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Welcome to our blog, In this post, we’re sharing the IGNOU MEG 2 Solved Question Paper of June 2020 examination, focusing on British Drama.
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 2 exam.
In this post, we’ll discuss all the answers including the short and long answer questions.
In IGNOU MEG 2 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) Critically comment on any four of the following passages with reference to the context, in not more than 150 words each:
(a) ‘Tis now the very witching time of night,
When churchyards yawn and hell
Itself breathes out contagion to this world.
Now could I drink hot blood, and do
Such bitter business as the bitter day
Would quake to look on
Answer –
In this passage from Act 3, Scene 2 of Shakespeare’s *Hamlet*, Hamlet reflects on the night’s sinister potential, revealing his deepening resolve and moral corruption. The imagery of “churchyards yawning” and “hell breath[ing] out contagion” evokes a sense of supernatural malevolence and moral decay. Hamlet’s statement that he could “drink hot blood” and perform “bitter business” underscores his growing willingness to embrace violence and treachery in pursuit of his revenge.
The night, traditionally a time for evil deeds, mirrors Hamlet’s own psychological turmoil and readiness to commit heinous acts. His reference to the “bitter day” that would “quake to look on” suggests a forthcoming action so atrocious that even daylight would be unnerved. This passage highlights Hamlet’s inner conflict and descent into a vengeful mindset, reflecting the play’s exploration of the consequences of revenge and moral corruption.
(b) Now, Faustus, must
Thou needs be damned and canst thou not
be saved
Despair in God, and trust in Belzebub:
Now go not backward : no, Faustus be resolute.
Answer –
In this passage from Act 5, Scene 1 of Marlowe’s *Doctor Faustus*, Faustus grapples with the despair of his impending damnation and the futility of his attempts at redemption. Faustus’s acknowledgment of his inescapable doom reflects his profound regret and disillusionment with his pact with the devil. The lines “Despair in God, and trust in Belzebub” highlight Faustus’s realization that he has forfeited his chance for salvation by relying on demonic powers instead of divine grace.
The imperative “Now go not backward” underscores Faustus’s internal struggle between hope and resignation. His need to remain resolute even in the face of damnation demonstrates the tragic depth of his fall. This moment encapsulates the play’s central themes of hubris, the limits of human knowledge, and the consequences of overreaching ambition. Faustus’s despair is a powerful reflection of the tragedy’s exploration of human frailty and existential despair.
(c) One day, when I’m not longer spending my days running a sweet-stall, I may write a book about us all It’ll be recollected in fire and blood. My blood.
Answer –
This passage from Sean O’Casey’s *The Plough and the Stars* reveals the character of the protagonist, Nora, reflecting on her life and aspirations. The mention of running a “sweet-stall” highlights her current, mundane existence and her longing for a more significant, impactful life. Her desire to write a book “recollected in fire and blood” underscores a deep sense of personal and societal struggle. The phrase “fire and blood” suggests intense, dramatic events, possibly reflecting the turmoil and suffering associated with the Irish struggle for independence during the play’s setting.
The reference to “My blood” indicates a personal connection to the hardships and conflicts faced by the characters, hinting at a desire for historical recognition and a legacy tied to these struggles. This passage encapsulates themes of ambition, personal sacrifice, and the desire for historical significance within the context of the socio-political landscape of early 20th-century Ireland.
(d) We have only to conquer
Now, by suffering. This is the easier victory.
Now is the triumph of the cross.
Answer –
In this passage from T.S. Eliot’s *Murder in the Cathedral*, the speaker reflects on the nature of victory through suffering and spiritual triumph. The idea of “conquering by suffering” aligns with the play’s exploration of martyrdom and the Christian doctrine of finding strength and redemption through enduring trials. The phrase “easier victory” paradoxically suggests that the true triumph lies not in physical conquest but in the spiritual and emotional endurance of suffering.
The “triumph of the cross” evokes Christian imagery of Christ’s crucifixion, symbolizing ultimate redemption through sacrifice. This passage reflects the play’s thematic focus on Thomas Becket’s martyrdom as a form of spiritual victory and a means of achieving divine grace. It underscores the play’s portrayal of martyrdom as a path to transcendence and moral victory, highlighting Eliot’s exploration of faith, sacrifice, and the redemptive power of suffering.
