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Welcome to our blog, In this post, we’re sharing the IGNOU MEG 1 Solved Question Paper of December 2020 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.
Its important to note that student’s must use these answers as a guidance or reference that will help them increase their knowledge and answer writing skills.
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.
Question 1
This question is divided in 4 sub-questions ( a, b, c, d ). Students will have to attempt any 2
1) Answer with reference to the context any two of the following :
(a) ‘Hoo, quod the knight,’ good sire, namoore of this !
That ye han seyd is sight ynough, ywis,
And muchel moore : for litel heviness
Is right ynough to muche folk, I gesse
Answer –
In the “The Nun’s Priest’s Tale,” the Knight’s exclamation, “Hoo, quod the knight, good sire, namoore of this!” marks a pivotal moment in the narrative, revealing much about the interplay between storytelling and audience reception. The Knight’s interruption comes after the Nun’s Priest has delivered a detailed and morally rich account of Chauntecleer’s encounter with the fox. This interjection highlights the Knight’s concern that the tale, while entertaining and instructive, has reached a point where further elaboration might be excessive. By stating that “litel heviness is right ynough to muche folk,” the Knight suggests that a moderate amount of sorrow or moral instruction is sufficient and that overloading the audience with too much of either can lead to disinterest or discomfort.
The Knight’s remark reflects a broader theme in Chaucer’s work regarding the balance between narrative depth and audience engagement. It implies that while tales are meant to impart lessons and entertain, there is a fine line between meaningful reflection and tedious repetition. The Knight is effectively advocating for the art of storytelling that respects the audience’s capacity for emotional and intellectual engagement. By emphasizing the importance of moderation, the Knight underscores a key principle in effective communication: that overextending a point or moral can diminish its impact. Chaucer, through this interruption, thus explores the delicate balance required in storytelling, where the goal is not only to inform and entertain but also to keep the audience engaged without overwhelming them. This balance is crucial for maintaining the effectiveness of a narrative and ensuring that its lessons are both memorable and impactful.
(b) When first thou didst entice to thee my
heart,
I thought the service brave :
So many joys I writ down for my part,
Besides what I might have
Answer –
In the opening lines of George Herbert’s poem “The Affliction (I),” the speaker reflects on the initial allure and perceived rewards of his spiritual commitment. The lines, “When first thou didst entice to thee my heart, / I thought the service brave: / So many joys I writ down for my part, / Besides what I might have,” reveal the speaker’s early enthusiasm and idealistic view of religious devotion. The speaker felt an intense attraction to God and saw the act of serving Him as not only noble but also deeply rewarding.
At the beginning, the speaker was filled with anticipation and excitement about the spiritual journey. The words “entice,” “brave,” and “joys” suggest that he envisioned a life of divine favor and personal happiness. He expected that the religious service would be accompanied by numerous benefits and pleasures, which he saw as a natural extension of his commitment. This positive outlook reflects a common initial reaction to religious devotion, where the rewards seem immediate and tangible.
However, this early optimism is contrasted with the speaker’s subsequent experiences of suffering and disillusionment. The initial joys and rewards did not meet the speaker’s expectations, leading to a profound exploration of faith and the complexities of spiritual life. Herbert uses this shift to delve into themes of spiritual testing and the often-unforeseen challenges that accompany a life of faith. The speaker’s initial enthusiasm thus serves as a poignant backdrop to his later reflections on the true nature of divine service and fulfillment.
(c) When I consider how my life is spent,
E’re half my days, in this dark world and mide,
And that one Talent which is death to hide,
Lodgd with me useless, though my
Soul more bent ………..
Answer –
In the excerpt from John Milton’s Sonnet 19, the poet reflects on his own predicament with profound introspection and existential concern. The lines, “When I consider how my light is spent, / Ere half my days, in this dark world and wide, / And that one Talent which is death to hide,” express Milton’s distress over his blindness and his perceived inability to fulfill his God-given talent of writing. Here, “light” symbolizes his sight, which has been taken away, while “Talent” refers to the parable from the Bible about using one’s gifts effectively. Milton feels that his talent is now wasted, lying dormant and unused because of his blindness.
