BEGC 133
BRITISH LITERATURE
IGNOU BEGC 133 Solved Free Assignment
BEGC 133 Solved Free Assignment July 2024 & January 2025
SECTION A
I Explain the following passages with reference to the context.
.1. “Stay, you imperfect speakers, tell me more.
By Sinel’s death I know I am Thane of Glamis;
But how of Cawdor? The Thane of Cawdor lives,
A prosperous gentleman; and to be king stands not within the
prospect of belief,
No more than to be Cawdor. Say from whence
You owe this strange intelligence? Or why
Upon this blasted heath you stop our way
With such prophetic greeting.”
Ans. This passage is from Macbeth, Act 1, Scene 3, written by William Shakespeare. It is spoken by Macbeth after the three witches deliver their prophecy.
The witches greet him with three titles: Thane of Glamis, Thane of Cawdor, and King hereafter. Macbeth is already aware of his title as Thane of Glamis, but he is surprised and confused by the other two predictions.
With the line “Stay, you imperfect speakers, tell me more,” Macbeth urges the witches not to leave and demands that they explain the strange titles they’ve just given him.
He acknowledges that he is Thane of Glamis due to his father Sinel’s death, but the title of Thane of Cawdor confuses him because the current Thane is still alive and respected.
The idea of becoming king seems even more unbelievable to him.
In saying “Say from whence / You owe this strange intelligence,” Macbeth questions where the witches got their knowledge and why they have chosen to meet him in such a strange and desolate place (“blasted heath”) to deliver such an unsettling message.
The phrase “prophetic greeting” shows that Macbeth is beginning to take the prophecy seriously, even though he is skeptical at first.
This moment is crucial in the play because it marks the beginning of Macbeth’s internal conflict and ambition. It shows how the prophecy plants the seed of desire in his mind—a desire that eventually leads to his tragic downfall.
.2. “Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee: –
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? Or art thou but
A dagger of the mind? A false creation,
Proceeding from the heat-oppressed brain?”
Ans. This passage is from Macbeth, Act 2, Scene 1, and is part of a soliloquy delivered by Macbeth just before he goes to murder King Duncan.
It is one of the most famous examples of Shakespeare’s use of psychological conflict and inner turmoil.
In this moment, Macbeth sees a hallucination of a dagger floating in the air, pointing toward Duncan’s chamber. He asks, “Is this a dagger which I see before me, / The handle toward my hand?” suggesting he feels as though the weapon is beckoning him to commit the murder.
His attempt to “clutch” the dagger fails, as he realizes it is not real — “I have thee not, and yet I see thee still.”
The phrase “dagger of the mind” reflects Macbeth’s deep anxiety, guilt, and the conflict between his ambition and his conscience.
He wonders if the vision is a “false creation” — a product of his “heat-oppressed brain”, meaning his mind is feverish or disturbed under the pressure of what he is about to do.
This soliloquy is significant because it shows Macbeth’s slipping grip on reality. He is torn between his moral hesitation and his overpowering ambition.
The vision of the dagger acts as both a symbol of temptation and a manifestation of his psychological descent.
It vividly illustrates the theme of appearance versus reality and the intense guilt that will plague Macbeth throughout the play.
.3. “He did it like an operatic tenor—a regular handsome fellow, with
flashing eyes and lovely moustache, shouting a war-cry and
charging like Don Quixote at the windmills. We nearly burst with
laughter at him; but when the sergeant ran up as white as a sheet,
and told us they’d sent us the wrong cartridges, and that we
couldn’t fire a shot for the next ten minutes, we laughed at the other
side of mouths.”
Ans. This passage is from Arms and the Man by George Bernard Shaw, and it humorously captures the contrast between romanticized heroism and the harsh reality of war.
The speaker here is Captain Bluntschli, a practical and realistic soldier, recounting a battlefield incident to reveal the absurdity of glorifying war.
