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Welcome to our blog, In this post, we’re sharing the IGNOU MEG 1 Solved Question Paper of December 2018 examination, focusing on British Poetry.
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. Let’s dive in and get ready to ace your IGNOU MEG 1 exam.
In this post, we’ll discuss all the answers including the short and long answer questions.
In IGNOU MEG 1 Examination 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.
You can also download all previous year question papers of MEG 1 from our website.
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Question 1
1) (a) He yaf nat of that text a pulled hen,
That seith, that hunters been nat holy men;
lie that a monk, whan he is cloisterlees
Is lykned til a fish that is waterlees,
Answer –
In Geoffrey Chaucer’s “The Canterbury Tales,” the character of the Physician stands out for his blend of medical expertise and materialism. The Physician, a highly skilled practitioner, is described with great admiration for his knowledge and practice. His medical prowess is evident in his deep understanding of astrology and his ability to diagnose and treat various ailments based on their humoral causes. Chaucer emphasizes that the Physician’s practice is informed by a rich knowledge of classical medical texts and figures, including Hippocrates and Galen.
However, Chaucer also subtly critiques the Physician’s character through his greed. Despite his professional skills, the Physician’s genuine interest lies in the financial gains of his practice, particularly in how he favors gold, which he considers a vital element in his treatments. This materialistic aspect contrasts with his supposed commitment to healing and reflects a broader criticism of the medical profession in Chaucer’s time. The Physician’s focus on wealth is evident in his practices, as he maintains a close relationship with his apothecaries, ensuring that he earns a commission from their sales.
The Physician’s portrayal serves as a commentary on the ethical issues within the medical profession. Chaucer presents a character who, despite his expertise and significant knowledge, is ultimately driven by greed. This duality—between professional competence and personal greed—highlights the moral complexities of individuals in positions of authority and raises questions about the integrity of those who wield significant influence over others’ well-being.
(b) Wommennes counseils been ful ofte colde;
Wommennes counseil broghte us first to wo,
And made Adam fro paradys to go,
Ther-as he was ful mery, and wel at ese.
Answer –
In this passage from Geoffrey Chaucer’s “The Canterbury Tales,” the narrator shifts focus from the character of Chauntecleer, the proud rooster, to a broader philosophical reflection on fate and free will, particularly in the context of the dream Chauntecleer had.
The passage begins with a detailed depiction of the fox, a symbol of cunning and betrayal, who has schemed to enter the yard where Chauntecleer lives. The fox’s presence and its plot to capture Chauntecleer underline the theme of impending doom that the rooster has been warned about in his dreams. The reference to the fox as a “new Scariot” and “new Genyloun” highlights its treacherous nature, drawing parallels with historical and literary figures known for their betrayal and deceit.
The narrator then reflects on the philosophical debate about predestination versus free will, questioning whether God’s foreknowledge of events makes them necessarily inevitable. The narrator cites figures such as Augustine, Boethius, and Bradwardine, who have debated whether divine foreknowledge implies necessity or if human free will still plays a role. This reflection underscores the complexity of reconciling divine omniscience with human agency.
The narrator’s commentary on women’s counsel, particularly in the lines “Wommennes conseils been ful ofte colde,” and the reference to the biblical story of Adam and Eve, suggests a critique of relying on female advice. This commentary reflects the Chaucerian tradition of presenting gendered perspectives with a blend of humor and skepticism. The narrator distances himself from these views, emphasizing that these are the rooster’s words and not his own.
Overall, this passage intertwines Chaucer’s storytelling with a philosophical discourse on fate and choice, while also critiquing gender roles and advice. The interplay of these themes highlights Chaucer’s exploration of human nature and the uncertainties of life.
Question 2
2) (a) So Orpheus did for his owne bride,
So I unto my selfe alone will sing,
The woods shall to me answer
and my Eccho ring,
Answer –
In Edmund Spenser’s “Epithalamion,” the poet vividly celebrates his wedding day with elaborate imagery and classical references. He begins by invoking the Muses, who have previously assisted him in composing praises for others. He requests that they set aside their sorrowful tones to help him glorify his own marriage, highlighting the joy and significance of the occasion.
