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

The market was old, timeless Africa; loud, crowed and free. Here a man sat making sandals from old discarded motor-car tyres; there another worked at an old sewing machine, making a nightgown-like affair while the buyer waited; a little further on, an old goldsmith worked at his dying art, but using now copper fillings instead of gold to fashion the lovely trinkets women wear the world over; elsewhere a woman sold country cloth fashioned with such fine art that only Africans think of it as a garment of utility. Trade was slow and loud everywhere. This was as much a social as a shopping centre. For an excuse to spend the day at the market, a woman would walk all way from her village to town with half dozen eggs. She would spread them on a little bit of ground for which she paid rent. Through the day she would squat on the ground and talk to others who came for the same reason. She would refuse to sell her wares till it was time to leave. They were the excuse for business. Whether in earnest or as an excuse, the traders were boisterously free, loud-mouthed and happy. The laughter of the market was a laughter found nowhere else in all the world……………

The market was old, timeless Africa; loud, crowed and free. Here a man sat making sandals from old discarded motor-car tyres; there another worked at an old sewing machine, making a nightgown-like affair while the buyer waited; a little further on, an old goldsmith worked at his dying art, but using now copper fillings instead of gold to fashion the lovely trinkets women wear the world over; elsewhere a woman sold country cloth fashioned with such fine art that only Africans think of it as a garment of utility. Trade was slow and loud everywhere. This was as much a social as a shopping centre. For an excuse to spend the day at the market, a woman would walk all way from her village to town with half dozen eggs. She would spread them on a little bit of ground for which she paid rent. Through the day she would squat on the ground and talk to others who came for the same reason. She would refuse to sell her wares till it was time to leave. They were the excuse for business. Whether in earnest or as an excuse, the traders were boisterously free, loud-mouthed and happy. The laughter of the market was a laughter found nowhere else in all the world……………

The market was old, timeless Africa; loud, crowed and free. Here a man sat making sandals from old discarded motor-car tyres; there another worked at an old sewing machine, making a nightgown-like affair while the buyer waited; a little further on, an old goldsmith worked at his dying art, but using now copper fillings instead of gold to fashion the lovely trinkets women wear the world over; elsewhere a woman sold country cloth fashioned with such fine art that only Africans think of it as a garment of utility. Trade was slow and loud everywhere. This was as much a social as a shopping centre. For an excuse to spend the day at the market, a woman would walk all way from her village to town with half dozen eggs. She would spread them on a little bit of ground for which she paid rent. Through the day she would squat on the ground and talk to others who came for the same reason. She would refuse to sell her wares till it was time to leave. They were the excuse for business. Whether in earnest or as an excuse, the traders were boisterously free, loud-mouthed and happy. The laughter of the market was a laughter found nowhere else in all the world……………

The market was old, timeless Africa; loud, crowed and free. Here a man sat making sandals from old discarded motor-car tyres; there another worked at an old sewing machine, making a nightgown-like affair while the buyer waited; a little further on, an old goldsmith worked at his dying art, but using now copper fillings instead of gold to fashion the lovely trinkets women wear the world over; elsewhere a woman sold country cloth fashioned with such fine art that only Africans think of it as a garment of utility. Trade was slow and loud everywhere. This was as much a social as a shopping centre. For an excuse to spend the day at the market, a woman would walk all way from her village to town with half dozen eggs. She would spread them on a little bit of ground for which she paid rent. Through the day she would squat on the ground and talk to others who came for the same reason. She would refuse to sell her wares till it was time to leave. They were the excuse for business. Whether in earnest or as an excuse, the traders were boisterously free, loud-mouthed and happy. The laughter of the market was a laughter found nowhere else in all the world……………

The market was old, timeless Africa; loud, crowed and free. Here a man sat making sandals from old discarded motor-car tyres; there another worked at an old sewing machine, making a nightgown-like affair while the buyer waited; a little further on, an old goldsmith worked at his dying art, but using now copper fillings instead of gold to fashion the lovely trinkets women wear the world over; elsewhere a woman sold country cloth fashioned with such fine art that only Africans think of it as a garment of utility. Trade was slow and loud everywhere. This was as much a social as a shopping centre. For an excuse to spend the day at the market, a woman would walk all way from her village to town with half dozen eggs. She would spread them on a little bit of ground for which she paid rent. Through the day she would squat on the ground and talk to others who came for the same reason. She would refuse to sell her wares till it was time to leave. They were the excuse for business. Whether in earnest or as an excuse, the traders were boisterously free, loud-mouthed and happy. The laughter of the market was a laughter found nowhere else in all the world……………

