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2026 WAEC Literature OBJ (Prose, Drama and Poetry) Answers

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2026 WASSCE for School Candidates Literature in English Questions and Answers EXPO: Get Free Live 2026 WAEC Literature in English (Prose, Objective, Drama & Poetry) OBJ & Theory Questions and Answers for WASSCE for School Candidates | WAEC May/June Lit-in-English Free EXPO Room (15th & 22nd May, 2026).

2026 WAEC Literature OBJ (Prose, Drama & Poetry) Questions and Answers

The West African Examinations Council (WAEC) has prepared the 2026 WAEC Literature in English May/June exam for school candidates. This includes Prose, Drama, Poetry, Objective (OBJ), and Theory questions with verified solutions. Students can access this free EXPO room to study and prepare effectively for the exam, ensuring confidence and success in both OBJ and Essay papers.

WAEC 2026 LITERATURE IN ENGLISH (PROSE, OBJ, DRAMA & POETRY) QUESTIONS AND ANSWERS [SCHOOL CANDIDATES]

 

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A. 2026 WAEC LITERATURE IN ENGLISH 3 (DRAMA AND POETRY) ANSWERS: 

2025 WAEC Literature in English 1 (Objective) Answers

1–10: B B D B D B D B A D
11–20: C B A D D D D A D D
21–30: B B C C A D B C B B
31–40: C A B B A B B B D D
41–50: B A C A D D D A C B

2025 WAEC Literature in English 2 (Prose) Answers

(1)
In Second-Class Citizen by Buchi Emecheta, the writer uses allusion as a literary device to deepen readers’ understanding of Adah’s struggles and experiences. Allusion means referencing well-known events, beliefs, or literature without direct explanation.

One major example is Adah’s perception of England. She sees it as a dreamland, almost like paradise, due to colonial education. But on arrival, she faces racism and poverty. This reflects the false promises of colonialism and can be likened to the Biblical “fall from Eden.”

Emecheta also uses cultural allusions. Adah’s nickname “Nnenna” means “father’s mother,” which reflects the African belief in reincarnation. This ties her to her roots, even as she navigates life abroad.

Francis, her husband, embodies further allusions. Though living in London, he clings to old Igbo traditions, praying to deities while also pretending to be modern. This contrast shows the clash between tradition and modernity.

Signs like “No Coloreds” on houses allude to segregation and racism, reminding readers of global struggles Black people faced.

Finally, when Francis burns Adah’s manuscript, The Bride Price, it symbolizes his attempt to silence her voice and enforce traditional roles. Yet this act pushes Adah to independence.

Through allusion, Emecheta connects Adah’s story to wider issues like gender inequality, cultural conflict, and racism.

(2)
Adah’s motherhood in the novel is a mix of sacrifice, strength, and resilience. Born into a society that undervalues girls, her very survival reflects resistance. Her fight for education becomes the foundation of her determination to give her children a better life.

In her toxic marriage to Francis, who shirks responsibility, Adah still stands firm for her children. She vows never to abandon them, showing maternal devotion.

Her motherhood becomes a feminist stand. While Francis clings to patriarchy, Adah takes charge of both finances and parenting, proving women can be independent leaders.

She sacrifices personal happiness and safety, enduring abuse just to protect her children. Yet, her commitment to education shows her dream of passing better values to the next generation.

Adah’s motherhood is thus both personal and political—a fight for dignity and equality.

(3)
In Unexpected Joy at Dawn, Paleo’s relationship with Nii reveals how protection can become control. As the elder brother, Paleo feels responsible for Nii but often dominates him.

His decision to move them to Nigeria, without Nii’s input, reflects authoritarian behavior. This mirrors postcolonial African leaders who claimed to act in citizens’ interests but denied them freedom.

Financial control also plays a role. Paleo manages money in ways that keep Nii dependent, reflecting wider issues of inequality in society.

Over time, Nii begins to resist Paleo’s dominance, forcing him to realize true care must allow freedom. Their eventual reconciliation reflects the balance between tradition and independence.

(4)
In Unexpected Joy at Dawn by Alex Agyei-Agyiri, irony shapes much of the story.

  • Nii, though Nigerian by blood, is treated as a foreigner in Nigeria. This ironic twist shows the complexity of identity and belonging.

