english poems notes
TRANSCRIPT
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QUESTION NO.1
(a) No time to see, in broad daylight,
Streams full of stars, lie sies at night.
(b) !ill lie o" nights In the bony arms of #eality and be $omforted.
($) %ountains, o$eans, leaf and stone star shine, moon glo& you"re all that
I $an $all my o&n.
(a) No time to see ''' sies at night.
#EE#EN*E
(i)+oem Leisure
(ii) +oet William Henry Davies
*ONTE-T
(i) O$$urren$e Lines 7-8/14
(ii) *ontent In this poem the poet laments that modern man has drowned so
much in the ocean of temporal charms that he has no time to see and enoy the
!ature li"e trees# animals# streams and $eauty% He concludes that such a sorrowful
life is a poor life%
E-+/N/TION
In these lines the poet says that modern man has ceased to &e ima'inative
and the reason is 0la$ of time% He is so &usy in his worldly pursuits that he has
no time to o&serve the &eauty of streams% He cannot understand how does the
natural li'ht of sun fall on the runnin' water of the hilly streams% He cannot perceivehow does this (uic"ly )owin' water stri"e a'ainst the pe&&les and thus re)ect a
twin"lin' li'ht li"e that of the stars shinnin' at ni'ht in the s"y% In short# he cannot
notice that these 'ushin' streams are the 0gala2ies of earth.
She &als in beauty, lie the night
Of $loudless $limes and starry sies.
*Lord $yron+
(b) !ill lie o" nights ''' be $omforted.
#EE#EN*E
(i) +oem !ew ,ear esolutions
(ii) +oetess .liað 0ewell
*ONTE-T
(i) O$$urren$e Lines 7-/
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(ii) *ontent In this poem the poetess e2presses her three revolutionary
resolutions &efore the dawn of the new year% 0he resolves to remain most of the
time silent# thin" a&out what she is and face the realities with contention%
E-+/N/TION
In these lines the poetess has personi3ed #eality. 0he has 'iven it the
(ualities of a hus&and% 0he has decided to spend her ni'hts in the &ony arms of r%
eality% In the &e'innin' it was a very &itter and unpleasant practice &ecause &onyarms can 'ive no oy or satisfaction to his wife% $ut the poetess is not an escapist%
With the passa'e of time# she has &ecome ha&itual to it% !ow she has understood
and comprehended the fact that 0truth is beauty. 5hus she is comforted in the
&ony arms &ecause these 'ive her self-satisfaction# &lessed relief and spiritual
e2ultation%
($) %ountain, o$eans, ''' $all my o&n.
#EE#EN*E
(i) +oem Woman Wor"
(ii) +oetess aya 6n'elou
*ONTE-T
(i) O$$urren$e Lines -8/8
(ii) *ontent In this poem the poetess descri&es her dis'ust for domestic chores
and love for !ature% 0he is fed up &y loo"in' after the children# &uyin' and coo"in'
food# and maintainin' her house% 0o she lon's for the &lessin's of !ature to 'ive
her power to &ear this dull life%
E-+/N/TION
In these lines the poetess e2presses her ina&ility to 3nd any human &ein'
whom she can trust and call her own e2cept Nature. 0he cannot call her hus&and
own &ecause she has always found him full of threats of separation or divorce% 0he
cannot call her children own &ecause they either do no o&ey her fully or show their
inclination towards their father% 5hus she has 'ot tired of human &ein's% However#
she can call o&ects and phenomena of !ature li"e mountains# oceans# leaves#
stones# star shine and moon 'low etc her own &ecause
0Nature did ne3er betray the heart that lo3ed her.
*William Wordsworth+
QUESTION NO.4
(a) It is 3ery good that &e ha3e rebels you may not 5nd it 3ery good to be
one.
(b) Thus I entered, and thus I go in trium6hs 6eo6le ha3e dro66ed do&n
dead.
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($) The musi$ in my heart I bore, long after it &as heard no more.
(a) It is 3ery good ''' good to be one.
#EE#EN*E
(i) +oem 5he e&el
(ii) +oet Dennis 9oseph .nri'ht
*ONTE-T
(i) O$$urren$e -:;/:;
(ii) *ontent In this poem the poet discusses the waverin' &ehaviour of people%
5hese people do what the common people do not do# and do not do what the
common lot do% 5he poet calls them
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would have died at the moment of his 'reat triumph li"e some of the heroes in
history# for e2ample Quaide/7am# it would have &een &etter for him% He wanted
to receive full reward of his stru''le in this very world &ut his wish remained
unful3lled%
($) The musi$ in ''' heard no more.
#EE#EN*E
(i) +oem 5he 0olitary eaper
(ii) +oet William Wordsworth
*ONTE-T
(i) O$$urren$e Lines :1-:/:
(ii) *ontent In this poem the poet praises the son' of a hi'hland 'irl# sin'in' and
reapin' in a valley of 0cottish mountains% He thin"s her voice more melodious than
that of the ni'htin'ale and the cuc"oo% 5hus he saves her son' in his memories to
enoy it ever-afterwards%
E-+/N/TION
In these lines the poet says that a thin' of &eauty is a oy forever% 5he
melodious voice of the son' of
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(i) +oem 6ll the WorldAs a 0ta'e
(ii) +oet William 0ha"espeare
*ONTE-T
(i) O$$urren$e Line 1-/8
(ii) *ontent In this poem the poet says that the world is a sta'e and man is an
actor% He performs seven roles in his life on this sta'e% He starts his performance asan infant# then a school &oy# a lover# a soldier# a ustice# a retired person and 3nally
an old man%
E-+/N/TION
In these prover&ial lines the poet has used two &eautiful metaphors% Birstly he
says that the planet earth is a hu'e platform where the performance of the drama
named 0life "eeps on ta"in' place%
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should also la&our hard continuously till our death so that the comin' 'enerations
may remem&er us a 0heroes for our su&lime actions and deeds%
($) In the morning ''' beneath the tree.
#EE#EN*E
(i) +oem 6 >oison 5ree
(ii) +oet William $la"e
*ONTE-T
(i) O$$urren$e Lines 1E-1/1
(ii) *ontent In this poem the poet descri&es the development and e@ects of an'er%
Fnce the poet &ecomes an'ry with his foe and &ottles up his wrath% 5his hatred
&ecomes a tree which &ears a poisonous apple% His enemy eats this apple and dies
there and then%
E-+/N/TION
In these lines the poet says that triumph always 'ives happiness and
satisfaction% Death is an occasion for 'rief &ut for the poet it turns out to &e an
occasion for oy &ecause his hatred has won at the cost of his enemyAs death% 5he
poet had# in fact# planted a tree of hatred for his enemy% 5his tree &ore a &ri'ht &ut
poisonous apple% His enemy was tempted to eat it li"e E3e was tempted to eat the
apple in >aradise% 6t last his enemy ate it stealthily at ni'ht and died there and
then% When the poet went to his 'arden in the mornin'# his oy "new no &ounds
&ecause his enemy was no more than a ri'or mortis# lyin' on the 'round &eneath
the tree%
QUESTION NO. >
(a) /nd on her dul$imer she 6layed singing of %ount /bora.
(b) !aled through a &ood, sa& the birds in the trees. They ha3e no
6oliti$ians and sang at their ease.
