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GNDU Question Paper-2021

M.A I

Semester

Poetry-I (Renaissance to Romantic)

Time Allowed: Three Hours Maximum Marks: 80

Note: Attempt Five questions in all, selecting at least One question from each section. The

Fifth question may be attempted from any section. All questions carry equal marks.

SECTION-A

1. Helen Gardner said, "Milton's conception of his subject is the source of what has always

been regarded as one of the chief glories of Paradise Lost, its wealth of epic similes."

Examine critically.

2. "The name of Milton", says Raleigh, "is become the mark, not of biography, not of a

theme but of a style, the most distinguished in our poetry." Elucidate critically.

SECTION-B

3. Critically examine The Canonization in the light of Cleath Brooks' archetypal illustration

that "there is a sense in which paradox is the language appropriate and

inevitable to poetry".

4. Discuss briefly:

(a) The Extasie as a love poem of convoluted images and analogies.

(b) Title of the poem A Hym to God The Father.

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SECTION-C

5. Discuss briefly:

(a) The Rape of the Lock as a mock-epic.

(b) Character of Belinda.

6. Critically examine Cynthia Wall's remarks "The form and imagery of the poem act to

reveal and re-enact the sexual, social, political and poetic energies and the efforts to

control and contain them in early-eighteenth century England."

SECTION-D

7. Critically examine:

(a) the metaphor "she is a fen/ of stagnant waters" in London, 1802.

(b) symbol of 'light' in Ode: Intimations of Immortality and 'the leech gatherer' in

Resolution and Independence.

8. Discuss Tintern Abbey as the first of Wordsworth's great crisis lyric.

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GNDU Answer Paper-2021

M.A I

Semester

Poetry-I (Renaissance to Romantic)

Time Allowed: Three Hours Maximum Marks: 80

Note: Attempt Five questions in all, selecting at least One question from each section. The

Fifth question may be attempted from any section. All questions carry equal marks.

SECTION-A

1. Helen Gardner said, "Milton's conception of his subject is the source of what has always

been regarded as one of the chief glories of Paradise Lost, its wealth of epic similes."

Examine critically.

Ans: Helen Gardner’s statement about Paradise Lost and its use of epic similes highlights one of the

poem's central features: its grandeur and poetic depth. Milton’s use of epic similes is seen as a key

element that gives his epic its richness and imaginative scope. Let’s break this down to understand

how Milton employs these epic similes, what their purpose is, and why they contribute to the

poem’s power.

Milton’s Conception of His Subject:

Paradise Lost is a grand epic that seeks to "justify the ways of God to men." This ambitious

theme required a style and language as vast and significant as the subject itself. Milton used

epic similes as a crucial device to elevate the narrative and engage the reader’s imagination

on a grand scale. These similes are not just decorative but deeply connected to the poem's

themes and characters, providing a richer understanding of the story.

What is an Epic Simile?

An epic simile, also known as a Homeric simile (since it was first used by Homer in The Iliad

and The Odyssey), is an extended comparison that goes beyond a simple metaphor. It

describes one thing by comparing it to another in a detailed and elaborate way, often over

several lines. Milton, influenced by classical epics like those of Homer and Virgil, used this

literary device to give a visual and sensory depth to his narrative.

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Milton’s Use of Epic Similes in Paradise Lost:

In Paradise Lost, Milton uses epic similes to heighten the grandeur of the scenes and to

create vivid, often awe-inspiring images. One famous example comes early in the poem,

when Satan is described lying on the burning lake, compared to the giant sea creature

Leviathan. This comparison does more than just describe Satan’s size; it underscores his

power and presence while also giving a sense of the vastness and chaotic nature of Hell.

Milton’s similes often draw on familiar natural phenomena, historical events, or

mythological figures. For instance, he compares Satan's legions of fallen angels to autumn

leaves, scattered on the ground. This not only emphasizes their great number but also

subtly reflects their fallen state, like dead leaves separated from the tree.

In another famous simile, Milton compares Satan’s shield to the moon as seen through a

telescope. This simile does more than suggest the shield's vast size; it also introduces an

element of wonder and distance, hinting at the alien and otherworldly nature of Satan's

power.

Why are Milton’s Epic Similes Special?

Unlike many epic poets, Milton’s similes are not merely decorative. They often serve to add

layers of meaning to the text. For instance, when Satan is compared to the Leviathan, it isn't

just to describe his physical form but to connect him with chaos, the deep sea, and

destructive forces beyond human comprehension. This enriches our understanding of Satan

as a figure of immense, almost primal, energy.

Moreover, these similes frequently reflect the thematic concerns of the poem. The imagery

of vastness, power, and fallibility in the comparisons speaks to the larger narrative of

rebellion, fall, and redemption. Milton’s similes often force the reader to engage with the

moral and philosophical issues at the heart of Paradise Lost, such as free will, obedience,

and the consequences of rebellion.

The Purpose of Milton's Epic Similes:

Milton uses these similes not just to illustrate but to amplify the emotional and intellectual

impact of his subject matter. They help elevate the poem, making its themes feel universal

and timeless. By drawing on familiar images from nature, mythology, and history, Milton

connects the cosmic battle between good and evil to the human experience, making

abstract concepts more relatable and vivid.

Helen Gardner’s Perspective:

According to Helen Gardner, Milton’s epic similes are one of the chief glories of Paradise

Lost. They enrich the text with visual grandeur and intellectual depth, making the poem’s

narrative more than just a recounting of events. The similes provide moments of pause,

allowing readers to reflect on the larger significance of the events and characters being

described.

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For Gardner, the similes also serve to connect the human with the divine. They remind the

reader that although Paradise Lost deals with supernatural beings and events, these are not

distant from the human experience. The similes bridge the gap between the epic scale of

Milton's story and the more everyday experiences and imagery familiar to his readers.

Critical Evaluation:

Milton's use of epic similes has been both praised and critiqued. While Gardner sees them

as a source of the poem's greatness, some critics have argued that they sometimes interrupt

the flow of the narrative or distract from the main point. However, even critics acknowledge

that these similes are an essential part of Milton’s style and contribute to the overall

grandeur and depth of Paradise Lost.