(e) Women upset everything. When you let them
into your life, you find that the woman is
driving at one thing and you’re driving at
another.
Answer –
This passage from George Bernard Shaw’s *Pygmalion* reveals a character’s perspective on the complexities of relationships between men and women. The statement reflects a critical view of gender dynamics, suggesting that the presence of women disrupts harmony and creates conflicts of interest. The notion that “the woman is driving at one thing and you’re driving at another” highlights the perceived discord and misalignment between male and female desires and goals.
In the context of the play, this sentiment may reflect broader societal attitudes towards gender roles and relationships in early 20th-century Britain. Shaw often used his characters to challenge social norms and provoke thought about class and gender. This passage underscores the play’s exploration of social expectations and the inherent tensions within personal relationships, revealing Shaw’s critique of traditional gender roles and his emphasis on the need for mutual understanding and equality.
Question 2
2) The Alchemist is a satire on human follies and foibles. Discuss.
Answer –
Ben Jonson’s The Alchemist is a sharp satire that exposes human follies and foibles through its clever portrayal of greed, deception, and gullibility. Set in London during the early 17th century, the play revolves around the schemes of a conman, Subtle, and his accomplices, Face and Dol Common, who exploit the gullibility of various characters seeking to achieve wealth and social advancement through alchemy.
The play satirizes the obsession with alchemy and material wealth. Jonson presents characters who are driven by a desperate desire for riches, demonstrating how their avarice blinds them to reality. Subtle, the pretender to alchemical wisdom, exploits this greed by promising his dupes wealth and power, using elaborate deceptions to manipulate their desires. This portrayal critiques the extent to which individuals will go to achieve their ambitions, regardless of the cost.
Jonson also uses the character of Face, the servant who assists Subtle, to satirize class dynamics and social ambition. Face’s ability to deceive and manipulate his masters underscores the theme of social climbing and the lengths to which people will go to improve their status. The play critiques the superficiality and moral corruption inherent in social mobility and class structure.
Another layer of satire is found in the character of Dol Common, who represents the exploitation of human desires. Her involvement in the schemes illustrates how even those who are seemingly of lower status can exploit the ambitions of others for personal gain. Through Dol, Jonson highlights the pervasive nature of greed and deceit across all social strata.
The various dupes in the play, including Sir Epicure Mammon, Dapper, and the Anabaptist, represent different facets of societal folly. Sir Epicure Mammon’s extravagant dreams of wealth and pleasure, Dapper’s desire for gambling success, and the Anabaptist’s religious fervor all serve to expose the absurdities of their ambitions and the ease with which they are deceived. Their willingness to believe in magical solutions to their problems underscores Jonson’s critique of credulity and the human propensity to fall for false promises.
Through The Alchemist, Jonson delivers a biting commentary on human nature, illustrating how individuals’ desires for wealth, status, and pleasure can lead them to commit absurd and foolish acts. The play remains a timeless exploration of human greed and the consequences of placing trust in deceitful promises, highlighting the enduring relevance of its satirical insights into human behavior.
Or
Examine Doctor Faustus as a tragedy of the aspirational Renaissance man.
Answer –
Christopher Marlowe’s Doctor Faustus is a compelling tragedy that explores the ambitions and limitations of the Renaissance man. The play centers on Dr. Faustus, a scholar whose insatiable thirst for knowledge and power drives him to make a pact with the devil, exchanging his soul for twenty-four years of magical abilities.
At the heart of the tragedy is Faustus’s embodiment of Renaissance ideals. The Renaissance era emphasized the value of human potential, intellectual curiosity, and the quest for knowledge. Faustus epitomizes these ideals with his remarkable intellect and his dissatisfaction with the conventional limits of academic and theological study. He yearns for ultimate power and the ability to transcend human limitations, reflecting the Renaissance man’s desire to explore and master all aspects of existence.
Faustus’s ambition is both his strength and his downfall. His desire to gain knowledge and power is initially admirable, representing the Renaissance spirit of exploration and self-improvement. However, Faustus’s overreaching ambition leads him to make a dangerous bargain with Mephistopheles. His willingness to trade his soul for temporal power underscores the tragic consequences of hubris, a key theme in Renaissance tragedy.
