December 2015 ~ The Wise Notes- C.U. English Honours Notes & Tutorials

Sunday, 20 December 2015

Allan2015, Fourth Paper, Part II, Question Papers

C.U. English Honours PART-II Question Paper 2015 [Fourth Paper]

For the First time on internet you are going to find all the question papers for the C.U.English Honours.
Your search for the CU English Honours question paper 2015 ends here.
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2015

ENGLISH-HONOURS

Fourth Paper

Full Marks-100

The figures in the margin indicate full marks.

Candidates are required to give their answers in their own words as far as practicable.

Group-A

1. Answer any one of the following questions: (within 600 words) 16x1

a) In Pride and Prejudice Jane Austen uses irony as an instrument of social criticism. Discuss.

b) Pride and Prejudice Lives and moves in the character of Elizabeth Bennet. Examine the appropriateness of the remark.

c) Critically analyse the major conflicts in Scott’s Kenilworth.

d) Examine the plot of Kenilworth.

Group-B

2. Answer any one of the following questions: (within 600 words) 16x1

a) Critically analyse ‘Of Studies’ to bring out Banquo’s qualities as an essayist.

b) Comment on the Orwell’s narrative technique in Shooting an Elephant.

3. Explain with reference to the context. Any one of the following phrases: (within 300 words) 8x1

a) I had grown to my desk, as it were; and the wood had entered into my soul.

b) I often wondered whether any of the other grasped that I has done it solely to avoid looking a fool.

Group-C

4. Write note (in around 200 words each) on any two of the following literary terms. 5 x 2

a. Flat Character

b. Bildungsroman

c. Setting

d. Gothic Novel

Group-D

5. Answer any two of the following questions: (each within 600 words) 16 X 2

a) Show how Joyce’s Arab is a study of adolescence.

b) How does H.E. Bates portray the character of Mrs. Thurlow in ‘The Ox’?

c) Comment of the fly episode of the story ‘The Fly’ and show how it relates to the theme. Group-E

5. Answer any one of the following questions: (within 700 words) 18 X 1

a) Discuss the allegorical meaning of The Secret Sharer.

b) In The Secret Sharer the Captain’s character changes after his encounter with Leggatt. Do you agree with this view? Justify your answer.

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Sunday, 13 December 2015

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Allan2015, Part II, Question Papers, Third Paper

C.U. English Honours PART-II Question Paper 2015 [Third Paper]

For the First time on internet you are going to find all the question papers for the C.U.English Honours.
Your search for CU English Honours question paper 2015 ends here.
Make most of it!
And at the same time help us to reach others by sharing our posts on FB and help us in fetching more likes. With your continuous support we will be able to provide help to all the C.U. English Honours students for a long time to come, otherwise we will perish in short time.

2015

ENGLISH-HONOURS

Third Paper

Full Marks-100

The figures in the margin indicate full marks.

Candidates are required to give their answers in their own words as far as practicable.

Group-A

(Word Limit 600 words for Question No.1 and 2)

1. (a) Critically consider Marlowe’s portrayal of Younger Mortimer in Edward II. 16

(b) Comment on the Marlowe’s treatment of the irony of kingship in Edward II.

2. (a) Comment on the significance of the role of the Athenian artisans in a A Midsummer Night’s Dream with special reference to Nick Bottom. 16

(b) Examine the theme of love in its various dimensions in A Midsummer Night’s Dream.

3. Explain any one of the following with reference to the context. (Word Limit 300 words) 8x1

a) Something still buzzeth in mine ears,

And tells me, is I sleep I never wake;

This fear is what makes me tremble thus;

And therefore tell me, wherefore art thou come?

b) If we shadows have offended,

Think but this, and all is mended,

That you have, but slumber’d here

While these visions did appear

Group-B

4. Write on any two of the following literary terms within 200 words each: 5x2

Catharsis, Dramatic Irony, Hubris, Soliloquy

Group-C

(Word Limit 600 words for Question No.5 and 6)

5. (a) Would you consider the title of Sheridan’s The Rivals an appropriate one? Justify your response. 16

(b) Comment on the role played by any two of the women characters in The Rival.

6. (a) Analyse the Sleepwalking scene (Act V, Sc. i) in Shakespeare’s Macbeth and bring out its dramatic significance. 16

(b) Critically comment on the responses of Macbeth and Banquo to the Witches’ prophecy. 16

7. Explain the following with reference to the context. (Word Limit 350 words) 9x2

a) Naught’s had, all spent,

Where our desire is got with content

‘Tis safer to be that which we destroy

Than by destruction dwell in doubtful joy.

b) I see thee yet, in form as palpable

As this which now I draw

Thou marshall’st me the way that I was going;

And such an instrument I was to use–

c) It is not to be wondered at, ma’am; all that is the natural consequence of teaching girls to read. Had I a thousand daughters, by Heaven! I’d soon have them taught the black art as their alphabet!

d) Well, Sir, since you are so bent on it, the sooner the better; -- let it be this evening--- here, by the Spring---- Gardens. --- We shall scarcely be interrupted.