  • While Nii travels to Nigeria, Mama Orojo journeys in the opposite direction. Both search for each other, yet politics and borders keep them apart—a tragic irony of divided families.

  • Educated men like Nii and Aaron end up as laborers, while corrupt individuals thrive. This ironic reversal exposes societal decay.

  • Security agents, instead of protecting citizens, exploit them, showing the irony of law enforcers becoming oppressors.

  • The title itself, Unexpected Joy at Dawn, is ironic. After so much suffering, joy comes only at the end when siblings reunite—but it comes at a cost.

Irony here exposes identity struggles, corruption, and injustice in postcolonial Africa.

(5)
In Invisible Man, the narrator’s time at Liberty Paints is symbolic of confusion, racism, and oppression.

  • The fog on arrival represents his lack of clarity.

  • Mixing paint wrongly reflects the false idea of “purity” in society.

  • Brockway, his Black supervisor, symbolizes internalized oppression, as he attacks the narrator instead of uniting with him.

  • The explosion in the plant shows the destructive outcome of silence, fear, and mistrust in oppressive systems.

This episode reflects how individuals are trapped and devalued in a racist society.

(6)
The fight between Ras the Exhorter and Brother Clifton is an ideological clash.

  • Ras represents Black nationalism, rejecting white influence.

  • Clifton begins disillusioned with the Brotherhood, later selling racist dolls as silent protest.

  • Their fight shows division within the Black community instead of unity.

  • Clifton’s death by police later highlights the real enemy—systemic racism.

This conflict exposes the tragedy of internal division and the brutality of external oppression.

(7)
In Wuthering Heights, Heathcliff’s return disrupts Catherine and Edgar’s marriage.

  • Catherine’s passion for Heathcliff resurfaces, causing tension.

  • Edgar feels threatened and powerless.

  • Catherine’s mental and physical health decline, leading to her early death.

  • Heathcliff’s revenge extends beyond them, affecting their children and estates.

His return exposes the fragile foundation of Catherine’s marriage to Edgar, which was built on status, not love.

(8)
The two estates in Wuthering Heights—Wuthering Heights and Thrushcross Grange—represent contrasting worlds.

  • Wuthering Heights is wild, harsh, and violent, mirroring raw passion and revenge.

  • Thrushcross Grange is refined and orderly, symbolizing civility and social class.

  • Both, however, carry flaws: one with cruelty, the other with emptiness.

  • Heathcliff’s eventual control of both estates shows revenge and the collapse of class divisions.

  • The union of young Catherine and Hareton at the end restores harmony, merging the two worlds.

2025 WAEC Literature in English 3 (Drama and Poetry) Answers

(VERSION I)

(1)
In Let Me Die Alone, Governor Samuel Rowe emerges as the central force behind Madam Yoko’s downfall. He represents colonial domination, using power, humiliation, and manipulation to weaken her leadership. By undermining her authority and exploiting her vulnerabilities, Rowe steadily drives Yoko toward despair.

Right from the beginning, Rowe asserts colonial supremacy by publicly disgracing Chief Gbanya, Yoko’s predecessor. This humiliation strips the throne of its dignity before Yoko even inherits it. Unlike Gbanya, who was openly resistant, Yoko tries to negotiate and maintain peace. Unfortunately, Rowe twists her diplomacy into a weapon against her, making her appear weak in the eyes of her people.

The governor’s strategy is not just political but psychological. He traps Yoko in impossible choices—either comply and lose her people’s trust or resist and suffer colonial punishment. With time, her resilience erodes. Her people begin to see her as a collaborator rather than a protector.

Compounding this betrayal is the conspiracy of her brother, Lamboi, and other chiefs. Rowe’s weakening of traditional authority allows such treachery to flourish. Yoko finds herself isolated, abandoned by her people and deceived by her kin.

Her eventual suicide becomes the only escape left. Though tragic, it also symbolizes defiance. She chooses death rather than continued submission under colonial control. Through her end, the play highlights the devastating consequences of imperialism—not just territorial loss, but the destruction of identity, dignity, and leadership.

(VERSION II)

(1)
The disintegration of Madam Yoko’s reign in Let Me Die Alone is deeply tied to the calculated oppression of Governor Samuel Rowe. He embodies colonial manipulation, dismantling both Yoko’s authority and the cultural foundations of her people.

