Here are the solutions to your questions: 33. a) i) The phonological patterns employed in the two proverbs are: • Chururu sindondondo: This proverb uses alliteration with the repetition of the 'ch' and 's' sounds, and assonance with the repetition of the 'u' and 'o' vowel sounds. It also has a rhythmic quality due to the repetition of similar syllable structures. • Vulele Vumanyi Mwani Dave: This proverb primarily uses alliteration with the repetition of the 'V' sound at the beginning of words and the 'M' sound. ii) A situation applicable to proverb II ("Slipperiness knows no king"): This proverb means that misfortune or difficult circumstances can affect anyone, regardless of their status, wealth, or power. For example, a wealthy and influential politician might suddenly fall ill with a severe disease, demonstrating that even those in high positions are not immune to life's challenges. iii) Assuming you were translating proverb I ("A tickle is not the same as a gush"), two challenges you would face are: • Loss of cultural nuance: The proverb likely carries a specific cultural meaning or context within the Kiswahili community that might not have a direct equivalent in another language, making it hard to convey its full depth. • Difficulty in finding an equivalent idiom/imagery: The imagery of "tickle" versus "gush" might not resonate or have the same metaphorical power in another language, requiring a translator to find a completely different, yet equally impactful, expression. 34. Four cues that would tell you it is time to make your contribution in a group discussion: • The speaker makes direct eye contact with you, inviting your input. • The speaker pauses or slows down their speech, indicating they are finishing a point. • The speaker uses a rising or falling intonation that signals the end of their turn. • The speaker's body language (e.g., turning towards you, relaxing their posture) suggests they are ready to yield the floor. 35. Use the correct interjection to make each of the following sentences meaningful: i. Bravo! Keep it up! ii. Ouch! That needle hurts! iii. Ugh! What a filthy compound they've got. 36. a) A pun is a play on words that exploits multiple meanings of a word, or words that sound similar but have different meanings, for humorous or rhetorical effect. 36. b) The pun in the statement "The ties she bought for him strengthened the ties between them" relies on the word "ties" having two meanings: • Physical ties: Referring to neckties, an article of clothing. • Emotional ties: Referring to the bonds or relationship between two people. The pun suggests that the gift of neckties (physical ties) helped to improve or strengthen their relationship (emotional ties). 36. c) Four instances that may prompt you to interrupt a speaker even before they have finished: • The speaker makes a factual error or misstatement that needs immediate correction. • The speaker makes an offensive or inappropriate comment that requires an immediate response. • The speaker misrepresents your views or the views of a group you represent. • There is an urgent need for clarification on a point that is critical to understanding the rest of the speech. 37. A complete riddling cycle: Opening Formula: "I have a riddle, a riddle for you!" Riddle: "I have cities, but no houses; forests, but no trees; and water, but no fish. What am I?" Audience Guess (Illustration): "Is it a book?" (Incorrect) "A dream?" (Incorrect) Answer: "A map." Closing Formula/Reward (Illustration): "You tried your best! The answer is a map. Now, it's your turn to give a riddle!" 38. To make my delivery effective when giving a speech in my former school, I would: • Know my audience: Tailor the content and language to resonate with students of that age group, using relatable examples. • Practice extensively: Rehearse the speech multiple times to ensure fluency, natural pacing, and confidence. • Use vocal variety: Vary my pitch, tone, and pace to keep the audience engaged and emphasize key points. • Maintain eye contact: Connect with different sections of the audience to create a sense of personal connection and sincerity. • Incorporate appropriate gestures and body language: Use natural movements to reinforce my message and appear dynamic. • Start with an engaging hook: Capture their attention immediately with an anecdote, a rhetorical question, or a surprising fact. • Be authentic and passionate: Speak from the heart about topics I genuinely care about to inspire and connect with them. 39. To overcome nervousness when presenting a speech, I would: • Practice thoroughly: Familiarity with the content builds confidence and reduces anxiety. • Deep breathing exercises: Take slow, deep breaths before and during the speech to calm my nerves. • Positive visualization: Imagine myself delivering a successful speech and receiving a positive response. • Focus on the message: Shift my attention from my own anxiety to the importance of the information I am conveying. • Connect with friendly faces: Identify a few supportive individuals in the audience and make eye contact with them. • Move slightly: Use controlled movements or gestures to release nervous energy. • Arrive early: Get accustomed to the speaking environment and set up any necessary materials. 40. a) Indicate the stress in the underlined words: • I re-FUSE to be used to benefit selfish people. (Verb, stress on the second syllable) • The REF-use outside his back door has been taken away. (Noun, stress on the first syllable) 40. b) Underline the word that is the odd one out in each group in terms of pronunciation of the underlined sound: • Castle, rapport, buffet, duet (The 't' is pronounced in 'duet', silent in the others) • Isotherm, island, aisle, isle (The 's' is pronounced in 'isotherm', silent in the others) • Debt, dumb, chamber, plumber (The 'b' is pronounced in 'chamber', silent in the others) • Resignation, designation, assignment, pregnant (The 'g' is pronounced in 'pregnant', silent or part of a silent 'gn' in the others) 41. The body movements observed in the students indicate: • Coming closer to you: This suggests interest and a desire to hear you better, indicating engagement. • Pacing up and down: This indicates restlessness, impatience, or possibly boredom if they are not engaged. • Fidgeting in their seats: This also suggests boredom, restlessness, or discomfort, indicating a lack of engagement. • Clicking: This is a sign of impatience or annoyance, possibly indicating they want you to hurry up. • Slapping his forehead: This typically signifies frustration, self-reproach, or a sudden realization of a mistake or something forgotten. 42. What do you understand these body movements to mean? a) Clicking: This often indicates impatience, annoyance, or an attempt to get attention. b) Slapping one's forehead with one's palm: This typically signifies frustration, regret, self-reproach, or a sudden realization (e.g., remembering something important or realizing a mistake). c) Fidgeting in one's seat: This suggests boredom, restlessness, discomfort, or impatience. d) Pacing up and down: This can indicate restlessness, impatience, anxiety, or deep thought/contemplation. e) Moving closer to the speaker: This usually signifies interest, engagement, a desire to hear better, or to feel more connected to the