The play portrays the tragic irony of Faustus’s situation. Despite his profound knowledge and magical abilities, Faustus remains fundamentally dissatisfied and unable to achieve true fulfillment. His experiences with magic and his encounters with various figures only highlight the limitations of his powers and the superficiality of his accomplishments. His realization of the futility of his bargain comes too late, and he is ultimately consumed by despair as the time of his reckoning approaches.
Faustus’s tragedy is also a commentary on the Renaissance ideal of the “limitless” individual. Marlowe critiques the notion that human ambition and intellectual pursuit can conquer all. The play underscores the dangers of excessive pride and the consequences of seeking power beyond one’s natural limitations. Faustus’s downfall serves as a cautionary tale about the perils of overreaching and the need for humility.
In Doctor Faustus, Marlowe presents a complex portrayal of the Renaissance man, illustrating both the potential and the peril of human ambition. Faustus’s tragic journey reflects the tension between the Renaissance ideals of exploration and the inherent risks of defying natural and moral boundaries. The play remains a powerful exploration of the limits of human aspiration and the consequences of transcending them.
Question 3
3) Comment on the nature of the four temptations that Beckett confronts.
Answer –
In Samuel Beckett’s Waiting for Godot, the nature of the four temptations that Vladimir and Estragon confront reflects their existential struggles and the broader themes of the play. These temptations are subtly woven into their interactions and symbolize aspects of the human condition as they grapple with the meaning of their existence.
- The Temptation of Hope: One of the central temptations in the play is the hope for a transformative event, represented by the arrival of Godot. Vladimir and Estragon repeatedly cling to the belief that Godot’s arrival will bring meaning and change to their lives. This hope gives their actions some semblance of purpose, even though it remains unfulfilled. The temptation of hope is both a promise of redemption and a risk of endless waiting without resolution.
- The Temptation of Action: Throughout the play, the characters face the temptation to take action as a means to escape their stagnant existence. They contemplate various actions, such as leaving their spot or engaging with the characters they meet, like Pozzo and Lucky. However, their inertia and the seeming futility of their efforts underscore the limitations of action in the face of an indifferent universe. This temptation highlights the existential dilemma of whether action can truly bring meaning or merely serve as a distraction from their inherent absurdity.
- The Temptation of Despair: The temptation of despair is evident in the characters’ frequent existential crises and their thoughts of suicide. Vladimir and Estragon occasionally discuss ending their lives, reflecting their profound despair and the belief that their suffering is unbearable. This temptation illustrates the allure of giving up hope and the struggle with the profound meaninglessness of their situation.
- The Temptation of Illusion: The temptation of illusion appears in the characters’ interactions and their environment. They often create illusions to cope with their reality, such as pretending to believe in Godot’s imminent arrival or engaging in meaningless rituals to pass the time. This temptation represents the human tendency to fabricate false narratives or distractions to make sense of an otherwise chaotic and meaningless existence.
These temptations in Waiting for Godot reflect Beckett’s exploration of existential themes and the human condition. They illustrate the struggle for meaning in a seemingly indifferent world and the ways individuals confront their existential anxieties. The play remains a poignant commentary on the nature of hope, action, despair, and illusion in the face of an uncertain and often absurd existence.
Or
The Mechanicals’ play is inextricably related to the main plot of A Midsummer Night’s Dream. Illustrate.
Answer –
In Shakespeare’s A Midsummer Night’s Dream, the play within the play performed by the Mechanicals—referred to as Pyramus and Thisbe—is intricately linked to the main plot of the play. This connection is woven through thematic parallels, dramatic contrast, and the structural function of both the subplot and the main narrative.
The Mechanicals, a group of amateur actors, are preparing a comically bungled version of the tragic love story of Pyramus and Thisbe to present at the wedding of Theseus and Hippolyta. Their play mirrors the central romantic entanglements and misunderstandings of the main plot, albeit in a farcical manner. This comedic subplot serves as a meta-theatrical commentary on the nature of love and the absurdities inherent in the pursuit of it.
