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Welcome to our blog, In this post, we’re sharing the IGNOU MEG 1 Solved Question Paper of June 2019 examination, focusing on British Poetry.
This guide is here to help you prepare for your exams with clear answers and explanations. Whether you’re just starting or revising for your exams, this resource will make studying easier and more effective. Let’s dive in and get ready to ace your IGNOU MEG 1 exam.
In this post, we’ll discuss all the answers including the short and long answer questions.
In IGNOU MEG 1 Examination answering question number 1 is compulsory for all the students as it contains the short answer questions.
So whether you are a student of IGNOU MEG 1 looking to ace your examination or a learner willing to increase your knowledge, this blog post will help you in all the ways possible.
You can also download all previous year question papers of MEG 1 from our website.
Question 1
This question is divided in 4 sub-questions ( a, b ).
1) Explain the passages below with reference to their contexts, supplying critical comments where necessary.
(a) His hors were gode, but he was nat gay,
Of fustian he wered a gipoun;
Al bismotered with his habergeoun;
For he was late y-come from his viage,
And wente for to doon his pilgrimage.
In Geoffrey Chaucer’s The Canterbury Tales, several characters are introduced, each vividly described to reflect various aspects of medieval society. The Wife of Bath, a well-traveled and experienced woman from Bath, is noted for her bold personality and multiple marriages. She is skilled in cloth-making and has journeyed to significant religious sites like Jerusalem and Rome.
The Parson is portrayed as a humble and virtuous clergyman who lives by his Christian teachings. He is dedicated to his parishioners, preferring to give rather than receive, embodying genuine piety and dedication.
The Plowman, the Parson’s brother, is a hardworking and charitable farmer who lives a modest life and supports the poor out of love for God. His faithfulness is also shown through his regular tithes.
The Miller is a robust and somewhat unruly figure known for his wrestling skills and physical strength. He has a reputation for dishonesty, including stealing grain, and is described with vivid physical traits like his red beard.
The Manciple is an astute steward who manages provisions for lawyers with great skill, despite lacking formal education. He outsmarts the lawyers he serves through shrewd resource management.
The Reeve, a thin and irritable estate manager, is skilled in agricultural management and feared for his cunning. His effective management ensures he is not accused of mismanagement.
The Summoner is depicted as a corrupt and lecherous man who exploits his position for personal gain, extorting money through false church pardons. The Pardoner, another deceitful church official, sells fraudulent indulgences and relics, using his appearance to deceive people into giving him money.
Finally, the Host, the cheerful innkeeper of the Tabard Inn, proposes a storytelling contest for the pilgrims. He takes on the role of judge, providing a framework for the tales that follow.
Each character represents different social classes and professions, contributing to the rich tapestry of Chaucer’s narrative.
(b) Lo, swich it is for to be recchelees,
And necligent, and truste on flaterye.
But ye that holden this tale a folye,
As of a fox, or of a cok and hen,
Taketh the moralitee, good men.
In these passages from Geoffrey Chaucer’s The Canterbury Tales, we see a reflective conclusion to the tale of the fox, the cock, and the hen. The fox’s condemnation of those who are indiscreet and chatter when they should be silent underscores a broader moral about negligence and the dangers of flattery.
The lines “Nay, thanne,” quod he, “I shrewe us bothe two, / And first I shrewe myself bothe blood and bones, / If thou bigyle me ofter than ones” reflect a moment of regret and self-reproach. Here, the character acknowledges his own folly for being deceived once and vows not to be tricked again. The subsequent lines express a prayer for divine retribution against those who deliberately ignore truth when it is apparent. This highlights the tale’s underlying theme: the consequences of negligence and susceptibility to deception.
The passage “Lo, swich it is for to be recchelees, / And necligent, and truste on flaterye!” further emphasizes the moral lesson. It criticizes those who become careless and neglectful by trusting deceitful flattery, suggesting that such behavior leads to ruin. The fox’s criticism serves as a reminder to avoid being misled by superficial charm.
