IGNOU MEG 1 Solved Question Paper | December 2021
- Last Updated On August 11, 2025
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Welcome to our blog, In this post, we’re sharing the IGNOU MEG 1 Solved Question Paper of December 2021 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 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.
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 any two of the following with reference to the context :
(a) Wilt thou forgive that sinne where I begunne,
Which is my sin, though it were done before ?
Wilt thou forgive those sinnes through
Which I runne.
Answer –
John Donne’s “A Hymn to God the Father” delves deeply into themes of sin, guilt, and the human condition through a personal prayer to God. The poem’s introspective tone reflects Donne’s acute awareness of his spiritual failings.
It opens with the speaker seeking forgiveness for the original sin, “where I begun,” acknowledging that though this sin is not of his own making, he bears its burden. The line “which was my sin, though it were done before” highlights his inherited guilt, emphasizing his belief in being tainted by the sins of humanity from birth.
The poem then shifts from original sin to the speaker’s personal sins, those “through which I run.” This transition underscores the continuous nature of his moral struggles and the repetitive cycle of sin and repentance. The refrain “When thou hast done, thou hast not done, for I have more” poignantly illustrates the inexhaustible nature of his sins and the perpetual need for divine forgiveness.
In the second stanza, the speaker extends his guilt to the sins he has led others to commit, recognizing that his actions have contributed to their moral failings. This acknowledgment adds another layer of remorse, highlighting the ripple effect of his behavior.
The final stanza reveals the speaker’s fear of death and the afterlife. He describes his “sin of fear” and the anxiety about what awaits him beyond life. The metaphor of spinning his “last thread” symbolizes the end of life, and he pleads for Christ’s light to guide him, seeking reassurance for his salvation. The closing lines, “And, having done that, thou hast done; I fear no more,” express that only through God’s ultimate forgiveness can he find peace.
Donne’s use of repetition and simple structure effectively conveys his deep spiritual concerns, reflecting his complex relationship with faith and his quest for redemption.
(b) Hence vain deluding joyes,
The brood of folly without father bred,
How little you bested,
Or fill the fixed mind with all your toyes;
Answer –
John Milton’s “Il Penseroso” explores the virtues of a contemplative life, contrasting it with the superficial pleasures of joy. The speaker rejects “vain deluding Joys,” depicting them as shallow and deceptive, and prefers the deeper, more meaningful experiences associated with melancholy. The lines “Hence vain deluding Joys, / The brood of Folly without father bred” set the tone for this rejection, portraying these joys as empty and unworthy of serious thought.
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(c) When my mother died I was very young,
And my father sold me while yet my tongue
could scarcely cry “weep!” “weep!” “weep!” “weep!”
So your chimneys I sweep, and in soot I Sleep.
Answer –
William Blake’s poem “The Chimney Sweeper: When My Mother Died I Was Very Young” poignantly critiques the exploitation of child laborers in 18th-century England. The opening lines, “When my mother died I was very young, / And my father sold me while yet my tongue / Could scarcely cry ‘weep! ‘weep! ‘weep! ‘weep!'” introduce the tragic circumstances of the speaker, a child sold into chimney sweeping, a grim occupation that embodies his suffering and loss of innocence.
The child’s vulnerability is evident in his inability to pronounce “sweep” correctly, underscoring his youth and helplessness. The line “So your chimneys I sweep & in soot I sleep” vividly depicts the harsh conditions of his labor, with soot symbolizing the dehumanizing and oppressive nature of his work.
Blake intensifies the emotional impact by introducing Tom Dacre, another young chimney sweeper distressed by having his curly hair shaved. The speaker comforts Tom, suggesting that the soot won’t spoil his now-bare head, highlighting the contrast between their innocence and their harsh reality.
The poem’s mystical element emerges through Tom’s dream of an angel who frees the children from their “coffins of black,” symbolizing their premature deaths or entrapment. The angel promises eternal joy if they are “good boys,” reflecting how religious promises were used to placate the suffering poor, offering hope for a better afterlife while ignoring their present misery.
Blake critiques this religious consolation as insufficient and manipulative, promoting passive acceptance rather than addressing immediate injustice. Despite Tom’s hopeful dream, the harsh reality persists as the children wake to continue their work. The temporary escape provided by the dream contrasts with their ongoing suffering, highlighting Blake’s condemnation of societal and religious structures that perpetuate exploitation.