- Thematic Parallels: The story of Pyramus and Thisbe in the Mechanicals’ play reflects the theme of ill-fated love that is central to A Midsummer Night’s Dream. Both narratives involve lovers who are tragically separated due to misunderstandings and circumstances beyond their control. The comedic rendition of this tragedy underscores the main plot’s exploration of the foolishness and unpredictability of love. By exaggerating and satirizing the original tragic tale, the Mechanicals’ play highlights the central themes of love and the follies associated with it.
- Dramatic Contrast: The juxtaposition of the Mechanicals’ play with the main plot creates a humorous contrast. While the Mechanicals’ performance is clumsy and full of theatrical mishaps, it contrasts sharply with the more serious and complex romantic entanglements of the main characters—Hermia, Lysander, Demetrius, and Helena. This contrast amplifies the comedic effect of the Mechanicals’ play, enhancing the overall comedic atmosphere of the play. It also provides relief from the intense and often convoluted romantic conflicts, offering the audience a moment of levity and amusement.
- Structural Function: The Mechanicals’ play functions as a structural device that frames the resolution of the main plot. The performance takes place at the end of A Midsummer Night’s Dream, during the wedding festivities, and acts as a final comedic episode that ties together the play’s themes. It also reflects the play’s exploration of theatricality and performance, both in the literal sense of the Mechanicals’ play and in the broader context of the characters’ roles and transformations within the enchanted forest.
In summary, the Mechanicals’ play is not merely a comedic diversion but a key element that enriches the main plot of A Midsummer Night’s Dream. Through thematic parallels, dramatic contrast, and structural function, it enhances the play’s exploration of love, performance, and the nature of theatre itself, contributing to the play’s overall impact and enjoyment.
Question 4
4) How do Hamlet’s soliloquies contribute to the play?
Answer –
In Shakespeare’s Hamlet, the soliloquies are integral to understanding the protagonist’s inner turmoil, the play’s thematic depth, and the overall narrative structure. These monologues offer a profound insight into Hamlet’s thoughts, motivations, and existential dilemmas, enriching the play’s psychological complexity and thematic resonance.
- Revealing Hamlet’s Inner Conflict: Hamlet’s soliloquies provide a window into his psychological state and moral struggle. For instance, in “To be or not to be” (Act 3, Scene 1), Hamlet contemplates existence, death, and the nature of suffering. This soliloquy reveals his deep existential crisis and indecision about life and suicide. It highlights his struggle with the burden of avenging his father’s murder while grappling with the moral implications of such an act. The soliloquy illuminates his inner conflict between action and inaction, reflecting his paralysis and uncertainty.
- Developing Themes: The soliloquies also advance the central themes of the play, such as revenge, madness, and the nature of humanity. In his soliloquy in Act 1, Scene 5, after encountering the ghost, Hamlet vows to remember and avenge his father’s murder. This vow propels the plot and introduces the theme of revenge. Hamlet’s soliloquies further explore the nature of madness—whether Hamlet’s is genuine or feigned—and the moral and philosophical implications of his actions. His reflections on life, death, and moral integrity shape the thematic landscape of the play.
- Enhancing Dramatic Irony: The soliloquies create dramatic irony by revealing Hamlet’s private thoughts and intentions to the audience while other characters remain unaware. This device deepens the audience’s engagement with the narrative and builds tension. For example, in “O, what a rogue and peasant slave am I” (Act 2, Scene 2), Hamlet criticizes his own inaction and compares himself to actors who can express their emotions convincingly. This self-reflection enhances the dramatic irony as the audience is aware of Hamlet’s internal struggle while other characters misinterpret his behavior.
- Building Character Complexity: Through his soliloquies, Hamlet emerges as a deeply complex and multifaceted character. The soliloquies capture his intellectual and emotional depth, portraying him as a thinker who is profoundly affected by his circumstances. This complexity makes Hamlet one of Shakespeare’s most intriguing characters, as his soliloquies reveal his philosophical inquiries and emotional vulnerabilities.
