Suggestions for the 2nd year B.A(HONS) ENGLISH students

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Suggestions for the 2nd year B.A(HONS) ENGLISH students

[INTRODUCTION TO DRAMA]

For part-c( answer any five questions) 5X10=50 MARKS

More important ones:

1. Give an account of encounter between Oedipus and Teiresias and comment on its dramatic significance./ Discuss the role of Teiresias in Oedipus Rex.
2. Consider Arms and the Man an anti-romantic comedy.
3. Critically discuss Aristotle’s theory of imitation with reference to his poetics.
4. Discuss King Oedipus as a tragic hero.
5. Compare and contrast the characters of Captain Bluntschli and Major Sergius.
6. Comment on the use of Nature in Riders to the sea.
7. Evaluate Maurya as a tragic character.

Less important ones:

1. Comment on the role of Bottom and his companions in “A Midsummer Night’s Dream”.
2. Explain the appropriateness of the title ‘Arms and The man.’
3. Sketch the character of Jocasta.
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“Understanding Poetry”[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838

“Understanding Poetry”

[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FORSTUDENTS OF ENGLISH HONS ]
Chapter Two (The Objective Approach to Poetry)
The title of this chapter suggests that there is an objective standard for determining the quality of poetry. An objective standard is one that exists independently from one’s own mind or opinions. For an example, if I want to measure one foot, I do not just draw a line and call it “one foot.” I must take an objective standard, in this case, a ruler. I can then measure the line accurately. Everyone will recognize my line as being one foot because I used the accepted standard. It makes not a bit of difference that I do not think that it is one foot or that I think that the one-foot length should be a different measure. I can try to change the standard, but I have to convince everyone else to accept my standard over the accepted one.

On the other hand, you have often heard that “Beauty is in the eye of the beholder.” This standard suggests that every individual mind and soul is the final authority as to what is beautiful and what is not. Therefore, there would be as many definitions of beauty as there are human beings in this present world. However, I am not of such an opinion. Our God created a universe of order. Everything in life points to precision and order. Mathematics, physics, biology, and music reflect a structure that allows for predictability. Even language has an ordered structure; otherwise, the study of grammar would be a most senseless endeavor.

So it is with poetry. A poem should not be seen as an ambiguous writing where millions of different interpretations are possible. Also, the greatness of a poem is not left to the whims and preferences of individual readers. I find it amusing whenever a student remarks that he thinks a particular poem is “stupid,” even though the poem has been recognized by millions as a great poem. When I ask him why he dislikes the poem, I receive a response that is either, “I don’t know; I just don’t like it,” or “I can’t understand it.” But judging poetry is like anything else: you must have some knowledge about the subject before you can offer an intelligent opinion. If I were to ask you to give me your opinion about the strength and durability of a bridge that we were going to build across a river, you would be unable to tell me what I need to know unless you are familiar with the engineering required to construct a bridge. I am not saying that you should like every classical piece of literature or poetry. However, you should at least make a concentrated effort to understand why people throughout the years have considered certain works to have enduring value.

As you have read in chapter one, the key to an appreciation of literature and poetry is understanding the work. It is paramount that you first understand the poem before you can evaluate whether the poem is a “good one” or a “stupid one.” This especially means that if you do not know the meaning of a word, look the word up in the dictionary. Always keep a dictionary by you whenever you read poetry.

Frankly, much of what passes off as poetry is not poetry at all. Beware of calling any verse “poetry” that is sentimental (for an example, greeting cards), that is didactic (primarily teaches a moral or a lesson), or that is rhetorical (using bombastic language and cliches). While these may have rhyme and rhythm, these verses fail to offer anything new or fresh. Great poetry expresses human experiences in unconventional ways. Also, do not fall into the trap of trying to find a moral lesson in every poem you read. Chances are there is none. You will save yourself a lot of frustration by rejecting the idea that poetry contains a hidden moral that is bitter to the taste, only to be made sweet by pleasant sounds and rhyme.

Edgar Allan Poe stated that the sole domain for beauty is in poetry. Of course Poe expands the definition of beauty that could also include things that may not be so beautiful, such as the death of a young woman. Nevertheless, if you wish to convey information that teaches and edifies, then prose is the best method to communicate your ideas to others. However, beauty cannot be described like a mathematical formula; it must be experienced. Therefore, good poetry is about meaningful experiences. The poem does not describe to us the experience, but rather allows us to participate in the experience. Good poetry challenges our souls, not just our intellect. Of the two following poems, which one is the better one?
The Eagle
I saw the golden eagle glide
Across on every windy breath;
Majestic with outstretched wings,
Like stretched out arms in shameful death.
Above he hovered o’er his realm—
A lord who views his earth below—
Reminding me of heaven’s King,
From Whom all wondrous pleasures flow.

The Eagle
He clasps the crag with crooked hands;
Close to the sun in lonely lands,
Ringed with the azure world, he stands.
The wrinkled sea beneath him crawls;
He watches from his mountain walls,
And like a thunderbolt he falls.
So, how do we determine the good from the bad, and the great from the good? First, determine the main purpose of the poem. By determining the purpose of the poem, you will be trying to understand the poem. Make sure that you avoid the common mistake that many readers make by assuming that the poet is talking about himself in the poem. More often than not, the narrator of the poem is someone other than the poet. By knowing who the speaker is, the purpose of the poem may be easier to see. In the first poem, “The Eagle,” the speaker is someone who sees the flight of an eagle that reminds him of Christ. The second poem is narrated by a person who tells us a lot about an eagle. Both poems have a purpose to relate an experience concerning eagles.
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This brings us to the second point, that is, has the purpose been accomplished? One can argue that both poems fulfill the purpose, which is to convey something about eagles, allowing the reader to experience a new insight into life. However, which poem does it more effectively? The first poem uses bland expressions and the imagery of the outspread wings of a bird representing the cross of Christ has become trite. There is nothing really fresh about the poem and it borders on sentimentality, even though the subject matter is lofty. On the other hand, the second poem uses interesting word combinations such as “crooked hands,” “ringed with the azure world,” and “wrinkled sea.” The first poem offers some skill with literary devices, but the second uses alliteration nicely, has an interesting simile, and provides a good contrast in lines three and six; that is, “stands” and“falls.” Also, there is a contrast in stanza one and two. The first stanza is centered on the eagle’s exalted position. The second stanza describes the dominions below. In stanza one, “sun” is mentioned, while in stanza two the “thunderbolt”contrasts with sun.

To really differentiate great poetry from good poetry, we must ask ourselves another question: Is the purpose of the poem very important? Even though a poem may achieve its purpose, the purpose may not be all that important. Many poems are written in order to commemorate an event, such as a battle. The poem may be good in that it allows us to experience something new, but it may not be great. Years ago, I was told that small minds discuss people, average minds discuss events (like the weather and current news), but great minds discuss ideas. So it is with good and great poetry. A good poem will help you to experience a freshly fallen snow, or to soar with an eagle, or to discover something new about a common object or event. But truly great poetry centers of universal themes on human existence, like love and death.

In short, great poetry should affectthe soul as well as the mind, the imagination as well as the intellect. Poetry should not be seen merely as a diversion for pleasure, although it can be. More importantly, poetry should cause a new awareness about yourself and about humans in general. What makes the Psalms of the Bible poetical is the fact that these Scriptures communicate the experience of humanity—fear, joy, praise, love, and hope.

Therefore, good poetry is not for the lazy. I mean this in two senses. First, good poetry is written by careful poets, not by lazy ones. And second, the reader must have some genuine character that includes the traits of patience and consideration. Anyone can write doggerel, such as “Roses are red; violets are blue; / Sugar is sweet and so are you.” But true genius with verse requires great care and a better than normal appreciation for words. Poetry cannot be appreciated with one or even two readings. The nature of good poetry requires patience on the part of the reader who thoughtfully reads and spends extended periods of time to muse over the words. The selections in this book are considered good poetry by people throughout many generations. Once again, you may not personally like some of the selections. But do try to determine why these poems have endured the test of time and are still meditated over and enjoyed by millions of people even today.

Chapter Three (Meaning in Poetry)

Many are the disappointed readers who think that poetry contains some obscure or even occult meaning. Please learn the following lesson well: most poems mean exactly what the words say. Sometimes a poet may employ a symbol as figurative language. But generally, a poem ought to be understood in the plain sense of the words.

This may be an eye-opener to you. Poets are not trying to hide secret meanings within the lines of their verse. The poet is trying to write about an experience for you to enjoy with him. The reason why a particular poem appeals to you or me is that the poet succeeded in allowing us to experience a freshness in life, which tends to become stale and dull. Life is not a twenty-fourhour party. Your life is mainly composed of day-to-day obligations and duties and is rather routine. You sleep, you eat, you work, you rest; then you sleep again only to repeat the cycle. I am not saying that you cannot enjoy yourself while you eat or work, but you are in a routine that can become monotonous.

You will naturally be inclined to enjoy and to readily accept poems with which you can relate. If you have ever seen a field of daffodils in springtime, you will love poems about daffodils. If you have been in love, then Shakespeare’s sonnets will undoubtedly strike a responsive chord in your soul. If you are interested in the legends about King Arthur, then The Idylls of the King will hold your attention and fascination. The poem is first and foremost about experiences. Therefore, do not try to read something into the words of the poet that probably is not there.

Chapter Four (Imagery in Poetry)

If I were to ask you how you personally experienced the world, you would tell me by your senses. We know that our senses include seeing, hearing, smelling, tasting, and feeling. Since poetry is about experiences, the poet must transfer his emotions to the reader, or he will fail. While talking with a friend, you are able to communicate your emotions because your speech is accompanied by body language and intonation in your voice. However, the poet must work with written words alone. For this reason, you will find the words in poetry to be more sensuous than in ordinary conversation.

The way that poetical language becomes sensuous is through imagery. Generally, poetry will produce “thought pictures.”However, while poetry relies upon visual imagery, images may be represented by any of the senses. If I state “hot chocolate,” all sorts of images should come to mind. My experiences with hot chocolate may be different than yours. Perhaps you are thinking about the taste, or marshmallows on top in a big mug, or dark, crisp evenings by a fireplace. On the other hand, maybe you remember the time when you dropped the hot chocolate on your leg. Different image, right?

The poet will try to use words that are rich with imagery in order that you can experience what he feels. Usually, the success of a poem depends upon the ability of the poet to use vivid details and the use of concrete words. However, imagery is only one of the many ways that a poem can relate the poet’s experience to us.

Chapter Five (Metaphor, Personification and Metonymy in Poetry)

The next three chapters will present various poetic devices called figurative language. When we use language according to its standard usage, we are said to be using literal language. However, if we use language in order to achieve a special effect, we are using figurative language.

In this chapter, we will be looking at three figures of speech: metaphor, personification, and metonymy. Metaphors compare objects that are dissimilar. If the comparison is expressed, that is, the words “like” or “as” are used, then the comparison is called a simile. For an example: “I’m as hungry as a bear.” Notice that you are comparing yourself to a bear, at least the bear’s eating habits.

If the comparison is implied, then the comparison is simply called a metaphor. If you say, “Life is a grand drama,” then you are implying that life is like a play. The Lord Jesus Christ used metaphors quite often. The Lord stated that He was the way, the truth, the life, the good shepherd, and the door to name a few.
Personification is the attributing of human qualities to animals or inanimate objects. In the poem, “To Autumn,” you may have noticed in stanza 2 that John Keats gives Autumn the ability to sit carelessly and to sleep in a furrow. Keats personifies Autumn as a reaper of grain.

Metonymy is a term used for identifying one thing with something that is closely related or associated with it. For an example, often we hear that the White House made a statement today. Of course, the White House did no such thing; but the White House is closely associated to the President of the United States and we understand that the president made a statement. In Ivanhoe, after receiving a message saying that king Richard had left France, Prince John states, “It is France’s own hand and seal.” John means that the message came from the king of France.

Synecdoche is the describing of something with one of its parts. Shakespeare in his play, Love’s Labor’s Lost, speaks of the cuckoo’s song as “unpleasing to a married ear.” Married ear refers to a married man. Current usage of synecdoche is to include it with metonymy. Metaphor, personification, and metonymy are related in that these figures of speech involve comparisons.

Chapter Six (Symbol and Allegory in Poetry)
A symbol is a word or set of words that represent a deeper meaning than the literal meaning. We are familiar with many symbols in our daily lives. We see the American flag as a symbol for freedom and liberty. We understand the Cross to represent much more than a literal wooden cross. The Cross is redemption and salvation to the believer. Whenever a sea captain saw an approaching ship with the skull and crossbones on the “Jolly Roger,” he knew his ship was in danger.

Symbols can be powerful and, when used in poetry, can be very significant. What makes the symbol interesting is its imprecision. It is this point that causes many readers to get sidetracked by reading into a poem something that may not be there. Sometimes even the Bible suffers from this “reading between the lines.” Once I heard a preacher state that the five loaves and two fishes in Matthew chapter 14 were symbols for the five doctrines of grace and the old and new testaments. After the service, someone asked me whether I agreed with the symbolism. I stated that I did not and then was prompted immediately to give my opinion. I merely stated, “I believe that the five loaves represented five loaves of bread and the two fishes, two fishes.” I grant that this is not as profound as the visiting preacher’s explanation, but I do think it closer to the reading and that nothing symbolical is intended.

Symbols can be allusive because the symbol may be very general, and not specific. Sometimes we may not know exactly what the poet meant specifically. While a multitude of meanings is not bad, good sense is required. Poetry is about experience, and good poetry will allow us to read into the poem our own experiences. But we are not at liberty to imagine something that is not in the poem. It is very probable that the poet did not use any words that are symbolic. Symbolism is only one devise that the poet can use to create a great poem and a great poem can be created without symbolism.

