MA English paper Annual 2021 2022 University of Sargodha paper

Past papers (DRAMA –I) JEW of MALTA (UOS)

 Past papers (DRAMA –I)

JEW of MALTA (UOS)

Objective Type:

1.                What does Ferneze suggest for Calymath in the end of Jew of Malta?

2.                What is the act 2 scene 1of Jew of Malta mainly about?

3.                What is meant by micavillain statement “end justifies the man.”

4.                What is brabas reaction on the death of Abigail?

5.                How does Ferneze and knights justify the confiscation of brabas wealth? 2017

6.                Why does brabas decide to kill ithamore? 2018

7.                Why does brabas scold the three jews in the senate house? 2016

8.                Why is ithamore so quick to scheme against brabas? 2015

9.                Why was brabas angry eith the three jews?

 

Subjective part

1.                “I count a religion but a childish toy and hold there and hold, there is no sin but ignorance”. How far is Marlow justified in these claims in the Jew of Malta? 2019

2.                 

3.                Different aspects of religion

4.                Every character was a sinner in malta rather he belongs to any religion

5.                Maltese society waas full of evil hypocrisy, actually it was society not religion

6.                Each n everyone was ignored of religion, but not of worldy success.

7.                Machiavellian approach, utilitarian approach

8.                Religion was tackles as a tool.

9.                Discuss the character of Barabas in the play Jew of Malta? 2018

10.           Jew of Malta is a tragi-comedy, satire of religious hypocrisy and Machiavellian scheming. Agree or disagree with examples. 2017

Tragi-comedy definition

Tragedy,” says Aristotle, “is an imitation [mimēsis] of an action that is serious, complete, and of a certain magnitude…through pity and fear effecting the proper purgation [catharsis] of these emotions.”

Comedy ,” says Aristotle, “is an imitation [mimēsis] of a non-serious action . of men worse than the average ,

 

11.           Renaissance spirit and Machiavellian policy dominate “jew of Malta. Elaborate? 2017 composite.

12.           Enlist the three major themes in jew of Malta 2016

Hypocrisy

Religion is childish tool

Machiavellian approach

Revenge and hatred

Lust for wealth

13.           What role does Abigail play within the text? Is she a tragic heroine, a disloyal daughter, or a victim to the prejudice of her peers? 2015 composite

 

14.           Discuss in detail, the character of Ferneze in jew of Malta?

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Pride and Prejudice Past Papers 2011 TO 2019 S

 Pride and Prejudice Past Papers

 

2011

Q. Critically examine the events and characters in Jane Austen’s Pride and Prejudice in the light of the title of novel.

Q. Compare and contrast bennet sisters in Jane Austen’s Pride and Prejudice.

Q. Note on Character sketch of Elizabeth Bennet

 

2012

Q. Critically analyse the male characters in Jane Austen’s Pride and Prejudice.

 DARCY

MR BENNET

WICHAM

 BINGLEY

MR COLLINS

Q. Note on  Jane Austen’s heroin in Pride and Prejudice.

 

2013

Q. Through 4 marriages in Pride and Prejudice, Jane Austen defines good and bad reasons for marriage. Discuss

Q. Note on Element of satire in Austen’s Pride and Prejudice.

 

2014

Q. “The plot of Pride and Prejudice has an exactness of structure and symmetry of form”. Discuss

Q. “Jane Austen was the moralist of 18^th century”. Do u agree?

 

2015

Q.“Jane Austen described life as a matrimonial game” How far do you agree with this statement.

R. IT IS A TRUTH UNIVERSALY ACKNOWLEDGE THAT A MAN IN POSSESSION OF A GOOD FORTUNE  MUST BE IN WANT OF WIFR

 

2016

Q. “PRIDE AND PREJUDICE IS simultaneously HIGH COMEDY, DEVASTATING SATIRE AND COMPASSIONATE PANORAMA.” SUBSTANTIATE CRITICALLY.

Q. Critically evaluate how Jane Austen integrates social concerns of her age in Pride and Prejudice?

 

2017

Q. Explore the significance of social class in Austen's pride and prejudice. And how it impacts relationships and marriage.

Q. Note on  Humour in Pride and Prejudice.

 

2018

Q. DISCUSS HOW JANE AUSTIN USES IRONY AND SATIRE IN PRIDE AND PREJUDICE TO CRITICIZE VARIOUS ASPECTS OF 19TH CENTURY ENGLISH SOCIETY.

Q. Note on Elizabeth Bennet in Pride and Prejudice.

 

2018supply

Q. "Happiness in marriage is entirely a matter of chance." How far do you agree with Charlotte's view of matrimony in Austen's Pride and Prejudice?

Q. Note on The Aristocracy in Pride and Prejudice.

 

2019

Q. Critically examine the nature of Love and Romance in Jane Austen's Pride and Prejudice highlighting its socio-economic implications.

Q. Austen's Pride and Prejudice is a classic comedy of manners which satirizes 18th century society, particularly the expectations from women. Explain.

Comedy of manners, witty, cerebral form of dramatic comedy that depicts and often satirizes the manners and affectations of a contemporary society. A comedy of manners is concerned with social usage and the question of whether or not characters meet certain social standards.

Q. Note on Role of Mr Bennet in Pride and Prejudice.

 

2019supply

Q. Critically comment on how Jane Austen’s  Pride and Prejudice exposes class distinction and struggle, social norms and rules and the fact that money runs society.

Q. Critically analyse the character, motivation and actions of male suitors in Austen’s Pride and Prejudice.

 

“Hymn to Intellectual Beauty”

“Hymn to Intellectual Beauty”

Of course Shelley’s atheism is a famous part of his philosophical stance, so it may seem strange that he has written a hymn of any kind. He addresses that strangeness in the third stanza, when he declares that names such as “Demon, Ghost, and Heaven” are merely the record of attempts by sages to explain the effect of the Spirit of Beauty—but that the effect has never been explained by any “voice from some sublimer world.” The Spirit of Beauty that the poet worships is not supernatural, it is a part of the world. It is not an independent entity; it is a responsive capability within the poet’s own mind.

If the “Hymn to Intellectual Beauty” is not among Shelley’s very greatest poems, it is only because its project falls short of the poet’s extraordinary powers; simply drawing the abstract ideal of his own experience of beauty and declaring his fidelity to that ideal seems too simple a task for Shelley. His most important statements on natural beauty and on aesthetics will take into account a more complicated idea of his own connection to nature as an expressive artist and a poet, as we shall see in “To a Skylark” and “Ode to the West Wind.” Nevertheless, the “Hymn” remains an important poem from the early period of Shelley’s maturity. It shows him working to incorporate Wordsworthian ideas of nature, in some ways the most important theme of early Romanticism, into his own poetic project, and, by connecting his idea of beauty to his idea of human religion, making that theme explicitly his own.

Literary Criticism Past Papers 2008 TO 2019 SUPPLY

Literary Criticism Past Papers

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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.

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