EPIC THEATER RAYMOND WILLIAM MODERN TRAGEDY/ BRETCHET

TO JOIN OUR ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

GULLIVERS TRAVELS IN URDU HINDI LECTURE 2

TO JOIN OUR ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

3.IMPORTANT FEATURES OF ADRIENNE RICH POETRY

A Short and Simple Summary of The Nightingale and the Owl.

TO JOIN OUR ONLINE ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

The Owl and the Nightingale is a twelfth- or thirteenth-century Middle English poem about a debate between an owl and a nightingale as overheard by the poem's narrator. It is the earliest example in Middle English of a literary form known as debate poetry.

Summary:

The poem consists of a fierce debate between the owl and nightingale, as overheard by an narrator. When he first happens upon them, the Nightingale sat on a blossom-covered branch, and the Owl is sitting on a bough with ivy. The Nightingale begins the argument by insulting the Owl’s physique, calling her ugly and unclean. The Owl proposes that they proceed civilly and reasonably in their debate, and the Nightingale suggests consulting Nicholas of Guildford, who is a reasonable judge. However, the Nightingale immediately goes on to shame the Owl for the shrieks she produces, and relates her active time of night with vices and hatred. The Owl says that Nightingale’s continuous noise is excessive and boring.

The Nightingale replies that the song of the Owl brings unwanted gloom, while her own reflects the beauty of the world. The Owl is quick to reply that Nightingales only sing in summer, when men’s minds are filled with lust. Furthermore, singing is the Nightingale’s only talent. The Owl has more valuable skills, like servicing churches by ridding them of rats. The Nightingale claims she too is helpful to the Church, since her songs invoke the glories of Heaven, and encourage churchgoers to be more religious. The Owl counters that before people can reach Heaven, they must repent their sins. Her mournful song makes them reconsider their decisions. She further states that the Nightingale’s gay melodies force women to adultery. It is the nature of women to be frail, the Nightingale claims, and any sins they might commit in maidenhood are forgiven once they are married. It is rather the fault of men, for taking advantage of this weakness in maidens.

The Nightingale says that Owl is of no use except when dead, since farmers use her corpse as a scarecrow. The Owl gives a positive slant to this charge by saying that she helps men even after death. This is not seen as a sufficient refutation to the Nightingale, and she calls other birds to make fun of Owl. The Owl threatens to assemble her friends, but before the tension can go further, the Wren comes to quiet the quarrel. The birds ultimately decide to put judgment of their case to Nicholas of Guildford, who lives in Dorset.

The owl and nightingale agree to find the wise man and the owl claims that her memory is so excellent that she can repeat every word of the argument when they arrive. However, the reader never learns which bird bests her opponent at the debate; the poem ends with the two flying off in search of Nicholas.

Literary Criticism Past Papers 2008 TO 2019 SUPPLY

Literary Criticism Past Papers

TO JOIN OUR ONLINE ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

Q. Critically evaluate any ONE of the following:

(2008 Annual)

(i) Out of the wood of thoughts that grows by night

To be cut down by the sharp axe of light,

Out of the night, two cocks together crow,

Cleaving the darkness with a silver blow;

And bright before my eyes twin trumpeters stand,

Heralds of splendour, one at either hand,

Each facing each as in a coat of arms;

The milkers lace their boots up at the farms.

From Cock Crow by Edward Thomas

(ii) My silting hope. My lowlands of the mind.

Heaviness of being. And poetry

Sluggish in doldrums of what happens.

Me waiting until I was nearly fifty

To credit marvels. Like the tree clock of tin cans

The tinkers made. So long for air to brighten,

Time to be dazzled and the heart of lighten.

From Fosterling by Seamus Heaney

(2009 Annual)

(i) Twelve o' clock

Along the reaches of the street

Held in a lunar synthesis,

Whispering lunar incantations

Dissolve the floors of memoryAnd all its clear relations,

Its divisions and precisions,

Every street lamp that I pass

Beats like a fatalistic drum,

And through the spaces of the dark

Midnight shakes the memory

As a madman shakes a dead geranium

(T.S. Eliot: Rhapsody on a Windy Night)

(ii) Walking across the Brooklyn Bridge

Even on a hot afternoon

One sees many joggers.

