IGNOU MEG 8 Solved Question Paper

Welcome to our blog, In this post, we’re sharing the IGNOU MEG 8 Solved Question Paper of June 2022 examination, focusing on New Literatures in English.

This guide is here to help you prepare for your exams with clear answers and explanations. Whether you’re just starting or revising for your exams, this resource will make studying easier and more effective.

In this post, we’ll discuss all the answers including the short and long answer questions.

You can also download all previous year question papers of Meg 8 from our website.

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Question 1

1. Is there a significant link between literature and politics ? Explain with reference to the prose writings from Kenya or theatre in Nigeria.

Yes, there is a strong and significant link between literature and politics, especially in postcolonial countries like Kenya and Nigeria. Writers from these nations have often used literature as a tool to respond to colonial rule, speak out against injustice, and reflect the struggles of ordinary people. In Kenya, the prose writings of Ngũgĩ wa Thiong’o, particularly in his novel A Grain of Wheat, show how deeply literature and politics are connected. Through his storytelling, Ngũgĩ highlights the pain of colonisation, the fight for independence, and the importance of political freedom and responsibility.

A Grain of Wheat is set in Kenya during the last days of British colonial rule, just before independence. It tells the story of a group of villagers and their roles—both heroic and cowardly—during the Mau Mau rebellion, a real historical movement that fought against British occupation. The novel focuses not only on political events but also on the emotional, moral, and personal effects of those events. It shows how political struggles deeply affect people’s lives, relationships, and identities.

Ngũgĩ uses characters like Kihika, a young man who becomes a symbol of resistance. He sacrifices his life for the freedom of his country. On the other hand, Mugo, a quiet and respected man in the village, hides a secret—he betrayed Kihika to the British. This act of betrayal is not just personal; it has political meaning. Ngũgĩ uses Mugo’s guilt and isolation to show how colonialism forced people to make terrible choices, sometimes against their own community. In this way, the novel shows how politics is not only in governments but in everyday decisions and relationships.

Ngũgĩ also uses his novel to criticise those who seek personal gain after independence. Some characters who did not fight for freedom now want power and rewards. Ngũgĩ warns that true freedom requires honesty, unity, and responsibility, not just the end of foreign rule. Through this message, he uses literature to guide society and to suggest how political life should be shaped in the future.

In Nigeria, a similar connection between literature and politics can be seen in Wole Soyinka’s theatre, especially in plays like A Dance of the Forests. Soyinka uses drama to question the direction of Nigerian society at the time of independence. He blends traditional beliefs with modern political concerns and warns against forgetting the lessons of history. His plays are filled with political symbolism, calling on citizens to take responsibility and not repeat past mistakes.

Both Ngũgĩ and Soyinka believe that writers have a duty to their society. They use literature not just to entertain, but to educate, awaken, and lead people toward justice and truth. Whether in prose or theatre, African writers have shown that literature can be a powerful political tool, shaping thoughts, challenging systems, and imagining better futures.

Question 2

2. Where would you locate Patrick White within the tradition of Australian fiction ? Explain.

Patrick White holds a central and groundbreaking position in the tradition of Australian fiction. He is widely regarded as one of Australia’s greatest literary figures and was the first Australian to win the Nobel Prize in Literature in 1973. His writings brought Australian literature to global attention and helped to shape its modern identity. While earlier Australian fiction often focused on the bush, outback life, or colonial adventure stories, Patrick White introduced deep psychological, spiritual, and symbolic themes into Australian writing, transforming its literary tradition.

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Question 3

3. Write a detailed note on the structure and characterisation in A Dance of the Forests.

Wole Soyinka’s A Dance of the Forests is a deeply symbolic and spiritual play written to mark Nigeria’s independence in 1960. Instead of offering a joyful celebration, the play presents a warning to the new nation. Soyinka suggests that true independence can only be meaningful if the people confront their past, understand their flaws, and work towards moral renewal. The structure of the play and the characterisation of its figures play a key role in expressing these themes.

The structure of A Dance of the Forests is non-linear and complex. It moves between reality, dreams, and the spirit world, blending the present with the past. The play is set during a festival, when villagers invite the spirits of honoured ancestors to bless their future. But instead of noble spirits, two troubled souls—a Dead Man and a Dead Woman—arrive, representing hidden shame from the community’s past. This unexpected arrival creates a spiritual and moral crisis. Soyinka also uses the device of a “play within a play”, where characters relive their past lives. Through these mystical and symbolic sequences, he forces them—and the audience—to face past mistakes and personal guilt.

Soyinka follows Yoruba theatrical traditions, which include song, dance, masks, and spiritual symbolism. These elements are not used simply for entertainment but help build a ritual-like atmosphere where the physical and spiritual worlds meet. The use of Yoruba beliefs and cultural elements makes the structure rich, layered, and deeply rooted in African thought. Instead of a traditional storyline with a clear beginning and end, the play is structured like a journey of self-realisation, where the audience and characters must reflect on their actions.

The characterisation in A Dance of the Forests is equally symbolic. Each character plays both a personal and a symbolic role, often representing broader ideas or historical truths.

Demoke, the carver, is a central figure. In the present, he is respected, but he carries guilt for causing the death of his apprentice. Through the spirit world, his past life reveals similar flaws, showing that his struggle is not new. He represents the artist’s responsibility and the conflict between pride and truth.

Rola, a dancer and former prostitute, also has a double identity. In her past life, she was Madame Tortoise, a woman who used charm and power for cruel purposes. Her character shows the theme of hidden guilt and the need for self-purification.

The Dead Man and Dead Woman symbolise forgotten victims of past injustice. Their return to the living world represents the need to face historical truths that were ignored or buried.

The Forest Head acts like a spiritual judge, guiding the journey but not interfering. He represents wisdom and balance, while Aroni, the limping messenger, serves as a bridge between worlds and a reminder of human imperfection.

Through this unique structure and symbolic characters, Soyinka delivers a powerful message: a nation cannot move forward unless it faces its past with honesty and learns from it.

Question 4

4. What does the title Ice-Candy-Man signify ? Discuss.

The title Ice-Candy-Man by Bapsi Sidhwa holds deep symbolic meaning and plays an important role in understanding the themes and messages of the novel. While on the surface, it refers to a charming street vendor who sells ice candy to children, it actually represents a complex character who reflects the social and emotional turmoil of Partition. Through the Ice-Candy-Man, the novel explores themes of love, betrayal, communal violence, identity, and the impact of historical events on individuals.

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Question 5

5. Is the house on Sikkim street the ideal house for Mr. Biswas ? Discuss.

In A House for Mr. Biswas by V. S. Naipaul, the house on Sikkim Street represents the long-awaited dream of Mr. Mohun Biswas—to have a place of his own, where he can live with dignity and independence. Throughout the novel, Mr. Biswas struggles against poverty, humiliation, and the control of the Tulsi family. He believes that owning a house will give him personal freedom and a sense of identity. The question arises: is the house on Sikkim Street the ideal house for him? The answer is both yes and no, depending on how we view the meaning of “ideal.”

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Question 6

6. Examine the impact of the Calypso on the poetry of Walcott.

The impact of Calypso on the poetry of Derek Walcott is both deep and meaningful. Calypso is a style of music and song that originated in the Caribbean, especially Trinidad, and is known for its rhythmic beat, storytelling, humour, political commentary, and use of local dialect. Walcott, as a Caribbean poet from St. Lucia, drew inspiration from the Calypso tradition and reflected its qualities in his poetry. It helped him shape a distinct Caribbean voice, blending local culture with classical poetic forms.

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