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Welcome to our blog, In this post, we’re sharing the IGNOU MEG 1 Solved Question Paper of June 2018 examination, focusing on British Poetry.
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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.
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Question 1
1) Explain any two of the following passages with reference to their contexts and supply brief critical comments where necessary :
(a) Was it a dreame, or did I see it playne ?
A goodly table of pure yvory,
All spred with juncats, fit to entertayne
The greatest Prince with pompous roialty.
Answer –
In the opening lines of Edmund Spenser’s Sonnet LXXVII, “Was it a dreame, or did I see it playne? A goodly table of pure yvory, All spred with juncats, fit to entertayne The greatest Prince with pompous roialty,” the speaker questions the reality of a vision, asking whether what he witnessed was a dream or a tangible experience. The “goodly table of pure yvory” symbolizes purity and luxury, setting the scene for a feast that could entertain a “Prince with pompous roialty,” suggesting that the vision is not just of any ordinary table but one of regal and divine significance.
This passage reflects the central theme of the sonnet, where Spenser metaphorically describes the beloved’s body, particularly her breast, as a richly adorned table. The “juncats” (a type of sweet delicacy) spread on the table represent both the physical beauty and the spiritual purity of the beloved, implying that she is as nourishing to the soul as the most exquisite of feasts. The imagery of a royal banquet heightens the sense of reverence and admiration the speaker has for the beloved, indicating that her beauty and virtue are fit for the highest levels of admiration, even divine.
Critically, this sonnet blends Petrarchan idealization with a more physical appreciation of beauty, showcasing Spenser’s ability to fuse spiritual and earthly love. The initial question, “Was it a dreame, or did I see it playne?” also introduces an element of doubt, a common feature in Renaissance poetry, where the speaker is often caught between reality and illusion, further emphasizing the ethereal and almost unattainable nature of the beloved’s beauty.
(b) Thou by the Indian Ganges’ side.
Should’st Rubies find : I by the Tide
Of Humber would complain. I would
Love you ten years before the Flood;
And you should if you please refuse
Till the Conversion of the Jews.
Answer –
In these lines from Andrew Marvell’s “To His Coy Mistress,” the speaker uses hyperbolic imagery to express the depth and enduring nature of his love if they had infinite time. The reference to the “Indian Ganges” and “Humber” highlights the vast geographical and cultural differences between the speaker and his mistress. The Ganges, a symbol of exotic beauty and richness, contrasts with the more familiar and mundane Humber River in England. The speaker suggests that, if time were limitless, they could indulge in their love leisurely—she could search for rubies by the Ganges, a metaphor for her beauty and value, while he would remain devoted, even complaining by the Humber’s tide, reflecting his constancy.
The mention of “ten years before the Flood” and “the Conversion of the Jews” further exaggerates the span of time he is willing to wait. The reference to the Biblical flood signifies a time before the world as it is known, indicating a willingness to love her from the beginning of time. The phrase “Conversion of the Jews” refers to a moment in Christian eschatology believed to occur at the end of the world, reinforcing the idea of an eternal wait.
However, the speaker’s exaggerated promises are ironic because they serve to highlight the absurdity of such waiting, considering their finite existence. The underlying message is that time is fleeting, and the speaker uses this grand imagery to persuade his mistress to seize the moment and embrace their love now, rather than delaying it endlessly. This blend of hyperbole and irony exemplifies Marvell’s mastery of metaphysical poetry, where wit and paradox are employed to convey complex emotional states.
(c) Ring out, ye crystal spheres !
Once bless our human ears,
If ye have power to touch our senses so;
And let your silver chime
Move in melodious time;
Answer –
In these lines from John Milton’s “On the Morning of Christ’s Nativity,” the speaker calls upon the “crystal spheres” to ring out and bless the world with their divine music. The “crystal spheres” refer to the celestial spheres of ancient cosmology, believed to produce a harmonious sound, known as the “music of the spheres,” as they moved. The speaker implores these spheres to chime in “melodious time” and grace humanity with their heavenly music, marking the significance of Christ’s birth.