($) /nd yet those 3oi$es If you &ere not afraid, you &ould ill him:
(a) /nd on her dul$imer ''' %ount /bora
#EE#EN*E
(i) +oem Gu&la Ghan
(ii) +oet 0amuel 5aylor olerid'e
*ONTE-T
(i) O$$urren$e Lines 4;-41/E4
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(ii) *ontent In this poem the poet 'ives an ima'ina'y description of a
wanderland# anadu% It has a pleasure-doom# a sacred river# ancient forests# a
wailin' woman# a mi'hty mountain# caves of ice and a damsel sin'in' of mount
6&ora%
E-+/N/TION
In these lines the poet depicts a very romantic scence at Gu&la GhanAs
wanderland# -anadu% 5he poet dreamt that a youn' &lac" woman was standin' inthis wanderland% 0he was# in fact# an 6&yssinian maid% In her hands# she was
holdin' two li'ht-wei'ht hammers% With these hammers she was palyin' a musical
instrument called dulcimer% 5he music of this ither was creatin' a pleasin' e@ect%
oreover# she was sin'in' a melodious son' in praise of sacred mountain called
6&ora% 5hus the presence of the youn' woman# the playin' of the musical
instrument and the sin'in' of the praise son' all add to the &eauty and charms of
this land%
The hills are ali3e &ith the sound of musi$
!ith the songs they ha3e sung
*Fscar Hammertein II+
(b) !aled through a &ood '' at their ease.
#EE#EN*E
(i) +oem 0ay 5his ity Has 5en illion 0oul
(ii) +oet Wyston Hu'hes 6uden
*ONTE-T
(i) O$$urren$e Lines :7-:8/48
(ii) *ontent In this poem the poet descri&es the misera&le condition of ?erman
9ews% 5o 'et rid of HitlerAs cruelties in ?ermany# the 9ews )ed to 6merica to ta"e
refu'e% $ut the immi'rants had to face estran'ement# alienation and maltreatment
in 6merica%
E-+/N/TION
In these lines the poet re'rets that human life has fallen &eneath the animal
level and the maor reason is the presence of politicians amon' humans% When theauthorities of Ne&
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#EE#EN*E
(i) +oem 0na"e
(ii) +oet David Her&ert Lawrence
*ONTE-T
(i) O$$urren$e Lines :-:7/7E
(ii) *ontent In this poem the poet descri&es his encounter with a sna"e that
comes to drin" water at his water-trou'h% He is much impressed &y its physical
&eauty% However# the voices of his education compel him to attac" it% 6fter his
departure# he feels sorry for his mean action%
E-+/N/TION
In these lines the poet e2presses the con)ict in his mind a&out how to treat
the sna"e which has come to his water-trou'h to (uench its thirst% 5he poet has
li"ed the presence of this &eautiful sna"e in his house% However# on the other hand#
he is a'ain hearin' the inner voices of his conscience and social education% 5hesevoices are alarmin' him that sna"e is a dan'erous and poisonous reptile% It is a
'reater enemy of man% 5hus the rational voices are ur'in' him that if he is not a
coward or pavid and if he does not feel afraid of it# he must "ill the venomous sna"e
to save himself and others from its &ite%
/nd ? mid this tumult @ubla heard from far
/n$estral 3oi$es 6ro6hesying &ar:
*0%5% olerid'e+
QUESTION NO. A
(a) 0ua, tell them in the stables that Toby isn"t to ha3e any oats all to
day.
(b) 0ortunately, I ha3e other means of im6ressing you. The 6o&er of the
6urse goes a long &ay in this &orld. I 6ro6ose to use it.
($) There ain"t no $riminal $lasses, any more than 3irtuous $lasses. The
rogues and the rulers may both $ome from the gutter, or the +ala$e.
(a) 0ua, tell them ''' oats all today.
#EE#EN*E
(i) +lay 5he $ear
(ii) +lay&right 6nton he"hov
*ONTE-T
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(i) O$$urren$e Last line of the play
(ii) *ontent >opova# a dowa'er# is visited &y 0mirnov# a creditor of her late
hus&and% 0he is not in a position to repay the loan% 5he situation advances in such a
manner that they are ready to 3'ht with pistols% $ut later# they are en'a'ed in love-
ma"in'%
E-+/N/TION
5his sentence is spo"en &y the heroine of the play# >opova% 0he utters it
when Lu"a and other servants come to &eat 0mirnov with di@erent tools% It shows
that she has &e'un to li"e 0mirnov and despise ihailovitvh# her late hus&and%
When >opova loved her late hus&and# she also loved his favourites% 5hus 5o&y was
not only the favourite horse of ihailovitch &ut also of >opova% In the &e'innin' of
the play she says to Lu"a# 0Tell them to gi3e him(Toby) an e2tra feed of oats %
$ut now >opova has &ecome very cruel to 5o&y% hilip# a soldier# comes &ac" after the war to the house of ncle
9ames% 9ames wants to &rin' him into his am &usiness% In his nap he dreams that
>hilip does not a'ree with him% However# when he wa"es up >hilip accepts his
proposal%
E-+/N/TION
5hese lines are spo"en &y a main character of the play# Un$le Cames% He
utters these lines when >hilip says to him that his an'er is not so impressive as thatof his $ri'adier% 0o he plans to use hilip% He thin"s
that money has a 'reat power in this world% >hilipAs father has died% He has left a
tidy sum of money for >hilip% However# >hilip cannot 'et his money until he is
twenty-3ve% $efore that he cannot withdraw his money without ncle 9ames
permission% ncle 9ames holds the purse-strin's% 0o when ncle 9ames fails to
in)uence >hilip with his an'er# he threatens him to use
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(i) +lay 0omethin' to 5al" 6&out
(ii) +lay&right .den >hillpotts
*ONTE-T
(i) O$$urren$e 6lmost middle of the play
(ii) *ontent 5he Wolf# a &ur'lar# &rea"s into the house of 0ydneys% Fne &y one# all
the family mem&ers come into the room where the Wolf is tryin' to ro& theirhristmas 'ifts% 5hey appreciate him &ut do not want to lose their 'ifts% 0o they
cunnin'ly send him to their nei'h&ourAs house%
E-+/N/TION
5hese lines are spo"en &y the central character of the play# the Wolf% He
utters these lines to contradict Lady edchester when she uses the words alace%
Question No. D
(a) !hat is the role of Ni$ /dams in 0The @illers
(b) 0I &ould rather ha3e been lo3ed, not feared says Featri$e before
dying in 0#a66a$$ini"s 8aughter. Elaborate.
($) 8es$ribe the Guarrel bet&een Ustad %angu and the =ora Soldier. (The
Ne& *onstitution)
(a) #ole of Ni$ /dams
Fle 6nderson# 6l# a2# ?eor'e# 0am and !ic" 6dams are the main characters
of the story# 0The @illers% However# the prota'onist is !ic" 6dams% He is a typical
Hemin'way hero who is learnin' 0the $ode% He is a teena'e &oy# responsi&le
citien and peace-lovin' individual%
Birstly# he is a little dude of a&out ei'hteen or nineteen who wor"s at HenryAs Lunch-
oom with ?eor'e and 0am in 0ummit% His a'e &ecomes evident when 6l and a2
moc" his masculinity &y callin' him a 0bright boy% oreover# when 0am
says# 0ittle boys al&ays no& &hat to do# his teena'e 'ets proved%
0econdly# he is a responsi&le citien% 6fter the departure of 6l and a2# he
'oes to HirschAs $oardin' House% 5here he warns Fle 6nderson of the impendin'
dan'er to FleAs life from 6l and a2% He also o@ers him his help &y sayin'# 08on"t
you &ant me to go and see the 6oli$e
5hirdly# he is a peace-lovin' person% He reco'nies the horror of evil and attempts
to do somethin' a&out it# &ut when he cannot# he decides to run away from the area
of 'an'sters% 5hus when he comes &ac" HenryAs Lunch-oom# he says to
?eor'e# 0I"m going to get out of this to&n.
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(b) Featri$e"s !ish to be o3ed
>oisonous women have lon' &een the em&odiment of fear% History and
literature presents many e2amples of it% $eatrice is also a poisonous 'irt &ut she
never wants to &ecome an o&ect of fear &ut of love% 0he wishes to &e loved
&ecause she is alone# her soul is pristine and her mind is depressed%
Birstly# she is a lonely maiden% Her life is con3ned to her house and 'arden%
He 0sister6lant cannot re(uite her love% 5hus# to "eep her emotionally sound
and psycholo'ically &alanced# she wishes to love of society%
0econdly# her soul is pristine% 6lthou'h her sinister father has impre'nated
her &ody with poison# her soul remains pure% Her evil power is merely a super3cial
dis'uise% Hence she says# 0=io3anni, belie3e it, though my body be fed &ith
6oison, my s6irit is =od"s $reature, and needs lo3e as its daily food.