As dawn breaks, Spenser uses the morning light as a symbol of new beginnings, urging his bride to awaken and prepare for the day. This imagery underscores the idea of the wedding as a fresh start and a new chapter in their lives.
The poet then calls upon mythological figures and woodland creatures to prepare the bride’s path with flowers and adornments, emphasizing the grandeur and sacredness of the marriage ritual. This elaborate preparation reflects Spenser’s desire to honor the occasion with as much beauty and festivity as possible.
He portrays his bride with celestial and angelic imagery, contrasting her physical beauty with her inner virtues. This depiction highlights the idea that true beauty encompasses both outward appearance and inner character.
The celebration is depicted with vibrant scenes of music and dancing, capturing the communal joy and festivity of the wedding. The poet portrays the event as a universal celebration, where even nature participates in the merriment.
Spenser also invokes divine blessings for the couple, seeking favor from various deities to ensure the sanctity and prosperity of their union. This appeal to the divine reflects the deep importance Spenser places on the marriage, aiming for both earthly happiness and heavenly approval.
Overall, “Epithalamion” blends personal joy with cosmic and mythological elements, celebrating marriage as both a personal and universal event. The poem elevates the occasion to a sacred and joyous celebration, integrating it into a broader spiritual context.
(b) Nor Jove himselfe, when he a Swan would be
For love of Leda, whiter did appeare :
Yet Leda was as white as he,
Yet not so white as these, nor nothing neare;
So purely white they were,
Answer –
In the passage from Edmund Spenser’s “Prothalamion,” the poet describes two swans in highly idealized terms, emphasizing their unparalleled whiteness. This imagery appears in the context of the poet’s celebration of a forthcoming wedding, which he contrasts with the pure beauty of the swans.
The swans are portrayed as being so extraordinarily white that they surpass even the mythological whiteness of Jove, who transformed into a swan for his affair with Leda. Spenser highlights this whiteness by comparing the swans to Leda, who is described in mythology as having been as white as the swan. This comparison underscores the swans’ divine and unmatched purity, further idealizing their appearance and symbolizing the sanctity of the wedding they are meant to honor.
Contextually, this idealization fits with the poem’s overarching theme of celebrating the upcoming marriage. The swans, adorned in pure white, become symbols of marital purity and divine beauty, aligning with the poem’s purpose of depicting the wedding as a grand, almost celestial event. By drawing upon classical references and mythological comparisons, Spenser not only enhances the aesthetic quality of the imagery but also situates the wedding within a larger, almost divine narrative.
Critically, this passage demonstrates Spenser’s use of mythological and classical references to elevate the ordinary event of a wedding into something majestic and timeless. The comparison of the swans to Jove’s mythical transformation and Leda’s whiteness adds layers of meaning to the poem, transforming the scene from a simple celebration into an epic, almost divine occasion. The use of such references reflects Spenser’s intention to connect personal joy with a broader, more universal sense of beauty and purity.
Question 3
3)(a) But 0, self traytor, I do bring
The spider love, which transubstantiates all,
And can convert Manna to gall,
And that this place may thoroughly be thought
Tru Paradise, I have the serpent brought.
Answer –
In John Donne’s poem “Twickenham Garden,” the speaker grapples with the disillusionment of love, symbolized through a garden setting that contrasts sharply with his inner turmoil. The passage “But O! self-traitor, I do bring / The spider Love, which transubstantiates all / And can convert manna to gall” highlights the speaker’s awareness of his own folly and the destructive nature of love.
The “self-traitor” phrase indicates the speaker’s self-reproach, recognizing that he has brought upon himself the deceptive and corrupting power of love. The metaphor of “the spider Love” emphasizes how love weaves its intricate, entangling web, transforming what is pure and nourishing (“manna”) into something bitter and poisonous (“gall”). This transformation suggests that love has turned something initially pure into a source of suffering.
The phrase “And that this place may thoroughly be thought / True paradise, I have the serpent brought” further develops this theme by introducing the serpent as a symbol of deceit and temptation. The reference to the Garden of Eden, where the serpent led to the fall of humankind, reinforces the idea that the speaker’s love, rather than providing solace or joy, brings about disillusionment and betrayal.