The concluding exhortation, “But ye that holden this tale a folye, / As of a fox, or of a cok and hen, / Taketh the moralitee, good men,” shifts the focus from the specific tale to its general moral lesson. The narrator urges readers to discern the deeper meaning beyond the story of the animals. By invoking Saint Paul’s assertion that all written works contain valuable truths, the passage calls for readers to extract the moral “fruit” from the tale while dismissing the “chaff” of trivial details.
In summary, these passages use the fable to impart a timeless lesson about the dangers of ignoring genuine wisdom in favor of deceitful flattery, and they encourage readers to seek out the moral truths within literary narratives.
Question 2
2) (a) Ali my deere love why doe ye sleepe thus long,
When meeter were that ye should now awake,
T’awayt the comming of your joyous make,
And hearken to the birds’ lovelearned song,
The deawy leaves among.
Answer –
In this passage from Edmund Spenser’s The Faerie Queene, the speaker addresses their beloved with a sense of urgency and longing. The lines “Ali my deere love why doe ye sleepe thus / long,” express a deep concern and a plea for the beloved to awaken from sleep. The speaker laments that their loved one is sleeping too long, suggesting that it would be more appropriate for them to wake up and enjoy the present moment.
The phrase “When meeter were that ye should now awake” emphasizes the appropriateness of waking up at this moment. It implies that the current time, filled with natural beauty and the arrival of a joyful companion (the “joyous make”), is ideal for awakening and engaging with the world. The use of “meeter” underscores the idea that this is the right or fitting time for the beloved to be awake.
The line “T’awayt the comming of your joyous make” reveals the anticipation of a loved one’s arrival. The term “joyous make” refers to a joyful or beloved companion, suggesting that the beloved should be awake to welcome or prepare for this significant event. The imagery of “The deawy leaves among” invokes a serene and picturesque setting, enhancing the sense of a magical or ideal moment that is best experienced awake.
The passage underscores themes of love, time, and the appreciation of natural beauty. It reflects a broader literary motif in which the arrival of a beloved or a significant event is intertwined with the beauty of nature. The speaker’s plea for the beloved to wake up and enjoy this moment highlights the importance of seizing the present and participating fully in life’s joyful experiences.
Overall, Spenser uses vivid imagery and emotional appeal to convey a sense of urgency and the desire for shared happiness, urging the beloved to awaken and embrace the beautiful present moment.
(b) Against the brydale day, which is not long :
Sweet Themmes ! runne softly, till I end my song.
Answer –
In Edmund Spenser’s Prothalamion, the refrain “Against the bridal day, which is not long: / Sweet Thames, run softly, till I end my song” is a central motif that recurs throughout the poem. This passage functions as both a narrative device and a thematic anchor, encapsulating the poem’s celebration of a forthcoming marriage while invoking the natural beauty of the Thames River.
The poem is a marriage hymn celebrating the impending wedding of two pairs of noble lovers. The refrain reflects the poet’s wish for a serene and gentle flow of the Thames to mirror the harmonious and joyful nature of the wedding festivities. By asking the river to “run softly,” Spenser is appealing for a peaceful and untroubled passage of time as he composes his celebratory song. This plea aligns with the poem’s overall tone of serene celebration and the natural setting that amplifies the joyous occasion.
The Thames River serves as a symbol of continuity and natural beauty, enhancing the thematic elements of purity and harmony that are central to the poem. The river’s “softly” flowing quality contrasts with the often tumultuous nature of life, suggesting a serene backdrop to the union being celebrated. The repetition of this line underscores the significance of the river in framing the event and connects the reader to the lyrical quality of the celebration.
Spenser’s choice to emphasize the river’s role highlights the intertwining of human joy with the natural world, celebrating both the personal and communal aspects of the wedding. The refrain thus encapsulates the poem’s central theme of harmony and the idealization of nature as a witness to human joy, reinforcing the sense of a perfect, blissful moment that Spenser wishes to prolong through his verse.
Question 3
3) (a) If they be two, they are two so
As stiff twin compasses are two;
Thy soul, the fix’d foot, makes no show
To move, but doth, if th’ other do.
Answer –
In John Donne’s A Valediction: Forbidding Mourning, the passage “If they be two, they are two so / As stiff twin compasses are two; / Thy soul, the fix’d foot, makes no show / To move, but doth, if th’ other do” employs the metaphor of a pair of compasses to illustrate the unity and connection between the speaker and his beloved, even in physical separation.