And there is the view, of course

Looking across the water

I think of those people from Vietnam.

The mothers, the fathers,

What they would'not have given,

What they would still give

Their blood, their hair, their livers, their kidneys,

Their lunges, their fingers, their thumbs

To get their children

Past the Statue of Liberty

(Anonymous)

(2010 Annual)

(i) I am not one who much or oft delight

To season of my fireside with personal talk,

Of friends who live within an easy walk,

Or neighbours, daily, weekly in my sight:

And for my chance acquaintance ladies bright,Sons, mothers, maidens withering on the stalk,

These all wear out of me, like Forms, with chalk

Painted on rich men's floor, for one feast night.

(From Wordsworth's Personal Talk)

(ii) I say him leap and thwack you with

Inherited expertise. I

Saw you still the pole and work your

Son to the ground. A dying art

Bridged two generations. You thought.

Now we come for formalities

But you talk of poetry and how

Meaningful some verses become

When the young die and old men live.

(Athar Tahir - Subtraction II)

(2011 Annual)

(i) What is Freedom? --- Ye can tell

That which Slavery is too well,

For its very name has grown

To an echo of your own.

'Tis to work, and have such pay

As just keeps life from day to day

In you limbs, as in a cell,

For the tyrants' use to dwell

So ye for them are made

Loom and plough, and sword and spadeWith or without your own will bent

To their defense and nourishment.

(From: The Mask of Anarchy by Shelly)

(ii) They're lying; lying all of them:

He never loved his shadow,

And tried to wring its neck.

Not love but murder on his mind,

He grappled with the other man

Inside the lucid stream

Only the surface broke,

Unblinking eyes

Came swimming back in view.

At last he knew

He never would

Destroy the other self

And knowing made him shrink

He shrank into a yellow --- bellied flower

(Narcissus by Mervyn Morris)

(2012 Annual)

"MISERRUMUS,' and neither name nor date,

Prayer, text, or symbol, graven upon the stone,

Nought but that word assigned to the unknown,

That solitary word-to-separate

From all, and cast a cloud around the fate

Of him who lies beneath. Most wretched one,

'Who' chose his epitaph?--- Himself alone

Could thus have dared the grave to agitate,

And claim, among the dead, this awful crown;"Nor doubt that He marked also for his own

Close to these cloistral steps a burial place,

The every foot might fall with heavier tread,

Trampling upon his vileness. Stranger, pass

Softly! To save the contrite, Jesus bled

(William Wordsworth)

(ii) BRIGHT star! Would I were steadfast as thou art ---

Not in love splendour hung aloft the night,

And watching, with eternal lids apart,

Like Nature's patient sleepless Eremite,

The moving waters at their priest-like task

Of pure ablution round earth's human shores,

Or gazing on the new soft fallen mask

Of snow upon the mountains and the moors ---

No --- yet still steadfast, still unchangeable,

To feel for ever its soft fall and swell,

Awake for ever in a sweet unrest,

Still, still to hear her tender-taken breath,

And so live ever --- or else swoon to death.

(John Keats)

(2013 Annual)

(i) Full fathom five my father lies,

Of his bones are coral made:

Those were pearls that were his eyes;

Nothing of him that doth fade

But doth suffer a sea-change

Sea nymphs hourly ring his knell;

Burthen: Ding, Dong.

Hark, now I hear them --- ding-dong bell.(Shakespeare)

(ii) A poor bird freely roaming in the jungle

He might not have been affected by these hindrance

On whose decoration the nature is decorated

His world might be innocent".

(Sarala Bista)

(2014 Annual)

(i) Loveliest of trees, the cherry now

Is hung with bloom along the bough

And stands about the woodland ride

Wearing white for Easter tide.

Now, of my three score years and ten

Twenty will not come again,

And take from seventy Springs a score,

It only leaves me fifty more,

And since to look at things in bloom

Fifty springs are little room

About the woodland I will go

To see the cherry hung with snow.