In essence, Donne uses vivid imagery to critique the idealized perception of love. The “true paradise” of the garden is tainted by the presence of these symbols of corruption, illustrating the speaker’s realization that his pursuit of love has led to disillusionment rather than fulfillment. This passage underscores the complexity of love and its potential to transform bliss into torment.
(b) The Grave’s a fine and private place,
But none, I think, do there embrace.
Answer –
In Andrew Marvell’s “To His Coy Mistress,” the lines “The grave’s a fine and private place, / But none, I think, do there embrace” serve as a poignant reflection on the transient nature of life and love. These lines occur in the poem’s second stanza, where Marvell shifts from the idealistic and leisurely possibilities of love to a more urgent and pragmatic tone.
The speaker contrasts the serene and secluded nature of the grave with the reality that, in death, physical affection and romantic union are impossible. By describing the grave as “fine and private,” Marvell acknowledges its peacefulness and solitude. However, he quickly underscores the irony of this solitude: “none, I think, do there embrace.” This acknowledgment serves to highlight the ultimate futility of delaying physical intimacy and emotional connection until after death.
This contrast reflects the poem’s central argument: the fleeting nature of life and the inevitability of death demand that the speaker and his mistress seize the moment for love and pleasure while they still can. The notion of the grave as “fine and private” underscores a romantic ideal of eternal rest, yet the speaker’s stark reminder that no one can embrace in death injects a sense of urgency into his argument.
Marvell uses this imagery to persuade his mistress to embrace their present opportunities for love and pleasure. The poem moves from a leisurely exploration of love’s potential to a compelling call to action, emphasizing the need to act before time runs out. This transition reinforces the poem’s central theme: the desire to defy time’s relentless march by enjoying the pleasures of life and love in the here and now.
Question 4
4) (a) Who would not sing for Lycidas ?
He knew Himself to sing, and build the lofty rhyme.
He must not float upon his watery bier
Unwept, and welter to the parching wind,
Without the meed of some melodious tear.
Answer –
In John Milton’s “Lycidas,” the lines “Who would not sing for Lycidas? he knew / Himself to sing, and build the lofty rhyme. / He must not float upon his watery bier / Unwept, and welter to the parching wind, / Without the meed of some melodious tear” reflect the poem’s central themes of loss and tribute.
These lines appear as part of the poet’s lament for his friend Lycidas, who drowned while on a voyage. The speaker expresses a deep sense of duty to mourn Lycidas, whose talent and potential as a poet and musician were well recognized. The rhetorical question “Who would not sing for Lycidas?” emphasizes the universal responsibility to honor a poet of such promise and skill. By acknowledging Lycidas’s own mastery of verse and his ability to “build the lofty rhyme,” the speaker underscores the profound loss of a voice that could have contributed significantly to poetry.
The imagery of Lycidas floating “upon his watery bier” and the metaphor of his body “weltering to the parching wind” evoke the tragic and unsettling nature of his death. The reference to the “parching wind” suggests a harsh, indifferent world that will not acknowledge his loss unless it is memorialized by poetry. The call for “some melodious tear” signifies the need for a fitting tribute—a mournful elegy that acknowledges Lycidas’s greatness and the void left by his death.
These lines encapsulate the poem’s elegiac tone and Milton’s intention to honor Lycidas through poetic memorial. They also reflect the broader commentary on the fleeting nature of life and the inadequacy of conventional mourning practices in capturing the true value of a life cut short. In essence, Milton’s poem argues that true remembrance and respect for the deceased are found in the creation of art that captures and preserves their essence.
(b) Bosom’d high in tufted trees,
Where perhaps some beauty. lies,
The cynosure of neighbouring eyes.
Answer –
In John Milton’s “L’Allegro,” the lines “Bosom’d high in tufted trees, / Where perhaps some beauty lies, / The cynosure of neighbouring eyes” evoke an idyllic and picturesque vision of nature that reflects the poem’s theme of joy and the pleasures of the natural world.
These lines describe a scene where the landscape is adorned with “tufted trees,” suggesting a lush, verdant setting. The phrase “bosom’d high” implies a sense of grandeur and comfort, as if the trees embrace the landscape with their height and abundance. The mention of “some beauty lies” hints at the possibility of a hidden or idealized beauty residing in this natural setting. This beauty is further highlighted as “the cynosure of neighbouring eyes,” suggesting that the location might attract admiration and attention from others, much like a guiding star.
