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In contrast, Baroka was able to tap into Sidi's desires and manipulate her into marrying him. Baroka's cunning and experience allowed him to outmaneuver Lakunle at every turn, ultimately leading to Lakunle's loss. Furthermore, the societal norms and expectations of the village also worked against Lakunle. The villagers, including Sidi's parents, were more inclined to accept Baroka as a suitable husband due to his wealth, status, and traditional values. Lakunle's modernity and lack of traditional credentials made him a less desirable suitor in the eyes of the villagers. In conclusion, Lakunle's loss to Baroka can be attributed to a combination of his own arrogance and naivety, his inability to connect with Sidi on an emotional level, and the societal norms and expectations of the village. ™™™™™™™™™™™™™™™™™™™™ 4. *The relationship between Sadiku and Sidi in Wole Soyinka's play* "The Lion and the Jewel" is a significant aspect of the narrative, contributing to the development of the play in several ways. Firstly, the relationship between Sadiku and Sidi serves as a foil to the main conflict between Lakunle and Baroka. Sadiku's possessiveness and jealousy towards Sidi highlight the societal expectations placed on women in the village. This dynamic also underscores the limitations placed on Sidi's agency and autonomy, as she is caught between her desire for independence and the societal pressures to conform. Furthermore, the relationship between Sadiku and Sidi reveals the complexities of female relationships in the village. Sadiku's character, in particular, adds depth to the narrative, as her motivations and actions are driven by a desire to protect Sidi from the perceived threats of Lakunle and Baroka. This portrayal challenges the notion of women as passive victims, instead highlighting their agency and capacity for action. The relationship between Sadiku and Sidi also serves as a commentary on the changing values and social norms in the village. Sadiku's adherence to traditional values and her suspicion of outsiders, particularly Lakunle, highlight the tensions between tradition and modernity. This dynamic is mirrored in Sidi's own struggles with her identity and her desire for independence, which is reflected in her relationships with both Lakunle and Baroka. In addition, the relationship between Sadiku and Sidi provides a nuanced exploration of the theme of beauty and its commodification. Sidi's beauty is a coveted asset, sought after by both Lakunle and Baroka. Sadiku's attempts to protect Sidi from these suitors serve as a commentary on the ways in which women's bodies are controlled and commodified by societal expectations. Finally, the relationship between Sadiku and Sidi adds a layer of emotional depth to the narrative, highlighting the complexities of human relationships and the ways in which they are shaped by societal expectations, cultural norms, and personal desires. In conclusion, the relationship between Sadiku and Sidi is a crucial aspect of "The Lion and the Jewel", contributing to the development of the play through its exploration of themes such as societal expectations, female agency, tradition, modernity, beauty, and commodification. NECO GCE LITERATURE (2) The proverb "Behind every set of white teeth lurks an evil-plotting mind" aptly captures the theme of betrayal, deceit, and manipulation in the play. The tragic fall of Queen Yoko is driven by the actions of those closest to her, who mask their envy and resentment behind outward displays of loyalty and respect. Despite her courage, determination, and sacrifices, Yoko is ultimately undone by the treachery of trusted allies and even her own family members.