Rowe begins his dominance by humiliating Chief Gbanya, sending a message that traditional rulers are powerless. When Yoko steps in, he imposes taxes, fines, and rules that place her in unwinnable situations. Every attempt she makes to satisfy colonial demands costs her the trust of her community, while resistance brings punishment.

Rowe’s subtlety lies in psychological pressure. He mixes false respect with hidden threats, keeping Yoko anxious and isolated. Over time, her intelligence and diplomacy—qualities that should strengthen her leadership—become tools Rowe uses to weaken her position.

Ultimately, this environment enables betrayal from within. Yoko’s family and advisers turn against her, furthering her isolation. Her death is not mere surrender but a final act of agency, refusing to continue under a colonial system that left her no room for survival.

(VERSION III)

(1)
Madam Yoko’s tragic end in Let Me Die Alone reflects the slow destruction caused by colonial authority, symbolized by Governor Samuel Rowe. His tactics go beyond physical control—he uses bureaucracy, humiliation, and manipulation to dismantle indigenous leadership.

Rowe’s public shaming of Chief Gbanya sets the stage. When Yoko becomes leader, Rowe shifts to constant harassment—summons, decrees, and endless demands that drain her energy and dignity. Each compromise weakens her bond with her people.

The governor hides oppression in the language of “law” and “order.” Taxes are disguised as contributions, land seizure as development. Resistance is painted as backwardness. This distortion makes Yoko’s efforts seem futile, even when well-intentioned.

Colonial policy also fractures unity. Rowe’s interference encourages distrust, creating space for Lamboi and others to betray Yoko. By the time she realizes her isolation, the damage is complete.

Her suicide stands as her only act of resistance left. It exposes the reality that colonialism offered no space for survival as a free leader. Yoko’s death, though tragic, becomes a bold rejection of the oppressive system.

(VERSION IV)

(1)
Governor Samuel Rowe’s treatment of Madam Yoko in Let Me Die Alone illustrates how colonialism uses psychological and political warfare to destroy traditional authority. His control is systematic—achieved not with weapons, but through policies and manipulation.

He issues decrees that strip Yoko of power: heavy taxes disguised as “governance,” land grabs named “development,” and endless regulations. This makes resistance appear unreasonable, while submission erodes Yoko’s credibility with her people.

Rowe further humiliates her by summoning her at his will, keeping her waiting, and dismissing her concerns. These calculated insults drain her strength and show her subjects that she is powerless. Even Yoko’s virtues are redefined as flaws—her wisdom seen as trickery, her diplomacy as weakness.

Eventually, Rowe achieves complete separation between Yoko and her community. Betrayed by family and abandoned by supporters, she faces total isolation. Her suicide is both tragedy and testimony—an act that refuses to legitimize the colonial system.

The play concludes by revealing the fragility of Rowe’s so-called “victory.” He destroys Yoko but cannot erase the truth of her resistance. Instead, the colonial system is exposed as a structure built on lies and oppression.

(VERSION I)
(3)
In The Lion and the Jewel, Wole Soyinka integrates music, dance, and mime as essential storytelling devices that reflect the cultural heartbeat of the fictional village of Ilujinle. These artistic elements are not merely decorative; they play a central role in advancing the plot, developing character relationships, and emphasizing the major themes of the play—particularly the clash between tradition and modernity.From the very beginning of the play, Soyinka uses dance and mime to dramatize events and express community values. In the “Morning” section, the villagers stage a mimed performance called “The Dance of the Lost Traveller,” led by Sidi and the village girls. This theatrical reenactment depicts the bewilderment of a foreign photographer who visits Ilujinle. Through this, the villagers mock the outsider’s fascination with their way of life. The scene not only provides comic relief but also underscores the tension between local traditions and foreign influences. It is a creative way for the community to reclaim the narrative of how they are perceived by the outside world.Soyinka also uses mime to reflect political and ideological conflict. Lakunle, the Western-educated schoolteacher, performs a dramatization of how Baroka, the village chief, allegedly sabotaged the plan to bring a railway to Ilujinle. Lakunle’s mime is exaggerated and theatrical, portraying Baroka as an obstacle to progress. However, his performance also reveals his failure to connect with the villagers on their own terms, reinforcing the idea that modernization cannot succeed when it is imposed disrespectfully or without understanding tradition.Another powerful use of dance occurs when Sadiku, Baroka’s head wife, rejoices after being misled into thinking that Baroka has lost his manhood. She dances and sings in celebration, symbolizing what she perceives as the triumph of women over male dominance. Yet this celebration is ironic, as it is later revealed that Baroka tricked her to test her loyalty. Here, Soyinka uses dance to reveal both character flaws and thematic irony.Finally, the mimed wrestling match between Baroka and his opponent symbolizes strength and masculine pride. The performance is designed to impress Sidi and reassert Baroka’s vitality. In the end, music and dance culminate in the final wedding celebrations, reinforcing tradition’s victory over the unrooted promises of modernity.Thus, through song, dance, and mime, Soyinka creates a vibrant theatrical world where performance becomes a form of resistance, celebration, and storytelling.

