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Key Facts: Senegal Baccalauréat Série L1a Exam
10/20
Minimum weighted average required for immediate admission (Premier Groupe)
Office du Baccalauréat du Sénégal
Coeff 6
Coefficient for both French and Philosophy in Série L1a
Décret portant organisation du Baccalauréat
5,000 FCFA
Registration fee; optional papers cost an additional 1,000 FCFA each
Office du Baccalauréat — 2026 registration conditions
Sample Senegal Baccalauréat Série L1a Practice Questions
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1In classical French dramaturgy codified by Nicolas Boileau, what are the three fundamental unities that structure a classical tragedy?
A.Unity of action, unity of time (24 hours), and unity of place (a single setting)
B.Unity of genre, unity of metric rhyme, and unity of social class
C.Unity of tone, unity of philosophical doctrine, and unity of character psychology
D.Unity of authorial voice, unity of staging machinery, and unity of audience catharsis
Explanation: Codified in Boileau's L'Art poétique (1674) with the famous line 'Qu'en un lieu, qu'en un jour, un seul fait accompli / Tienne jusqu'à la fin le théâtre rempli', the three classical unities require one central plot (action), unfolding within at most twenty-four hours (time), in a single room or palace hall (place).
2Which stylistic figure of speech is characterized by an inverted syntactic or conceptual parallelism following an ABBA pattern?
A.Zeugma
B.Chiasmus (Chiasme)
C.Litotes
D.Anaphora
Explanation: A chiasmus (from the Greek letter chi, 'X') arranges words, grammatical structures, or concepts in an ABBA crossing pattern, such as in Pascal's phrase 'Le cœur a ses raisons que la raison ne connaît point' or 'Il faut manger pour vivre et non pas vivre pour manger'.
3In 17th-century French literature, how does the Classical aesthetic primarily distinguish itself from the Baroque aesthetic?
A.Classicism favors measure, order, clarity, and rational restraint, whereas Baroque celebrates instability, metamorphosis, illusion, and ornamental exuberance.
B.Classicism rejects all Greco-Roman antiquity, whereas Baroque draws exclusively on mythological Greek archetypes.
C.Classicism relies exclusively on free verse and prose, whereas Baroque is strictly limited to regular alexandrines.
D.Classicism focuses entirely on pastoral escapism, whereas Baroque is exclusively dedicated to political treatises.
Explanation: French Classicism (represented by Boileau, Racine, and Corneille) emphasizes harmony, proportion, psychological realism, and restraint under the rule of reason. In contrast, the Baroque aesthetic (earlier 17th century) revels in flux, decorative excess, theatrical illusion, and sensory tension.
4In Pierre Corneille's tragicomedy 'Le Cid' (1637), what constitutes the quintessential 'dilemme cornélien' experienced by Rodrigue?
A.A choice between swearing loyalty to King Don Fernand or joining the Moorish invasion fleet
B.An agonizing conflict between his romantic love for Chimène and his filial duty to avenge his father's honor by killing Chimène's father
C.A struggle between entering the priesthood to expiate his pride or pursuing military glory on the battlefield
D.A political dilemma between defending Castilian feudal autonomy or supporting Roman papal supremacy
Explanation: The 'dilemme cornélien' epitomizes an irreconcilable conflict between two noble imperatives: Rodrigue loves Chimène passionately, but after Chimène's father (the Count) insults Rodrigue's elderly father (Don Diègue), duty and family honor demand that Rodrigue duel and kill the Count, thereby sacrificing Chimène's love.
5In Jean Racine's tragedy 'Phèdre' (1677), how is Phèdre's tragic destiny shaped by Jansenist theological conceptions of human nature and grace?
A.Phèdre achieves moral salvation and emotional tranquility through individual rational willpower and free choice.
B.Phèdre experiences passionate love as an irresistible, monstrous curse that her rational conscience condemns but which she is powerless to overcome without efficacious grace.
C.Phèdre is entirely unburdened by guilt and proudly celebrates her incestuous desire as an expression of divine nature.
D.Phèdre acts solely as a Machiavellian political schemer seeking to usurp the Athenian throne from Theseus.