This invocation emphasizes the grandeur and cosmic importance of Christ’s nativity, suggesting that even the heavens should join in celebration. The music of the spheres, usually beyond human perception, is invited to touch human senses, symbolizing the breaking of divine barriers and the union of heaven and earth through Christ’s incarnation. The phrase “bless our human ears” underscores the hope that this divine music would elevate humanity, reflecting the theme of redemption and spiritual renewal central to the poem.
Milton’s use of this imagery links the birth of Christ to a cosmic event, one that transcends earthly boundaries and resonates throughout the universe. The harmonious “silver chime” of the spheres represents the perfect order and divine harmony that Christ brings to a fallen world, contrasting with the chaos and dissonance of sin and paganism depicted elsewhere in the poem. This passage is a powerful expression of the joy and awe surrounding the nativity, highlighting its transformative impact on both the natural and supernatural realms.
(d) He enter’d but he enter’d full of wrath;
His flaming robes stream’d out
beyond his heels,
And gave a roar, as if of earthly fire,
That scar’d away the meek ethereal Hours
Answer –
In John Keats’s Hyperion, the excerpt explores the downfall of Saturn, the former ruler of the Titans, and the rise of a new era led by the Olympian gods. The passage begins with Saturn, once a powerful god, now reduced to a motionless, dejected figure in a desolate forest. His defeat is emphasized by the stillness around him, symbolizing his loss of divine power and the abandonment of the natural world that once thrived under his reign.
Thea, a fellow Titan and Saturn’s consort, arrives to comfort him, but she is also overwhelmed by sorrow. She expresses the futility of trying to revive Saturn’s spirits, acknowledging that his kingdom has been lost to the new gods, led by Jove. Despite her efforts to console him, Thea’s words reflect the hopelessness of their situation.
Saturn eventually rouses from his despair, though his speech reveals his confusion and disbelief at his fall from power. He grapples with the loss of his identity and the dissolution of his influence over the cosmos. Despite his yearning to reclaim his throne, Saturn recognizes the irreversible nature of his decline.
The passage portrays the transition from the old order of Titans to the new rule of the Olympian gods, capturing the melancholy and inevitability of change. Keats’s rich imagery and classical references enhance the epic quality of the poem, illustrating the tragic grandeur of Saturn’s downfall and the dawn of a new age.
(e) Why, what could she have done, being what she is ?
Was there another Troy for her to burn ?
Answer –
In the concluding lines of William Butler Yeats’s poem No Second Troy, the speaker reflects on the nature and actions of the woman who has caused him emotional turmoil, often interpreted as Maud Gonne, a political activist and the poet’s unrequited love. The lines “Why, what could she have done, being what she is? / Was there another Troy for her to burn?” suggest an inevitability to her behavior, as though her passionate and destructive nature was predetermined by her character.
Yeats draws a parallel between Gonne and Helen of Troy, whose beauty led to the destruction of Troy. By asking, “Was there another Troy for her to burn?” Yeats implies that her actions, which may have led to social unrest or personal grief, are as inevitable and tragic as the fall of Troy. This comparison elevates her to a mythic status, suggesting that just as Helen could not avoid her role in Troy’s downfall, Gonne could not escape her destiny to stir turmoil in the lives of those around her.
These lines convey a sense of resigned acceptance, as the speaker realizes that her actions were inescapable given her nature. The use of the rhetorical question emphasizes the speaker’s internal conflict—blaming her yet acknowledging that her actions are a result of her inherent qualities. The metaphor of “another Troy” highlights the cyclical nature of conflict and tragedy, suggesting that her destiny is tied to such events.
This passage encapsulates the central tension in the poem between admiration and despair, love and bitterness, portraying Gonne as both an idealized figure and a source of pain. Yeats’s tone, imbued with a mix of admiration and resignation, reflects the complexity of his feelings toward her and the inevitability of her destructive influence.