NECO GCE LITERATURE 1.... LITERATURE Th *e novel "Let Me Die Alone" by John K. Kargbo* delves into the dark themes of violence, trauma, and murder. Set against the backdrop of Sierra Leone's brutal civil war, the narrative exposes the pervasive nature of murder in a society ravaged by conflict and lawlessness. Through the protagonist's experiences, Kargbo masterfully portrays the normalization of murder as a means to an end. The characters' exposure to violence and death desensitizes them, making murder seem like an acceptable solution to their problems. This prevalence of murder is further exacerbated by the breakdown of social structures, the absence of effective law enforcement, and the proliferation of small arms. Kargbo's vivid descriptions of gruesome murders and massacres serve as a stark reminder of the devastating consequences of unchecked violence. The novel highlights the devastating impact of murder on individuals, families, and communities, leaving deep scars that can take generations to heal. Ultimately, "Let Me Die Alone" presents a sobering portrayal of a society where murder has become an all-too-common occurrence. Through its unflinching examination of the prevalence of murder, the novel serves as a powerful indictment of the failures of humanity and the devastating consequences of unchecked violence. ™™™™™™™™™™™™™™™™™™™™™ 2.... *Here's a discussion of the proverb "Behind every set of white teeth lurks an evil plotting mind" in relation to the fall of Queen Yoko in the text "Let Me Die Alone":* The proverb suggests that appearances can be deceiving, and that even the most seemingly innocent or harmless individuals can harbor malicious intentions. This saying is eerily relevant to the character of Queen Yoko in John K. Kargbo's novel "Let Me Die Alone". Queen Yoko, with her charming smile and beguiling demeanor, appears to be a benevolent and kind-hearted leader. However, as the narrative unfolds, her true nature is revealed, exposing a ruthless and power-hungry individual who will stop at nothing to maintain her grip on power. Behind her "white teeth" – her charming and disarming smile – Queen Yoko conceals a calculating and manipulative mind. She uses her charm and beauty to deceive and exploit others, including her own family members and loyal subjects. Her evil plotting mind is constantly at work, scheming and conspiring to eliminate any perceived threats to her power and position. The fall of Queen Yoko serves as a cautionary tale about the dangers of judging individuals based on appearances alone. Her downfall is a direct result of her own evil actions and the consequences of her malicious plotting. The proverb "Behind every set of white teeth lurks an evil plotting mind" is starkly illustrated through Queen Yoko's character, serving as a reminder to beware of false appearances and to be cautious of those who may be hiding sinister intentions behind their charming smiles. ™™™™™™™™™™™™™™™™™™™™ 3. *In the play "The Lion and the Jewel" by Wole Soyinka, Lakunle's loss to Baroka can be attributed to several factors. Here's an account of his loss:* Lakunle, the young and modernized schoolteacher, had his eyes set on marrying Sidi, the beautiful and vibrant village maiden. However, his chances of winning her hand were thwarted by Baroka, the cunning and manipulative Bale of the village. One major factor that contributed to Lakunle's loss was his own arrogance and naivety. He underestimated Baroka's cunning and overestimated his own modernity and education. Lakunle's condescending attitude towards the village traditions and his dismissal of Baroka as a relic of the past ultimately led to his downfall. Another factor that worked against Lakunle was his inability to connect with Sidi on an emotional level. Despite his modern education and ideals, Lakunle failed to understand Sidi's deep-seated desires and aspirations. He saw her as a trophy to be won, rather than as a person with her own agency and desires.