5hirdly# her heart and mind is 'rief-stric"en% 6ll the three characters ma"e her
life misera&le% $a'lioni causes hatred in the heart of ?iovanni for $eatrice%
appaccini uses her as a guinea 6ig% ?iovanni accuses her of his &ein' poisonous
and even calls her 0terrible In this dilemma# she only needs love# love and love%
($) Quarrel Fet&een Ustad %angu
and the =ora Soldier
It was the mornin' of 1st 6pril# 1:E in 0outh 6sia% 5he day when a new
constitution was supposed to &e promul'ated% stad an'u# the hero of the
story# 0The Ne& *onstitution &y 0aadat Hasan anto# 'ot up earlier than usual%
He set up his ton'a and came on the road% He moved a&out in the city to see colour
and li'ht# &ut there was none%
He went to the cantonment% 5here he saw the ?ora soldier who had a&usedhim the year &efore in the drun"en state% He was waitin' for a conveyance% an'u
drove towards him% 5he ?ora soldier wanted to &e carried to the dancin' 'irlsA
&aaar% 5o recover the amount spent on the new plume of his horse# an'u
demanded 3ve rupees for the service%
5he demand of 3ve rupees caused a violent &ic"erin' &etween the two% 5he
?ora soldier hit an'u with his stic"% an'uAs thi'h was inured% He )ew
into e2asperation% He thou'ht that the new constitution was in force% 0o under the
illusion of e(ual ri'hts# he hit a &low under the chin of the soldier% any &lows
followed% He 'ave the soldier a sound &eatin'%
In desperation# the soldier &e'an to shout for help% 0oon a crowd 'athered
there% >olice also appeared on the scene% an'u was apprehended% He
shouted# 0Ne& $onstitution: 0Ne& $onstitution: $ut he was told that there
was no new constitution% 6t last# the common Indian was put &ehind the &ars and it
'ot proved that the $ritish were still in rule%
QUESTION NO. H
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(a) !hy does E3e turn do&n e3ery o9er of #osen in 0Tae +ity
(b) o& does the S&allo& sa$ri5$e his life for the lo3e of the a66y
+rin$e
($) 8es$ribe the e9e$t of romanti$ lo3e on the adoles$ent mind of the
Small Foy. (/raby)
(a) E3a"s #efusal to #osen"s el6
Hitler "ills relatives# mi'ration ruins &usiness# disease snatches hus&and and
dau'hters &ecome &urden% 0o .va is in a 'reat predicament% ?od ta"es pity and
sends an an'el of help named osen% However# .va reects all his o@ers of help
&ecause she li"es self-dependence# possesses self-respect and loves her lat
hus&and very much%
Birstly# .va wants to lead an independent life% 0he thin"s that no&ody will
marry a poor widow with two dau'hters% .ven osen is ready for marria'e &ut she
refuses% 0he fears that the sic" osen will soon leave her in the lurch li"e that of her
sic" hus&and% 5hus she says# 0I had enough &ith si$ men.
0econdly# she is a para'on of self-respect% 0he has a 3rm &elief in her own
inte'rity% osenAs pity# charity# love and marria'e proposal all hurt her self-respect%
0he prefers starvation and loneliness to dis'race of her self-respect% Hence she
plainly says no to each and every o@er of help &y osen%
5hirdly# she has a 'reat love for her late hus&and% 0he still calls hem 0%y
/le2% 0he does not want to let his name down% In the end it seems that she 'oes
to osenAs window to surrender% $ut it is ust the hallucination of osen as he wants
to see her &rea"in' down &efore him% $ut .va never &rea"s down%
(b) The #ole of S&allo&
5he 0wallow is a very lovely character in the short story 0The a66y
+rin$e &y Fscar Wilder% 6t the start of the story# he is shown to &e a romantic &ird
who &elieves in physical love% However# as the tale advances# he falls in true love
with the statue of a prince% ?radually his love is transformed into aga6e% 5he love
for which he postpones his seasonal mi'ratory )i'ht towards .'ypt# &ecomes an
a'ent of charity and even sacri3ces his life%
5he 0wallow is mi'ratin' to .'ypt where he is awaited &y his friends%
However# on the re(uest of the statue# he procrastinates his ourney three times% Fn
the 3rst ni'ht he stops to help a seamstress and his ill son with the ru&y from the
statueAs sword-hilt% Fn the second ni'ht he delays his trip to help a starvin'
playwri'ht with one of the sapphire eye of the statue% Fn the third ni'ht he stays to
succor a destitute match-'irl with the other sapphire eye of the statue%
When the statue &ecomes &lind of &oth eyes# the 0wallow decides to live with
him forever# He )ies over the city and narrates the su@erin's and miseries of the
people to the statue% Fne &y one he pluc"s the 'old leaves that cover the &ody of
the statue and distri&utes them amon' the indi'ent of the city% In the meantime#
snow is followed &y frost% 5he 0wallow 'rows colder and colder% In his mori&undity#
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he )ies to the statueAs shoulder# "isses him on the lips and falls down dead at his
feet%
($) E9e$t of #omanti$ o3e
6ccordin' to reud# a love which has a &loc"ed se2ual ur'e is called romantic
love% 0/raby &y 9ames 9oyce &eautifully depicts the e@ect of romantic love on the
adolescent mind of a small &oy who is infatuated with the sister of a play-mate% 5his
is the &oyAs 3rst and unre(uited love which ma"es him an ima'inative dude#
parasitical follower and sentimental fool%
Birstly# love ma"es the &oy hi'hly ima'inative% He is always o&sessed in the
sweet thou'hts of his sweet-heart% He always "eeps her with him in his ima'ination%
6t day in the class-room and at ni'ht in the &ed-room# he envisa'es her
&eautiful 0bro&n 5gure &etween him and the pa'e of &oo" he strives to read%
0econdly# love converts him into a parasitical follower% He wants to han'
around his &eloved all the time% .very mornin'# he lies on the )oor of his front room
and an2iously waits for his &eloved to come our of her house for school% 6s soon as
she comes at her doorstep# he (uic"ly ta"es his &oo"s and follows her to that point
where their ways diver'e%
5hirdly# love ma"es him a sentimental fool% He promises his darlin' to procure
a souvenir for her from
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a 03ulture eye% 5he eye chills him to the &ac"&one% 5he revulsion e2ceeds to
such an e2tent that he decides to "ill the old man# perhaps his master%
0econdly# the process of "illin' 'enerates horror% Bor seven ni'hts# the
narrator 'oes to "ill the old man% 5he eye &ein' closed# he ta"es no action%
However# on the ei'hth ni'ht# the old man wa"es at a certain noise% 6fter 'loatin'
over his victimAs fear an hour# the prota'onist lets out a ray of li'ht at the 0e3il
eye% 5he si'ht infuriates him% He pounces upon the old man and smothers him
under &ed%
5hirdly# the corpse of the old man 3lls us with shudderin' horror% We feel near
nausea when the merciless "iller hac"s the corpse into pieces to conceal it under
the wooden plan"s of the )oor% 5he horror 'ets intensi3ed manifold when the
conscience of the "iller &e'ins to hear the relentless thro&&in' of the dead manAs
heart 'ettin' louder and louder each moment%
(b) Satire on Lanity of !omen
6 literary wor" in which human vice or folly is attac"ed throu'h irony# derision
or wit is called satire% 0The Ne$la$e &y ?uy de aupassant is an e2cellent satire
on the vanity of women% 5hrou'h the characters of atilda and Borestier# the writer
has satiried three aspects of womenAs vanityK discontent with life# e2cessive pride
in physical &eauty and e'oism to hide truth%
Birstly# womenAs dissatisfaction with life has &een satiried% Canity is# in fact#
the (uality of &ein' vain and valueless% atilda is not satis3ed with her poor
hus&and# hum&le house and other modest &elon'in's% 5he a&sence of e2pensive
stu@ in her life ma"es fer feel worthless and futile% 5he writer condemns this vain
and pessimistic attitude of life%
0econdly# womenAs e2cessive pride in their physical &eauty has &e criticied%
atilda is very proud of her physical &eauty% 5o &ecome a beauty Gueen at a &all#
she procures a costly froc" and &arrows a diamond nec"lace which are sym&ols of
her vanity% 5he writer manifests that vanity has a fall% 5he nec"lace is lost and
atilda has to pay a heavy price for it%
5hirdly# womenAs e'oism to hide the truth has &een ridiculed% It is the e'oism
of Borestier that she does not tell atilda that the nec"lace is fa"e% 0imilarly# atilda
does not tell Borestier that the nec"lace has &een lost% 5hus &oth women have fear
of &ein' ori'inal and this attitude is intimately connected to vanity or 3ainglory.