Question 2
2) Chaucer wrote, `[T]he wordes moote be cosyn to the dede’. Comment on Chaucer’s poetry in light of his aim.
Answer –
Chaucer’s statement that “the wordes moote be cosyn to the dede” (the words must be akin to the deeds) reflects his belief that poetry should be true to life, mirroring the realities and actions of people. This idea is central to Chaucer’s literary approach, particularly in The Canterbury Tales, where he masterfully blends vivid characterization with realistic and relatable situations, making his characters and their stories resonate with authenticity.
Chaucer’s poetry is renowned for its rich, detailed depictions of the diverse spectrum of medieval society. Each character in The Canterbury Tales is not just a stereotype but a fully fleshed-out individual with distinct traits, motivations, and flaws. Through their stories and the language they use, Chaucer allows the readers to see the connection between their words and their actions, fulfilling his aim of creating a genuine reflection of human behavior.
For example, in the “General Prologue,” Chaucer introduces a wide range of characters from different social classes, such as the Knight, the Miller, the Wife of Bath, and the Pardoner. Each tale that follows reflects the teller’s personality and social position, illustrating how their words (the tales they choose to tell) are indeed “cosyn to the dede” (aligned with their actions and lives). The Miller’s bawdy tale, full of crude humor, mirrors his coarse and rough nature, while the Knight’s tale of chivalry reflects his noble and honorable character.
Moreover, Chaucer’s use of irony and subtle criticism often serves to highlight the gap between words and deeds, particularly in characters like the Pardoner, who preaches against greed while being greed incarnate. Through such portrayals, Chaucer not only entertains but also offers a commentary on the moral and ethical standards of his time.
In essence, Chaucer’s poetry, guided by the principle that words should be true to deeds, creates a realistic and multifaceted portrayal of humanity, capturing the complexities of human nature and society with both humor and insight. This approach not only brings his characters to life but also lends his work a timeless quality, making Chaucer’s observations about human behavior as relevant today as they were in the 14th century.
Question 3
3) ‘Metaphysical poetry, according to Herbert Grierson, is a poetry which has been inspired by a philosophical conception of the Universe and the role assigned to the human spirit in the great drama of existence.’ Examine this opinion in the light of your reading of any two of the following poets : Donne, Herbert, Marvell.
Answer –
Herbert Grierson’s description of metaphysical poetry as being “inspired by a philosophical conception of the Universe and the role assigned to the human spirit in the great drama of existence” aptly captures the essence of this genre. Metaphysical poets like John Donne and George Herbert, along with Andrew Marvell, exemplify this idea through their exploration of complex philosophical ideas, expressed with intellectual rigor and deep emotional intensity.
John Donne’s poetry is known for its intricate weaving of philosophical inquiry and emotional depth. His use of elaborate conceits, paradoxes, and a fusion of thought and feeling challenges the reader to engage with profound existential questions. In “A Valediction: Forbidding Mourning,” Donne employs the conceit of a compass to explore the nature of love as a force that transcends physical presence and earthly bounds. The poem reflects a philosophical understanding of love as spiritual and eternal, suggesting that true love remains unshaken by physical separation. Donne’s poetry reveals his belief in the enduring power of love and the spiritual connection between individuals, illustrating the metaphysical concern with the human spirit’s place in the universe.
Similarly, George Herbert’s poetry reflects a philosophical engagement with humanity’s relationship to the divine. In “The Pulley,” Herbert contemplates the human spirit’s inherent restlessness and its dependence on God for fulfillment. The poem presents the idea that God deliberately withholds the gift of “rest” to ensure that humanity seeks Him, highlighting the metaphysical concern with the spiritual struggles of the human soul. Herbert’s simple yet profound language captures the tension between human desires and divine will, demonstrating the metaphysical focus on the human spirit’s role in the larger cosmic drama.
