WAEC: LITERATURE IN ENGLISH
Quizzes
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2009 Literature WAEC Past questions CBT
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2010 Literature WAEC Past questions CBT
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2011 Literature WAEC Past questions CBT
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2012 Literature WAEC Past questions CBT
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2013 Literature WAEC Past questions CBT
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2014 Literature WAEC Past Objective Questions CBT
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2014 Literature WAEC Past Theory Questions CBT
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2015 Literature WAEC Past Objective Questions CBT
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2015 Literature WAEC Past Theory Questions CBT
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2016 Literature WAEC Past Objective Questions CBT
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2016 Literature WAEC Past Theory Questions CBT
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2017 Literature WAEC Past Objective Questions CBT
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2017 Literature WAEC Past Theory Questions CBT
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2018 Literature WAEC Past Objective Questions CBT
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2018 Literature WAEC Past Theory Questions CBT
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2019 Literature WAEC Past Objective Questions CBT
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2019 Literature WAEC Past Theory Questions CBT
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2020 Literature WAEC Objective Past Questions CBT
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2020 Literature WAEC Theory Past Questions CBT
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2021 Literature WAEC Objective Past Questions CBT
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2021 Literature WAEC Theory Paper II (Prose) Past Questions CBT
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2021 Literature WAEC Theory Paper III (Drama & Poetry) Past Questions CBT
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Question 1 of 50
1. Question
Something a character says on stage that is meant for the audience alone is:
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Question 2 of 50
2. Question
A pause within a line of poetry is:
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Question 3 of 50
3. Question
A recurring idea, image, or a group of images that unifies a work of literature is:
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Question 4 of 50
4. Question
When you are old and grey and full of sleep.
The rhythmic pattern of the above line is:
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Question 5 of 50
5. Question
An inscription on a tombstone is an:
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Question 6 of 50
6. Question
A three-line stanza, rhymed ABA, BCB, CDC is:
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Question 7 of 50
7. Question
The chorus normally features prominently in:
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Question 8 of 50
8. Question
A story which explains a natural phenomenon or justifies the beliefs of a society is:
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Question 9 of 50
9. Question
Read the extract and answer the question below.
What happened to a dream deferred?
Does it dry up
Like a raisin in the sun?
Or fester like a sore
And then run?
Does it stink like rotten meat?
The dominant literary device is:
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Question 10 of 50
10. Question
Read the extract and answer the question below.
What happened to a dream deferred?
Does it dry up
Like a raisin in the sun?
Or fester like a sore
And then run?
Does it stink like rotten meat?
Does it stink like rotten meat? Makes use of the sense of:
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Question 11 of 50
11. Question
Read the extract and answer the question below.
What happened to a dream deferred?
Does it dry up
Like a raisin in the sun?
Or fester like a sore
And then run?
Does it stink like rotten meat?
The mood of the poem is one of:
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Question 12 of 50
12. Question
A short play performed in the pause between the act of a longer play is:
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Question 13 of 50
13. Question
The most intense part of a conflict is the:
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Question 14 of 50
14. Question
I feel a million times better than I felt yesterday is:
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Question 15 of 50
15. Question
Identify the odd item
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Question 16 of 50
16. Question
A dramatist is someone who …………… plays
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Question 17 of 50
17. Question
Nando’s family lives within the lower income bracket illustrates:
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Question 18 of 50
18. Question
A dramatic performance without words is:
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Question 19 of 50
19. Question
Utopia is a term used to describe:
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Question 20 of 50
20. Question
The lawyer addressed the bench illustrates:
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Question 21 of 50
21. Question
Read the passage and answer the question below.
When he was little, he would ask his mother sometimes, as he lay in the cold little room and looked up at her as she sat beside his bed stroking his hair, why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, shattering them as some shrieked and some laughed and he flailed about with his hard little fists and tears in his eyes. His mother would smile, say ‘shhh’ and he would drift to sleep with the heart shape of her face imprinted on his mind.
The dominant feeling in the passage is that of:
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Question 22 of 50
22. Question
Read the passage and answer the question below.
