B.a English Poetry Portion Complete Solved Notes

8/17/2019 B.a English Poetry Portion Complete Solved Notes

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B.A English Poetry Portion Complete solved notes

QUESTION NO.1(a) No time to see, in broad daylight,Streams full of stars, lie sies at night.(b) !ill lie o" nightsIn the bony armsOf #eality and be $omforted.($) %ountains, o$eans, leaf and stoneStar shine, moon glo& 'ou"re all that I $an $all my o&n.(a) No time to see sies at night.#E*E#EN+E(i)oem- Leisure(ii) oet- William Henry Davies

+ONTET(i) O$$urren$e- Lines 7-8!"(ii) +ontent- #n this poem the poet laments that modern man has dro$ned so mu%h in the o%ean o&temporal %harms that he has no time to see and en'oy the (ature li)e trees* animals* streams and

Beauty. He %on%ludes that su%h a sorro$&ul li&e is a poor li&e.

E/0N0TION #n these lines the poet says that modern man has %eased to +e imaginative and the reasonis la$ of time2. He is so +usy in his $orldly pursuits that he has no time to o+serve the +eauty o&streams. He %annot understand ho$ does the natural light o& sun &all on the running $ater o& the hillystreams. He %annot per%eive ho$ does this ,ui%)ly o$ing $ater stri)e against the pe++les and thusree%t a t$in)ling light li)e that o& the stars shinning at night in the s)y. #n short* he %annot noti%e thatthese gushing streams are the gala3ies of earth2.She &als in beauty, lie the nightOf $loudless $limes and starry sies. Lord Byron/(b) !ill lie o" nights be $omforted.#E*E#EN+E

(i) oem- (e$ 0ear 1esolutions(ii) oetess- Eli2a+eth 3e$ell+ONTET(i) O$$urren$e- Lines 7-44(ii) +ontent- #n this poem the poetess e5presses her three revolutionary resolutions +e&ore the da$no& the ne$ year. 3he resolves to remain most o& the time silent* thin) a+out $hat she is and &a%e therealities $ith %ontention.E/0N0TION

#n these lines the poetess has personi6ed #eality. 3he has given it the ,ualities o& a hus+and. 3he hasde%ided to spend her nights in the +ony arms o& r. 1eality. #n the +eginning it $as a very +itter andunpleasant pra%ti%e +e%ause +ony arms %an give no 'oy or satis&a%tion to his $i&e. But the poetess isnot an es%apist. With the passage o& time* she has +e%ome ha+itual to it. (o$ she has understood and%omprehended the &a%t that truth is beauty2. hus she is %om&orted in the +ony arms +e%ause

these give her sel&-satis&a%tion* +lessed relie& and spiritual e5ultation.

($) %ountain, o$eans, $all my o&n.#E*E#EN+E(i) oem- Woman Wor)(ii) oetess- aya Angelou+ONTET(i) O$$urren$e- Lines 9:-9898


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(ii) +ontent- #n this poem the poetess des%ri+es her disgust &or domesti% %hores and love &or (ature.3he is &ed up +y loo)ing a&ter the %hildren* +uying and %oo)ing &ood* and maintaining her house. 3oshe longs &or the +lessings o& (ature to give her po$er to +ear this dull li&e.E/0N0TION#n these lines the poetess e5presses her ina+ility to 6nd any human +eing $hom she %an trust and %allher o$n e5%ept Nature. 3he %annot %all her hus+and o$n +e%ause she has al$ays &ound him &ull o&threats o& separation or divor%e. 3he %annot %all her %hildren o$n +e%ause they either do no o+ey her

&ully or sho$ their in%lination to$ards their &ather. hus she has got tired o& human +eings. Ho$ever*she %an %all o+'e%ts and phenomena o& (ature li)e mountains* o%eans* leaves* stones* star shine andmoon glo$ et% her o$n +e%auseNature did ne4er betray the heart that lo4ed her2.

William Words$orth/ QUESTION NO.5(a) It is 4ery good that &e ha4e rebels 'ou may not 6nd it 4ery good to be one.(b) Thus I entered, and thus I goIn trium7hs 7eo7le ha4e dro77ed do&n dead.($) The musi$ in my heart I bore,/ong after it &as heard no more.(a) It is 4ery good good to be one.#E*E#EN+E

(i) oem- he 1e+el(ii) oet- Dennis ;oseph Enright+ONTET(i) O$$urren$e- 94-re+els? in a so%iety is very good and +ene6%ial. hese >re+els? are* in &a%t* un%onventional persons $ho a%t against so%ial values and traditions. heirout$ardly re+ellious attitude %reates &un and promotes variety in the so%iety. #n other $ords* they +ringhappiness in li&e and in%rease the %ultural $ealth o& the so%iety. here is not dou+t that edu%ation andage have made most o& the people %ivili2ed* sophisti%ated and ur+ane. here&ore* these people do not

li)e to +e%ome >re+els?. But these people should tolerate >re+els? in the so%iety &or their o$n +ene6t.

(b) Thus I entered dro77ed do&n dead.#E*E#EN+E(i) oem- Patriot into raitor(ii) oet- 1o+ert Bro$ning+ONTET(i) O$$urren$e- Lines 9:-97


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(ii) oet- William Words$orth+ONTET(i) O$$urren$e- Lines he 3olitary 1eaper? 'ust li)e the %harming +eauty o& the s%ene o& 9a:odils2* le&t an everlastingimpa%t on the heart and mind o& the poet. hough the poet does not listen the s$eet voi%e o& thissoprano again in reality yet he has saved it in his mind as a retrieva+le memory. his memory has+e%ome a permanent sour%e o& spiritual pleasure and tran,uility &or the poet ever-a&ter$ards.S&eet %emory; &afted by thy gentle gale,Oft u7 the stream of Time I turn my sail. 3amuel 1oger/

QUESTION NO. <(a) 0ll the &orld"s a stage0nd all the men and &omen merely 7layers.(b) 0 lega$y of bene6ts may &eIn the future years be found &ith those &ho tryTo labour for the good until they die.

($) In the morning glad I see%y foe outstret$hed beneath the tree.(a) 0ll the &orld"s merely 7layers.#E*E#EN+E(i) oem- All the Worlds a 3tage(ii) oet- William 3ha)espeare+ONTET(i) O$$urren$e- Line !-998(ii) +ontent- #n this poem the poet says that the $orld is a stage and man is an a%tor. He per&ormsseven roles in his li&e on this stage. He starts his per&orman%e as an in&ant* then a s%hool +oy* a lover*a soldier* a 'usti%e* a retired person and 6nally an old man.E/0N0TION

#n these prover+ial lines the poet has used t$o +eauti&ul metaphors. irstly he says that the planetearth is a huge plat&orm $here the per&orman%e o& the drama named life2 )eeps on ta)ing pla%e. >All

the Worlds a 3tage? is* in &a%t* a phrase that +egins a monologue spo)en +y ;a%,ues in 0s 'ou /ieIt2 A%t 9* s%ene 7* line !


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($) In the morning beneath the tree.#E*E#EN+E(i) oem- A Poison ree(ii) oet- William Bla)e+ONTET(i) O$$urren$e- Lines !F-!:!:(ii) +ontent- #n this poem the poet des%ri+es the development and ee%ts o& anger. Gn%e the poet

+e%omes angry $ith his &oe and +ottles up his $rath. his hatred +e%omes a tree $hi%h +ears apoisonous apple. His enemy eats this apple and dies there and then.E/0N0TION #n these lines the poet says that triumph al$ays gives happiness and satis&a%tion. Death is ano%%asion &or grie& +ut &or the poet it turns out to +e an o%%asion &or 'oy +e%ause his hatred has $on atthe %ost o& his enemys death. he poet had* in &a%t* planted a tree o& hatred &or his enemy. his tree+ore a +right +ut poisonous apple. His enemy $as tempted to eat it li)e E4e $as tempted to eat theapple in Paradise. At last his enemy ate it stealthily at night and died there and then. When the poet$ent to his garden in the morning* his 'oy )ne$ no +ounds +e%ause his enemy $as no more than arigor mortis* lying on the ground +eneath the tree.

QUESTION NO. >(a) 0nd on her dul$imer she 7layedSinging of %ount 0bora.(b) !aled through a &ood, sa& the birds in the trees.

They ha4e no 7oliti$ians and sang at their ease.($) 0nd yet those 4oi$es-If you &ere not afraid, you &ould ill him;(a) 0nd on her dul$imer %ount 0bora#E*E#EN+E(i) oem- u+la han(ii) oet- 3amuel aylor Coleridge+ONTET(i) O$$urren$e- Lines "=-"!F"(ii) +ontent- #n this poem the poet gives an imaginagy des%ription o& a $anderland* Ianadu. #t has apleasure-doom* a sa%red river* an%ient &orests* a $ailing $oman* a mighty mountain* %aves o& i%e anda damsel singing o& mount A+ora.E/0N0TION #n these lines the poet depi%ts a very romanti% s%en%e at u+la hans $anderland* anadu. he

poet dreamt that a young +la%) $oman $as standing in this $anderland. 3he $as* in &a%t* anA+yssinian maid. #n her hands* she $as holding t$o light-$eight hammers. With these hammers she$as palying a musi%al instrument %alled dul%imer. he musi% o& this 2ither $as %reating a pleasingee%t. oreover* she $as singing a melodious song in praise o& sa%red mountain %alled A+ora. husthe presen%e o& the young $oman* the playing o& the musi%al instrument and the singing o& the praisesong all add to the +eauty and %harms o& this land.The hills are ali4e &ith the sound of musi$!ith the songs they ha4e sung Gs%ar Hammertein ##/

(b) !aled through a &ood at their ease.

