MEG 01 Solved
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MEG
01 Solved Assignment 2021-22
BRITISH
POETRY
MEG 01/TMA 01/ 2021-22
Max. Marks: 100
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Answer all question.
1.
Explain with critical comments any two of the following passages with reference
to their contexts:
10+10
(a)
Where was heard the mingled measure
From the
fountain and the caves.
It was a
miracle of rare device,
A sunny
pleasure-dome with caves of ice!
Some poems change your life. Reading ‘Kubla Khan’ when
I was seventeen changed mine. I was studying Coleridge for my English
Literature A Level, and remember vividly the moment when my teacher dropped
the Selected Poems of S.T. Coleridge onto my desk. There was
Coleridge on the cover, enigmatic in a black and white reproduction of a
portrait made in 1795, when he was twenty-two. We were eye to eye for the first
time – and inside, there were the poems. There’s some truth in saying that as a
poet and a critic, I’ve been trying to understand the power of their effect
upon me ever since.
Coleridge wrote some of the most luminous poems in the
English language, but ‘Kubla Khan’ is distinguished not just by its verse: it
is surrounded by its own mythology, raising far-reaching questions not only
about the way poetry is conceived and written, but also the way it is read and
understood.
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Composed sometime between October 1797 and May 1799 –
when Coleridge was in his mid-twenties – the poem was not published until 25
May 1816, when it appeared alongside ‘Christabel’ and ‘The Pains of Sleep’.
When he published the poem, Coleridge wrote an accompanying Preface, in which
he somewhat modestly presented the poem “rather as a psychological curiosity,
than on the ground of any supposed poetic merits”.
He went on to give one of the most famous accounts of
poetic creation ever to appear: withdrawing to “a lonely farm-house between
Porlock and Linton” in 1797, he took an “anodyne” – opium – for a “slight
indisposition”, and fell asleep while reading Samuel Purchas’s Pilgrimage of
1614, over the passage where Purchas describes the great palace of “Cublai
Can”. Coleridge “continued for about three hours”, he writes, “in a profound
sleep, at least of the external senses”, in which a poem between two and three hundred
lines were composed, “if that indeed can be called composition in which all the
images rose up before him as things, with a parallel production of
correspondent expressions, without any sensation or consciousness of effort”.
Waking, Coleridge immediately took up his pen and paper, writing down what he
recalled from this dream – until a now legendary knock on the door: “a person
on business from Porlock” kept him from his desk “above an hour” – after which
the rest of the dream-poem had gone. As a final touch to his tale, Coleridge
writes that he had often thought of finishing “what had originally, as it were,
been given to him” – “but the tomorrow is yet to come”.
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“Why did he rush to let him in?” asked Stevie Smith in
her poem ‘Thoughts about the Person from Porlock’: “He could have hid in
the house”. And why, we might ask, didn’t Coleridge actually ‘finish’ the poem,
like he said he often thought of doing? Could it be – as I think – that despite
being described as a ‘fragment’, ‘Kubla Khan’ is best read as a complete poem?
Readers have to judge for themselves – and it is part of the poem’s power to
make us think about this, as well as asking many other questions.
In Xanadu did Kubla Khan
A stately pleasure dome decree:
Where Alph, the sacred river, ran
Through caverns measureless to man
Down to a sunless sea.
The shadow of the dome of pleasure
Floated midway on the waves;
Where was heard the mingled measure
From the fountain and the caves.
It was a miracle of rare device,
A sunny pleasure-dome with caves of ice!
That sunny dome! those caves of ice!
And all who heard should see them there,
And all should cry, Beware! Beware!
His flashing eyes, his floating hair!
Weave a circle round him thrice,
And close your eyes with holy dread,
For he on honey-dew hath fed,
And drunk the milk of Paradise.
The rhythmic force of the verse carries its images into
the nervous system of those who read or hear it: its chant itself is a form of
enchantment.
With its energies flowing through you, your conscious mind starts to try and wake up to what is happening. This is where the pleasures of interpretation begin. As Ted Hughes said of ‘Kubla Khan’ and the ‘Rime of the Ancient Mariner’: “Poems of this kind can obviously never be explained. They are total symbols of psychic life. But they can be interpreted – a total symbol is above all a vessel for interpretations: the reader fills it and drinks”.
(b) We
sat grown quiet at the name of love; We saw the last embers of daylight die,
And in the trembling blue-green of the sky, A moon, worn as if it had been a
shell Washed by time's waters as they rose and fell, About the stars and broke
in days and years.
We sat together at one summer's end,
That beautiful mild woman, your close friend,
And you and I, and talked of poetry.
I said, "A line will take us hours maybe;
Yet if it does not seem a moment's thought,
Our stitching and unstitching has been naught.
Better go down upon your marrow-bones
And scrub a kitchen pavement, or break stones
Like an old pauper, in all kinds of weather;
For to articulate sweet sounds together
Is to work harder than all these, and yet
Be thought an idler by the noisy set
Of bankers, schoolmasters, and clergymen
The martyrs call the world."
And
thereupon
That beautiful mild woman for whose sake
There's many a one shall find out all heartache
On finding that her voice is sweet and low
Replied, "To be born woman is to know—
Although they do not talk of it at school—
That we must labour to be beautiful."
I said, "It's certain there is no fine thing
Since Adam's fall but needs much labouring.
There have been lovers who thought love should be
So much compounded of high courtesy
That they would sigh and quote with learned looks
precedents out of beautiful old books;
Yet now it seems an idle trade enough."
We sat grown quiet at the name of love;
We saw the last embers of daylight die,
And in the trembling blue-green of the sky
A moon, worn as if it had been a shell
Washed by time's waters as they rose and fell
About the stars and broke in days and years.
I had a thought for no one's but your ears:
That you were beautiful, and that I strove
To love you in the old high way of love;
That it had all seemed happy, and yet we'd grown
As weary-hearted as that hollow moon.
Addressing his beloved, the speaker remembers sitting
with her and “that beautiful mild woman, your close friend” at the end of
summer, discussing poetry. He remarked then that a line of poetry may take
hours to write, but if it does not seem the thought of a single moment, the
poet’s work has been useless. The poet said that it would be better to “scrub a
kitchen pavement, or break stones / Like an old pauper, in all kinds of
weather,” for to write poetry is a task harder than these, yet less appreciated
by the “bankers, schoolmasters, and clergymen” of the world.
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The “beautiful mild woman”—whose voice, the speaker notes, is so sweet and low it will cause many men heartache—replied that to be born a woman is to know that one must work at being beautiful, even though that kind of work is not discussed at school. The speaker answered by saying that since the fall of Adam, every fine thing has required “labouring.” He said that there have been lovers who spent time learning “precedents out of beautiful old books,” but now such study seems “an idle trade enough.”
(c) Weep
no more, woful shepherds, weep no more, For Lycidas your sorrow is not dead,
Sunk though he be beneath the watery floor. So sinks the day-star in the ocean
bed, And yet anon repairs his drooping head, And tricks his beams and with new
spangled ore,
Flames
in the forehead of the morning sky: So Lycidas sunk low, but mounted high,
Through the dear might of him that walk'd the waves.
(d) When
the stars threw down their spears,
And
water'd heaven with their tears,
Did he
smile his work to see
Did he
who made the Lamb make thee?
2. Write
a critical note on Chancer's art of portraiture in The General Prologue.
20
3.
Consider Herbert as a religious poet.
20
4.
Comment on the opposition of art and life and youth and old age in 'Sailing to
Byzantium'.
20
5.
Comment on the themes of death and suicide in the poetry of Sylvia Plath.
20
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