Allegory is a narrative when the characters and settings represent not only themselves, but signify a secondary meaning as well. The surface meaning of the story has its own independent interest, but generally, the poet is more concerned about the meaning beneath the surface. Of course, the best example of allegory is John Bunyan’s The Pilgrim’s Progress. Christian represents a fellow named Christian, but he also pictures every Christian who is striving toward the Celestial City. Allegory was very popular during the Middle Ages and Renaissance.

Chapter Seven (Paradox and Irony in Poetry)
As a statement, a paradox appears to be self-contradictory or even absurd, but actually has a valid meaning. You will fine examples of paradox in almost every work, but the metaphysical poets used the paradox as a focal point. Perhaps of the best-known paradox in literature occurs in the last line of John Donne’s“Death, Be Not Proud.” After humiliating Death by humanizing him, Donne tells Death, “One short sleep past, we wake eternally, / And death shall be no more; death, thou shalt die.” The paradox is that this dreaded thing called death will die itself.

The oxymoron is a special kind of paradox. An oxymoron is formed whenever two words that are contrary in normal usage are combined together. Everyone has fun trying to make up or discovering examples of the oxymoron; such as “jumbo shrimp” and “student athlete.” The master of the oxymoron was William Shakespeare. In “Romeo and Juliet,” Romeo offers this example,

“O loving hate,
O anything, or nothing first created!
O heavy lightness, serious vanity,
Misshapen chaos of well-seeming forms,
Feather of lead, bright smoke, cold fire, sick health,
Still-waking sleep, that is not what it is!”

In “A Midsummer Night’s Dream,” Theseus remarks about the choices for the evening’s entertainment,

“‘A tedious brief scene of young Pyramus,
And his love Thisby; very tragical mirth.’
Merry and tragical? Tedious and brief?
That is, hot ice and wondrous strange snow.
How shall we find the concord of this discord?”

Irony has the sense of disguise, or dissemblance. In their comedies, the Greek playwrights used a character who acted to be less intelligent than he actually was. The eiron would outwit supposedly, brighter fellows, because the eiron could circumvent the other characters who were living under the delusion of the eiron’s lack of intelligence.

While there are several kinds of irony, you will probably encounter only three within poetry: verbal irony, sarcasm, and invective. Verbal irony is an implied meaning that is quite different from the expressed statement. Sarcasm is similar to verbal irony, but is often reserved for ostentatious praise when actually scorn is meant. Invective is a direct condemnation with the use of belittling remarks; however, the intent is one of affection and friendship. In a sense, the poet who employs irony is complimenting his readers by acknowledging their intelligence to be smart enough by not being fooled with the expressed statements—but rather that the readers possess the keen insight to understand the true meaning.

Two good examples of irony are found in the Bible. Job makes a very memorable remark in Job 12:2—“No doubt but ye are the people, and wisdom shall die with you.” The expressed meaning is that Job’s friends embodied all of mankind and contained total wisdom. Of course,
Job does not believe this for a moment.

Even the Lord Jesus Christ was not above using irony. After telling the parable about the unjust steward, the Lord says, “And I say unto you, Make to yourselves friends of the mammon of unrighteousness; that, when ye fail, they may receive you into everlasting habitations” (Luke 16:9). The irony is clear. The Lord is emphasizing that one should not waste his time by making friends with the unrighteous, since unrighteous mammon will never befriend anyone who is “down on his luck,” much less provide anyone with a perpetual dole.

In Pride and Prejudice, Jane Austin begins her novel with a delightful, ironic statement: “It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.” Of course, what is implied is that a single women wants a wealthy man to marry.

In The Tragedy of Julius Caesar, Caesar is appreciative to Brutus, who gives him the time. Caesar states, “I thank you for your pains and courtesy.” Caesar meant one thing; to the audience, which knows that Caesar will soon be killed, the statement means something entirely different.

Like symbolism, irony can be easily misunderstood. If you see the statement, “You, poor fool,” you could have several interpretations. One could be derogatory; another could be sympathetic. This only points out again that you must read poetry very carefully in order to understand any poem well.

Chapter Eight (Allusion in Poetry)
An allusionis a brief reference to a person, place or event, or to another work of literature, generally the Bible or Greek mythology. Anyone who reads the Bible often will not have as much difficulty with many allusions that poets use from the Scriptures. Also, the chief reason for studying Greek mythology is to have a better foundation to understand the allusions found in literature and poetry.

The wonderful thing about allusions is that the poet can economize. A reference to another work of literature can pack a lot of meaning in a few words. For an example, this story is told about Samuel Johnson, the best known author of the late 18th century. One night while walking home, Johnson found a drunken harlot asleep on the street. Feeling compassion for her, Johnson learned where she lived, lifted her upon his shoulders, and carried her to her home. The audience reacted negatively to the story, since the ladies and gentlemen refused to believe that the great Samuel Johnson could ever do such a thing, and began to voice their disapproval. The speaker, William Hazlitt, replied, “I remind you, ladies and gentlemen, of the parable of the Good Samaritan.” All opposition ceased.

Hazlitt did not have to quote or even paraphrase the passage found in Luke chapter 10. Like most people, the audience was familiar enough with the story about the Good Samaritan that the men and women realized that Johnson was only following the example found in the Bible. While economy of words is the chief use of allusion, a good allusion can evoke strong emotions and allows the reader to connect the poet’s meaning himself. Like works that have irony, a poem that has an allusion is for the reader who is above average in intelligence with a good education. Sometimes, a poet like John Milton really tests the reader’s ability concerning the recognition of allusions. When you read Paradise Lost, you will know what I am talking about. The poet is complimenting the reader since he is certain that you will understand the allusion without telling you the connection. Nevertheless, as a young student, you must be willing to look up many allusions that you do not understand, much in the same way you would with a new word in a dictionary.
Chapter Nine (Tone in Poetry)
Generally speaking, tone is the speaker’s attitude to his listeners. In everyday speech, we use tone to express ourselves. The same sentence can have different meanings when used with tone. If you were to win a trip to Hawaii, you could be very excited about it: “This is great! I won a trip to Hawaii!” On the other hand, what if you already had plans to go to Europe, and the trip to Hawaii was scheduled for the same time. Your enthusiasm would be greatly diminished and your voice would reflect a hint of disappointment: “Oh, no. I won a trip to Hawaii.”What if you have been to Hawaii many times and do not care to see the islands again? Your winning the trip would be very nonchalant. “That’s just great. I won a trip to Hawaii.”
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The tone of a work can represent a host of emotions or feelings: loving or angry, obscure or plain, formal or informal, condescending or fawning. Discovering the tone of a poem is important because it is necessary for complete understanding. If you read a poem that is meant to be humorous, but you read it as being serious, then you will have an enormous misunderstanding of the meaning. However, discovering the tone is more difficult than with speech. We simply do not have the inflection of the voice to help us to know the tone. What helps us to determine the tone is the sum of all of the other elements that make up the poem: figurative language, irony, rhythm and other devises. In short, the tone of the poem is not a separate means used in the poem, but rather is the end itself.
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Introduction to Poetry (First Year) Main Texts (Poetry) [B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FORSTUDENTS OF ENGLISH HONS ]

Introduction to Poetry (First Year)
Main Texts (Poetry)
[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FORSTUDENTS OF ENGLISH HONS ]
Shall I Compare Thee Or Sonnet 18
by William Shakespeare
Shall I compare thee to a Summer’s day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And Summer’s lease hath all too short a date:

Sometime too hot the eye of heaven shines,
And oft’ is his gold complexion dimm’d;
And every fair from fair sometime declines,
By chance or nature’s changing course untrimm’d:

But thy eternal Summer shall not fade
Nor lose possession of that fair thou owest;
Nor shall Death brag thou wanderest in his shade,
When in eternal lines to time thou growest:

So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
THE GOOD-MORROW
by John Donne

I WONDER by my troth, what thou and I
Did, till we loved ? were we not wean’d till then ?
But suck’d on country pleasures, childishly ?
Or snorted we in the Seven Sleepers’ den ?
‘Twas so ; but this, all pleasures fancies be ;
If ever any beauty I did see,
Which I desired, and got, ’twas but a dream of thee.
And now good-morrow to our waking souls,
Which watch not one another out of fear ;
For love all love of other sights controls,
And makes one little room an everywhere.
Let sea-discoverers to new worlds have gone ;
Let maps to other, worlds on worlds have shown ;
Let us possess one world ; each hath one, and is one.

My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest ;
Where can we find two better hemispheres
Without sharp north, without declining west ?
Whatever dies, was not mix’d equally ;
If our two loves be one, or thou and I
Love so alike that none can slacken, none can die.

DELIGHT IN DISORDER
by Robert Herrick

A SWEET disorder in the dress
Kindles in clothes a wantonness :
A lawn about the shoulders thrown
Into a fine distraction :
An erring lace which here and there
Enthrals the crimson stomacher :
A cuff neglectful, and thereby
Ribbons to flow confusedly :
A winning wave (deserving note)
In the tempestuous petticoat :
A careless shoe-string, in whose tie
I see a wild civility :
Do more bewitch me than when art
Is too precise in every part.

I wandered lonely as a cloud
by William Wordsworth

I wandered lonely as a cloud
That floats on high o’er vales and hills,
When all at once I saw a crowd,
A host, of golden daffodils;
Beside the lake, beneath the trees,
Fluttering and dancing in the breeze.

Continuous as the stars that shine
And twinkle on the milky way,
They stretched in never-ending line
Along the margin of a bay:
Ten thousand saw I at a glance,
Tossing their heads in sprightly dance.

The waves beside them danced; but they
Out-did the sparkling waves in glee:
A poet could not but be gay,
In such a jocund company:
I gazed—and gazed—but little thought
What wealth the show to me had brought:

For oft, when on my couch I lie
In vacant or in pensive mood,
They flash upon that inward eye
Which is the bliss of solitude;
And then my heart with pleasure fills,
And dances with the daffodils.
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OZYMANDIAS
Percy Bysshe Shelley

I met a traveller from an antique land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown
And wrinkled lip, and sneer of cold command
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them and the heart that fed.
And on the pedestal these words appear:
“My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!”
Nothing beside remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.
To Autumn
John Keats. 1795–1821

SEASON of mists and mellow fruitfulness!
Close bosom-friend of the maturing sun;

Conspiring with him how to load and blessWith fruit the vines that round the thatch-eaves run;
To bend with apples the moss’d cottage-trees,
And fill all fruit with ripeness to the core;
To swell the gourd, and plump the hazel shells
With a sweet kernel; to set budding more,
And still more, later flowers for the bees,

Until they think warm days will never cease,
For Summer has o’er-brimm’d their clammy cells.

Who hath not seen thee oft amid thy store?
Sometimes whoever seeks abroad may find
Thee sitting careless on a granary floor,
Thy hair soft-lifted by the winnowing wind;
Or on a half-reap’d furrow sound asleep,
Drowsed with the fume of poppies, while thy hook
Spares the next swath and all its twinèd flowers;
And sometimes like a gleaner thou dost keep
Steady thy laden head across a brook;
Or by a cider-press, with patient look,
Thou watchest the last oozings hours by hours.

Where are the songs of Spring? Ay, where are they?
Think not of them, thou hast thy music too,—
While barrèd clouds bloom the soft-dying day,
And touch the stubble-plains with rosy hue;
Then in a wailful choir the small gnats mourn
Among the river sallows, borne aloft
Or sinking as the light wind lives or dies;
And full-grown lambs loud bleat from hilly bourn;
Hedge-crickets sing; and now with treble soft
The redbreast whistles from a garden-croft;
And gathering swallows twitter in the skies.

How Do I Love Thee?
Elizabeth Barrett Browning

How do I love thee? Let me count the ways.
I love thee to the depth and breadth and height
My soul can reach, when feeling out of sight
For the ends of Being and ideal Grace.
I love thee to the level of every day’s
Most quiet need, by sun and candlelight.
I love thee freely, as men strive for Right;
I love thee purely, as they turn from Praise.
I love with a passion put to use
In my old griefs, and with my childhood’s faith.

I love thee with a love I seemed to lose
With my lost saints, I love thee with the breath,
Smiles, tears, of all my life! and, if God choose,
I shall but love thee better after death.

Because I could not stop for death
by Emily Dickinson

Because I could not stop for Death,
He kindly stopped for me;
The carriage held but just ourselves
And Immortality.

We slowly drove, he knew no haste,
And I had put away
My labour, and my leisure too,
For his civility.

We passed the school where children played,
Their lessons scarcely done;
We passed the fields of gazing grain,
We passed the setting sun.

We paused before a house that seemed
A swelling of the ground;
The roof was scarcely visible,
The cornice but a mound.

Since then ’tis centuries; but each
Feels shorter than the day
I first surmised the horses’ heads
Were toward eternity.

No Second Troy
by William Butler Yeats

WHY should I blame her that she filled my days
With misery, or that she would of late
Have taught to ignorant men most violent ways,
Or hurled the little streets upon the great.
Had they but courage equal to desire?
What could have made her peaceful with a mind
That nobleness made simple as a fire,
With beauty like a tightened bow, a kind
That is not natural in an age like this,
Being high and solitary and most stern?
Why, what could she have done, being what she is?
Was there another Troy for her to burn?

Stopping By Woods on a Snowy Evening
Robert Frost

Whose woods these are I think I know.
His house is in the village though;
He will not see me stopping here
To watch his woods fill up with snow.

My little horse must think it queer
To stop without a farmhouse near
Between the woods and frozen lake
The darkest evening of the year.

He gives his harness bells a shake
To ask if there is some mistake.
The only other sound’s the sweep
Of easy wind and downy flake.

The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.

Fern Hill
By Dylan Thomas

Now as I was young and easy under the apple boughs
About the lilting house and happy as the grass was green,
The night above the dingle starry,
Time let me hail and climb
Golden in the heydays of his eyes,
And honoured among wagons I was prince of the apple towns
And once below a time I lordly had the trees and leaves
Trail with daisies and barley
Down the rivers of the windfall light.