In conclusion, Milton's epic similes in Paradise Lost are more than just literary flourishes.

They are a vital part of his poetic method, adding layers of meaning and helping to elevate

his narrative to the level of classical epic. As Helen Gardner pointed out, they are one of the

chief glories of the poem, contributing to its lasting power and influence in English

literature.

This understanding of Milton's similes can help appreciate the complex layers of meaning in

Paradise Lost and how these literary devices serve to highlight its thematic richness and epic

scale.

2. "The name of Milton", says Raleigh, "is become the mark, not of biography, not of a

theme but of a style, the most distinguished in our poetry." Elucidate critically.

Ans: In analyzing the statement by Sir Walter Raleigh, "The name of Milton is become the mark, not

of biography, not of a theme but of a style, the most distinguished in our poetry," it is important to

understand that Milton’s poetic contributions go beyond mere content. Instead, they represent a

unique and highly influential style that has shaped English poetry in distinctive ways. Milton's poetry,

especially in works like Paradise Lost, Samson Agonistes, and Lycidas, has become a hallmark of

grand style in English literature, distinguished by its classical influences, intellectual depth, and moral

intensity.

Milton’s Classical Influences

Milton was deeply influenced by classical literature, drawing on ancient Greek and Roman

writers such as Homer and Virgil. He incorporated classical forms into his works, evident in

his use of the epic form in Paradise Lost and the Greek tragedy in Samson Agonistes. His

ability to blend classical traditions with Christian themes, particularly in Paradise Lost,

marked a major innovation in English poetry. His style reflects a reverence for classical

artistry, with elaborate descriptions, grand similes, and dignified diction.

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Raleigh refers to Milton’s style as "the most distinguished" because Milton refined classical

elements and crafted them into a style that was distinctly his own. Unlike other poets who

merely borrowed from classical literature, Milton internalized these influences and

transformed them into a vehicle for expressing his unique intellectual and theological vision.

His poetic style is thus a fusion of the classical and the divine, with every line reflecting both

an artistic and moral rigor.

The Lofty and Sublime Style

Milton’s poetry is often characterized by its elevated language, which serves to reflect the

grandeur of his subject matter. This style is particularly evident in Paradise Lost, where

Milton deals with cosmic themes such as the fall of man, the rebellion of Satan, and the

justice of God. To match the scale of these themes, Milton employed a "grand style" that

combined long, rolling sentences with powerful imagery and epic similes.

Raleigh’s observation about Milton’s style being "the mark" implies that his approach to

poetry set him apart from other writers, who might focus on personal themes or specific

narratives. Instead, Milton’s poetry rises above the biographical or topical to reach a

universal level, touching on themes that transcend time and space. His language is packed

with meaning, and every word is chosen for its resonance and ability to evoke deep

emotions and profound thoughts in the reader.

Compactness and Precision

Raleigh also notes the compactness of Milton’s style. Milton was meticulous in his choice of

words, ensuring that every word carried significant weight and meaning. This precision is

one of the reasons why Milton’s poetry is seen as a pinnacle of poetic achievement. His

sentences are often densely packed with layers of meaning, requiring careful reading and

interpretation.

For example, Milton frequently employed Latin-derived words that could convey multiple

meanings. This practice allowed him to add depth and complexity to his poetry. A single

word might evoke different interpretations, giving the reader a rich, multi-dimensional

experience. This linguistic density is part of what makes Milton’s poetry so distinctive and

why Raleigh describes it as "the most distinguished in our poetry."

Use of Epic Similes and Allusions

Milton’s style is also notable for his use of epic similes and classical allusions. In Paradise

Lost, Milton often compares characters and events to figures from classical mythology,

history, and literature. These allusions enrich the text by drawing on a vast cultural reservoir

that Milton assumed his readers would understand. This technique, however, makes

Milton’s poetry demanding for readers who are not familiar with the classical references he

uses.

The use of epic similes—extended comparisons that often span several lines—further

elevates the narrative. For example, Milton compares Satan’s immense size to that of the

mythical Leviathan, a creature so large that it could be mistaken for an island. These epic

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similes serve not just as comparisons but as miniature narratives within the larger text,

adding layers of meaning and creating a sense of grandeur and majesty.

The Majestic and Moral Tone

Milton’s poetry is suffused with a sense of moral purpose, which is closely tied to his Puritan

beliefs. His works often explore themes of divine justice, human free will, and the

consequences of sin. His style reflects this moral seriousness, with every line contributing to

the larger ethical and theological questions at play. This moral gravity is what makes

Milton’s poetry "distinguished" in Raleigh’s view—it is not merely beautiful but deeply

purposeful.

Milton’s ability to combine form and content into a unified whole is a key aspect of his

greatness as a poet. His style is never ornamental for its own sake; rather, it is always in

service of the larger themes and messages he wishes to convey. This is why Raleigh

emphasizes that Milton’s name has become synonymous with a style—Milton’s poetry

represents the perfect marriage of form and meaning.

Conclusion

In conclusion, Raleigh’s statement highlights Milton’s unique contribution to English poetry.

Milton's work is not merely remembered for its themes or biographical elements but for the

distinctive style that he developed—a style marked by classical influences, moral

seriousness, linguistic precision, and epic grandeur. His ability to blend classical forms with

Christian themes, his use of elaborate similes and allusions, and his compact, yet majestic

language, have made Milton’s style a defining feature of English poetry. It is a style that has

influenced countless poets and continues to be a benchmark of poetic excellence. Milton’s

legacy, therefore, is not just that of a great poet but of a creator of a "style" that remains

unmatched in its dignity, sublimity, and moral earnestness

SECTION-B

3. Critically examine The Canonization in the light of Cleath Brooks' archetypal illustration

that "there is a sense in which paradox is the language appropriate and

inevitable to poetry".