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*NECO GCE CRS* *NUMBER ONE* (1a) Shadrach, Meshach, and Abednego, three Jewish men in Babylon, faced religious persecution under King Nebuchadnezzar. They refused to worship the golden image that the king had set up, as their faith prohibited idolatry. Their defiance of the king's decree was reported, and they were summoned before him. Despite the king's threats of being thrown into a fiery furnace, they remained steadfast in their faith, declaring that their God was able to save them but that they would not bow to the image regardless of the outcome. Enraged, Nebuchadnezzar ordered the furnace heated seven times hotter than usual and had them bound and thrown in. The flames were so intense that they killed the soldiers who cast them into the fire. However, God miraculously protected Shadrach, Meshach, and Abednego. They were seen walking unbound in the furnace with a fourth figure who looked like "a son of the gods." When they emerged, they were unharmed, and their faith caused Nebuchadnezzar to praise their God and decree protection for their religion. (1b) (PICK ANY THREE) (i) Test of Faith (ii) Glorification of God (iii) Spiritual Growth (iv) Witness to Others (v) Strengthens the Church (vi) Fulfillment of Scripture

*NECO GCE CRS* *NUMBER THREE* (3a) The kingdom of Israel divided during the reign of Rehoboam, Solomon's son, due to widespread discontent caused by heavy taxes and forced labor under Solomon. After Solomon's death, the northern tribes, led by Jeroboam, asked Rehoboam to reduce their burdens. Rehoboam sought advice from two groups: the elders, who advised leniency, and his younger peers, who suggested harsher policies. Rehoboam ignored the elders and told the people he would increase their burdens. Angered by this, the ten northern tribes rebelled, rejecting Rehoboam as king and making Jeroboam their leader. This resulted in the division of Israel into The northern kingdom of Israel (10 tribes) under Jeroboam, and the southern kingdom of Judah (Judah and Benjamin) under Rehoboam. (3b) (PICK ANY THREE) (i) Ignoring the Elders' Counsel (ii) Listening to Inexperienced Peers (iii) Threatening the People (iv) Failing to address the grievances of the northern tribes diplomatically. (v) Failure to Negotiate (vi) Underestimating Tribal Discontent (vii) Overconfidence in Authority

*NECO GCE CRS* *NUMBER TWO* (2a) Joshua's succession of Moses was a significant event in Israel's history. Before Moses died, God instructed him to appoint Joshua as his successor to lead the Israelites into the Promised Land. Joshua had served as Moses' assistant for many years and had proven himself as a faithful and courageous leader, particularly during the exploration of Canaan, where he and Caleb stood firm in their trust in God. Moses publicly commissioned Joshua before the people, laying hands on him as a sign of transfer of authority. God Himself affirmed Joshua's leadership, encouraging him to be strong and courageous and promising His presence with him just as He was with Moses After Moses' death, Joshua took over and led the Israelites across the Jordan River into Canaan. Under his leadership, they conquered many nations and took possession of the Promised Land, fulfilling God's promise to Abraham. Joshua upheld God's laws, often seeking His guidance in decision-making and ensuring the people remained faithful to their covenant with God. (2b) (PICK ANY THREE) (i) Preparation and Mentorship: Like Joshua, leaders should be trained and prepared for their roles through mentorship and experience under senior leaders. (ii) Dependence on God: Leaders should trust in God's guidance and presence in their leadership journey. (iii) Courage and Boldness: Leaders must be courageous in facing challenges and leading their people toward their goals. (iv) Obedience to God's Word: Faithful adherence to God's commandments is essential for successful leadership. (v) Humility and Servanthood: Joshua served faithfully under Moses, showing that leaders should first learn to serve. (vi) Strategic Vision: Church leaders should have a clear vision and strategy to lead their congregations toward achieving spiritual growth and fulfilling God's purpose.

