1. YEAR 2004
Attempt FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Refer THREE of the following passages to their context and explain these critically.
(i) Are those her ribs through which the Sun
Did peer, as through a grate?
And is that woman all her crew?
Is that a Death? And are there two?
Is Death that woman's mate?
(ii) Forlorn! The very word is like a bell
To toll me back from thee to my sole self!
Adieu! The fancy cannot cheat so well
As she is famed to do, deceiving elf.
(iii) You went on and on. Here were reasons
To recite Chaucer. Then came the Wyf of Bath,
Your favourite character in all literature.
We were rapt. And the cows were enthralled.
(iv) Closed like confessionals, they thread
Loud moons of cities, giving back
None of the glances they absorb.
Light glossy grey, arms on a plaque.
They come to rest at any kerb.
(v) Now to pry into roots, to finger slime
To stare, big eyed Narcissus, into some spring
Is beneath all adult dignity, I rhyme
To see myself, to set the darkness echoing.
(vi) How the Chimney sweeper's cry
Every blackening Church appalls;
And the hapless soldier's sigh
Runs in blood down Palace walls.
2. "Without contrariness is no progression" said Blake. From your reading of his poems, describe how, as Blake move from Songs of Innocence to Songs of Experience, :"the exquisitely tender vision of childhood is crossed and shadowed by the darker realities of life".
3. "In the Rime of the Ancient Mariner", Coleridge exercises an imaginative realism; however unnatural his events, they are formed from natural elements, and we believe in them". Discuss.
4. "Hyperion is a veritable gallery of studies in pain" and "what Keats achieves above all in Hyperion is the sublimation of suffering". What is you opinion?
5. Critically examine one of the following poems by Seamus Heaney:
(i) A Constable Calls
(ii) The Tollund Man
6. Write a critical note on the use of animal imagery for symbolic purpose in the poetry of Ted Hughes.
7. What are the various themes in the poems of Philip Larkin you have read?
2. YEAR 2005
Attempt FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
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?
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?
3. YEAR 2006
Attempt FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Refer THREE of the following passages to their context and explain these critically.
(i) For Mercy has a human heart,
Pity a human face,
And love, the human form divine,
And peace, the human dress.
(ii) Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
(iii) When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou Say'st,
'Beauty is truth, truth beauty', --- that is all.
Ye know on earth, and all ye need to know.
(iv) Or, after dark, will dubious women come
To make their children touch a particular stone;
Pick simples for a cancer; or on some
Advised night see walking a dead one?
(v) He had unstrapped
The heavy ledger, and my father
Was making till age returns
In acres, roods and perches.
(vi) A cool small evening shrunk to a dog bark and the clank of bucket
And you listening
A spider's web tense for the dew's touch.
A pail lifted, still and brimming - mirror
To tempt a first star to a tremor.
2. Blake figures prominently among the poets who brought the Romantic Revival. Discuss.
3. Critically examine the function of the wind in the development of thought in Dejection -- An Ode.
4. The sharp contrast between the desire for beauty and awareness of pain makes Keats' Odes dramatic. Discuss.
5. 'Ted Hughes interests in dreams and his recourse to occult symbolism are lined with the practice of many other modern poets'. Discuss.
6. 'There are poems of Larkin which tentatively explore the possibility of positive meaning in life. Comment.
7. What are the various themes in the poems of Seamus Heaney you have read?
Attempt FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Refer THREE of the following passages to their context and explain these critically.
(i) For Mercy has a human heart,
Pity a human face,
And love, the human form divine,
And peace, the human dress.
(ii) Then reached the caverns measureless to man,
And sank in tumult to a lifeless ocean:
And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
(iii) When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou Say'st,
'Beauty is truth, truth beauty', --- that is all.
Ye know on earth, and all ye need to know.
(iv) Or, after dark, will dubious women come
To make their children touch a particular stone;
Pick simples for a cancer; or on some
Advised night see walking a dead one?
(v) He had unstrapped
The heavy ledger, and my father
Was making till age returns
In acres, roods and perches.