Ans: To critically examine John Donne's poem The Canonization in light of Cleanth Brooks' concept

of paradox, we need to understand the central idea that Brooks proposed in his influential essay,

The Language of Paradox. According to Brooks, paradox is not just a literary device but the very core

of poetry, offering a way to resolve contradictions within a poem. This is key to interpreting Donne's

work, as his poetry frequently embraces complex contradictions, especially between sacred and

profane love.

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Cleanth Brooks' View on Paradox

Brooks argues that poetry often deals with ideas that are so profound and multifaceted that

they cannot be expressed in straightforward, logical language. Paradox, therefore, becomes

"the language appropriate and inevitable to poetry." This is because poetry frequently has

to convey emotional and intellectual depth that resists simple statements. In this view,

poetry uses paradox to convey truth in ways that logical, everyday language cannot. Brooks’

analysis reveals that great poems derive their power from tensions and contradictions,

allowing multiple meanings to coexist within a single work

The Canonization and Paradox

John Donne's The Canonization exemplifies this use of paradox. The poem begins with the

speaker asking others to leave him alone to love, claiming that his love is harmless to the

world. This seems contradictory, as love often impacts the lives of lovers and others. Yet

Donne turns this contradiction into a paradox that elevates his love to a spiritual level. The

speaker suggests that his love can "canonize" him and his lover, turning their profane,

earthly love into something akin to sainthood. This paradox forms the crux of the poem: the

lovers, through rejecting worldly concerns, achieve a kind of immortality that surpasses

earthly achievements.

In Brooks' analysis, The Canonization demonstrates how paradox enables Donne to blend

secular love with religious imagery. The lovers, who seem to renounce the world,

paradoxically achieve something greater than worldly success—they become saints of love.

Donne treats the intense, personal love of the speaker as if it were a holy experience. This

blending of the sacred and the profane is inherently paradoxical, yet it works poetically

because it reflects the depth and complexity of human emotions

Irony and Love in The Canonization

Another aspect Brooks highlights in his analysis of paradox is the use of irony in Donne’s

poem. The speaker begins by asserting that his love harms no one—it causes no wars, no

political instability, and does not disrupt the world. Yet, by the end of the poem, the speaker

elevates this private, seemingly trivial love to the status of sainthood. The irony lies in the

contradiction between the worldly rejection of their love and its spiritual glorification. The

poem’s tone balances seriousness with mockery, and this is where Brooks' theory of

paradox comes to the forefront. The lovers, who reject life in a worldly sense, paradoxically

achieve the "most intense life" through their rejection

Paradox in the Structure and Themes

The structure of The Canonization itself reinforces the idea of paradox. The poem moves

from the mundane (the lovers’ rejection of societal norms) to the extraordinary (the lovers

becoming saints). This movement reflects the larger paradox of how the lovers, by removing

themselves from the world, achieve a form of immortality. The contradiction is resolved

within the poem’s form: the lovers' personal, earthly love becomes universal, even eternal,

in the act of canonization. This resolution of opposites is the hallmark of Brooks’ theory of

paradox in poetry

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Conclusion: The Inevitability of Paradox in Poetry

In The Canonization, paradox is not merely a rhetorical device; it is central to the poem's

meaning. The poem’s exploration of love, mortality, and transcendence depends on the

unresolved tensions between opposites—between the sacred and the profane, between life

and death, and between the worldly and the spiritual. As Brooks asserts, poetry often

communicates profound truths through these contradictions. For Donne, paradox allows

him to elevate a personal experience of love into something universal, and this mirrors

Brooks' argument that paradox is the natural language of poetry.

Thus, when examining The Canonization through the lens of Cleanth Brooks' theory, it

becomes clear that paradox is essential to understanding the poem's deeper meanings.

Donne’s use of paradox allows him to explore the nature of love in a way that transcends

the limitations of ordinary language, making it an ideal example of Brooks' claim that

"paradox is the language appropriate and inevitable to poetry"

4. Discuss briefly:

(a) The Extasie as a love poem of convoluted images and analogies.

(b) Title of the poem A Hym to God The Father.

Ans: (a) The Extasie as a Love Poem of Convoluted Images and Analogies

John Donne's The Extasie is a metaphysical poem that explores the nature of love by fusing

physical and spiritual aspects through complex images and analogies. The poem is widely

recognized for its use of metaphysical conceits—extended metaphors that compare

seemingly unrelated concepts, creating a sense of intellectual challenge for the reader.

Donne combines abstract spiritual ideas with physical experiences, weaving them into

convoluted images and analogies.

Fusion of Body and Soul: The poem begins with a description of two lovers sitting by a

riverbank, holding hands in silence. This physical connection serves as the gateway for a

deeper union of their souls. Donne compares the union of lovers to the mixing of elements

in the universe, suggesting that their love is not just a physical act but a spiritual one. The

lovers' souls leave their bodies and engage in a mystical conversation, symbolizing a higher

form of connection that transcends the purely physical.

Metaphysical Conceits and Imagery: One of the most convoluted images in the poem is the

analogy of the violet plant, which, when transplanted, grows stronger and more vibrant.

Donne uses this as a metaphor for how the souls of the lovers merge and create a stronger,

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more unified soul. The lovers' union is compared to celestial bodies—heavenly planets

whose movements are governed by spiritual forces. This analogy emphasizes the idea that

the physical connection between the lovers serves as a foundation for their spiritual union(

Critique of Platonic Love: Donne rejects the idea of platonic love, which values the soul

while disregarding the body. He insists that true love cannot exist without both the physical

and spiritual aspects. While the lovers' souls achieve ecstasy through their union, Donne

argues that their physical connection is essential for this to occur. This is a significant

critique of conventional notions of love, which often separated the spiritual from the

physical. The body, according to Donne, is not merely a vessel for the soul but an integral

part of the experience of love.