And as I was green and carefree, famous among the barns
About the happy yard and singing as the farm was home,
In the sun that is young once only,
Time let me play and be
Golden in the mercy of his means,
And green and golden I was huntsman and herdsman, the calves
Sang to my horn, the foxes on the hills barked clear and
cold,
And the sabbath rang slowly
In the pebbles of the holy streams.
All the sun long it was running, it was lovely, the hay
Fields high as the house, the tunes from the chimneys, it was
air
And playing, lovely and watery
And fire green as grass.
And nightly under the simple stars
As I rode to sleep the owls were bearing the farm away,
All the moon long I heard, blessed among stables, the
nightjars
Flying with the ricks, and the horses
Flashing into the dark.

And then to awake, and the farm, like a wanderer white
With the dew, come back, the cock on his shoulder: it was all
Shining, it was Adam and maiden,
The sky gathered again
And the sun grew round that very day.
So it must have been after the birth of the simple light
In the first, spinning place, the spellbound horses walking
warm
Out of the whinnying green stable
On to the fields of praise.
And honoured among foxes and pheasants by the gay house
Under the new made clouds and happy as the heart was long,
In the sun born over and over,
I ran my heedless ways,
My wishes raced through the house high hay
And nothing I cared, at my sky blue trades, that time allows
In all his tuneful turning so few and such morning songs
Before the children green and golden
Follow him out of grace.
Nothing I cared, in the lamb white days, that time would
take me
Up to the swallow thronged loft by the shadow of my hand,
In the moon that is always rising,
Nor that riding to sleep
I should hear him fly with the high fields
And wake to the farm forever fled from the childless land.
Oh as I was young and easy in the mercy of his means,
Time held me green and dying
Though I sang in my chains like the sea.

Aunt Jennifer’s Tigers
by Adrienne Rich

Aunt Jennifer’s tigers prance across a screen,
Bright topaz denizens of a world of green.
They do not fear the men beneath the tree;
They pace in sleek chivalric certainty.
Aunt Jennifer’s finger fluttering through her wool
Find even the ivory needle hard to pull.
The massive weight of Uncle’s wedding band
Sits heavily upon Aunt Jennifer’s hand.
When Aunt is dead, her terrified hands will lie
Still ringed with ordeals she was mastered by.
The tigers in the panel that she made
Will go on prancing, proud and unafraid.

Ode on the Lungi
by Kaiser Haq

Grandpa Walt, allow me to share my thoughts
with you, if only because every time
I read “Passage to India” and come across
the phrase “passage to more than India”
I fancy, anachronistically, that you wanted
to overshoot the target
by a shadow line
and land in Bangladesh

Lately, I’ve been thinking a lot
about sartorial equality
How far we are from
this democratic ideal!
And how hypocritical!
“All clothes have equal rights” –
this nobody will deny
and yet, some obviously
are more equal than others
No, I’m not complaining about
the jacket and tie
required in certain places –
that, like fancy dress parties,
is in the spirit of a game

I’m talking of something more fundamental
Hundreds of millions
from East Africa to Indonesia
wear the lungi, also known variously
as the sarong, munda, htamain, saaram,
ma’awaiis, kitenge. kanga. kaiki
They wear it day in day out,
indoors and out
Just think –
at any one moment
there are more people in lungis
than the population of the USA
Now try wearing one
to a White House appointment –
not even you. Grandpa Walt,
laureate of democracy,
will make it in
You would if you
affected a kilt –
but a lungi? No way.
But why? – this is the question
I ask all to ponder

Is it a clash of civilisations?
The sheer illogicality of it –
the kilt is with “us”
but the lungi is with “them!”

Think too of neo-imperialism
and sartorial hegemony,
how brown and yellow sahibs
in natty suits crinkle their noses
at compatriots (even relations)
in modest lungis,
exceptions only proving the rule:
Sri Lanka, where designer lungis
are party wear, or Myanmar
where political honchos
queue up in lungis
to receive visiting dignitaries
But then, Myanmar dozes
behind a cane curtain,
a half pariah among nations
Wait till it’s globalised:
Savile Row will acquire
a fresh crop of patrons

Hegemony invades private space
as well: my cousin in America
would get home from work
and lounge in a lungi –
till his son grew ashamed
of dad and started hiding
the “ridiculous ethnic attire”

It’s all too depressing
But I won’t leave it at that
The situation is desperate
Something needs to be done
I’ve decided not to
take it lying down
The next time someone insinuates
that I live in an Ivory Tower
I’ll proudly proclaim
I AM A LUNGI ACTIVIST!
Friends and fellow lungi lovers,
let us organise lungi parties and lungi parades,
let us lobby Hallmark and Archies
to introduce an international Lungi Day
when the UN Chief will wear a lungi
and address the world

Grandpa Walt, I celebrate my lungi
and sing my lungi
and what I wear
you shall wear
It’s time you finally made your passage
to more than India – to Bangladesh –
and lounging in a lungi
in a cottage on Cox’s Bazar beach
(the longest in the world, we proudly claim)
watched 28 young men in lungis bathing in the sea

But what is this thing
(my learned friends,
I’m alluding to Beau Brummell)
I repeat, what is this thing
I’m going on about?
A rectangular cloth,
White, coloured, check or plaid,
roughly 45X80 inches,
halved lengthwise
and stitched
to make a tube
you can get into
and fasten in a slipknot
around the waist –
One size fits all
and should you pick up dirt
say on your seat
you can simply turn it inside out

When you are out of it
the lungi can be folded up
like a scarf

Worn out it has its uses –
as dish rag or floor wipe
or material for a kantha quilt

Or you can let your imagination
play with the textile tube
to illustrate the superstrings
of the “Theory of Everything”
(vide, the book of this title
by the venerable Stephen Hawking)

Coming back to basics,
the lungi is an elaborate fig-leaf,
the foundation of propriety
in ordinary mortals
Most of the year, when barebodied
is cool, you can lead a decent life
with only a couple of lungis,
dipping in pond or river
or swimming in a lungi
abbreviated into a G-string,
then changing into the other one
Under the hot sun
a lungi can become
Arab-style headgear
or Sikh-style turban
Come chilly weather
the spare lungi can be
an improvised poncho
The lungi as G-string
can be worn to wrestle
or play kabaddi
but on football or cricket field
or wading through the monsoon
it’s folded vertically
and kilted at the knee

In short
the lungi is a complete wardrobe
for anyone interested:
an emblem of egalitarianism,
symbol of global left-outs
Raised and flapped amidst laughter
It’s the subaltern speaking

And more:
when romance strikes, the lungi
is a sleeping bag for two:
a book of poems, a bottle of hooch
and your beloved inside your lungi –
there’s paradise for you

If your luck runs out
and the monsoon turns into
a biblical deluge
just get in the water and hand-pump
air to balloon up your lungi –
now your humble ark

When you find shelter
on a treetop
take it off’,
rinse it,
hold it aloft –
flag of your indisposition –
and wave it at the useless stars
[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FORSTUDENTS OF ENGLISH HONS ]

ENGLISH LANGUAGE COURSE

ENGLISH LANGUAGE COURSE (1ST YEAR)
[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FOR STUDENTS OF ENGLISH HONS ]

Essay Types
The ability to write effectively is undoubtedly one of the critical skills that everyone has to acquire during school and later in college years. Typically this is attained via practice: writing skills develop as the result of assigning students dozens, if not hundreds of essays on different topics, with every essay serving its own purpose. It is so easy to get lost in the multitude of different essay types that a closer look at them is a must. The kinds of essays that are most commonly given to students include: expository essay, persuasive essay, informal essay, the review, research essay, literary essay, expository essay, argumentative essay, expository essay, compare and contrast essay. A comparative table with these essay types will be posted at the end of the article to briefly outline similarities and differences in each of them (see Table 1). Before we proceed with analysis, it is important to remember a general rule: essays get their names according to the function they serve.
Table 1. Comparative Table of the Main Essay Types
Essay Type Tone Referencing Purpose
Expository Objective Required Inform
Persuasive Objective Required Persuade
Informal Subjective Unnecessary Communicate
Review Objective/Subjective Preferable Analyze and Present
Research Objective Required Discover
Literary Objective Preferable Analyze literature
Argumentative Objective Required Prove a viewpoint
Cause and Effect Objective Required Establish relation
The Expository Essay
The main function of the expository essay is to explain, or to acquaint your reader with something; it can be used to describe, explain or present some information. In order to write an expository essay, preparation and background research will be required. This will arm you with facts and information that will be subsequently conveyed to your reader. Expository writing will also require you to show understanding of the chosen topic – this is why many professors and tutors choose this essay type to check how well a student has mastered a given topic. In their most common form, expository essays will take about 5 paragraphs; however, classes and instructors may require them to be larger in size. No matter the size, an essay should at all times include an introduction and a conclusion – the body length may vary.
The Persuasive Essay
If you have to persuade your reader about something, your essay becomes a persuasive one. With this type of writing you will need not only to prove your point, but will also have to persuade your opposition that your viewpoint is logical and well founded, and thus – better. In this case, you are no longer merely showing what you know; you are convincing the reader that you are correct in your viewpoint. In order to write this kind of essay it is important to prepare in advance by choosing a side, making a case for it, anticipating alternative arguments and finding ways how to refute them. You must be aware of other sides of the argument and be fair to them; dismissing them completely will weaken your own argument. It is always best to take a side that you believe in, preferably with the most supporting evidence. It can often be educational to adopt a different position from what you might normally choose (debating requires this kind of flexibility).
The Informal Essay
The informal essay is a type of essay written mainly for enjoyment. This is not to say that it cannot be informative or persuasive; however, it is a less formal statement with a more relaxed expression of opinion, observation or humor. A good informal essay has a relaxed style but retains a strong structure, though the structure may be less rigid than a formal paper.
The informal essay tends to be more personal than the formal, even though both may express subjective opinions. In a formal essay the writer is in a silent presence behind the words, while in an informal essay the writer is speaking directly to the reader in a conversational manner. If you are writing informally, try to maintain a sense of your own personality. Do not worry about sounding academic, but make sure you avoid sloppiness.
The Review
A review may be either formal or informal, depending on the context. Its goal is to evaluate a specific piece, perhaps a novel or movie. This implies that the reviewer’s personal opinion plays a significant role in the process. Despite a degree of subjectivity, a certain objective standard needs to be maintained and, as in a persuasive essay, your assertions need to be proved.
The formality of the review will be determined by how much of the essay is analysis, how much is summary, and how much is your reaction to the work you are reviewing. A more formal review will not only discuss the work or its own merits but will also place it in context. Newspapers and popular magazines tend to review in terms of finance, e.g. is this record or film worth spending money on? Critical journals will attempt to determine whether a new novel or play has achieved something new and significant. A good review will discuss both these qualities and the importance of a given work.
[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FORSTUDENTS OF ENGLISH HONS ]
The Research Essay
The research essay leads you into the works of others and asks you to compare their thoughts with your own. Writing a research paper involves going to source material and synthesizing what you learned from it with your own ideas. You must find texts on the subject and use them to support the topic you have been given to explore. Since it is easy to become lost in a wilderness of outside material, you must take particular care in narrowing your topic.
The greatest inherent danger in the research essay is plagiarism. If your paper consists of a string of quotations or paraphrases with little input of your own, you are not synthesizing but copying, and you should expect a low grade. If any of the borrowings are unacknowledged, you are plagiarizing and the penalties are severe.

The Literary Essay
In the literary essay, you are exploring the meaning and construction of a piece of literature. This task is more complicated than reviewing, though the two are similarly evaluative. In a review you are discussing the overall effect and validity of a work, while in a literary essay you are paying greater attention to specifics.
A literary essay focuses on such elements as structure, character, theme, style, tone, and subtext. You are taking a piece of writing and trying to discover how and why it is put together the way that it is. You must adopt a viewpoint on the work in question and show how the details of the work support your viewpoint.
A literary essay may be your own interpretation, based only on your reading of the piece, or it may be a mixture of your opinions and references to the criticism of others, much like a research paper. Again, be wary of plagiarism and of letting the opinions of more experienced writers swamp your own response to the work. If you are going to consult the critics, you should re-read the literary work you are discussing and make some notes on it before looking at any other opinions.
The Argumentative Essay
The art of argumentation is not an easy skill to acquire. Many people might think that if one simply has an opinion, one can argue it effectively, and these folks are always surprised when others don’t agree with them because their logic seems so correct. Additionally, writers of argumentation often forget that their primary purpose in an argument is to “win” it – to sway the reader to accept their point of view. It is easy to call names, easy to ignore the point of view or research of others, and extremely easy to accept one’s own opinion as gospel, even if the writer has not checked his or her premise in a couple of years, or, as is the case for many young writers, never questioned the beliefs inherited from others.Want to know what you think about something? Then write an argumentative essay. To be fair, however, you’ll find that one of the first things you must do is become an expert on the issue. When you pick a topic, you should avoid writing about issues that cannot be won, no matter how strongly you might feel about them. The five hottest topics of our time seem to be gun control, abortion, capital punishment, freedom of speech, and probably the most recent, euthanasia, or the right to die. If possible, avoid writing about these topics because they are either impossible to “win,” or because your instructor is probably sick of reading about them and knows all the pros and cons by heart (this could put you at a serious disadvantage). If you have difficulty picking a decent topic for your essay, feel free to check out our list of good argumentative essay topics. Either way, the topics may be some fine reading material, because most people are somewhat aware of the problems and can then concentrate on understanding the method of argument itself. But care should be taken; if you read one side, you also read the other. Far too many individuals only read the side that they already believe in. These issues cannot be won for good reason: each touches on matters of faith and beliefs that for many people are unshakable and deeply private.
The Cause and Effect Essay
The cause and effect essay includes some elements of writing that might be considered more professional than those a descriptive or narrative essay might include. It is very important, for instance, that your tone be reasonable, and that your presentation be factual and believable. Sources are often required in a cause/effect paper, and your choice of these sources is important as they reflect on the validity of your paper. Additionally, the first-person point of view does not work; you should sound objective and impartial. Consider the following sentences:

I believe that gun control measures should be taken in every hamlet in America.
Gun control measures should be taken in every hamlet in America.
In the first sentence, the first person is used. This would work in a narrative, but here it actually limits the meaning of the sentence to just the writer, and it makes the writer sound weak – as if he were justifying himself or herself. The second sentence is much more forceful. It makes a statement and does not limit itself to just what the writer believes. The purpose of a cause and effect paper is to be as convincing as possible, and to convince readers to accept the cause/effect as fact.
The Comparison and Contrast Essays
The main purpose and function of compare and contrast essays is obvious – to find similarities and dissimilarities between two or more objects or things. This kind of writing requires the writer to be an observer; in most cases it doesn’t require scholarly research or any specific referencing. Such essays are mostly subjective in nature, and writers are required to come up with differences or similarities they are able to point out and analyze. There are different compare and contrast patterns for these essays, yet the overall essay structure remains invariable: there should be an introduction, a few body paragraphs and a conclusion. While working on your compare and contrast essay, don’t forget to use the so-called cue words. These words help you to tie paragraphs together by means of small logical connectors. For example, you can use words like: on the one hand/on the other hand, this is such/in contrast, however, like, as well, too, unlike, though, but etc. These words will pull your essay together and will make it hold better. Check out an article that covers our compare and contrast essays in detail – and good luck with your writing!
[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FORSTUDENTS OF ENGLISH HONS ]
ESSAY STRUCTURE
Proper essay structure is critical for the success of a paper. It allows you to align your thoughts and ideas logically, making them readable and easy to understand for your reader. Basic essay logic starts out with the introduction of the essay’s main idea and then explains it further in the body paragraphs and ends the essay by summing everything up in the last paragraph – the conclusion (see the scheme on the left). To better understand why essay structure is so important, try to imagine an essay that starts out with body paragraphs, followed with a thesis and a conclusion. Such essay would be impossible to read because of its faulty logic. Let’s take a closer look at each of the components.
Introduction
The introduction is the main component within the structure of your essay. This part contains the main thought of the essay and states the purpose of your writing. The introduction typically consists of a thesis statement (also called “a topic sentence”) and a few more sentences that explain or expand the main statement. The topic sentence together with these few sentences are collectively referred to as the “introduction.”
Body
The two or three paragraphs that follow the introduction are called “the body” of the essay. They are called so because they make up the body, or the main bulk of the paper. This part of the essay usually contains research data and information that supports your thesis. The purpose of every paragraph within the body of your essay should be to support your thesis.
Using Paragraphs
Each paragraph should contain one main idea and should provide supporting details for your topic and thesis. The topic (introductory) sentence of each paragraph should support the main idea.
Paragraph Size
Even though there are no hard and fast rules regarding paragraph length, a general rule of thumb prescribes that a paragraph should not be neither too long (over 8 sentences) nor too short (under 2 sentences). Paragraph size varies depending on the essay style: for example the average paragraph length in business writing is generally 4-5 sentences, while the average paragraph length in academic writing is around 8-10 sentences. Academic writing tends to be longer because the author has to state a point, back it up with research data, and come to a conclusion. Such kind of writing usually requires a greater amount of writing.
Review Your Writing
Reviewing your writing or the post-writing phase takes place when you are done writing your paper. It’s always a good idea to put your essay aside for a couple of hours and then come back to it later. It is important to read through each paragraph to make sure your ideas make sense and convey your points clearly. Also, be sure that you have not strayed away from your main point. Each paragraph should be relevant to your thesis. If you have found that any of your body paragraphs strays from your thesis, a rewrite or omission may be necessary.
Conclusion
The final part in your essay structure is the conclusion. It summarizes the points made in the introduction and the body paragraphs of your paper. The core function of the conclusion is not only to summarize ideas stated in the introduction and the body, but to show how they relate to the thesis. A good technique is to use logical connections like: “as we can see”, “therefore”, “naturally”, “summing up” etc. Such connecting phrases help you to tie the points made previously with the actual text of the conclusion that you are writing. Once again, a conclusion should review your thesis and give a summary of your main ideas. Depending on your instructor’s requirements, your conclusion can range from one paragraph to a page in length.

In case you need help with the structuring of your essay or the writing of your essay, we can help. Feel free to contact our dedicated support team for any assistance with your essay. They will help you to determine the range of services required and will guide you through the ordering procedure.
[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FORSTUDENTS OF ENGLISH HONS ]

B,A(HONS) ENGLISH ,(FIRST YEAR) Broad Questions ( Introduction to Poetry)

B,A(HONS) ENGLISH ,(FIRST YEAR)
[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FORSTUDENTS OF ENGLISH HONS ]

Broad Questions ( Introduction to Poetry)

1. Discuss the theme of destruction and decay in Shelley’s ‘ Ozymandias’.
2. Discuss Wordsworth as poet of joy with reference to ‘ I wandered Lonely as a Cloud’.
3. What is sessuousness? Examine ‘ Ode to Autumn’ as a sensuous poem.
4. Critically comment on Emily Dickinson’s obsession with death/ theme of death.
5. What vision or philosophy of life has been expressed in ‘Stopping by Woods on a Snowy Evening?
6. Write an essay on Dylan Thomas’s treatment of childhood in ‘ Fern Hill’?
7. Comment on Adrienne Rich’s protest against the repression of women in ‘ Aunt Jennifer’s Tigers’.
8. Ted Hughes’s Pike symolizes the violent trait in human being. Elucidate.

Q. Discuss the theme of destruction and decay in Shelley’s poem, Ozymandias.

Answer:
“Ozymandias” is a unique and well-known sonnet by Percy Bysshe Shelley. It deals with several themes. Tragedy of human life is the main theme of the poem. But the theme of decay and destruction is obviously shown here too. We find a broken statue of Ozymandias in a vast desert. Various limbs of the statue are scattered here and there. Such ruinous picture has created a very destructive and awe-inspiring feelings in us.
Shelley likes to deal with the theme of decay and destruction in his poems. He often uses myths and symbols to convey it. He is a radiant optimist about the future. So he often thinks deeply of destroying old things to set up the new. But he does not want to destroy anything to create new things in “Ozymandias”. Rather he gives us a fair description of the ruinous statue of Ozymandias. He introduces the end of this mighty king to convey a defferent message. He has talked about the vanity of human wishes and the meaninglessness of huaman hope.

The speaker refers to a traveller who has just come from an ancient country. Then the traveller has told us about what he has observed in Egypt. He says that he finds a huge but broken statue in the desert of this old country. The two legs of it stand on the pedestal. The body of the statue is not upon them. Its shattered face is lying near them. It almost sinks on the sand. There is frown in the face. The lips of the face are wrinkled. There is also sneer of cruel order. In this respect, the speaker remarks well that the sculptor who makes it understands the character of the man behind the statue. Now both the king and the sculptor are dead. But the statue remains in a broken and fragmentary condition. Thus we get an exact delineation of destroyed statue of Ozymandias.

Time is very cruel. It devours anybody. It does not consider who is powerful. It does not count who is poor. By the ravages of time, everything is destroyed and meets destruction. Human life comes to an end and proves futile. Ozymandias boasts but realises at last—
“My name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!”

But ode day, all his boast, wealth and power are vanished away. After his death, all his power and greatness turns meaningless. Even his statue that he got erected in his life time turned into a heap of ruins. In this respect, the poet says—
“Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far away.”
Thus the pride, arrogance, cruelty and snobbery of Ozymandias had dashed to the ground. All of them meet destruction.

Thus Shelley deals with several themes in “Ozymandias”. Ozymandias did not realise that he had a limited span of life. He had to die and all his glories became futile. He forgot that he is not immortal. Nothing is permanent in this world. Even his absolute pomp and power was not permanent. Everything must decay and die. But it is an irony of fate that man forgets this absolute truth.

[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU]
Q. Comment on Wordsworth as a poet of joy and solitude with reference to / Wandered Lonely as a Cloud.
Or
Discuss Wordsworth as a poet of solitude with particular reference to / Wandered a Lonely Cloud.
Or
Discuss Wordsworth as a poet of joy with reference to’/ Wandered a Lonely Cloud.
Answer:

“I Wondered Lonely as a Cloud” by William Wordsworth deals with the beauty of the daffodils and their impact on his mind. The sight of the daffodils fills the poet’s mind with an intense sense of joy. It also vanishes away his earlier sense of loneliness. The joyful memory of the beautiful daffodils works even in the later period of his life.

The poem at first depicts the poet’s sense of solitude. This sense of solitude came from his lack of contact with nature. The poet walked lonely as a cloud floating high over vales and hills. However, his loneliness did not last long. He suddenly came across the daffodils, which appeared before him in their most beautiful form.

As a result, his sense of separation was overpowered with a stronger sense of joy. The poet’s increasing awareness is reflected in his use of words, as he says first “a crowd”, then “a host” of golden daffodils. Thus the poet found an order in the seemingly disordered scene of the daffodils. The movement of the daffodils in the gentle breeze was rhythmic, they were “fluttering and dancing in the breeze.” The poet saw the daffodils in relation with the lake and the trees. Thus he no longer felt lonely. He found that he had a close contact with nature.

The poet became so overjoyed with the sight, colour and movement of the daffodils that his imagination played with them. In the poet’s mind, water, earth and air mingled harmoniously. He employed some similes from nature to express the beauty of the daffodils. They were like the stars that shine and twinkle on the milky way. Again, they stretched parallel with the margin of the bay. In his enthusiasm and urge to search for a pattern, the poet related that he saw ten thousand flowers at a glance. Moreover, they were dancing in a lively manner. The daffodils were not only associated with the stars, but also with the waves of the lake. These waves also danced but the dance of the daffodils was more impressive than that of the waves. As the poet says —
“The waves besides them danced; but they
Out-did the sparkling waves in glee:
A poet could not but be gay.
In such a jocund company.”
The poet became joyous because his poetic sensibilities were enkind’.ed to see the dancing rhythm of the flowers. He found “jocund company” and his earlier sense of loneliness vanished away. In his Lyrical Ballads, Wordsworth says that a poet has greater organic sensibility than the common man does and he has “usually thought long and deeply.” It was such a mind of the poet that became overwhelmed with the beauty of the daffodils.

The poet then describes how in his tranquil moment he recollects the scene. Whenever the poet lies restfully on his couch in a solitary mood, the beautiful sights of the daffodils flashes upon his mental eye. The joy of the recollection is a gift of solitude. At that time his heart is filled with the same pleasure that he experienced when he actually saw the daffodils.

Thus the poem deals with the sense of solitude and the sense of joy. The poet remains solitary when he feels himself cut off from nature. But his sense of solitude gives away when he interacts with nature. Even the memory of the beautiful sights if nature offers him tremendous joy. This recollection arouses his poetic emotion and helps him write poem.
[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU]

.Q. How does Keats give a sensuous description of autumn in To Autumn!
Or
What is sensuousness? Examine To Autumn as a sensuous poem.
Or
In what sense does Ode to Autumn represent the perfection of Keats’ sensuous art?
Or
Keats’s poetry begins with sensuousness and ends in thought. Discuss.
Or Write a critical note on the sensuousness of Keats.
Or
In what sense do we call Keats a sensuous poet?
Answer:
Sensuousness is a quality in poetry. It is derived from the five senses. It affects the sense of sight, hearing, touch, smell and taste. Sensuousness is a paramount quality of John Keats’ poetical genius. Keats is pre-eminently the poet of the senses and delight. No one has catered to and gratified the five human senses to some extent as Keats. He is a great lover of beauty in the concrete. His religion is the adoration of the beautiful sounds and sights. It is his love of beauty which introduces the element of sensuousness in his poetry. When we deeply ponder over his poetry, we find that his poetry begins with sensuousness and ends in thought. His “To Autumn” is not an exception.

‘To Autumn” is a poem of beauty and bounty of nature in \utumn. Here we find images after images which are vivid, :oncrete, precise and sensuous. In the first stanza, the poet has lescribed different fruits in such a way that they make our tongue vet and full of juice. He shows grapes and apples get ripe in \.utumn. These fruits get filled with juice. Other fruits like gourd ilso get swollen with juice. In this time, budding continues. Some lowers begin to bloom late in the season. The bees are made to think hat warm days will never come to an end. Thus the images satisfy >ur senses of sight, taste, smell and hearing.

Autumn is personified as a winnower, a reaper, a gleaner, and a ider-presser in the second stanza. In other words, it is treated as a voman doing the main four jobs of crops generally done in the eason. So Autumn is a human figure sitting careless on a granary loor. She also represents herself as a reaper or a gleaner. Finally, she s seen as a cider-presser who watches the last drops of the juice lours by hours. We seem to feel the intense stimulating and narcotic ffect of poppies. Thus the imagery pleases the senses of smell, taste nd sight.

The dominating sensuous imagery of the third stanza is of sound. Ve hear the sounds of different animals, birds and insects. The small ;nats create a mourning sound among the river sallows. Full-grown imbs bleat. Hedge-crickets sing. The robin red-breast whistles and ;athering swallows twitter in the sky. They all make the music of Autumn. While we listen to such music of the season, we are also ware of the beautiful visual images. That is, our sense of sight is ;reatly gratified too. In the evening, the long-drawn-out clouds are een in the sky. They look purple by the rays of the setting sun.

There is no doubt that Keats’s sensuousness is the corner-stone f his poem. All our five senses are highly satisfied by his escription of beauty and reality. He is very naturally inclined to ive us sensuous pictures of what he sees and feels. We are ometimes blind to see beyond the sensuous aspects of his poem. But ic fact is that being a pictorial artist, Keats is a thinker and a ensuous poet. So we find that his “To Autumn” begins with ensuousness and ends in thought.