In summary, Hamlet’s soliloquies are crucial to the play’s narrative and thematic development. They provide insight into his inner conflict, advance key themes, enhance dramatic irony, and build his character’s complexity. Through these monologues, Shakespeare enriches the play’s exploration of existential questions and moral dilemmas, making Hamlet a profound study of human nature and psychological depth.
Or
Discuss The Playboy of the Western World as an extravagant comedy.
Answer –
John Millington Synge’s The Playboy of the Western World is an exemplary work of extravagant comedy, marked by its audacious portrayal of Irish rural life and its exuberant use of language, character, and situational irony. The play combines elements of farce, satire, and romantic comedy to create a vibrant and dynamic piece of theatre.
- Exuberant Use of Language: Synge’s play is renowned for its rich and flamboyant language, which contributes significantly to its comedic effect. The dialogue is infused with lyrical and colorful expressions that capture the local dialect and add a layer of exuberance to the characters’ interactions. This linguistic flair amplifies the comedic elements, particularly in the way characters exaggerate their emotions and actions, making their responses to the central conflict both humorous and larger-than-life.
- Extravagant Characters: The characters in The Playboy of the Western World are portrayed with a sense of exaggeration and theatricality. Christy Mahon, the protagonist, is a quintessential example of this extravagance. His self-proclaimed status as a hero and his exaggerated tales of patricide become the central focus of the comedy. The reaction of the local community to Christy’s fabricated story highlights the absurdity and spectacle of the situation, as the townspeople’s admiration for him escalates to comic extremes. Similarly, the other characters, such as Pegeen Mike and the Widow Quinn, exhibit exaggerated traits that contribute to the play’s overall comedic tone.
- Situational Irony and Farce: The play’s comedic nature is further enhanced by its use of situational irony and farce. The central plot revolves around Christy’s fabricated claim of having killed his father, which unexpectedly garners admiration and affection from the local community. The ensuing farce, driven by mistaken identities and misunderstandings, creates a series of humorous situations. For instance, Christy’s heroic persona is undermined when his true identity is revealed, leading to a series of comical misunderstandings and chaotic scenes. The play’s climax, where Christy’s deception is exposed, exemplifies the blend of farce and situational irony that characterizes extravagant comedy.
- Satirical Commentary: Synge’s play also functions as a satirical commentary on the nature of heroism and the gullibility of rural communities. By presenting Christy as a larger-than-life figure whose false claims are readily accepted, Synge critiques the romanticized notions of heroism and the ease with which people can be deceived by grandiose stories. This satirical edge adds depth to the comedy, inviting the audience to reflect on the themes of identity, reputation, and societal values.
In summary, The Playboy of the Western World exemplifies extravagant comedy through its exuberant use of language, larger-than-life characters, situational irony, and satirical commentary. Synge’s play remains a vibrant and influential work that captures the essence of comedy in its most flamboyant and entertaining form.
Question 5
5) Critically comment on the verbal comedy in Pygmalion.
Answer –
In George Bernard Shaw’s Pygmalion, verbal comedy is a central element that drives the play’s humor and thematic exploration. Shaw employs witty dialogue, linguistic playfulness, and sharp social commentary to create a rich tapestry of verbal comedy that underscores the play’s satire and character dynamics.
- Witty Dialogue and Puns: Shaw’s use of witty dialogue and puns is a hallmark of the play’s verbal comedy. Characters frequently engage in clever wordplay that reveals their personalities and social positions. For example, the exchanges between Henry Higgins and Eliza Doolittle are rife with sharp, humorous repartee. Higgins’s frequent use of linguistic precision and his playful condescension towards Eliza’s original speech highlight the comic disparity between their social statuses. The verbal sparring between Higgins and Eliza serves both to amuse the audience and to underscore the themes of class and transformation.
- Linguistic Playfulness: The play’s comedy also arises from its exploration of language and accent. Eliza’s transformation from a flower girl with a strong Cockney accent to a refined lady speaking with an upper-class accent is depicted through humorous and sometimes absurd situations. The contrast between her original and learned speech creates comic moments, particularly when she uses her newly acquired accent inappropriately or when her attempts to fit into high society lead to humorous misunderstandings. Shaw’s clever manipulation of language and accent not only serves as a source of comedy but also critiques societal attitudes towards class and speech.
