This page contains the NABTEB 2026 Literature-in-English Paper 2 (Drama & Poetry) questions and answers. Scroll down for the official question paper images and full answers.
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NABTEB 2026 Literature-in-English Paper 2 Question Paper (Drama & Poetry)
NABTEB 2026 Literature-in-English Paper 3 Answers (Type A) ✅
SECTION A — Drama (Answer ONE Question)
QUESTION 1 — Character of Iya Agba in Once Upon an Elephant
The character of Iya Agba (Omofadeke Adunni) is central to the play’s concern with tyranny, truth, and the downfall of unjust rulers in Once Upon an Elephant. The play presents Ajanaku as a usurper-king who maintains power through manipulation, greed, and the suppression of opposition, and against this backdrop, Iya Agba becomes an important voice of truth that exposes the corruption of his rule and foretells its collapse.
Iya Agba is an elderly woman in the palace who is wrongly regarded as mad and therefore dismissed by the royal court. However, beneath this label, she is portrayed as a figure who possesses deep knowledge of palace secrets, including the truth about Ajanaku’s origin and legitimacy. She first appears during a dispute where Ajanaku acts unjustly and interrupts with a symbolic story of an elephant destroyed by its own desire for power. She later confronts him directly, refusing his royal title and calling him by his birth name, Olaniyonu, while also hinting at the truth known by Serubawon. She further challenges Omoyeni and criticises the moral decay of the palace, leading repeatedly to her banishment by Ajanaku.
The major literary device used in her portrayal is symbolism. Iya Agba represents truth and justice operating outside the corrupt political system. Her so-called madness functions as a disguise that allows her to speak freely without immediate destruction. Her riddles and story of the elephant serve as allegory, foreshadowing Ajanaku’s downfall — since the elephant symbolically represents him. Her repeated banishment also highlights the inability of tyranny to tolerate truth.
The significance of her role is that she shows that truth, though often ignored or silenced, cannot be permanently destroyed. Despite being dismissed, she continues to speak out until her revelations contribute to the exposure and eventual fall of Ajanaku. She therefore embodies the play’s message that justice and truth ultimately overcome tyranny.
QUESTION 2 — Dramatic Techniques in Once Upon an Elephant
The dramatic techniques in Once Upon an Elephant are closely tied to its central themes of tyranny, truth, and the downfall of unjust power. Ademilua-Afolayan uses these techniques not merely for artistic expression but to expose corruption in Ajanaku’s rule and to highlight the eventual triumph of justice. Through devices such as historification, symbolism, and riddling speech, the playwright effectively communicates political criticism and reinforces the moral message of the play.
One key technique is historification, where the play is set in a fictionalised Yoruba kingdom. This distance allows the playwright to critique issues like corruption, bribery of kingmakers, and oppression of dissent without directly naming real political figures. It also makes the message universal, showing that tyranny and abuse of power are not limited to one society or era but can occur in any political system.
Another important technique is symbolism, especially the image of the elephant. Ajanaku identifies himself with the elephant to represent strength, authority, and dominance over others. However, Iya Agba’s allegorical story of an elephant destroyed by its own ambition transforms this symbol into a warning of self-destruction. The elephant therefore becomes a symbol of tyrannical power that eventually collapses under its own excesses, reinforcing the idea that oppression is temporary.
The third technique is riddles and proverbs, mainly used through Iya Agba. This reflects Yoruba oral tradition, where indirect speech is used to communicate sensitive truths safely. Through riddles, she reveals Ajanaku’s illegitimacy and the moral decay within the palace while avoiding direct confrontation. This technique also shows how traditional wisdom serves as a voice of resistance against political oppression.
In conclusion, historification, symbolism, and riddling speech work together to strengthen the play’s central message that unjust rulers will ultimately fall when truth speaks. They make the political critique more engaging, culturally rooted, and powerful, while ultimately showing that truth and justice, though initially suppressed, will always overcome tyranny.
SECTION B — The Marriage of Anansewa (Answer ONE Question)
QUESTION 3 — Overview of The Marriage of Anansewa
The Marriage of Anansewa is fundamentally a play about greed, trickery, and the commercialization of marriage. Sutherland uses the comic actions of Ananse to satirize a society where marriage is treated as a financial arrangement controlled by a desperate father. The theme of trickery and manipulation of social customs for personal gain runs throughout the play.
