Literature in English SS1 Second Term

Complete Lesson Notes • WAEC Aligned • 2026

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Scheme of Work – Second Term

Topic: Introduction to African Drama

Class: SS1

Subject: Literature in English

Learning Objectives

At the end of this lesson, students should be able to:

• Define African Drama and its dual nature
• Identify and discuss the features of African drama
• Explain the significance of Oral Tradition in African plays
• Analyze the Cultural Elements found in African dramatic performances

Learning Resources

Audio-visual resources, Textbook, charts, posters.

Content

Meaning of African Drama

African Drama refers to the various forms of performance that originate from the African continent. It is often described as “Total Theater” because it is a holistic performance that integrates music, dance, mime, and ritual rather than relying solely on spoken dialogue.

African drama is categorized into two types:

• Traditional African Drama: Unscripted performances tied to community life, such as festivals and religious rituals.
• Modern (Literary) African Drama: Written scripts intended for stage performance. While they use Western structures (Acts and Scenes), they are rooted in African sensibilities.

Features of African Drama

African drama is unique because of how it connects the performers with the community. Its primary features include:

1. Audience Participation: The audience is rarely passive. They may clap, respond to chants, or join in a dance, making the performance a communal experience.

2. Didacticism: African drama almost always has a purpose — to teach a moral, social, or political lesson.

3. Improvisation: Actors often have the freedom to adapt their lines or movements based on the immediate reaction of the audience.

4. Total Theater Concept: The simultaneous use of multiple artistic expressions — drumming, dancing, acting, and singing.

5. Spectacle: The visual grandeur of the performance, achieved through elaborate costumes, masks, and high-energy choreography.

Oral Tradition in African Drama

Oral Tradition is the preservation and transmission of culture through word of mouth. It serves as the primary source material for African playwrights through:

1. Myths: Sacred stories explaining the origins of gods and the universe.

2. Legends: Stories about heroic ancestors or historical figures.

3. Folktales: Narrative stories (often featuring animal characters like the Tortoise) used to teach children life lessons.

4. Proverbs and Riddles: Playwrights use proverbs to add depth, wisdom, and local flavor to the dialogue of characters, particularly elders.

Cultural Elements in African Plays

1. Music and Drumming: Used to communicate, set the mood, or signal spiritual presence.

2. Dance: A language used to express emotions such as war, grief, or celebration.

3. Masquerades: Symbolize the presence of ancestors or spirits.

4. Rituals: Actions like pouring libations or reciting incantations to show the connection between the living and the spiritual world.

5. Costumes: Choice of fabrics (Kente, Aso-Oke), beads, and body paint communicate a character’s social or spiritual status.

Evaluation

1. In your own words, explain the concept of “Total Theater.”
2. Identify and explain three features of African Drama.
3. What role do Proverbs play in the dialogue of an African play?

Assignment

Question 1: Define the following terms as used in African Drama: (a) Incantation   (b) Libation   (c) Didacticism

Question 2: Briefly explain how Modern African Drama differs from Traditional African Drama.

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Topic: African Drama – Once Upon an Elephant (I)

Class: SS1

Subject: Literature in English

Learning Objectives

• Discuss the life and literary background of Bosede Ademilua-Afolayan
• Explain the background and inspiration of the text
• Describe the setting (physical and social) of the play
• Summarize the major events in Act One

Content

Background of the Playwright

Bosede Ademilua-Afolayan is a contemporary Nigerian playwright, scholar, and lecturer at the University of Lagos. She is known for her deep interest in gender issues, political satire, and the reconstruction of African myths. Her writing focuses on Political Accountability (challenging leaders who abuse power), Cultural Preservation (using traditional African settings to tell universal stories), and Social Justice (highlighting the plight of the common people under oppressive regimes).

Background of the Text

Once Upon an Elephant is a political allegory. An allegory is a story where characters and events represent deeper political or moral meanings. The “Elephant” in the title is symbolic. In many African cultures, the elephant represents immense power, weight, and strength. However, it can also represent a leader who is “heavy” upon his people — someone whose presence is destructive rather than protective. The play serves as a warning against tyranny and the dangers of unconditional loyalty to a bad leader.

Setting of the Play

Physical Setting: The play is set in the traditional Yoruba kingdom of Osu. The action primarily takes place in the King’s palace and the village square.