.Q. Critically comment on Dickinson’s obsession with Death.
Or
Show how Emily Dickinson evaluates death and immortality in Because I Could Not Stop for Death.
Or
How does Dickinson consider death and immortality in Because I Could Not Stop for Death”!
Or
Comment on Emily Dickinson’s attitude to death in Because I Could Not Stop for Death.
Or Discuss the way Dickinson looks to death.

Answer:
“Because I Could Not Stop for Death” is one of the greatest poems in English language”, says Alien Tate. The poem by Emily Dickinson deals with the most-discussed theme and a very common subject in literature, Death. The poetess has described Death as a kindly touched inevitable force. Her treatment of Death is both conventional and unconventional. In this poem, she has dramatized the idea of human life whose progression, end and the possibility of its approach to eternity are shown.

In our mortal life, we are very free in this earth. We are also very busy with our works and responsibilities. So we have no time to think of Death in the hours of business. We hardly think of him. But Death is inevitable and definite in his time of appearance. He knows no delay. He is famous for his gentleness and kindness. However, Dickinson visualizes that Death kindly stopped for her along with Immortality. She says in the first stanza of the poem—
“Because I could not stop for Death
He kindly stopped for me—
The Carriage held but just Ourselves—
And Immortality.”
The coming of Death with Immortality means that Death and Immortality exist side by side. In other words, Death is the gateway to enter into the world of Immortality. Here we get Dickinson’s quite surprising and greatly unconventional conception of Death. We also find her conventional attitude to Death here.

According to the poetess, Death is an all-time follower or companion to our lives. Life and Death grow together. They pass their time gradually. After a certain period, they mingle into each other too. This concept can be analyzed in an another way. It is that birth or creation begets Death. Birth is the first indication of him. A child is bom. With the progress of time, it gets young. Then it grows old and ultimately passes away. Thus we find that the more the child grows, the more it advances towards Death. This is the reunion. When we go through the poem, “Because I Could Not Stop for Death”, we feel that Death knows no haste. His carriage goes on moving very slowly. In fact, his slow movement and knowing no haste mean that Death has been working since the beginning of the creation. On the other hand, life approaches for this sure direction in every step of time.

After passing many places, the carriage of Death stops in front of a “House” which seems a swelling of the ground. The term “House” used in connection with the grave signifies the positive or conventional qualities of Death. Hence the poetess thinks that she is buried and since her burial centuries have passed. Actually, the whole course of life is a journey where Death is a constant companion. The chariot of life is taking the poetess towards eternity or Immortality. Emily Dickinson believes in life after Death. She indicates that the burial of the dead body is the spiritual voyage towards infiniteness.

In conclusion, we can say that Emily Dickinson has obviously expressed her personal belief in “Because I Could Not Stop for Death”. Because we are not sure of life after Death particularly after entering into the grave. So we can conclude that life in this earth is limited but eternal after Death. Thus the poetess’ attitude to Death is positive, unconventional and optimistic. In a word, her famous poem, “Because I Could Not Stop for Death” is an essay in death-in-life.

.Q. What philosophy of life has been expressed in the poem, Stopping by Woods on a Snowy Evening!
Or
Why can’t the rider in Stopping by Woods on a Snowy Evening prolong his stay by the lovely woodside?
Or
Analyze Robert Frost’s vision of life as expressed in the poem, Stopping by Woods on a Snowy Evening”!
Answer: Robert Frost is the most-celebrated poet of America. “Stopping by Woods on a Snowy Evening” is one of the most moving of his lyrics. His poetry suggests the basic truths of human life. In a deceptively lucid language, he presents the ultimate vision of life. The poem is the best specimen of Frost’s candid comments on the conflicting feelings inherent in human beings.

“Stopping by Woods on a Snowy Evening” is deceptive at the surface level. It sounds like a simple description of a horse rider who casually feels the desire to stop at the middle of his journey. But as a reader reaches the last stanza, he becomes aware that the poem deals with a serious psychological problem of every man.
The poem opens dramatically leading us to an idyllic setting. The speaker is riding a little horse on a journey, perhaps on a journey back home. His way runs by woods. There is neither any farmhouse nor any human habitation nearby. He stops near the woods. The time is evening. It is snowing heavily. The whole atmosphere appears to the speaker very attractive to enjoy the beauty in solitude. His horse gives a shake to its harness bell to remind him that it was peculiar to stay in a cold night without a safe shelter. The horse represents an earth-bound common sense. It fails to understand the deeper conflict that afflicts its rider. On the one hand, he is deeply attracted to the alluring snowfall, beauty, solitude of the woods and death-wish. It is an equally powerful call for duties.

Finally, we find the key-note of the poem. The last few lines reflect the never-ending conflict that goes on in human heart. Here lies Frost’s vision of life. The cold snowy evening by an open forest is not a right place for enjoyment. The speaker alienates himself from the owner of the woods. He keeps himself aloof from the horse and ultimately from all living beings. He is attracted to severely cold solitary woods that have every threat of death. In fact, the poet suggests the speaker’s death-wish by this peculiar attraction. It becomes clearer when he remembers that he has to travel miles before he sleeps. Because he has to keep promises. Here the ‘promises’ becomes the commitment to life. The distance becomes the distance in time and space. The ‘sleep’ turns to be the final sleep or the death. We become conscious that the poet is not talking about a simple lovely, dark, and deep forest. He implies the conflict between a death-wish and a sense of responsibility. The sense of responsibility wins in the conflict. The speaker says—
“But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.”
The division ends in a determination of onward march in life. The speaker’s strong determination is suggested by the repetition in the last two lines to carry on the duties. It keeps aside all allurements or hazards. It reflects the poet’s vision of life.

The rider in “Stopping by Woods on a Snowy Evening” can’t prolong his stay by the lovely woodside. Because he has his duties and responsibilities towards the world. In this respect, Frost’s vision is clear. The claim of life is greater than the death impulses. The metaphysical dimension of the poem is established in the last stanza. In the monosyllabic words of the poem, the poet emphasizes his own solution to the existential crisis of the modern period.

[B.A (HONS) IN ENGLISH COACHING @ MIRPUR-10 ,CELL:01713030838 BY KHAN SIR,B.A(HONS) M.A(ENGLISH)DU (ONLY FORSTUDENTS OF ENGLISH HONS ]

Syllabus for 1st year B.A Hons English of National University students

NATIONAL UNIVERSITY

Syllabus for Four Year B.A. Honours Course
Subject: English
Session: 2013-2014
FIRST YEAR

Paper Code Paper Title Marks Credits
211101 English Reading Skills 100 4
211103 English Writing Skills 100 4
211105 Introduction to Poetry 100 4
211107 Introduction to Prose: Fiction and Non- Fiction: 100 4
212009
Introducing Sociology
or
Introduction to Social Work
or
Introduction to Political Theory 100
4

212111

211909
211501 History of the Emergence of Independent Bangladesh 100
4
Total = 600 24
ENGLISH HONOURS& MASTERS COACHING by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838
ENGLISH HONOURS& MASTERS COACHING by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838
Detailed Syllabus

Paper Code : 211101 Marks : 100 Credits : 4 Class Hours : 60
Paper Title : English Reading Skills

The Paper seeks to develop student’ reading skills and covers the following sub-skills:
a) Guessing word meanings by using knowledge of word form (class), word function, word structure and formation and most importantly, contextual clues.
b) Understanding ornamental expressions
c) Tackling sentence meaning,
d) Surveying text organization,
e) Reading for specific information (skimming)
f) Reading for general comprehension/gist (scanning),
g) Summarizing,
h) Predicting ,
i) Interpreting and
j) Recognizing, author’s position, tone and attitude

The reading texts will be chosen from different types of writing like descriptive, narrative, expository, argumentative, journalistic and academic text e.g. History, Philosophy etc.

Recommended books:
Williams. E. 1984 Reading in the Language Classroom. Macmillan
Wallace.1992. Reading, OUP
Barr. P. Clegg, J. and Wallace, C. 1981 Advance Reading Skills Longman
Walter, Catherine. 1988. Class Readers, OUP

ENGLISH HONOURS& MASTERS COACHING by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838
Paper Code : 211103 Marks : 100 Credits : 4 Class Hours : 60
Paper Title : English Writing Skills

a. Paragraphs using a variety of techniques such as examples, listing, cause and effect, comparison-contrast among others,
b. Essay: Descriptive, Narrative, Expository and Argumentative,
c. Report writing: Newspaper Report, Survey Report, Business Report
d. Letter: Formal / Informal/ Business and
e. Notice, Memo, Notes, Press Release, Minutes.

Paper Code : 211105 Marks : 100 Credits : 4 Class Hours : 60
Paper Title : Introduction to Poetry

W. Shakespeare “ Shall I compare thee to a summer’s day?”
Milton “On His Blindness”
John Donne “The Good-Morrow”
R. Herrick “To Daffodils”
Thomas Gray “Elegy Written in a Country Churchyard”
W. Wordsworth “I wandered Lonely as a Cloud”
P.B. Shelley “Ode to the West Wind”
John Keats “To Autumn”
A. Tennyson “Ulysses”
R. Browning “Patriot”
Elizabeth B. Browning “How do I love thee”
W. Whitman “Crossing Brooklyn Ferry”
Emily Dickenson “Because I Could not stop for Death”
W.B. Yeats “A Prayer for My Daughter”
R. Frost “Home Burial”
D.H Lawrence “The Piano”
Dylan Thomas “Fern Hill”
Ted Hughes “Pike”
R. Tagore “ Where the mind is without fear” (Gitanjali-35)
Kaiser Huq “Learning Grief”

Literary Terms:
Simile, Metaphor, Personification, Metonymy, Symbol, Irony, Climax, Anticlimax, Alliteration, Assonance, Hyperbole, Paradox, Onomatopoeia, Bathos, Allusion, Conceit, Pun, Imagery, Elegy, Sonnet, Lyric, Dramatic Monologue, Ode, Ballad, Fable, Satire, Lampoon
Prosody
Accent, Foot/ Measure, Blank Verse, Rhyme, Tercet , Couplet, Heroic Couplet, Scansion of verse and others.

ENGLISH HONOURS& MASTERS COACHING by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838

Paper Code : 211107 Marks : 100 Credits : 4 Class Hours : 60
Paper Title : Introduction to Prose: Fiction and Non- Fiction:

F. Bacon “Of Studies”
A. Lincoln “Gettysburg Address”
R. Tagore “Letter to Lord Chelmsford Rejecting Knighthood”
G. Orwell “Shooting an Elephant”
Martin Luther King “I have a dream”
N. Mandela “Long Walk to Freedom” (Part Eleven: Freedom: Chapter
115)

Fiction

S. Maugham “The Luncheon”
O Henry “The Gift of the Magi”
James Joyce “Araby”
K. Mansfield “The Garden Party”
E. Hemmingway “A Cat in the Rain”
Anita Desai “Games at Twilight”

Novel

G. Eliot Silas Marner
ENGLISH HONOURS& MASTERS COACHING by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838

Paper Code 212009 Marks : 100 Credits : 4 Class Hours : 60
Paper Title Introducing Sociology Exam Duration : 4 Hours
1. Definition, Nature & Scope of Sociology, relationship with other social sciences. Development of Sociology: Contributions of Auguste Comte, Herbert Spencer, Emile Durkheim, Max Weber
2. Culture, Beliefs & Values: Norms, sanctions, symbols, language, subculture, counterculture, hegemony & resistance
3. Globalization, Culture and Society: Globalization and its different dimensions, Cultural globalization, global culture and social change
4. Urbanization and Social Formation: Definition of urbanization and urbanism, Process of urbanization in developing societies and social formation, over urbanization, growth of slum & poverty in mega cities
5. Gender and Society: DisPaper of WID, WAD and GAD, Why gender is important in the disPaper of development, Gender inequality & women’s subjugation in developing societies.
6. Environmental Problems, Natural Disasters and Social Crisis: Climate change and its impact on society, Natural disaster, social crisis and vulnerabilities, Climate change, deforestation and mal-development.
7. Social Inequality: Dimensions of social inequality: Class, gender, age, minority group (religious and indigenous), economic vulnerability, Social inequalities in developed & developing countries.
8. Types of societies: Marxist view on classifying societies on the basis of type of control over economic resources and Lenski’s view on classifying societies by their main means of Subsistance.

9. Deviance & Social Control: Definition of deviance, theories of deviance. Crime & justice system, agencies of social control.
10. Health, Illness and Society: Nature & scope of the problem, Urbanizations, acute, chronic & life style diseases, Social, environmental & behavioural factors affecting health, Communicable & behavioural diseases: STD, HIV/AIDS, TB, Hep-B etc

Reference:
Giddens Sociology
Tony Bilton et al Introductory Sociology
Paper Code 212111 Marks : 100 Credits : 4 Class Hours : 60
Paper Title Introduction to Social Work Exam Duration : 4 Hours
1. Social Work: Meaning, Characteristics, Scope and Importance Relationship of Social Work with other Sciences- Sociology, Economics, Psychology and Political Science.
2. Evolution: Evolution of Social Work in UK, USA, India and Bangladesh.
3. Social Reformers and their Movements in Pre-partition India and Bangladesh: Raja Rammohan Ray, Ishwar Chandra Vidyasagar, A.K Fazlul Haque, Sir Syad Ahmed, Begum Rokeya.
4. Social Legislations Related to Social Security, Women Welfare, Child Welfare.
5. Profession and Social Work: Meaning and Characteristics of Profession, Social Work as profession, Philosophical, Religions and Ethical Basis of Social Work.
6. Industrial Revolution: Meaning, Impact on Society, Industrialization, Urbanization, Welfare State.
7. Social Problems and Social Services in Bangladesh.
8. Methods of Social Work: Basic and Auxiliary Methods and their Basic Issues such as Meaning, Elements, Principles and Area of Use. Importance of Social Work Methods in Bangladesh.
ENGLISH HONOURS& MASTERS COACHING by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838

Books Recommended:
1. Barker, Robert L. :Social Work Dictionary, 3rd ed. NASW, New York, 1995.
2. Coulshed, Veronica Social Work Practice: An Introduction 2nd ed. London. Macmillan, 1991.
3. Friedlander, Walter A. : Introduction to Social Welfare. Prentice Hall, 2nd ed. New Delhi-1967.
4. Khalid, M. : Welfare State, Karachi, Royal Book, 1968
5. Morales, A. And Shaefor, B. Social Work – A Profession of many faces, 4th ed. Allyan and Bacan, Boston, 1986.