*NECO GCE CRS* *NUMBER EIGHT* (8a) Paul’s teaching on justification by faith is a central theme in his letters, especially in Romans and Galatians. Justification refers to being declared righteous before God, and Paul emphasizes that this is achieved not by works of the law but through faith in Jesus Christ. In Romans 3:28, Paul states, "For we hold that one is justified by faith apart from works of the law." This underscores that salvation is a gift of grace, not something earned by human effort. Through Christ’s sacrifice, believers are forgiven their sins and are made right with God. Paul explains that faith in Jesus brings righteousness because Christ’s death paid the penalty for sin. Paul also contrasts justification by faith with the inability of the law to save. The law reveals sin but cannot provide righteousness. Instead, faith in Christ fulfills the requirements of the law, uniting believers with God. In Romans 5:1, Paul adds, "Therefore, since we have been justified by faith, we have peace with God through our Lord Jesus Christ." (8b) (PICK ANY THREE) (i) Peace with God (ii) Access to God’s grace (iii) Joy in the hope of God’s glory (iv) Growth through trials and tribulations (v) The love of God poured into believers’ hearts through the Holy Spirit (vi) Reconciliation with God

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" Idi: Apólá-Atókùn n tọka si ibi ti a n lọ. (5e) Qró-ásopò: "A ti dá ọrẹ́ mi lórúkọ." Idi: Qró-ásopò n fihan ibasepọ̀ laarin awọn eniyan. (6) "Ibi àgbà là ń bá àgbà" túmọ si pe, a gbọdọ hùwà àti tẹ̀síwájú ti a bá fẹ́ pé àgbàlagbà yóò jẹ́ àpẹẹrẹ. Nínú ìtàn, Mọrèmi fihan pé, a ní láti bọwọ́ fún ìtàn wa àti àgbàlagbà wa, nítorí pé wọn ni ọgbọ́n àti ìmọ̀ tó lágbára. ========================= (7) Nínú ìtàn Mọrèmi, a rí i pé ó jẹ́ apẹẹrẹ ti ibè̩rè àtàwọn ìjà, tí ó fihan bí Mọrèmi àti ẹgbẹ́ rẹ ṣe gbìmọ̀ pọ̀ láti fi ogun kọ́ ilé olóyè Omíyalé. Wọ́n na ijìyà yìí fún àbùkù tí ó kan olóyè náà, tí ó fi hàn pé, ó ṣe pataki láti mọ bí a ṣe le ṣe ìkànsí àtàwọn àbùkù. ========================= (8) Nínú ewì "İlú Májiyàgbé," àwọn ọmọ oyè tí a tọ́ka sí ni: "Ọmọ olóyè" àti "Ọmọ oníṣòwò." Ẹkọ́ tí a rí kà nínú ewì náà ni pé, ìtàn yìí n fi hàn pé, a gbọdọ kọ́ ẹkọ́ lati ọdọ àwọn tí ó ti ní iriri, àti pé, a gbọdọ kó ara wa jọ láti kọ́ ẹkọ́ lati ọdọ wọn. ========================= (9) Óriṣà Şàngó jẹ́ ọba ti ina, ìkànsí, àti ọjọ́. A mọ̀ ọ́ gẹ́gẹ́ bí ẹni tí ó ni agbara láti mu ìjálá, àti pé, ó jẹ́ olórí àwọn ọmọ Yoruba. Şàngó ni a ṣe ọlá rẹ̀ nínú àwọn ayẹyẹ, tí a fi n ṣàfihàn àtinúdá rẹ̀ gẹ́gẹ́ bí aláṣẹ tó dára. Ó ni orúkọ mẹta: "Ọbá, Ọba ti Ina, àti Ọba ti Iṣẹ́." A tẹ̀síwájú láti fi ẹ̀sìn àti ìkànsí hàn pé, a gbà pé Şàngó jẹ́ apẹẹrẹ ti ìtẹ́lọ́run àti agbara. ========================= (10) Awọn iwà ọmọlúabi márùn-ún ní ilẹ̀ Yorùbá ni: (a) Iwájú: Kí a má bà á rẹ̀ jẹ́, a ní láti hùwà pẹ̀lú ìtọ́kasi, àìmọ̀, àti ìtẹ́wọ́gbà. (b) Ìwà pẹ̀lú ìbáṣepọ̀: A ṣe pataki láti ní ìbáṣepọ̀ tó dára pẹ̀lú àwọn ẹlòmíì. (c) Ìwà àtìmọ́: A ní láti jẹ́ ẹni tó mọ̀ ọnà, kó sì ní afẹ́fẹ́ tó dára. (d) Ìwà ìṣedéédé: A gbọdọ hùwà pẹ̀lú òtítọ́, kó sì jẹ́ ẹni tó dára. (e) Ìwà ìwà-ṣe: Kí a má ṣe aláìbáṣepọ̀, a gbọdọ fi ara wa hàn gẹ́gẹ́ bí ọkọ́. ========================= (11) Nígbà tí mo wà nínú ìmọ́lẹ̀, nígbà gbogbo tí a bá ń sọrọ nípa ṣiṣé ìkànsí láti ilé-ẹ̀kọ́ gíga láìsí iṣẹ́, baba mi máa ní ẹ̀kọ́ kan tàbí méjì tí yóò fi hàn pé kò sí àǹfààní. Baba mi fẹ́ràn láti tọ́ka sí àwọn ènìyàn tó ń ṣe éṣé. Ó ti dé ìpele tí a (àwọn ọmọ rẹ) ti le mọ̀ ẹ̀kọ́ tó máa wá sílẹ̀ ní gbogbo àkókò. Ọkan nínú àwọn ẹ̀kọ́ yẹn ni ti James Rowland Agnes, "Ìdí pàtàkì ti ẹ̀kọ́ ni kì í ṣe láti kọ́ ọ bí a ṣe lè ní owó, ṣùgbọ́n láti jẹ́ kó gbogbo àpò nínú ọ́ jẹ́ àtọ́ka." Ní ìbẹ̀rẹ̀ oṣù yìí, mo ṣàbẹwò sí ẹnìkan tó nífẹ̀ẹ́ àwọn ohun tó dára jùlọ ní ayé, tó jẹ́ kó hàn nípasẹ̀ ikojọpọ̀ ìwé rẹ. Ó ní àwọn alejo méjì míì, nítorí náà, ó mú àpọ̀ ọtí kan jáde. Léyìn tí ó ti tú àti pọn àkópọ̀ rẹ, tó jẹ́ pé kó jẹ́ fún àtinúdá ọ̀nà wa, ọkan nínú àwọn alejo mu tiẹ̀ bí gíni. Ní ìmúlò, oju mi ní ìkànkàn pẹ̀lú olùgbàá. Mo kánjú. ========================= (12) Ayé jẹ́ bí iṣiro tó ń lọ lórí àkókò rẹ. Àwọn iranti tó dà bíi pé ó ṣẹlẹ̀ ní ìsẹ̀lẹ̀ àná, di àkókò tó ń parẹ́. Àwọn ènìyàn tí o mọ̀ tẹ́lẹ̀, kọjá látàrí àìmọ̀. Àwọn ìgbà tí a pín, dájú pé, kò sí bí a ṣe wà níbẹ̀. Àkókò ń fò... àwọn ọ̀rẹ́ ń kú... àti pé, o kò mọ̀ pé, igba wo ni iwọ yóò sọ ìkànsí rẹ́ kẹ́yìn. Ó, bí mo ṣe fẹ́ láti lè yí àkókò padà, láti fi sílẹ̀ pẹ̀lú àwọn ololufẹ́, àti láti yèé ohun tí ó jẹ́ ti mi. Tó bá ṣeé ṣe, mo fẹ́ lọ sí àkókò tó sẹ́yìn jù, bí mo ṣe jẹ́ ọmọde ní ilé ìtajà ṣòwò. Bí mo ṣe n ròyìn pé, mo padà sí ìmọ̀lára tó wà ní ayé mi ní ọjọ́ Kérésìmesì, nígbà tí Santa jẹ́ otitọ.