(A.E. Houseman)

(ii) The silver swan, who living had not note,

When death approached, unlocked her silent throat,

Leaning her breast against the ready shore,

Thus sung her first and last, and sung no more:

Farewell all joys! O death, come close mine eyes;

More geese than swans now love, more fools than wise.

(Anonymous)(2015 Annual)

(i) I met a traveler from an antique land

Who said: Two vast and trunkless legs of stone,

Stand in the desert ... near them, on the sand

Half sunk a shattered visage lies, whose frown,

And wrinkled lip, and sneer of cold command,

Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,

The hand that mocked them, and the heart that fed:

And on the pedestal those words appear;

'My name is Ozymandias, king of kings:

Look on my works, ye Mighty, and despair!'

Nothing beside remains. Round the decay

Of that colossal wreck, boundless and bare

The lone and level sand stretch far away.

(P.B. Shelley)

(ii) I have finished my combat with the sun,

And my body, the old animal, knows nothing more.

The power seasons bred and killed,

And where themselves the genii

Of their own ends.

Oh, but the very self of the storm

Of sun and slaves, breeding and death,

The old animal.

(Wallace Stevens)(2016 Annual)

a. I will drain

Long draughts of quiet As a purgative:

Remember Twice daily Who I am;

Will lie o' nights

In the bony arms

Of Reality and be comforted.

(Elizabeth Swell)

b. I was angry with my friend

1 told my wrath, my wrath did end.

was angry with my foe;

I told it not, my wrath did grow.

And I watered it in fears,

Night and morning with my tears

And I sunned it with smiles

And soft deceitful wiles.

And it grew both day and night

Till it bore an apple bright;

And my foe beheld it shine,

And he knew that it was mine.And into my garden stole

When the night had veil'd the pole;

In the morning glad I see

My foe outstretched beneath the tree.

(William Blake)

(2016 Supply)

(a) How can I, that girl standing there, May attention fix

On Roman or on Russian

Or on Spanish politics?

Yet here's a travelled man that knows

What he talks about And there's a politician

That has read and thought,

And may be what they say is true

Of wars and warm's alarms,

But O that I were young again

And hold her in my arms!

(W.B. Yeats)

(b) The silver swan, who living had no note.

When death approached, unlocked her silent throat,

Leaning her breast against the redy shore,Thus sung her first and last, and sung no more:

Farewell all joys! O death, come close mine eyes;

More geese than swans now live, more fools than wise.

(2017 Annual)

[Tears, idle tears, I know not what they mean]

Tears, idle tears, I know not what they mean,

I ears from the depth of some divine despair

Rise in the heart, and gather to the eyes,

In looking on the happy Autumn-fields,

And thinking of the days that more.

Fresh as the first beam glittering on a sail,

That brings our friends up from the underworld,

Sad as the last which reddens over one

That sinks with all we love below the verge;

So sad, so fresh, the days that are no more.

Ah sad and strange as in dark summer dawns

The earliest pipe of half awakened birds

On lips that are for others; deep as love,

Deep as first love, and wild with all regret;

O Death in Life, the days that are no more.OR

Some Trees

These are amazing: each

Joining a neighbor, as though speech

Were a still performance.

Arranging by chance

To meet as far this morning

From the world as agreeing

With it you and I

Are suddenly what the trees try

To tell us we are:

That their merely being there

Means something; that soon

We may touch, love, explain.

And glad not to have invented

Such comeliness we are surrounded:

A silence already Mad with noises,

A can was on which emerges

A chorus of smiles, a winter morning.

placed in a puzzling light, and moving,Our days put on such reticence

These accents seem their own defense.

(2018 Annual)

LOVE- AN ESSENCE OF ALL RELIGIONS

Through love thorns become roses, and

Through love vinegar becomes sweet wine,

Through love the stake becomes a throne,

Through love misfortunes become good fortunes,

Through love burning fire becomes pleasing light,

Through love stone becomes soft as butter,

Through love grief becomes a joy,

Through love lions become harmless,

Through love sickness becomes health,

Through love wrath seems to be a mercy,

Through love the dead rise to life, through love the king becomes-a slave.

(Jalaluddin Rumi)

OR

A man of words and not of deeds,

Is like a garden full of weeds.

