BEGC 133 - SOLVED ASSIGNMENTS FOR DEC TEE 2025

 

ASSIGNMENT

BRITISH LITERATURE

BEGC-133

Programme: BAG/2024/2025

Course Code: BEGC 133

 

SECTION A

I ) Explain the following passages with reference to the context.

1. “Stay, you imperfect speakers, tell me more.

By Sinel’s death I know I am Thane of Glamis;

But how of Cawdor? The Thane of Cawdor lives,

A prosperous gentleman; and to be king stands not within the prospect of belief,

No more than to be Cawdor. Say from whence

You owe this strange intelligence? Or why

Upon this blasted heath you stop our way

With such prophetic greeting.”

1. “Stay, you imperfect speakers, tell me more…With such prophetic greeting.”

Context and Explanation:
This passage is from Shakespeare’s Macbeth (Act 1, Scene 3). Macbeth speaks these lines immediately after hearing the witches’ prophecy. The witches have greeted him with three titles: Thane of Glamis, Thane of Cawdor, and future king.

• Macbeth already knows he is Thane of Glamis by inheritance.
• He is confused about Cawdor, since the current Thane of Cawdor is alive and apparently prosperous.
• The prediction of kingship seems impossible to him, as it is beyond belief at this moment.
• He demands to know the source of this strange intelligence and why the witches stopped him to deliver such a prophetic greeting.

Significance:

• Shows Macbeth’s curiosity and ambition starting to awaken.
• Establishes the theme of prophecy and fate versus free will.
• The phrase “imperfect speakers” indicates his suspicion about the witches’ reliability and mysterious nature.

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2. “Is this a dagger which I see before me,

The handle toward my hand? Come, let me clutch thee: -

I have thee not, and yet I see thee still.

Art thou not, fatal vision, sensible

To feeling as to sight? Or art thou

but A dagger of the mind? A false creation,

Proceeding from the heat-oppressed brain?”

2. “Is this a dagger which I see before me…Proceeding from the heat-oppressed brain?”

Context and Explanation:
This is from Shakespeare’s Macbeth (Act 2, Scene 1). Macbeth delivers this soliloquy as he is about to murder King Duncan.

·        He hallucinates a dagger pointing him toward Duncan’s chamber.

·        Macbeth struggles between action and hesitation, questioning whether the dagger is real or a product of his imagination.

·        The term “dagger of the mind” highlights his inner conflict, guilt, and psychological torment.

Significance:

·        Reveals Macbeth’s moral struggle and fear.

·        The hallucination symbolizes foreshadowing of murder and the corrupting power of ambition.

·        Shows Shakespeare’s use of supernatural imagery to depict internal conflict.

 

3. “He did it like an operatic tenor—a regular handsome fellow, with flashing eyes and lovely moustache, shouting a war-cry and charging like Don Quixote at the windmills. We nearly burst with laughter at him; but when the sergeant ran up as white as a sheet, and told us they’d sent us the wrong cartridges, and that we couldn’t fire a shot for the next ten minutes, we laughed at the other side of mouths.”

3. “He did it like an operatic tenor…we laughed at the other side of mouths.”

Context and Explanation:
This passage is from Saki’s short story “The Schartz-Metterklume Method” or more generally from his war stories (could be Saki’s humoristic war anecdotes). The narrator describes a soldier performing theatrically in a military drill or charge.

• The soldier acts like an “operatic tenor”, exaggerated, dramatic, and flamboyant.
• Initially, the act is humorous for the onlookers.
• The humor quickly turns to concern when the sergeant informs them of a critical mistake with ammunition, changing the situation from comedic to tense.

Significance:

• Illustrates Saki’s style of irony and dark humor.
• Highlights the contrast between appearance and reality.
• Demonstrates how human behavior under pressure can shift perception from laughter to anxiety.

 

4. “"Thou hast betray'd thy nature and thy name, 3

Not rendering true answer, as beseem'd

Thy fealty, nor like a noble knight:

For surer sign had follow'd, either hand,

Or voice, or else a motion of the mere.

This is a shameful thing for men to lie.”

4. “Thou hast betray'd thy nature and thy name…This is a shameful thing for men to lie.”

Context and Explanation:
This is from Shakespeare’s Henry V (Act 2, Scene 1), spoken by the Duke of Exeter or another noble figure rebuking a soldier or messenger.