Social/Atmospheric Setting: There is an atmosphere of tension, fear, and impending doom. The kingdom is ruled by a tyrant, King Olulu, and the social structure is one where the voice of the common man is suppressed by the “Elephant” (the King).

Plot Summary of Act One

The Coronation/Ascension: We see the rise of King Olulu. Unlike traditional kings who are chosen for their wisdom, Olulu’s rise is marked by arrogance and power-drunkenness.

The Introduction of the Protagonist: We meet characters who represent the conscience of the people.

The Growing Conflict: The King begins to display his disregard for traditional checks and balances. He views himself as the “Elephant” that cannot be moved, and his advisors (the Chiefs) are either too afraid to speak up or are complicit in his greed.

The Prophecy/Warning: Early warnings are given about the King’s behavior, suggesting that a leader who forgets the people will eventually be forgotten by the gods.

Evaluation

1. Who is Bosede Ademilua-Afolayan?
2. What does the Elephant symbolize in the context of this play?
3. Describe the kingdom of Osu as presented in Act One.

Assignment

Question 1: Identify and describe two (2) characters introduced in Act One.

Question 2: Explain the term “Political Allegory” and how it applies to Once Upon an Elephant.

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Topic: African Drama – Once Upon an Elephant (II)

Class: SS1

Subject: Literature in English

Learning Objectives

• Summarize the major events and resolution in Act Two
• Identify and discuss the major themes of the play
• Analyze the characterization of the protagonist and antagonist

Content

Plot Summary of Act Two

The Peak of Tyranny: King Olulu’s arrogance reaches its height. He becomes increasingly disconnected from the needs of the Osu people, behaving as though he is a god. His demands on the citizens become unbearable.

The Resistance: The people, led by courageous voices within the kingdom, begin to realize that the “Elephant” is consuming the forest rather than protecting it. Secret meetings and whispers of rebellion grow louder.

The Downfall: Olulu’s refusal to listen to wisdom leads to his ruin. The checks and balances of tradition, which he ignored, eventually catch up with him.

The Resolution: The play ends with the removal of the tyrant. Order is restored to Osu, but the kingdom is left to reflect on the cost of allowing such power to go unchecked.

Major Themes

1. Tyranny and Oppression: The central theme is the abuse of power. King Olulu represents the “Elephant” that tramples the grass (the common people). The play explores how power can corrupt an individual.

2. Leadership and Accountability: The play asks: “To whom is a King responsible?” It argues that a leader’s power comes from the people and the gods, and once he fails them, he loses his right to rule.

3. Greed and Self-Centeredness: Olulu’s primary motivation is his own belly and ego. He is a “belly-server” who prioritizes his comfort over the survival of the kingdom.

4. Justice and Retribution: The play reinforces the African worldview that evil does not go unpunished. Eventually, the “Path” of the tyrant leads to a dead end.

Characterization

King Olulu (The Antagonist): He is the “Elephant.” The character is arrogant, greedy, stubborn, and emotionally detached. He considers himself above both the law and established traditions, ultimately serving as a warning against the dangers of absolute power.

The Chiefs/Advisors: Some chiefs (The Complicit) represent those who enable a tyrant for their own gain. Others (The Fearful) represent those who see the evil but are too paralyzed by fear to act until it is almost too late.

The People/The Conscience: Characters who challenge Olulu represent the Resilience of the community. They serve as the moral compass of the play, reminding the audience that the strength of a kingdom lies in its unity, not in one man.

Evaluation

1. Describe the turning point (climax) in Act Two.
2. How does the theme of Accountability play out at the end of the drama?
3. Compare King Olulu’s view of himself with the people’s view of him.

Assignment

Question 1: Discuss the significance of the play’s title, Once Upon an Elephant, in relation to the events in Act Two.

Question 2: If you were an advisor to King Olulu, what three (3) proverbs would you use to warn him about his behavior? Explain the meaning of each.

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Topic: African Drama – The Marriage of Anansewa (I)

Class: SS1

Subject: Literature in English

Learning Objectives

• Discuss the life and contributions of Efua Sutherland to African drama
• Explain the background of the text and the “Anansegoro” technique
• Summarize the events of Act One
• Analyze the motivations of the characters in Act One

Content

Background of the Playwright

Efua Theodora Sutherland (1924–1996) was a pioneering Ghanaian playwright, poet, and dramatist, widely regarded as the “Mother of African Theater.” She established the Ghana Drama Studio and championed the development of theatre rooted in authentic African traditions rather than imitations of Western models. Renowned for adapting traditional oral narratives into stage productions, her work celebrated African languages, music, and communal values.

