Last Updated on 26th August , 2024
In this post, we’re sharing the IGNOU MEG 1 Solved Question Paper of December 2023 examination, focusing on British Poetry.
This guide is here to help you prepare for your exams with clear answers and explanations.
In this post, we’ll discuss all the answers including the short and long answer questions. In IGNOU MEG 1 Examination there are total 8 questions out of which students will have to answer 5 questions.
Answering question number 1 is compulsory for all the students as it contains the short answer questions.
So whether you are a student of IGNOU MEG 1 looking to ace your examination or a learner willing to increase your knowledge, this blog post will help you in all the ways possible.
MASTER’S DEGREE PROGRAMME IN ENGLISH (MEG)
Term-End Examination
December, 2023
MEG-01 : BRITISH POETRY
Question 1) (a) Weep no more, woeful shepherds weep no more,
For lycidas your sorrow is not dead,
Sunk though he be beneath the watery floor,
So sinks the day-star in the ocean bed,
And yet a non repairs his drooping head,
Answer –
b) And death shall have no dominion
Dead men maked they shall be one
With the man in the wind and the west moon;
When their bones are picked clean and the clean bones gone.
Answer –
C ) There dwels sweet love and constant chastity,
Unspotted fayth and comely womanhood,
Regard of honour and mild modesty,
The vertue raynes as queene in royal throne,
And giveth lawes alone.
Answer –
D ) All humane things are subject to decay,
And, when Fate summons, Monarchs must obey.
Answer – This passage from John Dryden’s “Mac Flecknoe” is a prelude to mocking Thomas Shadwell, whom Dryden crowns as the heir to dullness. The mock-epic ridicules Shadwell’s literary incompetence, contrasting his unworthiness with the grandeur of his “kingdom.” Dryden reflects on the impermanence of human achievements and reputations.
2 ) Write a critical note on Chaucer’s art of characterisation in ‘The Prologue to Canterbury Tales’.
Answer –
Geoffrey Chaucer’s “The Prologue to the Canterbury Tales” is a masterful exploration of character through vivid and nuanced portrayal, reflecting the complexities of 14th-century English society. Chaucer’s art of characterization is multifaceted, blending detailed descriptions with keen observations of human nature, which allow him to present a diverse array of characters that are both representative of their time and timeless in their portrayal of human traits.
One of the most notable aspects of Chaucer’s characterization is his use of the **framework narrative**. The Prologue serves as a pretext for the tales told by various pilgrims on their journey to Canterbury. This structure enables Chaucer to introduce each character through a series of portraits, both physical and moral, creating a rich tapestry of medieval life. His descriptions are often detailed, blending physical attributes with psychological insights, which allows readers to form a vivid picture of each pilgrim. For instance, the Prioress is depicted with delicate manners and a refined appearance, yet Chaucer subtly critiques her superficial piety and misplaced priorities, hinting at the discrepancy between her outward charm and her inner values.
Chaucer’s use of satire is another critical element of his characterization. Through a blend of humor, irony, and subtle criticism, he exposes the vices and hypocrisies of various societal roles. The Pardoner, for example, is characterized as greedy and deceitful, exploiting his religious position for personal gain. Chaucer’s satirical portrayal reveals not only individual failings but also broader critiques of the Church and religious institutions of his time. This technique of characterization serves a dual purpose: it entertains the audience while also prompting reflection on societal norms and moral values.
Moreover, Chaucer’s characters are presented with a degree of complexity that challenges simplistic moral judgments. Rather than depicting them as purely virtuous or corrupt, Chaucer presents them as individuals with a range of qualities and motivations. The Knight, for instance, is portrayed as noble and honorable, yet Chaucer’s depiction also hints at the brutality and violence inherent in the role of a knight. Similarly, the Wife of Bath is a figure of both empowerment and subversion; she is assertive and knowledgeable, but her multiple marriages and bold attitudes also challenge conventional views on gender and authority.
Chaucer’s art of characterization is also evident in his ability to create representative types through specific individuals. Each character embodies certain social classes, professions, or personality traits, providing a cross-section of society. This approach not only adds depth to the narrative but also allows Chaucer to explore social dynamics and conflicts. Characters like the Summoner and the Friar are not just individual figures but symbols of broader societal issues, such as corruption and the exploitation of religious authority.