The main characters include Ananse, the cunning protagonist; Anansewa, his daughter who becomes the object of his scheme; Christie, his niece who represents caution; and the four wealthy chiefs — Chief of Chiefs Togbe Klu IV, Chief Tsiagbe, Chief Gyamfi, and Chief Otuben — who are drawn into Ananse's deception. The Players or Mouth Piece also help to comment on the action.
Ananse sends identical courtship letters to the four chiefs, inviting them to begin the knocking process. Despite Christie's warnings, all four chiefs respond with gifts, enriching Ananse. He later escalates the deception by announcing Anansewa's death, which brings more gifts. The tension rises when the Chief of Chiefs insists on seeing the body, but Ananse stages a dramatic performance in which Anansewa “revives,” allowing him to resolve the situation in his favour.
The significance of these events is that Sutherland uses comedy and deception to expose greed and the commodification of marriage. The play entertains while also criticising a society where relationships are influenced by wealth and manipulation, highlighting both the cleverness and moral weakness in Ananse's actions.
QUESTION 4 — The Akwasua/Akosua Episode in The Marriage of Anansewa
Marriage as a transaction and the gap between appearance and reality lie at the centre of The Marriage of Anansewa, and the Akwasua or Akosua episode clearly introduces this theme. Before his larger scheme with the four chiefs, Ananse tests his deceptive skills on a smaller scale by disguising Christie as “Akosua” to present her as a prospective bride to an in-law, making the episode a rehearsal for the later deception involving Anansewa.
The main figures are Ananse, the architect of the trick; Christie, his niece and housekeeper who is forced into the disguise; and the unnamed messenger or in-law who represents the suitor's side. Christie, despite often acting as the voice of reason and caution, becomes the unwilling participant in Ananse's deception, showing her discomfort with his manipulative plans.
The main literary device here is dramatic irony combined with disguise and mistaken identity. The audience knows that “Akosua” is actually Christie in disguise, while the messenger does not, creating humour and tension. Ananse carefully controls Christie's behaviour and presentation, showing his skill in managing appearances. The renaming of Christie also reflects the play's concern with identity — since changing a name suggests how easily people can be rebranded for personal gain, a practice that later extends to Anansewa herself.
The significance of this episode is that it establishes Ananse's pattern of manipulation early in the play. It shows that he is already willing to use disguise and deception to gain financially, and it prepares the audience for the larger scheme involving the four chiefs. It also reinforces Christie's role as both participant and critic, highlighting the tension between moral awareness and survival within Ananse's world.
SECTION C — An Inspector Calls (Answer ONE Question)
QUESTION 5 — Character Analysis in An Inspector Calls
In An Inspector Calls, social responsibility is the central theme, and the characters below each reveal important aspects of this message.
(i) Sybil Birling — Sybil Birling is Mr Birling’s wife, a wealthy and status-conscious woman who serves on a charity committee. The Inspector reveals that she refused assistance to a pregnant Eva Smith, who had approached the committee under another name. Believing Eva to be undeserving, Sybil harshly rejected her request and insisted that the father of the child should bear responsibility — only to discover that the father was her own son, Eric. Her significance lies in her self-righteous refusal to accept guilt even after the truth is exposed. She therefore represents the older generation’s resistance to change and Priestley’s criticism of social irresponsibility.
(ii) Inspector Goole — Inspector Goole is the mysterious investigator whose arrival and questioning drive the action of the play. His true identity remains uncertain — no inspector of that name appears to exist — suggesting that he may represent something beyond an ordinary policeman. His famous statement that “we are members of one body” expresses Priestley’s belief that society functions best when people care for one another. The significance of Inspector Goole lies in his role as the embodiment of conscience, justice, and social responsibility, warning humanity of the consequences of selfishness and neglect.
(iii) Gerald Croft — Gerald Croft is Sheila Birling’s fiancé and the son of Mr Birling’s business rival. It is revealed that he had an affair with Eva Smith, whom he knew as Daisy Renton, and supported her for a period before ending the relationship when it no longer suited him. Although he admits his actions, he quickly welcomes the possibility that the Inspector was a fraud and attempts to move on. His significance lies in the contrast between his respectable appearance and his self-interest. By refusing to learn fully from the experience, he aligns himself more closely with the older generation than with Sheila and Eric, who accept responsibility.
QUESTION 6 — Inspector Goole and Social Responsibility
The theme of social responsibility is central to An Inspector Calls, and Inspector Goole is the main figure through which Priestley expresses this message. He is not only an investigator but also a dramatic symbol of conscience, exposing the moral failures of the Birling family.