He mocks a fellow soldier who, like an “operatic tenor”, charged dramatically into battle—”a regular handsome fellow, with flashing eyes and lovely moustache”—as if he were performing on stage rather than facing actual danger.
The comparison to Don Quixote, a fictional character known for his delusional bravery in attacking windmills he imagines to be giants, highlights how foolish and theatrical this soldier’s actions appeared.
The humor takes a sudden turn when the sergeant rushes in, pale and panicked, to announce that the troops had been given the wrong cartridges, making their weapons useless for the next ten minutes.
This shocking revelation turns their laughter into fear—”we laughed at the other side of our mouths”, meaning their amusement turned into discomfort or regret.
This moment illustrates Shaw’s theme of anti-romanticism in war. By exposing the dangers behind blind heroism and mocking the traditional image of the noble soldier, Shaw critiques the false ideals that often glorify warfare.
The passage underlines the absurdity and unpredictability of war, where real courage lies in rational thinking, not dramatic posturing.
.4. “”Thou hast betray’d thy nature and thy name,
Not rendering true answer, as beseem’d
Thy fealty, nor like a noble knight:
For surer sign had follow’d, either hand,
Or voice, or else a motion of the mere.
This is a shameful thing for men to lie.”
Ans. This passage is from “The Passing of Arthur” by Alfred, Lord Tennyson, part of his larger poetic work Idylls of the King, which retells the legends of King Arthur. In this excerpt, King Arthur is speaking to Sir Bedivere, one of his most trusted knights.
Arthur is rebuking Bedivere for disobeying his direct command. Arthur had asked Bedivere to throw his magical sword Excalibur into the lake (“the mere”) and report what happened.
But Bedivere, tempted by the sword’s beauty and value, hides it twice and lies to Arthur, saying he did what was asked. Arthur, sensing the falsehood, says:
“Thou hast betray’d thy nature and thy name” — meaning Bedivere has gone against his noble character and the honor expected of his knightly name.
“Not rendering true answer, as beseem’d / Thy fealty” — Bedivere has not given a truthful reply, which goes against the loyalty (fealty) he owes to his king.
Arthur emphasizes that a “surer sign” should have followed if the sword had truly been thrown — perhaps a sound, a hand rising from the water, or some magical signal.
Because none of these happened, Arthur knows that Bedivere has lied. The final line — “This is a shameful thing for men to lie” — expresses Arthur’s deep disappointment, not just as a king but as a symbol of honor and truth.
This passage reflects the core themes of the poem: the decline of the chivalric code, the fading of idealism, and the struggle between duty and temptation.
Bedivere’s moment of weakness contrasts with Arthur’s unwavering nobility, reminding readers of the fragility of human honor even in the noblest of men.
Section B
a. The three phases of Thomas Hardy’s writing.
Ans. Thomas Hardy’s literary career is generally divided into three distinct phases, each marked by a shift in focus, tone, and medium. These phases reflect his evolving worldview and artistic expression over time.
The Early Novels (1860s–1870s):This phase marks Hardy’s beginning as a novelist. During this period, he wrote novels that explore social issues, class struggles, and rural life in Victorian England.
His early works, such as Desperate Remedies (1871), Under the Greenwood Tree (1872), and A Pair of Blue Eyes (1873), show a romantic tone with growing elements of realism.
These novels reflect Hardy’s concern with the changing rural landscape and the pressures of industrialization.
Though not yet as dark or tragic as his later works, these stories begin to hint at the themes of fate, chance, and societal constraints that would define his mature phase.
The Major Tragic Novels (Late 1870s–1895): This is considered Hardy’s most important and creative phase. He wrote a series of powerful novels that explore the tragedy of human life, the cruelty of fate, and the limitations imposed by society, religion, and class.
His most famous works from this period include The Return of the Native (1878), The Mayor of Casterbridge (1886), Tess of the d’Urbervilles (1891), and Jude the Obscure (1895).