(vi) A cool small evening shrunk to a dog bark and the clank of bucket
And you listening
A spider's web tense for the dew's touch.
A pail lifted, still and brimming - mirror
To tempt a first star to a tremor.
2. Blake figures prominently among the poets who brought the Romantic Revival. Discuss.
3. Critically examine the function of the wind in the development of thought in Dejection -- An Ode.
4. The sharp contrast between the desire for beauty and awareness of pain makes Keats' Odes dramatic. Discuss.
5. 'Ted Hughes interests in dreams and his recourse to occult symbolism are lined with the practice of many other modern poets'. Discuss.
6. 'There are poems of Larkin which tentatively explore the possibility of positive meaning in life. Comment.
7. What are the various themes in the poems of Seamus Heaney you have read?
4. YEAR 2007
Attempt FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Refer THREE of the following passages to their context and explain these critically.
Attempt FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Refer THREE of the following passages to their context and explain these critically.
(i) Tiger! Tiger! Burning bright
In the forests of the night,
What Immortal hand or eye
Could frame thy fearful symmetry?
(ii) An orphan's course would drag to hell
A spirit from on high;
But oh! More horrible than that
Is a curse in a dead man's eye!
Seven days, seven nights, I saw that cure,
And yet I could not die.
(iii) Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe top the spirit ditties of no tone;
(iv) And the countryside not caring;
The place --- names all hazed over
Shadowing Doomsday lines
Under Wheat's restless silence'
(v) Till with a sudden sharp bot stink of fox
It enters the dark hole of the head
The window is starless still; the clock ticks,
The page is printed.
2. Are Blake's poems symbolic? Illustrate with examples.
3. Coleridge is often described as a "poet of the imagination". Explain.
4. What are some of the recurring motifs that appear throughout the six odes?
5. Heaney's 'A Constable Calls' is based on memory. It talks of distrust and fear. Elaborate.
6. The 'Though -- Fox' has often been acknowledged as one of the most completely realized and artistically satisfying of the poems. Discuss.
7. The poem 'Ambulances' is an expression of Larkin's concept of Death. Discuss.
In the forests of the night,
What Immortal hand or eye
Could frame thy fearful symmetry?
(ii) An orphan's course would drag to hell
A spirit from on high;
But oh! More horrible than that
Is a curse in a dead man's eye!
Seven days, seven nights, I saw that cure,
And yet I could not die.
(iii) Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear'd,
Pipe top the spirit ditties of no tone;
(iv) And the countryside not caring;
The place --- names all hazed over
Shadowing Doomsday lines
Under Wheat's restless silence'
(v) Till with a sudden sharp bot stink of fox
It enters the dark hole of the head
The window is starless still; the clock ticks,
The page is printed.
2. Are Blake's poems symbolic? Illustrate with examples.
3. Coleridge is often described as a "poet of the imagination". Explain.
4. What are some of the recurring motifs that appear throughout the six odes?
5. Heaney's 'A Constable Calls' is based on memory. It talks of distrust and fear. Elaborate.
6. The 'Though -- Fox' has often been acknowledged as one of the most completely realized and artistically satisfying of the poems. Discuss.
7. The poem 'Ambulances' is an expression of Larkin's concept of Death. Discuss.
5. YEAR 2008
Attempt any FOUR questions, question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to their context THREE of the following extracts:
(i) For where'er the sun does shine,
And where'er the rain does fall,
Babe can never hunger there,
Nor poverty the mind appall,
(ii) Season of mist and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless,
With fruit the vines that round the thatch-eaves run;
(iii) Those sounds which oft raised me, whilst they awed,
And sent my soul abroad,
Might now perhaps their wanted impulse give,
Might startle this dull pain and make it move and live!
(iv) And sense the solving emptiness
That lies just under ail we do,
So permanent and blank and true.
(v) ....................There the body
Separated, golden and imperishable,
From its doubting thought a spirit beacon
Lit by the power of salmon
(vi) Out there in Jutland
In the old man-killing parishes
I will feel lost,
Unhappy and at home
2. Blake is often anthologized in collection designed for children. Comment on the capacity of Blake's verse to delight such a wide audience.