Ecstasy as a Religious and Philosophical Experience: Donne borrows the concept of ecstasy

from both religious and philosophical traditions. In religious terms, ecstasy refers to a

trance-like state in which the soul communicates with the divine. Donne applies this

concept to the experience of lovers, suggesting that their union mirrors a mystical

experience. However, unlike in traditional religious ecstasy, where the body is ignored,

Donne’s version emphasizes the body’s role in facilitating the union of souls(

The poem’s convoluted images and analogies serve to highlight the complexity of love. By

intertwining physical and spiritual elements, Donne presents a holistic view of love that

challenges conventional ideas. The imagery of celestial bodies, the violet plant, and the

fusion of souls all contribute to a multi-layered exploration of love's nature. Through these

metaphors, Donne elevates the experience of love to a mystical level, while also grounding

it in the physical reality of the human body.

(b) The Title of the Poem A Hymn to God the Father

John Donne’s A Hymn to God the Father is a deeply personal poem that reflects the poet’s

spiritual struggles and his search for redemption. The title of the poem itself is significant

because it frames the poem as a prayer or act of devotion. The word "hymn" traditionally

refers to a song of praise directed toward God, suggesting that Donne’s poem is not merely

a confession of sin but also an act of worship.

Personal and Confessional Tone: Throughout the poem, Donne addresses God directly,

confessing his sins and expressing his anxiety about his salvation. The repetition of the

phrase "Wilt thou forgive" at the beginning of each stanza emphasizes the poet’s deep

concern over his past sins. The title, A Hymn to God the Father, highlights Donne’s desire for

forgiveness and his reliance on God’s mercy. It reflects his acknowledgment of human frailty

and his hope for divine grace

Dual Meaning of "Father": The title also plays on the dual meaning of the word "Father." On

one hand, it refers to God as the Creator and the ultimate authority over mankind. On the

other hand, it suggests a more personal, intimate relationship between Donne and God. By

addressing God as "Father," Donne expresses both reverence and a childlike dependence on

divine forgiveness. This duality in the title reflects the tension in the poem between Donne’s

fear of judgment and his faith in God’s paternal love.

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Final Appeal for Salvation: The title sets the stage for Donne’s final appeal in the poem,

where he asks God to ensure that he will not perish after death. This closing request ties

back to the notion of the poem as a hymn, where the speaker seeks not only to confess his

sins but also to secure his place in the afterlife. The title’s reference to God as "Father"

underscores the poet’s belief in the possibility of salvation through divine grace(

In conclusion, the title A Hymn to God the Father frames the poem as a spiritual dialogue

between the poet and God, emphasizing themes of confession, repentance, and

redemption. It reflects Donne’s deep faith and his ultimate hope for divine forgiveness,

while also capturing the personal nature of his relationship with God.

SECTION-C

5. Discuss briefly:

(a) The Rape of the Lock as a mock-epic.

(b) Character of Belinda.

Ans(a) The Rape of the Lock as a Mock-Epic:

Alexander Pope’s The Rape of the Lock is a perfect example of a mock-epic, a form that uses

the grand style and conventions of classical epic poetry but applies them to trivial subjects.

In this case, Pope humorously elevates a petty incident—the cutting of a lock of hair—into

an epic battle within high society.

Mock-epics follow many of the traditional elements of classical epics but twist them to

satirical effect. In The Rape of the Lock, Pope imitates the grand conventions of epics like

Homer’s Iliad or Virgil’s Aeneid. He invokes the Muse at the poem's beginning and uses

formal, elevated language to describe ordinary events, such as Belinda’s morning routine.

This mimicry of the epic tradition helps Pope critique the superficiality of the aristocratic

society he was depicting.

1. Supernatural Elements: One major feature of epics is the intervention of gods or

divine beings. In The Rape of the Lock, instead of gods, Pope introduces sylphs—tiny,

magical spirits tasked with protecting Belinda’s beauty. These sylphs, like Ariel (her

guardian), add a humorous tone to the poem, parodying the divine roles in classical

epics.

2. Invocation of the Muse: Pope humorously invokes the Muse at the poem's

beginning, as classical epics do, but instead of asking for inspiration on grand wars or

heroic quests, he asks for inspiration in describing an aristocratic quarrel over a lock

of hair.

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3. Epic Similes and Elevated Language: Pope frequently uses grandiose similes and

metaphors to describe minor actions. For example, the game of Ombre in the poem

is described with the intensity of a battle, and the cutting of Belinda’s lock is treated

with exaggerated significance.

4. Mock Battles and Heroic Actions: In classical epics, we see intense battles and heroic

deeds. In The Rape of the Lock, these are replaced with a card game (Ombre) and the

"battle" for Belinda's lock. Pope uses the language of warfare to describe these

trivial activities, thus creating a satirical tone.

5. In Medias Res: Like traditional epics, Pope starts his poem in medias res (in the

middle of the action). We meet Belinda just before the fateful incident takes place,

heightening the mock-epic feel of the narrative structure.

6. Prophecy and Warnings: In classical epics, heroes are often warned of danger by

prophetic dreams or visions. Similarly, Belinda receives a warning in the form of a

dream about an impending threat, but the "disaster" turns out to be the cutting of

her hair, which is trivial compared to real epic dangers.

Pope uses these elements to satirize the vanity and frivolity of his society, mocking the way

trivial matters like beauty and fashion are treated with epic seriousness by the aristocracy.

He elevates the mundane event of cutting a lock of hair to the level of an epic conflict,

making The Rape of the Lock a playful and biting social commentary

(b) Character of Belinda:

Belinda, the central character of The Rape of the Lock, is a young, beautiful woman who

embodies the vanity and superficiality of the aristocratic society Pope is mocking. She is

both the heroine and the satirical figure in the poem.

1. Beauty and Superficiality: Belinda is primarily concerned with her appearance and

social standing. Her elaborate morning ritual at the dressing table, where she "arms"

herself with cosmetics as if preparing for battle, highlights her obsession with

physical beauty. Pope presents her as a symbol of a society that values outward

appearances above all else. The poem opens with her being meticulously groomed, a

scene that mirrors the preparation of a warrior for battle, emphasizing the absurdity

of the aristocracy’s priorities.

2. Innocence and Vanity: Belinda’s character is a mixture of innocence and vanity.

While she is portrayed as somewhat naive, she is also deeply concerned with

maintaining her reputation and social status. The cutting of her lock is a violation not

just of her beauty but of her pride and honor. Pope’s portrayal suggests that Belinda

is not entirely responsible for her vanity; she is a product of the society around her,

which places such high value on appearances.