#E*E#EN+E(i) oem- 3ay his City Has en illion 3oul

(ii) oet- Wyston Hughes Auden+ONTET(i) O$$urren$e- Lines


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$ords* they $ere en'oying the &reedom and li+erty in their lives. he immigrants per%eived that the%ause o& their happiness and &reedom $as the a+sen%e o& politi%ians among +irds. AlasJ politi%iansamong humans have divided man)ind into groups* ra%es* nations and %ountries.($) 0nd yet those 4oi$es &ould ill him;#E*E#EN+E(i) oem- 3na)e(ii) oet- David Her+ert La$ren%e

+ONTET(i) O$$urren$e- Lines no &eed o& oats?. #tmeans her love &or ihailovit%h has evaporated and the %loud o& vapours is raining on 3mirnov. husshe provesK*railty, thy name is &oman; William 3ha)espeare/(b) *ortunately, I ha4e B to use it2.#E*E#EN+E

(i) lay- he Boy Comes Home(ii) lay&right- Alan Ale5ander ilne+ONTET(i) O$$urren$e- Almost middle o& the play(ii) +ontent- Philip* a soldier* %omes +a%) a&ter the $ar to the house o& n%le ;ames. ;ames $ants to+ring him into his 'am +usiness. #n his nap he dreams that Philip does not agree $ith him. Ho$ever*$hen he $a)es up Philip a%%epts his proposal.E/0N0TION hese lines are spo)en +y a main %hara%ter o& the play* Un$le Cames. He utters these lines $henPhilip says to him that his anger is not so impressive as that o& his Brigadier. 3o he plans to use >the


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po$er o& purse? to impress Philip. He thin)s that money has a great po$er in this $orld. Philips &atherhas died. He has le&t a tidy sum o& money &or Philip. Ho$ever* Philip %annot get his money until he ist$enty-6ve. Be&ore that he %annot $ithdra$ his money $ithout n%le ;ames permission. n%le ;amesholds the purse-strings. 3o $hen n%le ;ames &ails to inuen%e Philip $ith his anger* he threatens himto use >the po$er o& the purse?.($) There ain"t no or the ala$e.2#E*E#EN+E

(i) lay- 3omething to al) A+out(ii) lay&right- Eden Phillpotts+ONTET(i) O$$urren$e- Almost middle o& the play(ii) +ontent- he Wol&* a +urglar* +rea)s into the house o& 3ydneys. Gne +y one* all the &amilymem+ers %ome into the room $here the Wol& is trying to ro+ their Christmas gi&ts. hey appre%iate him+ut do not $ant to lose their gi&ts. 3o they %unningly send him to their neigh+ours house.E/0N0TION hese lines are spo)en +y the %entral %hara%ter o& the play* the Wol&. He utters these lines to%ontradi%t Lady 1ed%hester $hen she uses the $ords >%riminal %lasses?. #n his opinion* people are not+ad or good +e%ause o& their origins. He says that there in no so%ietal group o& %riminals. hese are%ir%umstan%es that &or%e a person to +e%ome a ras%al or s%oundrel. amily +a%)ground plays no role init. A %riminal may +e a poor or an aristo%rat. 3imilarly there is no hiera%hy o& good people. hese are%ir%umstan%es that inuen%e a person to +e%ome ethi%al or virtuous. Class or %aste plays no role in it.A good person may +e the inha+itant o& a slum or a Pala%e.

Question No. D(a) !hat is the role of Ni$ 0dams in The @illers2(b) I &ould rather ha4e been lo4ed, not feared2 says Featri$e before dying in#a77a$$ini"s 9aughter2. Elaborate.($) 9es$ribe the Guarrel bet&een Ustad %angu and the =ora Soldier. (The Ne&+onstitution)(a) #ole of Ni$ 0dams

Gle Anderson* Al* a5* @eorge* 3am and (i%) Adams are the main %hara%ters o& the story* The@illers2. Ho$ever* the protagonist is (i%) Adams. He is a typi%al Heming$ay hero $ho islearning the $ode2. He is a teenage +oy* responsi+le %iti2en and pea%e-loving individual.irstly* he is a little dude o& a+out eighteen or nineteen $ho $or)s at Henrys Lun%h-1oom $ith @eorgeand 3am in 3ummit. His age +e%omes evident $hen Al and a5 mo%) his mas%ulinity +y %alling him

a bright boy2. oreover* $hen 3am says* /ittle boys al&ays no& &hat to do2* his teenagegets proved.3e%ondly* he is a responsi+le %iti2en. A&ter the departure o& Al and a5* he goes to Hirs%hs BoardingHouse. here he $arns Gle Anderson o& the impending danger to Gles li&e &rom Al and a5. He alsooers him his help +y saying* 9on"t you &ant me to go and see the 7oli$e2 hirdly* he is a pea%e-loving person. He re%ogni2es the horror o& evil and attempts to do somethinga+out it* +ut $hen he %annot* he de%ides to run a$ay &rom the area o& gangsters. hus $hen he %omes+a%) Henrys Lun%h-1oom* he says to @eorge* I"m going to get out of this to&n2.

(b) Featri$e"s !ish to be /o4ed

Poisonous $omen have long +een the em+odiment o& &ear. History and literature presents manye5amples o& it. Beatri%e is also a poisonous girt +ut she never $ants to +e%ome an o+'e%t o& &ear +ut o& love. 3he $ishes to +e loved +e%ause she is alone* her soul is pristine and her mind is depressed.

irstly* she is a lonely maiden. Her li&e is %on6ned to her house and garden. He sister7lant2 %annotre,uite her love. hus* to )eep her emotionally sound and psy%hologi%ally +alan%ed* she $ishes to loveo& so%iety.3e%ondly* her soul is pristine. Although her sinister &ather has impregnated her +ody $ith poison* hersoul remains pure. Her evil po$er is merely a super6%ial disguise. Hen%e she says* =io4anni,belie4e it, though my body be fed &ith 7oison, my s7irit is =od"s $reature, and needs lo4eas its daily food.2 hirdly* her heart and mind is grie&-stri%)en. All the three %hara%ters ma)e her li&e misera+le. Baglioni%auses hatred in the heart o& @iovanni &or Beatri%e. 1appa%%ini uses her as a guinea 7ig. @iovanni


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a%%uses her o& his +eing poisonous and even %alls her terrible2 #n this dilemma* she only needs love*love and love.

($) Quarrel Fet&een Ustad %anguand the =ora Soldier

#t $as the morning o& !st April* !4


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over the %ity and narrates the suerings and miseries o& the people to the statue. Gne +y one heplu%)s the gold leaves that %over the +ody o& the statue and distri+utes them among the indigent o&the %ity. #n the meantime* sno$ is &ollo$ed +y &rost. he 3$allo$ gro$s %older and %older. #n hismori+undity* he ies to the statues shoulder* )isses him on the lips and &alls do$n dead at his &eet.

($) E:e$t of #omanti$ /o4e

A%%ording to *reud* a love $hi%h has a +lo%)ed se5ual urge is %alled romanti% love. 0raby2 +y ;ames ;oy%e +eauti&ully depi%ts the ee%t o& romanti% love on the adoles%ent mind o& a small +oy $ho isin&atuated $ith the sister o& a play-mate. his is the +oys 6rst and unre,uited love $hi%h ma)es himan imaginative dude* parasiti%al &ollo$er and sentimental &ool.irstly* love ma)es the +oy highly imaginative. He is al$ays o+sessed in the s$eet thoughts o& hiss$eet-heart. He al$ays )eeps her $ith him in his imagination. At day in the %lass-room and at night inthe +ed-room* he envisages her +eauti&ul bro&n 6gure2 +et$een him and the page o& +oo) hestrives to read.3e%ondly* love %onverts him into a parasiti%al &ollo$er. He $ants to hang around his +eloved all thetime. Every morning* he lies on the oor o& his &ront room and an5iously $aits &or his +eloved to %omeour o& her house &or s%hool. As soon as she %omes at her doorstep* he ,ui%)ly ta)es his +oo)s and&ollo$s her to that point $here their $ays diverge. hirdly* love ma)es him a sentimental &ool. He promises his darling to pro%ure a souvenir &or her &rom

>Ara+y?. Being late* his aunt advised him to postpone his trip. His un%le gives him a little money.Ho$ever* love %ompels him to visit >Ara+y?. With a little money in the almost %losed +a2aar* he%on&ronts $ith e7i7hany and returns home empty handed.