Background of the Text

The Marriage of Anansewa was published in 1975. The play is based on the famous West African character Ananse the Spider, known for his cunning and wit.

Anansegoro: This is a term Sutherland coined for her style of drama. It means “Ananse play.” It uses the features of traditional storytelling, such as a Storyteller who interacts with the audience and Mbwoguo (musical interludes or songs).

The Trickster Archetype: Ananse is a “trickster” character. He is not necessarily evil, but he is extremely clever and uses his brain to solve problems (usually poverty) by outsmarting others.

Plot Summary of Act One

The Problem: Ananse is living in extreme poverty. He is frustrated by his leaky roof and his inability to pay his daughter Anansewa’s school fees at E.P. Secretarial School.

The Scheme: To solve his money problems, Ananse decides to “market” his daughter to four different powerful Chiefs: the Chief of Sapa, the Chief of Aklowa, the Chief of Mines, and the Chief of Togoland.

The Letters: Ananse writes letters to these four Chiefs, leading each to believe that Anansewa is available to be his wife. He accepts “gifts” and money from all of them simultaneously.

Anansewa’s Reaction: Anansewa is initially shocked and feels like she is being sold like an object. However, her father convinces her that he is doing this out of love to ensure her future.

Analysis of Act One

The Concept of the “Spider’s Web”: Ananse’s house is symbolic of a web where he sits in the middle, pulling strings to catch his “prey” (the Chiefs’ wealth).

Theme of Materialism: The play immediately highlights the pressure of modern life. Ananse wants to live comfortably but lacks the means, leading him to use his daughter as a “commodity.”

Parental Responsibility vs. Exploitation: A key conflict in Act One is whether Ananse is a “good father” trying to help his daughter or a “bad father” using her to get rich.

The Use of the Storyteller: The Storyteller acts as a bridge between the play and the audience, commenting on Ananse’s cleverness and moral choices.

Evaluation

1. Explain the term Anansegoro.
2. What is Ananse’s main motivation for his scheme in Act One?
3. How does Anansewa feel about her father’s plan?

Assignment

Question 1: Identify the four (4) Chiefs Ananse contacts and what they represent in the play.

Question 2: Discuss the role of the Storyteller as seen in Act One. Why didn’t the playwright just start the play with Ananse?

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Topic: Mid-Term Examination

Class: SS1  |  Subject: Literature in English

Objective Questions

1. A play that is intended to teach a moral lesson is described as _____.
   a) Satirical    b) Didactic    c) Farce    d) Melodrama
2. In African Drama, the simultaneous use of dance, song, and acting is known as _____.
   a) Soliloquy    b) Total Theater    c) Pantomime    d) Prologue
3. The “Elephant” in Bosede Ademilua-Afolayan’s play is a symbol of _____.
   a) Strength and Wisdom    b) Tyranny and Greed    c) Beauty and Grace    d) Nature
4. What is the physical setting of Once Upon an Elephant?
   a) The Kingdom of Osu    b) The City of Accra    c) Monrovia    d) A modern school
5. The term “Anansegoro” was coined by which playwright?
   a) Bosede Ademilua-Afolayan    b) Wole Soyinka    c) Efua Sutherland    d) Ama Ata Aidoo
6. In The Marriage of Anansewa, Ananse’s primary problem at the start of the play is _____.
   a) Illness    b) Poverty    c) War    d) A lost daughter
7. A recurring story about gods and the origins of a people is a _____.
   a) Legend    b) Folktale    c) Myth    d) Fable
8. Who acts as the bridge between the actors and the audience in The Marriage of Anansewa?
   a) Anansewa    b) The Storyteller    c) The Chief of Mines    d) The Property Man
9. King Olulu is best described as the _____ of the play.
   a) Protagonist    b) Antagonist    c) Foil    d) Narrator
10. The “Spider’s Web” in Sutherland’s play refers to Ananse’s _____.
    a) Literal house    b) Cunning scheme    c) Daughter’s clothes    d) Fear of spiders

Part B: Short Answer / Essay Revision

1. List and explain four features of African Drama.
2. Define “Oral Tradition” and give two examples of how it is used in African plays.
3. How does the playwright use the “Elephant” as a political allegory?
4. Briefly describe the conflict between King Olulu and his people in Act One.
5. Discuss the character of Ananse. Is he a “villain” or just a man trying to survive?
6. Explain the significance of Mbwoguo (musical interludes) in the play’s structure.