These novels often feature strong but doomed characters, especially women, who struggle against rigid social expectations.
Hardy’s tone became increasingly pessimistic, reflecting his deterministic view of life, where individuals are at the mercy of an indifferent universe.
The harsh critical reception of Jude the Obscure particularly hurt Hardy, prompting him to abandon novel writing altogether.
The Poetic and Dramatic Phase (1895–1928): After giving up novels, Hardy devoted the rest of his life to poetry and drama, which he had always considered his true passion.
This final phase saw him produce a massive body of poetic work, including Wessex Poems (1898), Poems of the Past and the Present (1901), and his epic verse drama The Dynasts (1904–08), which blends history, philosophy, and personal reflection.
Hardy’s poetry continues the themes of loss, regret, nature, time, and the futility of human striving.
His poetic voice is more intimate, lyrical, and philosophical than his prose, often dealing with personal grief, especially after the death of his first wife, Emma.
b. The ‘Porter Scene’ in Macbeth.
Ans. The ‘Porter Scene’ in Macbeth appears in Act 2, Scene 3, immediately after King Duncan has been murdered by Macbeth.
This scene is one of the few moments of comic relief in the otherwise dark and tragic play, and it serves several important purposes both dramatically and thematically.
In the scene, a drunken porter answers the door to Macbeth’s castle.
He imagines himself as the gatekeeper of hell, making jokes about the kinds of sinners who might knock for entry—such as a farmer who hoarded grain, an equivocator who lied under oath, and a tailor who cheated his clients.
As he fumbles with the gate and delivers his humorous monologue, he delays the entrance of Macduff and Lennox, who have come to visit the king and will soon discover his murder.
While the porter’s speech is comic on the surface, it holds deep symbolic meaning.
By pretending the castle is hell’s gate, the porter unknowingly reflects the damnation that has just occurred inside, where Macbeth has committed the most heinous sin of regicide.
The irony is strong: Macbeth’s castle truly has become a hellish place, full of guilt, blood, and betrayal.
The scene also acts as a moment of pause. After the intense drama of Duncan’s murder in the previous scene, Shakespeare uses this lighter moment to allow the audience a brief relief before plunging back into the horror and chaos of the discovery.
It heightens suspense, delays the inevitable shock, and gives the audience time to breathe.
Furthermore, the porter’s references to equivocation (a term used to describe ambiguous or misleading speech) resonate strongly in the play.
Macbeth himself will become a master of equivocation, deceiving others and even himself.
The scene subtly sets up this theme, which becomes increasingly important as the story progresses.
c. Tennyson as a representative poet of Victorian England.
Ans. Alfred Lord Tennyson is widely regarded as a representative poet of Victorian England because his poetry captures the spirit, concerns, and transitions of the age in which he lived.
The Victorian period was marked by rapid industrialization, scientific advancement, religious doubt, and shifting social values, and Tennyson’s work reflects all of these themes with emotional depth and lyrical beauty.
His poems explore the tension between faith and doubt, tradition and change, reflecting the struggles of a society trying to find stability in a fast-evolving world.
One of his most famous poems, In Memoriam A.H.H., mourns the death of a close friend while also wrestling with the meaning of life, God, and human suffering in an age where science was beginning to challenge long-held religious beliefs.
Through this poem, Tennyson gave voice to the internal conflict faced by many Victorians: the need to reconcile spiritual beliefs with new knowledge and discoveries.
Tennyson also echoed the values and pride of the British Empire, often glorifying duty, honor, and heroism, which were ideals highly admired during Queen Victoria’s reign.
His poem The Charge of the Light Brigade, for instance, celebrates the bravery of British soldiers, even in the face of disastrous military decisions, showing his patriotic spirit and the romanticism often attached to war and national service at the time.
Furthermore, his role as the Poet Laureate for much of the Victorian era gave him a unique platform to respond to national events through verse, making him a voice that many people associated with the identity of the era.
