For July, 2022 and January, 2023 Session
MASTER’S DEGREE IN ENGLISH (MEG-1)
BRITISH POETRY (ASSIGNMENT)
Note: Attempt any five questions.
1. Explain any two of the excerpts of poems given below with reference to their context: 10 X 2 = 20
(i) But hail thou Goddes, sage and holy,
Hail divinest Melancholy,
Whose Saintly visage is too bright
To hit the Sense of human sight;
And therefore to our weaker view,
Ore laid with black staid wisdoms hue.
The given passage is the opening stanza of John Milton's poem "Il Penseroso," which is a paean to the melancholic state of mind. In this stanza, the speaker addresses the personified figure of Melancholy, hailing her as a goddess and describing her as sage and holy. The speaker then goes on to praise her saintly visage, which is so bright that it is beyond the capacity of human sight to comprehend. Therefore, in order to be perceived by human beings, Melancholy's brightness is overlaid with a black hue that is suggestive of sober and profound wisdom.
This passage captures the paradoxical nature of Melancholy, which is at once a state of profound sadness and a source of inspiration and creativity. The speaker's use of religious imagery to describe Melancholy underscores the importance of this state of mind in the lives of creative individuals. Like a goddess, Melancholy is venerated for her ability to bring insight and illumination to those who are receptive to her influence. Her saintly visage suggests a kind of divine wisdom that is beyond the grasp of ordinary mortals. Yet, at the same time, her appearance is overlaid with black, which suggests the gravity and solemnity of her message.
Overall, this passage serves as a tribute to the power and mystery of Melancholy, which is seen not as a pathology or a defect, but as a necessary condition for the creation of art and the pursuit of wisdom. The speaker's use of poetic language and imagery creates a sense of reverence and awe for this state of mind, which is paradoxical yet essential to the human experience.
(ii) My love is now awake out of her dreams (s),
and her fayre eyes like stars that dimmed were
With darksome cloud, now shew theyr goodly beams
More bright then Hesperus his head doth rere.
This passage is from Edmund Spenser's sonnet "Amoretti LXXV" and describes the awakening of the poet's beloved from a dream. The speaker compares his beloved's eyes to stars that were once dimmed by dark clouds but are now shining more brightly than the planet Venus, also known as Hesperus, at its highest point in the night sky.
The passage reflects a sense of joy and wonder at the transformation that has taken place. The awakening of the speaker's beloved is a metaphor for the renewal of love and the hope that it brings. The comparison to stars and Hesperus suggests the idea of the beloved as a heavenly body, an object of beauty and wonder. The image of stars and Hesperus also evokes a sense of timelessness, suggesting that the power of love can transcend the bounds of time.
Furthermore, the use of vivid and descriptive language helps to create a sense of visual and emotional impact. The use of the word "fayre" emphasizes the beauty of the speaker's beloved, while the phrase "darksome cloud" conveys a sense of melancholy or sadness that has been lifted. The contrast between the darkness of the cloud and the brightness of the stars and Hesperus suggests the idea of the beloved's eyes as a source of light and hope.
In conclusion, this passage is a celebration of the power of love to transform and renew. The comparison to stars and Hesperus reinforces the sense of the beloved as a celestial object of beauty and wonder, while the use of descriptive language creates a vivid and emotional impact. The passage conveys a sense of joy and optimism that is emblematic of the transformative power of love.
2.Draw a ccomparison between the Epithalamion and the Prothalamion as wedding songs. Answer with suitable examples.
The Epithalamion and the Prothalamion are two wedding songs that were popular in the Renaissance period. While both songs celebrate the joy of marriage, they differ in terms of style, structure, and tone.
The Epithalamion is a poem written in honor of a bride and groom on their wedding day. It typically consists of a series of stanzas that build up to a grand climax or finale. The poem often includes imagery drawn from nature and mythology, as well as references to religious or classical themes. The Epithalamion is often characterized by its grandeur and elegance, reflecting the sense of celebration and awe that surrounds the occasion of a wedding.
One famous example of an Epithalamion is John Donne's "Epithalamion, or a Marriage Song on the Lady Elizabeth, and Count Palatine being married on St. Valentine's Day." In this poem, Donne celebrates the joy of marriage through the use of vivid imagery and elaborate metaphors. He draws upon a range of sources, including biblical stories, classical mythology, and medieval romance. The poem is structured in a series of stanzas that build up to a grand finale, where the speaker calls upon the heavens and the earth to join in the celebration of the newlyweds.