3. Kubla Khan is a poem about creativity and perfection. Discuss.
4. Give a detailed comparison of Ode to a Nightingale and Ode to a Grecian Urn.
5. Larkin's poems move from the particular to the general, from the descriptive to the contemplative. Discuss.
6. Discuss the poet's relationship with his subject in Chaucer and Full Moon and Little Freida.
7. Heaney digs into the past with his 'squat pen'. Explain.
Attempt any FOUR questions, question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to their context THREE of the following extracts:
(i) For where'er the sun does shine,
And where'er the rain does fall,
Babe can never hunger there,
Nor poverty the mind appall,
(ii) Season of mist and mellow fruitfulness,
Close bosom-friend of the maturing sun;
Conspiring with him how to load and bless,
With fruit the vines that round the thatch-eaves run;
(iii) Those sounds which oft raised me, whilst they awed,
And sent my soul abroad,
Might now perhaps their wanted impulse give,
Might startle this dull pain and make it move and live!
(iv) And sense the solving emptiness
That lies just under ail we do,
So permanent and blank and true.
(v) ....................There the body
Separated, golden and imperishable,
From its doubting thought a spirit beacon
Lit by the power of salmon
(vi) Out there in Jutland
In the old man-killing parishes
I will feel lost,
Unhappy and at home
2. Blake is often anthologized in collection designed for children. Comment on the capacity of Blake's verse to delight such a wide audience.
3. Kubla Khan is a poem about creativity and perfection. Discuss.
4. Give a detailed comparison of Ode to a Nightingale and Ode to a Grecian Urn.
5. Larkin's poems move from the particular to the general, from the descriptive to the contemplative. Discuss.
6. Discuss the poet's relationship with his subject in Chaucer and Full Moon and Little Freida.
7. Heaney digs into the past with his 'squat pen'. Explain.
6. YEAR 2009
Attempt any FOUR questions, question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to their context THREE of the following extracts:
(i) Now to pry into roots, to finger slime
To stare big eyed Narcissus, into some spring
Is beneath all adult dignity, I rhyme
To see myself, to set the darken echoing.
(ii) The human dress is forged iron,
The human form, a fiery forge,
The human face, a furnace sealed
The human heart, its hungry gorge,
(iii) For borne away in deadened air
May go the sudden shut of loss
And for a second get it whole,
So permanent and blank and true.
The fastened doors recede.
(iv) And how did you stop? I can't remember
You stopping, I Imagine they reeled away -
Rolling eyes, as if driven from their fodder.
I imagine I shooed them away
(v) Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me,
That music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
(vi) Away! Away! For I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of poesy,
Though the dull brain perplexes and retards:
2. Compare and contrast "Holy Thursday 1" and "Holy Thursday 2". (BLAKE)
3. "The Ancient Mariner" clearly contains a large element of personal allegory of fear and guilt and loneliness, says Kathleen Coburn. Discuss. (COLERIDGE)
4. How do the last lines of the "Ode on a Grecian Urn" form a fitting equation for the poem? (KEATS)
5. Comment on the theme of change in Larkin's poetry.
6. Illustrate Heaney's relationship with Ireland with close reference to "Toome Road" and "Casting and Gathering".
7. The "Thought Fox" is a poem about metaphor. Discuss.
Attempt any FOUR questions, question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to their context THREE of the following extracts:
(i) Now to pry into roots, to finger slime
To stare big eyed Narcissus, into some spring
Is beneath all adult dignity, I rhyme
To see myself, to set the darken echoing.
(ii) The human dress is forged iron,
The human form, a fiery forge,
The human face, a furnace sealed
The human heart, its hungry gorge,
(iii) For borne away in deadened air
May go the sudden shut of loss
And for a second get it whole,
So permanent and blank and true.
The fastened doors recede.
(iv) And how did you stop? I can't remember
You stopping, I Imagine they reeled away -
Rolling eyes, as if driven from their fodder.
I imagine I shooed them away
(v) Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me,
That music loud and long,
I would build that dome in air,
That sunny dome! those caves of ice!