His ability to blend personal emotion with public themes made his poetry resonate widely with readers of all backgrounds.
Another key aspect of Tennyson’s role as a Victorian poet was his deep engagement with the past, particularly through the use of classical and Arthurian mythology.
In works like The Idylls of the King, he reimagined the legend of King Arthur to reflect the moral and ethical concerns of his own time, especially the decay of noble ideals in a changing society.
This use of myth served not only as a nostalgic look at a seemingly purer past but also as a way to critique the present.
His rich language, vivid imagery, and musical rhythm added a lasting aesthetic appeal to his poetry, making him not just a chronicler of his time but also a literary craftsman of the highest order.
d. The influence of Ibsen on Bernard Shaw.
Ans. The influence of Henrik Ibsen on George Bernard Shaw was profound and transformative, particularly in shaping Shaw’s approach to modern drama.
Ibsen, often referred to as the father of modern realistic drama, broke away from melodramatic traditions and introduced plays that tackled serious social issues with psychological depth and moral complexity.
Shaw admired Ibsen not just for his craftsmanship but for the intellectual and social substance of his work.
Ibsen’s boldness in addressing topics such as individual freedom, societal hypocrisy, and gender roles inspired Shaw to do the same within the context of British theatre, which at the time was still largely dominated by romantic and sentimental fare.
Shaw’s admiration for Ibsen is clearly seen in his book The Quintessence of Ibsenism (1891), where he not only praises Ibsen’s method and purpose but also presents him as a revolutionary figure in drama.
Shaw believed that theatre should serve as a platform for social criticism and intellectual debate, an idea he directly inherited from Ibsen.
For example, Ibsen’s A Doll’s House, which challenged traditional ideas about marriage and a woman’s role in society, deeply influenced Shaw’s own plays such as Mrs Warren’s Profession and Man and Superman, where he critiques societal norms around prostitution, marriage, and economic dependency.
Moreover, both Ibsen and Shaw used the stage to question moral conventions and reveal uncomfortable truths.
Shaw adopted Ibsen’s technique of building drama around ideas rather than events, focusing more on dialogue, character psychology, and thematic exploration.
Like Ibsen, Shaw rejected the notion of simple heroes and villains, instead presenting complex characters who force the audience to reflect on their own beliefs and prejudices.
However, while Ibsen’s plays often carry a tone of tragedy or deep personal conflict, Shaw brought a more satirical and often humorous approach to similar issues.
His wit, irony, and comedic style softened the radicalism of his themes, making them more palatable for a conservative British audience.
Yet, the intellectual seriousness and social commitment remained deeply indebted to Ibsen’s model.
III. Write short essays on the following:
a. Justify the title of Bernard Shaw’s play Arms and the Man.
Ans. George Bernard Shaw’s play Arms and the Man is a brilliant satirical comedy that critiques the romantic illusions surrounding war and love. The title of the play itself is a significant doorway into its themes and intentions.
Borrowed from the opening line of Virgil’s Aeneid—“Of arms and the man I sing”—Shaw cleverly uses this classical reference to set the tone for a very different kind of story.
While Virgil glorifies war and heroism, Shaw uses the phrase ironically to deconstruct the very ideals of war and romantic valor that the original epic celebrates.
Thus, the title becomes both a literary allusion and a sharp commentary on the misplaced glorification of warfare and the false nobility attached to it.
The word “arms” in the title refers to warfare, battles, and the traditional image of heroic soldiers fighting for honor and country.
However, in Shaw’s play, this idea is turned on its head. Captain Bluntschli, the central male character, is a professional soldier who is practical, realistic, and even comic in his attitude toward war.
Unlike the typical dashing hero, he carries chocolates in his pouch instead of bullets and openly mocks the romantic notions of bravery and glory.
