English Language JAMB, WAEC, NECO AND NABTEB Official Past Questions

In 1973 a Japanese sericulturist arrives in Malawi with a batch of 40,000 silkworm eggs. They were taken to the Bvumbwe Agricultural Research Station in Thyolo District. In this station, work is being done to determine favourable silkworm rearing conditions and areas where mulberry trees, leaves the worms feed on, could grow well. According to researchers, the silkworms- which eventually develop into cocoons from which raw silk is produced – do well with warm climatic conditions.
Silk is one of the strongest of fibers. Infect, for thousands of years, silk fabrics have been regarded as the most beautiful and durable materials woven by man. Many people call silk the cloth of kings and queens’.
The weaving of silk originated in china. An old Chinese book believed to be written by Confucius, tells us that the wife of Emperor Huang ti was the first person fabrics of silk. Around 2640 B.C Emperor Huang ti asked his wife His Ling-shih to study the worms that were destroying the mulberry trees in his garden. The Empress took some of the cocoons into the palace to see what they were made of. She dropped one of the cocoons into a bowl of boiling water and was amazed to see a cobweb-like tangle separate itself from the cocoon. She picked up the gauzy mass and found that one of the threads could be unwound almost without end from the cocoon. His Ling-shih had discovered silk. She was delighted with the discovery and even wove a ceremonial robe for the Emperor out of the cocoon threads. After that, the officials in the Emperor’s court wore brightly dyed silk robes on important occasions.
People in other countries regarded the new fibers as something rare and beautiful. A few traders went to China to learn about making cloth from silk, but the Chines kept their silkworm a closely guarded secret.

In 1973 a Japanese sericulturist arrives in Malawi with a batch of 40,000 silkworm eggs. They were taken to the Bvumbwe Agricultural Research Station in Thyolo District. In this station, work is being done to determine favourable silkworm rearing conditions and areas where mulberry trees, leaves the worms feed on, could grow well. According to researchers, the silkworms- which eventually develop into cocoons from which raw silk is produced – do well with warm climatic conditions.
Silk is one of the strongest of fibers. Infect, for thousands of years, silk fabrics have been regarded as the most beautiful and durable materials woven by man. Many people call silk the cloth of kings and queens’.
The weaving of silk originated in china. An old Chinese book believed to be written by Confucius, tells us that the wife of Emperor Huang ti was the first person fabrics of silk. Around 2640 B.C Emperor Huang ti asked his wife His Ling-shih to study the worms that were destroying the mulberry trees in his garden. The Empress took some of the cocoons into the palace to see what they were made of. She dropped one of the cocoons into a bowl of boiling water and was amazed to see a cobweb-like tangle separate itself from the cocoon. She picked up the gauzy mass and found that one of the threads could be unwound almost without end from the cocoon. His Ling-shih had discovered silk. She was delighted with the discovery and even wove a ceremonial robe for the Emperor out of the cocoon threads. After that, the officials in the Emperor’s court wore brightly dyed silk robes on important occasions.
People in other countries regarded the new fibers as something rare and beautiful. A few traders went to China to learn about making cloth from silk, but the Chines kept their silkworm a closely guarded secret.

In 1973 a Japanese sericulturist arrives in Malawi with a batch of 40,000 silkworm eggs. They were taken to the Bvumbwe Agricultural Research Station in Thyolo District. In this station, work is being done to determine favourable silkworm rearing conditions and areas where mulberry trees, leaves the worms feed on, could grow well. According to researchers, the silkworms- which eventually develop into cocoons from which raw silk is produced – do well with warm climatic conditions.
Silk is one of the strongest of fibers. Infect, for thousands of years, silk fabrics have been regarded as the most beautiful and durable materials woven by man. Many people call silk the cloth of kings and queens’.
The weaving of silk originated in china. An old Chinese book believed to be written by Confucius, tells us that the wife of Emperor Huang ti was the first person fabrics of silk. Around 2640 B.C Emperor Huang ti asked his wife His Ling-shih to study the worms that were destroying the mulberry trees in his garden. The Empress took some of the cocoons into the palace to see what they were made of. She dropped one of the cocoons into a bowl of boiling water and was amazed to see a cobweb-like tangle separate itself from the cocoon. She picked up the gauzy mass and found that one of the threads could be unwound almost without end from the cocoon. His Ling-shih had discovered silk. She was delighted with the discovery and even wove a ceremonial robe for the Emperor out of the cocoon threads. After that, the officials in the Emperor’s court wore brightly dyed silk robes on important occasions.
People in other countries regarded the new fibers as something rare and beautiful. A few traders went to China to learn about making cloth from silk, but the Chines kept their silkworm a closely guarded secret.