QUESTION NO. J(a) o& does E.0. oe build an atmos7here of horror in TellTale eart2(b) The Ne$la$e2 is a satire on the 4anity of &omen. 9is$uss.($) o& does the story The 9u$hess and the Ce&eler2 reKe$t the moral de$aden$e of theEnglish aristo$ra$y

(a) orror in The TellTale eart2

A very strong &eeling o& &ear* sho%) or disgust is %alled horror. #n The Tell B Tale eart2 +y Edgar

Allen Poe* horror plays a tremendously vital role in the e5e%ution o& the tale. he reason o& the murder*the pro%edure o& )illing* the dismem+ering o& the %orpse and the relentless heart-+eat o& the dead manare the ma'or elements o& horror in the story.irstly* the motive o& the murder %reates horror. he narrator $ants to eliminate a harmlessand oen%eless old man simply +e%ause o& his physi%al de&ormity. Gne o& the eyes o& the old man isa+normal. he narrator la+els it a 4ulture eye2. he eye %hills him to the +a%)+one. he revulsione5%eeds to su%h an e5tent that he de%ides to )ill the old man* perhaps his master.3e%ondly* the pro%ess o& )illing generates horror. or seven nights* the narrator goes to )ill the oldman. he eye +eing %losed* he ta)es no a%tion. Ho$ever* on the eighth night* the old man $a)es at a%ertain noise. A&ter gloating over his vi%tims &ear an hour* the protagonist lets out a ray o& light atthe e4il eye2. he sight in&uriates him. He poun%es upon the old man and smothers him under +ed. hirdly* the %orpse o& the old man 6lls us $ith shuddering horror. We &eel near nausea $hen themer%iless )iller ha%)s the %orpse into pie%es to %on%eal it under the $ooden plan)s o& the oor. hehorror gets intensi6ed mani&old $hen the %ons%ien%e o& the )iller +egins to hear the relentlessthro++ing o& the dead mans heart getting louder and louder ea%h moment.

(b) Satire on Lanity of !omen

A literary $or) in $hi%h human vi%e or &olly is atta%)ed through irony* derision or $it is %alledsatire. The Ne$la$e2 +y @uy de aupassant is an e5%ellent satire on the vanity o& $omen. hroughthe %hara%ters o& atilda and orestier* the $riter has satiri2ed three aspe%ts o& $omens vanityKdis%ontent $ith li&e* e5%essive pride in physi%al +eauty and egoism to hide truth.irstly* $omens dissatis&a%tion $ith li&e has +een satiri2ed. anity is* in &a%t* the ,uality o& +eing vain


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and valueless. atilda is not satis6ed $ith her poor hus+and* hum+le house and other modest+elongings. he a+sen%e o& e5pensive stu in her li&e ma)es &er &eel $orthless and &utile. he $riter%ondemns this vain and pessimisti% attitude o& li&e.3e%ondly* $omens e5%essive pride in their physi%al +eauty has +e %riti%i2ed. atilda is very proud o&her physi%al +eauty. o +e%ome a beauty Gueen at a +all* she pro%ures a %ostly &ro%) and +arro$s adiamond ne%)la%e $hi%h are sym+ols o& her vanity. he $riter mani&ests that vanity has a &all. hene%)la%e is lost and atilda has to pay a heavy pri%e &or it.

hirdly* $omens egoism to hide the truth has +een ridi%uled. #t is the egoism o& orestier that shedoes not tell atilda that the ne%)la%e is &a)e. 3imilarly* atilda does not tell orestier that thene%)la%e has +een lost. hus +oth $omen have &ear o& +eing original and this attitude is intimately%onne%ted to vanity or 4ainglory.

($) %oral 9e$aden$e of the English 0risto$ra$y

he a%t or pro%ess o& &alling into an in&erior %ondition is %alled de%aden%e. he story The 9u$hessand the Ce&eller2 $ritten in !4


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+et$een a human and a +east. he male lover is an es%aped ren%h soldier $hile the &emale lover is apanther. heir en%ounter in a den o& desert gradually develops into a love aair +et$een the t$o. Gn the morning o& se%ond day o& his es%ape* the soldier dares to %aress the panther. Love +egetslove. he panther $ags her tail voluptuously. 3oon they +e%ome &riends. he soldier %alls her $ithloving names. Ho$ever* +eing apprehensive o& her &ero%ity* he on%e tries to ee +ut &alls in a,ui%)sand. he panther %omes to his res%ue. 3he sei2es him +y the %ollar and pulls him up. A&ter this in%ident* the love +et$een the t$o gro$s strong. he soldier says to the panther* !e"re

bound together for life and death.2 rom that time the desert seems inha+ited to him. Gn theother hand* the panther +e%omes 'ealous in love. Gn%e $hen the soldier sho$s interest in an eagle*she sho$s her 'ealously +y gro$ling and hopping a+out. Love ta)es a trial. he soldier again tries to desert the panther. 3he %lut%hes his leg in her 'a$s to)eep him +a%). He misunderstands that the panther is going to devour him. 3o he sta+s her $ith hisdigger. #n her mori+undity* she loo)s at the $ild soldier $ithout any anger or enmity. 3he dies thereand then +ut wins in the trial of love. ($) 9i:eren$e Fet&een /isby and er Sisters Lis+y Avery is the heroine o& the short story The /ittle !illo&2 +y ran%es o$ers. 3he has t$oelder sisters* Charlotte and Brenda. When $e have a %omparative study o& the %hara%ters o& the threesisters* $e 6nd that Lis+y is ,uite dierent &rom her si+lings. Her +eaut* love and morality do not%orrespond $ith that o& her sisters. irstly* Lis+y is not physi%ally attra%tive and glamorous +ut has a tremendous inner +eauty. Gn theother hand* hers sisters la%) spiritual +eauty +ut out$ardly they are ?$harmers". hey $ear dresses o&

+right eye-%at%hing %olours. Charlotte has a &a%e li)e La Belle Ferroniere and Brenda has the o$er-li)edeli%a%y o& Piero della Francesca. 3e%ondly* Lis+y +elieves in true love. 3he only loves 3imon Byrne and remains %onstant in her love.As &or her sisters* they are play&ul and irting girls. hey pretend to +e in love $ith all the eligi+le armyoN%ers $ho visit the Court House. heir love is sel6sh and +usiness li)e. #n short* they are the ty7esof the sedu$ti4e &oman in any age2. hirdly* Lis+y is a moral girl. Even the $ar has not pertur+ed her morality. 3he still li)es >thepi%ture? that +elongs to her &ore&athers. his sho$s her love and respe%t &or her an%estors. Ho$ever*her sisters are heartless* insensitive and immoral. he deaths o& their erst$hile lovers have no ee%ton them. hus they remind us one o& eats /a Felle 9ame Sans %er$i.2 QUESTION NO. 1(a) 9is$uss the 7lay The Fear2 as a far$e.(b) !hat is the $onKi$t bet&een Un$le Cames and his ne7he&, hili7

($) !hy has rimrose de$ided to marry an ugly man (a) The Fear2 0s a *ar$e

ar%e is a )ind o& lo$ %omedy that raises roars o& laughter rather than smile. The Fear2 +y AntonChe)hov is an outstanding ar%hetype o& this genre. he e5aggerative %hara%ters* ludi%rous situationsand impro+a+le plot are the ma'or &ar%i%al elements in the play that produ%e +elly laughs* slapsti%)humour and rum+ustious entertainment.irstly* the play has e5aggerative %hara%ters. hey are ala8ons. hey inate themselves to +e morethan they a%tually are. 3mirnov e5poses himsel& a misogynist. Ho$ever* the $ay he e5ploits attery to$in Popovas love ma)es us giggle. Popova %laims that she is in%onsola+ly +ereaved +ut her po$dered&a%e and passionate em+ra%e $ith 3mirnov give us a hearty %a%hinnation.3e%ondly* the play is pregnant $ith ludi%rous situations. Popovas re&usal to pay +a%) 3mirnov the loan*Popovas a%%epting 3mirnovs %hallenge to 6ght a duel $ith pistol and 3mirnovs tea%hing Popova ho$to 6re a pistol are the most ludi%rous and ridi%ulous situations in the play. hese situations +reed agreat hee-ha$ and gua$. hirdly* the plot o& the play is impro+a+le. #t is &ull o& suspense +ut the suspense* %uriously enough* istitillating* rather than grim. he t$ist at the end o& the plot is ,uite humorous. #n mas,uerades thee5pe%ted tragedy into %omedy. hus the end* o+viously ma)es the readers or the spe%tators laugh agreat deal. HaJ HaJ HaJ OOOOJ

(b) +onKi$t Fet&een hili7 and Un$le Cames


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he opposition +et$een t$o things is %alled %oni%t. #n The Foy +omes ome2 +y A.A. ilne* theelement o& %oni%t is very prominent. Almost all the 6ve %hara%ters are in %oni%t +ut the agon+et$een Philip and n%le ;ames is the soul o& the play. he ma'ot &a%tors $hi%h esta+lish %oni%t+et$een the t$o are pun%tuality* manners and Philips %areer. he 6rst %oni%t starts at +rea)&ast on the issue o& pun%tuality. Philip has 'ust repatriated &rom a nerve-shattering $ar. 3o he is in a mood o& holiday. He $a)es up late in the morning. He demands his+rea)&ast at != o%lo%). n%le ;ames does not approve his unpun%tuality. He has made a stri%t rule in

his house to have +rea)&ast at 8 o%lo%) sharp. he se%ond %oni%t ta)es pla%e in a dream on the matter o& de%orums. While $aiting &or Philip in themorning room* n%le ;ames naps in &ront o& the 6re. He dreams that Philip has a %igar in his hand. Helights it and starts puNng in &ront o& his un%le $ithout any permission. n%le ;ames does not li)e it atall. he third %oni%t is seen in the dream on the %on%ern o& Philips employment. Philip $ants to +e anar%hite%t $hile his un%le tries to push him into his 'am +usiness. A sho$do$n starts +et$een the t$o. ;ames e5ploits the po$er o& money and Philip uses the po$er o& revolver. Philip $ins. Ho$ever* $hen ;ames $a)es up* Philip is ready to 'oin the 'am +usiness.

