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Literature In English WAEC 2025 Questions And Answers (Drama & Poetry)
(1)
In the African drama Let Me Die Alone by John K. Kargbo, Governor Samuel Rowe is a pivotal figure in the decline and eventual fall of Queen Yoko. His influence is marked by political manipulation, exploitation of trust, and the colonial strategy of “divide and rule.”
Governor Rowe initially gains Yoko’s trust by recognizing her authority and promising her protection and support in exchange for her cooperation with British colonial interests. He encourages her expansionist ambitions, using her influence to stabilize British control over the Mende territories. This alliance gives Yoko a false sense of security and power, leading her to believe that the colonial government values her leadership.
However, Governor Rowe’s promises are largely deceptive. Despite Yoko’s loyalty and effective governance, he fails to honor commitments like granting her higher political status or genuine recognition under British rule. This unfulfilled promise not only demoralizes Yoko but also weakens her reputation among her people, who begin to doubt her authority and allegiance to colonial interests.
Furthermore, Governor Rowe employs a strategy of political manipulation. He stirs distrust between Yoko and other local leaders, subtly sowing seeds of discord that isolate her from traditional allies. His divide-and-rule tactics ensure that Yoko remains dependent on British favor while stripping her of local support.
Ultimately, Governor Rowe’s betrayal and political strategy contribute to Yoko’s isolation and loss of power. She becomes increasingly disillusioned, realizing too late that her reliance on colonial promises was a fatal mistake. This manipulation by Governor Rowe directly accelerates her downfall, symbolizing the destructive nature of colonial influence on African leadership.
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(2)
In the African drama Let Me Die Alone by John K. Kargbo, Lamboi’s ambition plays a significant and destructive role in the reign of Queen Yoko. His relentless pursuit of power and influence is marked by betrayal, manipulation, and a deep-seated desire to unseat Yoko from her position as the ruler of the Mende people.
Lamboi, Yoko’s own brother, harbors jealousy and resentment towards her rise to power. Despite Yoko’s competence and strategic brilliance as a leader, Lamboi perceives her authority as an obstacle to his ambitions. His patriarchal beliefs fuel his disdain for Yoko’s success, as he struggles to accept a woman occupying such a powerful position in their society.
Driven by envy, Lamboi conspires with Musa, the cunning and manipulative soothsayer, to undermine Yoko’s leadership. Their schemes are laced with deceit and treachery, aiming to destabilize Yoko’s rule through fear and political sabotage. Lamboi’s ambition blinds him to loyalty and familial bonds, as he is willing to betray his own blood to seize control of the throne.
The climax of Lamboi’s ambition is seen in his plot to poison Yoko, a desperate attempt to eliminate her and claim power for himself. His actions reflect not only his personal thirst for dominance but also the broader theme of betrayal and the consequences of unchecked ambition.
Ultimately, Lamboi’s ambition symbolizes the internal threats that powerful leaders often face, not just from external forces like colonial powers, but from within their own circles. His betrayal accelerates Yoko’s fall, revealing how envy and greed can corrode even the strongest of reigns.
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(3)
In Wole Soyinka’s The Lion and the Jewel, music and dance play a very important role in telling the story. They are not just used for entertainment, they help move the plot forward and show the rich culture of the village of Ilujinle.
From the beginning of the play, music and dance are used to bring the community together and to share stories. One clear example is when the villagers use dance and mime to reenact the arrival of the stranger with the camera. Through drumming, singing, and dancing, they retell the event in a lively and engaging way. This shows how music and dance are used as a way of remembering and passing down history in the traditional African setting.
Music and dance also help us understand the characters better. Baroka, the Bale, is often surrounded by music and dancers, which shows his connection to tradition, his authority, and his charm. On the other hand, Lakunle, the schoolteacher who wants to bring modern ways into the village, avoids music and dance. This difference highlights the main conflict in the play between tradition and modernity.
For Sidi, the dances she takes part in show her beauty and popularity in the village. When she dances, it reflects her confidence and growing sense of self-worth. But at the same time, the dance can also show how others try to control or influence her, especially in the scenes involving courtship and marriage.
Overall, music and dance in The Lion and the Jewel are used in a natural and meaningful way. They help tell the story, show the emotions of the characters, and celebrate the culture of the people. Soyinka uses them to remind the audience of the power of tradition and the richness of African storytelling.