In conclusion, Blake’s poem exposes the brutal realities of child labor and critiques the ineffective religious justifications for such exploitation, urging recognition of the children’s innocence and the injustice they endure.
William Blake’s poem “The Chimney Sweeper: When My Mother Died I Was Very Young” poignantly critiques the exploitation of child laborers in 18th-century England. The opening lines, “When my mother died I was very young, / And my father sold me while yet my tongue / Could scarcely cry ‘weep! ‘weep! ‘weep! ‘weep!'” introduce the tragic circumstances of the speaker, a child sold into chimney sweeping, a grim occupation that embodies his suffering and loss of innocence.
The child’s vulnerability is evident in his inability to pronounce “sweep” correctly, underscoring his youth and helplessness. The line “So your chimneys I sweep & in soot I sleep” vividly depicts the harsh conditions of his labor, with soot symbolizing the dehumanizing and oppressive nature of his work.
Blake intensifies the emotional impact by introducing Tom Dacre, another young chimney sweeper distressed by having his curly hair shaved. The speaker comforts Tom, suggesting that the soot won’t spoil his now-bare head, highlighting the contrast between their innocence and their harsh reality.
The poem’s mystical element emerges through Tom’s dream of an angel who frees the children from their “coffins of black,” symbolizing their premature deaths or entrapment. The angel promises eternal joy if they are “good boys,” reflecting how religious promises were used to placate the suffering poor, offering hope for a better afterlife while ignoring their present misery.
Blake critiques this religious consolation as insufficient and manipulative, promoting passive acceptance rather than addressing immediate injustice. Despite Tom’s hopeful dream, the harsh reality persists as the children wake to continue their work. The temporary escape provided by the dream contrasts with their ongoing suffering, highlighting Blake’s condemnation of societal and religious structures that perpetuate exploitation.
In conclusion, Blake’s poem exposes the brutal realities of child labor and critiques the ineffective religious justifications for such exploitation, urging recognition of the children’s innocence and the injustice they endure.
(d) There is a panther stalks me down :
One day I’ll have my death of him;
His greed has set the moods aflame,
He prowls more lordly than the sun.
Answer –
In Sylvia Plath’s poem “Pursuit,” the metaphor of a panther vividly explores themes of desire, fear, and the inescapability of inner turmoil. The panther symbolizes a relentless, predatory force that the speaker feels is unceasingly chasing them. This force represents not only an external threat but also an internal, uncontrollable desire that consumes the speaker.
The lines “There is a panther stalks me down: / One day I’ll have my death of him” convey the inevitability of this pursuit leading to the speaker’s ultimate demise. The panther’s “greed” that has “set the woods aflame” reflects an overwhelming obsession that has consumed everything around it, highlighting the destructive nature of the desire. The panther’s dominance, described as “more lordly than the sun,” emphasizes its overpowering presence, overshadowing even the natural order and leaving the speaker feeling helpless.
Plath delves into the psychological torment of the speaker, who is both drawn to and repelled by this destructive force. The panther’s pursuit represents an inescapable fate, driving the speaker to the edge of despair. Imagery such as being “flayed by thorns” and “haggard through the hot white noon” intensifies the sense of suffering and exhaustion, illustrating the physical and emotional toll of this relentless chase.
Ultimately, the poem captures the tension between desire and destruction. The panther’s “ardor snares me” and its “yellow gaze” that “burns and brands” signify the consuming nature of this desire, offering no respite for the speaker. The closing lines, with the panther ascending the stairs, suggest an inevitable confrontation where the speaker’s fears and desires converge, leading to their undoing.
In conclusion, Plath’s “Pursuit” uses the panther metaphor to reflect the destructive power of unchecked desires and the inescapable nature of inner conflicts, portraying the speaker’s struggle with a force that both attracts and terrifies them.
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Question 2
2) Attempt an analysis of the portraits of the prioress, the monk, the Friar, and the wife of Bath.
Answer –
In Geoffrey Chaucer’s The Canterbury Tales, the Prioress, Monk, Friar, and Wife of Bath each offer critical reflections on medieval social and religious structures.