Part C: Terms to Remember

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Topic: African Drama – The Marriage of Anansewa (II)

Class: SS1

Subject: Literature in English

Learning Objectives

• Identify and discuss the major themes of the play
• Analyze the style and narrative techniques used by the playwright
• Examine the characterization of key figures
• Evaluate the cultural values and moral lessons embedded in the text

Content

Themes of the Play

1. Materialism and Greed: The play critiques a society where money and social status are prioritized over human dignity. Ananse views his daughter as a “commodity” to be traded for wealth.

2. Cunning and Wit: This is the central theme of any Ananse story. The play celebrates human intelligence and the ability to “think one’s way out” of poverty, even if the methods are morally questionable.

3. Conflict between Tradition and Modernity: We see traditional chiefs competing for a “modern” secretarial student. Ananse uses traditional marriage rites (the head-drink) as a tool for a modern financial scheme.

4. Parental Responsibility: The play explores the boundaries of a father’s duty. Does Ananse’s desire to provide a “good life” for Anansewa justify putting her through such emotional stress?

Style and Narrative Techniques

1. The Storyteller: He serves as the narrator, commentator, and bridge. He talks directly to the audience, making them feel like part of the village community.

2. Mbwoguo (Musical Interludes): These are songs performed by the “Players.” They are not just for entertainment; they comment on the action, heighten the mood, and provide transitions between scenes.

3. The “Play-within-a-Play”: Ananse often rehearses his schemes, creating a layers-of-performance effect.

4. Diction: The language is rich in proverbs and idiomatic expressions typical of Ghanaian (Akan) speech patterns.

Characterization

Ananse (The Protagonist): Cunning, resourceful, ambitious, and eloquent. He is the “Spider” weaving the web. He represents the survival instinct of the poor man.

Anansewa: Loyal, beautiful, and initially hesitant. She represents the “victim” of the scheme who eventually becomes an accomplice. Her “fake death” is the climax of her father’s cunning.

The Four Chiefs: They represent different types of power (Political, Financial, Traditional). Their willingness to “buy” a wife they have never met critiques the objectification of women.

Cultural Values and Moral Lessons

1. Respect for Tradition: Even though Ananse is a rogue, he must follow the “Head-drink” (Pre-inheritance) custom. This shows that tradition still holds power in society.

2. The Value of Wit: The play suggests that the mind is a person’s greatest asset.

3. Moral Lesson: While Ananse succeeds, the play warns against extreme greed. It encourages the audience to laugh at Ananse’s cleverness but also to reflect on the honesty of their own lives.

4. Community Unity: The “Players” and the “Storyteller” remind us that no individual exists in isolation; our actions affect the whole community.

Evaluation

1. Discuss the theme of Materialism in the play.
2. What is the function of the Storyteller in The Marriage of Anansewa?
3. Describe Ananse’s character: Is he a hero or a villain? Support your answer.

Assignment

Question 1: Explain the significance of Anansewa’s “pretended death” in the resolution of the plot.

Question 2: List and explain three (3) features of the Anansegoro style used in this play.

ALSO  SS2 Literature-In-English Second Term

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Topic: Mid-Term Break

Class: SS1  |  Subject: Literature in English

No academic activities this week. Students should use the break to review notes from Weeks 1-6, re-read the prescribed texts (Once Upon an Elephant and The Marriage of Anansewa), and prepare for the Non-African Drama section starting in Week 8.

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Topic: Non-African Drama – An Inspector Calls (I)

Class: SS1

Subject: Literature in English

Learning Objectives

• Discuss the life and political views of J.B. Priestley
• Explain the historical background and the concept of “Dramatic Irony” in the play
• Describe the setting of the play
• Summarize the major events in Acts I and II

Content

Background of the Playwright

John Boynton (J.B.) Priestley (1894-1984) was a prolific English novelist, playwright, and social commentator.

• Socialist Views: Priestley was deeply concerned with social injustice and the inequality of the British class system.
• The BBC Broadcasts: During WWII, his famous radio talks helped build a sense of national unity and a desire for a fairer society after the war.
• Purpose of Writing: He believed that theater should be used to make people think about their responsibilities toward others in society.