($) rimrose"s 9e$ision to %arry an Ugly %an

he ugly hus+and is a se%ret to su%%ess&ul marriage. he Beauty and the Beast ma)e the most positiveand supportive %ouple. Primrose* the heroine o& the play SmoeS$reens2 +y Herold Brighouse* has

reali2ed it. 3he is a +eauti&ul young girl o& t$enty. 3he has de%ided to marry an ugly man* ;ohn*+e%ause he is a very loving* solvent and se%ure man.irstly* she has de%ided to marry the ugly man +e%ause he is a very amorous and loving person atheart. He ma)es her &eel all &unny inside. He hits her $here she matters. His love has made her +lindto his physi%al ugliness. And love +et$een a man and a $oman is an insanity that is only %ured +ymarriage.3e%ondly* she has proposed to marry the unattra%tive man +e%ause he is $ell-esta+lished 6nan%ially.He is an international player o& a very earning game* the rug+y &oot+all. oreover* he is one o& themost su%%ess&ul advertising agents in London. hus she $ill have no 6nan%ial pro+lems a&ter marriage.3he $ill roll in money. hirdly* she $ants to marry the hideous man +e%ause he is very se%ure. 3in%e he is ugly* he is not alady-)iller. 3he $ill have not $orries regarding his running a&ter other $omen or other $omen runninga&ter him. #n other $ords* he $ill remain a monogamous husband. He $ill not desert her the $ay her%harming &ather has deserted her mother.

QUESTION NO. 11(a) In the light of /iaGuat 0li @han"s s7ee$h, e37lain the $ir$umstan$es &hi$h led to the$reation of aistan.(b) !hat is the signi6$an$e of the $on$lusion that the &hole fabri$ of $i4ili8ation &asmodeled and moulded2($) !histling of Firds2 sho&s its &riter"s lo4e for nature. Elaborate.(a) +ir$umstan$es for the +reation of aistan #rre%on%ila+le dieren%es eventually lead to inevita+le separation. #n his spee%h > aistan andthe %odern !orld2 delivered at ansas niversity Ameri%a in !4F=* Quaid-e-illat* Lia,uat Ali han+rought to light the %ir%umstan%es $hi%h led to the %reation o& Pa)istan. hese %ir%umstan%es $ere* in&a%t* the deep-rooted dieren%es +et$een the uslims and the Hindus. he uslims and the Hindus$ere poles apart demographi%ally* religiously* so%ially and e%onomi%ally. hus Hindu-uslim unity andamity $ere impossi+le in the su+-%ontinent.Demographi%ally* the uslims $ere a minority as %ompared $ith the Hindus. 1eligiously* the uslims

$ere monotheists $hile the Hindus $ere polytheists. 3o%ially* the uslims +elieved in the e,uality o&all men $hereas the Hindus adhered to a %aste system. E%onomi%ally* the uslims advo%ated privateo$nership and the Hindus atta%hed $eight to the %on%entration o& $ealth. hus the uslims and theHindus $ere dierent in everything and must need dierent territories. heir %o-e5isten%e $asin%ongruous. oreover* the su+-%ontinent $as vast enough &or t$o large %ountries. he demand o& the uslims &or divor%e $as very genuine and reasona+le as it $as in the interest o&+oth the uslims and the Hindus. #t $as also in the interest o& the $orld pea%e. he +ogus pea%een&or%ed +y the British $ould have ended a&ter the departure o& the British &rom the su+-%ontinent. #nshort* a separate homeland $as inevita+le &or the uslims to live pea%e&ully and a%%ording to theiro$n politi%al* religious* so%ial and e%onomi%al li&e style.


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There is no 7la$e lie home0ll must ha4e a home of their o&n ;.H. Payne/(b) Signi6$an$e of the +on$lusion

Con%lusion is* in &a%t* a logi%al end o& something. As &ar as the %on%lusion o& the essay TheE$li7se2 +y irginia Wool& is %on%erned* it is very signi6%ant. he phrase the &hole fabri$ of

$i4ili8ation &as modelled and moulded2 sho$s the importan%e o& the sun in the system o&universe* strengthens our +elie& in Allah Almighty and dis%loses the $orth o& those things $hi%h are&ound a&ter their loss.irstly* the %on%lusion signi6es the importan%e o& the sun &or the $orld. A&ter the e%lipse* the light isrestored in the sun. his light trans&orms the entire stru%ture o& human %ivili2ation into its originalshape and splendor. Gn%e again* the $orld +e%omes +right* %olour&ul and popolous. he &armhouses*the villages and rail$ay lines +e%ome the %entre o& a%tivity. hus the sun is the esh and +lood o& this$orld.3e%ondly* the %on%lusion strengthens our trust in Allah Almighty. An e%lipse is a natural phenomenon.#t $arns that mans pla%e on this earth is very pre%arious. All the advan%ements in )no$ledge ands%ien%e %annot over%ome this helplessness o& man. Ho$ever* the return o& light in the sun gives us amessage o& hope and su+stantiates our &aith in Allah Almighty Who is %ontrolling all the pro%esses o&the universe. hirdly* the %on%lusion implies that losing something ma)es us reali2e the importan%e o& that thing.

he sun is lost &or t$enty-&our se%onds during this e%lipse. Ho$ever* $hen it is revived $e reali2e thatnothing is more important to us than the sun.

The thing that is found after its loss is $alled hea4en.Wasi& Ali Wasi&/

($) !riter"s /o4e for Nature D.H. La$ren%e is a platoni% lover o& nature so he loves nature &rom +oth sides o& the %oin. Hisessay !histling of Firds2 sho$s his a+sor+ing love &or nature. His &aith&ul des%ription o& o+'e%ts o&nature* +eauti&ul presentation o& phenomena o& nature and a%)no$ledgement o& natures mer%ilesspotential* are eviden%e o& his love &or nature.irstly* his &aith&ul des%ription o& o+'e%ts o& nature sho$s his strong aNnity $ith nature. he presen%eo& lam+s* turtles and doves et%* in this essay* sym+oli2es his love &or animals $hereas daphne* %ro%usand %elandine denote his love &or plants. Both animals and plants are the living o+'e%ts o& nature andthe $riter is a lover o& them.3e%ondly* his +eauti&ul presentation o& the spe%ta%ular phenomena o& nature demonstrates his love &ornature. He des%ri+es &rost* $ind* sunset and t$ilight as a lover des%ri+es the &eatures o& his +eloved.He has presented these divine a%ts to portray t$o other great natural phenomenaK $inter and spring.Ho$ever* the $riters love &or nature is the greatest natural phenomena. hirdly* the $riters love &or nature has re%ogni2ed natures mer%iless potential. hat is $hy he hasgiven the dismal details o& la%erated %adavers o& lap$ings* starlings* thrushes* red-$ings andnumerous other %reatures. #n short* the $riter is an a4id lo4er of nature"s duality.No s7ring nor summer beauty hath su$h gra$e0s I ha4e seen in one autumnal fa$e;ohn Donne/

QUESTION NO. 15(a) 9es$ribe =loria Emerson"s e37erien$e of 7ara$hute um7ing.(b) =i4e an a$$ount of the disaster o$$urred on 0ugust M, 1M>A at Nagasai, as gi4en by

I$himaru.($) !hy does 'eats in$lude a $om7arison of his grandmother &ith his grandfather

(a) E37erien$e of ara$hute Cum7ing he a%t o& e5iting an air%ra&t and returning to earth $ith the aid o& a para%hute is %alled para%hute 'umping. #n her essay Tae the lunge2* @loria Emerson has +eauti&ully des%ri+ed her personale5perien%e o& para%hute 'umping. 3he has given a %andid detail o& all the ma'or stages o& para%hute 'umpingK diving* des%ending and landing. A&ter %ompleting her training* she $ore her 'ump suit* +oats and para%hute. hen she+oarded +essna 1JP along $ith a %ompanion. 1ea%hing an altitude o& t$enty three hundred &eet*


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her %ompanion made a smooth 'ump. hen it $as her turn. 3he +e%ame nervous. Ho$ever* on +eingharshly ordered +y her instru%tor* she dived in harassment. he para%hute $as deployed immediately. #n a moment* her &ear $as gone. 3he sa$ the endlesss)y and the +eauti&ul earth in $onder&ul %olours and te5tures. Even the $ind &elt )ind* and the treesloo)ed so&t. he para%hute +e%ame the most lova+le and do%ile toy. 3he $as so tingled $ithe5%itement that she $anted to stay in the air &orever. Ho$ever* the landing $as inevita+le. 3he sa&ely landed on her &eet in a sandpit $ith a +ump. At

last* the most +eauti&ul and thrilling e5perien%e o& her li&e %ame to an end. 3he $as praised +y manypeople &or her %ourage and determination. rom this e5perien%e she also %ame to )no$Only sydi4ers no& &hy the birds sing.2Anonymous/ (b) 9isaster O$$urred at Nagasai he study o& the essay Nagasai, 0ugust M, 1M>AP +y i%haito #%himaru gives us a detailednarration o& the destru%tion %aused +y the atom +om+ in (agasa)i* the %ity o& ;apan* on August 4*!4"F. he atom +om+ $as dropped +y Allied &or%es. he pi%ture o& the ruin %omes alive +e&ore oureyes through the impressive narration o& the $riter. he $riter narrates that it $as a sunny day. All o& a sudden* at !! am a +-94 appeared and droppedan atom +om+. he +la%) rain started to &all. he +lue s)y turned to +la%). he air dose o& radiation$as more than 7== raids. he people $ho $ere %oming +a%) &rom hypo-%enter $ere in misera+le%ondition. Their $lothes &ere in rags and shreds of sin hung from their bodies2. housands o& people $ere seriously in'ured. he noise o& their %ries $as un+eara+le. hey loo)ed