In 1973 a Japanese sericulturist arrives in Malawi with a batch of 40,000 silkworm eggs. They were taken to the Bvumbwe Agricultural Research Station in Thyolo District. In this station, work is being done to determine favourable silkworm rearing conditions and areas where mulberry trees, leaves the worms feed on, could grow well. According to researchers, the silkworms- which eventually develop into cocoons from which raw silk is produced – do well with warm climatic conditions.
Silk is one of the strongest of fibers. Infect, for thousands of years, silk fabrics have been regarded as the most beautiful and durable materials woven by man. Many people call silk the cloth of kings and queens’.
The weaving of silk originated in china. An old Chinese book believed to be written by Confucius, tells us that the wife of Emperor Huang ti was the first person fabrics of silk. Around 2640 B.C Emperor Huang ti asked his wife His Ling-shih to study the worms that were destroying the mulberry trees in his garden. The Empress took some of the cocoons into the palace to see what they were made of. She dropped one of the cocoons into a bowl of boiling water and was amazed to see a cobweb-like tangle separate itself from the cocoon. She picked up the gauzy mass and found that one of the threads could be unwound almost without end from the cocoon. His Ling-shih had discovered silk. She was delighted with the discovery and even wove a ceremonial robe for the Emperor out of the cocoon threads. After that, the officials in the Emperor’s court wore brightly dyed silk robes on important occasions.
People in other countries regarded the new fibers as something rare and beautiful. A few traders went to China to learn about making cloth from silk, but the Chines kept their silkworm a closely guarded secret.

In 1973 a Japanese sericulturist arrives in Malawi with a batch of 40,000 silkworm eggs. They were taken to the Bvumbwe Agricultural Research Station in Thyolo District. In this station, work is being done to determine favourable silkworm rearing conditions and areas where mulberry trees, leaves the worms feed on, could grow well. According to researchers, the silkworms- which eventually develop into cocoons from which raw silk is produced – do well with warm climatic conditions.
Silk is one of the strongest of fibers. Infect, for thousands of years, silk fabrics have been regarded as the most beautiful and durable materials woven by man. Many people call silk the cloth of kings and queens’.
The weaving of silk originated in china. An old Chinese book believed to be written by Confucius, tells us that the wife of Emperor Huang ti was the first person fabrics of silk. Around 2640 B.C Emperor Huang ti asked his wife His Ling-shih to study the worms that were destroying the mulberry trees in his garden. The Empress took some of the cocoons into the palace to see what they were made of. She dropped one of the cocoons into a bowl of boiling water and was amazed to see a cobweb-like tangle separate itself from the cocoon. She picked up the gauzy mass and found that one of the threads could be unwound almost without end from the cocoon. His Ling-shih had discovered silk. She was delighted with the discovery and even wove a ceremonial robe for the Emperor out of the cocoon threads. After that, the officials in the Emperor’s court wore brightly dyed silk robes on important occasions.
People in other countries regarded the new fibers as something rare and beautiful. A few traders went to China to learn about making cloth from silk, but the Chines kept their silkworm a closely guarded secret.

One day, Alan, a friend of mine, who likes country life, was fishing in a river, when he caught a trout. He tried to put fish in but it slipped off the hook, flew over his head and landed in a field behind him.
Alan put down his rod, went through the gate and started searching for his trout. Some people, obviously from the city were having a picnic in the field. One of the men shouted. ‘What on earth are you doing? Thinking that it was a silly question because they could see how hews dressed, Alan replied ‘Fishing’.
‘Don’t be silly, the fish are down in the river’, answered the man, ‘Fish don’t live fields! He turned to his friends, laughing, thinking that he had made a good joke.
Oh, but they do, ‘said Alan, They jump out of the river to look for flies and I catch them with my hands. At that moment he found his trout in the grass and picked it up and showed it to the picnickers. He put it in his basket and bent down, as if he was hunting for another one. The picnickers, no longer laughing, spent the rest of the day searching the field.

One day, Alan, a friend of mine, who likes country life, was fishing in a river, when he caught a trout. He tried to put fish in but it slipped off the hook, flew over his head and landed in a field behind him.
Alan put down his rod, went through the gate and started searching for his trout. Some people, obviously from the city were having a picnic in the field. One of the men shouted. ‘What on earth are you doing? Thinking that it was a silly question because they could see how hews dressed, Alan replied ‘Fishing’.
‘Don’t be silly, the fish are down in the river’, answered the man, ‘Fish don’t live fields! He turned to his friends, laughing, thinking that he had made a good joke.
Oh, but they do, ‘said Alan, They jump out of the river to look for flies and I catch them with my hands. At that moment he found his trout in the grass and picked it up and showed it to the picnickers. He put it in his basket and bent down, as if he was hunting for another one. The picnickers, no longer laughing, spent the rest of the day searching the field.