This passage is situated in the poem’s final stanza, where Donne shifts from abstract theological reflections to a concrete metaphor. Here, the “stiff twin compasses” symbolize two parts of a single entity, where one part remains fixed and immovable while the other moves in a circular motion. This image is used to describe the relationship between the speaker and his beloved, asserting that although they are physically separated, their souls remain interconnected.
In this metaphor, the beloved’s soul is likened to the fixed foot of a compass, which does not visibly move but guides the movement of the other leg. The moving leg represents the speaker, who is about to travel. The fixed foot (the beloved) provides stability and direction to the moving leg, ensuring that their emotional and spiritual connection remains intact despite physical distance.
Donne’s use of the compass metaphor emphasizes the enduring and unwavering nature of their bond. The image of the compass highlights the symmetry and harmony of their relationship, suggesting that their separation is not a true breach but rather an expansion, much like the compass’ movement enlarges its circle. This connection transcends physical presence, reinforcing the idea that true love is spiritual and constant.
Overall, the passage reinforces the poem’s central theme: that the speaker’s and his beloved’s love is so profound and spiritual that it remains undisturbed by physical absence. The metaphor effectively illustrates the resilience and unity of their relationship, highlighting how their love is both deep and enduring.
(b) Yet let him keep the rest,
But keep them with repining restlessness;
Let him be rich and weary, that at least,
If goodness lead him not, yet weariness
May toss him to my breast.
Answer –
In George Herbert’s The Pulley, the passage “Yet let him keep the rest, / But keep them with repining restlessness; / Let him be rich and weary, that at least, / If goodness lead him not, yet weariness / May toss him to my breast” addresses the divine strategy for human fulfillment and spiritual awakening.
This passage appears towards the end of the poem, where God reflects on His decision regarding the distribution of blessings to man. Having initially endowed humanity with various gifts—strength, beauty, wisdom, honor, and pleasure—God withholds one final gift: rest. This decision is rooted in a profound theological insight: if humans were given rest, they might become complacent and idolize the gifts rather than the giver, thus detracting from their ultimate purpose of worship and reliance on God.
The term “repining restlessness” reflects a condition of perpetual dissatisfaction and unease. By withholding rest, God ensures that man remains unsettled and restless, even amidst the abundance of other blessings. This restlessness serves a dual purpose: it prevents man from becoming self-sufficient and disconnected from the divine source, and it drives him toward seeking spiritual solace.
God’s intention is that if man does not find goodness and spiritual fulfillment through the gifts themselves, his inherent restlessness will lead him to seek and ultimately find God. This divine strategy acknowledges human nature and its tendency towards material satisfaction, suggesting that ultimate spiritual fulfillment can only be achieved through a relationship with God.
Herbert’s use of the term “weariness” as a catalyst for divine pursuit underscores a key theological theme: human suffering and dissatisfaction can lead to spiritual awakening and closer communion with the divine. Thus, the passage encapsulates the idea that divine foresight and human restlessness are interwoven in a way that ensures the ultimate goal of spiritual union with God.
Question 4
4) (a) For so the holy sages once did sing,
That he our deadly forfeit should release,
And with his Father work us a perpetual
peace.
Answer –
In John Milton’s On the Morning of Christ’s Nativity, the lines “For so the holy sages once did sing, / That he our deadly forfeit should release, / And with his Father work us a perpetual peace” encapsulate the theological significance of Christ’s birth from a Christian perspective.
This passage appears in the opening stanza of the poem, which celebrates the Nativity of Christ as a momentous event in Christian history. The “holy sages” mentioned here refer to the biblical prophets and wise men who foretold the coming of Christ and recognized the divine purpose behind His birth. According to Christian doctrine, Christ’s arrival on Earth is seen as a fulfillment of these prophecies.
The phrase “our deadly forfeit” refers to the concept of original sin and the consequent separation between humanity and God. In Christian theology, this “deadly forfeit” symbolizes the spiritual death and eternal separation from God resulting from humanity’s disobedience. The purpose of Christ’s birth, as celebrated in this poem, is to “release” humanity from this curse by offering redemption and reconciliation with God.