($) %oral 8e$aden$e of the English /risto$ra$y
5he act or process of fallin' into an inferior condition is called decadence% 5he
story 0The 8u$hess and the Ce&eller written in 1:8 &y Cir'inia Woolf clearly
re)ects the decadence of moral values of the .n'lish aristocracy after the Cictorian
.ra% ?am&lin'# stealin'# cheatin'# 'reediness and insolence were the prevailin'
vices amon' the elite class% 5here are two main characters in the story M Oli3er
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Fa$on and a 8u$hess% 5hese characters fully re)ect the moral decadence of the
.n'lish aristocracy%
Fliver $acon is a representative of naoveau aristocracy% His character amply
reveals the moral decadence of the contemporary upper class% He is a very 'reedy
man% .ven thou'h he has &ecome the richest eweler in .n'land# yet he is not
satis3ed% oreover# he is a philanderer% He has deceived ademoiselle who used to
stic" roses in his &utton hole% !ow he &uys fa"e pearls from the Duchess in
e2chan'e of passin' a wee"end with her dau'hter 8iana# his new &eloved%
Fn the other hand# the Duchess represents inherited aristocracy% Her
character also hi'hli'hts the la2 ethics of the no&ility of that time% 0he is a thief% In
order to 'et money for 'am&lin'# she steal the pearls of her hus&and% 0he has no
respect for her hus&and% 0he calls him villain# sharper and &adAun% 0he is so
&an"rupt morally that she sta"es the honour of her dau'hter for money% 0he o@ers
her dau'hter Diana for amour to Fliver $acon in her own house%
QUESTION NO. M
(a) The !ife in 0The Shado& in the #ose =arden $annot hel6 digging her6ast. 8is$uss.
(b) 8es$ribe the lo3e bet&een the ren$h Soldier and the +anther.
($) o& is isby di9erent from her elder sister
(a) The !ife ' / Nostalgi$ *hara$ter
0ome memories fade away with the passa'e of time% However# the
reminiscence of 3rst love refuses to wither away% 5he Wife in 0The Shado& in the
#ose =arden &y D%H% Lawrence still retrospects her 3rst love passionately% Her
issuelessness# choosin' a familiar place for outin' and eaculation of pent-upemotions prove that she cannot help di''in' her past%
Birstly# the Wife is childless% 0he married Bran" three years a'o% 0ince then
she has &een livin' with him in $ridlin'ton under the same roof% However# she has
not 'iven &irth to a &a&y% It means she has not compromised with her present% 0he
has not developed conu'ality with her hus&and% In other words# she still loves her
past%
0econdly# when the hus&and arran'es for an outin'# the Wife deli&erately
selects a sea-side villa'e to revive her yore% Here there is her sweet memorial place#
a rose 'arden% 0he visits this 'arden alone% 5his lush# enchanted 'arden# 3lled withred# pin" and white roses reminds her of the time spent there with /r$hie# her
erstwhile lover%
5hirdly# her dischar'in' of repressed emotions shows her love for past% In the
'arden# she encounters 6rchie% Watchin' him alive &ut mad pertur&s her 'reatly%
Her mind is so full of the memories of past that it refuses to hide the present shoc"%
5hus after comin' &ac" the 'arden# she &lurts out a confession of her a@air with
6rchie to her hus&and%
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(b) o3e Fet&een the ren$h Soldier
and the +anther
6n emotion of stron' a@ection and personal attachment is called love% 0/
+assion in the 8esert &y Honore De $alac is a wonderful lo3e fantasy% It
descri&es a stran'e type of love &etween a human and a &east% 5he male lover is an
escaped Brench soldier while the female lover is a panther% 5heir encounter in a den
of desert 'radually develops into a love a@air &etween the two%
Fn the mornin' of second day of his escape# the soldier dares to caress the
panther% Love &e'ets love% 5he panther wa's her tail voluptuously% 0oon they
&ecome friends% 5he soldier calls her with lovin' names% However# &ein'
apprehensive of her ferocity# he once tries to )ee &ut falls in a (uic"sand% 5he
panther comes to his rescue% 0he seies him &y the collar and pulls him up%
6fter this incident# the love &etween the two 'rows stron'% 5he soldier says to
the panther# 0!e"re bound together for life and death. Brom that time the
desert seems inha&ited to him% Fn the other hand# the panther &ecomes ealous in
love% Fnce when the soldier shows interest in an ea'le# she shows her ealously &y'rowlin' and hoppin' a&out%
Love ta"es a trial% 5he soldier a'ain tries to desert the panther% 0he clutches
his le' in her aws to "eep him &ac"% He misunderstands that the panther is 'oin' to
devour him% 0o he sta&s her with his di''er% In her mori&undity# she loo"s at the
wild soldier without any an'er or enmity% 0he dies there and then &ut wins in the
trial of love.
($) 8i9eren$e Fet&een isby and er Sisters
Lis&y 6very is the heroine of the short story 0The ittle !illo& &y Brances
5owers% 0he has two elder sisters# harlotte and $renda% When we have a
comparative study of the characters of the three sisters# we 3nd that Lis&y is (uite
di@erent from her si&lin's% Her &eaut# love and morality do not correspond with that
of her sisters%
Birstly# Lis&y is not physically attractive and 'lamorous &ut has
a tremendous inner &eauty% Fn the other hand# hers sisters lac" spiritual &eauty &ut
outwardly they are ?$harmers"% 5hey wear dresses of &ri'ht eye-catchin' colours%
harlotte has a face li"e La Belle Ferroniere and $renda has the )ower-li"e delicacy
of Piero della Francesca.
0econdly# Lis&y &elieves in true love% 0he only loves 0imon $yrne and
remains constant in her love% 6s for her sisters# they are playful and )irtin' 'irls%
5hey pretend to &e in love with all the eli'i&le army oNcers who visit the ourt
House% 5heir love is sel3sh and &usiness li"e% In short# they are 0the ty6es of the
sedu$ti3e &oman in any age.
5hirdly# Lis&y is a moral 'irl% .ven the war has not pertur&ed her morality% 0he
still li"es
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respect for her ancestors% However# her sisters are heartless# insensitive and
immoral% 5he deaths of their erstwhile lovers have no e@ect on them% 5hus they
remind us one of GeatsA 0a Felle 8ame Sans %er$i.
QUESTION NO. 1
(a) 8is$uss the 6lay 0The Fear as a far$e.