And when the weeds begin to growIt's like a garden full of snow.

And when the snow begins to fall,

It's like a bird upon the wall.

And when the bird away does fly,

It's like an eagle in the sky.

And when the sky begin to roar

It's like a lion at the door.

And when the door begins to crack,

It's like a stick across your back.

And when your back begins to smart,

It's like a penknife in your heart.

And when your heart begins to bleed,

You're dead and dead and dead indeed,

(Charles Perrault)(2018 Supply)

a.

These two by the stone wall

Are a slight part of death.

The grass is still green.

But there is a total death,

A devastation, a death of great height

And depth, covering all surfaces,

Filling the mind.

These are the small townsmen of death,

A man and a woman, like two leaves

That keep clinging to a tree,

Before winter freezes and grows black -

Of great height and depth

Without any feeling, an imperium of quiet,

In which a wasted figure, with an instrument,

Propounds blank final music.

(Wallace Stevens)b.

The art of losing isn't hard to master;

so many things seem filled with the intent

to be lost that their loss is no disaster.

Lose something every day. Accept the fluster

of lost door keys, the hour badly spènt.

The art of losing isn't hard to master.

The practice losing farther, losing faster:

places, and names, and where it was you meant

to travel. None of these will bring disaster.

1 lost my mother's watch. And look! my last, or

Next-to-last, of three loved houses went.

The art of losing isn't hard to master.

I lost two cities, lovely one. And vaster

Some realms I owned, two rivers, a continent.

I miss them, but it wasn't a disaster.

Even losing you (the joking voice, a gesture I love)

I shan't have lied. It's evident

The art of losing's not too hard to master

Though it may look like (write it!) like disaster. (Elizabeth Bishop)(2019 Annual)

(a) A Sindhi Woman

Bare foot , through the bazaar,

And with the same undulant grace

As the cloth blown back from her face,

She glides with a stone jar,

High on her head

And not a ripple in her tread.

Watching her cross erect

Stones, garbage, excrement and crumbs

Of glass in the Karachi słums,

I, with my stoop, reflect;

They stand most straight

Who learn to walk beneath a weight.

(b) The Feed

Holding a grain of millet in her beak

The mother sparrow has come to feed.

The young ones are so tiny and small

From head to toe they are beaksWhen they cry.

One grain to be fed the ten young ones

To whom the mother sparrow should feed?

Conjuring beak with beak

With whom should she solace?

Fissuring the atom

You have lean to weep and wail in a loud tone,

Splitting the grain,

You have leamt to set life on foot

Could you split the grain?

One grain to be fed to the ten young ones.

(2019 Supply)

Ruba'iyat

Faith is like Abraham at the stake: to be

Self-honoring and God-drunk, is faith. Hear me,

You whom the age's way to captivate !

Music of strange lands with Islam's fire blends,

On which the nation's harmony depends;

Empty of concord is the soul of Europe,Whose civilization to no Makkah bends.

Love's madness has departed: in

The Muslim's veins the blood runs thin;

Ranks broken, hearts perplexed, prayers cold,

No feeling deeper than the skin.

He Came to Know Himse!f

He came to know Himself

Naught else had He in view

To be able to realize this

He got enmeshed in live

He alighted from high heaven

To pour a cascade of love

Became Mansur to mount the gallows

Just to have His head cut off.

He treaded the bazaar of Egypt

Just to be sold for a slave

Sachu speaks the bare truth

To speak of His sorjourn on earth.

SPECIAL THANKS TO MY STUDENT MOMINA

TO JOIN OUR ONLINE ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

Autobiographical Element in Heart of Darkness
Heart of Darkness is based upon Conrad’s own experiences in life. This novel is a record of Conrad’s own experiences in the course of his visit to the Congo in 1890.

TO JOIN OUR ONLINE ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

As a boy, Conrad dreamed of travel and adventure. He was only nine years old when, looking at a map of Africa’ of the time, he said to himself:

“When I grow up, I shall go there.”

In Heart of Darkness, the fictitious character, Marlow also tells his friends on the deck of a steamboat that, in his boyhood, he had been greatly attracted by the African country known as the Congo, and that the river Congo flowing through that country had exercised a particular fascination upon him.