YORUBA-OBJ 01-10: ACDAADDCCA 11-20: CADDAAEDCE 21-30: ABBDBCEBAE 31-40: BCEECBABDE 41-50: DCEADBCACB 51-60: ACECBBABCA Completed!!! ========================= YORUBA- ESSAY-ANSWERS (1a) İdibò Årç Tí Ó Kojá. Idibo arç tí ó kojá jẹ́ ilana ti a fi n ṣe àdáni àtàwọn àpẹẹrẹ, nibi ti a ti n yan ọkùnrin tàbí obìnrin kan lati di alákóso. A n lo ọna ibò tí ó da lori ìpinnu ti àwọn ará àgbègbè, nítorí pé àwọn oludibo ni wọn yẹ kí wọn dá àfihàn wọn sílẹ̀. Ilana yi ni a fi n mu ki iha àjọṣepọ́ wa jẹ́ kedere, nítorí pé ó n fi hàn pé a ní ẹtọ́ láti yan ẹnikẹ́ni tó bá yẹ. A ṣe pataki lati mọ pe idibo arç tí ó kojá jẹ́ àkópọ̀ ti gbogbo àwọn akọ́ròyìn ti a ṣe, àti pe ó n mu ki ipò olóṣèlú di mimọ́. (1b) Işé Quý Dára Ju Işç İjoba Lọ. Iṣẹ́ quý dara ju iṣẹ́ ijọba lọ nítorí pé ó n fojú kọ ipa ti ìjọba rẹ ni nǹkan àgbáyé. Iṣẹ́ quý jẹ́ àfihàn ti àjọṣe pẹ̀lú àwọn ará ilu, tí ó n fi hàn pé a n ṣiṣẹ́ pọ̀ lati mu ki ìdàgbàsókè wa pọ̀ sí i. Iṣẹ́ ijọba, síbẹ, le jẹ́ àìlera pẹ̀lú àwọn àṣà àgbáyé, nítorí pé a n ṣiṣẹ́ pẹ̀lú àwọn àjọṣepọ́ ti ko dára. Iṣẹ́ quý n fun wa ni ànfààní lati da àjọṣe pọ̀, nítorí pé a n ṣe àfihàn ti ìbáṣepọ́ tó dára. (1c) Owó. Owó jẹ́ ohun tí a fi n ṣiṣẹ́, ó sì jẹ́ àfihàn ti ìlera àtàwọn ìdílé. Ó n lọ́wọ́ láti mú ki a lè ra àwọn nǹkan pataki, gẹgẹ bí oúnjẹ, aṣọ, àti ibùsọ̀. Owó tun jẹ́ ohun tí a fi n ṣe àfihàn ìbáṣepọ́ pẹ̀lú àwọn ará wa, nítorí pé a n lo owó lati fi hàn pé a n ṣiṣẹ́ pọ̀. Pẹ̀lú owó, a tún le ní ànfààní ti ìmúrasílẹ̀, nítorí pé ó n jẹ́ kó rọrùn fún wa lati ṣe àfihàn ìlera wa. (1d) İgbèyin Lójù. Igbèyin lóju ni a n pe ni ìpinnu ti a ṣe, nítorí pé ó n dáàbò bo àwọn ohun tí a ti ṣe. Igbèyin jẹ́ ohun tí a fi n ṣe àfihàn ti ìlera wa, nítorí pé a n fojú kọ àkókò tí a n lo. Igbèyin lóju jẹ́ àfihàn ti ìdàgbàsókè, nítorí pé ó n fi hàn pé a n ṣiṣẹ́ pẹ̀lú àwọn ará wa. A n lo igbèyin láti fi hàn pé a ní ìmúrasílẹ̀, nítorí pé a n ṣiṣẹ́ pọ̀. (1e) Gégé bí òşişć, kọ létá sí aláşç ilé işć rę láti gba ààyẻ fún títę síwájú nínú čký rę ní ilę òkèèrè. Kọ létá kan sí aláṣé ilé iṣẹ́ rẹ, nibi ti o ti le ṣe àfihàn ìbáṣepọ́ pẹ̀lú