IGNOU MEG 3 Solved Question Paper | December 2023
- Last Updated On August 12, 2025
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Welcome to our blog, In this post, we’re sharing the IGNOU MEG 3 Solved Question Paper of December 2023 examination, focusing on British Novel.
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.
In this post, we’ll discuss all the answers including the short and long answer questions.
You can also download all previous year question papers of MEG 3 from our website.
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Question 1
1. According to some critics, in Tom Jones, “Fielding does not make any attempt to individualize his characters.” Do you agree with this view ? Justify your answer with illustrations from the text.
The view that “Fielding does not make any attempt to individualize his characters” in Tom Jones is, at best, only partially valid. While Henry Fielding does employ stock types and certain broad characteristics — common in 18th – century literature — he also imbues many of his characters with distinctive traits, psychological depth, and individual growth, particularly in the case of major figures like Tom Jones and Sophia Western. Thus, it would be unfair to argue that he entirely neglects character individualization.
First, Tom Jones, the protagonist, undergoes considerable development throughout the novel. Though initially presented as a good-natured but impulsive young man, his moral growth is evident by the end. His character is defined not just by his actions but also by his internal conflicts, reflections, and emotional depth—qualities that make him more than a simple literary type. His generosity, loyalty to Allworthy, and remorse for his moral failings make him relatable and human, marking him as an individualized character.
Sophia Western, often labeled as the ideal woman, is not merely a flat romantic heroine. She demonstrates independence of thought and moral conviction, notably when she resists the pressures from her father and others to marry against her will. Her love for Tom is nuanced by her insistence on virtue and self-respect, which adds layers to her character beyond her beauty and romantic role.
In contrast, some secondary characters are indeed treated as caricatures or stock figures for comic and satirical effect. For instance, Squire Western is a humorous embodiment of the rustic, blustering country gentleman, while characters like Blifil personify hypocrisy and villainy without much psychological complexity. However, this stylistic choice is deliberate. Fielding, writing within the genre of comic epic and satire, uses such characters to critique social types and moral failings prevalent in 18th-century English society.
Moreover, Fielding’s narrator plays an active role in shaping our understanding of characters, often offering ironic commentary that deepens our perception of them. The omniscient and self-aware narrator frequently reflects on human behavior, sometimes elevating and sometimes mocking characters, which enhances the narrative’s depth.
In conclusion, while Fielding uses some characters as representative types for comic or moral effect, it is inaccurate to claim that he fails to individualize his characters. Through psychological insight, development arcs, and narrative commentary, Fielding creates a rich tapestry of personalities, especially in the central figures of Tom and Sophia.
Question 2
2. Comment on the significance of the title of Jane Austen‟s novel Pride and Prejudice.
The title Pride and Prejudice is highly significant as it encapsulates the central themes and character development in Jane Austen’s novel. The two words, “pride” and “prejudice,” represent the key flaws and transformations of the main characters, Elizabeth Bennet and Fitzwilliam Darcy, and shape the plot’s conflict and resolution. Through these abstract qualities, Austen explores how human judgments, when governed by pride or prejudice, can hinder understanding and genuine connection.
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Question 3
3. Examine how multiple perspectives enrich the narration of Emily Bronte‟s novel Wuthering Heights.
Emily Bronte’s Wuthering Heights is notable for its complex narrative structure, built around multiple perspectives that intricately enrich the story’s depth, emotional range, and moral ambiguity. Instead of relying on a single omniscient narrator, Brontë constructs the novel using a series of layered narratives, primarily those of Mr. Lockwood and Nelly Dean. These different points of view allow the novel to be told in a highly subjective and fragmented way, reflecting the chaotic emotional world of the characters and enhancing the themes of memory, bias, and perception.
Mr. Lockwood, a gentleman outsider, opens and closes the novel. His narrative frame serves to introduce readers to the eerie, stormy atmosphere of the Yorkshire moors and the mysterious inhabitants of Wuthering Heights. However, as a detached and socially conventional character, Lockwood misunderstands much of what he observes. His perspective is important not for its accuracy, but for how it represents the reader’s initial confusion and curiosity. Through him, Brontë sets the stage for the deeper, more emotionally charged story to be told.
The main narrative is delivered by Nelly Dean, the housekeeper who has served both the Earnshaw and Linton families. Her intimate knowledge of the characters and their history gives readers access to the intense emotions and dramatic events of the novel. However, Nelly is not a neutral observer. Her biases, moral judgments, and personal involvement color her storytelling. At times, she withholds information or frames events in ways that shape readers’ opinions, making her both reliable and unreliable. This subjectivity creates narrative tension and invites the reader to question the truth behind the accounts.
Other minor perspectives — such as Isabella’s letter and Zillah’s occasional input — further diversify the narrative. These brief but revealing voices provide insight into characters like Heathcliff and Catherine from yet another angle, often contradicting or complicating the primary narrators’ views.
The use of multiple narrators also enhances the gothic and psychological intensity of the novel. The layered storytelling mimics the act of uncovering buried secrets, and the shifting perspectives reflect the instability and passion that dominate the characters’ lives. Each voice adds nuance, showing that truth in Wuthering Heights is never absolute but rather shaped by experience, memory, and emotion.
In conclusion, the multi – perspective narration in Wuthering Heights deepens the reader’s engagement by offering a mosaic of voices and viewpoints. It enriches character development, intensifies emotional impact, and invites critical reflection on how stories are told and understood.
Question 4
4. Consider Charles Dickens‟ Great Expectations as a novel based on the Victorian theme of „self – improvement‟.
Dickens’s Great Expectations is deeply rooted in the Victorian theme of self – improvement, reflecting the era’s preoccupation with personal growth, moral development, and social mobility. The novel traces the psychological and moral evolution of its protagonist, Pip, whose journey starts from an innocent orphan to a self – aware gentleman encapsulates the Victorian belief that individuals could shape their destinies through effort, education, and character.
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Question 5
5. Examine how George Eliot employs a polyphony of voices to depict the provincial realities of Middlemarch.
George Eliot’s Middlemarch is a landmark in English literature not only for its rich characterizations and insightful social commentary but also for its innovative narrative technique — particularly her use of polyphony, or a diversity of voices, to depict the complex provincial life of Middlemarch.
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Question 6
6. Do you agree with Achebe‟s view that Conrad‟s novel Heart of Darkness depicts Africa as „a place of negations‟ ?
Yes, Chinua Achebe’s view that Joseph Conrad’s Heart of Darkness depicts Africa as “a place of negations” is a well-substantiated and critical interpretation that highlights the novel’s Eurocentric and dehumanizing portrayal of the African continent. Achebe’s seminal 1975 lecture, “An Image of Africa,” argues that Conrad reduces Africa to a backdrop for European introspection and moral decay, rather than portraying it as a land with its own complex cultures, histories, and peoples.
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