This portrayal starkly contrasts with characters like Sergius, who initially embodies the stereotypical “hero” of war but is gradually revealed to be foolish, vain, and full of empty gestures.
Through these characters, Shaw mocks the idealization of war and exposes it as a chaotic, often absurd enterprise driven more by chance and human error than by courage or strategy.
The second part of the title, “the man,” refers not just to Bluntschli but also to the idea of masculinity and heroism in a broader sense.
Bluntschli, though plain and unimpressive at first glance, proves to be intelligent, humane, and dependable—qualities that stand in stark contrast to the flamboyant but shallow heroics of Sergius.
In doing so, Shaw redefines what it means to be a “man.” True strength, according to the play, lies in reason, honesty, and compassion rather than in dramatic gestures and blind valor.
By presenting Bluntschli as the “man” in the title, Shaw emphasizes that the real hero is not the one who looks the part, but the one who acts with sense and integrity.
The title also cleverly encompasses the play’s treatment of romantic love.
Just as Shaw demystifies war, he also questions the idealized, overly dramatic notions of love held by characters like Raina.
At the beginning of the play, Raina is captivated by Sergius’s grand military exploits and dreams of a love story filled with glory and nobility.
But by the end, she comes to appreciate Bluntschli’s quiet strength and common sense, realizing that real love is grounded in mutual understanding and truth, not fantasy.
Thus, the “arms” may also subtly allude to the emotional battles between illusion and reality in matters of the heart.
b. Discuss the major themes of Tennyson’s poem “Morted’Arthur”.
Ans. Alfred Lord Tennyson’s “Morte d’Arthur” is a rich and evocative narrative poem that reimagines the final moments of the legendary King Arthur.
Written in blank verse and originally part of a larger unfinished work, the poem holds a deep and melancholic atmosphere that blends mythic grandeur with Victorian moral and philosophical concerns.
Through this powerful retelling of a medieval legend, Tennyson explores several key themes, including the decline of heroic ideals, the passage of time, death and immortality, faith and doubt, and the enduring search for purpose and meaning in a changing world.
One of the central themes of “Morte d’Arthur” is the end of heroism or the decline of the age of chivalry.
The poem presents King Arthur in his final moments, wounded and weary, after the devastating Battle of Camlan.
Once a mighty and noble ruler of a grand court, Arthur is now alone, save for his loyal follower Sir Bedivere.
Tennyson captures the sense that an entire age—the Arthurian Golden Age—is drawing to a close.
This mirrors the Victorian sentiment that older, heroic values were fading in the face of modernity, industrial progress, and moral uncertainty.
The poem reflects nostalgia for a lost world of honor, unity, and idealism, which resonates with a society grappling with deep social and spiritual changes.
The theme of loyalty and duty also plays a major role in the poem. Bedivere’s internal struggle to follow Arthur’s command to throw Excalibur into the lake is a compelling moment of human weakness and moral conflict.
His hesitation reflects the difficulty of letting go—not only of a magical sword but also of the symbols and stories that give life meaning.
Yet, ultimately, Bedivere chooses duty over desire, reinforcing the idea that even at the end of an era, personal loyalty and moral obedience can survive.
Tennyson also meditates on the theme of death and the mystery of the afterlife. Arthur’s impending death is not just the physical end of a man, but the symbolic death of a worldview.
As Arthur is carried away on the barge by three queens, the scene evokes both Christian and pagan imagery—pointing toward the poet’s ongoing exploration of religious faith and the uncertainty that characterized the Victorian age.
Arthur’s departure is not conclusive; there is a hint of return or resurrection, as Arthur tells Bedivere that he may come again “after many a summer.”
This leaves readers with a blend of sorrow and hope, emphasizing that some ideals, though momentarily lost, may yet endure or return in different forms.
Another powerful theme in “Morte d’Arthur” is the conflict between permanence and impermanence. Tennyson was writing during a time when the certainties of traditional belief were being questioned by scientific discovery and historical criticism.
