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BEGC 109 Solved Assignment 2021-22 In English Medium
Course Code: BEGC-109
Answer any five questions. All questions carry equal marks. (20 x 5 = 100)
1. Which years specify the Romantic period in English literature? Discuss the important changes which occurred in the literary, political and social spheres in this period.
The Romantic period : The nature of Romanticism
As a term to hide the foremost distinctive writers who flourished within the last years of the 18th century and therefore the first decades of the 19th, “Romantic” is indispensable but also a touch misleading: there was no self-styled “Romantic movement” at the time, and therefore the great writers of the amount didn’t call themselves Romantics. Not until August Wilhelm von Schlegel’s Vienna lectures of 1808–09 was a transparent distinction established between the “organic,” “plastic” qualities of Romantic art and therefore the “mechanical” character of Classicism.
Many of the age’s foremost writers thought that something new was happening within the world’s affairs, nevertheless. William Blake’s affirmation in 1793 that “a new heaven is begun” was matched a generation later by Percy Bysshe Shelley’s “The world’s great age begins anew.” “These, these will give the planet another heart, / And other pulses,” wrote Keats , pertaining to Hunt and Wordsworth . Fresh ideals came to the fore; especially , the perfect of freedom, long cherished in England, was being extended to each range of human endeavour. As that ideal swept through Europe, it became natural to believe that the age of tyrants might soon end.
The most notable feature of the poetry of the time is that the new role of individual thought and private feeling. Where the most trend of 18th-century poetics had been to praise the overall , to ascertain the poet as a spokesman of society addressing a cultivated and homogeneous audience and having as his end the conveyance of “truth,” the Romantics found the source of poetry within the particular, unique experience. Blake’s marginal discuss Sir Joshua Reynolds’s Discourses expresses the position with characteristic vehemence: “To Generalize is to be an Idiot. To Particularize is that the alone Distinction of Merit.” The poet was seen as a private distinguished from his fellows by the intensity of his perceptions, taking as his basic material the workings of his own mind. Poetry was considered conveying its own truth; sincerity was the criterion by which it had been to be judged.
The emphasis on feeling—seen perhaps at its finest within the poems of Robert Burns—was in some ways a continuation of the sooner “cult of sensibility”; and it’s worth remembering that Pope praised his father as having known no language but the language of the guts . But feeling had begun to receive particular emphasis and is found in most of the Romantic definitions of poetry. Wordsworth called poetry “the spontaneous overflow of powerful feeling,” and in 1833 John Stuart Mill defined poetry as “feeling itself, employing thought only because the medium of its utterance.” It followed that the simplest poetry was that during which the best intensity of feeling was expressed, and hence a replacement importance was attached to the lyric. Another key quality of Romantic writing was its shift from the mimetic, or imitative, assumptions of the Neoclassical era to a replacement stress on imagination.
Samuel Taylor Coleridge saw the imagination because the supreme poetic quality, a quasi-divine creative force that made the poet a godlike being. Johnson had seen the components of poetry as “invention, imagination and judgement,” but Blake wrote: “One Power alone makes a Poet: Imagination, the Divine Vision.” The poets of this era accordingly placed great emphasis on the workings of the unconscious , on dreams and reveries, on the supernatural, and on the childlike or primitive view of the planet , this last being considered valuable because its clarity and intensity had not been overlaid by the restrictions of civilized “reason.” Rousseau’s sentimental conception of the “noble savage” was often invoked, and sometimes by those that were ignorant that the phrase is Dryden’s or that the sort was adumbrated within the “poor Indian” of Pope’s An Essay on Man. an extra sign of the diminished stress placed on judgment is that the Romantic attitude to form: if poetry must be spontaneous, sincere, intense, it should be fashioned primarily consistent with the dictates of the creative imagination. Wordsworth advised a young poet, “You feel strongly; trust to those feelings, and your poem will take its shape and proportions as a tree does from the life principle that actuates it.” This organic view of poetry is against the classical theory of “genres,” each with its own linguistic decorum; and it led to the sensation that poetic sublimity was unattainable except briefly passages.
2. Explain the basic difference between the Neoclassical and Romantic theories of poetry.
3. What are the three stages in the development of Wordsworth’s attitude to nature in “Tinern Abbey?
4. Comment on Blake’s portrayal of children and childhood in his Songs of Innocence and Experience.
5. Give an account of the punishment suffered by the Ancient Mariner. Attempt to show the various stages and the different kinds of suffering he undergoes.
6. Write a note on Lamb’s characteristic humour and pathos with reference to the essay you studied.
7. What do you think is Lord Byron’s aim through the satire? Illustrate with reference to Roll on Thou Deep and Dark Blue Ocean.
8. According to Shelley what are: The causes of human suffering and unhappiness?
9. Hope of happiness for mankind? Object of inspiration to a poet?
10. The features of Keat’s poetic craftsmanship, particularly his negative capability, are varied allusions, myth making, verbal coinage, and alliteration and assonance – discuss.
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BEGC 109 2021-22 Question Paper
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