Historical Background of the Play

Written/Performed (1945): Just after World War II. People were looking for social change and the creation of the Welfare State.

Set (1912): Just before World War I. This was an era of strict class divisions where the wealthy looked down on the poor.

Dramatic Irony: Because the play was written in 1945 but set in 1912, the audience knows things the characters do not. For example, Mr. Birling claims the Titanic is “unsinkable” and that there will be no war. This makes the audience see the wealthy characters as arrogant and foolish.

Setting

Physical Setting: The entire play takes place in the dining room of the Birlings’ house in Brumley, an industrial city in the North Midlands of England.

The Atmosphere: The play begins with a “pink and intimate” light, suggesting a comfortable, self-satisfied celebration. When the Inspector arrives, the light becomes “hard and bright,” symbolizing a cold interrogation where the truth is revealed.

Plot Summary: Acts I and II

The Celebration: The Birling family (Arthur, Sybil, Sheila, and Eric) and Gerald Croft are celebrating the engagement of Sheila and Gerald. Mr. Birling gives a speech about “every man for himself.”

The Arrival: Inspector Goole arrives, investigating the suicide of a young working-class woman named Eva Smith.

The Chain of Events — each person is linked to her death:

• Mr. Birling: Sacked her from his factory for leading a strike for higher wages.
• Sheila: Had her fired from a dress shop out of petty jealousy.
• Gerald: Confesses in Act II that he had an affair with her (under the name Daisy Renton) and then left her.
• Mrs. Birling: Refused to give her charity help when she was pregnant and desperate.

The Tension: Act II ends with the realization that Eric is the father of the unborn child, and Mrs. Birling has unknowingly condemned her own son.

Evaluation

1. Explain the difference between the year the play was set and the year it was written.
2. What is Dramatic Irony? Give an example from Mr. Birling’s speech.
3. How does the lighting change when the Inspector arrives, and what does this represent?

Assignment

Question 1: Define the following features of a “well-made play”: (a) The Three Unities (Time, Place, and Action)    (b) The Cliffhanger

Question 2: Briefly explain the role of Eva Smith. Does she ever appear on stage? Why do you think the playwright made this choice?

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Topic: Non-African Drama – An Inspector Calls (II)

Class: SS1

Subject: Literature in English

Learning Objectives

• Discuss the themes of social responsibility and class
• Analyze the style of the play, including the “well-made play” structure
• Evaluate the characterization of the Birlings and the Inspector
• Discuss the social commentary and moral implications of the play

Content

Themes

1. Social Responsibility: This is the heart of the play. The Inspector’s final speech serves as Priestley’s voice: “We are members of one body. We are responsible for each other.”

2. Class and Status: The Birlings represent the wealthy upper-middle class (bourgeoisie) who believe their money protects them from consequences. Eva Smith represents the exploited working class (proletariat).

3. Age vs. Youth: The younger generation (Sheila and Eric) show remorse and a desire to change, while the older generation (Mr. and Mrs. Birling) are only worried about their reputation.

4. Gender: The play highlights the vulnerability of women in 1912. Eva Smith is exploited by men (Arthur, Gerald, and Eric) and eventually let down by a woman in power (Sybil).

Style

The “Well-Made Play”: A genre characterized by tight plotting, a climax that reveals a secret, and a logical sequence of events.

Dramatic Irony: The audience’s knowledge of history (WWI, Titanic) makes the Birlings’ arrogance look foolish.

The Cliffhanger: Each Act ends on a moment of high tension to keep the audience engaged.

Symbolism: The Inspector symbolizes “conscience” or “God.” His name “Goole” sounds like “Ghoul” (a ghost), suggesting he may be a supernatural force rather than a real policeman.

Characterization

Inspector Goole: Authoritative, mysterious, and relentless. He does not follow standard police procedure; he “interrogates” their souls, not just their actions.

Mr. Arthur Birling: A “hard-headed business man.” He represents capitalist greed and self-interest.

Mrs. Sybil Birling: Cold and socially superior. She is the only character who refuses to accept any blame.

Sheila and Eric Birling: They undergo the most change. By the end of the play, they have learned their lesson and are horrified by their parents’ callousness.

Social Commentary and Moral Implications

The Moral Message: Life is not just about making money; it is about how we treat those who have less than us.

The Warning: The Inspector warns that if humans do not learn to be responsible for one another, they will be taught it in “fire and blood and anguish” — a reference to the World Wars that were to follow.