3. Symbol of Aristocratic Women: Belinda represents the fashionable young women of

Pope’s time. Her preoccupation with beauty, social standing, and flirtation are

typical of the superficial concerns of the English upper class. Through Belinda, Pope

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critiques the shallow values of this aristocracy, which he felt neglected more

substantial virtues.

4. Victim and Satirical Heroine: Belinda’s role in the poem is both tragic and comic. On

one hand, she is the victim of the Baron’s unwanted attention, and her distress over

the loss of her lock is real. On the other hand, Pope uses her overreaction to the

incident as a way to highlight the ridiculousness of her values. The lock’s theft is

treated as a great catastrophe, when in reality, it is a minor incident blown out of

proportion.

5. Relationship with the Sylphs: Belinda’s relationship with the supernatural sylphs in

the poem emphasizes her fragility and innocence. The sylphs protect her from harm,

but ultimately, they cannot prevent the Baron from cutting her lock, suggesting that

the concerns of beauty and fashion are fleeting and ultimately unimportant.

6. Belinda’s Complexity: Despite her vanity, Pope does not depict Belinda as entirely

shallow or unsympathetic. She is a complex character, capable of strong emotion

and reaction to the injustices done to her. In the final battle between her and the

Baron, she displays a kind of heroism, albeit within the mock-epic framework. Her

fierce anger at the theft of her lock shows that she is more than just a passive object

of male desire—she is willing to fight for her honor, even if the stakes are absurdly

low.

In conclusion, Belinda serves as a satirical figure who embodies the frivolous values of the

aristocracy, but Pope also imbues her with enough complexity to make her a compelling

character. Her beauty, vanity, and spirited response to the loss of her lock all contribute to

the poem’s mock-epic tone, making her both a victim and a symbol of the shallow values

Pope sought to critique

6. Critically examine Cynthia Wall's remarks "The form and imagery of the poem act to

reveal and re-enact the sexual, social, political and poetic energies and the efforts to

control and contain them in early-eighteenth century England."

Ans: I'd be happy to examine Cynthia Wall's remarks about early 18th century English poetry

in simpler terms. Let's break this down step-by-step to better understand what she means

and how it relates to the poetry of that time period.

First, let's simplify the quote:

"The way poems are written (their form) and the pictures they create in our minds (imagery)

show us and recreate the energies of sex, society, politics, and poetry in early 1700s

England. They also show us how people tried to control these energies."

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Now, let's explore this idea in more depth:

1. Historical Context: The early 18th century in England, also known as the Augustan

Age, was a time of significant change. The country was becoming more stable after

years of political turmoil. There was a growing middle class, and new ideas about

science, philosophy, and society were emerging.

2. Poetry of the Time: Poets during this period, like Alexander Pope, Jonathan Swift,

and others, were writing in a style that valued order, balance, and control. They

often used very structured forms of poetry, like heroic couplets (pairs of rhyming

lines in iambic pentameter).

3. Form Revealing Energies: When Wall talks about the "form" of poems revealing

energies, she's referring to how the structure of the poems reflects the society of the

time. The strict rules and patterns in poetry mirrored the desire for order and control

in society.

For example, Alexander Pope's "The Rape of the Lock" uses a very structured form (heroic

couplets) to tell a story about upper-class society. The tight control of the verse form

reflects the rigid social rules of the time.

4. Imagery Revealing Energies: The "imagery" in poems - the mental pictures they

create - also showed what was important or concerning to people at the time. Poets

used metaphors and symbols that reflected the tensions in society.

For instance, in "The Rape of the Lock," Pope uses imagery of battles and epic quests to

describe a trivial social conflict. This shows how seriously people took social rules and

reputation, while also gently mocking this seriousness.

5. Sexual Energies: Many poems of this time dealt with themes of love, desire, and

sexuality, often in ways that tried to balance passion with social propriety. The

imagery used often had sexual undertones, even when discussing seemingly

unrelated topics.

An example is John Wilmot, Earl of Rochester's poem "The Imperfect Enjoyment," which

uses elaborate metaphors to discuss sexual performance anxiety. The poem's strict form

contrasts with its risqué content, showing the tension between desire and social control.

6. Social Energies: The poetry of this time often reflected and commented on social

structures and norms. Poets wrote about class differences, manners, and the rules of

polite society.

Jonathan Swift's "A Description of a City Shower" uses the imagery of a rainstorm to show

how different social classes in London interact. The poem's structure mimics the order of

society, while its content reveals the chaos beneath.

7. Political Energies: Political themes were common in poetry of this time. Poets often

used their work to comment on current events, praise or criticize leaders, or argue

for certain political views.

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For example, Daniel Defoe's poem "The True-Born Englishman" uses satire to argue against

xenophobia and for a more inclusive idea of English identity. The poem's regular rhythm and

rhyme scheme give a sense of authority to its political message.

8. Poetic Energies: Poets were also very aware of their own craft and often wrote

about the act of writing itself. They explored questions about what poetry should do

and how it should be written.

Alexander Pope's "An Essay on Criticism" is a poem about how to write and judge poetry. Its

perfectly controlled couplets demonstrate the poetic skill it's describing, linking form and

content.

9. Efforts to Control: Wall's remark about "efforts to control and contain" these

energies refers to how both society and poets themselves tried to keep these

powerful forces in check. This shows up in poetry through: a) Strict Forms: Using

rigid poetic structures to contain explosive content. b) Satire: Using humor to

criticize without being too direct. c) Classical Allusions: Referring to ancient stories to

talk about current issues indirectly. d) Euphemism and Innuendo: Hinting at taboo

subjects without stating them openly.

10. Re-enactment: When Wall says the poems "re-enact" these energies, she means

that reading or hearing the poems can make us feel the tensions and conflicts of that

time. The way the words flow (or don't), the images they create, and the ideas they

express all work together to recreate the experience of living in early 18th century

England.