li)e ghosts. hey too died a&ter a &e$ day. he dead +odies $ere large in num+er that it $as a +igpro+lem to dispose them o. 3o they $ere piled up and +urnt $ith the help o& $oods. Every$herethere $as death and destru%tion. o sum up* it $as an a$&ul* horri+le and terri+le tragedy $hi%h +e&ell the people o& (agasa)i on thatday.($) +om7arison Fet&een =randmotherand =randfather he essay %y =randfather2 +y W.B. 0eats +asi%ally presents the memories o& $riters %hildhood*espe%ially related to maternal. Ho$ever* greater part o& the essay reveals a %hara%ter analysis o& 0eatsgrand&ather and grandmother. he $riter says that his grand&ather* !illiam olle3 *en* $as a man o& his o$n nature. hough he$as never harsh or un)ind to him* yet it $as a pra%ti%e to &ear and praise him. Physi%ally he $as verystrong +esides having a hard temper. He %ould even handle the +urglars himsel& instead o& going to thela$. Being the only son o& his parents* he had very &e$ &riends. his sho$s his nature o& remaining

alone* though he has a%,uaintan%e $ith some &amous people. All his %hildren $ere a&raid o& their proud&ather. As &ar as 0eats grandmother is %on%erned* she $as totally dierent sort o& %hara%ter. 3he $as )ind-hearted* %onsiderate and help&ul +y nature. hough she on%e punished him +e%ause he $as playing$ith a servant* yet he al$ays loved to +e in her %ompany. oreover* she had a &antasti% aestheti%nature and admirer o& art. Her room $as +eauti&ully de%orated $ith dierent paintings. 3he al$aystoo) )een interest in loo)ing a&ter her garden. #n short* she had a personality o& her o$n andevery+ody loved and admired her. hese $ere the $riters vie$s a+out his grand&ather and grandmother. 0eats has in%luded a%omparison o& their %hara%ters to magni&y the salient &eatures o& ea%h %hara%ters. his %omparison alsosho$s the dieren%e +et$een man and $oman* parti%ularly old ones.QUESTION NO. 1<(a) !hy does /ea$o$ regard the tailor as immortal2(b) oint out the e3am7les of irony and humour in u3ley"s essay The Feauty Industry2.($) 9o$toring is not e4en the art of ee7ing 7eo7le in health2. o& far do you agree &ith

Sha&(a) %y Tailor B 0n Immortal +hara$ter

When the $riter %ame to )no$ o& his tailors sudden death he $as sho%)ed. He thought that he shoulden'oy li&e &or ever. He $as li)e something 65ed and permanent surrounded +y the tailoring shop. Hehad +een dealing near him &or the last thirty years. Ho$ever* during this long asso%iation* he did notanaly2e any %hange in his %hara%ter and nature. Hen%e he %onsidered him an immortal 6gure.

He had al$ays &ound him at indistinguisha+le pla%e and in the same posture. He al$ays stood%ontained +y the +a%) part o& his shop $ith a measure tape around his ne%). He al$ays $el%ome the


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$riter $ith a smiling &a%e. He spread the suit material on his li&t )nee to sho$ it to the $riter. Hemeasured only his %hest and attered him saying that it +e a little &uller than +e&ore. hen he $ouldas) the $riter i& he needed anything in shirting and hosiery. #n the appendage he tal)ed a+out$eather. he date o& delivery +e al$ays a $ea) &rom uesday. he +uilding and the payment +e al$aysdone +y %orresponden%e. he $riter had never seen any shi&t in the +ehavior o& his tailor. His posture* his spee%h and hismovements remained un%hanged &or su%h a long time. 3o* the $riter e5pe%ted that his tailor $ould

al$ays +e near+y standing and greeting his %ustomers. or the $riter* he is a stati% 6gure* a type o&personality that is not +ound to %hange. hat is $hy he %alls him an immortal 6gure2. (b) Irony and umor inThe Feauty Industry2 Gverall resear%h indi%ates that 4=R o& $omen are dissatis6ed $ith their appearan%e. #n hisessay The Feauty Industry2 Aldous Hu5ley des%ri+es the $omen o& modern $orld $ho indulgethemselves in the ha+it o& using e5%ess o& %osmeti%s +y using a litera%y devi%e* $omi$ irony. #n orderto ma)e his point o& vie$ &or%e&ul and impressive* he has mi5ed humour $ith irony. By humour $e mean presenting something in the most ridi%ulous manner* $hereas irony is used tosay something and suggest something else. he $riter has employed these t$o literary terms ,uiteartisti%ally to %riti%i2e the modern $omen* $ho use %osmeti%s 'ust to loo) attra%tive. he $riter humorously atta%hes the privilege o& +eing attra%tive and +eauti&ul to the &eminineside and gives the 6gure o& !0re 9o$tors %en of S$ien$e2. his remar) is ,uite 'usti6ed and #too agree $ith him. hrough this remar) he is trying to tell us that the duty o& a do%tor is only to %ureillness and not to )eep people healthy. A do%tor is al$ays %onsulted $hen a person is only suering&rom some )ind o& ailment. #n that %ase the do%tor only diagnoses the ailment and pres%ri+es thesuita+le medi%ine &or its remedy. his means he is not trying to )eep his patient healthy +ut only %uringthe parti%ular disease.

o )eep onesel& healthy demands more than 'ust medi%ine i.e.* proper diet* proper e5er%ise andproper 6tness. #& a person has all these things* then he remains healthy. Hen%e* )eeping onesel&healthy and %uring a disease* are poles apart. hese are t$o dierent 6elds. Do%tors only deal $ith one6eld and ignore the other. Hen%e* 3ha$s remar) 9o$toring is not e4en the art of ee7ing7eo7le in health2 is ,uite right and 'usti6ed.QUESTION NO. 1>(a) o& does %a3 Feerbohm di:erentiate bet&een osts and =uests(b) !hat are the real 7roblems fa$ed by a ba$helor($) It is 4ery easy to see fanati$ism in other 7eo7le, but di$ult to s7ot in oneself2. Is itreally so

(a) 9i:eren$e Fet&een osts and =uests Gering or a%%epting hospitality is a ,uality &ound in every human +eing. Gn the +asis o& it* a5Beer+ohm in his essay osts and =uests2 has divided the $hole man)ind into t$o distin%t %lassesKhosts and guests li)e @elett Burgess has divided it into Fromides and Sul7hites. Although this

%lassi6%ation is only on the theorati%al level* he has %learly dra$n the general* temperamental and%ir%umstantial dieren%es +et$een these t$o %lasses.irstly* the $riter tells the general dieren%e +et$een these t$o %lasses. A person gets the la+el o& ahost i& he invites someone to dine $ith him at a restaurant* orders the meal and +ears the e5penses.Gn the other hand a person gets the la+el o& a guest i& he a%%epts the invitation $ith delight* praisesthe &ood $hile eating* does not pay the +ill and &eels a pleasant sensation o& not paying &or it.3e%ondly* the $riter gives the temperamental dissimilarity +et$een these t$o groups. Every human+eing is either a host or a guest +y instin%t. He is a +orn-host or a +orn-guest. His instin%t dominateshis personality. A person is a host i& he possesses an a%tive or positive instin%t to oer hospitality. Gnthe other hand a person is a guest i& he has a passive or negative instin%t to a%%ept the hopitality.


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hirdly* there are %ir%umstantial dieren%es +et$een hosts and guests. Cir%umstan%es rea%t on the%hara%ter. Conventionally* the ri%h give and the poor re%eive. 1i%hes o&ten nurture the instin%ts o& ahost and poverty usually &osters the instin%ts o& a guest. he ri%h and the poor is an undisputeddivision* ho$ever* the ri%h as hosts and the poor as guests is a poor one. 3ome poor persons also loveto entertain others.

(b) roblems *a$ed Fy a Fa$helor

he essay >Fa$helor"s 9ilemma2 +y Her+ert @old highlights the pro+lems &a%ed +y a +a%helor in this$orld* espe%ially in 0meri$an so$iety. he $riter says a +a%helor is a person $ho does not )no$$here he stands in this %ivili2ed so%iety. He has no +elie&* no notions* and no aims in li&e. His li&e ismu%h disorgani2ed. He al$ays 6nds himsel& on the verge o& some dilemma. He al$ays &eels himsel&alone in this $orld. Pro+a+ly* he 6nds himsel& mis6t in this environement +ut having no alternative$here to go. He is o&ten &ound in parties $andering alone.When a +a%helor loo)s into a mirror* he has an altogether dierent idea a+out himsel&. he mirror giveshim the ree%tion o& a healthy young man $ith a lot o& time* %han%e* and moneyK $ho %an eat* drin)*and roam at $ill. He &eels himsel& &ree $ithout a $i&e or %hildren to loo) a&ter. But same mirrorsometimes gives him some displeasing aspe%ts as $ell. He &eels himsel& alone and un$anted +yso%iety. here are t&o maor ty7es o& +a%helors. here is one $ho is handsome* %harming and al$ays insear%h o& ne$ girls and even getting them. he other is a +it medio%re* al$ays %onsidering himsel& a

hero in dreams. He has intima%y $ith pretty girls only in imagination* +ut a &ailure in real li&e. Heal$ays tosses in +ed +ut sometimes &ortunate enough to get a mee)er li)e him as a partner. But thepro+lem $ith +oth o& them is that they are not satis6ed $ith themselves. hey al$ays need true love+ut seldom get and al$ays get $hat they do not $ant.#n short* these are some %ommon pro+lems &a%ed +y an Ameri%an +a%helor as e5pressed in this essay.