(VERSION II)
(3)
Wole Soyinka’s The Lion and the Jewel employs music, dance, and mime not only as tools for entertainment but as powerful instruments of storytelling and cultural expression. These performative elements are central to the structure of the play, allowing the characters and the community of Ilujinle to communicate values, convey history, and navigate the evolving tensions between tradition and change.The use of dance and mime becomes immediately evident in the first part of the play, where Sidi and the village girls perform a dramatized version of a foreign photographer’s visit. Known as “The Dance of the Lost Traveller,” this performance uses movement and rhythm to depict the confusion and wonder of the outsider. It reflects how the villagers see themselves through foreign eyes while also mocking those who fail to understand their culture. Through this communal dance, Soyinka emphasizes the pride the people take in their traditions and how storytelling through performance helps preserve their identity.Mime also plays a critical role in expressing ideological tensions. Lakunle, the village schoolteacher who champions Western education and progress, stages a theatrical mime to criticize Baroka, the village chief. In this scene, he tries to expose Baroka’s role in blocking the proposed railway project. However, the exaggeration and drama in Lakunle’s performance only highlight his lack of influence in the village. His failure to inspire real change through his modern ideas underscores the theme that modernization, when poorly rooted in local understanding, often falters.Another moment where dance takes center stage is when Sadiku, Baroka’s head wife, celebrates what she believes is his downfall. After being told that the Bale has become impotent, she joyfully sings and performs a “victory dance” in the village square. This scene is not only humorous but also deeply revealing of the character’s sense of triumph and the shifting gender dynamics in the play. Yet, the revelation that she was deceived adds an ironic twist to her celebration, showing the cunning and resilience of Baroka.The mimed wrestling match between Baroka and a younger man, watched by Sidi, serves to affirm the Bale’s physical vitality and dominance. This performance is strategic—Baroka uses it to reinforce his traditional power and appeal to Sidi’s admiration. In the final act, music and dance bring the community together, celebrating Sidi’s decision to marry Baroka and symbolizing the continued strength of tradition over untested modern ideals.In all, Soyinka masterfully uses music and dance to enrich the play’s message, giving life to its themes while anchoring the story in Yoruba performance traditions.