In order to approach the problem of anxiety in play, let us consider the activity of building and destroying a tower. Many a mother thinks that her son is in a ‘destructive stage’ or even has a ‘destructive personality’ because after building a big, big tower, the boy cannot follow her advice to leave the tower for Daddy to see, but instead must kick it and make it collapse. The almost manic pleasure with which children watch the collapse in a second of the product of long play-labor has puzzles many, especially since the child does not appreciate it at all if his tower falls by accident or by a helpful uncle’s hand. He, the builder must destroy it himself. This game, I should think arises from the not so distant experience of sudden falls at the very time when standing upright on wobbly legs afforded a new and fascinating perspective on existence. The child who consequently learns to make a tower ‘stand up’ enjoys causing the same tower to waver and collapse; in addition to the active mastery over a previous passive event, it makes one feel stronger to know that there is somebody weaker-and towers, unlike little sister, can’t cry and call ‘mummy’

In order to approach the problem of anxiety in play, let us consider the activity of building and destroying a tower. Many a mother thinks that her son is in a ‘destructive stage’ or even has a ‘destructive personality’ because after building a big, big tower, the boy cannot follow her advice to leave the tower for Daddy to see, but instead must kick it and make it collapse. The almost manic pleasure with which children watch the collapse in a second of the product of long play-labor has puzzles many, especially since the child does not appreciate it at all if his tower falls by accident or by a helpful uncle’s hand. He, the builder must destroy it himself. This game, I should think arises from the not so distant experience of sudden falls at the very time when standing upright on wobbly legs afforded a new and fascinating perspective on existence. The child who consequently learns to make a tower ‘stand up’ enjoys causing the same tower to waver and collapse; in addition to the active mastery over a previous passive event, it makes one feel stronger to know that there is somebody weaker-and towers, unlike little sister, can’t cry and call ‘mummy’

In order to approach the problem of anxiety in play, let us consider the activity of building and destroying a tower. Many a mother thinks that her son is in a ‘destructive stage’ or even has a ‘destructive personality’ because after building a big, big tower, the boy cannot follow her advice to leave the tower for Daddy to see, but instead must kick it and make it collapse. The almost manic pleasure with which children watch the collapse in a second of the product of long play-labor has puzzles many, especially since the child does not appreciate it at all if his tower falls by accident or by a helpful uncle’s hand. He, the builder must destroy it himself. This game, I should think arises from the not so distant experience of sudden falls at the very time when standing upright on wobbly legs afforded a new and fascinating perspective on existence. The child who consequently learns to make a tower ‘stand up’ enjoys causing the same tower to waver and collapse; in addition to the active mastery over a previous passive event, it makes one feel stronger to know that there is somebody weaker-and towers, unlike little sister, can’t cry and call ‘mummy’

In order to approach the problem of anxiety in play, let us consider the activity of building and destroying a tower. Many a mother thinks that her son is in a ‘destructive stage’ or even has a ‘destructive personality’ because after building a big, big tower, the boy cannot follow her advice to leave the tower for Daddy to see, but instead must kick it and make it collapse. The almost manic pleasure with which children watch the collapse in a second of the product of long play-labor has puzzles many, especially since the child does not appreciate it at all if his tower falls by accident or by a helpful uncle’s hand. He, the builder must destroy it himself. This game, I should think arises from the not so distant experience of sudden falls at the very time when standing upright on wobbly legs afforded a new and fascinating perspective on existence. The child who consequently learns to make a tower ‘stand up’ enjoys causing the same tower to waver and collapse; in addition to the active mastery over a previous passive event, it makes one feel stronger to know that there is somebody weaker-and towers, unlike little sister, can’t cry and call ‘mummy’