The promise of “a perpetual peace” reflects the Christian belief that Christ’s sacrifice would establish lasting peace between humanity and God. This peace is not merely a temporal or political peace but a profound spiritual reconciliation that endures beyond earthly existence. The poem highlights the transformative impact of Christ’s arrival, not only as a fulfillment of ancient prophecies but as a means to restore harmony and divine grace to a fallen world.
Overall, Milton’s lines emphasize the profound theological implications of Christ’s birth, celebrating it as the moment when divine intervention offers humanity a path to redemption and eternal peace.
(b) Oft in glimmering bowers and glades
He met her, and in secret shades
Of woody Ida’s inmost grove,
While yet there was no fear of Jove.
Answer –
In John Milton’s Il Penseroso, the lines “Oft in glimmering bowers and glades / He met her, and in secret shades / Of woody Ida’s inmost grove, / While yet there was no fear of Jove” evoke a rich mythological backdrop to characterize Melancholy, the central theme of the poem. These lines appear in the invocation section, where the speaker calls upon Melancholy as a muse to guide and inspire his contemplative reflections.
The passage references the mythological figure of Saturn (Cronus in Greek mythology) and his interactions with Melancholy. In these lines, the “He” refers to Saturn, who is depicted as having met Melancholy in the serene and hidden groves of Mount Ida, a place of ancient Greek mythology. Mount Ida was traditionally associated with divine and mystical activities, making it a fitting location for encounters with Melancholy, a figure symbolizing profound contemplation and sorrow.
The phrase “while yet there was no fear of Jove” alludes to the time before Jupiter (Zeus), Saturn’s successor, came to power. In classical mythology, Jove (Zeus) overthrew Saturn and established a new order among the gods. This reference highlights a primordial and untainted state, suggesting that Melancholy and Saturn existed in an age of innocence and tranquility, before the tumultuous reign of Jupiter brought change and fear.
This mythological reference underscores the timeless and sublime nature of Melancholy, contrasting it with the mundane concerns of the present. Milton uses this allusion to elevate Melancholy to a divine and ancient status, aligning it with the serene and profound contemplation that the speaker seeks. The reference to secret, glimmering groves and the absence of Jove’s fear further enhances the sense of Melancholy as an ancient, untainted muse, embodying a purity that is lost in the later, more chaotic mythological eras.
Question 5
5) (a) Some beams of wit on other souls may fall,
Strike through and make a lucid interval;
But Sh ‘s genuine night admits no ray,
His rising fogs prevail upon the day.
Answer –
In John Dryden’s Mac Flecknoe, the lines “Some beams of wit on other souls may fall, / Strike through and make a lucid interval; / But Shadwell’s genuine night admits no ray, / His rising fogs prevail upon the day” serve as a satirical critique of the poet Thomas Shadwell.
The context of these lines is part of Dryden’s satirical portrayal of Shadwell as the epitome of dullness and mediocrity. Dryden, using the persona of Flecknoe, mockingly extols Shadwell as his successor in the realm of poetic ineptitude. The lines in question highlight Shadwell’s utter lack of literary talent compared to others who might experience moments of inspiration or creative insight.
The phrase “Some beams of wit on other souls may fall” acknowledges that even mediocre poets or writers occasionally produce flashes of brilliance or moments of clarity. These “lucid intervals” are rare but indicative of potential within otherwise uninspired works. However, Dryden asserts that Shadwell is entirely devoid of such moments. The “genuine night” that Shadwell embodies represents an impenetrable and unyielding dullness, where no light of wit or intelligence can penetrate.
Shadwell’s “rising fogs” metaphorically obscure any potential for brilliance, suggesting that his work is persistently and overwhelmingly devoid of clarity or insight. His “fogs prevail upon the day” implies that his dullness is not just a personal failing but a pervasive force that overshadows and dominates the literary landscape, making any potential for wit or enlightenment impossible.
In this satirical passage, Dryden critiques Shadwell’s work as perpetually uninspired and devoid of merit, using vivid imagery to emphasize the extent of Shadwell’s creative deficiencies. The passage underscores Dryden’s disdain for Shadwell and reflects his broader critique of literary incompetence.