The Prioress embodies a blend of superficial piety and courtly manners. Described with delicate refinement, her fastidious eating habits and immaculate appearance, as shown in “Hir over lippe wiped she so clene,” highlight her concern with appearances over genuine spirituality. Her imitation of Parisian French and the brooch inscribed with “Amor vincit omnia” suggest a worldly rather than spiritual focus. The Prioress’s character critiques the disconnect between outward religious devotion and true spiritual commitment.
The Monk is characterized by his preference for luxury and hunting over monastic duties. Chaucer depicts him as indulging in pleasures contrary to the ascetic life expected of monks. His lavish lifestyle and fine attire illustrate his failure to adhere to monastic discipline, highlighting the corruption and deviation from religious ideals. The Monk’s portrayal critiques the gap between the religious vows of poverty and his actual indulgence in worldly comforts.
The Friar represents religious corruption and exploitation. Chaucer describes him as manipulating his religious role for personal gain, extracting money from the wealthy under the guise of providing spiritual guidance. His preference for associating with the rich while avoiding the poor reveals a significant lapse in fulfilling his pastoral duties. The Friar’s character exposes the hypocrisy of religious figures who prioritize personal profit over their spiritual and social responsibilities.
The Wife of Bath challenges traditional gender norms with her multiple marriages and extensive travels. Her independence and assertiveness are evident through her wealth and experience, including her knowledge of love and relationships. By defying contemporary expectations of women, the Wife of Bath critiques societal norms and highlights themes of female autonomy. Her character presents a nuanced view of gender roles and social expectations.
In conclusion, Chaucer’s portrayals of the Prioress, Monk, Friar, and Wife of Bath offer a critical view of medieval society. Each character reveals different aspects of religious and social hypocrisy, while the Wife of Bath challenges traditional gender roles. Through these figures, Chaucer critiques the gap between appearances and reality, providing insight into the moral and spiritual failings of his time
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Question 3
3) Can “Mac Flecknoe” be called a comic fantasy ? Comment.
Answer –
John Dryden’s Mac Flecknoe is a satirical poem that critiques Thomas Shadwell, a contemporary playwright, by undermining his literary reputation through a blend of humor, fantasy, and mock-heroic style. To determine if Mac Flecknoe qualifies as a comic fantasy, we must examine its elements of satire, imagination, and humor.
Satirical and Mock-Heroic Elements: The poem targets Shadwell by portraying him as the heir to a fictitious throne of dullness. Dryden’s satire aims to belittle Shadwell’s literary achievements by depicting him as the ultimate embodiment of mediocrity. Dryden uses the mock-heroic style, adopting epic conventions to exaggerate and ridicule Shadwell’s rise to power. Instead of celebrating a hero, Dryden lampoons Shadwell with exaggerated solemnity and pomp.
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Question 4
4) Discuss “The Prelude” as an autobiographical poem.
Answer –
William Wordsworth’s The Prelude is widely recognized as a profound autobiographical poem that offers an in-depth exploration of his personal experiences and spiritual evolution. As one of the most significant works in English literature, it provides a reflective and detailed account of Wordsworth’s journey from youthful innocence to profound self-awareness. Book One, in particular, focuses on his formative experiences with nature, revealing the intimate connection between his personal growth and the natural world.
Reflective and Personal Nature: The Prelude functions as a mirror reflecting Wordsworth’s internal life. It captures his transition from a naive child to a contemplative adult. The poem opens with Wordsworth reminiscing about his early years, particularly emphasizing his bond with nature. This self-exploration is vividly illustrated through his recollections of a pivotal boat trip, where the encounter with a towering mountain peak profoundly affects him. This moment of awe and fear represents a significant shift in his psychological and emotional landscape.
Themes of Nature and Imagination: Nature is central to Wordsworth’s autobiographical narrative, serving both as a literal and symbolic element in his life. The boat trip symbolizes nature’s role as a teacher, offering both sublime beauty and a sense of terror. The mountain, initially perceived as a majestic force, transforms into a menacing presence in Wordsworth’s imagination, illustrating his internal conflicts and the overwhelming nature of his experiences. This transformation highlights the complex relationship between nature and the self, underscoring the role of imagination in shaping personal perceptions.
Psychological and Emotional Impact: The emotional depth of Wordsworth’s response to the mountain peak reflects a profound psychological impact. The encounter disrupts his familiar mental landscape, leading to a period of introspection and self-examination. Wordsworth describes feelings of “dim and undetermined sense” and “darkness,” which symbolize his internal struggles and the transformative nature of the experience. This encounter marks a crucial point in his development, illustrating how significant emotional experiences contribute to personal growth.
