For July 2022 and January 2023 Sessions
MEG 02:BRITISH DRAMA
Answer any five questions. All questions carry equal marks. Answer each question in about 350
to 400 words.
1. Discuss Waiting for Godot from the perspective of the theatre of the Absurd. (20)
Waiting for Godot, written by Samuel Beckett, is a prime example of the Theatre of the Absurd, a theatrical movement that emerged in the mid-20th century. The Absurdists believed that human existence was inherently meaningless and that life had no purpose. This philosophy is reflected in the play, which features two characters, Vladimir and Estragon, who are waiting for someone named Godot, but they don't know who he is or when he is coming.
One of the defining characteristics of the Theatre of the Absurd is its rejection of traditional narrative structures. Waiting for Godot is a prime example of this rejection, as the play lacks a clear plot or resolution. Instead, it is structured around the recurring theme of waiting, which creates a sense of monotony and pointlessness.
The play also features a fragmented and disjointed dialogue, which is characteristic of the Absurdists. The dialogue is full of non sequiturs, repetition, and circular logic, which reflects the characters' inability to communicate meaningfully with each other. This lack of communication highlights the isolation and loneliness of the human condition.
Another key aspect of the Theatre of the Absurd is the use of symbolism and metaphor. In Waiting for Godot, the character of Godot represents an unattainable goal or purpose, which the characters are constantly striving for but can never reach. The tree in the play is also a powerful symbol, representing the fleeting nature of life and the futility of existence.
Finally, the play's setting is also significant from an Absurdist perspective. The characters are stranded in an empty, barren landscape, which reflects the meaninglessness of their existence. The fact that they have nowhere to go and nothing to do reinforces the idea that life is without purpose.
In conclusion, Waiting for Godot is a classic example of the Theatre of the Absurd, with its rejection of traditional narrative structures, disjointed dialogue, and use of symbolism and metaphor to explore the meaninglessness of human existence. The play remains a powerful and thought-provoking work that challenges our ideas about the purpose of life and the nature of human existence.
2. Discuss the typical Shakespearean comic elements in the play in A Midsummer Night’s Dream.
A Midsummer Night’s Dream is one of Shakespeare’s most beloved comedies, and it is full of the typical elements of Shakespearean comedy. These elements include mistaken identity, love triangles, and witty banter, among others.
One of the most prominent comic elements in A Midsummer Night’s Dream is the use of mistaken identity. This occurs throughout the play, as characters mistake each other for other people or creatures. For example, the fairy queen Titania mistakes the character Bottom for a handsome prince, while the character Lysander mistakes his beloved Hermia for her friend Helena. These mistaken identities create confusion and chaos, leading to hilarious misunderstandings and complications.
Another key comic element in the play is the use of love triangles. The characters in A Midsummer Night’s Dream are constantly falling in and out of love with each other, creating a tangled web of romantic entanglements. For example, Hermia is in love with Lysander, but Demetrius is in love with her, while Helena is in love with Demetrius but he does not return her affections. These love triangles create a sense of dramatic tension and humor as the characters try to sort out their feelings and romantic alliances.
The use of witty banter is another hallmark of Shakespearean comedy, and A Midsummer Night’s Dream is no exception. The play is full of clever wordplay, puns, and insults, which add to the overall humor of the play. For example, when Bottom is transformed into a donkey, he makes a series of ridiculous puns, such as “I am a man, and so indeed I am, and there’s a mare lodged in a gentleman.” These types of witty exchanges add to the play’s overall comic tone.
Finally, A Midsummer Night’s Dream features a number of absurd and fantastical elements, which are common in Shakespearean comedy. The play takes place in a magical fairy kingdom, where supernatural creatures like Oberon and Puck wield powers that are both comic and mysterious. These fantastical elements add to the play’s overall sense of whimsy and humor.
In conclusion, A Midsummer Night’s Dream is a classic Shakespearean comedy, featuring mistaken identity, love triangles, witty banter, and fantastical elements. These elements combine to create a playful and humorous tone that has delighted audiences for centuries.
3. What do you think is the dominant quality of Hamlet’s character? Discuss with suitable examples.
Hamlet is one of Shakespeare’s most complex and intriguing characters, and his personality is characterized by a range of different qualities. However, the dominant quality of Hamlet’s character is arguably his indecisiveness, which is evident throughout the play.
Hamlet’s indecisiveness is most evident in his inability to take action against his uncle, King Claudius, who he believes has murdered his father. Despite being convinced of his uncle’s guilt, Hamlet is unable to act on this information, and he spends much of the play procrastinating and wrestling with his own conscience. For example, when he has the opportunity to kill Claudius while he is praying, he hesitates, saying, “Now might I do it pat, now he is praying; And now I’ll do’t, and so he goes to heaven; And so am I revenged? That would be scanned: A villain kills my father; and for that, I, his sole son, do this same villain send to heaven.” This hesitation is a key characteristic of Hamlet’s personality, and it ultimately leads to his downfall.
Another example of Hamlet’s indecisiveness can be seen in his relationships with the women in the play. Hamlet is deeply conflicted about his feelings for Ophelia, and he vacillates between expressing his love for her and treating her cruelly. Similarly, he is unable to decide how to deal with his mother, Queen Gertrude, whom he believes has betrayed his father by marrying his uncle. Hamlet is torn between his desire to punish his mother and his love for her, and this inner conflict adds to his overall sense of indecisiveness.
