PUNJAB UNIVERSITY
Q NO.1 Explain with reference to the context of the following passages:
1) And I have leave to go, of her goodness;
And she also to use new-fangleness;
But since that I unkindely so am served,
“How like you this?” What hath she now deserved. (A/2003)
2) A better felawe sholde men naught fynde,
He wolde suffice, fro a quart of wyn,
A good felawe to have his concubyn,
A twelf monthe, and excuse hym atte fulle. (A/2003)
3) When those fair suns shall set, as set they must,
And all those tresses shall be laid in dust,
This lock, the Muse shall consecrate to fame,
And midst the stars inscribe Belinda’s name. (A/2003)
4) ………..Some cursed fraud.
Of enemy hath beguiled thee; yet unknown,
And me with thee hath ruined; for with thee
Certain my resolution is to die. (A/2003)
5) If our two loves be one, or thou and I
Love so alike, that none so slacken
none can die. (A/2003)
6) Regions of sorrow, doleful shades, where peace
And rest can never dewell, hope never comes
That comes to all, ……… (A/2003)
7) A visage stem and mild, where both did grow,
Vice to contemn, in virture to rejoice;
Amid great storms, whom grace assured so
To Live upright and smile at fortune’s choice. (A/2003)
8) So, Let us melt, and make no noise,
No tears floods, nor sigh ----tempests move,
T’ were pro phanation of our joyes
To tell the layetice our Love. (A/2003)
9) He seyd he hadde a gobet of the seyl
That Seint Peter hadde whan that he wente
Upon the see, till Jhesu Crist hym hente. (2002)
10) O Eve, in evil hour thou didst give ear
To that false worm, of whomsoever taught
To counterfeit man’s voice, true in our fall.
False in our promised rising; (2002)
11) Regions of sorrow, doleful shadesl, where peace
And rest van never dwell, hope never comes
That comes to all. (2002)
12) Behind her farre away a Dware did lag,
That Lasie seemed in being ever Last,
Or wearied with bearing of her bag
Of needments at his backe. (2002)
13) Shine her to us, and thou art every where;
This bed thy center is, these walls, thy Shpeare.
14) Some nymphs there are, too conscious of their face,
For life predestined to the gnome’s embrace. (2002)
15) So hydous was the noys, a benedecitee!
Certes, he Jakke Straw , and his meynee
Ne made never shoutes half so shrille,
Whan that they woulden any Flamyng Kille. (2002)
16) For certes, what so any woman seith,
We alle desiren, if it myghte bee,
To han housboneds hardy, wise, and free,
And secree, and no nygard, ne no fool,
Ne hym that is agast of every tool,
Ne noon avauntour. (2002)
17) Our two soules therefore, which are one,
Though I must go , endure not yet
A breach, but an expansion,
Like gold to ayery thinness beate. (2001)
18) But soore wepte she if oon of hem were deed,
Or if men smoot it with a yerde smerte,
And all was conscience and tender herte. (2001)
19) O foul descent! That I who erst contended with
Gold to sit the highest, am Now constrained
into a beast and mixed with beastial slime,
This essence to incarnate and imbrute,
That to the height of deity aspired. (2001)
20) ‘O blisful God, that art so put and trewel!
Lo, how that thou biwreyest mordre always!
Mordre wol out, that se we day by day. (2001)
21) Your owne deare sake forst me at first to leave
My father’s kingdome, there she stopt with tears; (2001)
22) O thoughtless mortals! Ever blind to fate,
Too much defected and to soon elate,
Sudden these honours shell be snatched away,
And cursed for ever this victorious day. (2001)
23) Here we ray reign secure, and in my choice,
To reign is worth ambition, though in hell;
Better to reign in hell, than serve in heaven. (2001)
24) What though the fied be lost?
All is not Lost-the unconquerable will,
And study of revenge, immortal hate,
And courage never to submit or yield; (2001)
25)
(LOVE AND DIVINE POEMS).
Q NO. 1 In his love poetry, Donne exhibits a more varied range of feelings than the Elizabethans. Moreover, his imagery, diction and versification are startlingly different. Discuss. (2003) (1993)
OR: “To Donne Love in its infinite variety and inconsistency represents the principle of perpetual flux in Nature”. Illustrate with reference to Donne’s Love poems. (2002)
OR: “Donne’s genius, temperament and learning gave to his love poems certain qualities which immediately arrested attention.” Elucidate with reference to the Love Poems of John Donne. (1995)
Q NO. 7 Discuss the view that with Donne Elizabethan poetry closes and Caroline poetry begins. (1990)
(Paradise Lost Book I & IX).