($) *inding *anati$ism in Other eo7le anati%ism means e5%essive intoleran%e o& opposing vie$s. #t is an unne%essay and unreasona+leenthusiasm &or ones do%trine or stand-point. #n his essay Toleran$e2* E.. orster says* It is 4eryeasy to see fanati$ism in other 7eo7le, but di$ult to s7ot in oneself2. #& $e deeply loo) intothe matter* $e 6nd out that it is really so. #t is +e%ause people la%) toleran%e. hey are egoists* sel&-%on6rming and 6nd&aulters.irstly* it is easy to see &anati%ism in others and diN%ult to spot in onesel& +e%ause people la%)toleran%e. oleran%e is a dull virtue so it is almost missing in all spheres o& li&e M in the ,ueue* in thestreet* in the rail$ay station* in the oN%e* at the &a%tory* at the telephone and a+ove all among%lasses* ra%es and nations. A+sense o& toleran%e and %ompromise ma)es people narro$-minded and&anati%.3e%ondly* people are ego%entri%. hey %onsider toleran%e a $ea)ness or surrender. hese people areresponsi+le &or the %olour ,uestions and ra%ial pre'udi%es. hey produ%e hatred among people anddistur+ the pea%e o& so%iety. hey do not understand that putting up $ith people does not meanyielding to them. #t only means to +e +road-minded* li+ral* %alm and patient. hirdly* people are sel&-%on6rmig and 6nd&aulters. hey %onsider their thin)ing* +elie&s and %reeds%orre%t* truth&ul and the highest o& all. hey do not respe%t the ideas o& others. or e5ample* theEnglishmen ususlly a%%use the (a2is o& +eing intolerant to the ;e$s. But are they not e,ually guilty o&+eing pre'udi%ial to the Bla%)S hus the $riter rightly says* >#t is very easy to see &anati%ism in otherpeople* +ut diN%ult to spot in onesel&?.QUESTION NO. 1A(a) If bad manners are infe$tious, so also are good manners2. Elaborate.

(b) o& does Fertrand #ussel 7ro4e that all fanati$al $reeds2 are harmful to manind($) o& do 4arious 4itamins ee7 human body 6t(a) %anners are Infe$tious #n&e%tious means lia+le to +e transmitted to people. #n his essay On Saying lease2 Alpha o& thePlough has very aptly%ommented on good and +ad manners as in&e%tious. #& the +ad manners o& oneperson inuen%e others and ma)e them rude and ill-temperedK the good manners o& one person alsoae%t others and ma)e them polite and )ind. he $riter has propagated his vie$ point $ith t$oe5amples. he 6rst e5ample is o& +ad manners. A &ello$ did not say >please? to a li&t-operator and $as thro$no& the li&t +y him. ay +e that &ello$ has had a ,uarrel $ith his $i&e on +rea)&ast ta+le. he $i&e might


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have +een annoyed +y the %oo) $ho might have +een irritated on the +ehaviour o& the house-maid. hus due to one persons dis%ourtesy* a %hain a%tion started and so many people $ere in&e%ted $ith it. he se%ond e5ample is o& good manners. A +us %ondu%tor on London routes $as very ni%e andhelp&ul to his passengers. He treated the +lind* the old and the young ones %are&ully and lovingly. Heeven gave the $riter a ti%)et $hen the $riter +oarded his +us $ithout any money in his po%)ets. His%ivility radiated %om&ort* 'oy and pea%e. As a result his passengers %ould not help +eing ni%e and polite. #n short* the $riter has rightly said that manners are in&e%tiousK $hether they are +ad or good. Li)e

in&e%tions they travel &rom person to person leaving their +itter or s$eet taste in the environment. hey ,ui%)ly spread &rom one person to another li)e a %ontagious disease. As $e live in a so%iety sothe $ays and manners o& people are +ound to ae%t others.(b) armfulness of *anati$al +reeds Bertrand 1ussell in his essay S$ien$e and Lalues2 says that all &anati%al %reeds are harm&ul toman)ind. he desire &or a &anati%al %reed is one o& the greatest evils in human history. he e5amples o& &anati%al %reeds are >All Catholi%s $ill go to Hell? as said +y the Protestants and >All Protestants $ill goto Hell? as asserted +y the Catholi%sK >All uslims are in6dels? as said +y the Christians and >AllChristians are in6dels? as alleged +y the uslimsK >All ;e$s +elong to the $orst ra%e on earth? as%laimed +y the @erman (a2is $hile >All ;e$s are the salt o& the earth as pro&essed +y the ;e$s. 3u%h &anati%al %reeds have %aused nothing +ut +loodshed and massa%re. his has happened in its$orst shape in the late 1oman Empire $hose %lima5 turned into a permanent do$n&all in "7: AD. (e5tthe same ugly situation arose in the 1enaissan%e o& the !:th %entury. he &anati%al %reeds o& Plotinustoo) their origin in Platos utopia o& eternal $orld. he $orshipers o& ithra &ounded their &anati%al%reeds in a solar paradise. he early Christians even started perse%uting ea%h other &or minor

deviations o& their &anati%al %reeds. he supporters o& rots)y &ounded their &anati%al %reeds in the1ussian Bolshevi) 1evolution o& !4!7 &or the &or%i+le en&or%ement o& %ommunism. All these totallydierent &anati%al %reeds o& Christians Catholi%ism and 1ussian Communism have +een %laimingheavenly salvation at the %ost o& earthly salvation. Ho$ever* s%ien%e on the other hand aims at the spread o& earthly salvation on the %ondition o& all)inds o& toleran%e &or ea%h other.($) Im7ortan$e of Litamins for uman Fody A vitamin is an organi% %ompound re,uired +y an organism as a vital nutrient in limited amounts. here are thirteen vitamins that a human +ody needs &or health and 6tness. hese in%lude &our &at-solu+le vitaminsK A*D*E and * and nine $ater solu+le vitaminsK 8 B vitamins and vitamin C. #n hisessay The Litamins2* Dr. enneth Wal)er has +eauti&ully des%ri+ed the role o& various vitamins &orhuman +ody. Ea%h vitamin has spe%i6% 'o+s. itamins A plays a really +ig part in +ody gro$th* immune systemand eye-sight. itamin D is ne%essay &or strong +ones and E is indispensa+le &or &ertility. itamin is

the %lot-master. B vitamins help human +ody to synthesi2e proteins and energy. itamin C helps toheal %uts and $ounds. hus vitamins play a signi6%ant role in )eeping the human +ody healthy and 6t. De6%ien%y and e5%ess o& vitamins also ae%t human health. he dearth o& vitamin A may lead to a%urious %ondition o& the eye %alled 5erophthalmia. he la%) o& vitamin D %an %ause ri%)ets. Gne o&ma'or %auses o& human in&ertility is the la%) o& vitamin E. Beri-+eri and pellagra are %aused +y thes%ar%ity o& B vitamins. 3imilary high dose o& some vitamins may ma)e human +ody si%). #n short* &or the 6tness o& human +ody an ade,uate ,uantity o& vitamin is inevita+le. #& the vitaminsare missing &rom human diet* then the supply o& mere %ar+ohydrates* proteins* &ats and minerals &ail to)eep us in proper state o& health. he $riter also pros%ri+es us to ta)e vitamins in the &orm o& ta+lets.We must get them &rom &resh vegeta+les* &ruits* %ereals and meat to )eep our +ody ro+ust.

QUESTION NO. 1D(a) !hat is 7ersoni6$ation E37lain 7ersoni6$ation in /eisure2.(b) !hat in your o7inion is the most fan$iful image in Tartary2($) !hat are the ne& year resolutions of Eli8abeth Se&ell

(a) ersoni6$ation in /eisure2 Personi6%ation is a literary devi%e. #t is an ontologi%al metaphor in $hi%h an inanimate o+'e%t ora+stra%tion is represented as a living person. #n his poem /eisure2* William Davies haspersoni6ed Feauty. He has given it the ,ualities o& a young girl $ho has dan%ing &eet* sensory eyesand smiling lips. irstly* adam Beauty has &eet. hese are the terminal stru%tures o& her +ody $hi%h have +ones*mus%les and 'oints. With these anatomi%al stru%tures* she is leaping* 'umping* s)ipping* hopping and 'iving. n&ortunately* modern man has no time to en'oy the +allet o& this +allerina.3e%ondly* Beauty is +lessed $ith eyes. hese are the opti%al organs o& her 6gure $hi%h have attra%tion


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and per%eption. With these sensual organs* she not only dete%ts light +ut also smile &rom her milieu.#roni%ally* modern man has gro$n +lind to his surroundings. hirdly* Beauty possesses lips. hese are the e5pressive organs o& her physi,ue $hi%h gain smile &romthe eyes. Although the smile ta)es no time to rea%h the lips yet modern man is so +usy in his $orldlypursuits that he %annot $ait &or the arrival o& smile on the +eauti&ul &a%e o& Beauty. (b) The %ost *an$iful Image