The phrase “Lodged with me useless” underscores the poet’s anguish at being unable to use his skills, despite his deep desire to serve God. He questions whether God requires day-labor or work from those who are deprived of their abilities, reflecting his struggle with reconciling his condition with his religious duty. He wonders if he is still valuable to God despite his inability to actively contribute.
However, the sonnet shifts as patience responds to Milton’s doubts, offering a reassuring perspective. “God doth not need / Either man’s work or his own gifts; who best / Bear his mild yoke, they serve him best.” This reveals a deeper theological insight—that serving God does not solely depend on active work but also on enduring faith and patience. The final lines, “They also serve who only stand and wait,” emphasize that even those who are incapacitated can serve God through their acceptance and patience. This realization offers a sense of comfort and a broader understanding of service and worth, suggesting that divine service encompasses more than mere physical or active contributions.
(d) Little Lamb, who made thee ?
Dost thou know who made thee ?
Gave thee life, and bid thee feed
By the stream and o’er the mead;
Answer –
In the opening lines of William Blake’s “The Lamb,” the poet engages in a gentle, reflective dialogue with the lamb, emphasizing themes of creation and innocence. The questions, “Little Lamb, who made thee? / Dost thou know who made thee?” introduce a contemplative tone, prompting both the lamb and the reader to consider the divine creator behind its existence. Blake uses the imagery of the lamb feeding by the stream and mead to highlight the natural beauty and simplicity of creation. These images symbolize peace and nourishment, emphasizing the harmony and care with which the lamb has been provided for.
The subsequent lines, “Gave thee life, and bid thee feed / By the stream and o’er the mead,” continue to reflect on the lamb’s dependence on its creator. The references to “the stream” and “the mead” suggest a pastoral setting where the lamb’s needs are effortlessly met by the natural world, underscoring the grace and provision of the creator. The poet’s use of these serene images contrasts with the complexity of human existence, reinforcing the purity and simplicity of the lamb’s experience.
Blake’s questions are not merely rhetorical but invite a deeper contemplation of the divine role in creation. They set the stage for the poet’s exploration of the relationship between the creator and creation. By addressing the lamb directly, Blake personalizes the theological inquiry, suggesting a close, intimate relationship between all creatures and their creator. This approach reflects Blake’s broader theme of unity and divine love, celebrating the innocence and purity found in both the lamb and the spiritual realm.
Question 2
2) What was the role of the court in the shaping of English Renaissance Literature ? Your answer should be based on your understanding of the period.
The court was instrumental in shaping English Renaissance literature, influencing its development, themes, and dissemination. Spanning from the late 15th to the early 17th centuries, the English Renaissance saw the court emerge as a central hub for literary patronage and innovation.
One of the court’s most significant roles was its patronage of writers and poets. Monarchs and courtiers, particularly under Henry VIII, Elizabeth I, and James I, were enthusiastic supporters of the arts. Elizabeth I, for instance, was a notable patron whose support helped many writers, including Shakespeare and Marlowe, to thrive. Her interest in literature and the arts created an environment where literary work was both valued and encouraged.
The thematic focus of Renaissance literature was often shaped by the interests and values of the courtly audience. Literature from this period frequently reflected themes of courtly love, political intrigue, and the idealization of monarchy. Shakespeare’s plays, such as “Hamlet” and “Macbeth,” are filled with themes of power and ambition, mirroring the political dynamics of the court. The court’s political and social environment influenced these themes, providing a rich backdrop for literary exploration.
Stylistically, the court encouraged experimentation with classical forms and conventions. The use of refined language and intricate poetic forms like the sonnet became prominent, influenced by courtly poets such as Sir Philip Sidney and Edmund Spenser. The court’s literary culture fostered an environment where such innovations could flourish.
Furthermore, the court served as a venue for the performance and dissemination of literature. Courtly entertainments, including masques and pageants, provided writers with opportunities to showcase their work. These events were not merely for entertainment but also served to propagate political and social ideals. Ben Jonson’s masques, for example, celebrated and flattered the monarchy, demonstrating how courtly interests shaped literary forms.