(b) As yet a child, nor yet a fool to fame,
I lisp’d in numbers for the numbers came.
I left no calling for this idle trade,
No duty broke, no father disobey’d.
Answer –
In these lines from Alexander Pope’s “Epistle to Dr. Arbuthnot,” Pope reflects on his early engagement with poetry and his motivations for writing. By describing himself as “yet a child, nor yet a fool to fame,” Pope implies that his initial foray into verse was innocent and untainted by the ambition or vanity often associated with literary pursuits. The phrase “lisp’d in numbers” suggests that his poetic inclination was natural and effortless, emerging as easily as a child’s first words.
Pope emphasizes that he did not abandon any professional or familial duties to pursue poetry. “I left no calling for this idle trade, / No duty broke, no father disobey’d,” indicates that his writing was not at the expense of other responsibilities or relationships. Instead, it was a secondary pursuit, something that supplemented his life rather than replacing essential duties. This assertion reinforces his self-image as a poet who maintained his integrity and obligations while engaging in literary activities.
Critically, Pope’s reflections highlight his complex relationship with fame and literary success. He positions his early poetry as a spontaneous expression rather than a calculated effort to gain recognition. This perspective aligns with his broader criticism of the literary world’s superficial values and the often contentious nature of literary fame. By framing his early work as free from the corruption of ambition, Pope underscores his desire to be valued for genuine talent rather than the trappings of fame. This self-presentation serves to defend his artistic integrity against the mockery and criticism he faces from his contemporaries.
Question 6
6) (a) Nor will it seem to thee, 0 Friend ! so prompt
In sympathy, that I have lengthened out
With fond and feeble tongue a tedious tale
Answer –
In these lines from The Prelude, Wordsworth addresses a friend, expressing concern that his detailed recounting of his childhood experiences might be perceived as overly lengthy or trivial. The poet acknowledges the personal nature of his reflections, admitting that his “fond and feeble tongue” might render the tale tedious to others. The passage reveals Wordsworth’s self-awareness and sensitivity to how his intimate and nostalgic narrative might be received.
Wordsworth’s introspection here serves several functions. It highlights his deep emotional connection to his past, emphasizing the significance he places on his early experiences. The poet’s concern reflects his understanding of the subjective nature of personal history and its potential to seem unimportant to those not directly involved. This self-consciousness adds a layer of humility to his account, reinforcing the idea that his reflections are deeply personal and not merely a public display of vanity.
Critically, this passage underscores the broader themes of Wordsworth’s work, particularly the value he places on personal memory and its role in shaping his identity. The poet often explores how childhood experiences inform his later life and creativity. By acknowledging the potential for his story to seem tedious, Wordsworth demonstrates his awareness of the delicate balance between personal reflection and universal relevance. His aim is not only to document his own journey but also to invite readers to understand the profound impact of early experiences on one’s life and artistic vision.
(b) Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.
Answer –
In these lines from Samuel Taylor Coleridge’s “Kubla Khan,” the poet depicts a mystical and otherworldly vision of the speaker. The passage refers to a supernatural figure, likely a representation of the poet himself or an embodiment of poetic inspiration, who has consumed ethereal substances: “honey-dew” and “milk of Paradise.”
The phrase “Weave a circle round him thrice” suggests a ritualistic or protective action, where the figure is encircled as a means of safeguarding or venerating. The act of closing one’s eyes with “holy dread” underscores the sacredness and awe surrounding this figure. This imagery conveys a sense of profound reverence and fear, indicating that the figure possesses otherworldly or divine qualities that inspire both wonder and trepidation.
The references to “honey-dew” and “milk of Paradise” symbolize spiritual and transcendent experiences. Honey-dew represents an otherworldly sweetness and purity, while the milk of Paradise alludes to an ideal, divine nourishment. Together, these elements suggest that the figure is deeply connected to a realm of pure, mystical inspiration, beyond ordinary human experience.
Critically, these lines reflect Coleridge’s exploration of the boundaries between reality and the imagination. The “sunny dome” and “caves of ice” from earlier in the poem illustrate the contrast between natural beauty and supernatural elements, highlighting the tension between the tangible and the ephemeral. By invoking a figure fed on celestial substances, Coleridge emphasizes the poet’s unique ability to transcend mundane reality and access a higher, more profound creative vision. This passage thus encapsulates the Romantic ideal of the poet as a visionary capable of evoking the sublime and the mysterious.