Inspector Goole arrives to investigate the suicide of Eva Smith and reveals how each character contributes to her death: Mr Birling dismisses her from his factory; Sheila has her sacked from Milwards; Gerald Croft exploits and abandons her; Eric forces a relationship on her and steals money; while Mrs Birling refuses her charity support. Through his questioning, the Inspector shows that these separate actions combine to cause tragedy.
The main literary device is the personification of conscience. His name “Goole” suggests something ghostly, and his calm authority makes him seem beyond an ordinary inspector. The revelation that no Inspector Goole exists on police records strengthens his symbolic role as moral judgement rather than a real person.
In his final speech, he warns that people must realise they are “members of one body” or face consequences “in fire and blood and anguish.” This reflects Priestley’s post-war message that ignoring social responsibility leads to disaster. His significance is that he embodies conscience itself — a timeless warning that the actions of the privileged have real consequences on the lives of the vulnerable, and that no social class is exempt from moral responsibility. Even after his disappearance, the final telephone call confirming another death suggests that his warning is real and ongoing. Priestley uses him to show that conscience cannot be escaped and that society will always be called to account until it learns responsibility.
SECTION D — A Man for All Seasons (Answer ONE Question)
QUESTION 7 — Thomas Cromwell: “A Wolf in Sheep’s Clothing”
The conflict at the heart of A Man for All Seasons is between individual conscience and state power, and within this conflict Thomas Cromwell represents those who serve power through manipulation and self-interest. The description of him as a “wolf in sheep’s clothing” reflects his outward appearance of loyalty and legality, which hides his ruthless pursuit of personal and political success, especially in his destruction of Sir Thomas More.
Cromwell rises from a modest position to become one of the most powerful figures in Henry VIII’s court by supporting the King’s divorce and new marriage. Outwardly, he appears efficient, reasonable, and loyal, presenting himself as a lawful administrator simply carrying out the King’s wishes. In his dealings with More, he claims to seek only compliance or silence, but in reality he is building a case to eliminate him.
His “sheep’s clothing” lies in his use of legal procedure and calm reasoning to disguise persecution. He repeatedly acknowledges that More has broken no law, yet continues to search for ways to convict him, showing that the legal system is being manipulated rather than fairly applied. His use of Richard Rich is the clearest example — he encourages Rich to give false testimony that ultimately leads to More’s conviction. This reveals Cromwell’s “wolf” nature, where ambition and strategy override truth and justice.
The significance of Cromwell’s portrayal is that it shows how authority and law can be used as tools of oppression while still appearing legitimate. By contrasting Cromwell’s calculated manipulation with More’s consistent integrity, the play exposes how dangerous political systems become when power hides behind the appearance of justice. Cromwell therefore represents the corrupting potential of political ambition disguised as duty.
QUESTION 8 — Individual Conscience vs Institutional Power: More and Cranmer
The conflict between individual conscience and institutional power in A Man for All Seasons is shown through the contrast between Sir Thomas More and Thomas Cranmer, who represent personal conviction versus political conformity.
Sir Thomas More is Lord Chancellor and a devout Catholic who refuses to accept the King as head of the Church because of his conscience. He is prepared to lose his position and life rather than betray his beliefs. Thomas Cranmer, the Archbishop of Canterbury, is portrayed as politically compliant and spiritually detached, treating religion as an instrument of state policy rather than personal faith, and he supports the King’s decisions against More.
The main literary device is character foiling, supported by irony. More, a layman, shows stronger moral conviction than Cranmer, the highest religious authority in England. This exposes the tension between genuine belief and institutional role.
The significance is that Bolt suggests true integrity lies in conscience, not office or rank. More represents moral consistency rooted in faith, while Cranmer represents institutional compromise shaped by political power — reinforcing the idea that authority does not guarantee moral truth.
SECTION E — Poetry (Answer ONE Question)
QUESTION 9 — Euphemism in “Not My Business” by Niyi Osundare
Osundare’s Not My Business explores political oppression under dictatorship and the danger of complacency expressed through the attitude “it’s not my business.” Euphemism — the use of mild or indirect language to soften harsh realities — is a key device used to expose how state violence is disguised and normalised.
The victims Akanni, Danladi, Chinwe, and later the speaker himself, show how this language operates across different incidents of oppression.
