IGNOU MEG 1 Solved Question Paper | December 2019

1) Answer any two with reference to the context :

(a) The forward youth that would appear

Must now forsake his Muses dear,

Nor in the shadows sing

His numbers languishing.

Answer –

In “An Horatian Ode upon Cromwell’s Return from Ireland,” Andrew Marvell reflects on Oliver Cromwell’s rise to power, emphasizing his departure from a life of contemplation and peace to one of military action and conquest. The opening lines, “The forward youth that would appear / Must now forsake his Muses dear,” suggest a shift from the peaceful pursuits of poetry and art to the harsh realities of war. Marvell describes how Cromwell, once engaged in “inglorious arts of peace,” felt compelled to take up arms, symbolized by “oil[ing] th’ unused armour’s rust,” and “removing from the wall / The corslet of the hall.”

Cromwell is portrayed as a force of nature, compared to “three-fork’d lightning” that breaks through clouds, symbolizing his dynamic and unstoppable energy. The imagery of “Cæsar’s head” being “blast[ed]” through his laurels underscores Cromwell’s role in the overthrow of established power, drawing parallels to the historical figures of Caesar and Hannibal, whose actions reshaped their worlds.

Marvell also highlights Cromwell’s stoic acceptance of his fate, especially in the lines, “Nor call’d the gods with vulgar spite / To vindicate his helpless right, / But bowed his comely head / Down as upon a bed.” Here, Cromwell is depicted as a man who does not resist the force of destiny but embraces it with dignity, even in the face of death.

The poem ultimately reflects on the power and inevitability of Cromwell’s rise, acknowledging both his martial prowess and his ability to wield power wisely, ensuring the stability of the state. Marvell’s ode thus serves as both a tribute to Cromwell’s achievements and a meditation on the nature of power and destiny.

(b) Whan that Aprill with his shoures soote

The droghte of March hath perced to the roote,

The opening lines of Geoffrey Chaucer’s The Canterbury Tales— “Whan that Aprill with his shoures soote / The droghte of March hath perced to the roote”—establish the setting and mood for the entire work. These lines are part of the General Prologue, where Chaucer introduces the time of year, the beginning of April, when the natural world undergoes a rejuvenation after the dry, barren months of March. The “shoures soote” (sweet showers) of April symbolize the life-giving rains that penetrate the earth, nourishing it “to the roote” (to the root). This imagery not only evokes the physical rebirth of nature but also metaphorically suggests a spiritual awakening or renewal in the hearts of people.

The mention of March’s drought contrasts with April’s showers, highlighting the cyclical nature of seasons and the inherent renewal that comes with spring. The roots, which represent the foundation of life, are rejuvenated by the rain, leading to the blossoming of flowers and the return of greenery. This renewal of life reflects the vitality and hope that comes with spring, a time traditionally associated with new beginnings.

In the broader context of The Canterbury Tales, these lines set the stage for the pilgrimage that the characters undertake. Just as the earth is refreshed by April’s rains, the pilgrims seek spiritual renewal through their journey to Canterbury. The imagery of the rejuvenated earth parallels the pilgrims’ quest for spiritual fulfillment, indicating that their journey is both a physical and spiritual one.

Chaucer’s choice to begin the prologue with a description of spring emphasizes the theme of renewal and underscores the connection between the natural world and human experience. The lines beautifully encapsulate the idea that just as nature undergoes a cyclical rejuvenation, so too do people seek renewal and purpose in their lives, particularly through pilgrimage.

(c) All human things are subject to decay,

And, when Fate summons, monarchs must obey.

The lines “All human things are subject to decay, / And, when Fate summons, monarchs must obey” open John Dryden’s satirical poem Mac Flecknoe. This couplet serves as a thematic statement, setting the tone for the poem, which is a scathing critique of Thomas Shadwell, a contemporary poet and playwright whom Dryden portrays as the heir to the throne of dullness.

In the context of the poem, these lines emphasize the inevitability of decline and death, even for those in positions of power, such as monarchs. Dryden ironically uses this idea to introduce the “coronation” of Shadwell, who is depicted as the successor to Richard Flecknoe, a poet whom Dryden also views as a figurehead of mediocrity. The metaphor of a decaying monarchy is apt in this satire, as it suggests that Shadwell’s ascent to literary prominence is not due to merit or talent but rather as a consequence of the natural decline in the quality of poetry—a decline that Flecknoe’s reign represents.

The allusion to fate summoning monarchs to obey highlights the mock-heroic tone of the poem. Just as great monarchs must bow to the inevitability of fate, so too must Flecknoe, albeit in the realm of “nonsense,” pass his legacy of dullness to Shadwell. The grandeur usually associated with kingship is subverted here, as Dryden mocks Shadwell’s elevation to a throne of folly and ineptitude.

Thus, these lines not only set the stage for the satirical portrayal of Shadwell but also underscore the central theme of inevitable decay, which Dryden uses to ridicule the decline of literary standards, as epitomized by Shadwell’s works. The irony and wit in these lines contribute to the overall critique of Shadwell’s lack of creativity and literary merit, positioning him as the fitting, albeit unfortunate, successor to the throne of dullness.

(d) Oh there is blessing in this gentle breeze,

A visitant that while it fans my cheek

Doth seem half-conscious of the joy it brings

From the green fields, and from yon azure sky.

In the excerpt from The Prelude, Wordsworth vividly captures a moment of profound freedom and contentment as he escapes the confines of city life and immerses himself in nature. The opening lines, “Oh there is blessing in this gentle breeze,” evoke a deep sense of gratitude and joy brought by the natural world. The gentle breeze symbolizes the poet’s newfound liberation and the joy it bestows, contrasting sharply with his previous discontent in the city.

Wordsworth describes his escape from urban life with a sense of elation and liberation, feeling as free as a bird with the entire earth before him. The landscape—the green fields, azure sky, and clear streams—invites him to explore and settle in a place of his choice. This freedom allows him to shed the burdens of his past, reflecting a deep yearning for peace and undisturbed delight.

The poet’s experience of the “gentle breeze” is not just physical but also metaphorical. It represents a profound internal shift, where the poet’s spirit, previously weighed down by city life, is now invigorated and inspired. The breeze becomes a symbol of his mental and emotional renewal. Wordsworth’s reflection on this new phase of life is both a celebration and an acknowledgment of the challenges that lie ahead. Despite the initial joy and tranquility, he anticipates the difficulty of maintaining his ideal state of harmony and purpose.

In essence, Wordsworth’s depiction of the breeze and his journey illustrates the complex interplay between nature and personal fulfillment. It highlights the poet’s struggle between the ideal of perfect freedom and the reality of continual effort to sustain it, encapsulating his broader philosophical concerns about the nature of happiness and creative aspiration.