Question 7
7) (a) ‘First, who art thou …. Before thy memory,
I feared, loved, hated, suffered, did„ and died,
And if the spark with which Heaven lit my spirit
Had been with purer nutriment supplied,
Corruption would not now thus much inherit
Of what was once Rousseau,
Answer –
In “The Triumph of Life,” Percy Bysshe Shelley presents a vivid and haunting vision of humanity’s struggle with existence and the inevitable triumph of life over individual suffering. The poem begins with a powerful description of dawn breaking over the Earth, symbolizing the renewal and cyclical nature of life. Shelley juxtaposes this with a vision of humanity caught in a chaotic and aimless procession, highlighting their existential confusion and despair.
The central image is of a grand, ominous chariot led by a mysterious figure who appears both ancient and powerful. This figure is accompanied by a tumultuous crowd that includes historical and mythical figures, all bound to the chariot in a symbolic representation of the inescapable burden of life’s triumph. The chariot is driven by a shadowy force, and the people around it are depicted as either fleeing from or pursuing shadows, embodying their inner turmoil and fears.
Shelley describes the scene with stark contrasts: the jubilant but frenzied crowd, the suffering elderly, and the desolate captives. These images serve as a critique of human ambition and the transient nature of power and glory. The poem culminates in a profound realization of the eternal and unchanging nature of life, despite its many forms and manifestations.
The poem reflects Shelley’s philosophical musings on life, death, and the human condition, using vivid imagery and a haunting narrative to convey the persistence of life’s relentless force, which ultimately overshadows individual achievements and struggles.
(b) Upon the sodden ground
His old right hand lay nerveless, listless, dead
Unsceptred, and his realmless eyes were closed;
Answer –
In John Keats’ “Hyperion,” the passage:
“Upon the sodden ground
His old right hand lay nerveless, listless, dead,
Unsceptred, and his realmless eyes were closed;”
occurs as part of a powerful depiction of the dethroned Titan Saturn, reflecting the aftermath of his fall from power. Contextually, this excerpt describes Saturn’s forlorn state in a desolate valley, far removed from his former grandeur and divine authority. The imagery underscores his profound loss and the emptiness of his former rule.
The “sodden ground” suggests a damp, lifeless setting, mirroring Saturn’s fallen condition. His “nerveless” and “listless” hand, once a symbol of his divine authority, now lies powerless and devoid of its previous vigor. The term “dead” further emphasizes the complete absence of vitality and influence. This description effectively conveys Saturn’s transition from a powerful ruler to a passive, almost inert entity.
The phrases “unsceptred” and “realmless eyes” highlight the complete loss of his regal status and divine sight. Without his sceptre, a traditional symbol of kingship and control, Saturn’s power is rendered null. His “realmless eyes” indicate not only his loss of physical vision but also a loss of dominion and the capacity to influence or command.
Critically, Keats uses this imagery to evoke sympathy for Saturn and to explore themes of disempowerment and the inevitable decline of once-mighty figures. The passage illustrates a deep existential crisis, where the former ruler is left in a state of reflection and helplessness. This portrayal serves to underscore the poem’s broader themes of change, loss, and the inevitable rise and fall of powers in the cosmic order.
Question 8
8) (a) Go dig
The white-grape vineyard
where the oil-press stood,
Drop water gently till the stuface sink,
And if ye find … Ah God, I know not, I !
Answer –
In this passage from Robert Browning’s dramatic monologue “The Bishop Orders His Tomb at Saint Praxed’s Church,” the dying bishop, surrounded by his supposed sons, commands them to dig in the white-grape vineyard where the oil-press once stood. He hints at the possible discovery of a hidden treasure, “some lump…of lapis lazuli,” which he intends to use for his tomb.