In addition, Chaucer’s use of varied voices and dialects in the Prologue reflects the diverse backgrounds of his characters and adds authenticity to their portrayals. The different linguistic styles and speech patterns help distinguish characters and underscore their social positions. This technique also enriches the narrative, giving each character a unique voice that contributes to the overall realism of the depiction.
In conclusion, Chaucer’s art of characterization in “The Prologue to the Canterbury Tales” is a sophisticated and effective means of exploring and critiquing 14th-century English society. Through a combination of detailed descriptions, satirical commentary, and complex portrayals, Chaucer creates a rich and diverse array of characters that both reflect and critique the human condition. His approach not only provides a snapshot of medieval life but also offers insights into timeless aspects of human nature, making the Prologue a significant work in the literary canon.
3 ) Comment on the contrast of art and life; and youth and old age in ‘Sailing to Byzantium’.
Answer –
William Butler Yeats’s poem “Sailing to Byzantium” is a profound meditation on the contrasts between art and life, and youth and old age. Through its rich imagery and symbolism, the poem explores the tension between the ephemeral nature of human existence and the timeless realm of artistic creation, as well as the contrasts between the vitality of youth and the wisdom of old age.
The poem begins by acknowledging the transitory nature of life and the decline of youth. The speaker laments the inevitability of aging and the physical decay that accompanies it, expressing a desire to escape the “dying” world of the body and enter a realm where art can offer immortality. Yeats uses the metaphor of sailing to Byzantium as a journey from the temporal, fleeting experiences of life to the eternal, unchanging world of art. The speaker’s decision to leave “the country of the young” symbolizes a rejection of the physical, impermanent aspects of human existence in favor of the spiritual and enduring nature of artistic creation.
Yeats contrasts art and life through this journey. In the poem, life is depicted as a series of changes and losses, a “sick” and “dying” realm where the “gathering swarms” of youth are inevitably replaced by the inevitable decline of old age. In contrast, Byzantium represents a place of permanence and artistic achievement. It is a symbol of a realm where art and spiritual enlightenment are preserved forever, untainted by the ravages of time. The Byzantium the speaker seeks is not a physical place but a metaphor for a state of artistic and intellectual transcendence where the artist’s creations endure beyond the limitations of human life.
The contrast between youth and old age is also central to the poem’s themes. Youth is associated with physical vitality and the sensory pleasures of life, while old age is depicted as a time of decline and detachment from the material world. The speaker’s dissatisfaction with the “sensual music” of youth highlights the limitations of physical existence and the inevitability of aging. In old age, the speaker seeks a form of eternal life through the creation and appreciation of art, which offers a means of transcending the transient nature of human experience.
Yeats’s use of symbolism deepens these contrasts. Byzantium is not merely a physical location but a symbol of the ideal realm of art and spiritual fulfillment. The imagery of “golden” art objects and “immortal” forms in Byzantium contrasts sharply with the “monuments of unageing intellect” that represent the temporal nature of human life. The “singing masters of my soul” and the “holy fire” of Byzantium symbolize the eternal nature of artistic achievement and the possibility of spiritual renewal through art.
The poem also explores the notion that while life and youth are ephemeral and subject to decay, art has the potential to capture the essence of existence in a form that can endure. The speaker’s desire to be transformed into a “golden” image, an “aged” artifact in Byzantium, reflects the belief that art transcends the temporal limitations of human life. The contrast between the physical body’s decay and the eternal nature of art underscores the poem’s central theme: the search for a form of immortality through artistic creation.
In conclusion, “Sailing to Byzantium” is a rich exploration of the contrasts between art and life, and youth and old age. Yeats uses the journey to Byzantium as a metaphor for the quest for eternal beauty and spiritual fulfillment through art. By depicting life as a realm of change and decay and Byzantium as a timeless sanctuary of artistic creation, Yeats highlights the possibility of transcending the physical limitations of human existence through the pursuit of artistic and intellectual achievements. The poem reflects on how art can offer a form of immortality and serves as a testament to Yeats’s belief in the enduring power of creative expression.