Paper Code 211909 Marks : 100 Credits : 4 Class Hours : 60
Paper Title Introduction to Political Theory Exam Duration : 4 Hours

Political Science : Meaning, Nature, Scope, Methods, Relations to other Social Sciences, Importance to Study Political Science.
State : Definition, Elements, State and Government, State and Individual, State and Society, Theories of the origin of the state.
Fundamental concepts : Sovereignty, Law, Liberty, Equality, Rights and Duties, Nation, Nationalism, Internationalism.
Concepts of Political Sociology : Political culture, elite theory, Max Weber and Bureaucracy
Political Thinkers : Plato, Aristotle, St. Augustine, St. Thomas Aquinas, Machiavelli, Hobbes, Locke and Rousseau.
Books Recommended :
1. R.G. Gettell : Political Science
2. J. W. Garner : Political Science and Government
3. R. M. MacIver : The Modern State
4. G.H. Sabine : A History of Political Theory
5. William Ebenstein : Great Political Thinkers-Plato to the Present
6. H.G. Laski : A Grammar of Politics
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10. mi`vi dRjyj Kwig : †c­‡Uvi wicvewjK

Paper Code
211501 Marks: 100 Credits: 4 Class Hours: 60
Paper Title: History of Emergence of Independent Bangladesh

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f~wgKv: ¯^vaxb evsjv‡`‡ki Afy¨`‡qi BwZnvm-cwiwa I cwiwPwZ

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M) fvlv Av‡›`vjb: cUf~wg I NUbv cÖevn
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M) AvBqye Lv‡bi cZb I Bqvwnqv Lv‡bi kvmb, GK BDwbU wejywßKiY, mve©Rbxb †fvUvwaKvi, GjGdI (Legal Framework Order)
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History of the Emergence of Independent Bangladesh
Introduction: Scope and description of the emergence of Independent Bangladesh.
Writing on this topic.
1. Description of the country and its people.
a. Geographical features and their influence.
b. Ethnic composition.
c. Language.
d. Cultural syncretism and religious tolerance.
e. Distinctive identity of Bangladesh in the context of undivided Bangladesh.

2. Proposal for undivided sovereign Bengal and the partition of the Sub Continent, 1947.
a. Rise of communalism under the colonial rule, Lahore Resolution 1940.
b. The proposal of Suhrawardi and Sarat Bose for undivided Bengal : consequences
c. The creation of Pakistan 1947 .

3. Pakistan: Structure of the state and disparity.
a. Central and provincial structure.
b. Influence of Military and Civil bureaucracy.
C . Economic , social and cultural disparity

4. Language Movement and quest for Bengali identity
a. Misrule by Muslim League and Struggle for democratic politics .
b. The Language Movement: context and phases .
c. United front of Haque – Vasani – Suhrawardi: election of 1954, consequences.

5. Military rule: the regimes of Ayub Khan and Yahia Khan (1958-1971)
a. Definition of military rules and its characteristics.
b. Ayub Khan’s rise to power and characteristics of his rule (Political repression, Basic democracy, Islamisation)
c. Fall of Ayub Khan and Yahia Khan’s rule (Abolition of one unit, universal suffrage, the Legal Framework Order)

6. Rise of nationalism and the Movement for self determination .
a. Resistance against cultura l aggression and resurgence of Bengali culture.
b. Sheikh Mujibur Rahman and the six point movement
c. Reactions : Importance and significance
d . The Agortola Case 1968.

7. The mass- upsurge of 1969 and 11 point movement: background,programme and significance.

8. Election of 1970 and the Declaration of Independence by Bangobondhu
a. Election result and centres refusal to comply
b. The non co-operation movement, the 7th March , Address , Operation Searchlight
c. Declaration of Independence by Bangobondhu and his arrest

9. The war of Liberation 1971
a. Genocide, repression of women, refugees
b. Formation of Bangladesh government and proclamation of Independence
c. The spontaneous early resistance and subsequent organized resistance (Mukti Fouz, Mukti Bahini, guerillas and the frontal warfare )
d. Publicity Campaign in the war of Liberation (Shadhin Bangla Betar Kendra, the Campaigns abroad and formation of public opinion )
e. Contribution of students, women and the masses (Peoples war)
f. The role of super powers and the Muslim states in the Liberation war.
g. The Anti-liberation activities of the occupation army, the Peace Committee, Al-Badar, Al-Shams, Rajakars, pro Pakistan political parties and Pakistani Collaborators , killing of the intellectuals.
h. Trial of Bangabondhu and reaction of the World Community.
i. The contribution of India in the Liberation War
j. Formation of joint command and the Victory
k. The overall contribution of Bangabondhu in the Independence struggle.

10. The Bangabondhu Regime 1972-1975
a. Homecoming
b. Making of the constitution
c. Reconstruction of the war ravaged country
d. The murder of Bangabondhu and his family and the ideological turn-around.

mnvqK MÖš’
1. bxnvi iÄb ivq, evOvjxi BwZnvm, †`Õ R cvewjwks, KjKvZv 1402 mvj|
2. mvjvn& DwÏb Avn‡g` I Ab¨vb¨ (m¤úvw`Z), evsjv‡`‡ki gyw³ msMÖv‡gi BwZnvm 1947-1971, AvMvgx cÖKvkbx, XvKv 2002|
3. wmivRyj Bmjvg (m¤úvw`Z), evsjv‡`‡ki BwZnvm 1704-1971, 3 LÛ, GwkqvwUK †mvmvBwU Ae evsjv‡`k, XvKv 1992|
4. W. nvi“b-Ai-iwk`, evsjv‡`k: ivRbxwZ, miKvi I kvmbZvwš¿K Dbœqb 1757-2000, wbD GR cvewj‡KkÝ, XvKv 2001|
5. W. nvi“b-Ai-iwk`, evOvwji ivóªwPš—v I ¯^vaxb evsjv‡`‡ki Af~¨`q, AvMvgx cÖKvkbx, XvKv 2003|
6. W. nvi“b-Ai-iwk`, e½eÜzi Amgvß AvZ¥Rxebx cybcv©V, w` BDwbfvwm©wU †cÖm wjwg‡UW, XvKv 2013|
7. W. AvZdzj nvB wkejx I W.†gvt gvneyei ingvb, evsjv‡`‡ki mvsweavwbK BwZnvm 1773-1972, m~eY© cÖKvkb, XvKv 2013|
8. gybZvwmi gvgyb I RqšÍ Kzgvi ivq, evsjv‡`‡ki wmwfj mgvR cÖwZôvi msMÖvg, Aemi, XvKv 2006|
9. AvwZDi ingvb, Amn‡hvM Av‡›`vj‡bi w`b¸wj: gyw³hy‡×i cÖ¯‘wZ ce©, mvwnZ¨ cÖKvk, XvKv 1998|
10. W. †gvt gvneyei ingvb, evsjv‡`‡ki BwZnvm, 1905-47, Zvgªwjwc, XvKv 2011|
11. W. †gvt gvneyei ingvb, evsjv‡`‡ki BwZnvm, 1947-1971, mgq cÖKvkb, XvKv 2012|
12. ‰mq` Av‡bvqvi †nv‡mb, evsjv‡`‡ki ¯^vaxbZv hy‡× civkw³i f~wgKv, Wvbv cÖKvkbx, XvKv 1982|
13. Aveyj gvj Ave`yj gywnZ, evsjv‡`k: RvwZiv‡óªi D™¢e, mvwnZ¨ cÖKvk, XvKv 2000|
14. ‡kL gywReyi ingvb, Amgvß AvZ¥Rxebx, w` BDwbfvwm©wU †cÖm wjwg‡UW, XvKv 2012|
15. wmivR D`&`xb Avn‡g`, GKvˇii gyw³hy×: ¯^vaxb evsjv‡`‡ki Af~¨`q, BmjvwgK dvD‡Ûkb, XvKv 2011|
16. RqšÍ Kzgvi ivq, evsjv‡`‡ki ivR‰bwZK BwZnvm, myeY© cÖKvkb, XvKv 2010|
17. Harun-or-Roshid, The Foreshadowing of Bangladesh: Bengal Muslim League and Muslim Politics, 1906-1947, The University Press Limited, Dhaka 2012.
18. Rounaq Jahan, Pakistan: Failure in National Integration, The University Press Limited, Dhaka 1977.
19. Talukder Maniruzzaman, Radical Politics and the Emergence of Bangladesh, Mowla, Brothers, Dhaka 2003.
20. ‡gmevn Kvgvj I Ckvbx PµeZx©, bv‡Pv‡ji K…lK we‡`ªvn, mgKvjxb ivRbxwZ I Bjv wgÎ, DËiY, XvKv 2008|
21. ‡gmevn Kvgvj, Avmv` I Ebmˇii MYAfy¨Ìvb, weeZ©b, XvKv 1986|

PREVIOUS QUESTIONS OF B.A. HONOURS PART : I, ENGLISH DEPARTMENT, NATIONAL UNIVERSITY, EXAM: 2010

PREVIOUS QUESTIONS OF B.A. HONOURS PART : I, ENGLISH DEPARTMENT, NATIONAL UNIVERSITY, EXAM: 2010

[According to the Syllabus of 2009-10]

Subject Code : 1152 (English Reading Skills)

Time—4 hours

Full marks—100

[N. B. —The figures in the margin indicate full marks.]

Part A

Read the passage carefully and answer the questions that follow :

It is a mystery which has baffled parents and teachers for years how to persuade children to eat more fruit and vegetables and not to eat unhealthy ‘junk’ food.

But a video of fruit arid vegetable loving cartoon characters may provide the answer. The four friends are having the same effect on school children as Popeye once had on Spinach consumption. Popeye appeared in an American cartoon strip in the 1920s, A sailor who developed superhuman strength by eating Spinach had a huge effect on children’s eating habits. Sales of Spinach increased and it became one of the most popular foods among American youngsters.

The characters are devised by psychologists who carried out research with 1,000 children over three years. The experimental programme proved such a success that it is now being used as pilot study in 20 schools. The latest study at a primary school in South London found fruit and vegetable intake among the children had doubled, A study at another school, where children were offered fruit during their morning break and at lunch time without showing the video found no change in the children’s eating habit.

The four characters in the video have a favourite fruit or vegetable. Charlie eats carrots, ‘Font prefers tomatoes. Raz eats raspberries and Rocco broccoli. Fruit and vegetables give the characters the life force they need to save the world from General Junk and his army of vegetable-hating “Junks-Punks”.

The experiment was reinforced by offering the children rewards, such as stickers and pencils for eating fruit and vegetables. Katy Tapper, who led the research, said “it is recommended that children eat five portions of fruit and vegetables a day, but they arc usually eating less than half of this. There is evidence that if you taste something many times you learn to like the taste. The intervention gets the children to repeatedly taste fruit and vegetable, so they develop a liking for them.”

The video shown in school for six minutes a day, worked in conjunction, with the rewards. Either method on its own was not as effective.

Answer any twenty questions from the following :— 1×20=20

(a) What has worried adults for years about children’s food habit?

(b) How does video help develop children’s eating habits?

(c) Who developed the research?

(d) What were the effects of the project at a London school?

(e) What was the finding of the study where no video was used?

(f) What was the most effective method of encouraging children to

eat more fruit and vegetables?

(g) Mention the major difference between Popeye and the four video characters.

(h) What was the use of stickers and pencils?

(i) Give another word or phrase for the word “in conjunction with.”

(j) Give a suitable title for the passage.

Match Column A with Column B according to correct meaning :—

A B

(k) sustain make an idea stronger

(l) pilot to make believe that is true

(m) persuade amount of food body can

(n) reinforce take to provide evidence to support an

(o) intake opinion to test new idea

keep something going

Find Suitable words in the passage to complete the sentences :—

(p) Popeye become superhuman by——–.

(q) The devised cartoon characters became——–.

Put the verbs in brackets into their correct form :—

The psychologists (research) on children for three years and they (success).

(s) Spinach (sale) highest which (become) popular food in America.

(t) Children (reward) stickers and pencils for (eat) vegetables.

Fill in the blanks with appropriate preposition ;—

(u) Children are influenced ——-cartoon characters.

(v) Children were offered fruit———–the morning.

Fill in the blanks with needn’t, need must, mustn’t:—

No, she—-eat Spinach. She has an allergy to it,

(x) Parents and teachers ——– have patience and they———force children.

Part B

Cricket is, in a sense, warfare in miniature and a cricket match should be fought by both sides with all the resources of spirit and technique at their command. At the same time it should always be recreation, a game, to be played not only according to written laws but in harmony with an unwritten code of chivalry and good temper.

A cricket team should feel that they are playing with, as well as against, there opponents. The home side should remember that they are hosts, the visitors that they are guests, and both should realize that the true greatness of the game lies in combat and comradeship combined.

Persued in such a spirit, victory, and nothing short of victory, should be the object of both teams from the first over of the match. The bowlers and fielders of the one, the batsman of the other, should go on to the field determined to attack and to go on attacking until they are really forced to fall back on defense, even then they are able to resume the offensive as the rules of the game permits.