The Cycle: The final phone call (the “twist” ending) suggests that unless people truly repent and change their ways, they will be forced to face their sins over and over again.

Evaluation

1. Contrast the reactions of Mr. Birling and Sheila to the Inspector’s revelations.
2. What does the name “Inspector Goole” suggest about the character’s nature?
3. Discuss the theme of Social Responsibility as presented in the play.

Assignment

Question 1: Explain the significance of the final phone call at the end of the play.

Question 2: List and explain three (3) features of J.B. Priestley’s writing style in this play.

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Topic: Non-African Drama – A Man for All Seasons (Robert Bolt)

Class: SS1

Subject: Literature in English

Learning Objectives

• Discuss the life and literary background of Robert Bolt
• Explain the historical context of the conflict between Sir Thomas More and King Henry VIII
• Analyze the theme of Integrity and Conscience
• Discuss the relationship between Individual Conscience and State Power

Content

Background of the Playwright

Robert Bolt (1924-1995) was a highly successful English playwright and two-time Academy Award-winning screenwriter (famous for Lawrence of Arabia). He was fascinated by people who stood by their principles, even when it cost them their lives. Though the play is set in the 16th century, Bolt wrote it in 1960 to speak to a modern audience about the importance of having a “self” that cannot be bought or broken.

Historical Context

The Conflict: King Henry VIII wanted to divorce his wife, Catherine of Aragon, because she had not produced a male heir.

The Break with Rome: When the Pope refused to annul the marriage, Henry declared himself the Supreme Head of the Church of England.

The Oath: Every high-ranking official was required to take an “Oath of Supremacy” acknowledging the King’s new title. Thomas More, a devout Catholic, could not do this in good conscience.

Themes of Integrity, Conscience, and Power

A. Integrity (The “Self”): To Sir Thomas More, his soul (his integrity) is like holding water in his hands; if he opens his fingers (by lying or taking a false oath), he will lose himself forever. Integrity here means being “whole” and refusing to betray one’s core beliefs for safety or money.

B. Conscience vs. Law: More is a brilliant lawyer. He tries to use the law to protect himself, famously saying that he would “give the Devil benefit of law” for his own safety’s sake. However, when the law is changed to force him to speak his mind, his conscience becomes his only refuge. He believes that a man’s conscience is his ultimate guide, above the King’s law.

C. The Corruption of Power: King Henry VIII needs “moral approval” for his immoral actions. Thomas Cromwell, the antagonist, uses threats, bribery, and trickery to destroy More — proving that power often disregards justice to achieve its goals.

Significant Features of the Play

1. The Common Man: Bolt uses a character called “The Common Man” who plays many roles (a steward, a boatman, a jailer). He represents the average person who is just trying to survive and is willing to compromise their morals to do so. He serves as a contrast to More’s rigid integrity.

2. Diction: The language is intellectual and legalistic, reflecting More’s profession and his careful attempt to stay silent to stay alive.

Evaluation

1. Why did Sir Thomas More refuse to take the Oath of Supremacy?
2. Define Integrity based on More’s character in the play.
3. Who is the Common Man, and what is his role in the play?

Assignment

Question 1: Contrast the character of Sir Thomas More with that of Thomas Cromwell. How do they each view the law?

Question 2: Discuss the significance of the title A Man for All Seasons. Why is More described this way?

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Topic: Revision

Class: SS1  |  Subject: Literature in English

Topics to Revise

• Introduction to African Drama — definition, features, oral tradition, cultural elements
• Once Upon an Elephant — setting, plot (Acts I and II), themes, characterization
• The Marriage of Anansewa — Anansegoro, plot, themes, style, characterization
• An Inspector Calls — historical context, dramatic irony, plot (Acts I-II), themes, style
• A Man for All Seasons — historical context, integrity, conscience, The Common Man

The teacher should conduct oral drills, timed essay practice, and review all evaluation questions from Weeks 1 to 10. Focus on WAEC question formats: context questions and 300-word essays.

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Topic: Examination and Closing

Class: SS1  |  Subject: Literature in English

Week 12: End-of-term examination covering all topics and prescribed texts from Weeks 1-10. The examination should include objective questions, short-answer questions, and essay questions modelled on WAEC examination formats.

Week 13: Marking and recording of results. General academic wrap-up. Teachers should return scripts, discuss common errors, and prepare students for Third Term.

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