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Monday, 7 December 2015

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AllanNotes, Part II, Part II Notes

Character in James Joyce Araby: C.U. English Honours Notes

The Araby by James Joyce is an interesting and peculiar kind of short story which revolves around a boy's quest of ideal. It is an important and quite entertaining short story which forms the part of the C.U. English Honours Part-II Paper-4 syllabus. Here is a notes in simple and straight-forward language which can help you in answering the questions related to the change in the character as well how he matures over the time.

FROM INNOCENCE TO KNOWLEDGE:CHARACTER IN JAMES JOYCE'S "ARABY"

In his brief but complex story, "Araby," James Joyce concentrates on character rather than on plot to reveal the ironies inherent in self-deception. On one level "Araby" is a story of initiation, of a boy's quest for the ideal. The quest ends in failure but results in an inner awareness and a first step into manhood. On another level the story consists of a grown man's remembered experience, for the story is told in retrospect by a man who looks back to a particular moment of intense meaning and insight. As such, the boy's experience is not restricted to youth's encounter with first love. Rather, it is a portrayal of a continuing problem all through life: the incompatibility of the ideal, of the dream as one wishes it to be, with the bleakness of reality. This double focus-the boy who first experiences, and the man who has not forgotten-provides for the dramatic rendering of a story of first love told by a narrator who, with his wider, adult vision, can employ the sophisticated use of irony and symbolic imagery necessary to reveal the story's meaning.

The boy's character is indirectly suggested in the opening scenes of the story. He has grown up in the backwash of a dying city. Symbolic images show him to be an individual who is sensitive to the fact that his city's vitality has ebbed and left a residue of empty piety, the faintest echoes of romance, and only symbolic memories of an active concern for God and fellow men. Although the young boy cannot apprehend it intellectually, he feels that the street, the town, and Ireland itself have become ingrown, self-satisfied, and unimaginative.

It is a world of spiritual stagnation, and as a result, the boy's outlook is severely limited. He is ignorant and therefore innocent. Lonely, imaginative, and isolated, he lacks the understanding necessary for evaluation and perspective. He is at first as blind as his world, but Joyce prepares us for his eventual perceptive awakening by tempering his blindness with an unconscious rejection of the spiritual stagnation of his world.

The boy's manner of thought is also made clear in the opening scenes. Religion controls the lives of the inhabitants of North Richmond Street, but it is a dying religion and receives only lip service.The boy, however, entering the new experience of first love, finds his vocabulary within the experiences of his religious training and the romantic novels he has read. The result is an idealistic and confused interpretation of love based on quasi religious terms and the imagery of romance. This convergence of two great myths, the Christian with its symbols of hope and sacrifice and the Oriental or romantic with its fragile symbols of heroism and escape, merge to form in his mind an illusory world of mystical and ideal beauty. This convergence, which creates an epiphany for the boy as he accompanies his aunt through the market place, lets us experience with sudden illumination the texture and content of his mind.

We see the futility and stubbornness of his quest. But despite all the evidence of the dead house on a dead street in a dying city the boy determines to bear his "chalice safely through a throng of foes." He is blindly interpreting the world in the images of his dreams: shop boys selling pigs' cheeks cry out in "shrilllitanies"; Mangan's sister is saintly; her name evokes in him "strange prayers and praises." The boy is extraordinarily lovesick, and from his innocent idealism and stubbornness, we realized that he cannot keep the dream. He must wake to the demands of the world around him and react. Thus the first half of the story foreshadows (as the man later realizes) the boy's awakening and disillusionment.

The account of the boy's futile quest emphasizes both his lonely idealism and his ability to achieve the perspectives he now has. The quest ends when he arrives at the bazaar and realizes with slow, tortured clarity that Araby is not at all what he imagined. It is tawdry and dark and thrives on the profit motive and the eternal lure its name evokes in men. The boy realizes that he has placed all his love and hope in a world that does not exist except in his imagination. He feels angry and betrayed and realizes his self-deception. He feels he is "a creature driven and derided by vanity" and the vanity is his own.

The man, remembering this startling experience from his boy-hood, recalls the moment he realized that living the dream was lost as a possibility. That sense of loss is intensified, for its dimension grows as we realize that the desire to, live the dream will continue through adulthood.

At no other point in the story is characterization as brilliant as at the end. Joyce draws his protagonist with strokes designed to let us recognize in "the creature driven and derided by vanity" both a boy who is initiated into knowledge through a loss of innocence and a man who fully realizes the incompatibility between the beautiful and innocent world of the imagination and the very real world of fact. In "Araby," Joyce uses character to embody the theme of his story.