In order to go to the Congo, Conrad had to take the help of an aunt who was by vocation a writer of novels. Through her influence, Conrad obtained a job with a trading company as the captain of a steamboat which was to take an exploring expedition led by Alexandre Delcommune to a place called Katanga in the Congo. Conrad felt very pleased with the prospect of being able to visit the region of his boyhood dreams. However, Conrad’s pleasure was greatly shattered by a quarrel which he had with Alexandre Delcommune’s brother who was functioning as a manager under the same trading company at a trading station on the way.In Heart of Darkness, Alexendre Delcommune’s brother becomes the manager of the Central Station. Marlow makes very unfavourable comments on the manager of the Central Station because Conrad had formed an adverse view of Alexendre Delcommune’s brother with whom Conrad had quarreled. Marlow also gets job of captain on a steamboat through her aunt’s influence.

Conrad’s main duty, after getting job on a steamship, was to bring one of the Company’s agents whose health had been failing. The name of this agent was Klein. He subsequently died aboard Conrad’s steamship by which he was being brought. It was this agent, by the name of Klein, who is transformed into Mr. Kurtz in Heart of Darkness.

Conrad had many unpleasant experiences in the course of his visit to Congo, which he recorded in a diary to which he gave the name of the Congo Diary. Marlow also records the disastrous effects of the climate of the Congo upon the white traders and agents who were sent by the Belgian Companies to this region.
Furthermore, Marlow experiences the same sense of enlightenment and the same process of maturing through disillusion and defeat which Conrad himself underwent during his travels in the Congo.

It has therefore to be recognized that Heart of Darkness is, to a large extent, an autobiographical book because, in most of the essentials, Marlow’s experiences and feelings are very much the same as Conrad’s own had been. There is a lot of resemblance between Conrad’s Congo Diary and the contents of the novel Heart of Darkness to justify such an assumption.

Conrad’s experiences in the Congo have been described by a critic as exasperating, frustrating, and humiliating; and Marlow’s experiences in his contact with most of the white men in the Congo are of the same kind. Marlow undergoes an extreme personal crisis; and this crisis is very much the same through which Conrad himself underwent in the Congo.

In conclusion, we may add that Marlow’s outlook upon life of his philosophy of life is very much the same as Conrad’s own was. Marlow appears as a pessimist in the novel; and Conrad himself was a pessimist too. Marlow recognizes the existence of certain virtues in human beings just as Conrad himself did. But, on the whole, Conrad had formed certain depressing ideas about life in general, and Marlow too expresses similar ideas about life. Marlow’s reaction to most people, whom he meets in the course of his travels, is unfavourable and disappointing; and so were Conrad’s own reactions to the people whom he met in the course of his voyage. Marlow is more or less a lonely, isolated figure despite the presence before him of four of his associates to whom he tells his story; and Conrad was a lonely figure too.

Thus both in externals and in terms of the inward mental life, Marlow meet the same fate which Conrad had met.

MAJOR THEMES IN SYLVIA PLATH POETRY

TO JOIN OUR ONLINE ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

MAJOR THEMES IN SYLVIA PLATH POETRY

WHERE THERE IS A WILL THERE IS A WAY

ONE OF MY STUDENT SUCCESS STORY

TO JOIN OUR ONLINE ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

Sylvia Plath

Sylvia Plath
MA / BS English
University of The Punjab
Pakistan  
 SYLVIA PLATH NOTES

TO JOIN OUR ONLINE ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

Major Barbara Bahaudin Zakariya University

Major Barbara
Bahaudin Zakariya University Multan
Pakistan 🇵🇰 🇵🇰🇵🇰

https://drive.google.com/file/d/1a4Pb2crRLEIajMdknqm1ooSmpwbQyPoD/view?usp=drivesdk 
MAJOR BARBARA 
 https://drive.google.com/file/d/1a4Pb2crRLEIajMdknqm1ooSmpwbQyPoD/view?usp=drivesdk 

B.A ENGLISH guess paper

#English_B_A

#Guess

Refrence Stanzas
A thing of Beauty
La Belle Dame sans Merci
The Solitary Reaper
Poems
Kubla Khan
A thing of Beauty
To The Cuckoo
Solitary Reaper
Summaries Anthology
Shooting Elephant
Three days to see
Hunza valley
Work
Question answer
The ox
Work
The librator
Selection summeries
Quid's address
Swat valley
Seeing life
On Babies
Question Ans
Unconscious Artist
Rational of Pakistan
Islamic Culture
Master of the House...