The Prothalamion, on the other hand, is a song written in anticipation of a wedding. It typically celebrates the beauty and virtues of the bride-to-be and the groom-to-be, and expresses the hope and expectation of a happy union. Unlike the Epithalamion, which is typically more grand and formal in style, the Prothalamion is often more light-hearted and playful, reflecting the sense of anticipation and excitement that surrounds a wedding.
One famous example of a Prothalamion is Edmund Spenser's "Prothalamion." In this poem, Spenser celebrates the beauty of two sisters who are about to be married. The poem is structured in a series of stanzas that alternate between describing the beauty of the sisters and the beauty of the river Thames, where the wedding is to take place. The poem is notable for its use of repetition, with the refrain "Sweet Thames run softly till I end my song" appearing at the end of each stanza. This repetition serves to create a sense of unity and coherence, and to emphasize the joy and celebration that surround the occasion of a wedding.
In conclusion, the Epithalamion and the Prothalamion are two distinct types of wedding songs that reflect the joy and celebration of marriage in different ways. The Epithalamion is more formal and grand in style, while the Prothalamion is more light-hearted and playful. Both types of songs use imagery drawn from nature and mythology to create a sense of beauty and wonder, and both celebrate the hope and expectation of a happy union. Whether written in honor of a wedding or in anticipation of one, these songs continue to capture the magic and romance of the most joyous of occasions.
3. Who were the Pre- Raphaelites and what were the characteristics of the movement? Critically appreciate any one poem of this age/movement. 20
The Pre-Raphaelite Brotherhood (PRB) was a group of artists, poets, and critics who founded a movement in the mid-19th century in England. The movement was founded in 1848 by William Holman Hunt, John Everett Millais, and Dante Gabriel Rossetti, and was later joined by other artists and poets. The Pre-Raphaelites aimed to reform the art of their time by rejecting the artificiality and conventionality of the prevailing academic style, which they believed had become detached from nature and lost its spiritual values. Instead, they looked back to the medieval and early Renaissance period before the time of the Italian painter Raphael, which they regarded as a time of artistic and spiritual purity.
The Pre-Raphaelites sought to create art that was truthful and sincere, depicting the natural world in all its detail and beauty. They believed that art should have a moral purpose, and that it should convey religious, mythological, or allegorical themes. Their art was characterized by bright colors, intense detail, and vivid realism, often depicting scenes from literature or history with a dramatic, romantic, or symbolic flair.
One of the most famous poems of the Pre-Raphaelite movement is "The Blessed Damozel" by Dante Gabriel Rossetti, which was first published in 1850. The poem tells the story of a woman who has died and gone to heaven, where she awaits her lover. The poem is notable for its use of vivid, sensuous imagery, and its exploration of themes of love, death, and the afterlife.
The poem begins with a description of the woman in heaven, who is beautiful and radiant, surrounded by other souls who are also awaiting their loved ones. The woman longs for her lover, who is still living on earth, and she gazes down upon him from heaven. She imagines what it would be like to be reunited with him, describing their love in sensuous and passionate terms:
"And still she bowed herself and stooped Out of the circling charm; Until her bosom must have made The bar she leaned on warm, And the lilies lay as if asleep Along her bended arm."
The poem goes on to explore the nature of love, and the idea that love can transcend death and exist beyond the physical realm. The woman's longing for her lover is presented as a spiritual quest, and the poem suggests that the ultimate fulfillment of love lies in the afterlife:
"For now, the Heavenly power approved the same, And to him gave the dame, With whom, in bliss and glory for ever, He lives, who hath his hope, his heaven, and his aim."
Overall, "The Blessed Damozel" is a powerful and deeply moving poem that captures the essence of the Pre-Raphaelite movement. It explores themes of love, death, and the afterlife in vivid and sensuous language, while also conveying a sense of spiritual longing and transcendence. Through its vivid imagery and intense emotional impact, the poem remains a testament to the enduring power of the Pre-Raphaelite vision.