• The speaker criticizes someone for failing to provide a truthful response in a situation demanding honesty and loyalty.
• Phrases like “betray’d thy nature and thy name” emphasize that the act of lying is dishonorable and against one’s duty as a noble or soldier.
• Suggests that truth and fealty are core values in a knightly or noble context.

Significance:

• Highlights the moral expectation of honesty in leadership and chivalry.
• Reflects Shakespeare’s theme of honor and integrity.
• Serves as a lesson in ethical conduct, contrasting with deceitful behavior seen elsewhere in his plays.

 

Section B

 

II. Write short notes on the following:

a. The three phases of Thomas Hardy’s writing.

b. The ‘Porter Scene’ in Macbeth.

c. Tennyson as a representative poet of Victorian England.

d. The influence of Ibsen on Bernard Shaw.

a. The Three Phases of Thomas Hardy’s Writing

Thomas Hardy’s literary career is usually divided into three phases: as a novelist, as a poet, and as a philosopher-poet.

1. Novelist Phase (1870s–1890s): Hardy first gained fame through novels set in the fictional Wessex region. Works like Far from the Madding Crowd (1874), The Mayor of Casterbridge (1886), and Tess of the d’Urbervilles (1891) show his realism, tragic vision, and critique of social conventions. These novels often highlight the conflict between individual desires and hostile social or natural forces.
2. Poet Phase (1890s onwards): Though Hardy considered himself primarily a poet, he turned fully to poetry after public criticism of Jude the Obscure (1895). His poems, such as those in Wessex Poems (1898) and Poems of 1912–13, display deep lyricism, nature imagery, and a tragic sense of life.
3. Philosopher-Poet Phase: In later years, Hardy developed a more meditative style, exploring ideas of fatalism, chance, and human suffering. His philosophical outlook, sometimes called “Hardy’s pessimism,” questioned divine justice and emphasized the indifference of nature.

Thus, Hardy’s three phases show his movement from novelist of rural tragedy to profound poet of human destiny.

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b. The ‘Porter Scene’ in Macbeth

The ‘Porter Scene’ in Shakespeare’s Macbeth (Act II, Scene 3) occurs just after Macbeth murders King Duncan. The drunken porter answers the knocking at the castle gate and imagines himself as the porter of hell. This comic interlude provides relief from the intense tension of the murder.

The scene is significant for several reasons:

1. Comic Relief: In a tragedy filled with horror and bloodshed, Shakespeare inserts humor to momentarily ease tension.
2. Symbolism: The porter’s reference to “hell-gate” foreshadows the moral corruption of Macbeth’s castle after Duncan’s murder. Inverness has indeed become hell, and Macbeth and Lady Macbeth are its damned rulers.
3. Dramatic Function: The knocking that interrupts the porter builds suspense and emphasizes the vulnerability of Macbeth at the very moment of his crime.
4. Moral Commentary: Through the porter’s jokes about equivocators and sinners, Shakespeare indirectly comments on themes of deception and guilt, central to the play.

Thus, the porter scene is not just comic relief but also a symbolic device deepening the tragedy’s moral resonance.

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c. Tennyson as a Representative Poet of Victorian England

Alfred Lord Tennyson (1809–1892) is regarded as the representative poet of the Victorian Age because his poetry captures the central concerns, anxieties, and ideals of 19th-century England.

1. Victorian Morality and Faith: Tennyson’s poems reflect the religious doubt created by scientific progress, especially Darwin’s theories. In In Memoriam (1850), he wrestles with grief, doubt, and faith, expressing the spiritual struggles of his age.
2. Progress and Change: Poems like Locksley Hall highlight enthusiasm for progress and imperial destiny, showing Victorian optimism about science and empire.
3. Heroism and Duty: Works such as The Charge of the Light Brigade glorify courage, patriotism, and sacrifice, echoing Victorian ideals of honor.
4. Medievalism and Tradition: Through Idylls of the King, Tennyson revived Arthurian legends to reflect on moral leadership and the decay of values, a concern typical of Victorians.
5. Art and Aesthetic Sensibility: His mastery of form, rhythm, and imagery reflects Victorian refinement and seriousness in art.

Thus, Tennyson embodies the voice of Victorian England, balancing doubt and faith, tradition and progress, private emotion and public responsibility.

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d. The Influence of Ibsen on Bernard Shaw

Henrik Ibsen, the Norwegian dramatist, had a profound influence on George Bernard Shaw’s dramatic theory and practice.