In summary, the court played a crucial role in the development of English Renaissance literature. Through patronage, thematic influence, stylistic innovation, and the promotion of literary works, the court significantly impacted the literary landscape of the period. This relationship between the court and literature highlights the interplay between political power and cultural production during the Renaissance.
Question 3
3) What is a ‘conceit’ ? Cite examples of ‘conceit’ from Donne’s poems and explain it.
A “conceit” in literature refers to an extended metaphor that draws an elaborate or imaginative comparison between two dissimilar things. In the context of poetry, particularly in the works of John Donne, a conceit involves intricate and often surprising analogies that serve to illuminate complex ideas or emotions.
Donne’s poetry is renowned for its use of conceits, which are central to his metaphysical style. These conceits often juxtapose the mundane with the profound, creating striking and thought-provoking imagery.
One prominent example of a conceit in Donne’s poetry is found in his Holy Sonnet XIV, “Batter my heart, three-person’d God.” In this sonnet, Donne uses the conceit of a siege to describe his spiritual longing for divine intervention. He compares himself to a city under siege, pleading with God to “batter” his heart and “break” him down in order to rebuild him. This metaphor vividly illustrates the poet’s desire for a profound spiritual transformation and the intensity of his struggle for redemption.
Another example appears in Donne’s poem “A Valediction: Forbidding Mourning,” where he employs the conceit of a compass to depict the enduring connection between lovers despite physical separation. Donne compares the two lovers to the legs of a compass: when one leg moves away, the other remains fixed, and together they form a perfect circle. This metaphor emphasizes the idea of spiritual unity and the strength of their bond, even when apart.
In “The Flea,” Donne uses the conceit of a flea to explore themes of love and physical intimacy. He compares the flea, which has bitten both the speaker and his lover, to a marriage bed, suggesting that their blood mingled within the flea is a symbol of their union. This playful and provocative metaphor is employed to persuade the lover to acquiesce to physical intimacy by trivializing the act.
In summary, a conceit is a complex and often surprising metaphor that reveals deeper insights into the poet’s themes. Donne’s use of conceits is a hallmark of his metaphysical poetry, where elaborate comparisons serve to explore and express intricate ideas about love, faith, and human experience.
Question 4
4) Identify some of the primary influences and the main literary sources to be found in Milton’s early poetic works.
John Milton’s early poetic works were significantly influenced by various literary traditions and sources, which played a crucial role in shaping his distinctive style and thematic concerns. These influences include classical literature, the Bible, and Renaissance humanism.
Classical Literature: Milton’s early poetry reflects a profound engagement with classical literature, particularly the works of Latin poets such as Virgil, Horace, and Ovid. His study of classical epics and lyrical poetry is evident in the structure and themes of his own work. For example, in his early elegy “Lycidas,” Milton adopts the pastoral tradition from Virgil and Theocritus, using it to address themes of loss and mourning. The formal and rhetorical aspects of classical poetry also influenced Milton’s use of blank verse and his complex syntax.
Biblical Sources: The Bible, especially the Old Testament, had a significant impact on Milton’s early poetry. Milton’s Christian background is evident in the religious themes and scriptural references in his works. The narrative style of his epic poems and his use of biblical imagery and motifs reflect his deep engagement with the Scriptures. In “On the Morning of Christ’s Nativity,” Milton draws on biblical accounts of the Nativity and incorporates them into a grand epic vision, demonstrating the Bible’s influence on his poetic imagination.
Renaissance Humanism: The Renaissance revival of classical learning and emphasis on individual potential also shaped Milton’s early poetry. Milton was well-versed in Renaissance humanist ideas, which emphasized the study of classical texts, the exploration of human nature, and the pursuit of intellectual and artistic excellence. This influence is apparent in his use of classical themes and forms, as well as his exploration of philosophical and theological questions. His engagement with humanist ideals is evident in poems like “L’Allegro” and “Il Penseroso,” where he contrasts joyous and contemplative modes of life through a humanist lens.
Literary Predecessors and Contemporaries: Milton was also influenced by his contemporaries and predecessors in English literature. The works of poets such as Edmund Spenser and John Donne, with their use of elaborate imagery and metaphysical conceits, influenced Milton’s stylistic choices and thematic concerns. Milton’s early work reflects a dialogic relationship with these poets, blending their innovations with his own unique voice.