(vi) Away! Away! For I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of poesy,
Though the dull brain perplexes and retards:
2. Compare and contrast "Holy Thursday 1" and "Holy Thursday 2". (BLAKE)
3. "The Ancient Mariner" clearly contains a large element of personal allegory of fear and guilt and loneliness, says Kathleen Coburn. Discuss. (COLERIDGE)
4. How do the last lines of the "Ode on a Grecian Urn" form a fitting equation for the poem? (KEATS)
5. Comment on the theme of change in Larkin's poetry.
6. Illustrate Heaney's relationship with Ireland with close reference to "Toome Road" and "Casting and Gathering".
7. The "Thought Fox" is a poem about metaphor. Discuss.
7. YEAR 2010
Attempt any FOUR questions, question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any 3 of the following.
(i) I love hushed air. I trust contrariness
Years and years go past and I do not move
For I see that when one man casts, the other gathers
And then vice verse, without changing sides.
(ii) Through the window I see no star:
Something more near
Though deeper within darkness
Is entering the loneliness:
(iii) 'I'll take it.' So it happens that I lie
Where Mr. Bleaney lay, and stub my fags
On the same saucer-souvenir,....
(iv) Who are these coming to the sacrifice?
To what green alter, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
(v) ..... England could add
Only the sooty twilight of South Yorkshire
Hung with the drumming drift of Lancaster
Till the world had seemed capsizing slowly.
(vi) Sowers of seed, erectors of headstones....
O charioteers, above your dormant guns,
It stands here still, stands vibrant as you pass,
The invisible, untoppled omphalos.
2. Compare and contrast any two Odes of Keats' that you have read.
3. What does the speaker in 'Mr. Bleaney' share with the former tenant of the room? (Larkin)
4. 'Hence, viper thoughts, that coil around my mind,
Reality's dark dream!'
How far do these lines illustrate 'Dejection: An Ode' by Coleridge.
5. 'That Morning' and 'Thought Fox' exemplify the importance of energy and single minded concentration in Hughes. Explain.
6. Heaney's metaphors are sensuously alive. Discuss with reference to 'Personal Helicon' and 'Tollund Man'.
7. 'London' is a 'Sick Rose'. How far does Blake's poetry bear out the truth of this statement.
Attempt any FOUR questions, question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any 3 of the following.
(i) I love hushed air. I trust contrariness
Years and years go past and I do not move
For I see that when one man casts, the other gathers
And then vice verse, without changing sides.
(ii) Through the window I see no star:
Something more near
Though deeper within darkness
Is entering the loneliness:
(iii) 'I'll take it.' So it happens that I lie
Where Mr. Bleaney lay, and stub my fags
On the same saucer-souvenir,....
(iv) Who are these coming to the sacrifice?
To what green alter, O mysterious priest,
Lead'st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
(v) ..... England could add
Only the sooty twilight of South Yorkshire
Hung with the drumming drift of Lancaster
Till the world had seemed capsizing slowly.
(vi) Sowers of seed, erectors of headstones....
O charioteers, above your dormant guns,
It stands here still, stands vibrant as you pass,
The invisible, untoppled omphalos.
2. Compare and contrast any two Odes of Keats' that you have read.
3. What does the speaker in 'Mr. Bleaney' share with the former tenant of the room? (Larkin)
4. 'Hence, viper thoughts, that coil around my mind,
Reality's dark dream!'
How far do these lines illustrate 'Dejection: An Ode' by Coleridge.
5. 'That Morning' and 'Thought Fox' exemplify the importance of energy and single minded concentration in Hughes. Explain.
6. Heaney's metaphors are sensuously alive. Discuss with reference to 'Personal Helicon' and 'Tollund Man'.
7. 'London' is a 'Sick Rose'. How far does Blake's poetry bear out the truth of this statement.
8. YEAR 2011
Attempt FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Attempt any FOUR of the following with reference to the context:
(i) Those long uneven lines
Standing as patiently
As if they were stretched outside
The Oval or Villa Park,
(ii) ..... You went on ---
And twenty cows stayed with you hypnotized.
You stopping.
