuates a culture of dishonesty that ultimately undermines genuine connections. In conclusion, deception in “Let Me Die Alone” serves as a powerful theme that highlights the struggles of individuals caught between their true selves and societal expectations. Kargbo deftly illustrates how deception can permeate personal relationships and societal structures, leading to a profound sense of loneliness and despair. Through this exploration, the play invites the audience to reflect on the consequences of living in a world where truth is often obscured by the masks people wear.

(2)
In John K. Kargbo’s play “Let Me Die Alone,” Yoko emerges as a powerful figure who asserts female dominance through a combination of strength, intelligence, and defiance against patriarchal norms. Her character challenges traditional gender roles and embodies a sense of agency that is both compelling and transformative. Yoko’s assertiveness is most evident in her interactions with the male characters. She commands respect and often takes charge of situations, demonstrating her ability to navigate a male-dominated environment. Her strength is not only physical but also emotional and intellectual. Yoko refuses to be subjugated by the expectations placed upon her as a woman, confronting the men around her with confidence and resolve. This defiance serves as a form of rebellion against the societal constraints that seek to minimize her role. Moreover, Yoko’s intelligence plays a crucial role in her assertion of dominance. She is quick-witted and perceptive, often outsmarting her male counterparts. This intellectual superiority allows her to manipulate situations to her advantage, making her a formidable presence in the narrative. Yoko’s ability to think critically and strategize demonstrates that her power extends beyond mere physicality; it is rooted in her understanding of the dynamics at play within her community. Another significant aspect of Yoko’s dominance is her emotional resilience. Throughout the play, she faces numerous challenges and adversities, yet she remains steadfast and unyielding. This inner strength not only empowers her but also inspires those around her. Yoko’s refusal to succumb to despair or vulnerability reinforces her position as a dominant figure, as she embodies the qualities of a leader who can endure hardship and emerge victorious. In addition, Yoko’s relationships with other female characters further highlight her role as a matriarchal figure. She often serves as a source of support and guidance, encouraging other women to assert their own identities and resist oppression. This solidarity among women is a crucial element of Yoko’s character, as it fosters a sense of community and empowerment that is essential for challenging the status quo. In conclusion, Yoko’s assertion of female dominance in “Let Me Die Alone” is multifaceted, encompassing strength, intelligence, emotional resilience, and solidarity with other women. Through her character, Kargbo illustrates the potential for women to reclaim their agency and challenge the patriarchal structures that seek to confine them. Yoko stands as a testament to the power of female assertion, embodying the complexities of womanhood in a society that often seeks to silence it.

(3)
In Wole Soyinka’s play “The Lion and the Jewel,” Sidi is a character who embodies a blend of strength, intelligence, and independence, making her a figure of admiration. Her complexity and evolution throughout the narrative reveal her resilience and agency within the constraints of her society. One of the most admirable qualities of Sidi is her self-confidence. As the village beauty, she is aware of her attractiveness and uses it to her advantage. This self-awareness empowers her, allowing her to navigate the attention she receives from both Baroka, the Bale (chief), and the modern photographer, Lakunle. Sidi does not shy away from her desirability; instead, she embraces it, showcasing a sense of pride that is commendable in a society that often objectifies women. Additionally, Sidi demonstrates remarkable intelligence and wit. Throughout the play, she engages in sharp dialogue with the male characters, particularly Lakunle and Baroka, showcasing her ability to think critically and articulate her thoughts clearly. This intelligence allows her to challenge their assumptions and expectations, asserting her own perspective rather than passively accepting the roles assigned to her by society. Her cleverness reveals a depth to her character that goes beyond mere beauty, highlighting her as a multifaceted individual. Sidi’s independence is another admirable trait. She is not merely a passive participant in the male-dominated dynamics of her village; rather, she actively asserts her desires and makes choices that reflect her own interests. Her rejection of Lakunle’s modern ideas, which she finds impractical, illustrates her ability to discern what truly matters to her. Furthermore, her eventual decision to accept Baroka’s proposal, despite her initial resistance to traditional values, reflects a pragmatic approach to her circumstances, demonstrating her agency in navigating her life choices. Moreover, Sidi’s journey throughout the play shows her growth and adaptability. Initially, she is portrayed as a naive young woman, but as the narrative unfolds, she evolves into a more self-assured and decisive character. This transformation is admirable as it illustrates her capacity for self-reflection and change. Sidi learns to balance her desires for modernity and tradition, ultimately making choices that reflect her understanding of her role within her community. In conclusion, Sidi is an admirable character in “The Lion and the Jewel” due to her self-confidence, intelligence, independence, and adaptability. Wole Soyinka crafts her character as a complex individual who navigates the challenges of her society with grace and strength, making her a compelling figure that resonates with themes of empowerment and self-determination.

(4)
In Wole Soyinka’s “The Lion and the Jewel,” the play-within-the-play serves as a significant narrative device that enriches the overall themes and messages of the work. This theatrical technique not only adds layers to the story but also enhances the exploration of cultural identity, tradition versus modernity, and the nature of performance itself. One of the primary significances of the play-within-the-play is its role in reflecting the intersection of traditional and modern values. The performance staged by the village dancers and the photographer, Lakunle, underscores the tension between the old ways of life, represented by the villagers and their customs, and the new influences brought by modernity. This juxtaposition highlights the struggle for identity within a changing society. Sidi’s participation in the play-within-the-play symbolizes her navigation between these two worlds, as she balances her pride in her traditional heritage with the allure of modernity represented by Lakunle. Furthermore, the play-within-the-play serves as a commentary on the nature of performance and reality. It blurs the lines between what is real and what is merely performed, inviting the audience to reflect on the ways in which individuals present themselves in society. The characters often engage in acts of performance, whether through Sidi’s manipulation of her beauty or Baroka’s machinations to assert his power. The meta-theatrical element encourages viewers to consider the roles they play in their own lives and the societal expectations that shape those roles. Additionally, the play-within-the-play acts as a vehicle for cultural expression. Through the vibrant portrayal of the village’s traditions, Soyinka highlights the richness of African culture and the importance of storytelling as a means of preserving history and identity. The dancers and their performance serve to celebrate communal ties and shared experiences, reinforcing the notion that culture is not static but rather a dynamic interplay of influences. Moreover, the comedic aspects of the play-within-the-play provide a contrast to the more serious themes explored in the main narrative. The humor allows the audience to engage with the characters and their dilemmas on a different level, making the social commentary accessible while simultaneously encouraging reflection on the absurdities of human behavior and societal norms. In conclusion, the play-within-the-play in “The Lion and the Jewel” is significant for its multifaceted role in exploring themes of cultural identity, the tension between tradition and modernity, and the nature of performance. By incorporating this theatrical device, Soyinka not only enriches the narrative but also invites the audience to engage deeply with the complexities of African society and the human experience. Through this lens, the play becomes a powerful reflection on the interplay of culture, identity, and the roles individuals play within their communities.