(VERSION I)
(4)
In The Lion and the Jewel, Sidi plays a central role in revealing the personalities of Baroka and Lakunle, the two men who represent opposing forces of tradition and modernity. Through her interactions with both, Sidi becomes the lens through which we understand the deeper motivations and weaknesses of each character.Sidi’s physical beauty and youthful confidence expose Lakunle’s intellectual arrogance and detachment from reality. Although he claims to love her, Lakunle is more fascinated by the idea of modernizing her than by understanding her as a person. His refusal to pay her bride price, which he considers an outdated custom, reveals not just his modern ideals but also a patronizing attitude. Instead of respecting Sidi’s cultural identity, he tries to impose Western values upon her. In her response, Sidi mocks Lakunle’s speech, laughing at his exaggerated English vocabulary and romantic theories. Her rejection of his ideology shows that she is not ready to abandon her roots simply for empty promises.With Baroka, Sidi draws out a different set of traits, those of strategy, patience, and manipulation. When she initially rejects him, Baroka does not react with anger but instead with calculated calm. Her rejection challenges his pride, and it spurs him to devise a plan that involves faking impotence to lure her into his trap. Sidi’s self-assurance, sparked by her growing fame after her pictures appear in a magazine, blinds her to Baroka’s deeper intentions. By the time she visits him to mock his supposed weakness, she falls into his carefully laid scheme.Her effect on Baroka reveals his mastery of tradition not just as a static concept, but as a tool of influence. He uses his image as an old chief not to dominate directly, but to outwit and seduce. Sidi’s pride, innocence, and vanity become the very traits Baroka uses to win her over. She becomes the prize that proves his continuing relevance in a changing world.Thus, Sidi exposes Lakunle’s ineffectiveness as a reformer and Baroka’s adaptability within tradition. She becomes the stage on which the contest between past and future is played out. While she starts as the village jewel admired for her beauty, she ultimately helps define the true strengths and flaws of both suitors, revealing who truly understands power, love, and the pulse of the society they live in.
(VERSION II)
(4)
Sidi, the jewel of Ilujinle, functions as more than just the object of desire in Wole Soyinka’s The Lion and the Jewel. Her interactions with both Baroka and Lakunle bring out qualities in each man that define their character and beliefs. Through her charm, pride, and responses to their advances, she indirectly reveals the contrasting ideologies they represent.In Lakunle’s case, Sidi highlights his impracticality and obsession with modern reforms. He claims to love her, but his love is buried beneath a desire to civilize her. His refusal to pay the bride price is not based on respect but on a condescending belief that African customs are barbaric. Sidi, who understands and values her traditions, challenges this perspective by insisting that her worth must be acknowledged in accordance with local customs. Her sharp tongue and playful teasing expose Lakunle’s ignorance and his inability to connect emotionally with the culture he seeks to change.Lakunle’s inflated vocabulary and frequent quoting of foreign ideas only further show his detachment from reality. Sidi, unimpressed, reduces his arguments to meaningless chatter. In doing so, she brings out his weaknesses: pride, foolishness, and an unrealistic approach to societal change. Rather than being a reformer with practical solutions, he becomes a comic figure in Sidi’s eyes, full of ambition but lacking depth.With Baroka, Sidi evokes traits of calculation and subtle power. Initially, she mocks his age and believes that she is beyond his reach. Her growing confidence after being featured in a magazine leads her to believe she is more valuable than ever. This pride, however, is what Baroka exploits. He carefully stages a scene, pretending to be impotent, knowing that Sidi’s curiosity will lead her to confront him. His reaction to rejection is not aggression but careful plotting.Sidi’s impact on Baroka reveals his strategic intelligence and his deep understanding of human behavior. He does not challenge her directly but creates a situation in which her pride becomes her undoing. Through her, we see Baroka’s ability to adapt and manipulate, proving that tradition is not always passive but can be a clever tool of influence.In the end, Sidi brings out the dreamer and idealist in Lakunle and the shrewd, adaptable realist in Baroka. Her beauty and boldness serve as the spark that exposes each man’s core, showing that tradition, when clever and patient, can outwit empty modern ambition.