(iii) Something of his sad freedom
As he rode the tumbrel
Should come to me, driving,
Saying names .....
(iv) Seasons of mists and mellow fruitfulness,
Close bosomed - friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch eves run;
(v) And did those feet in ancient time
Walk upon England's mountain green?
(vi) It is an ancient Mariner,
And he stoppeth one of three
'By thy long grey beard and glittering eye,
Now wherefore stopp'st thou me?
2. Discuss the role of doubt and contemplation in 'Mr. Bleaney' and 'Church Going'.
3. Compare the power of salmon in 'That Morning' with the power of the fox in 'Though Fox'.
4. 'Toome Road' and 'Casting and Gathering' exemplify Heaney's positive vision of Ireland. Explain.
5. Discuss the style and structure of 'Hyperion Book I'
6. Discuss in detail the relation between images used in 'Kubla Khan'.
7. In what ways do 'Songs of Innocence' compare with 'Songs of Experience' in Blake?
Attempt FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Attempt any FOUR of the following with reference to the context:
(i) Those long uneven lines
Standing as patiently
As if they were stretched outside
The Oval or Villa Park,
(ii) ..... You went on ---
And twenty cows stayed with you hypnotized.
You stopping.
(iii) Something of his sad freedom
As he rode the tumbrel
Should come to me, driving,
Saying names .....
(iv) Seasons of mists and mellow fruitfulness,
Close bosomed - friend of the maturing sun;
Conspiring with him how to load and bless
With fruit the vines that round the thatch eves run;
(v) And did those feet in ancient time
Walk upon England's mountain green?
(vi) It is an ancient Mariner,
And he stoppeth one of three
'By thy long grey beard and glittering eye,
Now wherefore stopp'st thou me?
2. Discuss the role of doubt and contemplation in 'Mr. Bleaney' and 'Church Going'.
3. Compare the power of salmon in 'That Morning' with the power of the fox in 'Though Fox'.
4. 'Toome Road' and 'Casting and Gathering' exemplify Heaney's positive vision of Ireland. Explain.
5. Discuss the style and structure of 'Hyperion Book I'
6. Discuss in detail the relation between images used in 'Kubla Khan'.
7. In what ways do 'Songs of Innocence' compare with 'Songs of Experience' in Blake?
9. YEAR 2012
Attempt FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to their context any THREE of the following;
(i) Since someone will forever be surprising
A hunger in himself to be more serious,
And gravitating with it to this ground,
Which, he once heard was proper to grow wise in, .....
(ii) Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.
(iii) Cows are going home in the lane there, looping the hedges
with their warm wreathes of breath
A dark river of blood, many boulders,
Balancing unspilled milk.
(iv) Ah Sunflower, weary of time,
Who countest the steps of the sun;
Seeking after that sweet golden clime
Where the traveller's journey is done;
(v) Then in a wailful choir the small gnats mourn
Among the river sallows, bone aloft
Or sinking as the light wind lives or dies -------
(vi) The seraph-band, each waved his hand;
No voice did they impart -
No voice; but oh! the silence sank
Like music on my heart.
2. 'Ode to Nightingale' and 'Ode on a Grecian Urn' are poems about art. Explain. (Keats: Odes)
3. Heaney's poetry explores man's relationship with history. Discuss. (Heaney)
4. Show how Blake sensitizes the reader to the inter-relatedness of man and other life forms. (William Blake)
5. Discuss the use of epiphany in Larkin's 'Mr. Bleaney' and 'Ambulances'. (Larkin)
6. Artist's observation is a common theme between Hughes' poems 'Chaucer' and 'Full Moon' and 'Little Frieda'. Explain. (Ted Hughes)
7. Discuss the theme of torment in the poetry of Coleridge. (Coleridge)
1. Explain with reference to their context any THREE of the following;
(i) Since someone will forever be surprising
A hunger in himself to be more serious,
And gravitating with it to this ground,
Which, he once heard was proper to grow wise in, .....
(ii) Now, to pry into roots, to finger slime,
To stare, big-eyed Narcissus, into some spring
Is beneath all adult dignity. I rhyme
To see myself, to set the darkness echoing.