In the context of the poem, which celebrates light-heartedness and the delights of life, these lines contribute to the overarching portrayal of an idealized pastoral scene. The “cynosure” is a metaphor for something that draws attention and admiration, reinforcing the sense that nature, in its most enchanting forms, captivates and charms those who encounter it.
Milton contrasts this vivid, joyful imagery with the somber, reflective mood of “Il Penseroso,” his companion poem. Here, “L’Allegro” focuses on the pleasures of life and the natural world, using rich descriptions to evoke a sense of happiness and contentment. The “tufted trees” and the idea of beauty being the focal point for “neighbouring eyes” highlight the theme of nature’s ability to uplift and inspire. This passage fits seamlessly into the larger celebration of the sensory and emotional joys that the poem extols, positioning nature as a source of eternal delight and inspiration.
Question 5
5) (a) Near these a Nursery erects its head,
Where Queens are form’d, and future Hero’s bred;
Where unfledg’d Actors learn to laugh and cry,
Where infant Punks their tender Voices try,
Answer –
In John Dryden’s satirical poem “Mac Flecknoe,” the passage “Near these a nursery erects its head, / Where Queens are form’d, and future Heroes bred; / Where unfledg’d Actors learn to laugh and cry, / Where infant Punks their tender Voices try” provides a vivid depiction of the literary and dramatic environment surrounding Shadwell, the target of Dryden’s satire.
The “nursery” mentioned in the passage symbolizes a place of cultivation and growth, but in this context, it is presented in a derogatory manner. This nursery is described as the birthplace of “Queens” and “future Heroes,” terms that ironically suggest nobility and greatness, yet Dryden uses them to mockingly elevate Shadwell’s status. By placing Shadwell’s work and influence within this context, Dryden implies that Shadwell’s creations, rather than achieving greatness, are the products of a flawed and inept literary process.
The “unfledg’d Actors” who are learning to “laugh and cry” and the “infant Punks” trying their “tender Voices” are portrayed as nascent, immature talents. This imagery underscores the notion that Shadwell’s literary domain is filled with underdeveloped and insignificant figures who will never reach any meaningful artistic heights. Dryden thus criticizes the quality of Shadwell’s work and the lack of genuine talent in his literary circle.
The passage satirizes the pretensions of Shadwell and his supporters, contrasting the grandeur often associated with literary achievement against the trivial and laughable nature of Shadwell’s contributions. Dryden’s use of these terms emphasizes the poem’s overall critique of Shadwell’s perceived mediocrity and the lack of genuine creativity in his works. This passage effectively underscores Dryden’s broader theme of ridiculing the pretensions of poor literary and dramatic talent.
(b) Poor Cornus sees his frantic wife elope,
And curses wit, and poetry, and PoPe.
Answer –
In Alexander Pope’s “Epistle to Dr. Arbuthnot,” the lines “Poor Cornus sees his frantic wife elope, / And curses wit, and poetry, and Pope” reflect a satirical commentary on the nature of literary criticism and the personal vendettas that drive it.
Contextually, the passage illustrates Pope’s frustration with the unrelenting criticism he faces from various quarters. Cornus, a fictional character, is depicted as a figure whose personal misfortune leads him to blame external factors for his woes. The imagery of Cornus witnessing his wife elope and then cursing “wit, and poetry, and Pope” serves as a metaphor for critics who project their personal grievances onto the poet and his work. Pope uses this characterization to emphasize the irrationality of such criticism. In this case, Cornus’s wife’s departure is symbolic of broader criticisms that are misdirected or born out of personal distress rather than objective evaluation.
Critically, this passage underscores Pope’s view of literary criticism as often being driven by personal biases rather than genuine literary merit. It reflects the poet’s satirical stance toward those who, unable to handle their own misfortunes or failures, project their frustrations onto him. Pope’s invocation of a fictional character’s plight to make a broader point about the nature of criticism highlights his wit and his criticism of contemporary literary culture.