Andrew Marvell, another key figure in metaphysical poetry, explores themes of time, mortality, and the human condition. In “To His Coy Mistress,” Marvell reflects on the fleeting nature of time and the urgency of seizing the moment. The poem’s famous lines, “But at my back I always hear / Time’s wingèd chariot hurrying near,” underscore the metaphysical concern with the transience of life and the inevitability of death. Marvell’s poetry, like that of Donne and Herbert, engages with existential questions that define the human experience, contributing to the metaphysical tradition’s enduring appeal.
In conclusion, Grierson’s characterization of metaphysical poetry is clearly evident in the works of John Donne, George Herbert, and Andrew Marvell. Their poetry not only grapples with profound philosophical ideas but also reflects a deep understanding of the complexities of human existence, making metaphysical poetry a rich and enduring contribution to English literature.
Question 4
4) Evaluate The Triumph of Life in the light of the opinion that “Shelley achieves the sublime”.
Answer –
Percy Bysshe Shelley’s “The Triumph of Life” is often considered a pinnacle of his poetic achievement, embodying the sublime both in its thematic exploration and its stylistic execution. The poem, left unfinished at Shelley’s death, presents a vivid and haunting vision of life’s inexorable power over humanity, blending profound philosophical inquiry with a masterful command of poetic form.
Shelley’s conception of the sublime is evident in his portrayal of the overwhelming force of life, which he personifies as an unstoppable and indifferent power. The poem opens with a vision of a grand procession, where all of humanity—past and present—are inexorably drawn along by the “triumph” of life. This image of a vast, relentless force captures the essence of the sublime, as it evokes both awe and terror in its depiction of the insignificance of individual human lives in the face of such overwhelming power. The sublime here is not just an aesthetic experience but a profound recognition of the limits of human agency and the inevitability of life’s dominance.
Shelley’s use of imagery and language further enhances the poem’s sublime quality. His descriptions are marked by a combination of beauty and horror, reflecting the dual nature of the sublime. For example, the “icy multitude” of people swept up in the procession suggests a chilling loss of individuality and free will, while the “phantoms of the dead” evoke a sense of dread and mortality. The poem’s shifting landscapes—ranging from visions of desolation to fleeting glimpses of ideal beauty—reinforce the idea that life is an unpredictable and uncontrollable force. This dynamic interplay between the beautiful and the terrifying is central to Shelley’s achievement of the sublime.
Moreover, the philosophical underpinnings of “The Triumph of Life” contribute to its sublimity. The poem grapples with profound existential questions: What is the purpose of life? What is the nature of human suffering? Shelley does not offer easy answers but instead presents a vision of life as a paradoxical and inscrutable force. The figure of Rousseau, who appears as a guide in the poem, symbolizes the search for knowledge and understanding, yet even he is ultimately powerless before the triumph of life. This recognition of the limits of human knowledge and the inescapable nature of life’s mysteries aligns with the Romantic conception of the sublime, where the acknowledgment of humanity’s fragility in the face of the infinite becomes a source of both fear and wonder.
In conclusion, “The Triumph of Life” is a profound exploration of the sublime, where Shelley achieves a powerful synthesis of thematic depth and poetic form. Through his portrayal of life’s overwhelming force, his evocative use of imagery, and his engagement with existential questions, Shelley creates a work that not only reflects the Romantic ideal of the sublime but also stands as one of the most compelling expressions of this concept in English literature.
Question 5
5) Would you agree with the point of view that Oscar Wilde’s The Ballad of Reading Gaol suggests the futility of Christian ethics and loss of faith in Christianity ? Illustrate your answer with suitable examples from the text of the poem.
Answer –
Oscar Wilde’s “The Ballad of Reading Gaol” can indeed be interpreted as expressing skepticism towards Christian ethics and a loss of faith in Christianity, though Wilde’s critique is nuanced and multifaceted. The poem, written during Wilde’s imprisonment, reflects his deep disillusionment with the moral and religious institutions of his time, as well as his personal suffering.