wọn. Jẹ́ ki o kọ lẹta tí ó dá lórí àfihàn ti ìmúrasílẹ̀, nítorí pé ó n fi hàn pé o ní ìfẹ́ lati tẹ̀síwájú. Àwọn akọsilẹ̀ rẹ gbọdọ̀ jẹ́ kedere, nítorí pé o fẹ́ gba ààyẹ́ fún títẹ̀síwájú rẹ. ========================= (2) Şe ȧlàyé kíkún nipa àwọn isórí wonyi: (2a) Kóńsónáńti Aránmúpè Kóńsónáńti aránmúpè jẹ́ àkópọ̀ ti àwọn ohun tí a fi n ṣe àfihàn ti ìmúrasílẹ̀, nítorí pé ó n fi hàn pé a n ṣiṣẹ́ pọ̀. Ó n kó gbogbo awọn àfihàn jọ, nítorí pé a n fojú kọ ọkàn wa. (2b) Fáwęęli Airánmúpė Fáwęęli airánmúpė ni a n lo lati ṣe àfihàn ti ìlera wa, nítorí pé ó n fi hàn pé a n ṣiṣẹ́ pọ̀. Fáwęęli airánmúpė n jẹ́ àfihàn ti ìbáṣepọ́, nítorí pé a n fojú kọ àwọn ohun tí a n ṣiṣẹ́. (2c) Fáwęęli Aárin Fáwęęli aárin jẹ́ àkópọ̀ ti àwọn àfihàn, nítorí pé ó n fi hàn pé a n ṣiṣẹ́ pẹ̀lú àwọn ará wa. Ó jẹ́ àfihàn ti ìlera, nítorí pé a n fojú kọ àwọn ohun tí a n ra. (2d) Fáwęęli Pęręsę Fáwęęli pęręsę ni a n lo lati ṣe àfihàn ti ìmúrasílẹ̀, nítorí pé ó n fi hàn pé a n ṣiṣẹ́ pẹ̀lú àwọn ará wa. Ó n kó gbogbo awọn àfihàn jọ, nítorí pé a n fojú kọ ọkàn wa. (2e) Kóňsónánti Aikùnyün Kóńsónánti aikùnyün jẹ́ àfihàn ti ìmúrasílẹ̀, nítorí pé ó n fi hàn pé a n ṣiṣẹ́ pẹ̀lú àwọn ará wa. Ó n kó gbogbo awọn àfihàn jọ, nítorí pé a n fojú kọ ọkàn wa. ========================= (3a) Ko àwọn făwęęli àiránmúpė Yorùbá jáde. - O: igó - Oúnjẹ: àkàrà - O: òróró - Oúnjẹ: ẹfó (3b) Şe àmúlò áwọn făwęęli náà nínú òrò méji-méji fún ököökan, ki o si fa ilà si idi wọn. - Fáwééli airánmúpè *o* → igó, oúnjẹ - Fáwééli airánmúpè *ó* → òróró, ẹfó ========================= (4a) Gbólóhùn oníbò aşàpónlé: "Gbogbo eniyan ni o ni ohun tí wọn fẹ́." (4b) Gbólóhùn oníbò aşàpèjúwe: "Omo mi ni ọmọ kẹta ti a bí." ========================= (5a) Apólá-orúko: "Tí a bá jẹ́ pé, orúko mi ni Adebayo." Idi: Apólá-orúko n fi orúko eniyan han. (5b) Apólá-işe: "Olùkó ni Aunty Titi." Idi: Apólá-işe n tọka si iṣẹ́ tabi ipa ẹni. (5c) Apólá-àpónlé: "Ile wa ni ilé alágbà." Idi: Apólá-àpónlé n ṣàpèjúwe ibi tabi ipo kan. (5d) Apólá-Atókùn: "Ile-ẹkọ́ ni a n lọ.

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