1. Refer THREE of the following passages to their context and explain these critically.
(i) And into my garden stole
When the night had veiled the pole
In the morning glad I see
My foe outstretched beneath the tree
(ii) There was a time when, thought may path was rough,
This joy within me called me dallied with distress,
And all misfortunes were but as the stuff
Whence fancy made me dreams of happiness.
(iii) Where are the songs of spring? Any, where are they?
Think not of them, thou hast thy music too,
While barred clouds bloom the soft-dying day
And touch the stubble plains with rosy hue.
(iv) We came where the salmon were so many,
So steady, so spaced, so far aimed
On their inner map, England could add
Only the sooty twilight of South Yorkshire
Hung with the drumming drift of Lancstars
Till the world had seemed capsizing slowly.
(v) Never such innocence,
Never before or since,
And changed itself to past
Without a word - the men
Leaving the gardens tidy,
The thousands of marriages
Lasting a little while longer'
Never such innocence again.
(vi) A shadow bobbed in the window
He was snapping the carrier spring
Over the ledger. His boot pushed off
And the bicycle ticked, ticked, ticked.
2. In the last analysis, should we view the songs of innocence and songs of experience as mere contrary states of the soul, or both as necessary in the cycle of being?
3. Keats's poetry puts man's mind exactly where it should be -- On a delicate balance; below which it cannot descend; beyond where it has no will to rise -- In light of this statement critically evaluate Keats's ODES.
4. Imagination and fancy raised Coleridge above the level of the physical. Comment.
5. Discuss Bardic quality in the poems of Seamus Heaney.
6. Larkin's poetry shows a yearning for metaphysical absolutes for states of being imagined as it were beyond the reach of being. Discuss.
7. "He is famous for violence in style and subject -- matter"? Discuss in the light of Ted Hughes's poems in the syllabus?