One of the central themes of the poem is the harsh reality of the penal system and its apparent contradiction with Christian values of forgiveness and redemption. The narrative of the poem describes the execution of a fellow inmate, who, despite his crime, is depicted with a certain degree of sympathy and humanity. Wilde questions the justice of a system that condemns and punishes individuals so severely, highlighting the disparity between Christian teachings and the brutal reality of punishment. For instance, Wilde’s portrayal of the condemned man’s suffering and final moments emphasizes the cruelty and inhumanity of the penal system, which seems at odds with the Christian ideals of compassion and forgiveness.
Wilde’s critique of Christian ethics is further illustrated in the poem’s exploration of the nature of sin and redemption. The poem reflects on the concept of sin as a moral construct imposed by society and the church, suggesting that such constructs are inadequate for addressing the complexities of human behavior and suffering. Wilde presents a vision of sin and punishment that is both existential and arbitrary, challenging the notion that Christian ethics provide a clear path to redemption or understanding. The repetitive refrain, “Yet the man had killed the thing he loved,” underscores the tragic irony and futility of the ethical framework that condemns rather than heals.
Moreover, Wilde’s own experience of imprisonment and his subsequent reflections on faith and morality contribute to the poem’s critique of Christianity. The poem’s tone is one of disillusionment, as Wilde grapples with the apparent failure of Christian teachings to address the realities of human suffering and injustice. His portrayal of the prison environment as a place of spiritual desolation reflects his own crisis of faith and his growing skepticism towards the efficacy of Christian ethics in addressing profound human suffering.
In conclusion, “The Ballad of Reading Gaol” can be seen as suggesting the futility of Christian ethics and a loss of faith in Christianity. Through its depiction of the penal system, its questioning of the nature of sin and redemption, and its reflection of Wilde’s personal disillusionment, the poem challenges the effectiveness of Christian morality in addressing the complexities and injustices of human existence.
Question 6
6) Write a critique of W.B. Yeats as a modernist poet.
Answer –
W.B. Yeats, a pivotal figure in modernist literature, demonstrates a complex engagement with modernist themes and techniques. His poetry reflects a transitional phase between late Victorian aesthetics and modernist experimentation, making him a key figure in understanding the evolution of modernist poetry.
Yeats’s modernist credentials are evident in his thematic concerns and formal innovations. Modernist poetry often grapples with disillusionment, fragmentation, and the search for meaning in a rapidly changing world. Yeats’s work reflects these concerns through its exploration of personal and political turmoil. His early poetry, rooted in Symbolism, frequently delves into themes of spiritual crisis and the decline of Western civilization. Works like “The Second Coming” and “The Tower” illustrate his engagement with modernist anxieties about societal fragmentation and the collapse of traditional values. The apocalyptic imagery in “The Second Coming,” for instance, captures the sense of impending chaos that characterizes much of modernist literature.
Formally, Yeats’s poetry also exhibits modernist qualities, particularly in its use of symbolism and myth. While his early work was heavily influenced by Romantic and Symbolist traditions, Yeats gradually developed a distinctive modernist approach. His incorporation of myth and symbolism serves as a means of exploring existential questions and addressing the fragmentation of contemporary life. The recurring mythological motifs in his later poetry, such as the figures of the Gyres and the symbolism of the bird and the beast, reflect a modernist preoccupation with the search for meaning amidst chaos.
Yeats’s innovation is particularly evident in his late work, where he experiments with form and structure. The fragmented, elliptical nature of his later poems, such as those in “The Tower” and “The Winding Stair,” showcases a modernist emphasis on ambiguity and complexity. His use of myth and historical references is not merely ornamental but serves to create a layered, multi-dimensional narrative that challenges conventional interpretations. This approach aligns with modernist principles of exploring the inner workings of the mind and the complexities of human experience.
However, Yeats’s modernism is not without its criticisms. His reliance on esoteric symbolism and his preoccupation with personal mythology can sometimes obscure the clarity of his themes. While his use of myth provides depth and resonance, it can also create a sense of elitism, potentially alienating readers unfamiliar with his symbolic references. Additionally, his political views and personal beliefs, particularly his romanticization of Irish nationalism, sometimes clash with modernist ideals of objectivity and detachment.