ISLAMIA UNIVERSITY BAHAWALPUR SYLLABUS FOR M.A ENGLISH LITERATURE PRIVATE /EXTERNAL CANDIDATES

TO JOIN OUR ONLINE ACADEMY

VISIT THE LINKS BELOW

MA ENGLISH LITERATURE ONLINE ACADEMY BY ASMA SHEIKH

YOU TUBE CHANNEL

ISLAMIA UNIVERSITY BAHAWALPUR

SYLLABUS FOR M.A ENGLISH (PART 1) IUB

EXTERNAL CANDIDATES

THE OUTLINE OF PAPERS:

PAPER 1                  ISLAMIYAT

PAPER 2                  POETRY 1(CLASSICAL POETRY)

PAPER 3                  DRAMA 1

PAPER 4                  NOVEL

PAPER 5                  PAKISTANI LITERATURE IN ENGLISH

PAPER 6                  APPLIED LINGUISTICS

PAPER 1 : ISLAMIAT

      According to university syllabus

PAPER 2: POETRY 1

SECTION:A

1.       Geoffrey Chaucer : The prologue to the Canterbury tales

2.       Edmund Spenser : The Fairy Queen

3.       John Donne: Love and Devine Problems

SECTION : B

1.       John Milton: Paradise lost; book 1,2

2.       John Dryden: Absalom and Achllophel

3.       Alexander Pope: THE RAPE OF THE LOCK.

PAPER  3: DRAMA 1

SECTION A:TRAGEDY

1.       Sophocles: Oedipus Ras

2.       Christopher Mariowe: DR.Faustus

3.       W. Shakespeare : hamlet

SECTION B: COMEDY

1.       W. Shakespeare : THE MERCHANT OF VENICE

2.       W. Conpreve : THE WAY OF THE WORLD

3.       R.B. Sheridan : THE SCHOOL FOR SCANDAL

PAPER 4 : NOVEL

SECTION : A

1.       HENRY FIELDING : TOM JONES

2.       JANE AUSTEN : PRIDE AND PREJUDICE

3.       CHARLES DICKENS : GREAT EXPECTATIONS

4.       THOMAS HARDY : THE RETURN OF THE NATIVE

SECTION : B

1.       GEORGE ELLIOT : MIDDLE MARCH

2.       VIROINIA WOALF : TO THE LIGHT HOUSE

3.       E.M. FORSTER : A PASSAGE TO INDIA

4.       WILLIAM GOLDING : LORD OF THE FLIES

PAPER 5 : PAKISTAN LITERATURE IN ENGLISH

A: NOVEL

1.       ICE-CANDY MAN (BAPSI SIDHWA)

2.       THE BOOK OF SALUDIN (TARIQ ALI)

3.       THE MURDER OF AZIZ KHAN (ZULFIQAR GHOSE)

B. DRAMA

1. MY BEAUTIFUL LAUNDRETTO (HANIF KUREISHI)

C: POETRY

1.       EID, PAKISTAN MOVEMENT MY ALAMGIR HASHMI

2.       THE ROAD BY HINN, FAISAL IMAM

3.       WEDDING IN THE FLOOD BY TAUFIQ RAFAT

D: SHORT STORY

1.       BINGO (TARIQ ROHMAN)

2.       THE LADY FINGER (SIKANDER MIR)

PAPER  6: APPLIED LINGUISTICS

1.       INTRODUCTION:

1.       PRINCIPLES OF LINGUISTICS

2.       CHRACTERISTICS OF LINGUISTICS

3.       LANGUAGE AND THEORIES

4.       MAJOR THEMES IN LINGUISTICS

(A)   PHONETIC AND PHONOLOGY