- Satirical Commentary: Shaw’s verbal comedy often functions as a satirical tool that critiques social norms and class distinctions. Through characters like Higgins and Professor Pickering, Shaw exposes the absurdities and pretensions of the British class system. Higgins’s flippant remarks about Eliza’s social worth and his views on her as a mere experiment highlight the superficiality of class distinctions. The comedic dialogues in the play challenge the audience to question the arbitrary nature of social hierarchies and the role of language in perpetuating class divides.
- Character Dynamics: The interplay of language between characters adds depth to the verbal comedy. For instance, the interactions between Eliza and her father, Alfred Doolittle, provide comic relief while also highlighting the contrast between different social strata. Alfred’s humorous, unrefined speech juxtaposed with his philosophical musings on life and morality adds a layer of comedy that reflects on societal values and personal ambitions.
In summary, verbal comedy in Pygmalion is integral to the play’s humor and thematic critique. Shaw’s use of witty dialogue, linguistic playfulness, and satirical commentary enriches the play’s exploration of class and identity. Through his masterful manipulation of language, Shaw not only entertains but also provokes thought about social norms and the power of words.
Or
Discuss the salient features of Elizabethan tragedy with examples.
Answer –
Elizabethan tragedy, a prominent genre during the late 16th and early 17th centuries, is characterized by several distinctive features that set it apart from other dramatic forms. This genre is exemplified by the works of playwrights such as William Shakespeare, Christopher Marlowe, and Thomas Kyd. The salient features of Elizabethan tragedy include a tragic hero with a fatal flaw, the exploration of complex themes, the use of dramatic structure, and the integration of supernatural elements.
- Tragic Hero with a Fatal Flaw: Central to Elizabethan tragedy is the concept of the tragic hero, a noble character whose downfall is precipitated by a personal flaw or mistake. This flaw, often referred to as “hamartia,” leads to the hero’s eventual downfall. For example, in Shakespeare’s Hamlet, the titular character’s tragic flaw is his indecisiveness and procrastination, which ultimately results in his and many others’ deaths. Similarly, in Marlowe’s Doctor Faustus, the protagonist’s hubris and unrestrained ambition lead him to make a pact with the devil, resulting in his eternal damnation.
- Complex Themes: Elizabethan tragedies delve into profound themes such as fate, ambition, revenge, and the nature of human existence. These plays often explore the consequences of human actions and the interplay between individual choices and external forces. For instance, Macbeth by Shakespeare examines themes of ambition and guilt as Macbeth’s lust for power leads to his moral decay and eventual demise. The play interrogates the nature of evil and the psychological impact of unchecked ambition.
- Dramatic Structure: Elizabethan tragedies typically follow a specific structure that includes a prologue, exposition, rising action, climax, falling action, and denouement. This structure ensures a cohesive narrative progression and builds dramatic tension. In King Lear, the structure is evident as Lear’s initial decision to divide his kingdom sets off a series of tragic events, leading to the play’s devastating climax and resolution.
- Supernatural Elements: The incorporation of supernatural elements is a notable feature of Elizabethan tragedy, adding to the dramatic tension and thematic depth. In Macbeth, the three witches’ prophecies drive the plot and foreshadow the tragic events to come. The supernatural elements underscore the themes of fate and ambition, enhancing the play’s exploration of the human condition.
- Use of Soliloquies and Monologues: Elizabethan tragedies frequently employ soliloquies and monologues to provide insight into the characters’ inner thoughts and conflicts. Hamlet’s soliloquies, for example, reveal his existential angst and moral dilemmas, deepening the audience’s understanding of his character and the play’s themes.
In summary, Elizabethan tragedy is distinguished by its portrayal of tragic heroes with fatal flaws, exploration of complex themes, structured dramatic progression, use of supernatural elements, and reliance on soliloquies. These features combine to create compelling narratives that engage audiences in profound reflections on human nature and fate.
Question 6
6) How do the characters in Look Back in Anger function as sites for a discussion of class and gender issues?
Answer –
In John Osborne’s Look Back in Anger, the characters serve as crucial sites for exploring class and gender issues, reflecting the socio-political tensions of 1950s Britain. Through their interactions, conflicts, and personal struggles, Osborne delves into the complexities of class and gender dynamics in a rapidly changing society.