The bishop’s obsession with material wealth and his concern with how he will be remembered after death are evident here. He is consumed by the desire to outshine his rival, Old Gandolf, by having a more impressive tomb. The lapis lazuli symbolizes not just wealth but also his deep-seated vanity, as he wishes to be buried with something as precious and rare as the stone. His uncertainty—“Ah God, I know not, I!”—reflects his fear of death and the unknown, and perhaps even his doubt in the very faith he professed to serve.
The passage also subtly critiques the corruption within the Church. The bishop’s focus is not on spiritual matters or his legacy of faith, but on material opulence. Browning uses the bishop’s voice to expose the hollowness of a life lived for vanity and the fleeting nature of earthly power and wealth. The phrase “drop water gently till the surface sink” metaphorically suggests the bishop’s fading life and the ultimate futility of his earthly pursuits.
(b) Yet each man kills the thing he loves
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword !
Answer –
“The Ballad of Reading Gaol” by Oscar Wilde presents a haunting reflection on guilt, punishment, and the inevitability of death. Wilde’s poem draws upon his own experience in prison, detailing the story of a man sentenced to death for the murder of his beloved. The opening lines vividly depict the condemned man, not in his “scarlet coat,” symbolizing passion and bloodshed, but in “a suit of shabby grey,” embodying his fall from grace. The poem contrasts the man’s light-hearted demeanor with his deep, unspoken sorrow, evident in his “wistful eye” as he gazes at the sky—a symbol of freedom forever out of reach.
Wilde explores the universal truth that “each man kills the thing he loves,” suggesting that betrayal, whether through neglect, cruelty, or mere indifference, is a common human failing. However, not all who commit such acts are punished by society’s harshest penalties. The poem powerfully critiques the justice system, emphasizing the cruel irony that the man must die for an act of love gone wrong.
The vivid descriptions of the prison, with its “dripping wall” and “gallows-tree,” create an atmosphere of despair and inevitability. Wilde’s portrayal of the execution process is chilling, from the meticulous preparations to the finality of the “three yards of cord and a sliding board.” The poem ends with the harrowing image of the man’s body, buried not with dignity but under “a little heap of burning lime,” symbolizing the relentless consumption of his flesh by guilt and shame. Wilde’s masterful use of imagery and repetition emphasizes the inescapable nature of the condemned man’s fate, making “The Ballad of Reading Gaol” a poignant meditation on the consequences of love and justice.
Question 9
9) (a) Though Hamlet rambles and Lear rages,
And all the drop-scenes drop at once.
Upon a hundred thousand stages,
It cannot grow by an inch or an ounce.
Answer –
In these lines from William Butler Yeats’s poem “Lapis Lazuli,” the speaker reflects on the endurance of human tragedy and art. Yeats uses the characters of Hamlet and Lear, iconic figures from Shakespearean tragedy, to symbolize the universal and perpetual nature of human suffering. Despite their intense emotional turmoil—Hamlet’s philosophical despair and Lear’s raging madness—the tragedies these characters endure do not diminish over time (“It cannot grow by an inch or an ounce”). This suggests that the essence of human experience, with its blend of sorrow and joy, remains constant through the ages.
The phrase “all the drop-scenes drop at once” refers to the countless instances of tragedy playing out on stages across the world, implying that such scenes are a fundamental part of human existence. Yet, even as these scenes unfold repeatedly, they do not add to the overall weight of human sorrow; the tragedy remains fixed, unchangeable.
Yeats’s poem argues that, like the characters in these timeless plays, humanity must accept and embrace the inevitability of suffering. Rather than being overwhelmed by despair, the characters, and by extension humans, should find a way to transform their experiences into something meaningful. The “gaiety” mentioned earlier in the poem is a form of transcendence—an artistic or philosophical acceptance of the tragic aspects of life, leading to a deeper, more resilient joy. Thus, these lines emphasize the enduring power of art and the human spirit in the face of inevitable suffering.
(b) The hot water at ten.
And if it rains, a closed Car at four.
And we shall play a game of chess,
Pressing lidless eyes and waiting
for a knock upon the door.
Answer –
The excerpt from T.S. Eliot’s The Waste Land vividly encapsulates the central themes of desolation, decay, and the fragmentation of modern life. Eliot’s poem opens with the line “April is the cruellest month,” subverting the traditional notion of spring as a time of renewal. Here, April is associated with painful regeneration, a forced stirring of dull roots that prefer the numbness of winter. The contrast between winter and spring symbolizes the clash between life and death, memory and forgetfulness, reflecting the disintegration of the human experience.