(iii) Cows are going home in the lane there, looping the hedges
with their warm wreathes of breath
A dark river of blood, many boulders,
Balancing unspilled milk.
(iv) Ah Sunflower, weary of time,
Who countest the steps of the sun;
Seeking after that sweet golden clime
Where the traveller's journey is done;
(v) Then in a wailful choir the small gnats mourn
Among the river sallows, bone aloft
Or sinking as the light wind lives or dies -------
(vi) The seraph-band, each waved his hand;
No voice did they impart -
No voice; but oh! the silence sank
Like music on my heart.
2. 'Ode to Nightingale' and 'Ode on a Grecian Urn' are poems about art. Explain. (Keats: Odes)
3. Heaney's poetry explores man's relationship with history. Discuss. (Heaney)
4. Show how Blake sensitizes the reader to the inter-relatedness of man and other life forms. (William Blake)
5. Discuss the use of epiphany in Larkin's 'Mr. Bleaney' and 'Ambulances'. (Larkin)
6. Artist's observation is a common theme between Hughes' poems 'Chaucer' and 'Full Moon' and 'Little Frieda'. Explain. (Ted Hughes)
7. Discuss the theme of torment in the poetry of Coleridge. (Coleridge)
10. YEAR 2013
Attempt any FOUR questions. Question No.1 is compulsory. All questions carry equal marks.
1. Answer any FOUR of the following with reference to the context:
(i) It seem'd no force could wake him from his place;
But there came one, who with a kindred hand
Touch'd his wide shoulders, after bending low
With reverence, though to one who knew it not.
(ii) What a multitude they seem'd, these flowers of London town!
Seated in companies they sit with radiance all their own.
(iii) And I had done a hellish thing
And it would work'em woe:
For all averr'd, I had kill'd the Bird
That made the Breeze to blow
(iv) And you could not stop. What would happen
If you were to stop? Would they attack you,
Scared by the shock of silence, or wanting more?
(v) The traffic parts to let go by
Brings closer what is left to come
And dulls to distance all we are.
(vi) Some day I will go to Arhus
To see his peat-brown head,
The mild pods of his eyelids,
His pointed skin cap, ...
2. How does the dramatic spirit expresses itself in the Odes by Keats?
3. Blake said that without contraries there is no progression: How is this brought out by Songs of Innocence and Songs of Experience?
4. Discuss the thematic tension in "Dejection: An Ode" by Keats.
5. Larkin's poetry expresses discontent. Discuss with close reference to the poems you have read.
6. Discuss "Thought Fox" and "That Morning" as journeys to fulfillment.
7. How does "Tallund Man" describe the anxiety of Heaney as an Irish writer?
Attempt any FOUR questions. Question No.1 is compulsory. All questions carry equal marks.
1. Answer any FOUR of the following with reference to the context:
(i) It seem'd no force could wake him from his place;
But there came one, who with a kindred hand
Touch'd his wide shoulders, after bending low
With reverence, though to one who knew it not.
(ii) What a multitude they seem'd, these flowers of London town!
Seated in companies they sit with radiance all their own.
(iii) And I had done a hellish thing
And it would work'em woe:
For all averr'd, I had kill'd the Bird
That made the Breeze to blow
(iv) And you could not stop. What would happen
If you were to stop? Would they attack you,
Scared by the shock of silence, or wanting more?
(v) The traffic parts to let go by
Brings closer what is left to come
And dulls to distance all we are.
(vi) Some day I will go to Arhus
To see his peat-brown head,
The mild pods of his eyelids,
His pointed skin cap, ...
2. How does the dramatic spirit expresses itself in the Odes by Keats?
3. Blake said that without contraries there is no progression: How is this brought out by Songs of Innocence and Songs of Experience?
4. Discuss the thematic tension in "Dejection: An Ode" by Keats.
5. Larkin's poetry expresses discontent. Discuss with close reference to the poems you have read.
6. Discuss "Thought Fox" and "That Morning" as journeys to fulfillment.
7. How does "Tallund Man" describe the anxiety of Heaney as an Irish writer?
11. YEAR 2014
Attempt any FOUR questions including question No.1. which is COMPULSORY. All questions carry equal marks.