In conclusion, W.B. Yeats’s contributions to modernist poetry are significant and multifaceted. His work bridges the gap between traditional and modernist aesthetics, reflecting both the anxieties and innovations of modernism. Through his thematic exploration of disillusionment, fragmentation, and the search for meaning, as well as his formal experimentation with myth and symbolism, Yeats exemplifies the complexities and challenges of modernist poetry.
Question 7
7) Critically evaluate any one of the following poems :
(a) `Childe Roland to the Dark Tower Came’
(b) ‘A Valediction : Forbidding Mourning’
(c) ‘Mr Bleaney’
(d) ‘The Colossus’
(e) ‘Fern Hill’
(a) `Childe Roland to the Dark Tower Came’
Robert Browning’s “Childe Roland to the Dark Tower Came” stands as a significant piece within the Victorian poetic canon, emblematic of Browning’s dramatic monologue form and his fascination with psychological and existential themes. The poem chronicles a quest narrative that probes deep into themes of despair, perseverance, and the search for meaning in a seemingly hostile and indifferent world.
The poem’s structure, a dramatic monologue, serves as a vessel for exploring the internal landscape of the speaker, Childe Roland. The narrative unfolds through Roland’s perspective, allowing Browning to delve into his psychological state and existential reflections. This approach is crucial in modernist poetry, where the inner workings of the mind and the subjective experience become central. Roland’s journey to the Dark Tower represents not merely a physical quest but an exploration of his own psychological and spiritual crises.
Browning’s use of vivid and often grotesque imagery contributes to the poem’s sense of bleakness and desolation. The landscape Roland traverses is marked by a harsh and unforgiving terrain, mirroring his internal turmoil. Descriptions such as “starved ignoble nature” and “grass, it grew as scant as hair in leprosy” evoke a sense of barrenness and decay, which aligns with the modernist preoccupation with the fragmented and deteriorating state of human existence.
The poem also reflects modernist concerns with the fragmentation of traditional values and the sense of a purposeless quest. Roland’s journey is fraught with failure and disillusionment, encapsulated in his realization that “all the doubt was now—should I be fit?” This introspection highlights the modernist theme of existential uncertainty and the questioning of one’s purpose in a world that appears indifferent to individual suffering and effort.
Furthermore, Browning’s use of symbolism and mythological references enriches the text, aligning it with modernist techniques. The Dark Tower itself symbolizes an elusive and perhaps unattainable goal, representing the ultimate challenge and the existential pursuit of meaning. The Tower’s isolation and the sense of foreboding that surrounds it underscore the futility and hardship inherent in Roland’s quest, echoing the modernist theme of the human struggle against a seemingly indifferent universe.
In conclusion, “Childe Roland to the Dark Tower Came” exemplifies Browning’s modernist tendencies through its exploration of psychological depth, use of stark and evocative imagery, and engagement with existential themes. The poem’s narrative structure and thematic concerns reflect a profound engagement with the modernist preoccupation with meaning, despair, and the human condition, making it a crucial work in understanding the evolution of modernist literature.
(b) ‘A Valediction : Forbidding Mourning’
Robert Browning’s “Childe Roland to the Dark Tower Came” is a compelling exploration of the themes of failure, perseverance, and existential dread. The poem follows Roland on a grim quest to reach the Dark Tower, a journey fraught with obstacles and despair, culminating in a revelation that underscores the bleakness of his mission.
The poem opens with Roland’s skepticism towards a misleading old man who directs him towards the Dark Tower. This initial sense of betrayal sets the tone for the ensuing journey, marked by a landscape that reflects Roland’s inner turmoil. The desolate environment, described as “starved ignoble nature,” underscores the futility and bleakness of his quest, while the imagery of a “stiff blind horse” and “thin dry blades” evokes a sense of decay and desolation.