When he was little, he would ask his mother sometimes, as he lay in the cold little room and looked up at her as she sat beside his bed stroking his hair, why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, shattering them as some shrieked and some laughed and he flailed about with his hard little fists and tears in his eyes. His mother would smile, say ‘shhh’ and he would drift to sleep with the heart shape of her face imprinted on his mind.
The feeling is conveyed by the:
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Question 23 of 50
23. Question
Read the passage and answer the question below.
When he was little, he would ask his mother sometimes, as he lay in the cold little room and looked up at her as she sat beside his bed stroking his hair, why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, shattering them as some shrieked and some laughed and he flailed about with his hard little fists and tears in his eyes. His mother would smile, say ‘shhh’ and he would drift to sleep with the heart shape of her face imprinted on his mind.
The dominant literary device in the passage is:
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Question 24 of 50
24. Question
Read the passage and answer the question below.
When he was little, he would ask his mother sometimes, as he lay in the cold little room and looked up at her as she sat beside his bed stroking his hair, why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, shattering them as some shrieked and some laughed and he flailed about with his hard little fists and tears in his eyes. His mother would smile, say ‘shhh’ and he would drift to sleep with the heart shape of her face imprinted on his mind.
…and he had rushed at them, scattering them as some shrieked and some laughed illustrates
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Question 25 of 50
25. Question
Read the passage and answer the question below.
When he was little, he would ask his mother sometimes, as he lay in the cold little room and looked up at her as she sat beside his bed stroking his hair, why two boys from his class had thrown stones at a dog; or why on another occasion a gang of them had broken into an empty house, smashing the thick door which had curved mouldings on the front which had been turned by carpenters years before; or why he had ended up in a fight which had begun when a little girl had shouted names at him which made no sense about his house and his mother and others had joined in and he had rushed at them, shattering them as some shrieked and some laughed and he flailed about with his hard little fists and tears in his eyes. His mother would smile, say ‘shhh’ and he would drift to sleep with the heart shape of her face imprinted on his mind.
The main character is:
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Question 26 of 50
26. Question
Read the poem and answer the question below.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O Great God, our cries
To Thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
The poem is about:
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Question 27 of 50
27. Question
Read the poem and answer the question below.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O Great God, our cries
To Thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
The poet’s tone is:
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Question 28 of 50
28. Question
Read the poem and answer the question below.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O Great God, our cries
To Thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
The rhyme scheme of the first stanza is:
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Question 29 of 50
29. Question
Read the poem and answer the question below.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O Great God, our cries
To Thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
The dominant mood is one of:
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Question 30 of 50
30. Question
Read the poem and answer the question below.
We wear the mask that grins and lies,
It hides our cheeks and shades our eyes,
This debt we pay to human guile;
With torn and bleeding hearts we smile
And mouths with myriad subtleties,
Why should the world be over-wise,
In counting all our tears and sighs?
Nay, let them only see us, while
We wear the mask.
We smile but O Great God, our cries
To Thee from tortured souls arise.
We sing, but oh the clay is vile
Beneath our feet and long the mile,
But let the world dream otherwise,
We wear the mask!
We wear the mask that grins and lies illustrates
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Question 31 of 50
31. Question
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Read the extract and answer the question below.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
With the rich worth of your virginity.
Y: Your virtue is my privilege: for that
It is not night when I do see your face,
Therefore I think I am not in the night;
(Act II, Scene One, Lines 214 – 222)
Speaker X is
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Question 32 of 50
32. Question
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Read the extract and answer the question below.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
With the rich worth of your virginity.
Y: Your virtue is my privilege: for that
It is not night when I do see your face,
Therefore I think I am not in the night;
(Act II, Scene One, Lines 214 – 222)
Speaker Y is
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Question 33 of 50
33. Question
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Read the extract and answer the question below.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
With the rich worth of your virginity.
Y: Your virtue is my privilege: for that
It is not night when I do see your face,
Therefore I think I am not in the night;
(Act II, Scene One, Lines 214 – 222)
Speaker X sees Speaker Y
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Question 34 of 50
34. Question
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Read the extract and answer the question below.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
With the rich worth of your virginity.