In essence, Pope is critiquing not just his critics but the broader practice of criticism that allows personal animosities to overshadow genuine discourse about literary works. This approach not only deflects the personal attacks directed at him but also critiques the often baseless nature of such attacks.
Question 6
6) (a) Ye Presences of Nature, in the sky
And on the earth ! Ye Visions of the hills !
And Souls of lonely places ! can I think
A vulgar hope was yours when ye employed Such ministry,
Answer –
In the lines from William Wordsworth’s “The Prelude: Book 1: Childhood and School-time,” the poet addresses the “Presences of Nature” and the “Souls of lonely places” that have been integral to his childhood experiences. Here, Wordsworth reflects on how nature has been a profound and benevolent force in shaping his sensibility. He questions whether the grandeur and beauty of nature, which he has always felt deeply, were merely ordinary or if they were guided by a higher, more purposeful intention.
Wordsworth suggests that nature’s presence in his life—its various forms and the beauty he experienced—was not merely a trivial or “vulgar” hope but something more significant. The “ministry” of nature, which includes the sublime and awe-inspiring aspects of the natural world, was not incidental but purposeful in influencing his spiritual and emotional development. He implies that nature’s role was to elevate his consciousness and impart a deeper sense of meaning.
Contextually, this passage underscores Wordsworth’s belief in the spiritual and philosophical significance of nature. Throughout “The Prelude,” he portrays nature as a nurturing force that shapes his inner life and moral sensibilities. By invoking the “Presences of Nature” and the “Visions of the hills,” he acknowledges nature’s role in his early experiences, suggesting that these formative encounters with the natural world were integral to his development as a poet and thinker.
Critically, Wordsworth’s reflection emphasizes the Romantic ideal of nature as a source of inspiration and moral guidance. It reflects his view that nature’s influence extends beyond mere physical presence to encompass spiritual and existential dimensions. This passage, thus, highlights the Romantic belief in nature’s power to shape and refine the human soul, suggesting that such experiences were essential and not merely incidental to his development.
(b) Tyger ! Tyger ! burning bright
In the forests of the night,
What immortal hand or eye,
Dare frame thy fearful symmetry ?
Answer –
In William Blake’s “The Tyger,” the repeated lines “Tyger Tyger, burning bright / In the forests of the night,” and the concluding inquiry, “What immortal hand or eye, / Dare frame thy fearful symmetry?” are central to the poem’s exploration of creation, divinity, and the nature of good and evil.
Contextually, these lines open the poem with a powerful visual image: the tiger, symbolizing both awe and terror, set against the dark, enigmatic backdrop of the night forest. The “burning bright” suggests both the tiger’s fiery, fierce nature and its symbolic illumination of profound, unsettling truths. The repetition emphasizes the intensity of the speaker’s fascination and dread, as well as the grandeur of the tiger’s presence.
The repeated questions concerning “What immortal hand or eye” have a dual function. On one level, they question the divine creator’s capacity to produce such a fearsome and beautiful creature. The term “immortal” implies a creator of immense power and mystery, while “fearful symmetry” highlights the tiger’s terrifying beauty—a reflection of nature’s ability to create both awe-inspiring and menacing forms.
Critically, Blake’s poem grapples with the concept of creation through the figure of the tiger, contrasting it with the innocence of the lamb (referenced in the final stanza). This contrast underlines the thematic tension between innocence and experience, goodness and malevolence, which is central to Blake’s “Songs of Innocence and Experience.”
Blake’s questions are rhetorical and serve to convey the speaker’s profound contemplation of the nature of divine creation and the presence of evil. The use of striking imagery and repetition underscores the poem’s exploration of the paradoxes within creation, where beauty and terror coexist. Ultimately, the poem challenges the reader to consider the complexities and contradictions inherent in the divine creative process, reflecting Blake’s broader thematic concerns with the nature of good, evil, and the divine.
Question 7
7) (a) All but the sacred few who could not tame
Their spirits to the conqueror — but as soon
As they had touched the world with living flame,
Fled back like eagles to their native noon,
Answer –
Percy Bysshe Shelley’s “The Triumph of Life” presents a complex vision of existence and its inherent struggles. The poem opens with a vivid depiction of the dawn, as the sun’s emergence from darkness symbolizes a new beginning. Nature responds to this light with celebration: flowers open, birds sing, and the ocean joins in a harmonious symphony.