In order to approach the problem of anxiety in play, let us consider the activity of building and destroying a tower. Many a mother thinks that her son is in a ‘destructive stage’ or even has a ‘destructive personality’ because after building a big, big tower, the boy cannot follow her advice to leave the tower for Daddy to see, but instead must kick it and make it collapse. The almost manic pleasure with which children watch the collapse in a second of the product of long play-labor has puzzles many, especially since the child does not appreciate it at all if his tower falls by accident or by a helpful uncle’s hand. He, the builder must destroy it himself. This game, I should think arises from the not so distant experience of sudden falls at the very time when standing upright on wobbly legs afforded a new and fascinating perspective on existence. The child who consequently learns to make a tower ‘stand up’ enjoys causing the same tower to waver and collapse; in addition to the active mastery over a previous passive event, it makes one feel stronger to know that there is somebody weaker-and towers, unlike little sister, can’t cry and call ‘mummy’

In order to approach the problem of anxiety in play, let us consider the activity of building and destroying a tower. Many a mother thinks that her son is in a ‘destructive stage’ or even has a ‘destructive personality’ because after building a big, big tower, the boy cannot follow her advice to leave the tower for Daddy to see, but instead must kick it and make it collapse. The almost manic pleasure with which children watch the collapse in a second of the product of long play-labor has puzzles many, especially since the child does not appreciate it at all if his tower falls by accident or by a helpful uncle’s hand. He, the builder must destroy it himself. This game, I should think arises from the not so distant experience of sudden falls at the very time when standing upright on wobbly legs afforded a new and fascinating perspective on existence. The child who consequently learns to make a tower ‘stand up’ enjoys causing the same tower to waver and collapse; in addition to the active mastery over a previous passive event, it makes one feel stronger to know that there is somebody weaker-and towers, unlike little sister, can’t cry and call ‘mummy’

In the past, learning English as a separate subject seemed relatively easy. The textbook selected and graded items of language which were put into context and then practised intensively. New items were carefully controlled so that the student could cope quite easily. Now that English is used as a medium of instruction, however, all this has changed. Unknown items of grammar and vocabulary appear in texts which attempt to explain new and often difficult information. Difficulties with the language interact with difficulties as regards the subject matter. The student’s reading in his own subject slows down and his comprehension becomes less secure. He expresses himself slowly and often fails to convey his ideas exactly. He is disappointed to find that under pressure he makes a lot of unnecessary mistakes in areas where he knows the correct language forms. His social relations are difficult as he cannot find the right phrase quickly enough to keep a conversation going; so his language often betrays him into dullness, coldness, or worst of all rudeness. Instead of the students being in control of the language, the language seems now to be in control of the student.
All of this can be very depressing and the student can start to feel very anxious. Working in a foreign language is also very tiring, and the concentration and self-discipline required to correct one’s mistakes is very great indeed.

In the past, learning English as a separate subject seemed relatively easy. The textbook selected and graded items of language which were put into context and then practised intensively. New items were carefully controlled so that the student could cope quite easily. Now that English is used as a medium of instruction, however, all this has changed. Unknown items of grammar and vocabulary appear in texts which attempt to explain new and often difficult information. Difficulties with the language interact with difficulties as regards the subject matter. The student’s reading in his own subject slows down and his comprehension becomes less secure. He expresses himself slowly and often fails to convey his ideas exactly. He is disappointed to find that under pressure he makes a lot of unnecessary mistakes in areas where he knows the correct language forms. His social relations are difficult as he cannot find the right phrase quickly enough to keep a conversation going; so his language often betrays him into dullness, coldness, or worst of all rudeness. Instead of the students being in control of the language, the language seems now to be in control of the student.
All of this can be very depressing and the student can start to feel very anxious. Working in a foreign language is also very tiring, and the concentration and self-discipline required to correct one’s mistakes is very great indeed.

In the past, learning English as a separate subject seemed relatively easy. The textbook selected and graded items of language which were put into context and then practised intensively. New items were carefully controlled so that the student could cope quite easily. Now that English is used as a medium of instruction, however, all this has changed. Unknown items of grammar and vocabulary appear in texts which attempt to explain new and often difficult information. Difficulties with the language interact with difficulties as regards the subject matter. The student’s reading in his own subject slows down and his comprehension becomes less secure. He expresses himself slowly and often fails to convey his ideas exactly. He is disappointed to find that under pressure he makes a lot of unnecessary mistakes in areas where he knows the correct language forms. His social relations are difficult as he cannot find the right phrase quickly enough to keep a conversation going; so his language often betrays him into dullness, coldness, or worst of all rudeness. Instead of the students being in control of the language, the language seems now to be in control of the student.
All of this can be very depressing and the student can start to feel very anxious. Working in a foreign language is also very tiring, and the concentration and self-discipline required to correct one’s mistakes is very great indeed.