11. Examples in Poetry:

Let's look at a few more specific examples to illustrate these points:

a) Alexander Pope's "The Rape of the Lock":

• Form: Written in heroic couplets, mirroring the orderly society it describes.

• Imagery: Uses epic battle imagery for a trivial social conflict, revealing social

tensions.

• Sexual Energy: The "rape" of cutting a lock of hair stands in for sexual violation,

showing anxiety about sexuality.

• Social Energy: Detailed descriptions of upper-class life reveal and critique social

norms.

• Political Energy: Can be read as a commentary on larger political conflicts of the

time.

• Control: Uses humor and mock-epic style to contain potentially controversial

content.

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b) Jonathan Swift's "A Modest Proposal":

• Form: Written as a serious economic proposal, revealing tensions between rational

planning and human empathy.

• Imagery: Shocking images of cannibalism reveal deep social and political problems.

• Social Energy: Exposes vast inequalities between rich and poor, English and Irish.

• Political Energy: Criticizes English policy toward Ireland.

• Control: Uses extreme satire to express outrage in a "controlled" way.

c) Anne Finch's "The Introduction":

• Form: Uses regular rhyme and meter to argue against restrictions on women.

• Imagery: Compares women writers to caged nightingales, revealing gender tensions.

• Social Energy: Challenges ideas about women's roles in society.

• Poetic Energy: Argues for women's right to be poets.

• Control: Expresses revolutionary ideas in a socially acceptable poetic form.

12. Broader Implications:

Wall's remark encourages us to read 18th century poetry not just for its surface meaning,

but as a window into the complex society that produced it. By paying attention to both what

the poems say and how they say it, we can gain insights into:

• The balance between individual desires and social expectations

• The tension between tradition and change

• The role of art in society

• The ways people navigated political and social conflicts

• The changing ideas about gender, class, and national identity

In conclusion, Cynthia Wall's statement highlights how the poetry of early 18th century

England was not just art for art's sake, but a complex reflection of and response to the world

it was created in. The poems, through their careful structures and vivid imagery, capture the

excitement and anxiety of a society in transition. They show us how people of that time

grappled with changing ideas about politics, society, and human nature, and how they tried

to maintain control in a world that often felt chaotic.

By reading these poems closely, paying attention to both their form and content, we can get

a richer understanding of this pivotal period in English history. We can see how poets used

their art to explore, express, and sometimes challenge the norms of their society. And

perhaps most interestingly, we can see how many of the tensions they wrote about -

between individual freedom and social order, between reason and emotion, between

tradition and progress - are still relevant in our world today.

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This interpretation of Wall's remark encourages us to approach 18th century poetry not as

dry, distant texts, but as living documents that can still speak to us about the human

experience. It reminds us that poetry can be a powerful tool for understanding both history

and ourselves.

SECTION-D

7. Critically examine:

(a) the metaphor "she is a fen/ of stagnant waters" in London, 1802.

(b) symbol of 'light' in Ode: Intimations of Immortality and 'the leech gatherer' in

Resolution and Independence. 8+8-16

Ans: To critically examine the metaphor "she is a fen of stagnant waters" in London, 1802 by William

Wordsworth, and explore the symbolism of 'light' in Ode: Intimations of Immortality and 'the leech

gatherer' in Resolution and Independence, let's break these ideas into simpler, more understandable

language. This will allow us to gain a deeper understanding of these concepts, and I will explain each

part in detail below.

Part 1: The Metaphor "She is a fen/ of stagnant waters" in London, 1802

Context: William Wordsworth wrote the poem London, 1802 in which he expresses his

concerns about the state of England during the early 19th century. The poet feels that the

country is in decline, and he calls out for John Milton, a great poet of the past, to return and

help restore the moral and cultural values of the nation.

Wordsworth is particularly critical of how England, which was once a great nation, has now

become corrupt and stagnant, much like a body of water that has stopped flowing and has

become a swamp or "fen."

Simplifying the metaphor:

• What does "she is a fen/ of stagnant waters" mean? The "she" in this metaphor

refers to England. Wordsworth is comparing the country to a "fen," which is a type of

wetland that is often boggy, marshy, and full of stagnant (still, unmoving) water.

Stagnant water is water that doesn't move, and because it doesn't move, it becomes

dirty, foul-smelling, and unhealthy over time.

By using this metaphor, Wordsworth is saying that England, in his view, has become lifeless,

inactive, and decaying. It’s like a swamp where nothing is fresh, vibrant, or dynamic. He

believes that the nation has lost its energy and moral integrity, and is now stuck in a state of

corruption and stagnation.

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• Why does Wordsworth use this metaphor? Wordsworth uses this metaphor to

express his disappointment with the state of his country. England, once full of life

and movement, has now lost its greatness and is filled with people who lack moral

and spiritual depth. The metaphor of stagnant waters shows the nation's decline and

reflects Wordsworth's sense of urgency to bring about change.

• What emotions does this metaphor evoke? This metaphor evokes feelings of

sadness, frustration, and despair. The image of stagnant water suggests decay,

something that is no longer vibrant or healthy. Wordsworth feels that the people of

England are no longer working toward the greater good of society, and the nation

itself is stuck in this unhealthy state.

Part 2: The Symbol of 'Light' in Ode: Intimations of Immortality

Context: Ode: Intimations of Immortality from Early Childhood is one of Wordsworth’s most

famous poems. In this poem, Wordsworth explores the idea that as children, we experience

the world in a more profound, spiritual way, but as we grow older, we lose that sense of

wonder and connection to the divine. One of the central symbols in this poem is 'light.'

Simplifying the symbol of 'light':

• What does 'light' represent in this poem? The 'light' in Ode: Intimations of

Immortality symbolizes several things, but most importantly, it represents a divine or

spiritual presence that is more easily felt and understood during childhood.

Wordsworth believed that children have a natural connection to the divine, to a

sense of purity and innocence, which fades as they grow older.

The light is symbolic of:

1. Innocence and purity: As children, we are closer to a state of spiritual purity,

represented by light.