Autobiographical Elements: The autobiographical nature of The Prelude is evident in its detailed recounting of personal experiences and reflections. The boat trip and its aftermath serve as a focal point for Wordsworth’s exploration of themes such as nature’s influence, the role of imagination, and the psychological effects of sublime encounters. These elements intertwine with his life story, providing readers with an intimate view of his personal development and inner world.
Conclusion: The Prelude stands as a seminal work in autobiographical poetry, offering a rich portrayal of Wordsworth’s personal journey and self-discovery. Through its reflective narrative, vivid imagery, and exploration of psychological and emotional themes, the poem captures the essence of Wordsworth’s growth. It provides a valuable insight into his life and development, affirming its significance as a profound autobiographical account.
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Question 5
5) What do you think is Yeats’ contribution to modern poetry ?
Answer –
William Butler Yeats significantly influenced modern poetry through his innovative approaches and thematic explorations. Key aspects of his contributions include:
Innovative Symbolism and Imagery: Yeats is renowned for his use of symbolism, drawing from Irish folklore and personal mysticism. His concept of the “gyre,” representing cyclical patterns, showcases his abstract approach to symbolism. This technique allowed Yeats to explore complex themes and set a precedent for modern poets.
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Question 6
This question is divided in 4 questions ( a, b, c, d ). Students will have to attempt any 1
6) Attempt an alalysis of Eliot’s poetic vision in the “The Waste Land”.
Answer –
S. Eliot’s “The Waste Land” is a cornerstone of modernist poetry, known for its complex structure and rich allusions. Here’s a concise analysis of its key aspects:
Themes
Despair and Disintegration: The title “The Waste Land” evokes a sense of spiritual and cultural barrenness. The poem reflects the post-World War I disillusionment, depicting a fragmented world that symbolizes the collapse of traditional values and coherence.
Search for Meaning: The poem explores a quest for meaning in a world that seems devoid of hope. Characters are depicted as seeking redemption or salvation amidst widespread futility, highlighting the existential crisis of the era.
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Question 7
7) Bring out the Imagist elements in Eliot and Pound.
Answer –
Imagist Elements in T.S. Eliot and Ezra Pound
Introduction: Imagism, an early 20th-century movement, emphasized clarity, precision, and directness in poetry. Both T.S. Eliot and Ezra Pound were pivotal in shaping and promoting Imagist principles, though their approaches differed. Their works embody key Imagist features, including vivid imagery, precise language, and a focus on the present moment.
Ezra Pound and Imagism:
Foundational Contributions: Ezra Pound, alongside Richard Aldington, played a key role in founding Imagism. His anthology Des Imagistes (1914) is a seminal text for the movement, illustrating Imagist principles through his poetry and editorial work.
Use of Vivid Imagery: Pound’s poetry is known for its clarity and precision. In “In a Station of the Metro,” he uses stark imagery to depict faces in a crowded subway: “The apparition of these faces in the crowd; Petals on a wet, black bough.” This poem exemplifies Imagist focus on directness and visual clarity, juxtaposing fleeting images with static ones.
Economy of Language: Pound’s work is characterized by its brevity. He emphasized using minimal words to convey vivid images and emotions, as seen in Personae (1909). His concise style exemplifies the Imagist principle of stripping away excess.
Influence of Imagist Principles: Pound’s commitment to precision and vivid imagery significantly impacted modernist poetry, even in his later, broader work, The Cantos, which retains Imagist elements.
T.S. Eliot and Imagism:
Early Influences and Adoption: T.S. Eliot, influenced by Pound, incorporated Imagist techniques into his early poetry. “The Love Song of J. Alfred Prufrock” shows Imagist traits with its fragmented structure and rich imagery.
Imagery in Early Poetry: In “The Love Song of J. Alfred Prufrock,” Eliot uses striking imagery to convey the protagonist’s inner turmoil: “When the evening is spread out against the sky Like a patient etherized upon a table.” This simile reflects Imagist techniques by creating vivid, original imagery.