(b) !hat is the $onKi$t bet&een Un$le Cames and his ne6he&, +hili6
($) !hy has +rimrose de$ided to marry an ugly man
(a) 0The Fear /s a ar$e
Barce is a "ind of low comedy that raises roars of lau'hter rather than
smile% 0The Fear &y 6nton he"hov is an outstandin' archetype of this 'enre%
5he e2a''erative characters# ludicrous situations and impro&a&le plot are the maor
farcical elements in the play that produce &elly lau'hs# slapstic" humour and
rum&ustious entertainment%
Birstly# the play has e2a''erative characters% 5hey are ala7ons. 5hey in)ate
themselves to &e more than they actually are% 0mirnov e2poses himself a
miso'ynist% However# the way he e2ploits )attery to win >opovaAs love ma"es us
'i''le% >opova claims that she is inconsola&ly &ereaved &ut her powdered face and
passionate em&race with 0mirnov 'ive us a hearty cachinnation%
0econdly# the play is pre'nant with ludicrous situations% >opovaAs refusal to
pay &ac" 0mirnov the loan# >opovaAs acceptin' 0mirnovAs challen'e to 3'ht a duel
with pistol and 0mirnovAs teachin' >opova how to 3re a pistol are the most ludicrous
and ridiculous situations in the play% 5hese situations &reed a 'reat hee-haw and'u@aw%
5hirdly# the plot of the play is impro&a&le% It is full of suspense &ut the
suspense# curiously enou'h# is titillatin'# rather than 'rim% 5he twist at the end of
the plot is (uite humorous% In mas(uerades the e2pected tra'edy into comedy% 5hus
the end# o&viously ma"es the readers or the spectators lau'h a 'reat deal% HaJ HaJ
HaJ OOOOJ
(b) *onKi$t Fet&een +hili6 and Un$le Cames
5he opposition &etween two thin's is called con)ict% In 0The Foy *omes
ome &y 6%6% ilne# the element of con)ict is very prominent% 6lmost all the 3ve
characters are in con)ict &ut the a'on &etween >hilip and ncle 9ames is the soul of
the play% 5he maor factors which esta&lish con)ict &etween the two areP
punctuality# manners and >hilipAs career%
5he 3rst con)ict starts at &rea"fast on the issue of punctuality% >hilip has ust
repatriated from a nerve-shatterin' war% 0o he is in a mood of holiday% He wa"es up
late in the mornin'% He demands his &rea"fast at 1; oAcloc"% ncle 9ames does not
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approve his unpunctuality% He has made a strict rule in his house to have &rea"fast
at 8 oAcloc" sharp%
5he second con)ict ta"es place in a dream on the matter of decorums% While
waitin' for >hilip in the mornin' room# ncle 9ames naps in front of the 3re% He
dreams that >hilip has a ci'ar in his hand% He li'hts it and starts puNn' in front of
his uncle without any permission% ncle 9ames does not li"e it at all%
5he third con)ict is seen in the dream on the concern of >hilipAs employment%>hilip wants to &e an architect while his uncle tries to push him into his am
&usiness% 6 showdown starts &etween the two% 9ames e2ploits the power of money
and >hilip uses the power of revolver% >hilip wins% However# when 9ames wa"es up#
>hilip is ready to oin the am &usiness%
($) +rimrose"s 8e$ision to %arry an Ugly %an
5he u'ly hus&and is a secret to successful marria'e% 5he $eauty and the
$east ma"e the most positive and supportive couple% >rimrose# the heroine of the
play 0SmoeS$reens &y Herold $ri'house# has realied it% 0he is a &eautiful
youn' 'irl of twenty% 0he has decided to marry an u'ly man# 9ohn# &ecause he is avery lovin'# solvent and secure man%
Birstly# she has decided to marry the u'ly man &ecause he is a very amorous
and lovin' person at heart% He ma"es her feel all funny inside% He hits her where
she matters% His love has made her &lind to his physical u'liness% 6nd love &etween
a man and a woman is an insanity that is only cured &y marria'e%
0econdly# she has proposed to marry the unattractive man &ecause he is
well-esta&lished 3nancially% He is an international player of a very earnin' 'ame# the
ru'&y foot&all% oreover# he is one of the most successful advertisin' a'ents in
London% 5hus she will have no 3nancial pro&lems after marria'e% 0he will roll inmoney%
5hirdly# she wants to marry the hideous man &ecause he is very secure% 0ince
he is u'ly# he is not a lady-"iller% 0he will have not worries re'ardin' his runnin'
after other women or other women runnin' after him% In other words# he will remain
a monogamous husband% He will not desert her the way her charmin' father has
deserted her mother%
QUESTION NO. 11
(a) In the light of iaGuat /li @han"s s6ee$h, e26lain the $ir$umstan$es
&hi$h led to the $reation of +aistan.
(b) !hat is the signi5$an$e of the $on$lusion that 0the &hole fabri$ of
$i3ili7ation &as modeled and moulded
($) 0!histling of Firds sho&s its &riter"s lo3e for nature. Elaborate.
(a) *ir$umstan$es for the *reation of +aistan
Irreconcila&le di@erences eventually lead to inevita&le separation% In his
speech
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which led to the creation of >a"istan% 5hese circumstances were# in fact# the deep-
rooted di@erences &etween the uslims and the Hindus% 5he uslims and the
Hindus were poles apart demo'raphically# reli'iously# socially and economically%
5hus Hindu-uslim unity and amity were impossi&le in the su&-continent%
Demo'raphically# the uslims were a minority as compared with the Hindus%
eli'iously# the uslims were monotheists while the Hindus were polytheists%
0ocially# the uslims &elieved in the e(uality of all men whereas the Hindus
adhered to a caste system% .conomically# the uslims advocated private ownershipand the Hindus attached wei'ht to the concentration of wealth% 5hus the uslims
and the Hindus were di@erent in everythin' and must need di@erent territories%
5heir co-e2istence was incon'ruous% oreover# the su&-continent was vast enou'h
for two lar'e countries%
5he demand of the uslims for divorce was very 'enuine and reasona&le as it
was in the interest of &oth the uslims and the Hindus% It was also in the interest of
the world peace% 5he &o'us peace enforced &y the $ritish would have ended after
the departure of the $ritish from the su&-continent% In short# a separate homeland
was inevita&le for the uslims to live peacefully and accordin' to their own political#
reli'ious# social and economical life style%
There is no 6la$e lie home
/ll must ha3e a home of their o&n
*9%H% >ayne+
(b) Signi5$an$e of the *on$lusion
onclusion is# in fact# a lo'ical end of somethin'% 6s far as the conclusion of
the essay 0The E$li6se &y Cir'inia Woolf is concerned# it is very si'ni3cant% 5he
phrase 0the &hole fabri$ of $i3ili7ation &as modelled and moulded shows
the importance of the sun in the system of universe# stren'thens our &elief in 6llah
6lmi'hty and discloses the worth of those thin's which are found after their loss%
Birstly# the conclusion si'ni3es the importance of the sun for the world% 6fter
the eclipse# the li'ht is restored in the sun% 5his li'ht transforms the entire structure
of human civiliation into its ori'inal shape and splendor% Fnce a'ain# the world
&ecomes &ri'ht# colorful and populous% 5he farmhouses# the villa'es and railway
lines &ecome the centre of activity% 5hus the sun is the )esh and &lood of this world%
0econdly# the conclusion stren'thens our trust in 6llah 6lmi'hty% 6n eclipse is
a natural phenomenon% It warns that manAs place on this earth is very precarious%
6ll the advancements in "nowled'e and science cannot overcome this helplessness
of man% However# the return of li'ht in the sun 'ives us a messa'e of hope and
su&stantiates our faith in 6llah 6lmi'hty Who is controllin' all the processes of the
universe%
5hirdly# the conclusion implies that losin' somethin' ma"es us realie the
importance of that thin'% 5he sun is lost for twenty-four seconds durin' this eclipse%
However# when it is revived we realie that nothin' is more important to us than the
sun%
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The thing that is found after its loss is $alled hea3en.