Roland’s journey is not just physical but also psychological. His reflections on past failures and the sight of his peers’ fates—“all the lost adventurers my peers”—heighten the sense of inevitable doom. The poem’s portrayal of the landscape, from the “bog, clay and rubble” to the “palsied oak,” mirrors Roland’s growing despair and the sense of being trapped in a nightmarish cycle of hopelessness.
The climax reveals the Dark Tower itself, described as a “round squat turret” that stands as a symbol of ultimate failure. The tower, devoid of grandeur, reflects Roland’s disillusionment. His final act of defiance, blowing the slug-horn and proclaiming his arrival, is both a triumph and a surrender. It represents Roland’s resignation to his fate and his acceptance of the futility of his quest.
Browning’s use of language and imagery reinforces the poem’s themes. The oppressive atmosphere, the grotesque descriptions of the landscape, and the depiction of Roland’s psychological struggle all contribute to a narrative that examines the nature of perseverance in the face of insurmountable odds. The poem is a study of existential struggle, illustrating how the quest for meaning can lead to a profound sense of despair and futility.
In summary, “Childe Roland to the Dark Tower Came” offers a rich exploration of human resilience and despair. Through its bleak imagery and Roland’s introspective journey, Browning delves into the darker aspects of human experience, making the poem a powerful commentary on the nature of quest and the acceptance of one’s fate.
(c) ‘Mr Bleaney’
Philip Larkin’s poem “Mr Bleaney” offers a stark reflection on the nature of existence and the passage of time through the lens of an ordinary man’s life. The poem is set in a drab rented room once occupied by Mr Bleaney, whose life is pieced together from the scant remnants he left behind.
The poem begins with a matter-of-fact tone, establishing the mundane reality of Mr Bleaney’s life. The description of the room—flowered curtains that are thin and frayed, a window showing a neglected patch of land, and minimal furnishings—highlights the ordinariness and lack of comfort in Mr Bleaney’s existence. The speaker moves into Mr Bleaney’s room, indicating a continuity of life in this drab setting, as if the space and its associated memories are being passed on.
Larkin’s use of detail provides insight into Mr Bleaney’s character and habits. The speaker knows about Mr Bleaney’s routines, preferences, and the places he frequented, such as his seasonal visits to Frinton and Stoke. These details underscore the monotony and predictability of Mr Bleaney’s life, reflecting a life lived within the narrow confines of routine and habit. The reference to the “fusty bed” and Mr Bleaney’s method of coping with his life—“telling himself that this was home”—conveys a resignation to his circumstances and an attempt to find solace in the familiarity of his surroundings.
The poem’s final lines introduce a deeper philosophical reflection. Larkin questions whether Mr Bleaney’s existence, characterized by its apparent lack of achievement or change, is a reflection of his own nature. The notion that “how we live measures our own nature” suggests a critical view of Mr Bleaney’s life as a reflection of his internal state—his acceptance of a life in a rented room as indicative of his self-worth and identity.
Larkin’s poem is notable for its exploration of existential themes through the portrayal of an ordinary life. By focusing on the mundane aspects of Mr Bleaney’s existence, Larkin critiques the often-overlooked aspects of life that define our personal narratives. The poem’s understated tone and detailed description emphasize the bleakness of Mr Bleaney’s life and raise questions about the impact of such a life on one’s sense of self-worth and identity. In its simplicity and directness, “Mr Bleaney” becomes a powerful commentary on the nature of human existence and the search for meaning in a life marked by routine and resignation.
(d) ‘The Colossus’
Sylvia Plath’s poem “The Colossus” is a powerful exploration of the themes of loss, incompleteness, and the struggle for understanding. Using the metaphor of a giant, disjointed statue, Plath reflects on her personal anguish and the challenges of reconciling with an absent or distant father figure.
The poem opens with a sense of frustration and futility as the speaker acknowledges that she can never fully reconstruct or understand the figure of her father. The imagery of being “pieced, glued, and properly jointed” suggests an attempt to make sense of something inherently fractured and irreparable. The vivid depiction of “mule-bray, pig-grunt and bawdy cackles” emanating from the statue’s lips introduces a tone of mockery and disdain, indicating that the speaker perceives the figure’s voice as chaotic and meaningless, contrasting sharply with the solemnity one might expect from an oracle or deity.