In this context, the story of Arthur becomes a metaphor for the Victorian crisis of faith.
Arthur’s fading presence is contrasted with the everlasting impact of his ideals. Though he physically disappears, his story remains, and in that, there is a sort of immortality.
The poem suggests that while people and empires may pass, the values of courage, justice, and sacrifice can persist.
Lastly, the poem explores the theme of hope and renewal.
Despite the death and decay that pervades the poem, the final image is not one of despair but of mystery and possible return.
The barge sailing off with Arthur is a deeply symbolic moment that invites readers to imagine that endings are not final.
In this way, Tennyson offers a message of spiritual endurance and the potential for moral rebirth.
Section C
IV. Discuss Hardy’s approach to the natural world, as expressed in Far From the Madding Crow
Ans. Thomas Hardy’s Far from the Madding Crowd is not just a tale of love and human emotion but also a profound exploration of the relationship between individuals and the natural world.
Hardy’s approach to nature is central to the novel, where it serves not only as a backdrop for the characters’ actions but also as a reflection of their inner lives and the larger forces that shape their destinies.
Nature in Far from the Madding Crowd is more than a mere setting; it is a living, breathing force that influences and interacts with the lives of the characters in complex and significant ways.
One of Hardy’s key methods is to depict nature as both a nurturing and destructive force.
The novel’s rural setting, in the fictionalized Wessex, provides a constant and unyielding presence that shapes the characters’ actions, emotions, and fates.
The landscape in Hardy’s novels is often indifferent to human desires and struggles, and Far from the Madding Crowd is no exception.
For example, the beautiful, expansive fields and hills surrounding the characters are not simply idyllic scenery but are often harsh and unforgiving.
The tragic fate of Gabriel Oak, who loses his sheep due to a sudden storm, is a poignant reminder that nature is not always kind, and its volatility can lead to hardship and despair.
Hardy is careful to show that, for all its beauty, nature has a power that is often out of human control.
In contrast, nature also plays a role as a source of solace and comfort for the characters, particularly for Bathsheba Everdene, the novel’s strong-willed protagonist.
Bathsheba finds both her emotional release and moments of reflection in the fields and rural landscapes. At times, the natural world serves as a mirror to her internal struggles and transformations.
The scenes where Bathsheba walks among her crops or engages with the workers on her farm are moments of self-reflection and growth.
This connection to nature suggests that, despite its challenges, the rural world has the potential to nurture personal development, just as it provides the setting for Bathsheba’s journey from youthful pride to maturity and understanding.
Moreover, Hardy’s nature is often tied to themes of fate and inevitability. In Far from the Madding Crowd, the natural world is an external force that seems to exert its influence over human lives in a way that is almost predestined.
The seasons, the weather, and the cycle of life on the farm serve as reminders of the cyclical and uncontrollable forces of nature.
Just as nature’s rhythms dictate the lives of the animals, plants, and humans in the story, so too does fate seem to dictate the paths of the characters, particularly the romantic entanglements between Bathsheba, Gabriel, Sergeant Troy, and Farmer Boldwood.
The fatalism embedded in Hardy’s depiction of nature suggests that individuals are often at the mercy of larger, uncontrollable forces, both natural and societal.
Additionally, Hardy’s portrayal of nature underscores the contrast between rural life and the corrupting influence of urbanization.
The title of the novel itself, Far from the Madding Crowd, reflects the central theme of escape from the noise, confusion, and artificiality of modern society.
The rural setting, where characters like Gabriel Oak and Bathsheba interact with the land and its cycles, contrasts sharply with the social dynamics and the shallow pursuits of urban life.
The peaceful, albeit often harsh, rhythms of the countryside offer a form of authenticity and truth that is lacking in the more artificial world of urban life.
IGNOU BEGC 132 Solved Free Assignment
IGNOU BEGC 131 Solved Free Assignment