1. Realism and Problem Plays: Ibsen pioneered the modern “problem play,” where social issues like gender inequality and moral hypocrisy were dramatized. Shaw adopted this technique in plays such as Mrs. Warren’s Profession and Major Barbara, addressing prostitution, capitalism, and poverty.
2. Critique of Social Conventions: Ibsen’s A Doll’s House questioned traditional marriage and women’s roles. Shaw, inspired by such boldness, also exposed false ideals of love, war, and class in plays like Arms and the Man and Man and Superman.
3. Characterization: Shaw admired Ibsen’s creation of strong, independent female characters and developed similar figures like Vivie Warren and Ann Whitefield.
4. Didactic Purpose: Like Ibsen, Shaw saw drama as a tool for social critique and moral debate rather than mere entertainment.

Thus, Ibsen’s influence enabled Shaw to revolutionize English drama, moving it away from romantic melodrama toward realism, satire, and intellectual debate.

 

III ) Write short essays on the following:

a. Justify the title of Bernard Shaw’s play Arms and the Man.

b. Discuss the major themes of Tennyson’s poem “Morte d’Arthur”.

Introduction

George Bernard Shaw’s play Arms and the Man (1894) is a satirical comedy that challenges conventional ideas of war, heroism, and romance. The title itself is significant, as it alludes to Virgil’s Aeneid, which begins with the phrase “Arma virumque cano” (“I sing of arms and the man”). While Virgil glorifies war, Shaw ironically subverts this tradition by presenting war in a realistic, anti-romantic light.

Irony in the Title

At first glance, the title seems to promise a heroic tale of soldiers and warfare. However, Shaw deliberately uses irony: instead of glorifying arms and warriors, he ridicules the absurdity of war and the illusions surrounding it. Captain Bluntschli, the “chocolate-cream soldier,” embodies this irony—he values survival and practicality over reckless bravery.

The Man: Anti-Heroic Representation

The “man” in the title refers to Bluntschli, who contrasts with the romanticized Sergius. Rather than being gallant, Bluntschli admits to carrying chocolates instead of cartridges and mocks the idea of “noble death.” His honesty and practicality ultimately make him the true hero of the play, suggesting that realism is more admirable than false heroism.

The Arms: Critique of War

The play portrays war as brutal, meaningless, and driven by chance rather than honor. Shaw rejects the romantic notion of war as glorious, showing it instead as destructive and absurd. Through humor, he critiques not only militarism but also the social systems that sustain such illusions.

Conclusion

Thus, the title Arms and the Man is justified as an ironic commentary. By borrowing from classical tradition and turning it upside down, Shaw highlights the gap between romantic illusions and harsh realities. The title reflects the play’s central aim—to challenge conventional ideals of war and to advocate for rationality, honesty, and humanism.

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b. Discuss the Major Themes of Tennyson’s Poem “Morte d’Arthur”

Introduction

Alfred Lord Tennyson’s “Morte d’Arthur” (1842) is one of the finest Victorian retellings of the Arthurian legend. Based on the medieval tales of King Arthur’s death, the poem presents not just a chivalric story but also themes of loss, heroism, and the transition from an old order to a new age.

Theme of Heroism and Tragedy

King Arthur is portrayed as a noble but tragic hero. Wounded in battle by his traitorous son Mordred, Arthur accepts his fate with dignity. His departure to Avalon symbolizes both an end and a hope for renewal. The tragic grandeur of Arthur’s fall highlights the vulnerability of even the greatest heroes.

Theme of Loyalty and Betrayal

The poem depicts the loyalty of Sir Bedivere, Arthur’s last knight, who struggles to obey his king’s order to throw Excalibur into the lake. His hesitation reflects human weakness and attachment, but his eventual obedience underlines the theme of loyalty and faith. Betrayal, on the other hand, is represented by Mordred’s treachery, which leads to Arthur’s downfall.

Theme of Faith and Immortality

The final journey to Avalon is rich with symbolic meaning. Arthur’s departure suggests a Christian parallel to resurrection and eternal hope. The imagery of the barge carrying Arthur away evokes a sense of transcendence, hinting that ideals of chivalry and moral order live on even if the man himself perishes.

Theme of Change and Transition

The poem also reflects Tennyson’s Victorian anxiety about change—the fall of Arthur’s realm represents the passing of old values in the face of a new, uncertain world. This makes the poem relevant not just as medieval romance but also as a meditation on continuity and change.

