Answering oral literature questions in the Kenya Certificate of Secondary Education examination (KCSE) requires a careful blend of knowledge, analysis and creativity. Unlike other sections of English Paper Two, oral literature draws directly from the Kenyan and African tradition of storytelling, proverbs, riddles, songs and oral narratives. It tests the candidate’s ability to appreciate the richness of oral tradition and to analyse it with precision. The most examined area is the oral narrative, which comprises six main types: myths, legends, dilemmas, ogre stories, trickster tales, and etiological or “why” stories. Whenever a candidate is presented with a narrative in the examination, the first challenge is to classify it correctly. Classification always comes with a reason, and that is where candidates must pay attention. If the story features animals that speak and behave like human beings, then it is a fable. If it attempts to explain the origins of natural phenomena, then it is a why story. If it features ogres eating or threatening humans, it is an ogre story. If it describes the deeds of essential ancestors or heroes, it is a legend. If it involves a god or supernatural being explaining creation or cosmology, it is a myth. Correct classification earns marks, but without a reason, the answer is incomplete.
Characterisation is another common area. Candidates are expected to identify the characters in the story and describe their qualities, using evidence from the narrative. Suppose the story involves a trickster like Hare outsmarting Hyena. In that case, Hare can be described as cunning or clever, while Hyena may be portrayed as greedy or foolish. When answering characterisation questions, it is important to avoid bare adjectives. Instead, one should always give a supporting action. For example, one might say: “Hare is cunning because he devises a trick to escape from Hyena’s trap.” This habit of linking character to action is what examiners reward.
Many questions revolve around what we learn about the community from which the story is taken. Here, the candidate must remember that oral narratives are mirrors of society. They reflect the beliefs, practices, and worldviews of the people who told them. For instance, a narrative that warns against greed reflects a community that values moderation and fairness. A tale in which the young respect elders shows that society places importance on age and wisdom. If characters are punished for telling lies, it indicates that truthfulness is a core value. The candidate must phrase these lessons as insights about the community, rather than as personal opinions. This demonstrates an appreciation for the cultural background of oral literature.
Another common demand is to summarise the narrative in three sentences. Students sometimes struggle with brevity, but the key is to focus on either the plot or the theme. A plot summary would highlight the sequence of events, including who the characters are, what they did, and how the story concludes. A thematic summary would state the central message, the conflict and the resolution. For example, if the narrative is about a greedy hyena who tries to eat all the food but ends up trapped, one could write: “The story is about a hyena who attempts to take all the food for himself. His greed leads him into a trap that he cannot escape. The narrative teaches that selfishness brings ruin.” That is a concise summary in three sentences that captures the essence.
Questions about social and economic activities are also common. Candidates must deduce from the details in the story what the community does for survival or leisure. If the characters are depicted hunting, then hunting is a social activity. If they are herding animals, the society practices pastoralism. Farming, fishing, craftwork, marriage ceremonies, initiation rites, and storytelling itself may emerge as social or economic practices. These answers must be tied to evidence in the story and not given randomly. For example: “The community rears livestock because cows and goats are mentioned as part of dowry payment.” Such reasoning shows critical reading.
Sometimes, the examiner will test a candidate’s ability to recognise stylistic devices, such as irony, mood, or tone. Irony is present when the opposite of what is expected happens, often to humorous or tragic effect. If an ogre pretends to be a helper but later devours the children, that is situational irony. Verbal irony may be evident when a character praises someone while intending the opposite. Identifying mood and tone requires sensitivity. If the story involves danger or suspense, the mood may be tense. If the storyteller mocks a greedy character, the tone is satirical. Candidates must not just identify but also illustrate with evidence.
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Moral lessons are almost always tested, since oral literature is didactic. Every narrative carries a teaching. A student should state the lesson clearly, in a single sentence, without moralising. For example: “We learn that greed leads to downfall.” or “The story teaches that honesty is rewarded.” A strong answer does not use vague language like “the story teaches us to be good”. However, it specifies the exact virtue or vice addressed.
At times, candidates may be asked to give a proverb that summarises the story. This requires knowledge of common African proverbs and the ability to connect them to the narrative’s message. If the story is about greed, one could say: “Too much greed bursts the bag.” If it is about deceit, “You can fool people for a time, but not forever.” The proverb should not be forced, but rather fit naturally with the story’s message. Examiners reward appropriateness and creativity.
Increasingly, questions now touch on the features of oral narratives themselves. These include the use of stock phrases, formulaic openings and closings, direct address to the audience, repetition, songs, and personification of animals or natural forces. When asked to identify a feature, a candidate should not only name it but also explain its function. For example, a formulaic opening, such as “Long ago, when animals still talked…” signals to the audience that a story is about to begin. Repetition helps to emphasise key points and make the tale memorable. Direct address, such as “My children, are you listening?” keeps the audience engaged. Candidates who can identify and explain these features demonstrate that they understand how oral narratives function as performance texts.
Closely tied to this are questions on stock phrases. Stock phrases such as “They lived happily ever after” or “That is the story as I heard it” are recurring expressions in oral literature. They serve several functions: they give the narrator time to think, they create rhythm and musicality, and they mark transitions between sections of the story. In the examination, when asked about their function, a student should not just quote the phrase but explain how it helps the narrative flow and how it reflects the oral tradition of storytelling. Recognising these devices demonstrates an awareness that oral literature is not just about content, but also about performance.
In essence, answering KCSE oral literature questions is about attentive reading, cultural sensitivity, and analytical precision. Students must classify narratives correctly with reasons, describe characters with evidence, identify themes and lessons, and connect the story to the life of the community. They should learn to summarise briefly, detect irony and tone, and even supply suitable proverbs. They must also be able to identify features of oral narratives, such as formulaic openings, repetition, and stock phrases, and explain their functions in keeping the performance lively. Above all, answers must be clear, concise and supported with examples from the narrative. Oral literature is about stories, but in the examination room, it becomes a test of critical engagement with those stories. Candidates who read carefully, think about the cultural implications, and express their answers fluently will find this section rewarding. It is not about cramming model answers but about training oneself to respond thoughtfully to the rich tradition of storytelling that continues to shape our values and identities.
By Ashford Kimani
Ashford teaches English and Literature in Gatundu North Sub-County and serves as Dean of Studies.
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