*Wasif 6li Wasif+
($) !riter"s o3e for Nature
D%H% Lawrence is a platonic lover of nature so he loves nature from &oth sides
of the coin% His essay 0!histling of Firds shows his a&sor&in' love for nature%
His faithful description of o&ects of nature# &eautiful presentation of phenomena of
nature and ac"nowled'ement of natureAs merciless potential# are evidence of his
love for nature%
Birstly# his faithful description of o&ects of nature shows his stron' aNnity
with nature% 5he presence of lam&s# turtles and doves etc# in this essay# sym&olies
his love for animals whereas daphne# crocus and celandine denote his love for
plants% $oth animals and plants are the livin' o&ects of nature and the writer is a
lover of them%
0econdly# his &eautiful presentation of the spectacular phenomena of nature
demonstrates his love for nature% He descri&es frost# wind# sunset and twili'ht as a
lover descri&es the features of his &eloved% He has presented these divine acts to
portray two other 'reat natural phenomenaK winter and sprin'% However# the
writerAs love for nature is the 'reatest natural phenomena%
5hirdly# the writerAs love for nature has reco'nied natureAs merciless
potential% 5hat is why he has 'iven the dismal details of lacerated cadavers of
lapwin's# starlin's# thrushes# red-win's and numerous other creatures% In short# the
writer is an a3id lo3er of nature"s duality.
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No s6ring nor summer beauty hath su$h gra$e
/s I ha3e seen in one autumnal fa$e
*9ohn Donne+
QUESTION NO. 14
(a) 8es$ribe =loria Emerson"s e26erien$e of 6ara$hute um6ing.
(b) =i3e an a$$ount of the disaster o$$urred on /ugust M, 1M>A at
Nagasai, as gi3en by I$himaru.
($) !hy does AP &y ichaito Ichimaru
'ives us a detailed narration of the destruction caused &y the atom &om& in
!a'asa"i# the city of 9apan# on 6u'ust # 14E% 5he atom &om& was dropped &y
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6llied forces% 5he picture of the ruin comes alive &efore our eyes throu'h the
impressive narration of the writer%
5he writer narrates that it was a sunny day% 6ll of a sudden# at 11 am a &-
appeared and dropped an atom &om&% 5he &lac" rain started to fall% 5he &lue s"y
turned to &lac"% 5he air dose of radiation was more than 7;; raids% 5he people who
were comin' &ac" from hypo-center were in misera&le condition% 0Their $lothes
&ere in rags and shreds of sin hung from their bodies.
5housands of people were seriously inured% 5he noise of their cries was
un&eara&le% 5hey loo"ed li"e 'hosts% 5hey too died after a few days% 5he dead
&odies were lar'e in num&er that it was a &i' pro&lem to dispose them o@% 0o they
were piled up and &urnt with the help of woods% .verywhere there was death and
destruction%
5o sum up# it was an awful# horri&le and terri&le tra'edy which &efell the
people of !a'asa"i on that day%
($) *om6arison Fet&een =randmother and =randfather
5he essay 0%y =randfather &y W%$% ,eats &asically presents the memories
of writerAs childhood# especially related to maternal% However# 'reater part of the
essay reveals a character analysis of ,eatsA 'randfather and 'randmother%
5he writer says that his 'randfather# !illiam +olle2 en# was a man of his
own nature% 5hou'h he was never harsh or un"ind to him# yet it was a practice to
fear and praise him% >hysically he was very stron' &esides havin' a hard temper% He
could even handle the &ur'lars himself instead of 'oin' to the law% $ein' the only
son of his parents# he had very few friends% 5his shows his nature of remainin'
alone# thou'h he has ac(uaintance with some famous people% 6ll his children were
afraid of their proud father%
6s far as ,eatsA 'randmother is concerned# she was totally di@erent sort of
character% 0he was "ind-hearted# considerate and helpful &y nature% 5hou'h she
once punished him &ecause he was playin' with a servant# yet he always loved to
&e in her company% oreover# she had a fantastic aesthetic nature and admirer of
art% Her room was &eautifully decorated with di@erent paintin's% 0he always too"
"een interest in loo"in' after her 'arden% In short# she had a personality of her own
and every&ody loved and admired her%
5hese were the writerAs views a&out his 'randfather and 'randmother% ,eats
has included a comparison of their characters to ma'nify the salient features of each characters% 5his comparison also shows the di@erence &etween man and
woman# particularly old ones%
QUESTION NO. 1;
(a) !hy does ea$o$ regard the tailor as 0immortal
(b) +oint out the e2am6les of irony and humour in u2ley"s essay 0The
Feauty Industry.
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08o$toring is not e3en the art of ee6ing the 6eo6le in health is a
thou'ht-provo"in' remar" of ?%W% 0haw in his essay
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QUESTION NO. 1>
(a) o& does %a2 Feerbohm di9erentiate bet&een osts and =uests
(b) !hat are the real 6roblems fa$ed by a ba$helor
($) 0It is 3ery easy to see fanati$ism in other 6eo6le, but di$ult to s6ot in
oneself. Is it really so
(a) 8i9eren$e Fet&een osts and =uests
F@erin' or acceptin' hospitality is a (uality found in every human &ein'% Fn
the &asis of it# a2 $eer&ohm in his essay 0osts and =uests has divided the
whole man"ind into two distinct classesK hosts and 'uests li"e ?elett $ur'ess has
divided it into Fromides and Sul6hites% 6lthou'h this classi3cation is only on the
theoretical level# he has clearly drawn the 'eneral# temperamental and
circumstantial di@erences &etween these two classes%
Birstly# the writer tells the 'eneral di@erence &etween these two classes% 6
person 'ets the la&el of a host if he invites someone to dine with him at arestaurant# orders the meal and &ears the e2penses% Fn the other hand a person
'ets the la&el of a 'uest if he accepts the invitation with deli'ht# praises the food
while eatin'# does not pay the &ill and feels a pleasant sensation of not payin' for it%
0econdly# the writer 'ives the temperamental dissimilarity &etween these
two 'roups% .very human &ein' is either a host or a 'uest &y instinct% He is a &orn-
host or a &orn-'uest% His instinct dominates his personality% 6 person is a host if he
possesses an active or positive instinct to o@er hospitality% Fn the other hand a
person is a 'uest if he has a passive or ne'ative instinct to accept the hospitality%
5hirdly# there are circumstantial di@erences &etween hosts and 'uests%ircumstances react on the character% onventionally# the rich 'ive and the poor
receive% iches often nurture the instincts of a host and poverty usually fosters the
instincts of a 'uest% 5he rich and the poor is an undisputed division# however# the
rich as hosts and the poor as 'uests is a poor one% 0ome poor persons also love to
entertain others%
(b) +roblems a$ed Fy a Fa$helor
5he essay ro&a&ly# he 3nds himself mis3t in this environment &ut havin' no
alternative where to 'o% He is often found in parties wanderin' alone%
When a &achelor loo"s into a mirror# he has an alto'ether di@erent idea a&out
himself% 5he mirror 'ives him the re)ection of a healthy youn' man with a lot of
time# chance# and moneyK who can eat# drin"# and roam at will% He feels himself free
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without a wife or children to loo" after% $ut same mirror sometimes 'ives him some
displeasin' aspects as well% He feels himself alone and unwanted &y society%