In summary, Milton’s early poetic works were shaped by classical literature, biblical sources, Renaissance humanism, and the influence of his literary predecessors. These sources contributed to the development of his distinctive style and thematic depth, which would later be fully realized in his epic masterpieces.
Question 5
5) Would you consider satire to be great poetry ? Discuss with reference to Mac Flecknoe.
Satire, as a literary form, can indeed be considered great poetry, and John Dryden’s Mac Flecknoe provides a compelling example of how satire achieves literary greatness. Although satire is primarily intended to criticize and expose the flaws of individuals or societal norms, it achieves its poetic status through its mastery of language, structure, and thematic depth.
Language and Style: Mac Flecknoe showcases Dryden’s skillful use of language and style, hallmarks of great poetry. Dryden employs a blend of invective and wit, using elaborate metaphors and a sophisticated verse structure to satirize Thomas Shadwell, a contemporary poet whom Dryden considered a rival. The poem’s mock-heroic style, which parodies the epic genre, demonstrates Dryden’s ability to manipulate poetic forms for satirical purposes. The grandiose language and elaborate descriptions serve to underscore the absurdity of Shadwell’s literary ambitions and achievements.
Structure and Form: The structure of Mac Flecknoe contributes to its poetic quality. The poem is a mock-epic, drawing on the conventions of classical epic poetry to satirize its subject. This use of epic form to critique a contemporary figure exemplifies how satire can elevate its subject through the application of a high poetic form. The poem’s formal structure, including its use of heroic couplets, enhances its satirical impact by juxtaposing the grandiose with the trivial.
Thematic Depth: Beyond its immediate satirical targets, Mac Flecknoe engages with broader themes of literary value and criticism. Dryden’s satire not only critiques Shadwell’s perceived lack of talent but also reflects on the nature of literary excellence and the mechanisms of literary patronage and success. This thematic depth demonstrates that satire, while often aimed at specific individuals or issues, can also provide insight into larger cultural and literary concerns.
Cultural and Historical Context: In the context of its time, Mac Flecknoe reflects the competitive nature of the literary world in Restoration England. Dryden’s satire captures the tensions between poets and the dynamics of literary reputation. The poem’s ability to engage with contemporary issues while employing a sophisticated poetic form underscores its status as great poetry.
In conclusion, satire like Dryden’s Mac Flecknoe can indeed be considered great poetry due to its mastery of language, structure, and thematic exploration. The poem’s use of epic conventions to satirize its subject, coupled with its insightful commentary on literary and cultural issues, illustrates how satire transcends its immediate targets to achieve a lasting poetic significance.
Question 6
6) Comment on the uniqueness of Byron and Shelley as poets.
George Gordon Byron and Percy Bysshe Shelley, prominent figures in Romantic literature, are celebrated for their unique contributions to poetry, each bringing distinctive styles and themes to their work.
Byron’s Uniqueness: Byron’s poetry is marked by his distinctive voice and the creation of the Byronic hero, a character archetype characterized by introspection, defiance, and a troubled past. This persona is a central feature of his epic poem Don Juan, where Byron employs a satirical, conversational tone to explore themes of love, adventure, and social criticism. Byron’s use of satire, coupled with his ability to blend humor and serious reflection, sets him apart. His personal charisma and scandalous life added a layer of allure to his poetry, drawing readers into his world of both grandeur and rebellion.
Byron’s formal innovation includes his use of the ottava rima, an eight-line stanza form with a rhyme scheme of ABABABCC. This form is employed effectively in Don Juan to balance lyrical beauty with narrative scope. Byron’s engagement with contemporary political and social issues, such as the Greek War of Independence, adds a historical dimension to his work, making his poetry not only a reflection of personal experience but also a commentary on his time.
Shelley’s Uniqueness: Shelley’s poetry is characterized by its idealism, radicalism, and an emphasis on the power of the imagination. Unlike Byron’s often cynical and worldly perspective, Shelley’s work is infused with a visionary and utopian spirit. His major works, such as Prometheus Unbound and Ode to the West Wind, demonstrate his preoccupation with themes of liberation, the transcendence of the individual spirit, and the transformative potential of poetic creativity.