4. What attitude to Nature does Coleridge express in the Ode to Dejection? In what ways does this attitude differ from that of Wordsworth and from his own earlier attitude? 20
In his "Ode to Dejection," Samuel Taylor Coleridge expresses a complex attitude towards nature that differs from both his earlier works and the views of his close friend and fellow Romantic poet, William Wordsworth. In this poem, Coleridge portrays nature as a source of solace and spiritual renewal, but also as a reminder of his own failures and sorrows.
Coleridge's view of nature in "Ode to Dejection" is heavily influenced by his own struggles with depression and addiction. He presents nature as a refuge from the pain and isolation of his own life, writing that "there is a comfort in the strength of love; / 'Twill make a thing endurable, which else / Would overset the brain or break the heart."
However, Coleridge's view of nature in this poem is also marked by a sense of disillusionment and loss. He describes nature as a place of "mute and uncomplaining grief," where the beauty of the natural world is marred by the inevitability of change and decay. This sense of melancholy and impermanence contrasts sharply with the celebratory and optimistic view of nature found in much of Wordsworth's poetry, which emphasizes the restorative power of nature and its ability to connect human beings with a transcendent spiritual reality.
Furthermore, Coleridge's view of nature in "Ode to Dejection" also represents a departure from his own earlier works, such as "The Rime of the Ancient Mariner" and "Kubla Khan." In those works, Coleridge presents nature as a place of wonder and enchantment, where the boundaries between the natural and supernatural worlds are blurred. However, in "Ode to Dejection," Coleridge's vision of nature is more subdued and sober, reflecting his own sense of disillusionment and loss.
In conclusion, Coleridge's attitude towards nature in "Ode to Dejection" is complex and multifaceted, combining a sense of solace and renewal with a recognition of the inevitability of change and decay. This view of nature differs from both Wordsworth's more celebratory and optimistic vision, as well as from Coleridge's own earlier works, which presented nature as a place of wonder and enchantment. By portraying nature as both a source of comfort and a reminder of loss, Coleridge captures the paradoxical nature of human experience and the enduring power of nature to inspire and console.
5. What was the Reformation? What relations can you identify and trace between the Renaissance and the Reformation. 20
The Reformation was a religious movement that emerged in the 16th century in Europe, primarily led by Martin Luther, John Calvin, and other Protestant reformers. It was a response to the perceived corruption and abuses of the Roman Catholic Church, and it led to the establishment of new Protestant denominations.
The Renaissance was a cultural and intellectual movement that began in Italy in the 14th century and spread throughout Europe, lasting until the 17th century. It was marked by a revival of classical learning, a focus on humanism and individualism, and an emphasis on art, literature, and science.
The Renaissance and the Reformation were intimately linked, and their influence on each other cannot be overstated. The Renaissance provided the intellectual and cultural context for the Reformation, and many of the ideas and values of the Renaissance played a crucial role in shaping the religious and political landscape of Europe.
Firstly, the Renaissance encouraged the critical examination of long-held beliefs and traditions, leading to a growing skepticism towards the authority of the Roman Catholic Church. Renaissance humanism, with its emphasis on the individual and the importance of human reason, challenged the medieval concept of authority and paved the way for the Reformation's emphasis on personal faith and direct access to God.
Secondly, the Renaissance's revival of classical learning played a significant role in the Reformation's emphasis on the Bible as the primary source of religious authority. Scholars such as Erasmus, who was a key figure in the humanist movement, made new translations of the Bible from the original Greek and Hebrew texts. This allowed for a more accurate and direct interpretation of the Bible, which played a crucial role in the Protestant rejection of many Catholic doctrines and practices.
Finally, the printing press, which was invented during the Renaissance, enabled the rapid spread of Reformation ideas and doctrines throughout Europe. The availability of printed Bibles and other religious texts in the vernacular language allowed for the dissemination of ideas beyond the elite circles that had access to Latin texts, thus contributing to the democratization of knowledge and the spread of new religious ideas.
In conclusion, the Renaissance and the Reformation were interconnected movements that shaped the cultural, intellectual, and religious landscape of Europe. The Renaissance provided the intellectual and cultural context for the Reformation's emphasis on individualism, reason, and personal faith, while the Reformation, in turn, was facilitated by the Renaissance's revival of classical learning and the development of new technologies such as the printing press. Together, these movements ushered in a new era of religious and cultural change in Europe, with far-reaching consequences that continue to be felt to this day.