1. Explain any FOUR of the following with reference to the context.
(i) Ah Sunflower, weary of time,
Who countest the steps of the sun;
Seeking after that sweet golden clime
Where the traveller's journey is done;
(ii) Cows are going home in the lane there, looping the
hedges with their warm wreatches of breath.
(iii) But if he stood there and watched the frigid wind
Tousling the clouds, lay on the fusty bed
Telling himself that this was home and grinned,
And shivered, without-shaking off the dread...
(iv) Something of his sad freedom
As he rode the tumbrel
Should come to me, driving,...
(v) And 'mid this tumult Kubla heard from far
Ancestral voices prophesying war!
(vi) And the sad Goodess weeping at his feet
Until at length old Saturn lifted up
Has faded eyes, and saw his kingdom gone
And all the gloom and sorrow of the place,
And that fair kneeling Goddess:
2. With close reference to Blake's 'Songs of Experience' describe the moral structure he desires in the English society.
3. Comment on the structure of 'The Ancient Mariner'.
4. How far does the imager in the 'Ode to a Nightingale' complement its thematic concern?
5. Larkin's poetry is about coming to terms with loss. Comment.
6. Discuss Heaney's perspective on Ireland in 'Toome Road' and 'Casting and Gathering'.
7. 'The Though Fox' is a poem about metaphor. Discuss.
12. YEAR 2015
Attempt any FOUR questions. All questions carry equal marks. Question No. 1 is COMPULSORY.
1. Attempt any FOUR of the following with reference to the context.
(i) Beneath them sit the aged men, wise guardians of the poor.
Then cherish pity, lest you drive an angel from your door.
(ii) Could I revive within me
Her symphony and song,
To such a deep delight 'twould win me,
(iii) Ah, happy, happy boughs! That cannot shed
Your leaves, nor ever bid the spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
(iv) They come to rest at any kerb:
All streets in time are visited.
(v) Your voice went over the fields towards Grantchester,
It must have sounded lost. But the cows
Watched, then approached: they appreciated Chaucer.
(vi) He had unstrappped
The heavy ledger, and my father was making tillage
returns in acres, roods and perches.
2. In what ways do Blake's SONGS OF EXPERIENCE form a companion body to his SONGS OF INNOCENCE?
3. Discuss the use of contrast in KUBLA KHAN.
4. How far may ODE TO AUTUMN be read as recognition of harmony in the natural world?
5. Comment on Larkin's tone of ironic detachment with detailed reference to at least two of his poems.
6. Discuss the relationship between 'the artist' and 'the work of art' in the poetry of Ted Hughes.
7. What value does Heaney ascribe to contrariness in Irish scenario? Illustrate with detailed reference to at least two of his poems.
13. YEAR 2016
Attempt any FOUR questions. All questions carry equal marks. Question No. 1 is compulory.
1. Attempt any FOUR of the following with reference to the context.
(i) And I water'd it in fears
Night and morning with my tears;
And sunned it with smiles,
And with soft decietful wiles.
(ii) A grief without a pang, void, dark and drear,
A stifled, drowsy unimpassioned grief,
Which finds no natural outlet, no relief,
In word, or sigh, or tear --
(iii) Forlon! The very work is like a bell
To toll me back from thee to my sole self!
(iv) Someone will forever be surprising
A hunger in himself to be more serious.
(v) The window is starless still; the clock ticks,
The page is printed
(vi) I could risk blasphemy,
Consecrate the cauldron bog
Our holy ground and pray ...
2. How does Hughes use animals in his verse? Answer with detail textual reference.
3. Discuss the role of irony in any two poems by Larkin.
4. What is the value of Albatross in the "Rhyme of the Ancient Mariner"?
5. How does the structur of "Hyperion Book I" support its themes?
6. How are the preceptions of the child and the adult presented in "Songs of Innocence and Experience"?
7. What according to Heaney is the role of curiosity and fear in the development of the artist?
14. YEAR 2017
Attempt any FOUR questions. All questions carry equal marks. Question No. 1 is compulsory.