Y: Your virtue is my privilege: for that
It is not night when I do see your face,
Therefore I think I am not in the night;
(Act II, Scene One, Lines 214 – 222)
Both speakers are in the woods
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Question 35 of 50
35. Question
WILLIAM SHAKESPEARE: A Midsummer Night’s Dream
Read the extract and answer the question below.
X: You do impeach your modesty too much,
To leave the city and commit yourself
Into the hands of one that loves you not;
To trust the opportunity of night
And the ill counsel of a desert place
With the rich worth of your virginity.
Y: Your virtue is my privilege: for that
It is not night when I do see your face,
Therefore I think I am not in the night;
(Act II, Scene One, Lines 214 – 222)
Night evolves in the speakers’
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Question 36 of 50
36. Question
Read the extract and answer the question below.
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by tomorrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse; for if we meet in the city, we shall be dogged with company, and our devices known.
(Act I, Scene Two Lines 79 – 84).
The speaker is
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Question 37 of 50
37. Question
Read the extract and answer the question below.
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by tomorrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse; for if we meet in the city, we shall be dogged with company, and our devices known.
(Act I, Scene Two Lines 79 – 84).
The speaker is addressing
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Question 38 of 50
38. Question
Read the extract and answer the question below.
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by tomorrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse; for if we meet in the city, we shall be dogged with company, and our devices known.
(Act I, Scene Two Lines 79 – 84).
They intend to rehearse the play
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Question 39 of 50
39. Question
Read the extract and answer the question below.
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by tomorrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse; for if we meet in the city, we shall be dogged with company, and our devices known.
(Act I, Scene Two Lines 79 – 84).
The rehearsal is in preparation for
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Question 40 of 50
40. Question
Read the extract and answer the question below.
But, masters, here are our parts, and I am to entreat you, request you, and desire you, to con them by tomorrow night; and meet me in the place wood, a mile without the town, by moonlight. There will we rehearse; for if we meet in the city, we shall be dogged with company, and our devices known.
(Act I, Scene Two Lines 79 – 84).
The main actors will be
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Question 41 of 50
41. Question
Read the extract and answer the question below.
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue’s force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that; ……
(Act III, Scene One, Lines 116 – 121)
Speaker X is
CorrectIncorrect -
Question 42 of 50
42. Question
Read the extract and answer the question below.
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue’s force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that; ……
(Act III, Scene One, Lines 116 – 121)
Speaker X has just
CorrectIncorrect -
Question 43 of 50
43. Question
Read the extract and answer the question below.
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue’s force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that; ……
(Act III, Scene One, Lines 116 – 121)
Speaker Y is
CorrectIncorrect -
Question 44 of 50
44. Question
Read the extract and answer the question below.
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue’s force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that; ……
(Act III, Scene One, Lines 116 – 121)
Speaker Y is a member of
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Question 45 of 50
45. Question
Read the extract and answer the question below.
X: I pray thee, gentle mortal, sing again;
Mine ear is much enamoured of thy note;
So is mine eye enthralled to thy shape;
And thy fair virtue’s force perforce doth move me
On the first view, to say, to swear, I love thee.
Y: Methinks, mistress, you should have little reason for that; ……
(Act III, Scene One, Lines 116 – 121)
Speaker X’s speech can be described as a
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Question 46 of 50
46. Question
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108 – 114)
The speaker is
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Question 47 of 50
47. Question
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108 – 114)
The speech is part of the
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Question 48 of 50
48. Question
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108 – 114)
The speaker is involved in putting on
CorrectIncorrect -
Question 49 of 50
49. Question
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108 – 114)
The occasion is
CorrectIncorrect -
Question 50 of 50
50. Question
Read the extract below and answer questions 46 to 50.
If we offend, it is with our good will.
That you should think, we come not to offend,
But with good will. To show our simple skill,
That is the true beginning of our end.
Consider then, we come but in despite.
We do not come, as minding to content you,
Our true intent is.
(Act V, Scene One, Lines 108 – 114)
The speech is
CorrectIncorrect
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