(VERSION I)
(6)
Helena Charles arrives in the play as a striking contrast to the chaotic world of Jimmy and Alison Porter. A beautiful, elegant actress from Alison’s social circle, she initially appears as a stabilizing force—a sophisticated outsider who can objectively assess the toxicity of Jimmy and Alison’s marriage. Her early interactions reveal a pragmatic, somewhat cynical woman who sees Jimmy’s cruelty for what it is and urges Alison to escape it. “You must get out of this mud-house… he doesn’t seem to know what love or anything else means,” she insists, positioning herself as Alison’s protector.However, Helena’s character undergoes a significant and ironic transformation. After successfully convincing Alison to leave Jimmy—even arranging for Colonel Redfern to take her away—Helena does not exit the scene as one might expect. Instead, she remains in the household and, in a startling reversal, becomes Jimmy’s mistress. This shift exposes the contradictions in her moral stance. The same woman who condemned Jimmy’s behavior now engages in an affair with him, taking over Alison’s domestic role as his lover and housekeeper. Her earlier condemnations of Jimmy’s cruelty are undermined by her willingness to step into the very situation she warned Alison against.Helena’s relationship with Jimmy reveals her complex motivations. While she initially appears self-assured, her actions suggest deeper insecurities and desires. She engages in intellectual battles with Jimmy, displaying a fascination with his raw, unfiltered anger—a stark contrast to her polished middle-class demeanor. Their dynamic becomes one of mutual provocation, with Helena both challenging and being challenged by Jimmy’s intensity. Yet, despite her apparent control, she ultimately becomes another casualty of Jimmy’s emotional warfare, trapped in the same cycle she once urged Alison to escape.The return of Alison marks the final stage of Helena’s transformation. Confronted with the reality of her actions, she is forced to reckon with her own hypocrisy. Her decision to leave Jimmy’s flat is framed as a moral awakening, but it also highlights her inability to fully escape the middle-class values she claims to uphold. Her departure is less about genuine remorse than about self-preservation, as she retreats from the chaos she once sought to control.Osborne uses Helena’s arc to critique the performative nature of morality, particularly among the middle class. Her journey from critic to participant exposes the fluidity of principles in the face of desire and convenience. By the play’s end, Helena emerges as a far more ambiguous figure than she first appeared—a woman whose certainties crumble when tested, revealing the same vulnerabilities she once scorned in others. Her transformation serves as a mirror to Jimmy’s own contradictions, illustrating how easily conviction can give way to compromise.(VERSION II)
(6)
Helena Charles is a sophisticated outsider, a polished actress from Alison’s privileged social circle who initially appears as a stabilizing force amidst the domestic chaos of Jimmy Porter’s world. With her elegant demeanor and sharp wit, she quickly positions herself as Alison’s confidante and protector, offering what seems like clear-eyed perspective on the toxic marriage. “You must get out of this mud-house,” she advises Alison with apparent concern, presenting herself as the voice of reason against Jimmy’s relentless tirades.

Yet Helena’s character undergoes a profound and unsettling transformation that exposes the contradictions within her moral framework. In a startling reversal of roles, after successfully orchestrating Alison’s departure by summoning Colonel Redfern, Helena doesn’t exit the scene as one might expect. Instead, she remains in the household and becomes intimately involved with Jimmy himself, taking over both Alison’s place in his bed and her domestic duties. This dramatic shift reveals the fluidity of Helena’s professed values – the woman who condemned Jimmy’s cruelty now willingly enters the very situation she warned Alison against.

The complexity of Helena’s character emerges most vividly in her evolving relationship with Jimmy. Their interactions develop into a dangerous dance of intellectual provocation and sexual tension, with Helena demonstrating an unexpected fascination with Jimmy’s raw, unfiltered anger. She matches his verbal assaults with her own brand of cutting remarks, revealing a capacity for cruelty that mirrors Jimmy’s own. The ironing scene becomes particularly symbolic – as Helena assumes Alison’s place at the ironing board, she physically embodies the role she has psychologically adopted, completing her transformation from critic to participant.

Helena’s eventual departure following Alison’s return marks the final stage of her character’s journey. Her decision to leave appears on the surface to be a moral reckoning, but closer examination reveals it as an act of self-preservation rather than genuine repentance. The middle-class morality she claims to uphold proves to be more about maintaining appearances than authentic principle. In this moment, Helena becomes a mirror reflecting the play’s central critique of societal hypocrisy.

Osborne crafts Helena’s arc as a nuanced exploration of human contradiction and self-deception. Her journey from confident moral arbiter to compromised participant demonstrates how easily conviction can falter when confronted with desire and convenience. By the play’s conclusion, Helena emerges as a far more complex figure than her initial introduction suggested – a woman whose certainties crumble under pressure, revealing vulnerabilities she once scorned in others. Her transformation serves as a powerful commentary on the performative nature of morality and the fragility of social facades.

(VERSION III)

(6)
Helena Charles is portrayed as a striking contrast to the volatile atmosphere of the Porter household. A sophisticated actress with polished manners and an air of effortless elegance, she initially appears as Alison’s savior – a composed outsider capable of recognizing and rectifying the dysfunction surrounding her. Her early dialogue reveals a pragmatic worldview as she urges Alison to escape the toxic environment, declaring the need to “fight or get out” before Jimmy’s cruelty proves destructive.