Euphemism appears in descriptions of violence such as Akanni being “taken away,” hiding the reality of arrest or abduction. Danladi is “dragged out” of class and “detained” — concealing unlawful imprisonment — while Chinwe’s job application simply “disappeared,” masking workplace victimisation. These expressions reduce brutal actions into mild, almost routine language.
The speaker also uses euphemism in the refrain: as long as the violence does not affect his food or comfort, it is “not my business.” This turns moral indifference into a false sense of self-protection, disguising cowardice as practicality.
The significance is revealed when the soldiers eventually come for the speaker himself. The earlier softened language collapses into direct violence, showing that euphemism has been used to hide reality and encourage silence. Osundare therefore warns that distancing oneself through gentle language or indifference only delays the consequences of injustice — which eventually affects everyone.
QUESTION 10 — Cultural Alienation in “New Tongue” by Elizabeth L. A. Kamara
New Tongue by Elizabeth L. A. Kamara explores the tension between adopting a foreign language and remaining rooted in native linguistic and cultural identity, with cultural alienation as the central consequence. The “new tongue” represents colonial language — associated with education and social advancement — but also with the loss of cultural belonging.
The central figure is the speaker, caught between two linguistic worlds: the “old tongue,” linked to family, tradition, and ancestral identity, and the “new tongue,” linked to modern education and wider opportunity.
The main literary device is symbolism — the “tongue” represents not only language but also identity, culture, and worldview. Acquiring a new tongue therefore symbolises a shift in identity and belonging.
Cultural alienation is shown in the speaker’s growing distance from family and community as fluency in the new language increases. Mastery of the new tongue weakens connection to the old one, creating a sense of in-betweenness where the speaker fully belongs to neither world.
The significance is that the poem reflects the postcolonial experience of linguistic displacement. Kamara presents the new tongue as both beneficial and costly — offering opportunity while causing cultural separation. By using the image of the tongue itself, the poem personalises alienation as a deep identity change affecting how the speaker relates to others and to self.
SECTION F — Poetry: She Walks in Beauty & Digging (Answer ONE Question)
QUESTION 11 — Imagery and Theme of Beauty in “She Walks in Beauty” by Lord Byron
She Walks in Beauty is built around the theme of ideal beauty as a perfect harmony of physical appearance and inner goodness. Byron presents beauty as a balanced union of light and darkness, moving from cosmic imagery in the first stanza to moral qualities in the final stanza.
The central figure is the woman described by the speaker, inspired by Byron’s encounter with Lady Wilmot Horner at a social event, whose dark mourning dress with sparkling decoration influenced the poem’s contrast of light and dark.
The first major image compares the woman to “the night / Of cloudless climes and starry skies,” presenting beauty as a harmony of opposites. The darkness of night combined with the brightness of stars reflects her physical appearance and introduces the idea that beauty lies in balance. This is reinforced in the contrast between “all that’s best of dark and bright” and the “tender light” denied to “gaudy day,” suggesting that subtle harmony is superior to harsh brightness.
In the second stanza, the image of balance continues through precise description: “one shade the more, one ray the less” would destroy her “nameless grace.” Her “raven tress” and softly illuminated face reinforce the blend of dark and light, while also suggesting that her beauty depends on perfect proportion and cannot be altered without loss.
The final stanza shifts from physical imagery to moral qualities. Her “smiles” and “tints that glow” reflect inner goodness, while her “mind at peace with all below” and “heart whose love is innocent” show that her outward beauty mirrors inner virtue. The same language of light and calm is used to link appearance with morality.
The significance of this imagery is that Byron presents beauty as a unified harmony of body and soul. The poem’s structured movement from cosmic imagery to physical description and finally to moral character reinforces the idea that true beauty exists in the perfect balance between external appearance and internal goodness.
QUESTION 12 — Hard Work and Ancestral Legacy in “Digging” by Seamus Heaney
Digging by Seamus Heaney explores the theme of poetic vocation and ancestral legacy, with hard work and diligence as the linking values across three generations of the speaker’s family — his grandfather, father, and himself.
The central figures are the speaker, a poet at his writing desk; his father, seen digging in the flower beds; and his grandfather, remembered cutting turf at Toner’s bog. All three are united by skill, precision, and dedication to their work, despite the different forms it takes.
Hard work is shown through detailed images of physical labour. The father is described digging with his spade “going down and down,” showing steady effort and control. The grandfather is remembered as a highly skilled worker who could cut more turf than anyone else, reflecting excellence and endurance. Even as a child, the speaker observes this diligence when he brings milk to his grandfather, who quickly returns to his work, showing complete focus and commitment.