(B)   MORPHOLOGY AND SYNTAX

(C)   SEMANTICS

5.       THE FOLLOWING BRANCHES OF LINGUISTICS

(A)   SYNCHRONIC AND DICHRONIC

(B)   GENERAL AND DESCRIPTIVE

(C)   APPLIED

(D)   HISTORICAL

(E)    COMPARATIVE

6.       THE FOLLOWING MODERN MOVEMENTS IN LINGUISTICS.

(A)   STRUCTURALISM

(B)   FUCTIONALISM

(C)   GENERALISM

7.       THE FOLLOWING INTENDISIPLINARY AREAS IN LINGUISTICS

(A)   PSYCHOLINGUISTICS

(B)   SOCIOLINGUISTICS

(C)   ETHROLINGUISTICS

BOOKS

LYONS JOHN(1931) LANGUAGE AND LINGUISTICS INTRODUCTION

2.       PHONETICS

THE FOLLOWING BRANCHES :

(A)   ARTICULATORY

(B)   ACOUSETIC

BOOKS

        LADYFINGER PETER(75) A COURSE IN PHONETICS

3.       PHENOLOGY

THE FOLLOWING BRANCHES

(A)   SEGMENTAL PHONOLOGY

(B)   SUPRA-SEGMENTAL PHONOLOGY

(C)   PHONETIC TRANSCRIPTION (COMPULSORY 10 MARKS)

4.       MORPHOLOGY

1.       MORPHENE AND MORPHOLOGY

2.       THE FOLLOWING TWO BRANCHES ARE

(A)   INFECTIONAL MORPHOLOGY

(B)   LEXICAL MORPHOLOGY

5.       SYNTAX

1.       PHINISO STRUCTURE GRAMMER

2.       TRANSFORMATIONAL GENERATIVE GRAMMER

3.       AL FOUR TYPES OF TRANSFORMATIONAL RULES

(A)   DELETION

(B)   INSERTION, SUBSTITUITION

(C)   MOVEMENT

4.       UNIVERSAL GRAMMER

5.       SEMANTICS

1.       THE FOLLOWING TWO BRANCHES

(A)   PHILOSOPHICAL SEMANTIC

(B)   LEXICAL OR STRUCTURAL SEMANTICS

2.       THE FOLLOWING SENSE RELATIONS

(A)   HYPONOMY

(B)   SYNONOMY

(C)   PLOYSOMY

(D)   ANTONYMY

(E)    HOMONYMY

(F)    COLLOCATION

3.       GENARATIVE SEMANTICS

4.       SEMANTIC FIELD

5.       SPEECH ACT

6.       COMPONENTIAL ANALYSIS

7.       PRINCIPLES OF PRAGMATICS

8.       APPLIED LINGUISTICS

1.       METHODS OF TEACHING

2.       ERROR ANALYSIS

3.       LANGUAGE TESTING

M.A ENGLISH PART 2 (FINAL)

PAPER 7 (ROMANTIC AND MODERN POETRY)

SECTION : A

1.       WILLIAM WORDSWORTH : THE PRELUDE (TEXT OF 18O5)BOOK 1&2

2.       PERCY BYSSHE SHELLEY : (A) ODE TO THE WEST WIND   (B) ADONAIS

3.       JOHN KEATS : ODES

SECTION : B

1.       ROBERT BROWNING : PROPHYRIA’S LOVER , MY LAST DUCHESS.

                                        THE BISHOP ORDERS HIS TOMB, FRA LIPPO LIPPI, ANDREA SARTO

2.       WILIAM BUTTLER YEATS : NO SECOND TROY, SEPTEMBER 1913

EASTER 1916, THE SECOND COMING, AMONG SCHOOL CHILDREN. LEPIS LAZULL,        MEDITATION IN THE TIME OF CIVIL WAR, A PRAY, MY DAUGHTER, SAILING TO BYZANTIUM,                  LEDA AND THE SWAN.