The poet then describes a trance-like state where he witnesses a grand procession of people, symbolic of life’s relentless march. This throng, representing all stages of human life, appears lost and aimless. They flee from death, pursue meaningless shadows, or engage in futile activities, oblivious to the beauty around them. The scene turns chaotic as a chariot, drawn by supernatural figures, makes its way through the crowd, further heightening the sense of disorder.
Among the captives in the chariot are historic figures who have sought greatness but ultimately faced downfall. Their inclusion signifies the inescapable fate of all who strive for power or wisdom. The poet’s guide reveals that these figures, once mighty, are now subjugated by the very forces they once sought to master.
Shelley contrasts this with the serene beauty of an earlier vision—a divine presence that seemed to offer relief from worldly suffering. This vision, however, fades as the chaotic pageant of life resumes, illustrating the transient nature of peace and the overwhelming power of life’s relentless struggle.
In essence, the poem portrays life as an unending cycle of striving and suffering, where even the greatest achievements are ultimately consumed by the forces of time and fate. Shelley’s portrayal is both a critique of human ambition and a meditation on the nature of existence.
(b) tell me, if this wrinkling brow,
Naked and bare of its great diadem,
Peers like the front of Saturn.
Answer –
In John Keats’ “Hyperion,” the lines “tell me, if this wrinkling brow, / Naked and bare of its great diadem, / Peers like the front of Saturn” reflect Saturn’s profound sense of loss and disorientation following his fall from power. These lines occur in a passage where Saturn, once the ruler of the cosmos, is confronted by Thea, the goddess of the early world, who tries to rouse him from his despair.
The context reveals Saturn’s diminished state; he is depicted as “gray-hair’d” and “quiet as a stone,” reflecting his fall from divine authority and the associated loss of vitality and power. The phrase “wrinkling brow” signifies the physical and symbolic deterioration of Saturn’s former majesty. The absence of his “great diadem” emphasizes his loss of regal status and divine power, which had once been symbolized by his crown. This imagery underscores Saturn’s current helplessness and the dramatic contrast between his former glory and his present dejection.
Keats uses this imagery to explore themes of decline and the passage of time. Saturn’s question reflects his struggle to reconcile his past greatness with his current impotence. It illustrates a moment of existential crisis, as Saturn questions the authenticity of his identity and the nature of his fall from grace. This self-doubt and the visual imagery of a disheveled and dethroned deity serve to enhance the tragic dimensions of Saturn’s plight, reinforcing the poem’s broader themes of cosmic upheaval and the inevitable decay of even the greatest powers.
Question 8
8) a) My first thought was, he lied in every word,
That hoary cripple, with malicious eye
Askance to watch the workings of his lie
Answer –
In these opening lines of Robert Browning’s “Childe Roland to the Dark Tower Came,” the speaker expresses immediate distrust and contempt for an old man who has directed him towards the Dark Tower. This initial reaction reveals a sense of skepticism about the old man’s intentions. The “hoary cripple” is depicted with a “malicious eye” and a glee that suggests he derives pleasure from deceiving others. The speaker’s suspicion is that the old man is engaged in a deliberate act of deceit, aimed at leading him astray for his own amusement.
The phrase “with malicious eye / Askance to watch the workings of his lie” highlights the old man’s duplicitous nature. The speaker perceives the old man’s gaze as watchful and insidious, suggesting a deeper malevolence in his actions. This characterization sets a tone of foreboding and distrust that permeates the poem.
The context of these lines is crucial as they introduce the central conflict of the poem—the quest for the Dark Tower, which symbolizes an elusive goal or truth. The old man’s deceit adds a layer of complexity to the quest, implying that the journey may be fraught with misleading encounters and treacherous paths. The speaker’s reaction also reflects his broader sense of despair and disillusionment, which is a recurring theme throughout the poem.
Critical commentary on these lines suggests that Browning uses the old man’s deceit to underscore the themes of betrayal and disillusionment in the poem. The speaker’s mistrust emphasizes the broader struggle of the protagonist against a world filled with deception and falsehood. This sets up the reader for the trials and tribulations that will unfold as the speaker progresses towards the Dark Tower, a journey fraught with existential challenges and symbolic encounters.