The main literary device is extended metaphor, as Heaney compares writing poetry to digging. The repetition of family labour establishes a tradition of hard work, while the speaker’s pen is described as “snug as a gun,” suggesting readiness and precision. When he says he has “no spade to follow,” it marks a shift from physical labour to artistic labour — but not a rejection of effort.
The significance is that Heaney validates poetry as a form of work equal in value to farming and manual labour. By transferring the imagery of digging to writing, he shows that true diligence lies in skill, effort, and depth of engagement, not in the type of work performed. The poem ends with the speaker affirming “I’ll dig with it,” showing continuity between generations through different forms of labour.
✅ NABTEB 2026 Literature-in-English Paper 3 (Type A) — ALL ANSWERS COMPLETED
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NABTEB 2026 Literature-in-English Paper 3 Answers (Type B) ✅
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SECTION A — Once Upon an Elephant (Answer ONE Question)
QUESTION 1 — Dramatic Techniques in Once Upon an Elephant
The dramatic techniques in Once Upon an Elephant are closely tied to its central themes of tyranny, truth, and the downfall of unjust power. Ademilua-Afolayan uses these techniques not merely for artistic expression but to expose corruption in Ajanaku’s rule and to highlight the eventual triumph of justice. Through devices such as historification, symbolism, and riddling speech, the playwright effectively communicates political criticism and reinforces the moral message of the play.
One key technique is historification, where the play is set in a fictionalised Yoruba kingdom. This distance allows the playwright to critique issues like corruption, bribery of kingmakers, and oppression of dissent without directly naming real political figures. It also makes the message universal, showing that tyranny and abuse of power are not limited to one society or era but can occur in any political system.
Another important technique is symbolism, especially the image of the elephant. Ajanaku identifies himself with the elephant to represent strength, authority, and dominance over others. However, Iya Agba’s allegorical story of an elephant destroyed by its own ambition transforms this symbol into a warning of self-destruction. The elephant therefore becomes a symbol of tyrannical power that eventually collapses under its own excesses, reinforcing the idea that oppression is temporary.
The third technique is riddles and proverbs, mainly used through Iya Agba. This reflects Yoruba oral tradition, where indirect speech is used to communicate sensitive truths safely. Through riddles, she reveals Ajanaku’s illegitimacy and the moral decay within the palace while avoiding direct confrontation. This technique also shows how traditional wisdom serves as a voice of resistance against political oppression.
In conclusion, historification, symbolism, and riddling speech work together to strengthen the play’s central message. They make the political critique more engaging, culturally rooted, and powerful, while ultimately showing that truth and justice, though initially suppressed, will always overcome tyranny.
QUESTION 2 — The Character of Iya Agba in Once Upon an Elephant
The character of Iya Agba (Omofadeke Adunni) is central to the play’s concern with tyranny, truth, and the downfall of unjust rulers in Once Upon an Elephant. The play presents Ajanaku as a usurper-king who maintains power through manipulation, greed, and the suppression of opposition, and against this backdrop, Iya Agba becomes an important voice of truth that exposes the corruption of his rule and foretells its collapse.
Iya Agba is an elderly woman in the palace who is wrongly regarded as mad and therefore dismissed by the royal court. However, beneath this label, she is portrayed as a figure who possesses deep knowledge of palace secrets, including the truth about Ajanaku’s origin and legitimacy. She first appears during a dispute where Ajanaku acts unjustly and interrupts with a symbolic story of an elephant destroyed by its own desire for power. She later confronts him directly, refusing his royal title and calling him by his birth name, Olaniyonu, while also hinting at the truth known by Serubawon. She further challenges Omoyeni and criticises the moral decay of the palace, leading repeatedly to her banishment by Ajanaku.
The major literary device used in her portrayal is symbolism. Iya Agba represents truth and justice operating outside the corrupt political system. Her so-called madness functions as a disguise that allows her to speak freely without immediate destruction. Her riddles and story of the elephant serve as allegory, foreshadowing Ajanaku’s downfall — since the elephant symbolically represents him. Her repeated banishment also highlights the inability of tyranny to tolerate truth.
The significance of her role is that she shows that truth, though often ignored or silenced, cannot be permanently destroyed. Despite being dismissed, she continues to speak out until her revelations contribute to the exposure and eventual fall of Ajanaku. She therefore embodies the play’s message that justice and truth ultimately overcome tyranny.