#n Literature* a $ord or e5pression that re&ers to an o+'e%t or ,uality $hi%h appeals to one or moreo& the senses and the &eelings is %alled image. #n his poem* Tartary2, Walter De La are hasemployed at least t$enty %on%rete images. #n &a%t* the $hole poem is a su%%ession o& visual* auditory*ol&a%tory* gustatory* ta%tile and )ineti% images. 3o it is diN%ult to say $hi%h o& the images is more&an%i&ul than the others. Ho$ever* i& $e are &or%ed to sele%t the most &an%i&ul i.e.* unreal and $onder&ul image* then it is the)ineti% image made in the last &our lines o& the third stan2a o& the poem. Here the poet says0nd ere should &ane the morningstar,I"d don my robe and s$imitar,0nd 8ebras se4en should dra& my $arThrough Tartary"s dar glades.2 his is the most &an%i&ul image +e%ause it is totally dierent &rom reality and is very $onder&ul. heother images M the +ed o& ivory* the throne o& gold* pea%o%)s in the %ourt* tigers in the &orests*6sh in the pools* %olour&ul lamps* musi%al instruments and o+'e%ts o& (ature M are delight&ul images+ut they represent real s%enes. Ho$ever*the image o& gorgeously attired potentate o& artary* riding a

%hariot driven +y seven 2e+ras is pure &an%y. ($) #esolutions of the oetess Ever sin%e the Ba+ylonian Age* people have +een ma)ing ne$ year resolutions to improve their li&estyle. #n her poem* Ne& 'ear #esolutions2* Eli2a+eth 3e$ell has mapped out three revolutionaryresolutions +e&ore the da$n o& the ne$ year. 3he resolves to remain most o& the time silent* thin)a+out $hat she is and &a%e the realities $ith %ontention. irstly* she resolves that she $ill not tal)* murmur or $hisper mu%h in her &uture. #nstead o& drin)ing$ine* she $ill drain long draughts of Guiet2 as a medi%al toni% to puri&y her soul. 3he thin)s that,uietude $ill %ure her spiritual and moral diseases li)e lie* +a%)+iting and slander et%. 3e%ondly* she pledges that she $ill engage hersel& in introspe%tion t$o times everyday. 3he $ill tryto dis%over the reality a+out her inner personality. 3he $ill remind hersel& o& her responsi+ilities andlia+ilities. 3he thin)s that sel&-identity $ill +e a s%hool o& pro&undity* morality and $isdom &or her.

hirdly* she de%ides to gra++le $ith the realities o& li&e. (o dou+t* reality has >+ony arms?. But she isnot an es%apist li)e Walter De La are and aya Angelou. 3he is a realist and +elieves in the&a%t* Truth is Feauty2. 3he hopes that reality $ill give her sel&-satis&a%tion* +lessed relie& andspiritual e5ultation.

QUESTION NO. 1H

(a) !rite a $hara$terset$h of the &oman as de7i$ted in !oman !or2.(b) 9is$uss the 7oem atriot into Traitor2 as a dramati$ monologue.($) 9o you agree &ith Eli8abeth Fisho7 that the art of losing is not hard to master(a) +hara$ter of !oman #n Literature* a mental image o& a person is %alled %hara%ter and a %hara%ter $ho represents a%lass or group is %alled type. #n her poem* !oman !or2* aya Angelou has delineated a type o& atraditional house $oman $ho represents the hard$or)ing $omen o& proletariat. 3he is a poor and

responsi+le $oman $ho loves nature very mu%h. irstly* she is a poor lady. 3he has no spare money to get the %lothes mended +y a tailor. 3he%annot aord a maid to do her domesti% %hores. 3he %annot )eep a gardener to loo) a&ter her garden.3he lives in a ramsha%)le hut. 3he is una+le to get the e5pensive pleasures o& li&e. #n &a%t* these arethe o+vious signs o& her poverty. 3e%ondly* she is a responsi+le matron. Her sense o& responsi+ility has made her a duti&ul*hard$or)ing and patient +eing. 3he does at least t$elve $or)s &rom da$n to dus) +ut has no%omplains. 3he loo)s a&ter the %hildren. 3he +uys* %oo)s and serves the &ood. 3he not only managesher house +ut also maintains her garden. #n short* she is a +usy ma%hine.


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hirdly* she is a lover o& nature. #nstead o& en'oying the %ompany o& her %hildren* she $ants to en'oythe %ompany o& nature. 3he $ishes to en'oy sunshine* rain* de$drops* storms and sno$-a)es.Addressing the o+'e%ts and phenomena o& nature she says* 'ou"re all that I $an $all my o&n2. 3hehas ideali2ed nature +e%ause ideali2ation is ne%essary &or survival.

(b) 0 9ramati$ %onologue Dramati% monologue re&ers to a type o& poetry and 1o+ert Bro$ning is master in it. #t is a mono

drama in 4erse2. Li)e many other dramati% monologues o& Bro$ning atriot into Traitor2 is also a6ne e5ample o& this genre +e%ause it has a single spea)er* a silent audien%e and dramati% situation. irstly* the poem has a solitary spea)er $ho is patently not the poet. He is an erst$hile $orship&ulleader $ho is re%eiving unearned punishment. #n this %riti%al situation* he is &reely giving vent to his&eelings to reveal the inner $or)ing o& his mind. He is* in &a%t* a soul in a$tion2. 3e%ondly* the poem has a silent audien%e. here is no dialogue +et$een the spea)er and theaudien%e. his audien%e %onsists o& people $ho adore or a+hor someone une5pe%tedly. his impliedpresen%e o& an auditor distinguishes this dramati% monologue &rom a solilo,uy in $hi%h the spea)er isalone.

hirdly* the poem presents a tragi% dramati% situation. #t invo)es in us &eelings o& pity* &ear and relie&%alled %atharsis. he leaders do$n&all e5%ites &eelings o& pity in us. We &ear +e%ause $e re%ogni2esimilar possi+ilities in us. Ho$ever* the leaders +elie&* ?Tis =od shall re7ay- I am safer so2 givesus relie&.

($) The 0rt of /osing One 0rt2 is a +eauti&ul villanelle in $hi%h Eli2a+eth Bishop %laims* The art is losing isn"t hardto master2. Ho$ever* $e do not agree $ith her +e%ause material things are never lost* real losses areeternal and the poetess hersel& &ails to master this so-%alled art. irstly* material things are never lost +ut mispla%ed. Door )eys* $at%hes and houses et% are not lost+e%ause they retain their e5isten%e. hey have %han%es o& retrieval. We may run into them any time. #&they mislaid permanently* $e %an get their su+stitutes. hus tangi+le things are never lost. 3e%ondly* the real losses are the losses o& those things that lose their e5isten%e. he death o& ourdear ones is an e5ample o& these losses. ime %an assuage the pain o& loss +ut %an never return us alost mother* &ather or &riend. Hen%e it is impossi+le to master the art o& losing. hirdly* the poetess hersel& &ails to master this art. he rhythm o& the poem is %ho)ed up. here aremany glottal pauses* signi&ying that the poetess is trying to hold +a%) the tears and having trou+le%ontrolling her vie$ point. 3o ho$ %an $e agree $ith her ippan%yJQUESTION NO. 1J(a) !hy does !ords&orth $all the solitary rea7er"s song ?a melan$holy strain"(b) !hy does Shaes7eare $all old age ?a se$ond $hildishness"($) o& a77ro7riate is the title of the 7oem 0 oison Tree2(a) 0 %elan$holy Strain TA melan%holy strain means a sad song. #n his poem* The Solitary #ea7er2* Words$orth %allsthe song o& the solitary reaper Ta melan%holy strain even though he does not understand the languageo& the song. #t is +e%ause the reaper is alone* her voi%e is superior to that o& a nightingale and the poethimsel& is prone to melan%holy. irstly* the reaper is alone M an idea emphasi2ed 6ve times in the poem. #t means there is no one inthe so%iety $ith $hom she %an share her pent-up emotions. his has made her li&e melan%holi%. husshe shares her emotions $ith (ature in loneliness and the poet rightly %alls her song Ta melan%holystrain. 3e%ondly* it is a traditional idea that nightingales are %onne%ted to the idea o& melan%holy. any

poets use nightingales as a sym+ol o& melan%holy in their poems. Be%ause Words$orth has %omparedthe voi%e o& the solitary reaper $ith that o& the nightingale so the song o& the solitary reaper is also Tamelan%holy strain. hirdly* the poet himsel& is prone to melan%holy. o prove this* $e 'ump to his poem 9a:odils2. Atthe end o& this poem* he mentions that he sometimes 6nds himsel& in a Tpensive mood. hus henaturally %alls the song o& the solitary reaper Ta melan%holy strain.(b) Old 0ge B 0 Se$ond +hildishness

Li&e is a %y%le and old age is a stage $here the %y%le is returned to its +eginning i.e.* %hildishness. heHoly Quran states* >He $hom $e +ring unto old age* $e reserve him %reation?. #n >All the Worlds a


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3tage?* 3ha)espeare %alls old age Ta se%ond %hildishness +e%ause old people +e%ome $ea)*dependent and &orget&ul li)e that o& %hildren.irstly* oldsters +e%ome $ea) and &ee+le li)e that o& in&ants. Both la%) physi%al and mental energies. hey %annot $al) at ease. hey %annot tal) %learly and audi+ly. heir immune system is very poor. hey %annot thin) a+out their lives $isely. hus 3ha)espeare rightly %alls old age Ta se%ond%hildishness.3e%ondly* old people are helpless li)e that o& %hildren. #t is a %ommon e5perien%e o& li&e that aged

people are dependent on others in the same $ay as )ids are dependent on others. Both %annot earntheir +red and +utter* and a %areta)er is ne%essary &or them. his similarity again proves that man isTon%e a man and t$i%e a %hild. hirdly* de%repit people +e%ome vi%tims o& amnesia. hey +e%ome &orget&ul li)e that o& %hildren. Bothla%) retention. hey are una+le to %on%entrate on anything. hey o&ten &orget persons* pla%es andthings. he memory o& a grandparent %orresponds the memory o& a grand %hild. hus senile dementiais a return to in&an%y.