Hamlet’s indecisiveness is also reflected in his overall sense of ambivalence and uncertainty. He is torn between his desire for revenge and his reluctance to become a murderer, and he struggles to reconcile his conflicting emotions. This ambivalence is evident in his famous soliloquy, in which he asks, “To be, or not to be, that is the question: Whether ’tis nobler in the mind to suffer The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles, And by opposing end them?” This uncertainty and indecision are key qualities of Hamlet’s character, and they contribute to the overall complexity and richness of the play.
In conclusion, Hamlet’s dominant quality is his indecisiveness, which is evident in his inability to take action against his uncle, his relationships with the women in the play, and his overall sense of ambivalence and uncertainty. While this quality can be frustrating at times, it is also what makes Hamlet such a fascinating and multi-dimensional character.
4. Can The Alchemist be understood as a satire? Give suitable examples
Yes, The Alchemist by Ben Jonson can be understood as a satire. The play is a biting critique of the greed and corruption that characterized the society of Jonson’s time, and it uses humor and irony to expose the hypocrisy and folly of its characters.
One example of satire in The Alchemist can be seen in the character of Subtle, who is a con artist and fraudster. Subtle claims to be an alchemist who can turn base metal into gold, and he dupes a number of wealthy clients into giving him money for his supposed magical services. However, in reality, Subtle is a scammer who uses elaborate tricks and illusions to deceive his clients. This character can be seen as a satire on the fraudulent practices of the alchemists of Jonson’s time, who claimed to possess secret knowledge and magical powers but were actually charlatans.
Another example of satire in The Alchemist is the character of Face, who is a servant and assistant to Subtle. Face is a skilled manipulator who uses his wit and charm to help Subtle carry out his scams. However, Face is also a deeply cynical and amoral character who is willing to do whatever it takes to make money. This character can be seen as a satire on the servant class of Jonson’s time, who were often portrayed as being opportunistic and dishonest.
The play also satirizes the upper classes of Jonson’s time, who are depicted as being foolish, vain, and gullible. For example, the character of Sir Epicure Mammon is a wealthy nobleman who is obsessed with the idea of becoming rich through alchemy. Mammon is a ridiculous and comical character who is easily manipulated by Subtle and Face, and his foolishness is a clear satire on the greed and ambition of the aristocracy.
Finally, The Alchemist also satirizes the religious hypocrisy of Jonson’s time. The character of Ananias is a Puritan preacher who is duped by Subtle and Face, despite his supposed piety and moral rectitude. Ananias is shown to be a hypocrite who is more concerned with appearances than with actual morality, and this character can be seen as a satire on the Puritan movement of Jonson’s time, which was often criticized for its rigidity and moralistic fervor.
In conclusion, The Alchemist by Ben Jonson can be understood as a satire, which uses humor and irony to expose the greed, corruption, and hypocrisy of the society of Jonson’s time. The play’s characters are exaggerated and comical, but they also reflect the flaws and failings of real people, making The Alchemist a powerful and enduring critique of human nature.
5. Discuss the play Pygmalion as a romance? Elaborate.
Pygmalion is a play by George Bernard Shaw that tells the story of a phonetics professor, Henry Higgins, who takes on the challenge of transforming a working-class flower girl, Eliza Doolittle, into a refined and sophisticated lady. While the play is often seen as a satire of the British class system and a commentary on the nature of identity, it can also be understood as a romance.
At its core, Pygmalion is a story of transformation and self-discovery. Eliza undergoes a remarkable transformation from a rough-edged flower girl to a refined and confident lady, thanks to the guidance and training provided by Higgins. This transformation is not just physical, but also emotional and intellectual, as Eliza gains confidence, assertiveness, and a sense of self-worth. This process of transformation is similar to the journey undertaken by many romantic heroes and heroines, who must overcome obstacles and challenges to discover their true selves.
The relationship between Higgins and Eliza can also be seen as a romance, albeit one that is unconventional and complex. While there is no overt romantic attraction between the two characters, there is a deep emotional connection that develops between them as they work together. Higgins takes on the role of a mentor and teacher to Eliza, guiding her through the difficult process of learning to speak and behave like a lady. However, as Eliza becomes more confident and assertive, she also becomes more independent and self-assured, and she begins to challenge Higgins’ authority and dominance. This dynamic between the two characters is similar to the tension and conflict that often characterizes romantic relationships, as individuals struggle to balance their own needs and desires with those of their partner.
Another element of Pygmalion that suggests a romantic interpretation is the theme of transformation through love. In Greek mythology, Pygmalion was a sculptor who fell in love with a statue he had created, and through his love, the statue was brought to life. Similarly, in Shaw’s play, Eliza is transformed from a rough and uneducated flower girl into a refined and sophisticated lady through the guidance and attention of Higgins. This transformation is not just a matter of learning proper etiquette and pronunciation, but also a matter of emotional growth and self-discovery. Eliza is able to achieve this transformation because she is inspired and motivated by the love and affection she receives from Higgins, who becomes a kind of Pygmalion figure in her life.
In conclusion, Pygmalion can be understood as a romance, albeit one that is complex and unconventional. The play explores themes of transformation, self-discovery, and love, and the relationship between Higgins and Eliza is characterized by tension, conflict, and emotional growth. While the play may be primarily remembered for its satire and social commentary, its romantic elements add depth and complexity to the story, making Pygmalion a powerful and enduring work of literature.