The true complexity of Helena’s character emerges through her unexpected reversal of roles. After successfully facilitating Alison’s departure by summoning Colonel Redfern, she doesn’t withdraw as her moral stance might suggest. In a startling transformation, she remains in the flat and becomes Jimmy’s lover, assuming both Alison’s domestic duties and her place in Jimmy’s bed. This dramatic shift exposes the contradictions in her professed values, as the woman who condemned Jimmy’s behavior now willingly participates in the very dynamic she criticized.

Helena’s relationship with Jimmy develops into a fascinating psychological duel. Their interactions evolve from initial hostility to a charged intellectual and sexual tension, revealing Helena’s unexpected capacity for matching Jimmy’s verbal aggression. The symbolic ironing scene perfectly captures her transformation – as she takes Alison’s place at the ironing board, she physically embodies the role she has psychologically adopted, completing her journey from detached observer to emotionally invested participant.

The final stage of Helena’s evolution occurs with Alison’s return. Her decision to leave appears superficially as moral awakening, but closer examination reveals it as self-preservation rather than genuine repentance. The middle-class principles she claimed to champion prove to be more about maintaining appearances than authentic conviction. In this moment, she becomes a mirror reflecting the play’s central themes of hypocrisy and self-deception.

Helena’s narrative trajectory stands as a nuanced exploration of human contradiction. Her transformation from confident moral authority to compromised participant demonstrates how easily principles can bend when confronted with desire and convenience. By the story’s conclusion, she emerges as a far more complex figure than her initial introduction suggested – a woman whose certainties crumble under pressure, revealing vulnerabilities she once scorned in others. Her journey serves as a compelling commentary on the fluid nature of morality and the fragility of social facades.

2025 WAEC Literature in English – Questions and Answers

A. lit-in-eng Drama (10 Questions & Answers)

  1. Who is the main character in Othello by William Shakespeare?

    • Othello

  2. What caused Othello’s downfall?

    • Jealousy and manipulation by Iago

  3. In The Lion and the Jewel by Wole Soyinka, who is Sidi?

    • A beautiful village girl

  4. Who wanted to marry Sidi in The Lion and the Jewel?

    • Lakunle and Baroka

  5. In Othello, who is Desdemona?

    • Othello’s wife

  6. What does Lakunle represent in The Lion and the Jewel?

    • Modern ideas and Western culture

  7. What trick did Baroka use to win Sidi’s heart?

    • He pretended to be weak and old

  8. Who is the villain in Othello?

    • Iago

  9. What is the major theme in The Lion and the Jewel?

    • Tradition versus modernity

  10. How does Desdemona die in Othello?

    • Othello kills her out of jealousy

B. waec lit-in-eng Poetry (10 Questions & Answers)

  1. Who wrote the poem “The Pulley”?

    • George Herbert

  2. What is the theme of “The Pulley”?

    • Human desire for rest and God’s control over man

  3. In “The Panic of Growing Older”, what problem does the poet describe?

    • The challenges of aging

  4. Who wrote “The Song of the Women of My Land”?

    • Oumar Farouk Sesay

  5. What is the theme of “The Song of the Women of My Land”?

    • The struggles and strength of African women

  6. In “Vanity” by Birago Diop, what happens when people forget their culture?

    • They suffer and lose their identity

  7. What poetic device is common in “Vanity”?

    • Repetition

  8. What does the poet praise in “The Song of the Women of My Land”?

    • The resilience of women

  9. In “The Panic of Growing Older”, what is the poet’s advice?

    • Accept life’s journey with patience

  10. What is the main message of “The Pulley”?

    • God keeps man dependent on Him by withholding rest

C. waec lit-in-eng Prose (10 Questions & Answers)

  1. Who wrote Purple Hibiscus?

    • Chimamanda Ngozi Adichie

  2. Who is the narrator in Purple Hibiscus?

    • Kambili Achike

  3. Who is Eugene in Purple Hibiscus?

    • Kambili’s strict father

  4. What is the theme of Purple Hibiscus?

    • Family, religion, and freedom

  5. Who wrote Things Fall Apart?

    • Chinua Achebe

  6. Who is the hero in Things Fall Apart?

    • Okonkwo

  7. What caused Okonkwo’s downfall?

    • His pride and resistance to change

  8. What is the theme of Things Fall Apart?

    • Tradition versus colonialism

  9. Who wrote Faceless?

    • Ama Ata Aidoo

  10. What issue is addressed in Faceless?

    • Street children and child abuse

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