($) Title of the oem

A good title o& a poem %orresponds the %ontent o& the poem. he title 0 oison Tree2 is not veryappropriate +e%ause +i+li%al tree $as not li)e this tree and the poets &oe approa%hes this tree $ithoutthe poets )no$ing $hi%h is un+elieva+le. Gnly i& the &oe sym+oli2es the poets mental distur+an%ethen the title is ,uite appropriate.

irstly* the poison tree o& William Bla)e stands &or the tree in Paradise. But this analogy is not suita+le.Adam and Eve did not die a&ter eating the apple &rom this tree +ut the poets enemy dies. oreover*@od does not re'oi%e in )illing His enemies li)e that o& the poet.3e%ondly* the poison tree is a physi%al mani&estation o& poets anger* gro$ing in his mind &or hisenemy. But ho$ does the enemy get into the poets mind $ithout the poets )no$ingS Ho$ doespoisonous thoughts )ill the enemyS Gnly its sho$s the inappropriateness o& the title.Ho$ever* i& the &oe represents the poets mental disharmony and the poison tree his $rath* then thetitle mat%hes the %ontent o& the poem. #n the end the poet is happy +e%ause his $rath has )illed thedemons in his mind* and his mind is at pea%e no$. #n short* diamond has $ut diamond.

QUESTION NO. 1M(a) !hy does Emily 9i$inson use the image of ourney in Fe$ause I +ould Not Sto7 for9eath2(b) /ights Out2 by Ed&ard Thomas d&ells on the 7o&er of slee7. Elaborate.

($) !hat does the em7ty barrel signify in 0fter 077le i$ing2(a) The Image of Courney Fe$ause I +ould Not Sto7 for 9eath2 is a highly sym+oli% poem in $hi%h Emily Di%)inson hasemployed many images. he dominant one is the image o& 'ourney. #t is* in &a%t* a metaphor &or li&e-a&ter-+irth and li&e-a&ter-death. Earthly li&e is a 'ourney +e%ause 'ourney and li&e +oth have turns*o+sta%les and destinations. irstly* a %ommon 'ourney is traveled on the routes %alled high$ays $hi%h have many turns.Correspondingly* li&e is traveled on the route %alled time2. #t has also several turns e5%ept a -turn. he poetess has mentioned three ma'or turns in li&eK %hildhood* youth and old age. 3e%ondly* on the route o& a %ommon 'ourney* there are many o+sta%lesK +ad roads* &rosts* +umpersand +lo%)ages et%. 3imilarly* on the %ourse o& li&e* ups and do$ns are %ommon. 3urprises and lossesgive violent 'olts. 3orro$s and $orries %ause in'uries. hus the route o& li&e is &ull o& impediments. hirdly* a %ommon 'ourney %omes to an end $hen the destination is approa%hed. Li&e also %ome toa halt $hen death +lo%)s the route and pushes the traveler into the grave the 6nal destination. #nshort* the so'ourn o& li&e on earth ends and the odyssey o& li&e-a&ter-death starts &rom here.

(b) o&er of Slee7 3leep is a state o& rest &or +ody* mind and spirit. #t has so mu%h potential in it that no passion orsentiment %an %hallenge it. #n his poem* /ights Out2, Ed$ard homas e5,uisitely e5pounds thepo$er o& sleep. 3leep is so po$er&ul that its invasion is ines%apa+le. its dominan%e o& a pana%ea and itsend is a ne$ +eginning. irstly* sleep is so potent that its invasion is irresisti+le. Even the no+lest tas)* the &avourite +oo) orthe dearest &a%e %annot )eep us a$a)e &or a long time. 3leep is %umulativeK i& $e resist it one day* itatta%)s the ne5t day. We are helpless in the hands o& sleep. At last $e have to surrender +e&ore thealluring &or%e o& sleep.


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3e%ondly* sleep is so po$er&ul that its hold or dominan%e is a pana%ea. #t magi%ally heals alldespairs and miseries* and puts an end to all trou+les and pro+lems. William 3ha)espeare rightly saysa+out sleep >the balm of hurt minds2. #n &a%t* a sound sleep is the +est natural %ure in the do%tors+oo)s. hirdly* the end o& sleep is a ne$ +eginning. Li&e is a 'ourney and sleep is a 7o&er6llingstation2. When our po$er to %ontinue the 'ourney ends* $e* the travelers* go to sleep. 3leep restoresthe energy in us. hus $hen $e $a)e up* $e re%ommen%e the 'ourney on “many a road track” that

+e%ome visi+le +y “the dawn’s rst crack”.($) Signigi$an$e of Em7ty Farrel 0fter 077le i$ing2 is a highly sym+oli% poem +y 1o+ert rost.he most suggestive sym+ol isempty +arrel. Literally* an empty +arrel means >an un6lled %ontainer? +ut sym+oli%ally it signi6es theun&ul6lled human desires* the greediness o& the people and the hope &or +right &uture. irstly* the empty +arrel stands &or the un&ul6lled human desires. he poet has desired &or a +umperharvest o& apples +ut in the end his +arrel remains empty. here are a &e$ more apples on the +oughsto +e pi%)ed +y him. But i& he manages to pi%) the remaining &e$* his +arrel $ill still not +e 6lledJ 3e%ondly* the empty +arrel sym+oli2es the greediness o& the people. he poet has emptied many+arrels o& apples in the %ellar +ut is not satis6ed +e%ause his +arrel is still empty. He yearns to getmore and more. hough* in his sleep* he gets many +ig apples +ut his sleep remains uneasy due togreediness. hirdly* the empty +arrel signi6es the hope or e5pe%tation that $e atta%h &or the +right &uture. hepoet has emptied many +arrels o& %ommon and usual apples in the %ellar. But no$ he $ants to 6ll hisempty +arrel $ith ne$er* &resher* more ripened and more 'ui%y apples.

QUESTION NO. 5(a) !hat are @eats"s fears as you 6nd in !hen I a4e *ears2(b) !hy does 'eats &ish to be young again in oliti$s2($) !hy does 9.. /a&ren$e thin of his edu$ation as a$$ursed2(a) @eats"s *ears

!hen I a4e *ears2 is a +eauti&ul sonnet in $hi%h ;ohn eats gives e5pression o& his desolate&ears. he impending demise o& eats %reates limitations $hi%h +e%ome his &ears. He &ears that he $illnot +e a+le to a%hieve &ame* en'oy +eauty and savour love +e%ause he $ill sooner die o& tu+er%ulosis. he 6rst ,uatrain des%ri+es his &ear o& not getting &ame as a poet. He $orries that his premature death$ill leave his poetry in parenthesis. hough he has a >teeming +rain?* &ull o& ideas* images andthoughts yet he $ill not +e%ome a 3ha)espeare. His death is hovering over him. he se%ond ,uatrain highlights his &ear o& not getting enough time to en'oy the physi%al +eauty o&(ature. He says that heaven is +oasting o& its +eauty $ith its starry nights and shado$y %louds.

n&ortunately* his anti%ipated death $ill deprive him o& relishing these +eauti&ul s%enes. he third ,uatrain e5presses his &ear o& not getting a %han%e to develop a love-aair. His erst$hile+eloved* *anny Fra&n* has already deserted him. (o$ he &ears that he $ill never +e%ome aninamorato o& any+ody. hus he says in the last %ouplet* On the shore of the &ide &orld I standalone2.

(b) !ish to be 'oung 0gain 0eats %omposed oliti$s2 in ay 9"* !4


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he pro%ess +y $hi%h so%iety transmits its a%%umulated )no$ledge* s)ills and values &rom onegeneration to another is %alled edu%ation. Edu%ation is %onsidered a +lessing. Ho$ever* in hispoem* Snae2* D.H. La$ren%e thin)s o& it a %urse. #t is +e%ause it %rushes his &eelings o& ae%tionand sense o& +eauty &or the sna)e* and it indu%es him to )ill it. irstly* he thin)s o& his edu%ation as a%%ursed +e%ause it demolishes his &eelings o& ae%tion &or thesna)e. he natural man in the poet is delighted and honoured to have this reptile at his $ater-trough.Ho$ever* the edu%ated man in the poet $arns him that sna)e is a mortal &oe o& man. Hen%e the

natural &eelings o& ae%tion are de&eated +y the rational &eelings o& hatred. 3e%ondly* he %alls his edu%ation a%%ursed +e%ause it does not allo$ him to appre%iate the +eauty o& the sna)e. (o dou+t* the uni,ue shape* %olouration and lo%omotion o& sna)e ma)es it the most en'oythe +eauty* &airness and gra%e o& the sna)e +ut +eauti&ul animal in the $orld. he instin%ts o& the poet$ants tothe o7hidio7hobia generated +y his edu%ation %eases him to do so. hirdly* he %ondemns his edu%ation +e%ause it misleads him. #t %ompels him to assassinate thesna)e. He hits it $ith a log. Ho$ever* the sna)e does not %ome +a%) to +ite him. #t proves theinno%en%e and harmlessness o& the sna)e. hus the attempt to )ill the sna)e $as not an a%t o& +ravery+ut o& andalism %ommitted +y an edu%ated man.

B.a English Poetry Portion Complete Solved Notes

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