One day, Alan, a friend of mine, who likes country life, was fishing in a river, when he caught a trout. He tried to put fish in but it slipped off the hook, flew over his head and landed in a field behind him.
Alan put down his rod, went through the gate and started searching for his trout. Some people, obviously from the city were having a picnic in the field. One of the men shouted. ‘What on earth are you doing? Thinking that it was a silly question because they could see how hews dressed, Alan replied ‘Fishing’.
‘Don’t be silly, the fish are down in the river’, answered the man, ‘Fish don’t live fields! He turned to his friends, laughing, thinking that he had made a good joke.
Oh, but they do, ‘said Alan, They jump out of the river to look for flies and I catch them with my hands. At that moment he found his trout in the grass and picked it up and showed it to the picnickers. He put it in his basket and bent down, as if he was hunting for another one. The picnickers, no longer laughing, spent the rest of the day searching the field.

One day, Alan, a friend of mine, who likes country life, was fishing in a river, when he caught a trout. He tried to put fish in but it slipped off the hook, flew over his head and landed in a field behind him.
Alan put down his rod, went through the gate and started searching for his trout. Some people, obviously from the city were having a picnic in the field. One of the men shouted. ‘What on earth are you doing? Thinking that it was a silly question because they could see how hews dressed, Alan replied ‘Fishing’.
‘Don’t be silly, the fish are down in the river’, answered the man, ‘Fish don’t live fields! He turned to his friends, laughing, thinking that he had made a good joke.
Oh, but they do, ‘said Alan, They jump out of the river to look for flies and I catch them with my hands. At that moment he found his trout in the grass and picked it up and showed it to the picnickers. He put it in his basket and bent down, as if he was hunting for another one. The picnickers, no longer laughing, spent the rest of the day searching the field.

One day, Alan, a friend of mine, who likes country life, was fishing in a river, when he caught a trout. He tried to put fish in but it slipped off the hook, flew over his head and landed in a field behind him.
Alan put down his rod, went through the gate and started searching for his trout. Some people, obviously from the city were having a picnic in the field. One of the men shouted. ‘What on earth are you doing? Thinking that it was a silly question because they could see how hews dressed, Alan replied ‘Fishing’.
‘Don’t be silly, the fish are down in the river’, answered the man, ‘Fish don’t live fields! He turned to his friends, laughing, thinking that he had made a good joke.
Oh, but they do, ‘said Alan, They jump out of the river to look for flies and I catch them with my hands. At that moment he found his trout in the grass and picked it up and showed it to the picnickers. He put it in his basket and bent down, as if he was hunting for another one. The picnickers, no longer laughing, spent the rest of the day searching the field.

Every artist’s work unless he be a hermit, creating solely for his own satisfaction and with on need of sales, is to some extent ‘socially conditioned’, He depends upon the approval of his patrons. Social conditioning is of course part of the field of study of the social anthropologist, yet I am not aware that the social conditioning of artists has ever been seriously studied. That such study is needed for the proper appraisal of traditional African art is evident enough when we note the ingenuous assumption, current in many writing on the subject, that the carver’s hand is so closely controlled by the custom of centuries that the credit for any creative imagination which is apparent in his work is due not to him but to the long succession of his predecessors. Of course, there is an element of truth in this view of the tribal as copyist; but it is hardly more valid for the Africa than for the European artist. In both cases the work of art is the outcome of a dialectic between the informing tradition and the individual genius of the artist, and in both the relative strength of these two forces may vary almost infinitely. To assess the personal ingredient in an African carving is no easy matter, especially if one is confronted with a rare or unique piece in an unfamiliar style; but the considerations involved are much the same as those employed in European art criticism.

Every artist’s work unless he be a hermit, creating solely for his own satisfaction and with on need of sales, is to some extent ‘socially conditioned’, He depends upon the approval of his patrons. Social conditioning is of course part of the field of study of the social anthropologist, yet I am not aware that the social conditioning of artists has ever been seriously studied. That such study is needed for the proper appraisal of traditional African art is evident enough when we note the ingenuous assumption, current in many writing on the subject, that the carver’s hand is so closely controlled by the custom of centuries that the credit for any creative imagination which is apparent in his work is due not to him but to the long succession of his predecessors. Of course, there is an element of truth in this view of the tribal as copyist; but it is hardly more valid for the Africa than for the European artist. In both cases the work of art is the outcome of a dialectic between the informing tradition and the individual genius of the artist, and in both the relative strength of these two forces may vary almost infinitely. To assess the personal ingredient in an African carving is no easy matter, especially if one is confronted with a rare or unique piece in an unfamiliar style; but the considerations involved are much the same as those employed in European art criticism.