The speaker’s laborious efforts to “dredge the silt from your throat” and the description of her climbing “little ladders with glue pots” evoke a sense of Sisyphean struggle. These efforts to restore or make sense of the figure seem futile and underscore the theme of the intractability of the past. The use of domestic and mundane imagery, such as “glue pots” and “lysol,” in the context of this monumental task highlights the speaker’s emotional exhaustion and the absurdity of her situation.
Plath juxtaposes this struggle with the grandeur of the setting, where “A blue sky out of the Oresteia” and “the Roman Forum” evoke a sense of historical and mythological significance. Yet, despite the grand backdrop, the speaker is left alone with the “old anarchy” of the figure’s remains. This stark contrast emphasizes the disconnect between the lofty ideals or expectations associated with the father figure and the reality of the fragmented, abandoned statue.
The poem also explores themes of isolation and melancholy. The speaker’s act of “squatting in the cornucopia / Of your left ear, out of the wind” and counting “red stars and those of plum-color” conveys a sense of being trapped in a space of mourning and introspection. The imagery of the sun rising “under the pillar of your tongue” and the speaker’s hours being “married to shadow” further illustrate her sense of confinement and the shadow cast by the unresolved past.
Overall, “The Colossus” is a poignant meditation on the struggles of coming to terms with loss and the difficulty of understanding a fragmented or distant figure. Through its rich and evocative imagery, Plath captures the emotional weight of her experience and the enduring impact of an absent presence. The poem’s interplay of grandeur and decay, effort and futility, underscores the complexity of the speaker’s emotional landscape and the challenges of reconciling with a significant yet elusive figure from the past.
(e) ‘Fern Hill’
Dylan Thomas’s poem “Fern Hill” reflects on the exuberance of childhood and the inevitable passage of time. Through lush imagery and emotional depth, Thomas captures the speaker’s nostalgic longing for a past marked by innocence and natural beauty.
The poem opens with a vivid portrayal of youth spent “under the apple boughs,” where the speaker felt “happy as the grass was green.” This early section is imbued with a sense of wonder and contentment, depicted through phrases like “golden in the heydays of his eyes.” Thomas uses pastoral imagery to illustrate the speaker’s deep connection to his rural surroundings, portraying a time of joyous discovery and unblemished happiness.
As the poem progresses, Thomas contrasts this youthful joy with a sense of wistfulness. The speaker recalls the carefree days of being “prince of the apple towns” and “lordly” among the trees. The imagery of “daisies and barley” flowing “down the rivers of the windfall light” evokes the beauty and abundance of the speaker’s childhood environment. The sensory details of “tunes from the chimneys” and “nightjars flying with the ricks” further enhance the nostalgic mood, reflecting a harmonious relationship with nature.
However, the tone shifts as the poem addresses the passage of time and the loss of innocence. The repetition of “nothing I cared” emphasizes the speaker’s previous ignorance of time’s relentless progression. This transition from the “lamb white days” of youth to an awareness of aging is marked by a poignant realization of mortality. The speaker reflects on how “time would take me” and laments the end of his youthful days.
The final lines, “Oh as I was young and easy in the mercy of his means, / Time held me green and dying / Though I sang in my chains like the sea,” encapsulate the central themes of the poem. The paradox of being “green and dying” illustrates the tension between the vibrancy of youth and the inevitability of aging. The metaphor of singing “in my chains like the sea” conveys a sense of trapped beauty, where joy is tinged with awareness of its impermanence.
In “Fern Hill,” Thomas skillfully blends lyrical language and evocative imagery to explore the fleeting nature of youth and the bittersweet experience of growing up. The poem offers a profound reflection on the interplay between memory and the passage of time, capturing both the beauty of childhood and the inevitability of its end.