The imagery in this passage is dense and disjointed, mirroring the fragmented nature of the modern world that Eliot portrays. The “heap of broken images” suggests a civilization that has lost its coherence, where meaning is no longer derived from a unified cultural or spiritual foundation. This fragmentation is further emphasized through the juxtaposition of different voices and languages, such as the German lines, “Bin gar keine Russin, stamm’ aus Litauen, echt deutsch,” which highlight the sense of dislocation and alienation.
Eliot also invokes mythic elements, such as the Sybil’s longing for death and the biblical allusion to the “Son of man,” suggesting a spiritual barrenness and the loss of prophetic vision in contemporary society. The repetition of the word “nothing” underlines the theme of nihilism that pervades the poem, reflecting the existential void faced by individuals in a post-war world.
Overall, Eliot’s The Waste Land uses complex imagery and allusions to express the disillusionment and despair of the modern era, portraying a world where traditional values and meanings have crumbled, leaving behind only fragments of a once coherent civilization.
Question 10
10) (a) The force that through the green fuse drives the flower
Drives my green age; that blasts the roots of trees Is my destroyer.
And I am dumb to tell the crooked rose
My youth is bent by the same wintry fever.
Answer –
In the opening lines of Dylan Thomas’s poem “The Force That Through The Green Fuse Drives The Flower,” the poet reflects on the dynamic force that both nurtures life and brings about its inevitable decline. The “force” mentioned in the first line is a powerful, almost mystical energy that propels natural growth and vitality, symbolized by the “green fuse” that drives the flower. This force is not only responsible for the flourishing of the flower but also parallels the poet’s own youthful vigor—his “green age.”
However, this same force that fuels life is also a “destroyer,” as it ultimately brings decay, evident in how it “blasts the roots of trees.” The poet draws a connection between the natural world and his own life, recognizing that the energy that drives his youth will also lead to his destruction. This duality underscores the theme of inevitable mortality, a recurring idea in Thomas’s work.
The poet’s use of the phrase “crooked rose” further emphasizes this point. The rose, often a symbol of beauty and love, is described as “crooked,” suggesting that it too is subject to the same corrupting force. The poet laments that he is “dumb” or unable to articulate this connection, highlighting a sense of helplessness in the face of life’s transience. His “youth is bent by the same wintry fever,” linking the natural decay of the seasons to the aging and decline of human life. Through these lines, Thomas masterfully conveys the intertwined relationship between life, growth, decay, and death, suggesting that they are all driven by the same unstoppable force.
(b) Ah were I courageous enough
To shout Stuff your pension !
But I know, all too well, that’s the stuff
That dreams are made on :
Answer –
In Philip Larkin’s poem “Toads,” the speaker expresses frustration with the demands of work, symbolized by the “toad” that “squats” on his life. This toad represents the drudgery of daily labor that dominates six days of the week, staining life with its “sickening poison.” The speaker questions why he must endure this burden just to pay a few bills, considering it an unfair trade-off.
The lines “Can’t I use my wit as a pitchfork / And drive the brute off?” suggest a desire to escape the constraints of work through cleverness or wit, imagining a life free from the necessity of labor. However, the speaker acknowledges the persistence of the toad, which metaphorically squats within him as well, symbolizing an internal struggle. This toad-like quality within the speaker represents a deep-rooted sense of responsibility or fear that prevents him from abandoning work and pursuing a more carefree existence.
Larkin contrasts the speaker’s situation with that of others who live on their wits—lecturers, lispers, and louts—who seem to manage without the oppressive burden of work, living more freely, even if their lifestyle is less conventional. Despite recognizing this alternative, the speaker admits that he lacks the courage to break free from the security that work provides, symbolized by the pension he sarcastically imagines rejecting.
In these passages, Larkin explores the tension between the desire for freedom and the inescapable reality of work, highlighting the internal conflict that keeps the speaker tied to a life of labor despite its oppressive nature. The toad becomes a powerful metaphor for the burdens of work and the psychological forces that make them inescapable.