(b) When round his head the aureole clings,
And he is clothed in white,
I’ll take his hand and go with him
To the deep wells of light;
Answer –
In this excerpt from Dante Gabriel Rossetti’s “The Blessed Damozel,” the Damozel envisions a future reunion with her beloved. Her anticipation is vividly articulated in these lines, where she imagines him arriving in Heaven, adorned with an aureole and clothed in white. The aureole symbolizes sanctity and divine grace, marking his entry into a sacred realm. The “deep wells of light” suggest a transcendental place of purity and eternal enlightenment, signifying a profound spiritual union that the Damozel longs for.
The Damozel’s longing for this reunion is set against the backdrop of her eternal existence in Heaven, where she observes the passage of time and the yearning she feels for her earthly lover. This passage reflects the Damozel’s idealistic vision of Heaven not just as a place of serene beauty, but as a realm where love can be fulfilled in its ultimate, divine form. The “deep wells of light” can be interpreted as a metaphor for the divine presence and the ultimate enlightenment she expects to share with her lover.
Contextually, this vision is part of the Damozel’s broader fantasy about their eternal life together, involving various sacred places and activities in Heaven. This vision, however, contrasts with the sadness she feels due to their prolonged separation. The passage captures the tension between her hopeful expectations and the reality of her solitude. The critical tone here underscores the Damozel’s emotional depth and the thematic exploration of love and separation in Rossetti’s poem. The promise of an ideal future, marked by divine union and spiritual peace, accentuates the poem’s central theme of eternal love transcending temporal boundaries.
Question 9
9) (a) Why, what could she have done, being what she is ?
Was there another Troy for her to burn ?
Answer –
In William Butler Yeats’s poem “No Second Troy,” these lines reflect the speaker’s contemplation of a woman whose nature and actions have profoundly impacted him. The repetition of “Why, what could she have done, being what she is?” underscores the speaker’s sense of inevitability and resignation regarding her behavior. The rhetorical question “Was there another Troy for her to burn?” invokes the legendary story of Helen of Troy, whose beauty led to the destruction of the ancient city. This reference emphasizes the destructive potential inherent in the woman’s exceptional qualities.
The context of these lines is crucial: the speaker reflects on the woman’s influence on him and society, recognizing that her actions, though seemingly tumultuous, were in line with her nature. Her intense beauty and noble spirit, which he describes as “like a tightened bow,” set her apart from the norms of her time. The speaker grapples with the fact that her actions, though destructive and painful, were a natural extension of her character.
The critical aspect of this passage lies in its exploration of the tension between idealism and reality. The woman’s high and solitary nature is presented as both a source of admiration and a cause of conflict. The comparison to Troy suggests that her destructive impact was as inevitable and monumental as the fall of the city. The speaker’s rhetorical questions convey a sense of tragic inevitability, suggesting that her powerful, unyielding nature left her with no other choice but to act destructively, much like Helen’s role in the Trojan War. This reflection on her character highlights the complex interplay between personal attributes and their wider repercussions, revealing a deep understanding of both the woman’s and the speaker’s tragic predicament.
(b) By the waters of Leman I sat down and wept …
Sweet Thames, run softly till I end my song.
Sweet Thames, run softly, for I speak not loud or long.
But at my back in a cold blast I hear
The rattle of bones, and chuckle spread from ear to ear.
Answer –
In these lines from T. S. Eliot’s “The Waste Land,” the speaker reflects on the desolate and fragmented state of contemporary society. The reference to “By the waters of Leman” invokes a melancholic mood, suggesting a connection to the Lake Geneva region (Leman) known for its literary and historical associations with despair and reflection.
The lines “Sweet Thames, run softly till I end my song” echo a plea for the river Thames to run gently, mirroring the speaker’s desire for a reprieve from his sorrow and a sense of calm. This imagery of the river running softly contrasts sharply with the harsh reality described earlier in the poem, symbolizing the longing for peace and continuity amidst the chaos.