TYPE B — SECTION B: The Marriage of Anansewa (Answer ONE Question)
QUESTION 3 — Greed, Trickery and Commercialisation of Marriage in The Marriage of Anansewa
The Marriage of Anansewa is fundamentally a play about greed, trickery, and the commercialization of marriage. Sutherland uses the comic actions of Ananse to satirize a society where marriage is treated as a financial arrangement controlled by a desperate father. The theme of trickery and manipulation of social customs for personal gain runs throughout the play.
The main characters include Ananse, the cunning protagonist; Anansewa, his daughter who becomes the object of his scheme; Christie, his niece who represents caution; and the four wealthy chiefs — Chief of Chiefs Togbe Klu IV, Chief Tsiagbe, Chief Gyamfi, and Chief Otuben — who are drawn into Ananse’s deception. The Players or Mouth Piece also help to comment on the action.
Ananse sends identical courtship letters to the four chiefs, inviting them to begin the knocking process. Despite Christie’s warnings, all four chiefs respond with gifts. He later escalates the deception by announcing Anansewa’s death, which brings more gifts. The tension rises when the Chief of Chiefs insists on seeing the body, but Ananse stages a performance in which Anansewa “revives,” resolving the situation in his favour.
The significance is that Sutherland uses comedy and deception to expose greed and the commodification of marriage. The play entertains while criticising a society where relationships are influenced by wealth and manipulation, highlighting both the cleverness and moral weakness in Ananse’s actions.
QUESTION 4 — The Akosua Episode: Dramatic Irony, Disguise and Mistaken Identity
Marriage as a transaction and the gap between appearance and reality lie at the centre of The Marriage of Anansewa, and the Akosua episode introduces this theme. Before his larger scheme with the four chiefs, Ananse tests his deceptive skills by disguising Christie as “Akosua” to present her as a prospective bride to an in-law — a rehearsal for the later deception involving Anansewa.
The main figures are Ananse, the architect of the trick; Christie, his niece forced into the disguise; and the unnamed messenger who represents the suitor’s side. Christie, despite being the voice of reason, becomes an unwilling participant, showing her discomfort with Ananse’s manipulative plans.
The main literary device is dramatic irony combined with disguise and mistaken identity. The audience knows “Akosua” is Christie in disguise, while the messenger does not, creating humour and tension. The renaming of Christie reflects the play’s concern with identity — changing a name suggests how easily people can be rebranded for personal gain, a practice later extended to Anansewa herself.
The significance is that it establishes Ananse’s pattern of manipulation early in the play, prepares the audience for the larger scheme involving the four chiefs, and reinforces Christie’s role as both participant and critic — highlighting the tension between moral awareness and survival within Ananse’s world.
TYPE B — SECTION C: An Inspector Calls (Answer TWO Questions)
QUESTION 5 — Inspector Goole and the Theme of Social Responsibility
Inspector Goole embodies the theme of social responsibility in An Inspector Calls. He arrives to investigate Eva Smith’s suicide and gradually exposes how Mr Birling, Sheila, Gerald, Eric, and Mrs Birling each contribute to her death. Mr Birling sacks her from his factory for demanding better wages, Sheila has her dismissed from Milwards out of jealousy, Gerald uses her for an affair before abandoning her, Eric exploits her while drunk and steals money to support her, and Mrs Birling rejects her appeal for charity. Through this chain of actions, the Inspector shows that the suffering of one vulnerable girl is the combined result of many selfish decisions.
His name, “Goole,” suggests something ghostly or supernatural, and it is later revealed that no such inspector exists on the police records. This uncertainty about his identity makes him less a realistic policeman and more a personification of conscience and moral judgement. His final warning that people must learn that they are “members of one body” or face consequences “in fire and blood and anguish” reflects Priestley’s post-war message about social responsibility and the dangers of ignoring others’ suffering. Even after his departure, the telephone call confirming another death shows that his warning cannot be escaped. Through Inspector Goole, Priestley suggests that society will always be called to account until it accepts responsibility for the weak and powerless.
QUESTION 6 — Character Analysis: Sybil Birling, Inspector Goole and Gerald Croft
(i) Sybil Birling — Sybil Birling is Mr Birling’s wife, a wealthy, status-conscious woman who serves on a charity committee. When Eva Smith, using the name “Mrs Birling,” comes to the committee for help, Sybil refuses aid, claiming the girl is lying and insisting that the father of the child should take responsibility. Ironically, she does this without realising that the father is her own son, Eric. Even after the Inspector exposes her part in Eva’s tragedy, she refuses to accept guilt or learn any lesson. She represents the older generation’s hypocrisy and resistance to social change and is Priestley’s sharp criticism of hard-hearted upper-class attitudes.