2. Spiritual awareness: Light also represents a connection to the divine,

something that is more visible to the innocent mind of a child.

3. Joy and wonder: Light signifies the natural joy and sense of wonder that

children have, which diminishes as they experience the hardships of adult

life.

In the poem, Wordsworth laments the loss of this light as we grow older. He suggests that

while the light fades, its memory remains, and this memory of spiritual joy can still inspire us

as adults.

• Why does Wordsworth use the symbol of light? Wordsworth uses 'light' to illustrate

the idea that there is a divine or spiritual truth that is visible to us when we are

children, but as we age and become preoccupied with worldly matters, we lose sight

of that truth. Light is an important symbol because it is universal—everyone

understands the importance of light in their lives. It represents clarity,

understanding, and hope.

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• What emotions does this symbol evoke? The use of 'light' evokes a sense of nostalgia

and loss. The light that fades as we grow older suggests that something precious has

been lost, something that once illuminated our lives with joy and purpose. However,

there is also a sense of hope because Wordsworth believes that even though the

light fades, its presence is never entirely lost, and we can still hold on to the

"intimations of immortality"—the signs or hints of a greater spiritual truth that we

once knew.

Part 3: The Symbol of 'The Leech Gatherer' in Resolution and Independence

Context: Resolution and Independence is another well-known poem by Wordsworth. In this

poem, the speaker encounters an old man who makes a living by gathering leeches (small

worms that suck blood). The speaker is struck by the old man's perseverance and

determination despite the difficult and lonely nature of his work. The old man becomes a

symbol for the poet of the power of human endurance and independence.

Simplifying the symbol of 'the leech gatherer':

• Who is 'the leech gatherer' and what does he symbolize? The leech gatherer is an

elderly man who collects leeches to sell, despite the hardships and isolation that

come with the job. In the poem, Wordsworth presents him as a symbol of resilience,

perseverance, and independence. The leech gatherer symbolizes someone who

continues to work and survive even in difficult conditions. He embodies the idea of

endurance in the face of adversity.

1. Resilience: The leech gatherer represents the ability to keep going even when

life is hard and full of struggles. He doesn't give up, even though his work is

tough and solitary.

2. Independence: Despite his old age and the challenges he faces, the leech

gatherer is self-reliant. He does not ask for help or pity; instead, he quietly

continues his work.

3. Wisdom: The leech gatherer, through his quiet perseverance, teaches the

poet a lesson about the importance of resolution and strength of character.

The old man becomes a figure of inspiration to the speaker, who learns that

true independence and resolution come from within.

• Why does Wordsworth use the leech gatherer as a symbol? Wordsworth uses the

leech gatherer to remind both himself and the reader that life, while full of

hardships, can be endured with patience, strength, and determination. The leech

gatherer is an ordinary man, but he represents something extraordinary—the human

capacity for resilience and independence. This lesson is especially important for the

poet, who in the poem is struggling with his own feelings of uncertainty and despair.

• What emotions does this symbol evoke? The leech gatherer evokes feelings of

admiration and inspiration. While his life is simple and difficult, his perseverance is

deeply moving. The poet's encounter with the old man gives him a renewed sense of

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purpose and strength, reminding the reader that even in the face of adversity, there

is always the possibility of endurance and independence.

Conclusion:

To sum up:

1. The metaphor "she is a fen/ of stagnant waters" in London, 1802 reflects

Wordsworth's criticism of England's moral and cultural stagnation, comparing the

country to a swamp that has become foul and lifeless.

2. The symbol of 'light' in Ode: Intimations of Immortality represents the spiritual and

divine truth that is most visible to us in childhood but fades as we grow older. It

evokes a sense of nostalgia for the purity and joy of childhood, while also offering

hope that this spiritual awareness is never fully lost.

3. The leech gatherer in Resolution and Independence symbolizes resilience,

perseverance, and the power of human endurance. Despite the difficulties he faces,

the old man continues his work, and he becomes a source of inspiration to the poet,

reminding him of the strength of character required to navigate life's hardships.

Together, these metaphors and symbols help to convey Wordsworth’s larger themes of

spiritual growth, endurance, and the power of the human spirit to overcome adversity.

8. Discuss Tintern Abbey as the first of Wordsworth's great crisis lyric.

Ans: Tintern Abbey as the First of Wordsworth's Great Crisis Lyrics

Introduction to William Wordsworth and Tintern Abbey

William Wordsworth, a significant poet of the Romantic era, is known for his profound

connection to nature, his deep reflection on human experience, and his revolutionary ideas

about poetry. One of his most famous poems is Lines Composed a Few Miles Above Tintern

Abbey, commonly known as Tintern Abbey. Written in 1798, the poem was included in the

Lyrical Ballads, a collection of poems by Wordsworth and Samuel Taylor Coleridge that

marked the beginning of the Romantic movement in English literature.

Tintern Abbey is often regarded as the first of Wordsworth’s "great crisis lyrics." Crisis lyrics

are poems that deal with moments of intense personal reflection, often triggered by a

confrontation with some form of inner turmoil or challenge. In this poem, Wordsworth

revisits a place he had been to five years earlier, and the poem reflects on how his

relationship with nature, his thoughts, and his emotional responses have changed since that

time.

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Background and Context of Tintern Abbey

Tintern Abbey is an actual place in Wales, a ruined abbey located on the banks of the River

Wye. Wordsworth visited this location in 1793 and then again in 1798, the year he wrote

the poem. The abbey itself is not described in great detail in the poem, but the surrounding

landscape becomes a focal point for Wordsworth’s reflections. The poem is not just about

the natural beauty of the place; it is about Wordsworth’s emotional and spiritual response

to the landscape, which acts as a springboard for broader philosophical reflections.

In the five years since Wordsworth’s first visit, he had undergone significant personal

changes. During this time, he experienced emotional turmoil, political disillusionment

(particularly after the failure of the French Revolution), and a deepening maturity in his

understanding of nature and humanity. Tintern Abbey reflects this transformation, making it

a crisis lyric that explores the poet's evolving self-awareness.