Shelley’s use of rich, evocative imagery and innovative poetic forms, such as the use of blank verse and irregular meter, distinguishes his work. His lyrical and philosophical approach, combined with his belief in the inherent goodness of human nature and the potential for societal reform, offers a counterpoint to Byron’s more skeptical outlook. Shelley’s ability to infuse his poetry with philosophical and political ideas while maintaining a lyrical and emotional depth contributes to his uniqueness as a poet.
Contrasts and Contributions: The contrasts between Byron and Shelley highlight the diversity within Romantic poetry. Byron’s focus on personal and societal satire, his Byronic hero, and his engagement with contemporary issues offer a more grounded and often rebellious perspective. Shelley’s emphasis on idealism, imagination, and revolutionary thought provides a more transcendent and visionary view of the world.
In summary, Byron and Shelley each bring their own unique qualities to Romantic poetry. Byron’s satirical wit, Byronic hero, and engagement with social issues contrast with Shelley’s idealism, imaginative power, and radical vision. Together, their work represents the breadth and depth of Romanticism, reflecting the diverse ways in which poets can engage with their world.
Question 7
7) Discuss the Songs of Innocence and the Songs of Experience as ‘Contrary states of the Human soul’.
The “Songs of Innocence” and the “Songs of Experience” by William Blake are often discussed as representing two opposing states of the human soul. These collections of poems offer a profound exploration of human conditions, portraying innocence and experience as distinct yet interconnected stages of existence.
In “Songs of Innocence,” Blake presents a vision of purity and simplicity, where the world is viewed through a lens of childlike wonder and trust. The poems in this collection, such as “The Lamb” and “The Chimney Sweeper,” embody themes of joy, harmony, and a sense of divine presence. Innocence, in Blake’s view, is characterized by a state of purity, natural goodness, and an untainted perception of the world. The tone is optimistic, reflecting a harmonious relationship between humanity and nature, and a belief in the benevolence of God. This state of innocence represents a form of spiritual and emotional purity, where the complexities and corruptions of adult life have not yet intruded.
Contrastingly, “Songs of Experience” delves into the darker aspects of human existence, showcasing the loss of innocence and the harsh realities of life. Poems like “The Tyger” and “London” reveal the struggles, sufferings, and moral ambiguities faced by individuals. Experience in Blake’s framework is marked by disillusionment, suffering, and a more complex understanding of the world. This collection addresses themes of social injustice, spiritual conflict, and existential angst, reflecting the inherent struggles and contradictions of human experience. The tone is more somber and critical, exposing the corruptions and challenges that mar the idealism of innocence.
Blake’s portrayal of these states is not merely a dichotomy but rather an exploration of how one state informs and transforms into the other. The “Songs of Innocence” can be seen as a precursor to “Songs of Experience,” suggesting that innocence is not static but evolves as individuals encounter and grapple with the complexities of life. Experience, in turn, offers a more nuanced and profound understanding of existence, acknowledging both the joys and sorrows of human life.
Blake’s unique approach lies in his ability to juxtapose these states to illustrate their interdependence. Innocence and experience are not isolated but exist in a dynamic relationship, reflecting the fluid and often cyclical nature of human development. By presenting these two states, Blake invites readers to consider the full spectrum of human experience, recognizing that both innocence and experience are integral to understanding the human soul.
Thus, the “Songs of Innocence” and the “Songs of Experience” together create a rich, layered exploration of human consciousness, capturing the complex interplay between purity and corruption, joy and suffering, and simplicity and complexity.
Question 8
8) How are magic and symbolism related in Yeats’ poetry ? Explain.
In W.B. Yeats’ poetry, magic and symbolism are intricately connected, each enriching the other to create a profound and multi-layered artistic vision. Yeats, a central figure in the Irish Literary Revival, utilized both magic and symbolism to explore themes of myth, history, and personal transformation.