It would seem that in recent years this instinct for attack has tended to give place to a premature concern with defense in which the batsman’s chief aim is to stay at the wicket rather than to make runs.

The bowlers are to keep down the rate of run getting rather than to get wickets. With the resulting development of defensive technique in batting, bowling, and field placing the game is in danger of becoming less vital and less enjoyable for players and spectators alike.

The coaches of today can do cricket no greater service than by helping the cricketers of the future to re-capture the spirit and the armoury of attack: only then they can win from the game the best that it has to give them.

In no other game perhaps is the individual and his team so closely integrated. One man virtually win a match, not necessarily by technical skill, but by intelligence, concentration and character. One man loses it by a failure in those qualities. Conversely, the morale of each member of an eleven can be largely built up and sustained by the atmosphere of the whole.

Answer any five of the following questions :— (4+4)x5=40

2. 2. (a) Why is cricket like “warfare in miniature”?

(b) How does cricket become a recreation.?

3. (a) What is meant by “an unwritten code of chivalry”?

(b) What is the role of the home side?

4. (a) How is the game balanced?

(b) What is the objective of both teams in the first over?

5. (a) What does the writer of this passage consider to be wrong with modern cricket?

(b) What is the batman’s chief aim in cricket?

6. (a) How many members of a cricket team influence the whole outcome of a match?

(b) How far coaches are responsible in the game?

7. (a) How can the boys become worthy of a place in their school team?

(b) Explain “to recapture the spirit and the armoury of attack.

8. (a) Do you enjoy cricket or not? Give your reasons.

(b) Write a summary of this passage.

9. (a) What does the passage say about a bowler?

(b) What does the passage say about the batsman?

Part C

Read the given poem and answer the following questions:- 10×4= 40

Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate.

Rough winds do shake the darling buds of May,

And summer’s lease hath all too short a date.

Sometime too hot the eye of heaven shines,

And often is his gold complexion dimmed;

And every fair from fair sometime declines,

By chance, or nature’s changing course, untrimmed;

But thy eternal summer shall not fade,

Nor lose possession of that fair thou ow’st,

Nor shall death brag thou wand’rest in his shade,

When in eternal lines to Time thou grow’st.

So long as men can breathe, or eyes can see,

So long lives this, and this gives life to thee.

10. Write a summary of the poem.
11. What is the author’s position and attitude?
12. Who is being compared to whom?
13. Scan the poem.
14. Give the rhyme-scheme of the poem.
15. How would you compare the summer in Bangladesh with the summer described in the poem?
16. What do you come to know about the poet’s friend from the poem?

PREVIOUS QUESTIONS OF B.A. HONOURS PART : I, ENGLISH DEPARTMENT, NATIONAL UNIVERSITY, EXAM: 2010

[According to the Syllabus of 2009-10]

Subject Code : 1153 (English Writing Skill)

Time—4 hours

Full marks—100

[N. B. —The figures in the margin indicate full marks.]

Part A

1. Correct any 20 sentences using proper punctuation marks, tense, gerund, participles, prepositions, agreement between subject and verbs and infinitives :— 1×20=20

(a) If you will study hard, you will pass.

(b) I went to Dhaka, Chittagong, Sylhet and others.

(c) She made the baby to take medicine.

(d) Each boy and each girl have answered the question.

(e) She is not as pretty like her mother.

(f) I shall wait of the opportunity.

(g) I wish I can help you.

(h) I bought three dozens of bananas.

(i) Had I been a rich man, I help the poor.

(j) Would you mind have a cup of tea?

(k) Having the rain stopped, we returned home.

(l) He was so angry he could not work.

(m) We went to the field despite of our exams.

(n) Rafiq sorted the book^r nicely he was efficient about it.

(o) The boy was tired, hungry and needed sleep.

(p) The wind stopped to blow.

(q) She was married with a police officer.

(r) His carelessness and behaviour irritates me.

(s) a box of eggs are on the table.

(t) Neither John or I are to receive the award.

(u) He is teaching early history of England since a year.

(v) He is too dull to learing anything.

She has been confined at bed because of sickness.

(x) It was them who beat the boy mercilessly.

Part B

Answer any five questions :— (4+4)x5=40

2. (a) What is an expository essay?

(b) How is it different from a “ descriptive essay?

How many parts are there in a formal letter?

3. (a) Write a topic sentence for each of the following topics :—

Road accident, Patriotism, Your Department, Study of Science.

(b) Give the possible structures of a comparison contrast paragraph.

4. (a) Young generation of our time has many positive qualities. Write four more sentences to develop it into a complete paragraph.

(b) English is used for global communication. It is the major library language of the world. It is also used for trade, commerce and many other purposes.

5. Punctuate the following :—

(a) William Shakespeare was born in the small market town of Startford-on-avon in April 1564 his father a successful glove maker landowner money lender and dealer in agricultural commodities was elected to several important posts in local government but later suffered financial reverses possibly as a result of adherence to the catholic faith.

(b) Studies serve for pastimes for ornaments and for abilities their chief use for pastime is in privateness and retiring for ornament is in discourse and for ability is in judgement for expert men can execute but learned men are fittest to judge or censure.

6. (a) Explain with example the differences between formal and informal writing.

(b) Write a short letter to your friend refusing his/her invitation for a dinner.

7. (a) Name different types of paragraphs.

(b) How are listing and cause and effect paragraphs developed.

8. (a) Rearrange the following sentences :—

John Keats died at the age of twenty six. He wrote some very famous odes. He was born in England. John Keats is a romantic poet. Ode to Nightingale is one of his best known odes.

(b) Give a list of sentence linkers or connectors used to write coherent paragraphs.

9. (a) Give the format of a report.

(b) Write an effective introduction of an essay in five sentences on the following topic :

Gender disparity.

Part C

Answer any four questions :— 10×4=40

10. Amplify the idea contained in the following statement:—

‘Grass is always green on the other side of the fence.’

11. Write a paragraph on :—

Life without a computer today.

12. Write a story using the following moral—Honesty is the best policy.
13. Write an essay on—

Higher education in Bangladesh.

14. Write a letter to your brother advising him to read daily newspaper and listen to the news as well.

15. Write an application to the Chairman of the department seeking permission to use the seminar library in the afternoon for drama rehearsals.
16. 16. Write a report on celebrating of International Mother language day in your college.

PREVIOUS QUESTIONS OF B.A. HONOURS PART : I, ENGLISH DEPARTMENT, NATIONAL UNIVERSITY, EXAM: 2010

[According to the Syllabus of 2009-10]

Subject Code: 1154 (Introduction to Poetry)

Time—4 hours

Full marks—100

[N. B. —The figures in the margin indicate full marks.]

Part A

Answer any twenty of the following questions :— 1 x20=20

1. (a) What kind of person was Ozymandias?

(b) What kind of fish is a pike?

(c) What sits heavily upon Aunt Jennifer’s hand?

(d) What does Wordsworth compare the daffodils to?

(e) What does the snake symbolize in the poem by D.H. Lawrence?

(f)Which bird is mentioned in the poem ‘Snake’?

(g) Who is Grandpa Walt in ‘Ode on a Lungi’?

(h)Who is the person referred to in ‘No Second Troy’?

(i) What do you know about ‘Seven Sleeper’s Den’?

(j) What does the word ‘sleep’ symbolize in the following line? ‘And miles to go before I sleep’

(k) What kind of poem is a sonnet?

(l) What is a hyperbole?

(m) What is the difference between a simile and a metaphor?

(n) Why is William Wordsworth famous?

(o) Give an example of the use of onomatopoeia by Keats.

(p) What is a lyric?

(q) What is personification?

(r) What is metonymy?

(s) Who first used blank verse in English?

(t) Why is Dylan Thomas called a Womb-tomb poet?

(u)What is scansion?

(v) What is accent?

Whom did the carriage of Death hold?

(x) Who is Aunt Jennifer?

Part: B

(Answer any five questions) Marks—(4+4)x5=40

2. (a) What is sensuousness?

(b) Name some elements of sensuousness in ‘To Autumn’.

3. (a) What is mysticism?

(b) What mystic elements do you find in ‘Because I Could Not Stop for Death’?

4. (a) What is symbolism?

(b) Comment on the symbols used by Frost in ‘Stopping by Woods on a Snowy Evening’.

5. (a) Describe ‘Pike’ as an animal poem.

(b) Comment on the imagery used in the poem ‘Fern Hill’.

6. Explain with reference to the context :—

(a) With beauty like a tightened bow a kind ‘

That is not natural in an age like this,

Being high and solitary and most stern?

(b) I gazed—and gazed—but little thought

What wealth the show to mc had brought.

Explain with reference to the context :—

(a) ‘All clothes have equal rights’

this nobody will deny ^

and yet, some obviously

are more equal than others

(b) If our two loves be one, or thou and I

Love so alike that none do slacken, none can die

8. (a) Write a short note on accent.

(b) Scan the following :—

Shall I compare thee to a summer’s day?

Thou art more lovely and more temperate:

Rough winds do shake the darling buds of May,

And summer’s lease hath all too short a date;

Write short notes on :—

(a) Pun

(b) Imagery.

Part C

(Answer any four questions)

Marks—10×4=40

10. How does Kaiser Haq present the Lungi in his Poem ‘Ode on the Lungi’?
11. Comment on the intensity of passion expressed in ‘How do I Love thee?’
12. How does Herrick find delight in disorder?
13. What are the major images that Shakespeare used to glorify his friend in Sonnet XVIII?
14. What are the different stages of love that you find in ‘The Good Morrow’?
15. Critically comment on Dickenson’s obsession with Death.
16. What elements of modernism do you find in the poem ‘Snake’?

PREVIOUS QUESTIONS OF B.A. HONOURS PART : I, ENGLISH DEPARTMENT, NATIONAL UNIVERSITY, EXAM: 2010

[According to the Syllabus of 2009-10]

Subject Code: 1155 [Introduction to Prose (Fiction & Non-Fiction)]

Time—4 hours

Full marks—100

[N. B. —The figures in the margin indicate full marks.]

Part A

Answer any twenty of the following questions :— 1×20=20

(a) Why is ‘Gettysburg Address’ famous?

(b) Who is Raghu?

(c) What does ^‘Araby’ stand for?

(d) What style did Bacon use in writing his essay ‘Of Studies’?

(e) What do you understand by the word’ imperialism’?

(f) “It’s not fair, I tell you, its not fair”—Who is the speaker and to whom does he/she speak?

(g) What, according to George Orwell, does a white man destroy when he turns tyrant?

(h) What is ‘Knighthood’?

(i) Locate the following sentence, ‘Having disappeared from the scene, he had disappeared from their minds’.

(j) Who is Mrs. Sheridan?

(k) What is the main cause behind American civil war?

(l) What does the narrator buy at the bajaar in Araby’?

(m) What is autobiography?

(n) What is the meaning of the title “The Tell-Tale Heart”?

(o) What historical incident inspired Rabindranath Tagore to reject Knighthood?

(p) What is “Gatto” in ‘Cat in the Rain’?

(q) Which country did Catherine Mansfield belong to?

(r) Name the book of which The River and the Rain’ is a part.

(s) Name a famous Indian novelist and short story writer included in your syllabus.

(t) What is fable?

(u) When was the speech ’1 have a dream’ delivered?

(v) What do studies serve for?

Why does Laura want to stop the party?

(x) “To compare small things with great, it was our Nile”— Who is the speaker here?

Part B

(Answer any five of the following questions) (4+4)x5=40

Write short notes on :—

2. (a) The boat race

(b) Lord Chelmsford.

3. (a) Anita Desai (b) Ravi
4. (a) What is a beast fable? (b) How far “The Ant and the Grasshopper’ is a beast fable ?
5. (a) What discriminations between the White and the Black does Martin Luther King find ?

(b) Discuss the use of foreign language in the story ‘Cat in the Rain’.

6. (a) Point out some elements of irony in ‘The Games At Twilight’.

(b) Mention some sweet memories of childhood as described in ‘The River and the Rain’.

7. (a) How did the death affect Laura?

(b) Write in brief about the guilt conscience in ‘Tell-Tale Heart’.

Explain with reference to the context:—

8. (a) ‘Read not to contradict and confute; nor to believe and take for granted; nor to find talk and discourse, but to weigh and consider’.

(b) ‘Oh, so remote, so peaceful. He was dreaming’.

9. (a) Now is the time to rise from the dark and desolate valley of segregation to the sunlit path of racial justice’.

(b) ‘………this nation, under God, shall have a new birth of freedom-

and that government of the people, by the people, for the people, shall not perish from the earth’.

Part C

(Answer any four of the following questions) 10×4=40

10. Critically analyse the relation between the American husband and the wife as reflected in ‘Cat in Rain’.
11. What picture of Kishoreganj do you get from your study of ‘The River and the Rain’?
12. How does Edgar Allan Poe create an atmosphere of horror and suspense in ‘The Tell-Tale Heart’?
13. Consider Martin Luther King’s ‘I have a Dream’ as a charter of freedom and equality for the black people of America.
14. Tagore’s ‘Letter Rejecting Knighthood’ is a protest against the British rule in India”.—Elucidate.
15. Describe the preparation and arrangements made by the Sheridan for the garden party.
16. Make a comparative study of the characters of two brothers in “The Ant and the Grasshopper.”