Every artist’s work unless he be a hermit, creating solely for his own satisfaction and with on need of sales, is to some extent ‘socially conditioned’, He depends upon the approval of his patrons. Social conditioning is of course part of the field of study of the social anthropologist, yet I am not aware that the social conditioning of artists has ever been seriously studied. That such study is needed for the proper appraisal of traditional African art is evident enough when we note the ingenuous assumption, current in many writing on the subject, that the carver’s hand is so closely controlled by the custom of centuries that the credit for any creative imagination which is apparent in his work is due not to him but to the long succession of his predecessors. Of course, there is an element of truth in this view of the tribal as copyist; but it is hardly more valid for the Africa than for the European artist. In both cases the work of art is the outcome of a dialectic between the informing tradition and the individual genius of the artist, and in both the relative strength of these two forces may vary almost infinitely. To assess the personal ingredient in an African carving is no easy matter, especially if one is confronted with a rare or unique piece in an unfamiliar style; but the considerations involved are much the same as those employed in European art criticism.

Every artist’s work unless he be a hermit, creating solely for his own satisfaction and with on need of sales, is to some extent ‘socially conditioned’, He depends upon the approval of his patrons. Social conditioning is of course part of the field of study of the social anthropologist, yet I am not aware that the social conditioning of artists has ever been seriously studied. That such study is needed for the proper appraisal of traditional African art is evident enough when we note the ingenuous assumption, current in many writing on the subject, that the carver’s hand is so closely controlled by the custom of centuries that the credit for any creative imagination which is apparent in his work is due not to him but to the long succession of his predecessors. Of course, there is an element of truth in this view of the tribal as copyist; but it is hardly more valid for the Africa than for the European artist. In both cases the work of art is the outcome of a dialectic between the informing tradition and the individual genius of the artist, and in both the relative strength of these two forces may vary almost infinitely. To assess the personal ingredient in an African carving is no easy matter, especially if one is confronted with a rare or unique piece in an unfamiliar style; but the considerations involved are much the same as those employed in European art criticism.

A British electronics manufacturer has built a factory in which quartz crystals can be grown in 3 weeks. The natural growth of quartz takes 3 million years, and very often the crystals are not sufficiently pure to satisfy the precise needs of science. However, the manufactured crystals are exceptionally pure, and this is important because quartz, in transistors is used in an astonishing number of devices where constant accuracy is required: radio and television transmitters and receivers, space satellites and computers are familiar examples. In order to make artificial quartz, very small pieces of the natural crystal imported from Brazil are placed in long, narrow, steel cylinders. A high pressure and a high temperature are maintained within the cylinders for 3 weeks, and at the end of this the small fragments have grown to the required weight of one pound. The quartz is then ready to be made into the tiny transistors that have replaced the much larger thermionic valves.

A British electronics manufacturer has built a factory in which quartz crystals can be grown in 3 weeks. The natural growth of quartz takes 3 million years, and very often the crystals are not sufficiently pure to satisfy the precise needs of science. However, the manufactured crystals are exceptionally pure, and this is important because quartz, in transistors is used in an astonishing number of devices where constant accuracy is required: radio and television transmitters and receivers, space satellites and computers are familiar examples. In order to make artificial quartz, very small pieces of the natural crystal imported from Brazil are placed in long, narrow, steel cylinders. A high pressure and a high temperature are maintained within the cylinders for 3 weeks, and at the end of this the small fragments have grown to the required weight of one pound. The quartz is then ready to be made into the tiny transistors that have replaced the much larger thermionic valves.

A British electronics manufacturer has built a factory in which quartz crystals can be grown in 3 weeks. The natural growth of quartz takes 3 million years, and very often the crystals are not sufficiently pure to satisfy the precise needs of science. However, the manufactured crystals are exceptionally pure, and this is important because quartz, in transistors is used in an astonishing number of devices where constant accuracy is required: radio and television transmitters and receivers, space satellites and computers are familiar examples. In order to make artificial quartz, very small pieces of the natural crystal imported from Brazil are placed in long, narrow, steel cylinders. A high pressure and a high temperature are maintained within the cylinders for 3 weeks, and at the end of this the small fragments have grown to the required weight of one pound. The quartz is then ready to be made into the tiny transistors that have replaced the much larger thermionic valves.