In the past, learning English as a separate subject seemed relatively easy. The textbook selected and graded items of language which were put into context and then practised intensively. New items were carefully controlled so that the student could cope quite easily. Now that English is used as a medium of instruction, however, all this has changed. Unknown items of grammar and vocabulary appear in texts which attempt to explain new and often difficult information. Difficulties with the language interact with difficulties as regards the subject matter. The student’s reading in his own subject slows down and his comprehension becomes less secure. He expresses himself slowly and often fails to convey his ideas exactly. He is disappointed to find that under pressure he makes a lot of unnecessary mistakes in areas where he knows the correct language forms. His social relations are difficult as he cannot find the right phrase quickly enough to keep a conversation going; so his language often betrays him into dullness, coldness, or worst of all rudeness. Instead of the students being in control of the language, the language seems now to be in control of the student.
All of this can be very depressing and the student can start to feel very anxious. Working in a foreign language is also very tiring, and the concentration and self-discipline required to correct one’s mistakes is very great indeed.

In the past, learning English as a separate subject seemed relatively easy. The textbook selected and graded items of language which were put into context and then practised intensively. New items were carefully controlled so that the student could cope quite easily. Now that English is used as a medium of instruction, however, all this has changed. Unknown items of grammar and vocabulary appear in texts which attempt to explain new and often difficult information. Difficulties with the language interact with difficulties as regards the subject matter. The student’s reading in his own subject slows down and his comprehension becomes less secure. He expresses himself slowly and often fails to convey his ideas exactly. He is disappointed to find that under pressure he makes a lot of unnecessary mistakes in areas where he knows the correct language forms. His social relations are difficult as he cannot find the right phrase quickly enough to keep a conversation going; so his language often betrays him into dullness, coldness, or worst of all rudeness. Instead of the students being in control of the language, the language seems now to be in control of the student.
All of this can be very depressing and the student can start to feel very anxious. Working in a foreign language is also very tiring, and the concentration and self-discipline required to correct one’s mistakes is very great indeed.

To listen properly is hard job and probably one of the toughest skills in the art of communication. Good listening has nothing to do with proper functioning of one’s auditory organs, which is assumed to be inevitable. Good listening in the sense we are interested in is not a biological factor, but a psychological one. Your auditory orangs may be in perfect order, when actually you cannot use them creatively. Creative listening implies your being efficient in the art of concentration; in other words, you concentrate on what one is saying so as to make sure that you hear all that is said. At the same time you are concentrating to hear all that is being said, you are also thinking fast, digesting what is being said, allowing your mental faculties and your memory to accept that which you understand and to reject that which you do not understand, sorting out what you do not understand and storing them somewhere in your brain for future discussion and all at the same time rationalizing what you hear, accepting that which you find rational and rejecting that which you do not find rational.
After you must have listened creatively to what you have been told, then you can respond if the need arises. It is quite proper that you respond because the process of response enhances the art of communication. But your response ought to be only a necessary response; a response that will improve your understanding. This response should involve your mentioning some things you have been told but which do not understand, or politely questioning the rationality of some of the speaker’s argument. But your response must be constructive; must enhance the communicative worth. It should not be an unnecessary argument, or an opportunity for you to express dissatisfaction. The ability properly aids communication and understanding

To listen properly is hard job and probably one of the toughest skills in the art of communication. Good listening has nothing to do with proper functioning of one’s auditory organs, which is assumed to be inevitable. Good listening in the sense we are interested in is not a biological factor, but a psychological one. Your auditory orangs may be in perfect order, when actually you cannot use them creatively. Creative listening implies your being efficient in the art of concentration; in other words, you concentrate on what one is saying so as to make sure that you hear all that is said. At the same time you are concentrating to hear all that is being said, you are also thinking fast, digesting what is being said, allowing your mental faculties and your memory to accept that which you understand and to reject that which you do not understand, sorting out what you do not understand and storing them somewhere in your brain for future discussion and all at the same time rationalizing what you hear, accepting that which you find rational and rejecting that which you do not find rational.
After you must have listened creatively to what you have been told, then you can respond if the need arises. It is quite proper that you respond because the process of response enhances the art of communication. But your response ought to be only a necessary response; a response that will improve your understanding. This response should involve your mentioning some things you have been told but which do not understand, or politely questioning the rationality of some of the speaker’s argument. But your response must be constructive; must enhance the communicative worth. It should not be an unnecessary argument, or an opportunity for you to express dissatisfaction. The ability properly aids communication and understanding