The phrase “But at my back in a cold blast I hear / The rattle of bones, and chuckle spread / From ear to ear” introduces a sense of foreboding and decay. The “cold blast” and “rattle of bones” evoke a macabre atmosphere, underscoring the theme of death and desolation that permeates the poem. This imagery suggests that, despite the speaker’s wish for tranquility, he is haunted by the pervasive sense of death and fragmentation in the modern world.
Contextually, these lines follow a section of the poem that portrays a sense of loss and disillusionment with the modern urban environment. The “Sweet Thames” imagery contrasts with the surrounding bleakness, emphasizing the contrast between the idealized past and the grim present. The speaker’s invocation of the river to run softly reflects a desire to escape the relentless harshness and to find solace in a more gentle, perhaps idealized, past.
Critical comments on these lines highlight Eliot’s use of myth and historical allusion to convey a sense of universal despair and fragmentation. The contrast between the gentle river and the harsh reality serves to amplify the poem’s exploration of themes related to cultural decay and spiritual desolation.
Question 10
10) (a) Power of some sort or other will go on
In games, in riddles, seemingly at random;
But superstition, like belief must die,
And what remains when disbelief has gone ?
Grass, weedy pavement, brambles, buttress, sky.
A shape less recognizable each week,
A purpose more obscure.
Answer –
In Philip Larkin’s “Church Going,” the poet reflects on the evolving role of churches in contemporary society. The passage in question addresses the theme of obsolescence and the uncertain future of religious institutions as societal values shift.
The lines “Power of some sort or other will go on / In games, in riddles, seemingly at random; / But superstition, like belief, must die,” suggest that while the supernatural or religious influence may wane, human fascination with power and mystery will persist in different forms, such as in games or superstitions. The poet acknowledges that belief systems, particularly those tied to religion, are dying out, but hints at a persistent human need for something greater, even if it manifests in trivial or random ways.
The imagery of “Grass, weedy pavement, / brambles, buttress, sky” represents the physical decline of churches as they are abandoned and left to nature’s encroachment. These elements symbolize neglect and decay, illustrating how churches, once central to community life, are being overtaken by nature and urban neglect. The “shape less recognizable each week” indicates the physical and symbolic erosion of these spaces, which once had clear purposes but are now losing their significance. The “purpose more obscure” reflects the growing uncertainty about the role and function of churches in a modern world increasingly indifferent to their religious or cultural significance.
Larkin’s use of these images highlights a broader existential question about what will remain when the old systems of belief and tradition are gone. The poet’s contemplation underscores a melancholy awareness of the fading relevance of religious institutions, while simultaneously acknowledging that a part of their essence—rooted in human search for meaning—will endure in some form, even if it is no longer connected to traditional religious practices. This passage poignantly captures the tension between tradition and modernity, and the poet’s ambivalence about the changing role of sacred spaces.
(b) Dying Is an art, like everything else.
I do it exceptionally well.
Answer –
In Sylvia Plath’s “Lady Lazarus,” the lines “Dying / Is an art, like everything else. / I do it exceptionally well” reflect the speaker’s complex relationship with death and her skillful mastery over it. This passage is pivotal in understanding the poem’s exploration of resurrection, identity, and defiance.
Plath uses the metaphor of art to frame death as a performative act that requires skill and execution. By claiming that she performs this “art” exceptionally well, the speaker—Lady Lazarus—asserts her control over her own mortality. This assertion highlights her defiance and resilience. The repetition of death every decade (“One year in every ten”) suggests a cyclical process, not merely a single event, implying a continuous struggle and a repeated triumph over destruction.
The speaker’s reference to dying as an art underscores her ability to make the process dramatic and impactful. She compares her resurrection to a “theatrical comeback,” positioning herself as a spectacle that evokes awe and fascination from others. This theatricality is a means of reclaiming power and agency. The statement reveals her contempt for the audience that gawks at her suffering, as well as her ability to transform this suffering into a form of defiant performance.
In the broader context of the poem, this mastery over death is both a source of empowerment and a critique of the way society commodifies and objectifies her pain. The repeated resurrections are not just physical but also symbolic of her resistance against oppression and her insistence on her own identity. Thus, the lines emphasize her artistry in transforming death into a statement of endurance and self-assertion, despite the objectification and exploitation she endures.