- Class Tensions: The play’s protagonist, Jimmy Porter, embodies the disillusionment of the working class in post-war Britain. His character is a reflection of the class struggles and frustrations faced by those from lower socio-economic backgrounds. Jimmy’s resentment towards the middle class is evident in his contempt for his wife Alison’s upper-middle-class background and his scathing criticism of the social norms associated with it. His hostility towards his own social position and his longing for change highlight the class conflicts prevalent during the period. Jimmy’s tirades and his disdain for the establishment underscore his feelings of alienation and frustration with the class system that he feels has failed him.
- Gender Issues: Gender roles and expectations are central to the play’s exploration of societal norms. Alison Porter, Jimmy’s wife, represents the traditional female role expected in the 1950s. Her submissive and supportive behavior contrasts sharply with Jimmy’s aggressive and dominant personality. Alison’s struggles to reconcile her own desires with her husband’s demands reflect the limited role of women in society at the time.
- The Role of Helena Charles: Helena Charles, Alison’s friend, introduces another dimension to the gender and class discourse. Helena’s presence and her eventual romantic involvement with Jimmy challenge conventional notions of female propriety and class boundaries. Her character acts as a catalyst for the unraveling of Alison’s and Jimmy’s relationship, demonstrating how personal relationships can be affected by broader social issues.
- Family Dynamics and Social Critique: The interactions between characters also serve as a microcosm of broader societal issues. The Porter household, with its tensions and conflicts, symbolizes the fractured nature of British society at the time. The play’s exploration of familial relationships and the impact of socio-economic pressures on personal dynamics provide a critical commentary on the societal changes and conflicts of the era.
In summary, the characters in Look Back in Anger function as vehicles for discussing class and gender issues by embodying the tensions and struggles of their respective social positions. Through their conflicts, desires, and interactions, Osborne examines the impact of class and gender on personal identity and relationships, offering a critique of the social norms and expectations of 1950s Britain.
Or
Discuss Waiting for Godot as an Absurd play.
Answer –
Samuel Beckett’s Waiting for Godot is a quintessential example of Absurdist theatre, a genre that emphasizes the futility and irrationality of human existence. The play’s structure, themes, and character dynamics embody the core principles of the Absurd, challenging traditional narrative forms and exploring existential questions.
- Absurdist Structure: The play is characterized by its unconventional structure and lack of a conventional plot. Waiting for Godot consists of two acts, both featuring a repetitive, cyclical pattern where the main characters, Vladimir and Estragon, wait for a figure named Godot who never arrives. The lack of progression or resolution highlights the Absurdist belief in the inherent meaninglessness of life. The repetitive nature of the play underscores the futility and monotony that Beckett suggests are integral to human existence.
- Existential Themes: Central to the Absurdist theatre is the exploration of existential themes, such as the search for meaning in a seemingly indifferent universe. In Waiting for Godot, the characters’ wait for Godot symbolizes the human quest for purpose and significance. Their endless anticipation, coupled with their failure to achieve any concrete outcome, reflects the Absurdist view that life’s search for meaning is ultimately futile. The dialogue between Vladimir and Estragon often touches on existential concerns, such as the nature of time, identity, and the uncertainty of human existence.
- Character Dynamics and The Absurd: Vladimir and Estragon, the play’s protagonists, exhibit behaviors that emphasize the Absurdist themes of alienation and meaninglessness. Their interactions are marked by a sense of disconnection and absurdity, as they engage in repetitive, often nonsensical actions and conversations. Their relationship is characterized by a blend of dependence and irritation, reflecting the Absurdist idea that human relationships can be both essential and meaningless. The characters’ struggle to find meaning in their wait, their reliance on routines, and their occasional lapses into absurd behavior illustrate the Absurdist notion of life as a series of arbitrary and often irrational events.
- The Role of Minimalism: Beckett’s minimalist staging and sparse dialogue contribute to the play’s Absurdist quality. The barren, desolate setting—a tree and a road—creates an atmosphere of emptiness and isolation, reinforcing the play’s themes of existential despair. The lack of definitive action or resolution accentuates the Absurdist perspective that human efforts are ultimately inconsequential in the face of an indifferent universe.