To listen properly is hard job and probably one of the toughest skills in the art of communication. Good listening has nothing to do with proper functioning of one’s auditory organs, which is assumed to be inevitable. Good listening in the sense we are interested in is not a biological factor, but a psychological one. Your auditory orangs may be in perfect order, when actually you cannot use them creatively. Creative listening implies your being efficient in the art of concentration; in other words, you concentrate on what one is saying so as to make sure that you hear all that is said. At the same time you are concentrating to hear all that is being said, you are also thinking fast, digesting what is being said, allowing your mental faculties and your memory to accept that which you understand and to reject that which you do not understand, sorting out what you do not understand and storing them somewhere in your brain for future discussion and all at the same time rationalizing what you hear, accepting that which you find rational and rejecting that which you do not find rational.
After you must have listened creatively to what you have been told, then you can respond if the need arises. It is quite proper that you respond because the process of response enhances the art of communication. But your response ought to be only a necessary response; a response that will improve your understanding. This response should involve your mentioning some things you have been told but which do not understand, or politely questioning the rationality of some of the speaker’s argument. But your response must be constructive; must enhance the communicative worth. It should not be an unnecessary argument, or an opportunity for you to express dissatisfaction. The ability properly aids communication and understanding

To listen properly is hard job and probably one of the toughest skills in the art of communication. Good listening has nothing to do with proper functioning of one’s auditory organs, which is assumed to be inevitable. Good listening in the sense we are interested in is not a biological factor, but a psychological one. Your auditory orangs may be in perfect order, when actually you cannot use them creatively. Creative listening implies your being efficient in the art of concentration; in other words, you concentrate on what one is saying so as to make sure that you hear all that is said. At the same time you are concentrating to hear all that is being said, you are also thinking fast, digesting what is being said, allowing your mental faculties and your memory to accept that which you understand and to reject that which you do not understand, sorting out what you do not understand and storing them somewhere in your brain for future discussion and all at the same time rationalizing what you hear, accepting that which you find rational and rejecting that which you do not find rational.
After you must have listened creatively to what you have been told, then you can respond if the need arises. It is quite proper that you respond because the process of response enhances the art of communication. But your response ought to be only a necessary response; a response that will improve your understanding. This response should involve your mentioning some things you have been told but which do not understand, or politely questioning the rationality of some of the speaker’s argument. But your response must be constructive; must enhance the communicative worth. It should not be an unnecessary argument, or an opportunity for you to express dissatisfaction. The ability properly aids communication and understanding

To listen properly is hard job and probably one of the toughest skills in the art of communication. Good listening has nothing to do with proper functioning of one’s auditory organs, which is assumed to be inevitable. Good listening in the sense we are interested in is not a biological factor, but a psychological one. Your auditory orangs may be in perfect order, when actually you cannot use them creatively. Creative listening implies your being efficient in the art of concentration; in other words, you concentrate on what one is saying so as to make sure that you hear all that is said. At the same time you are concentrating to hear all that is being said, you are also thinking fast, digesting what is being said, allowing your mental faculties and your memory to accept that which you understand and to reject that which you do not understand, sorting out what you do not understand and storing them somewhere in your brain for future discussion and all at the same time rationalizing what you hear, accepting that which you find rational and rejecting that which you do not find rational.
After you must have listened creatively to what you have been told, then you can respond if the need arises. It is quite proper that you respond because the process of response enhances the art of communication. But your response ought to be only a necessary response; a response that will improve your understanding. This response should involve your mentioning some things you have been told but which do not understand, or politely questioning the rationality of some of the speaker’s argument. But your response must be constructive; must enhance the communicative worth. It should not be an unnecessary argument, or an opportunity for you to express dissatisfaction. The ability properly aids communication and understanding