Magic in Yeats’ poetry is often tied to his fascination with the occult, mysticism, and esoteric traditions. His interest in these areas is not merely decorative but fundamental to his poetic vision. Yeats believed in the transformative power of mystical experiences and sought to integrate this sense of the magical into his work. In poems like “The Song of Wandering Aengus” and “The Second Coming,” Yeats employs magical elements to transcend ordinary reality and engage with deeper spiritual truths. The magical motifs in his poetry often symbolize the quest for spiritual enlightenment or a deeper understanding of the universe.
Symbolism, on the other hand, serves as a tool for conveying complex ideas and emotions through evocative imagery and metaphor. Yeats’ use of symbols is deeply influenced by his engagement with various mythologies and historical contexts. For instance, symbols such as the gyre, the labyrinth, and the phoenix recur throughout his work, each carrying multiple layers of meaning. These symbols are not static but dynamic, reflecting the changing nature of human experience and the cyclical patterns of history.
The interplay between magic and symbolism in Yeats’ poetry allows for a rich tapestry of meanings. Magic often operates through symbolism, with mystical experiences being represented by symbolic imagery that resonates with both personal and universal significance. For example, in “The Tower,” the imagery of the tower itself is a symbol of the poet’s struggle with his own identity and creative process, while also representing a mystical quest for spiritual renewal.
Yeats’ symbolic use of magic extends to his depiction of mythological figures and archetypes. His poetry frequently draws upon Celtic mythology and symbols to explore themes of cultural identity, personal transformation, and the tension between the spiritual and the material. The use of magical symbols in this context serves to bridge the gap between the tangible and the intangible, providing a means of exploring the inner workings of the human psyche and the larger forces at play in the world.
Overall, Yeats’ integration of magic and symbolism creates a poetic landscape where the mystical and the symbolic intertwine, offering readers a deeper engagement with the complexities of existence and the mysteries of the human soul. This relationship allows Yeats to craft a unique poetic vision that is both deeply personal and universally resonant, reflecting his belief in the power of symbols and magical experiences to reveal profound truths about life and the cosmos.
Question 9
9) Write a note on Dylan Thomas’ use of imagery with reference to the poems you have studied.
Dylan Thomas is renowned for his vivid and evocative use of imagery, which is a cornerstone of his poetic style. His imagery often defies conventional boundaries, creating a rich and immersive experience for readers. This approach is evident in several of his well-known poems, where he employs imagery to explore themes of life, death, and the nature of existence.
In his celebrated poem “Do Not Go Gentle into That Good Night,” Thomas uses imagery to convey the intense emotions associated with resistance against death. The repeated plea to “rage against the dying of the light” is supported by powerful visual and sensory imagery. The “good night” is not merely a metaphor for death but is depicted as a tangible force that one must struggle against. The imagery of “dying of the light” suggests a fading away, contrasting starkly with the vitality and resistance urged by the speaker. This use of imagery underscores the poem’s urgent, defiant tone, emphasizing the struggle against the inevitable.
Thomas’s poem “The Force That Through the Green Fuse Drives the Flower” offers another example of his masterful use of imagery. The poem explores the connection between life and death through a series of vivid and often unsettling images. The “green fuse” that drives the flower is a central image, symbolizing the life force that animates both the natural world and human existence. This imagery not only evokes the cycles of nature but also highlights the inextricable link between creation and destruction. The image of the green fuse burning and the flower growing captures the duality of life’s vitality and its ultimate transience.
In “Fern Hill,” Thomas reflects on his childhood with nostalgic imagery that contrasts the innocence of youth with the inevitability of aging. The poem is replete with images of nature and pastoral scenes, such as the “apple boughs” and “the lilting house,” which evoke a sense of timeless beauty and freedom. These images are juxtaposed with the awareness of the passage of time, creating a poignant exploration of memory and loss. The imagery of childhood as a golden age of light and joy serves to underscore the speaker’s sense of loss as he confronts the reality of growing older.
Thomas’s use of imagery is not merely decorative but integral to the emotional and thematic depth of his poetry. His ability to create striking and often surreal images allows him to delve into complex ideas about life, death, and the human condition, making his work both evocative and profoundly resonant. Through his distinctive imagery, Thomas invites readers to experience the world through a lens of vibrant, often tumultuous emotion, capturing the essence of his existential and lyrical concerns.