3.       THOMAS STEARN ELLIOT : THE LOVE SONG OF JANE ALFRED PRULROCK, THE WASTE LAND

PAPER 8 : DRAMA 2

SECTION : A

1.       OSCAR WILD : THE IMPORTANCE OF BEING EARNEST

2.       IBSEN : THE WILD DUCK

3.       GEORGE BERNARD SHAW: PYGMALION

SECTION : B

1.       SAMUEL BACKETT : WAITING FOR GODOT

2.       JOHN OSBORNE : LOOK BACK IN ANGER

3.       HARLOD PINTER : THE CARETAKER

PAPER 9 : PROSE

SECTION : A

1.       FRANCIS BACON : ESSAYS(1625)

2.       JONATHAN SWIFT : GULIVER’S TRAVEL

3.       JOHN STUART MILL : ON LIBERTY

SECTION : B

1.       LYTTON STRATCHEY : THE EMINENT VICTORIAN

2.       BERTRAND RUSSEL : SCEPTICAL ESSAYS

PAPER 10 : CRITICISM

SECTION : A

1.       ARISTOTLE : THE POETICS

2.       DR. JOHNSON : THE PREACE TO SHAKESPEARE

3.       WILLIAM WORDSWORTH : PREFACE TO THE LYRICAL BALLAD

4.       SAMUEL TAYLOR COLERIDE : BIOGRAPHIA LITERERIA (CH: 16,17,18)

SECTION : B

1.       MATHEW ARNOLD : THE FUNCTION OF CRITICISM, THE STUDY OF POETRY

2.       THOMAS STEARNS ELLIOT : TRADITIONAL AND INDIVIDUAL TALENT, THE METAPHYSICAL POETS

3.       CLEANTH BROOKS : WELL WROUGHT UM, WORDSWORTH & PARADOX OF THE IMAGINATION, KEATS SYLVAN HISTORIAN ; YEATS GREAT ROOTED BLOSSOMER

PAPER 11 : AMERICAN LITERATURE

SECTION: A

1.       ROBERT FROST : THE MENDING WALL, HOME BURIAL, BIRCHES, AFTER APPLE PICKING, AN OLD MAN’S WINTER NIGHT, STOPPING BY WOODS, THE ROAD NOT TAKE …

2.       ARTHUR MILLER : DEATH OF A SALESMAN

3.       WILLIAM FAULKNER : SOUND AND THE FURY

SECTION: B

1.       WALLACE STEVENS : A HIGH TONED OLD CHRISTIAN WOMAN, PETER QUINCE AT THE CLAVIER, THE GLASS OF WATER, DOMINATON OF BLACK, THE EMPEROR OF ICE CREAM

2.       EUGENE O’NEIL : A LONG DAY’S JOURNEY INTO NIGHT

3.       EARNEST HEMINGWAY : A FAREWEELL TO ARMS

PAPER 12 : (OPTIONAL, SHORT STORY)

SECTION: A

1.       O’HENRY : AFTER TWENTY YEARS, THE COP & ANTHEM,THE GREEN DOOR, THE LIGHT ROOM, TELEMEACHUS

2.       JAMES JOYCE :THE SISTERS, AN ENCOUNTER, ARABY, EVELINE, A LITTLE CLOUD

3.       WILLIAM SOMERSET MAUGHAM : PRINCESS, SEPTEMBER, EPISODE , THE KITE, A WOMAN OF FILLY

SECTION : B

1.       VICTOR SAWDON PRITCHETT : A DEBT OF HONOUR, THE VOICE , BLIND LOVE, THE FIG TREE

2.       GUY DE MAUPASSANT : MADEMOISELLE FIFI, SIMON’S PAPA, SUICIDE AFTER THE SPECTRE

3.       ANTON CHEKHOV : A DOCTOR’S VISIT, THE LADY WITH THE PET DOG, IN THE CART, THE MAN IN THE SHELL

PAPER 12 (OPTIONAL,STYLISTICS)

1.       ARMS AND PERSPECTIVE

2.       THE FOLOWING CATEGORIES OF REGISTER

(A)   TENOR

(B)   MODEL

3.       ANALYSIS OF TEXT AT THE FOLLOWING THREE TRENDS

(A)   PHONOLOGY

(B)   LEXIS

(C)   SYNTAX

4.       THE FOLLOWING TWO STANDARDS OF TEXTUALITY

(A)   COHESION     (B) COHERENCE