Explanation: Reflecting Racine's Jansenist upbringing at Port-Royal, Phèdre portrays fallen human nature deprived of divine grace. Phèdre possesses lucid moral clarity about the monstrous nature of her incestuous passion for Hippolyte, yet she remains enslaved to concupiscence and hereditary divine wrath (the curse of Venus), embodying tragic helplessness.
6In Molière's 'Tartuffe' (1664), which societal vice is subjected to scathing comedic exposure and moral condemnation?
A.Religious hypocrisy (la fausse dévotion) used as a manipulative tool for personal enrichment and control
B.Military cowardice among feudal nobles in front of enemy forces
C.Pedantic scientific scholarship among university medical professors
D.Avaricious hoarding of gold coins by merchant usurers
Explanation: Molière's 'Tartuffe, ou l'Imposteur' targets false piety and religious hypocrisy. Tartuffe adopts an outward display of devout piety and asceticism to manipulate the naive bourgeois Orgon, ingratiate himself into the household, and seize Orgon's fortune and daughter.
7What is the precise distinction between a metonymy (métonymie) and a synecdoche (synecdoque) in classical rhetoric?
A.A metonymy designates an entity through a logical contiguity or association (cause for effect, container for content), whereas a synecdoche is based on a quantitative or part-whole inclusion relation.
B.A metonymy uses phonetic sound repetition, whereas a synecdoche relies on grammatical agreement errors.
C.A metonymy compares two terms using an explicit connective word, whereas a synecdoche is an extended narrative allegory.
D.A metonymy exaggerates reality beyond belief, whereas a synecdoche understates an emotion to convey irony.
Explanation: Metonymy replaces a concept with another linked by spatial, temporal, causal, or material association (e.g., 'boire un verre' = container for contents; 'lire un Senghor' = author for work). Synecdoche is a specific variety of metonymy based on a quantitative inclusion relation: part for the whole ('une voile' for 'un navire') or genus for species.
8In classical French prosody, how is a 'contre-rejet' defined within the structure of alexandrine verse?
A.A rhyme scheme where feminine rhymes alternate irregularly with sonnet tercets
B.A rhythmic phenomenon where a brief syntactic element placed at the very end of a line is grammatically and semantically completed in the following line
C.A caesura placed precisely between the fourth and eighth syllables of a decasyllable
D.The accidental presence of an hiatus between two consecutive vowels across a hemistich
Explanation: In French versification, a 'contre-rejet' occurs when a short sentence element or syntactic beginning starts at the end of line 1 (anticipating line 2) and overflows across the line boundary into line 2, creating suspense and rhythmic imbalance. It contrasts with a 'rejet', where a word or short phrase completes a sentence at the beginning of the subsequent line.
9How does Léopold Sédar Senghor define the core cultural aesthetic of the Négritude movement in his critical essays?
A.The total rejection of written literature in favor of exclusively pre-colonial oral incantations
B.The ensemble of cultural, spiritual, artistic, and social values of the Black African world, brought into dialogue with universal civilization
C.A doctrine advocating the complete political and intellectual assimilation of African peoples into Metropolitan France
D.A purely economic ideology centered on Soviet industrial planning in agrarian societies
Explanation: Senghor defined Négritude as 'l'ensemble des valeurs culturelles du monde noir' (the sum total of the cultural, emotional, and artistic values of Black civilization). Far from being a closed nationalism, Senghor envisioned Négritude as Africa's distinctive contribution to the 'Civilisation de l'Universel' (Universal Civilization).
10In Cheikh Hamidou Kane's masterpiece 'L'Aventure ambiguë' (1961), what is the central existential crisis confronted by Samba Diallo?
A.A military mutiny during the construction of the Trans-Saharan railway
B.The spiritual and cultural fracture between traditional Diallobé Koranic mysticism and European Cartesian rationalist schooling
C.An economic struggle over land tenure between nomadic pastoralists and sedentary farmers
D.A political dispute regarding the diplomatic boundaries between Senegal and Mauritania
Explanation: In 'L'Aventure ambiguë', Samba Diallo is nurtured in the intense spiritual discipline of the Koranic Master Thierno, but is then sent by the Grande Royale to the French colonial school to learn 'the art of conquering without being right'. In Paris, he experiences severe cultural alienation, caught between two incompatible spiritual and philosophical worlds.
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