5here are t&o maor ty6es of &achelors% 5here is one who is handsome#
charmin' and always in search of new 'irls and even 'ettin' them% 5he other is a
&it mediocre# always considerin' himself a hero in dreams% He has intimacy with
pretty 'irls only in ima'ination# &ut a failure in real life% He always tosses in &ed &ut
sometimes fortunate enou'h to 'et a mee"er li"e him as a partner% $ut the pro&lem
with &oth of them is that they are not satis3ed with themselves% 5hey always needtrue love &ut seldom 'et and always 'et what they do not want%
In short# these are some common pro&lems faced &y an 6merican &achelor as
e2pressed in this essay%
($) inding anati$ism in Other +eo6le
Banaticism means e2cessive intolerance of opposin' views% It is an
unnecessary and unreasona&le enthusiasm for oneAs doctrine or stand-point% In his
essay 0Toleran$e# .%% Borster says# 0It is 3ery easy to see fanati$ism inother 6eo6le, but di$ult to s6ot in oneself. If we deeply loo" into the
matter# we 3nd out that it is really so% It is &ecause people lac" tolerance% 5hey are
e'oists# self-con3rmin' and 3ndfaulters%
Birstly# it is easy to see fanaticism in others and diNcult to spot in oneself
&ecause people lac" tolerance% 5olerance is a dull virtue so it is almost missin' in all
spheres of life M in the (ueue# in the street# in the railway station# in the oNce# at
the factory# at the telephone and a&ove all amon' classes# races and nations%
6&sence of tolerance and compromise ma"es people narrow-minded and fanatic%
0econdly# people are e'ocentric% 5hey consider tolerance a wea"ness orsurrender% 5hese people are responsi&le for the color (uestions and racial
preudices% 5hey produce hatred amon' people and distur& the peace of society%
5hey do not understand that puttin' up with people does not mean yieldin' to
them% It only means to &e &road-minded# li&eral# calm and patient%
5hirdly# people are self-con3rmin' and 3ndfaulters% 5hey consider their
thin"in'# &eliefs and creeds correct# truthful and the hi'hest of all% 5hey do not
respect the ideas of others% Bor e2ample# the .n'lishmen usually accuse the !ais
of &ein' intolerant to the 9ews% $ut are they not e(ually 'uilty of &ein' preudicial to
the $lac"S 5hus the writer ri'htly says#
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(a) %anners are Infe$tious
Infectious means lia&le to &e transmitted to people% In his essay 0On Saying
+lease 6lpha of the >lou'h has very aptly commented on 'ood and &ad manners
as infectious% If the &ad manners of one person in)uence others and ma"e them
rude and ill-temperedK the 'ood manners of one person also a@ect others and ma"e
them polite and "ind% 5he writer has propa'ated his view point with two e2amples%
5he 3rst e2ample is of &ad manners% 6 fellow did not say rotestants and rotestants will 'o to Hell= as
asserted &y the atholicsK lotinus too" their ori'in in>latoAs utopia of eternal world% 5he worshipers of ithra founded their fanatical
creeds in a solar paradise% 5he early hristians even started persecutin' each other
for minor deviations of their fanatical creeds% 5he supporters of 5rots"y founded
their fanatical creeds in the ussian $olshevi" evolution of 117 for the forci&le
enforcement of communism% 6ll these totally di@erent fanatical creeds of hristians
atholicism and ussian ommunism have &een claimin' heavenly salvation at the
cost of earthly salvation%
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However# science on the other hand aims at the spread of earthly salvation
on the condition of all "inds of tolerance for each other%
($) Im6ortan$e of Litamins for uman Fody
6 vitamin is an or'anic compound re(uired &y an or'anism as a vital nutrient
in limited amounts% 5here are thirteen vitamins that a human &ody needs for health
and 3tness% 5hese include four fat-solu&le vitaminsK 6# D# . and G# and nine water
solu&le vitaminsK 8 $ vitamins and vitamin % In his essay 0The Litamins# Dr%Genneth Wal"er has &eautifully descri&ed the role of various vitamins for human
&ody%
.ach vitamin has speci3c o&s% Citamins 6 plays a really &i' part in &ody
'rowth# immune system and eye-si'ht% Citamin D is necessary for stron' &ones and
. is indispensa&le for fertility% Citamin G is the clot-master% $ vitamins help human
&ody to synthesie proteins and ener'y% Citamin helps to heal cuts and wounds%
5hus vitamins play a si'ni3cant role in "eepin' the human &ody healthy and 3t%
De3ciency and e2cess of vitamins also a@ect human health% 5he dearth of
vitamin 6 may lead to a curious condition of the eye called e2ophthalmia% 5he lac"of vitamin D can cause ric"ets% Fne of maor causes of human infertility is the lac"
of vitamin .% $eri-&eri and pella'ra are caused &y the scarcity of $ vitamins%
0imilarly hi'h dose of some vitamins may ma"e human &ody sic"%
In short# for the 3tness of human &ody an ade(uate (uantity of vitamin is
inevita&le% If the vitamins are missin' from human diet# then the supply of mere
car&ohydrates# proteins# fats and minerals fail to "eep us in proper state of health%
5he writer also proscri&es us to ta"e vitamins in the form of ta&lets% We must 'et
them from fresh ve'eta&les# fruits# cereals and meat to "eep our &ody ro&ust%
QUESTION NO. 1D
(a) !hat is 6ersoni5$ation E26lain 6ersoni5$ation in 0eisure.
(b) !hat in your o6inion is the most fan$iful image in 0Tartary
($) !hat are the ne& year resolutions of Eli7abeth Se&ell
(a) +ersoni5$ation in 0eisure
>ersoni3cation is a literary device% It is an ontolo'ical metaphor in which aninanimate o&ect or a&straction is represented as a livin' person% In his
poem 0eisure# William Davies has personi3ed Feauty% He has 'iven it the
(ualities of a youn' 'irl who has dancin' feet# sensory eyes and smilin' lips%
Birstly# adam $eauty has feet% 5hese are the terminal structures of her &ody
which have &ones# muscles and oints% With these anatomical structures# she is
leapin'# umpin'# s"ippin'# hoppin' and ivin'% nfortunately# modern man has no
time to enoy the &allet of this &allerina%
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0econdly# $eauty is &lessed with eyes% 5hese are the optical or'ans of her
3'ure which have attraction and perception% With these sensual or'ans# she not
only detects li'ht &ut also smiles from her milieu% Ironically# modern man has 'rown
&lind to his surroundin's%
5hirdly# $eauty possesses lips% 5hese are the e2pressive or'ans of her
physi(ue which 'ain smile from the eyes% 6lthou'h the smile ta"es no time to reach
the lips yet modern man is so &usy in his worldly pursuits that he cannot wait for
the arrival of smile on the &eautiful face of $eauty%
(b) The %ost an$iful Image
In Literature# a word or e2pression that refers to an o&ect or (uality which
appeals to one or more of the senses and the feelin's is called
ima'e% In his poem# 0Tartary, Walter De La are has employed at least twenty
concrete ima'es% In fact# the whole poem is a succession of visual# auditory#
olfactory# 'ustatory# tactile and "inetic ima'es% 0o it is diNcult to say which of the
ima'es is more fanciful than the others%
However# if we are forced to select the most fanciful i%e%# unreal and
wonderful ima'e# then it is the "inetic ima'e made in the last four lines of the third
stana of the poem% Here the poet saysP
0/nd ere should &ane the morningstar,
I"d don my robe and s$imitar,
/nd 7ebras se3en should dra& my $ar
Through Tartary"s dar glades.