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(4)
In The Lion and the Jewel, Sidi plays an important role in revealing the true nature of both Baroka and Lakunle. Through her actions and the way both men react to her, we get to see their personalities, beliefs, and intentions more clearly.
With Lakunle, Sidi brings out his arrogance and misunderstanding of African traditions. Lakunle claims to love Sidi, but he refuses to pay her bride price because he sees it as backward. He wants to marry her in a modern way, but he often insults her culture and talks down to her. His attitude shows that he is more concerned with appearing modern and educated than truly respecting or understanding Sidi. Through her reactions to Lakunle, especially when she mocks him or questions his strange ideas, we see that she is not easily fooled by empty words or foreign ideals.
With Baroka, Sidi brings out a different side. Although Baroka is much older, he treats Sidi with more respect and cleverness. He admires her beauty and sees her as a symbol of youth and pride for the village. When she refuses his proposal at first, Baroka doesn’t get angry, he calmly plans how to win her over, using charm and strategy. Sidi brings out Baroka’s playful, cunning nature, but also his respect for tradition and his ability to adapt. By the end of the play, Sidi’s interactions with Baroka reveal that he is wiser and more patient than he first appears.
In this way, Sidi is more than just the village beauty. Through her, Soyinka shows the deeper qualities of both men, Lakunle’s shallow modernity and Baroka’s clever traditionalism. Her presence challenges them both, and the way they respond to her helps the audience understand who truly values the culture and who only pretends to.
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(5)
In Look Back in Anger, Jimmy Porter often comes across as loud, bitter, and aggressive, but beneath that tough exterior lies a deeply caring and sensitive man. His anger and harsh words seem to be more about the frustration he feels with the world around him than any real malice toward the people in his life. He’s a man who feels things very deeply, but struggles to express those feelings in a calm or constructive way.
His relationship with Alison, for instance, shows glimpses of his caring nature. Though he often criticizes and mocks her, there are moments when his vulnerability slips through, and it becomes clear that he genuinely loves her. When Alison suffers a miscarriage, Jimmy’s reaction is not just grief, but guilt and pain, which reflect how deeply he cared about the child and, by extension, about Alison herself.
Even his complex relationship with Helena hints at a desire for connection and affection, not just conflict. And with Cliff, his friend and roommate, Jimmy shows moments of warmth, trust, and even playfulness, suggesting that he values loyalty and companionship.
So, while Jimmy’s words and actions can be hurtful, they often stem from emotional wounds and a strong desire for meaning and sincerity in his relationships. This inner turmoil doesn’t excuse his behavior, but it does help us understand that, at heart, he is not cruel, he is a caring man who simply doesn’t know how to deal with his emotions in a healthy way.
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(6)
In Look Back in Anger, Helena Charles begins as a strong, confident, and morally upright character. She enters the scene as Alison’s friend, clearly disapproving of Jimmy Porter and his aggressive, chaotic lifestyle. At first, she seems like the complete opposite of Jimmy, calm, controlled, and determined to protect Alison from what she sees as a toxic relationship. She even takes bold steps, such as contacting Alison’s father and encouraging her to leave Jimmy, believing it to be the right thing to do.
However, as the story progresses, Helena’s transformation becomes quite striking. Despite her earlier moral stance, she finds herself drawn to Jimmy in a way that surprises even her. The very passion and energy she once condemned begin to attract her, and she eventually falls into a romantic relationship with him. This shift shows that Helena is not as unshakably principled as she first appeared. Her affair with Jimmy blurs the line between right and wrong in her mind, revealing the complexity of human emotions and desires.
But the transformation doesn’t end there. Toward the end of the play, Helena experiences a deep sense of guilt and conflict. She realizes that, despite her feelings, what she is doing is wrong, especially since it has hurt Alison. Her final decision to leave Jimmy and end the relationship is a return to her earlier sense of morality, but now it’s tempered by personal experience and emotional growth. She is no longer just a symbol of order and control; she has become a more human and self-aware character who has faced her own flaws.
In the end, Helena’s transformation is a journey from moral certainty to emotional confusion, and finally to self-realization. Her character shows that even those who seem the strongest can be vulnerable, and that real strength sometimes comes from acknowledging one’s mistakes and walking away.
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