In summary, Waiting for Godot exemplifies Absurdist theatre through its unconventional structure, exploration of existential themes, portrayal of character dynamics, and minimalist presentation. Beckett’s play challenges traditional notions of narrative and meaning, illustrating the Absurdist view that human existence is inherently without purpose and fraught with irrationality.
Question 7
7) Write short notes on any two of the following in about 200 words each.
(a) Religious beginning of Elizabethan drama
Answer –
Elizabethan drama has its origins in religious performances and pageants of medieval England. During the medieval period, religious plays were staged as part of the mystery cycles, which dramatized biblical stories and saints’ lives to educate and entertain the largely illiterate populace. These religious plays, performed on pageant wagons or fixed stages, were integral to festivals such as Corpus Christi. They often employed elaborate costumes and effects to bring biblical narratives to life, aiming to both instruct and inspire the audience.
The transition from religious to secular drama began in the late 16th century as the focus shifted from strictly religious themes to broader human experiences. Playwrights like William Shakespeare and Christopher Marlowe, while still drawing on religious themes, began to explore more diverse subjects, including political and personal issues. This shift was partly due to the rise of the professional theatre and the decline of religious drama’s dominance. The development of the Elizabethan playhouse, such as The Globe, allowed for more varied performances, eventually leading to the flourishing of secular drama that characterized the Elizabethan period.
(b) The theatre of the Absurd
Answer –
The Theatre of the Absurd is a post-World War II dramatic genre that explores the existentialist themes of the absurdity and meaninglessness of human existence. This movement emerged in the 1950s and is closely associated with playwrights such as Samuel Beckett, Eugène Ionesco, and Harold Pinter. The genre is characterized by its departure from traditional narrative structures and realistic dialogue, focusing instead on fragmented, often nonsensical language and actions.
In Absurdist plays, characters typically grapple with a sense of purposelessness and isolation in a seemingly indifferent universe. The plays often feature repetitive, illogical scenarios that highlight the futility of human endeavors. For example, Beckett’s Waiting for Godot portrays two characters waiting for a mysterious figure, Godot, who never arrives, emphasizing the absurdity of their situation and the broader existential despair. The Theatre of the Absurd challenges conventional theatrical forms and reflects the existentialist belief that human life lacks inherent meaning, urging audiences to confront the absurdity of their own existence.
(c) The element of fantasy in A Mid Summer’s
Night Dream.
Answer –
Shakespeare’s A Midsummer Night’s Dream is renowned for its rich use of fantasy, which is integral to its plot and themes. The play is set in a magical forest inhabited by fairies, whose mischievous activities create a fantastical backdrop for the unfolding romance and comedy. The interplay between the real world and the fairy realm blurs the boundaries between reality and imagination, creating a dreamlike atmosphere.
The element of fantasy is evident in the transformation of characters and the surreal events orchestrated by the fairy king, Oberon, and queen, Titania. The use of magical spells and enchantments, such as the love potion that causes characters to fall in love with the wrong person, adds a whimsical and unpredictable dimension to the narrative. This fantastical setting allows Shakespeare to explore themes of love, identity, and transformation in a playful and imaginative manner, ultimately emphasizing the idea that love can be both enchanting and chaotic.
(d) Characterization in the comedy of Humours.
Answer –
The Comedy of Humours, popularized by Ben Jonson in the early 17th century, is characterized by its focus on the central concept of “humours”—the four bodily fluids believed to influence personality and behavior. In this genre, characters are often exaggerated embodiments of a single humour, such as choleric (irritable), sanguine (sociable), melancholic (pensive), or phlegmatic (calm).
Jonson’s plays, such as Every Man in His Humour, feature characters whose actions and interactions are driven by their dominant humour, resulting in comedic situations that highlight the follies and idiosyncrasies of human nature. The use of humours as a characterizing device allows for a satirical exploration of social behaviors and personal traits, as the characters’ extreme dispositions lead to humorous conflicts and misunderstandings. This approach provides a critique of societal norms and individual flaws, making the Comedy of Humours a distinctive and influential genre in early modern drama.