Second Year Hons(English) Introduction to Drama

Second Year Hons(English) Introduction to Drama

by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838
Oedipus the King- a short summary of the play
A plague has stricken Thebes. The citizens gather outside the palace of their king, Oedipus, asking him to take action. Oedipus replies that he already sent his brother-in-law, Creon, to the oracle at Delphi to learn how to help the city. Creon returns with a message from the oracle: the plague will end when the murderer of Laius, former king of Thebes, is caught and expelled; the murderer is within the city. Oedipus questions Creon about the murder of Laius, who was killed by thieves on his way to consult an oracle. Only one of his fellow travelers escaped alive. Oedipus promises to solve the mystery of Laius’s death, vowing to curse and drive out the murderer.
Oedipus sends for Tiresias, the blind prophet, and asks him what he knows about the murder. Tiresias responds cryptically, lamenting his ability to see the truth when the truth brings nothing but pain. At first he refuses to tell Oedipus what he knows. Oedipus curses and insults the old man, going so far as to accuse him of the murder. These taunts provoke Tiresias into revealing that Oedipus himself is the murderer. Oedipus naturally refuses to believe Tiresias’s accusation. He accuses Creon and Tiresias of conspiring against his life, and charges Tiresias with insanity. He asks why Tiresias did nothing when Thebes suffered under a plague once before. At that time, a Sphinx held the city captive and refused to leave until someone answered her riddle. Oedipus brags that he alone was able to solve the puzzle. Tiresias defends his skills as a prophet, noting that Oedipus’s parents found him trustworthy. At this mention of his parents, Oedipus, who grew up in the distant city of Corinth, asks how Tiresias knew his parents. But Tiresias answers enigmatically. Then, before leaving the stage, Tiresias puts forth one last riddle, saying that the murderer of Laius will turn out to be both father and brother to his own children, and the son of his own wife.
After Tiresias leaves, Oedipus threatens Creon with death or exile for conspiring with the prophet. Oedipus’s wife, Jocasta (also the widow of King Laius), enters and asks why the men shout at one another. Oedipus explains to Jocasta that the prophet has charged him with Laius’s murder, and Jocasta replies that all prophecies are false. As proof, she notes that the Delphic oracle once told Laius he would be murdered by his son, when in fact his son was cast out of Thebes as a baby, and Laius was murdered by a band of thieves. Her description of Laius’s murder, however, sounds familiar to Oedipus, and he asks further questions. Jocasta tells him that Laius was killed at a three-way crossroads, just before Oedipus arrived in Thebes. Oedipus, stunned, tells his wife that he may be the one who murdered Laius. He tells Jocasta that, long ago, when he was the prince of Corinth, he overheard someone mention at a banquet that he was not really the son of the king and queen. He therefore traveled to the oracle of Delphi, who did not answer him but did tell him he would murder his father and sleep with his mother. Hearing this, Oedipus fled his home, never to return. It was then, on the journey that would take him to Thebes, that Oedipus was confronted and harassed by a group of travelers, whom he killed in self-defense. This skirmish occurred at the very crossroads where Laius was killed.
Oedipus sends for the man who survived the attack, a shepherd, in the hope that he will not be identified as the murderer. Outside the palace, a messenger approaches Jocasta and tells her that he has come from Corinth to inform Oedipus that his father, Polybus, is dead, and that Corinth has asked Oedipus to come and rule there in his place. Jocasta rejoices, convinced that Polybus’s death from natural causes has disproved the prophecy that Oedipus would murder his father. At Jocasta’s summons, Oedipus comes outside, hears the news, and rejoices with her. He now feels much more inclined to agree with the queen in deeming prophecies worthless and viewing chance as the principle governing the world. But while Oedipus finds great comfort in the fact that one-half of the prophecy has been disproved, he still fears the other half—the half that claimed he would sleep with his mother.
The messenger remarks that Oedipus need not worry, because Polybus and his wife, Merope, are not Oedipus’s biological parents. The messenger, a shepherd by profession, knows firsthand that Oedipus came to Corinth as an orphan. One day long ago, he was tending his sheep when another shepherd approached him carrying a baby, its ankles pinned together. The messenger took the baby to the royal family of Corinth, and they raised him as their own. That baby was Oedipus. Oedipus asks who the other shepherd was, and the messenger answers that he was a servant of Laius.
Oedipus asks that this shepherd be brought forth to testify, but Jocasta, beginning to suspect the truth, begs her husband not to seek more information. She runs back into the palace. The shepherd then enters. Oedipus interrogates him, asking who gave him the baby. The shepherd refuses to disclose anything, and Oedipus threatens him with torture. Finally, he answers that the child came from the house of Laius. Questioned further, he answers that the baby was in fact the child of Laius himself, and that it was Jocasta who gave him the infant, ordering him to kill it, as it had been prophesied that the child would kill his parents. But the shepherd pitied the child, and decided that the prophecy could be avoided just as well if the child were to grow up in a foreign city, far from his true parents. The shepherd therefore passed the boy on to the shepherd in Corinth.
Realizing who he is and who his parents are, Oedipus screams that he sees the truth and flees back into the palace. The shepherd and the messenger slowly exit the stage. A second messenger enters and describes scenes of suffering. Jocasta has hanged herself, and Oedipus, finding her dead, has pulled the pins from her robe and stabbed out his own eyes. Oedipus now emerges from the palace, bleeding and begging to be exiled. He asks Creon to send him away from Thebes and to look after his daughters, Antigone and Ismene. Creon, covetous of royal power, is all too happy to oblige. by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838

A Brief Synopsis of Arms and the Man by George Bernard Shaw
The play takes place during the 1885 Serbo-Bulgarian War. Its heroine, Raina (rah-EE-na) Petkoff, is a young Bulgarian woman engaged to Sergius Saranoff, one of the heroes of that war, whom she idolizes. One night, a Swiss mercenary soldier in the Serbian army, Captain Bluntschli, climbs in through her bedroom balocony- window and threatens to shoot Raina if she gives the alarm. When Russian/Bulgarian troops burst in to search the house for him, Raina hides him so that he won’t be killed. he says to her to remember that “nine soldiers out of ten are born fools.” In a conversation after the soldiers have left, Bluntschli’s attitude towards war and soldiering (pragmatic and practical as opposed to Raina’s idealistic views) shock her, especially after he admits that he uses his ammunition pouches to carry chocolates rather than cartridges for his pistol. When the search dies down, Raina and her mother Catherine sneak Bluntschli out of the house, disguised in an old housecoat.
The war ends with the Bulgarians and Serbians signing a peace treaty and Sergius returns to Raina, but also flirts with her insolent servant girl Louka (a soubrette role), who is engaged to Nicola, the Petkoffs’ manservant. Raina begins to find Sergius both foolhardy and tiresome, but she hides it. Bluntschli unexpectedly returns so that he can give back the old housecoat, but also so that he can see her. Raina and her mother are shocked, especially when her father and Sergius reveal that they have met Bluntschli before and invite him to stay for lunch (and to help them with troop movements).
Afterwards, left alone with Bluntschli, Raina realizes that he sees through her romantic posturing, but that he respects her as a woman, as Sergius does not. She tells him that she had left a photograph of herself in the pocket of the coat, inscribed “To my chocolate-cream soldier”, but Bluntschli says that he didn’t find it and that it must still be in the coat pocket. Bluntschli gets a telegram informing him of his father’s death and revealing to him his now-enormous inheritance. Louka then tells Sergius that Bluntschli is the man whom Raina protected and that Raina is really in love with him. Sergius challenges Bluntschli to a duel, but Bluntschli avoids fighting and Sergius and Raina break off their engagement (with some relief on both sides). Raina’s father, Major Paul Petkoff, discovers the portrait in the pocket of his housecoat, but Raina and Bluntschli trick him by removing the photograph before he finds it again in an attempt to convince him that his mind is playing tricks on him, but Petkoff is determined to learn the truth and claims that the “chocolate-cream soldier” is Sergius. After Bluntschli reveals the whole story to Major Petkoff, Sergius proposes marriage to Louka (to Mrs. Petkoff’s horror); Nicola quietly and gallantly lets Sergius have her, and Bluntschli, recognising Nicola’s dedication and ability, determines to offer him a job as a hotel manager.
While Raina is now unattached, Bluntschli protests that—being 34 and believing she is 17—he is too old for her. On learning that she is actually 23, he immediately proposes marriage and proves his wealth and position by listing his inheritance from the telegram. Raina, realizing the hollowness of her romantic ideals, protests that she would prefer her poor “chocolate-cream soldier” to this wealthy businessman. Bluntschli says that he is still the same person, and the play ends with Raina proclaiming her love for him and Bluntschli, with Swiss precision, both clearing up the major’s troop movement problems and informing everyone that he will return to be married to Raina exactly two weeks from Tuesday.
KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838

A Midsummer Night’s Dream Book Summary
This story takes place in Athens, Greece ‐ where everything is going wrong. The play starts in the court room of Duke Theseus. A man named Egeus is having trouble with his daughter so he brings her to the duke for help. Egeus’s daughter, Hermia doesn’t want to marry Demetrius ‐ the man her father has promised to her. Instead, Hermia wants to marry the Poet Lysander. Duke Theseus reminds Hermia that the law allows fathers to make their daughters do anything. He tells her that her only other choice is to become a nun and never marry anyone.

Because the duke gives them little choice, Lysander and Hermia decide to run away form Athens. They run into the woods to make plans. While they are in the woods, they run into Helena. Helena is Hermia’s best friend. She is sad because she loves Demetrius. Hermia wishes Demetrius would love Helena back ‐ then Hermia could marry Lysander and their problem would be solved!

The fairies that live in the woods are also having problems. Oberon, the king of fairies, is angry at his queen, Titania. She is taking care of a little human boy and Oberon is jealous. He wants to take the boy to be his servant. Titania won’t let him so Oberon decides to play a trick on her. He asks his helper, Puck, to find a magical flower. The flower’s juices are supposed to make someone fall in love with the first thing they see. Oberon wants Puck to use the flower on Titania.

As night begins to fall, the lovers from Athens are all lost in the woods. Lysander and Hermia are still trying to run away. Demetrius chases them while Helena follows, begging him to love her back. Demetrius is mean to Helena and swears he will never love her. Oberon sees this and feels sorry for Helena. He decides to help her by using the magic flower on Demetrius too.

In another part of the woods, a group of workers, or mechanicals, are practicing a play to perform for Duke Theseus on his wedding day. They are very funny and silly characters. Nick Bottom is the loudest and funniest of them all. He is also very bossy and wants to play all the play’s parts. Puck sees Nick Bottom and thinks it would be funny to make Queen Titania fall in love with him. While Titania is sleeping, Puck drops the magic juices into her eyes. Then Puck make the joke even funnier by turning Nick Bottom’s head into a donkey head. All of the mechanicals are scared when they see Nick Bottom with a donkey head. They run away screaming and wake up Titania. She instantly falls in love with Nick Bottom.

On his way back to King Oberon, Puck finds Lysander and Hermia sleeping. Puck thinks that Lysander is the man who needs the love drops. He is wrong! Puck accidentally makes Lysander fall in love with Helena. Helena is very confused, and Hermia is very mad. She thinks her best friend has stolen her boyfriend. Puck tries to fix things by putting the drops into Demetrius’s eyes. Now Demetrius loves Helena too! Helena is angry and thinks the men are teasing her. Hermia tries to fight Helena. Oberon is mad at Puck for making so many mistakes. He makes Puck stay up all night and fix the mess. When the lovers wake up in the morning, Lysander loves Hermia and Demetrius loves Helena. Everyone is happy and they go back to Athens to tell Egeus and Duke Theseus. Everything is better in the fairy kingdom too. Oberon reverses the spell on Titania and Nick Bottom. Oberon and Titania stop fighting and Puck apologizes for all of his mistakes. by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838
Summary of the play Riders to the Sea by John Millington Synge

The play begins with Maurya, who has fallen into a fitful sleep. She is certain that her son, Michael, has drowned, even though she has no proof, and has been constantly grieving for nine days. Cathleen, her daughter, is doing household chores when Nora, another daughter arrives. She quietly slips into the kitchen with a bundle that had been given to her by a young priest. In the bundle are clothes taken from the body of a man who drowned in the far north. They were sent to Maurya’s home, hoping that she would be able to identify the body.
Maurya begins to look as if she is going to wake up soon, so the daughters hide the bundle until a time when they are alone. Maurya awakes, and her fear for losing her only remaining son Bartley intensifies her grieving for Michael. Keep in mind, she has already lost five sons and a husband to the sea. The priest claims that that “insatiable tyrant” will not take her sixth. However, Bartley proclaims that he is going to venture over to the mainland that same day, in order to sell a horse at the fair, despite knowing of the high winds and seas.
Maurya begs Bartley not to go, yet he insists despite her pleas. In a flustered state of irritation, Maurya bids him gone without her blessing. Upon seeing these events unfold, the sisters tell Maurya, that she should go out and search for Bartley in order to give him the lunch that they he had forgotten to bring, and while at it, give him her blessing.
Maurya agrees to go, and once she is gone, the girls open the bundle. They find that they were indeed Michael’s clothes, but at least they have the comfort of knowing he got a respectable Christian burial where he washed up in the north. At this point, Maurya returns even more flustered and terrified before. She has seen a vision of Michael riding on the lead horse behind Bartley. Because of this, she is sure Bartley is doomed to die at sea. The girls then show her Michael’s clothes, and she exclaims that the nice white boards she had bought for Michael’s coffin may now be used for Bartley’s instead.
As she says this, the neighbors (women) enter, their voices raised in what the play calls a “keen”, or wailing lament for the dead. Men follow the women, who bring in the body of Bartley, who, sure enough, is dead. He has been knocked off a cliff into the surf below by the horse he was leading. The play ends with Maurya’s fatal submission as she says, “They’re all gone now and there isn’t anything more the sea can do to me.”
This play resulted in the public having an interesting outlook to the sea. Whereas beforehand the sea was always mysterious and adventurous, it now became melodramatic and depressing. This had a somewhat similar effect to “Jaws” in the mid 70s, changing peoples’ views of water and the ocean, but on a lesser scale.
by KHAN SIR, B.A(HONS)M.A(ENGLISH)DU, MIRPUR-10 GOALCHAKKAR( BESIDE Overbridge)TEL: 01713030838