(ii) Inspector Goole — Inspector Goole is the mysterious investigator whose identity remains uncertain. No inspector of that name is found on the police records, suggesting that he symbolises moral judgement rather than an ordinary officer of the law. He controls the pace of the interrogation, exposes each character’s involvement with Eva, and delivers the famous speech that “we are members of one body.” Through him, Priestley presents the voice of conscience, justice and social responsibility, warning that those who ignore their duty to others will face terrible consequences.
(iii) Gerald Croft — Gerald Croft is Sheila Birling’s fiancé and the son of a wealthy industrialist. He had an affair with Eva Smith, whom he knew as Daisy Renton, temporarily rescuing her from poverty but then abandoning her when it was no longer convenient. Although he is honest about his relationship with Eva, he quickly embraces the idea that the Inspector may have been a fraud and uses this to avoid lasting guilt. His respectable appearance hides self-interest and moral weakness, aligning him more with Mr and Mrs Birling than with the more remorseful Sheila and Eric. Gerald therefore represents the younger members of the upper class who are capable of kindness but still unwilling to challenge the comfortable system that benefits them.
TYPE B — SECTION D: A Man for All Seasons (Answer TWO Questions)
QUESTION 7 — Cromwell as a “Wolf in Sheep’s Clothing”
In A Man for All Seasons, Thomas Cromwell represents the kind of political operator who serves power through manipulation. The description of him as a “wolf in sheep’s clothing” captures the contrast between his outward appearance and his inner nature. On the surface, he appears as an efficient, loyal official simply carrying out the King’s wishes, using the language of law and duty. In reality, he is ruthless and ambitious, prepared to twist the legal system to remove anyone who stands in the way of Henry VIII’s desires, especially Sir Thomas More.
Cromwell repeatedly admits that More has broken no law, yet he continues to pressure him, interrogate his friends and servants, and search for a legal excuse to destroy him. His use of Richard Rich is the clearest example of his wolf-like nature: he tempts Rich with promises of promotion, until Rich agrees to give false testimony that More denied the King’s supremacy. Cromwell then uses this lie to secure More’s conviction and execution.
By contrasting Cromwell’s calculated manipulation with More’s honesty and integrity, the play shows how those in power can disguise oppression as lawful procedure. Cromwell’s “sheep’s clothing” is the appearance of legality and public duty; his “wolf” reality is the corruption and cruelty of political ambition. He therefore represents the dangerous potential of authority when it hides injustice behind the mask of obedience and efficiency.
QUESTION 8 — More and Cranmer: Conscience versus Institutional Power
The contrast between Sir Thomas More and Thomas Cranmer in A Man for All Seasons highlights the conflict between personal conscience and institutional power. More, the Lord Chancellor, is a devout Catholic who refuses to recognise Henry VIII as head of the Church. He believes that to sign the oath would betray his conscience and his faith, and he is willing to lose his office, his freedom and ultimately his life rather than compromise his inner certainty.
Cranmer, the Archbishop of Canterbury, represents the opposite attitude. Instead of standing on personal conviction, he treats religion as an arm of state policy, supporting the King’s divorce and new marriage. He is prepared to adapt doctrine to suit royal wishes, showing that his loyalty lies more with political power than with spiritual truth.
The main literary device here is character foiling, strengthened by irony. It is ironic that More, a layman, shows stronger moral courage than Cranmer, the highest religious authority in England. This contrast suggests that true integrity comes from the inner voice of conscience, not from office or rank.
Through More and Cranmer, Bolt argues that institutions, including the Church and the state, can easily sacrifice truth for convenience, while individuals guided by conscience may stand alone. More’s moral consistency compared with Cranmer’s compromise reinforces the idea that authority does not guarantee moral truth; it is the courage to follow conscience, even at great cost, that makes a person truly honourable.
TYPE B — SECTION E: Poetry (Answer TWO Questions)
QUESTION 9 — Cultural Alienation in “New Tongue” by Elizabeth L. A. Kamara
The poem “New Tongue” by Elizabeth L. A. Kamara explores cultural alienation that arises when a person adopts a colonial language and gradually loses connection with their original cultural identity. The “new tongue” symbolises the foreign language that brings education, social status and opportunity, while the “old tongue” represents the speaker’s native language, family traditions and ancestral roots.