Conclusion

Thus, “Morte d’Arthur” explores multiple themes: the tragedy of heroic downfall, the tension between loyalty and betrayal, the promise of immortality, and the inevitability of change. Tennyson elevates the Arthurian tale into a universal meditation on human destiny, loss, and hope.

 

 

Section C

IV) Discuss Hardy’s approach to the natural world, as expressed in Far Fom the Madding Crowd.

Thomas Hardy (1840–1928) is one of the greatest Victorian novelists, often remembered for his tragic vision and deep connection to the English countryside. In Far from the Madding Crowd (1874), Hardy sets his narrative in the fictional county of Wessex, where the rhythms of rural life, farming, and the natural landscape are integral to the story. Nature in this novel is not a passive background but an active force that shapes human destinies. Hardy’s approach to the natural world combines realism, symbolism, and a sense of fatalism, reflecting his broader philosophy of life.

 

1. Nature as a Living Presence

Hardy gives the natural world an almost human presence in Far from the Madding Crowd. Fields, seasons, storms, and even animals are described with personality and agency. For example, the storm scene that threatens Bathsheba’s ricks of hay is written with dramatic intensity, where nature seems to conspire with fate against human effort. This personification makes nature an active character in the novel, sometimes benevolent but often indifferent or hostile.

2. Realism and Rural Detail

Hardy’s background in rural Dorset gave him first-hand knowledge of agriculture, weather patterns, and village customs. In the novel, he presents authentic details of sheep farming, harvesting, and rural festivities. Gabriel Oak’s careful management of sheep or the harvest scenes illustrate Hardy’s deep understanding of country life. This realism grounds the story in a tangible world, reminding readers that human existence is inseparable from the cycles of nature.

3. Nature and Human Emotions

Hardy often links natural imagery with human emotions. The changing seasons mirror the shifts in Bathsheba’s fortunes, Gabriel’s loyalty, and Troy’s recklessness. Pastoral beauty often contrasts with inner turmoil—romantic scenes are set against moonlit landscapes, while tragic moments coincide with storms or droughts. For Hardy, nature reflects the inner weather of his characters, creating a symbolic connection between the environment and human psychology.

4. Indifference and Fatalism

Despite its beauty, nature in Hardy’s vision is ultimately indifferent to human desires. The storm that destroys Bathsheba’s crops, the tragic scene of Oak’s lost sheep falling off a cliff, and the destructive power of droughts highlight the vulnerability of humans. Hardy’s philosophy, sometimes described as “pessimistic fatalism,” suggests that natural forces operate beyond moral or human concerns. Nature becomes a reminder of the smallness of human ambition in the face of vast, uncontrollable powers.

5. Pastoral Ideal vs Harsh Reality

On the surface, Far from the Madding Crowd appears to be a pastoral romance, celebrating rural simplicity. Yet Hardy complicates this picture by showing both beauty and brutality in rural life. The serene descriptions of fields and villages exist alongside harsh depictions of toil, accidents, and disasters. This duality reflects Hardy’s balanced approach: nature is neither wholly idyllic nor entirely cruel, but a complex reality in which human life unfolds.

6. Symbolism in Natural Imagery

Hardy uses natural imagery symbolically to enhance thematic depth. The sheep symbolize innocence and livelihood, yet their destruction marks Gabriel’s fall into hardship. The weather often foreshadows conflict—storms accompany chaos, while calm landscapes suggest moments of harmony. The harvest represents both abundance and uncertainty, tying human happiness to the fragility of natural cycles. Through these symbols, Hardy conveys that human destiny is inseparable from natural forces.

7. The Wessex Landscape as Identity

Hardy’s creation of Wessex is more than geographical—it is cultural and emotional. The Wessex countryside represents continuity, tradition, and the rootedness of rural communities. For Bathsheba, Oak, and the other characters, identity is tied to land and farming. By presenting nature as integral to human life, Hardy critiques the industrializing world that increasingly separated people from the land.

 

Conclusion

Hardy’s approach to the natural world in Far from the Madding Crowd is multi-dimensional: he portrays it as realistic, symbolic, indifferent, and deeply intertwined with human destiny. Nature is not a decorative backdrop but a powerful force shaping the narrative. Hardy celebrates its beauty while acknowledging its cruelty, thereby creating a complex vision where human life is both enriched and threatened by natural forces. In this way, Far from the Madding Crowd embodies Hardy’s broader philosophy—humans must live with humility, recognizing their dependence on, and vulnerability to, the natural world.