Textual Analysis of Prescribed Non-African Drama
31 questions
In John Osborne's prescribed Non-African drama *Look Back in Anger*, Jimmy Porter bitterly remarks: "There aren't any good, brave causes left. If the big bang comes off, it'll just be a big bang; which may be a bad thing, but it won't be brave." What central thematic concern of post-World War II British society does this statement primarily express?
In William Shakespeare's prescribed Non-African drama *Othello*, which character serves as the main antagonist whose deceitful manipulation drives Othello to wrongly suspect Desdemona of infidelity?
Read the following excerpt from Oscar Wilde's prescribed Non-African drama, *The Importance of Being Earnest*, and answer the question that follows:
LADY BRACKNELL: "I have always been of opinion that a man who desires to get married should know either everything or nothing. Which do you know?"
JACK: "I know nothing, Lady Bracknell."
LADY BRACKNELL: "I am pleased to hear it. I do not approve of anything that tampers with natural ignorance. Ignorance is like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of modern education is radically unsound."
In this exchange, Oscar Wilde employs paradox and satire through Lady Bracknell's speech primarily to achieve which dramatic purpose?
Match each character from the prescribed non-African dramatic texts to their corresponding character profile or dramatic context.
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Match each dramatic action or element from the prescribed Non-African drama *A Raisin in the Sun* by Lorraine Hansberry to the primary thematic motif or dramatic function it demonstrates.
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Read the following extract from William Shakespeare's prescribed Non-African drama, *The Tempest*, and answer the question that follows:
"Be not afeard; the isle is full of noises,
Sounds and sweet airs, that give delight and hurt not.
Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices..."
What does this poetic speech primarily reveal about Caliban's character?
Match each character from George Bernard Shaw's prescribed Non-African drama *Arms and the Man* to their corresponding dramatic role or characterization.
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Read the following excerpt from William Shakespeare's prescribed Non-African drama, *Othello*, and answer the question that follows:
"Her father loved me; oft invited me;
Still question'd me the story of my life
From year to year, the battles, sieges, fortunes,
That I have passed."
In the context of the play, what is the primary significance of this statement made by Othello to the Venetian Senate?
In August Wilson's prescribed Non-African drama, *Fences*, Troy Maxson strongly opposes his son Cory's pursuit of a college football scholarship. What primary motivation drives Troy's persistent refusal to sign the recruitment papers?
Match each character from Oliver Goldsmith's prescribed Non-African drama, She Stoops to Conquer, to their corresponding key dramatic action or characterization:
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Read the following extract from Oliver Goldsmith's prescribed Non-African drama, *She Stoops to Conquer*, and answer the question that follows:
"HARDCASTLE: He has taken possession of my easy-chair already. He's in the right of it, to make himself at home. [...] This may be modern modesty, but I never saw anything look so like old-fashioned impudence."
Which dramatic situation accounts for Mr. Hardcastle's perception of Young Marlow's conduct as 'old-fashioned impudence'?
Read the following extract from Arthur Miller's prescribed Non-African drama, *Death of a Salesman*, and answer the question that follows:
"I don't say he's a great man. Willy Loman never made a lot of money. His name was never in the paper. He's not the finest character that ever lived. But he's a human being, and a terrible thing is happening to him. So attention must be paid. He's not to be allowed to fall into his grave like an old dog. Attention, attention must be finally paid to such a person."
Which of the following best identifies the speaker and the primary thematic significance of this speech?
Read the following extract from George Bernard Shaw's prescribed Non-African drama, *Arms and the Man*, and answer the question that follows:
"BLUNTSCHLI: Nine soldiers out of ten are born fools.
RAINA: Oh! And what about the tenth?
BLUNTSCHLI: The tenth has some sense, and stays at home... You can always tell an old soldier by the inside of his holster and cartridge boxes. The young ones carry pistols and cartridges; the old ones carry chocolate."
In the context of the play's central thematic development, what is the primary dramatic significance of Bluntschli's declaration?
Read the following excerpt from William Shakespeare's prescribed Non-African drama, *The Tempest*:
"Our revels now are ended. These our actors,
As I foretold you, were all spirits and
Are melted into air, into thin air..."
Which character delivers these lines to Ferdinand and Miranda?
Match each character from William Shakespeare's prescribed Non-African drama, *Othello*, to their primary role or defining characteristic in the play.
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Read the extract from William Shakespeare's prescribed Non-African drama, *Othello*, and answer the question that follows:
"O, beware, my lord, of jealousy;
It is the green-ey'd monster which doth mock
The meat it feeds on."
Who speaks these lines, and to whom are they addressed?
Match each character from John Osborne's prescribed Non-African drama, Look Back in Anger, to their corresponding role and dramatic function in the play.
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Read the excerpt below from Henrik Ibsen's prescribed Non-African drama, *A Doll's House*, and answer the question that follows:
"Our home has been nothing but a playroom. I have been your doll-wife here, just as at home I was papa's doll-child; and here the children have been my dolls. I thought it great fun when you played with me, just as they thought it great fun when I played with them. That is what our marriage has been, Torvald."
What fundamental thematic revelation does Nora's declaration articulate at this climactic moment of the play?
Read the extract below from Oscar Wilde's prescribed Non-African drama, *The Importance of Being Earnest*, and answer the question that follows:
LADY BRACKNELL: [...] Cecily is not a girl with a fortune who can afford to waste her time in idle courtship.
JACK: I beg your pardon, Lady Bracknell, but Miss Cardew has a hundred and thirty thousand pounds in the Funds.
LADY BRACKNELL: [Suddenly interested] A hundred and thirty thousand pounds! And in the Funds! Miss Cardew seems to me a most attractive young lady, now that I look at her.
In the excerpt above, Lady Bracknell's sudden shift in attitude upon learning of Cecily's wealth primarily serves to expose which central thematic concern of the play?
Read the extract below from William Shakespeare's prescribed Non-African drama, *Macbeth*, and answer the question that follows:
MACBETH:
Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain?
Which of the following best describes the dramatic significance of the vision of the dagger in this extract?