The main literary device is symbolism. The “tongue” stands for more than speech; it represents the whole way a person sees the world, relates to others and understands themselves. As the speaker becomes more fluent in the new language, they begin to think and feel differently, gaining access to modern institutions but drifting away from the warmth and closeness of home.
This process creates a painful in-betweenness. The speaker no longer belongs wholly to the old world of family and tradition, yet never feels fully at home in the new, imported culture either. The benefits of the new tongue therefore come at a cost — the loss of easy belonging and the feeling of being a stranger among one’s own people.
Kamara uses this personal experience to reflect the wider postcolonial condition, where education in a foreign language brings advancement but also alienates people from their cultural roots. The poem suggests that linguistic change is not just external but deeply affects identity, turning alienation into an inner, emotional struggle.
QUESTION 10 — Euphemism and Political Oppression in “Not My Business” by Niyi Osundare
In “Not My Business,” Niyi Osundare uses euphemism to expose political oppression under dictatorship and the dangers of selfish indifference. Euphemism is the use of mild or indirect expressions to soften harsh realities. In the poem, words like “taken away,” “detained,” and “disappeared” hide the brutality of state violence against ordinary people.
Akanni is “taken away” — a phrase that disguises arrest or abduction. Danladi is “dragged out” of class and “detained,” which conceals unlawful imprisonment. Chinwe’s job application simply “disappeared” after she protests, masking workplace victimisation. In each case, the official-sounding language makes the events seem routine rather than shocking.
The speaker repeats the refrain that these acts are “not my business” as long as his personal comfort and food are not affected. This attitude itself is a form of euphemism, turning fear and cowardice into a claim of minding one’s own affairs. By using gentle language, people convince themselves that there is no need to resist.
The poem’s climax comes when the soldiers arrive for the speaker himself. At this point, the protective barrier of euphemism collapses and the violence becomes immediate and undeniable. Osundare’s message is that euphemism encourages dangerous silence in the face of oppression, and that ignoring injustice simply delays the moment when it will affect everyone. The poem warns that “not my business” is an illusion; in an unjust society, no one is truly safe.
TYPE B — SECTION F: Poetry (She Walks in Beauty & Digging) (Answer TWO Questions)
QUESTION 11 — Ideal Beauty in “She Walks in Beauty” by Lord Byron
“She Walks in Beauty” presents ideal beauty as a perfect harmony between outward appearance and inner goodness. The woman described in the poem is compared to “the night / Of cloudless climes and starry skies,” an image that blends darkness and brightness in a calm, balanced scene. This first comparison suggests that her beauty lies in the union of opposites rather than in extreme or “gaudy” display.
Byron emphasises that even a small change would spoil this harmony: “one shade the more, one ray the less” would have “half impaired” the “nameless grace” that shines in her face. Her “raven tress” and softly lighted features show a delicate balance of dark and light, suggesting that real beauty depends on perfect proportion.
In the final stanza, the focus shifts from physical beauty to moral character. The “tints that glow” on her cheek and brow reflect a “mind at peace with all below” and a “heart whose love is innocent.” The same language of calm and light is used to link her outward appearance with inner purity. Byron therefore presents true beauty as a unity of body and soul: the serene balance seen in her looks is a sign of the goodness within.
QUESTION 12 — Hard Work and Ancestral Legacy in “Digging” by Seamus Heaney
“Digging” explores poetic vocation and ancestral legacy by linking three generations of a family through the value of hard work. The speaker watches his father digging in the garden and remembers his grandfather cutting turf at Toner’s bog. Both men are portrayed as skilled, tireless workers: the father’s spade goes “down and down” with practised ease, while the grandfather could cut more turf than anyone else.
The main device is extended metaphor. The speaker compares his pen to a gun held “snug as a gun” and later declares he has “no spade to follow men like them.” Instead of farming the land, he will dig with his pen, searching deep into memory and experience as his forefathers dug into the earth.
This shift from physical to artistic labour does not reject the family’s tradition; it continues it in a different form. The same discipline, respect for skill and commitment to depth of work are present in his writing. When the poem ends with “I’ll dig with it,” Heaney affirms that poetry can be as serious and valuable as manual labour. Hard work, not the type of work, is what truly connects the generations.
✅ NABTEB 2026 Literature-in-English Paper 3 (Type B) — ALL ANSWERS COMPLETED
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