Attempt any FOUR questions. Question No. 1 is compulsory. All questions carry equal marks.
1. Explain with reference to the context any THREE of the following.
(i) The journey'll be a long one ... a long one yet, I've just come to a stopping-place on the line.
(ii) "I've never met such frivolous people as you before, or anybody so non-business and peculiar. Here I am telling you in plain language that your estate will be sold, and you don't seem to understand."
(iii) Have you not done tormenting me with your accursed time! It's abominable! When! When! One day, is that not enough for you?
(iv) "They loot at me as if I'm a dangerous animal they have to pat?"
(v) And since our ships began sailing to them the laughing continents have got the message: the great ocean they feared, is a little puddle. And a vast desire has sprung up to know the reasons for everything: why a stone falls when you let it go and why it rises when you toos it up.
2. What stance does Ibsen take about sex and marriage in Hedda Gabbler?
3. Lopakhin's utter lack of feelings is no less appalling than the ignorance and stupidity of the outdated aristocrats. Do you agree?
4. How does Waiting for Godot appropriate language and why?
5. The Sea by Edward Bond presents the failure of any attempts to revolutionize the world. Support or refute by quoting from the text.
6. Brecht rejects the classical notions of tragic hero, inevitability of choice and the arousal of pity and fear as the tragic emotions in The Life of Galiloe. Comment.
7. Critically elaborate the following.
(i) Setting, Mood and Stage Direction in 20th Century Drama
(ii) Symbolism as a Dramatic Device in The Cherry Orchard
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