1. Attempt any FOUR of the following with reference to the context.
(i) Is that trembling cry a song?
Can it be a song of joy?
And so many children poor?
It is a land of poverty?
(ii) Oh Sleep! It is a gentle thing,
Beloved from pole to pole
To Mary Queen the praise be given!
She sent the gengle sleep from heaven,
The slid into my soul.
(iii) Thou was not born for death, immortal Bird!
(iv) The thousands of marriages
Lasting a little while longer:
Never such innocence again.
(v) So we stood, alive in the river of light
Among the creatures of light, creatures of light
(vi) ... To se his peat-brown head,
The mild pods of his eyelids,
His pointed skin cap.
2. Larkin's poems move from the particular to the general. What impact does this have on the reader? Answer with detailed reference to any two of his poems.
3. Discuss consciousness and the surreal in "Rhyme of the Ancient Mariner".
4. How does the imagery in "Hyperion Book I" support its themes?
5. How is the title "Songs of Experience" capable of more than one interpretation?
6. Discuss the concept of purposeful movement in the poems of Ted Hughes.
7. What value does Heaney ascribe to contraries in his verse?
15. YEAR 2018
Attempt any FOUR questions. All questions carry equal marks. Question No. 1 is compulsory.
1. Attempt any FOUR of the following with reference to the context.
(i) O what a multitude they seemed these flowers of London town
Seated in companies they sit with radiance all their own
The hum of multitudes was there but multitudes of lambs
Thousands of little boys and girls raising innocent hands
(ii) Though I should gaze for ever
On that green light that lingers in the west:
I may not hope from outward forms to win
The passion and the life, whose fountains are within.
(iii) O aching time! O moments big as years!
All as ye pass swell out the monstrous truth,
And press it so upon our weary griefs
That unbelief has not a space to breathe.
(iv) Your voice went over the fields towards Granchester.
It must have sounded lost. But the cows
Watched, then approached: they appreciated Chaucer.
You went on and on.
(v) One sound is say, 'You aren't woth tuppence,
But neither is anybody. So watch Numer One!'
The other says, 'Go with it! Give and swerve.
You are everything you feel beside the river.'
(vi) For borne away is deadened air
May go the sudden shut of loss
Round something nearly at an end,
And what cohered in it across
The years, the unique radom blend
Of families and fashions, there.
2. Comment on the role of nature in the Odes by Keats.
3. Discuss the surreal element in The Rime of the Ancient Mariner.
4. Examine the presentation of contraries in the poetry of Blake.
5. How does Larkin's verse express a detached observation?
6. Comment on animal energy and power in any two poems by Hughes.
7. Examine in detail any tow childhood poems by Heaney.
16. YEAR 2019
Attempt any FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Attempt any FOUR of the following with reference to the context.
(i) This invisible worm,
That flies in the night
In the howling storm:
Has found out thy bed
Of crimson joy:
(ii) A grief without a pang, void, dark, and drear,
A stifled, drowsy, unimpassioned grief,
Which finds no natural outlet, no relief,
In word, or sigh, or tear ---
(iii) No stir of air was there,
Not so much life as on a summer's day
Robs not one light seed from the feather'd grass,
But where the dead leaf fell, there did it rest.
(iv) Far from the exchange of love to lie.
Unreachable inside a room
The traffic parts to let go by
Brings closer what is left to come,
(v) He had unstrapped
The heavy ledger, and my father
Was making tillage returns
In acres, roods, and perches.
(vi) 'Moon!' you cry suddenly, 'Moon! Moon!
2. Discuss the role of imagery and contrast in "Kubla Khan".
3. How does Blake perceive innocence and experience? Answer with close reference to his poetry.
4. How does Ode to A Nightingale delineate the journey of the speaker's desire?
5. In what ways are Church Going and 1914 readings of the post war England?
6. Compare and contrast the position of the speaker in Thought Fox and That Morning.
7. Personal Helicon sign posts Heaney's development fron a naturalist to a poet. Explain.
No comments:
Post a Comment