Q No.1: Examine Paradise Lost as a Renaissance Epic. (2003)
Q No.2: Nothing can exceed the energy and magnificence of the character of Satan as expressed in the Paradise Lost. Support your views with reference to Book-1 & Book IX of the Paradise Lost. (2002)
Q No.3: “Satan in Book IX of the Paradise Lost is not the same in Book I “. Amplify. (2001)
Q No.4: Discuss Milton’s treatment of Adam and Eve in Book IX of the Paradise Lost. (2000)
Q No.5: In Paradise Lost Milton plans to “ justify the ways of God to men.” (1999)
Q No.6: Who in your opinion is the hero of The Paradise Lost? Give reasons with textual support. (1997/98)
Q No.7: “ Milton settled in the form of an epic poem because, it must be conceded that he had not the knowledge of men necessary for a drama” Elaborate. (1996)
Q No.8: How does Milton differentiate between true and false heroism in Paradise Lost? Refer to Book I and Book IX for your answer. (1995)
Q No.9: What differences in character and thinking of Adam and Eve emerge in Book IX of Paradise Lost? (1994)
Q No.10: While Satan of the first two books of Paradise Lost pleases the modern sensibility, Milton’s concept of man-woman relationship does not. Do you agree? (1993)
Q No.11: Discuss Milton’s epical view in Paradise Lost. (1992)
Q No.12: “Milton’s concepts are vast and he could present the Universe with a sense of its immensity? (1991)
Q No.13: Discuss paradise Lost as the fruit of a Puritan’s prolonged meditation on the Bible. (1990)
Q No.14: “Satan exhibits so many of the qualities of Milton himself, that it looks as if he was carried away by his own creation and implicitly sympathized with what he explicitly condemned.” Justify or refute. (1990)
(The Prologue to the Canterbury Tales)
Q No.1: Compare and contrast the Knight with the Parson in the prologue. (2003)
Q No.2: “ Chaucer’s world is different from, yet similar to our own”. Discuss with reference to the Prologue to the Canterbury Tales. (2002)
Q No.3: What does Chaucer imply when, describing the Friar, he says, “There was no man nowhere so virtuous”? (2001)
Q No.4: “With portrait following portrait the prologue should prove monotonous reading, but it doesn’t”. Discuss. (2000)
Q No.5: Do you gather from The Prologue that Chaucer was a social reformer? (1999)
Q No.6: Bring out the use of irony in Chaucer’s treatment of religious characters in The Prologue. (1997/98)
Q No.7: What means does Chaucer employ to make The Prologue dramatic? (1996)
Q No.8: Chaucer’s teaching of characterization in The Prologue differs from character to character. Discuss. (1995)
OR: Write a note on Chaucer’s characterization in the Prologue. (1994)
Q No.9: In appearance Chaucer’s characters belong to the fourteenth century England. But under their skin they are all human and universal. Discuss. (1993)
Q No.10: Discuss Chaucer’s realism in The Canterbury Tales. (1992)
Q No. 11: Chaucer’s work represents his century completely. Amplify. (1991)
Q No.12: To the period of Chaucer’s maturity belong the Canterbury Tales. Discuss.(1990)
POPE
(The Rape of the Lock)
Q No.1: Why has the Rape of the Lock retained its popularity to this day? (2003) (1990)
Q No.2: Pope “Correlate inventiveness and moral point” (Cunningham) How does be do this? (2002)
Q No.3: “The little is made great, and the great, and the great little.” (Hazlitt) How does this happen in the Rape of the Lock? Why is it done? (2001)
Q No.4: “The Rape of The Lock is Pope’s attempt to deal directly with some of the basic concerns of his society”. Do you agree? (2000)
Q No.5: “For even satire is a form of sympathy,” says D. H. Lawrence. How are Pope’s sympathies made apparent in The Rape of the Lock? (1999)
Q No.6: “Every satirist is at heart an idealist”. Discuss with reference to The Rape Of The Lock. (1997/98)
Q No.7: What social and personal attitudes of the 18C does Pope satirize in The Rape Of The Lock? (1996)
Q No.8: How does Pope combine the epic and the satire in The Rape of the Lock? (1995)
Q No.9: Compare the women of the upper class in Pop’s Rape of the Lock with present day women of the same class. (1994)
Q No.10: Pope’s Rape of the Lock is a perfection of the mock-heroic. Elaborate. (1993)
Q No.11: Discuss Pope’s portrait of London life in the Rape of the Lock. (1992)
OR: “The Rape of the Lock is a light satire on the daily life of London society.” Elaborate. (1991)