5his is the most fanciful ima'e &ecause it is totally di@erent from reality
and is very wonderful% 5he other ima'es M the &ed of ivory# the throne of 'old#
peacoc"s in the court# ti'ers in the forests# 3sh in the pools# colorful lamps#
musical instruments and o&ects of !ature M are deli'htful ima'es &ut they
represent real scenes% However# the ima'e of 'or'eously attired potentate of
5artary# ridin' a chariot driven &y seven e&ras is pure fancy%
($) #esolutions of the +oetess
.ver since the $a&ylonian 6'e# people have &een ma"in' new year
resolutions to improve their life style% In her poem# 0Ne&
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0econdly# she pled'es that she will en'a'e herself in introspection two times
everyday% 0he will try to discover the reality a&out her inner personality% 0he will
remind herself of her responsi&ilities and lia&ilities% 0he thin"s that self-identity will
&e a school of profundity# morality and wisdom for her%
5hirdly# she decides to 'ra&&le with the realities of life% !o dou&t# reality has
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Birstly# the poem has a solitary spea"er who is patently not the poet% He is an
erstwhile worshipful leader who is receivin' unearned punishment% In this critical
situation# he is freely 'ivin' vent to his feelin's to reveal the inner wor"in' of his
mind% He is# in fact# 0a soul in a$tion%
0econdly# the poem has a silent audience% 5here is no dialo'ue &etween the
spea"er and the audience% 5his audience consists of people who adore or a&hor
someone une2pectedly% 5his implied presence of an auditor distin'uishes this
dramatic monolo'ue from a solilo(uy in which the spea"er is alone%
5hirdly# the poem presents a tra'ic dramatic situation% It invo"es in us
feelin's of pity# fear and relief called catharsis% 5he leaderAs downfall e2cites
feelin's of pity in us% We fear &ecause we reco'nie similar possi&ilities in us%
However# the leaderAs &elief# 0?Tis =od shall re6ay I am safer so 'ives us
relief%
($) The /rt of osing
0One /rt is a &eautiful villanelle in which .liað $ishop claims# 0The artis losing isn"t hard to master% However# we do not a'ree with her &ecause
material thin's are never lost# real losses are eternal and the poetess herself fails to
master this so-called art%
Birstly# material thin's are never lost &ut misplaced% Door "eys# watches and
houses etc are not lost &ecause they retain their e2istence% 5hey have chances of
retrieval% We may run into them any time% If they mislaid permanently# we can 'et
their su&stitutes% 5hus tan'i&le thin's are never lost%
0econdly# the real losses are the losses of those thin's that lose their
e2istence% 5he death of our dear ones is an e2ample of these losses% 5ime canassua'e the pain of loss &ut can never return us a lost mother# father or friend%
Hence it is impossi&le to master the art of losin'%
5hirdly# the poetess herself fails to master this art% 5he rhythm of the poem is
cho"ed up% 5here are many 'lottal pauses# si'nifyin' that the poetess is tryin' to
hold &ac" the tears and havin' trou&le controllin' her view point% 0o how can we
a'ree with her )ippancyJ
QUESTION NO. 1J
(a) !hy does !ords&orth $all the solitary rea6er"s song ?a melan$holy
strain"
(b) !hy does Shaes6eare $all old age ?a se$ond $hildishness"
($) o& a66ro6riate is the title of the 6oem 0/ +oison Tree
(a) / %elan$holy Strain
T6 melancholy strainA means a sad son'% In his poem# 0The Solitary
#ea6er# Wordsworth calls the son' of the solitary reaper Ta melancholy strainA
even thou'h he does not understand the lan'ua'e of the son'% It is &ecause the
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reaper is alone# her voice is superior to that of a ni'htin'ale and the poet himself is
prone to melancholy%
Birstly# the reaper is alone M an idea emphasied 3ve times in the poem% It
means there is no one in the society with whom she can share her pent-up
emotions% 5his has made her life melancholic% 5hus she shares her emotions with
!ature in loneliness and the poet ri'htly calls her son' Ta melancholy strainA%
0econdly# it is a traditional idea that ni'htin'ales are connected to the idea of melancholy% any poets use ni'htin'ales as a sym&ol of melancholy in their poems%
$ecause Wordsworth has compared the voice of the solitary reaper with that of the
ni'htin'ale so the son' of the solitary reaper is also Ta melancholy strainA%
5hirdly# the poet himself is prone to melancholy% 5o prove this# we ump to his
poem 08a9odils% 6t the end of this poem# he mentions that he sometimes 3nds
himself in a Tpensive moodA% 5hus he naturally calls the son' of the solitary reaper Ta
melancholy strainA%
(b) Old /ge B / Se$ond *hildishness
Life is a cycle and old a'e is a sta'e where the cycle is returned to its
&e'innin' i%e%# childishness% 5he Holy Quran states#
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Birstly# the poison tree of William $la"e stands for the tree in >aradise% $ut
this analo'y is not suita&le% 6dam and .ve did not die after eatin' the apple from
this tree &ut the poetAs enemy dies% oreover# ?od does not reoice in "illin' His
enemies li"e that of the poet%
0econdly# the poison tree is a physical manifestation of poetAs an'er# 'rowin'
in his mind for his enemy% $ut how does the enemy 'et into the poetAs mind without
the poetAs "nowin'S How does poisonous thou'hts "ill the enemyS Fnly its shows
the inappropriateness of the title%However# if the foe represents the poetAs mental disharmony and the poison tree
his wrath# then the title matches the content of the poem% In the end the poet is
happy &ecause his wrath has "illed the demons in his mind# and his mind is at
peace now% In short# diamond has $ut diamond%
QUESTION NO. 1M
(a) !hy does Emily 8i$inson use the image of ourney in 0Fe$ause I *ould
Not Sto6 for 8eath
(b) 0ights Out by Ed&ard Thomas d&ells on the 6o&er of slee6.Elaborate.
($) !hat does the em6ty barrel signify in 0/fter /66le +i$ing
(a) The Image of Courney
0Fe$ause I *ould Not Sto6 for 8eath is a hi'hly sym&olic poem in which
.mily Dic"inson has employed many ima'es% 5he dominant one is the ima'e of
ourney% It is# in fact# a metaphor for life-after-&irth and life-after-death% .arthly life is
a ourney &ecause ourney and life &oth have turns# o&stacles and destinations%
Birstly# a common ourney is traveled on the routes called hi'hways whichhave many turns% orrespondin'ly# life is traveled on the route called 0time% It has
also several turns e2cept a -turn% 5he poetess has mentioned three maor turns in
lifeK childhood# youth and old a'e%
0econdly# on the route of a common ourney# there are many o&staclesK &ad
roads# frosts# &umpers and &loc"a'es etc% 0imilarly# on the course of life# ups and
downs are common% 0urprises and losses 'ive violent olts% 0orrows and worries
cause inuries% 5hus the route of life is full of impediments%
5hirdly# a common ourney comes to an end when the destination is
approached% Life also come to a halt when death &loc"s the route and pushes thetraveler into the 'rave the 3nal destination% In short# the soourn of life on earth
ends and the odyssey of life-after-death starts from here%
(b) +o&er of Slee6
0leep is a state of rest for &ody# mind and spirit% It has so much potential in it
that no passion or sentiment can challen'e it% In his poem# 0ights Out, .dward
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5homas e2(uisitely e2pounds the power of sleep% 0leep is so powerful that its
invasion is inescapa&le% Its dominance of a panacea and its end is a new &e'innin'%
Birstly# sleep is so potent that its invasion is irresisti&le% .ven the no&lest tas"#
the favorite &oo" or the dearest face cannot "eep us awa"e for a lon' time% 0leep is
cumulativeK if we resist it one day# it attac"s the ne2t day% We are helpless in the
hands of sleep% 6t last we have to surrender &efore the allurin' force of sleep%
0econdly# sleep is so powerful that its hold or dominance is a panacea% Itma'ically heals all despairs and miseries# and puts an end to all trou&les and
pro&lems% William 0ha"espeare ri'htly says a&out sleepP
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which &ecome his fears% He fears that he will not &e a&le to achieve fame# enoy
&eauty and savour love &ecause he will sooner die of tu&erculosis%
5he 3rst (uatrain descri&es his fear of not 'ettin' fame as a poet% He worries that
his premature death will leave his poetry in parenthesis% 5hou'h he has a
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poet warns him that sna"e is a mortal foe of man% Hence the natural feelin's of
a@ection are defeated &y the rational feelin's of hatred%
0econdly# he calls his education accursed &ecause it does not allow him to
appreciate the &eauty of the sna"e% !o dou&t# the uni(ue shape# coloration and
locomotion of sna"e ma"es it the most enoy the &eauty# fairness and 'race of the
sna"e &ut &eautiful animal in the world% 5he instincts of the poet wants
tothe o6hidio6hobia 'enerated &y his education ceases him to do so%
5hirdly# he condemns his education &ecause it misleads him% It compels him
to assassinate the sna"e% He hits it with a lo'% However# the sna"e does not come
&ac" to &ite him% It proves the innocence and harmlessness of the sna"e% 5hus the
attempt to "ill the sna"e was not an act of &ravery &ut of Candalism committed &y
an educated man%