Influence of Modernist Techniques: Eliot’s The Waste Land (1922), while more complex, uses fragmented imagery and precise details influenced by Imagism. For example: “April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain.” Here, Eliot evokes disillusionment and renewal through vivid contrasts.
Evolution Beyond Imagism: Eliot’s later work, such as Four Quartets (1943), illustrates an evolution from Imagism, blending clarity with philosophical and theological reflections.
Conclusion: Both T.S. Eliot and Ezra Pound made significant contributions to Imagism, though their applications varied. Pound’s work directly reflects Imagist ideals with its stark imagery and economy of language, while Eliot integrated these elements into a broader modernist context. Their contributions illustrate Imagism’s transformative impact on modern poetry.
Question 8
This question is divided in 4 questions ( a, b, c, d ). Students will have to attempt any 1
8) Attempt a critical appreciation of any one poem :
(a) “I Remember, I Remember”
(b) “Poem in October”
(c) “An Epistle to Dr. Arbuthnot”
(d) “The Ballad of Reading Gaol”
Answers –
a) Critical Appreciation of “I Remember, I Remember” by Thomas Hood
Introduction: Thomas Hood’s “I Remember, I Remember” poignantly captures nostalgia and the bittersweet nature of memory. Through vivid recollections of childhood, Hood contrasts youthful innocence with adult disillusionment. The poem’s structure, themes, and emotional depth contribute to its enduring impact.
Structure and Form: The poem consists of four-line stanzas with a simple AABB rhyme scheme. This regular pattern enhances rhythm and musicality, contrasting with the melancholic tone. The consistent form mirrors the comfort of childhood memories, setting up a stark contrast with the speaker’s current dissatisfaction.
Themes
Nostalgia and Memory: Nostalgia is the central theme, emphasized by the repeated phrase “I remember, I remember.” Detailed recollections, such as the “little window” and “roses, red and white,” highlight the speaker’s deep emotional attachment to the past. This nostalgia is tinged with sadness as the speaker contrasts the simplicity of childhood with the complexities of adulthood.
Innocence vs. Experience: The transition from innocence to experience is explored through memories. Childhood is portrayed with wonder and simplicity, as seen in descriptions like “flowers made of light.” This innocence contrasts with the burdens of adulthood, reflected in lines such as “My spirit flew in feathers then” and “I’m farther off from heav’n / Than when I was a boy,” emphasizing the loss of purity and joy.
The Passage of Time: Time is a significant theme, contrasting the unchanging nature of childhood places, like the “fir trees dark and high,” with the speaker’s present disillusionment. The final stanza’s reflection on being “farther off from heav’n” underscores the distance between past and present, both physically and emotionally.
Imagery and Language:
Visual Imagery: Hood uses vivid visual imagery to evoke childhood’s beauty and simplicity. Images such as the “little window” and “roses, red and white” create a detailed picture of the speaker’s early environment, contrasting sharply with the stark reality of adulthood.
Emotional Language: The language conveys longing and melancholy. Words like “wish,” “fever,” and “heavy” reflect the speaker’s discontent with adult life. The contrast between joyful memories and a somber present heightens the poem’s emotional impact.
Conclusion: “I Remember, I Remember” explores nostalgia and the passage of time through its structured form, vivid imagery, and emotional depth. Hood’s reflection on childhood innocence and adult disillusionment remains a timeless and relatable theme, capturing the essence of longing for a simpler past amidst the complexities of adult life.
b) Critical Appreciation of “Poem in October” by Dylan Thomas
Introduction: Dylan Thomas’s “Poem in October” is a lyrical exploration of time, nature, and personal reflection, centered around the poet’s thirtieth birthday. The poem juxtaposes a celebration of life and nature with reflections on childhood and the inevitable changes of adulthood, creating a vivid portrayal of personal and natural cycles.
Structure and Form: The poem’s free verse structure allows Thomas to delve deeply into its themes with fluidity and freedom. The absence of a fixed rhyme scheme, combined with enjambment and varied line lengths, mirrors the natural rhythms of life and the environment. This form enhances the contemplative tone and reflects the poet’s engagement with the passage of time.
Themes:
The Passage of Time: Time is a central theme, marked by the poet’s thirtieth birthday. Thomas contrasts the fresh start of the morning with the broader progression of life, signified by “thirtieth year to heaven.” This imagery captures the transition from youth to adulthood and its impact on the poet’s perspective.
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