The Structure and Themes of Tintern Abbey

Tintern Abbey is written in blank verse, which means it does not rhyme but follows a regular

meter (iambic pentameter). The poem is divided into five sections, each dealing with a

different aspect of Wordsworth's reflection on nature and his personal growth. These

sections reveal how Wordsworth’s relationship with nature has changed over time, from the

pure joy and passion of youth to a more mature and thoughtful connection.

1. First Section (Lines 1-22): Recollection of the Scene The poem begins with

Wordsworth recalling the landscape around Tintern Abbey. He describes the "steep

and lofty cliffs" and the "wreaths of smoke" rising from cottages. This is a serene and

tranquil scene, and Wordsworth finds peace and comfort in remembering it. He

contrasts the bustling life of towns with the stillness of nature, implying that nature

offers a deeper sense of tranquility and healing.

2. Second Section (Lines 23-49): Reflection on the Power of Memory Wordsworth

reflects on how memory plays a crucial role in his life. Even when he is not in the

countryside, the memory of this landscape gives him peace in moments of despair or

trouble. Nature, for Wordsworth, has become a source of moral and emotional

strength, something he can draw on to face life’s difficulties. This idea connects to

the crisis theme of the poem: Wordsworth’s ability to overcome his inner turmoil by

reconnecting with nature.

3. Third Section (Lines 50-111): Change in Relationship with Nature In this section,

Wordsworth looks back on how his relationship with nature has evolved over time.

As a young boy, he experienced nature in a very physical and passionate way. He

describes his youthful exuberance as a time when he "bounded o’er the mountains"

with a "coarser pleasure." Nature was thrilling, and he interacted with it instinctively,

without much thought.

However, as he grew older, his connection to nature became more profound and spiritual.

Now, he finds "a motion and a spirit" in nature, a presence that "rolls through all things."

This more mature understanding of nature is less about excitement and more about

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contemplation, reflection, and emotional healing. Wordsworth’s personal crisis, which may

have been marked by disillusionment and emotional hardship, has led him to find solace in a

deeper, more philosophical relationship with nature.

4. Fourth Section (Lines 112-159): Wordsworth’s Address to His Sister Dorothy

Wordsworth then turns to address his sister Dorothy, who is with him on this second

visit to Tintern Abbey. He expresses hope that she will continue to experience nature

with the same joy and passion that he once did. Dorothy, in this sense, represents a

younger version of Wordsworth, and through her, he can relive his youthful

experiences of nature.

However, Wordsworth also hopes that Dorothy will gain the same mature understanding of

nature that he has now developed. He wants her to see nature not just as a source of

excitement but as a source of wisdom, healing, and moral strength. This section highlights

how Wordsworth’s crisis has led him to a more balanced and reflective outlook on life, one

that he wishes to pass on to his sister.

5. Fifth Section (Lines 160-162): Conclusion In the final lines of the poem, Wordsworth

expresses a sense of peace and resolution. He believes that nature will continue to

be a guiding force in his life, providing him with strength, wisdom, and emotional

stability. The crisis, in a sense, has been resolved, as Wordsworth has found a deeper

connection to both nature and himself.

Tintern Abbey as a Crisis Lyric

Crisis lyrics are poems that explore moments of personal difficulty or transformation, often

leading to a resolution or deeper understanding. In Tintern Abbey, the crisis is not explicitly

stated, but it is implied through Wordsworth’s reflections on the passage of time, the

changes in his relationship with nature, and his desire to find peace and understanding

amidst inner turmoil.

1. Disillusionment and Personal Crisis One of the central crises in Wordsworth’s life was

his disillusionment with the French Revolution. Early in his life, Wordsworth was an

enthusiastic supporter of the revolution, believing it would bring about political and

social equality. However, as the revolution became more violent and chaotic,

Wordsworth grew disillusioned with its outcomes. This disillusionment deeply

affected his worldview and contributed to the personal crisis that he addresses in

Tintern Abbey.

In the poem, Wordsworth’s crisis is reflected in his changing relationship with nature. As a

young man, he experienced nature with a sense of joy and freedom, but over time, he

began to see nature as a source of emotional and spiritual strength. This shift reflects his

attempt to find stability and meaning in a world that no longer matched his youthful ideals.

2. Nature as a Source of Healing Throughout the poem, Wordsworth presents nature as

a source of healing and renewal. He describes how the memory of the landscape

around Tintern Abbey has provided him with comfort during times of distress.

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Nature, for Wordsworth, is not just a physical presence but a spiritual force that can

heal emotional wounds and offer guidance in moments of crisis.

This idea is central to Wordsworth’s philosophy of life and poetry. He believed that nature

could teach humans valuable lessons about life, morality, and self-awareness. In Tintern

Abbey, the crisis that Wordsworth faces is ultimately resolved through his deepening

connection with nature, which helps him find peace and understanding.

3. Personal Growth and Maturity Another aspect of the crisis in Tintern Abbey is

Wordsworth’s recognition of his own personal growth and maturity. He reflects on

how his relationship with nature has changed over time, moving from a passionate,

youthful excitement to a more thoughtful and contemplative connection. This

change mirrors Wordsworth’s own emotional and intellectual development, as he

moves from the idealism of youth to a more mature understanding of life’s

complexities.

The crisis in Tintern Abbey is not a dramatic or external one; rather, it is an internal,

emotional crisis that Wordsworth resolves through reflection, memory, and a renewed

relationship with nature. This makes the poem a deeply personal and introspective crisis

lyric.

Conclusion: Tintern Abbey as a Profound Crisis Lyric

Tintern Abbey is a poem that captures William Wordsworth’s emotional and intellectual

crisis, as well as his resolution of that crisis through nature. The poem reflects the broader

themes of Romantic poetry, particularly the emphasis on personal experience, the power of

memory, and the healing potential of nature. Wordsworth’s crisis, while personal, speaks to

universal human experiences of growth, disillusionment, and the search for meaning in a

changing world.

In Tintern Abbey, Wordsworth shows that moments of crisis can lead to greater

understanding and peace. Through his reflections on nature, he finds a way to move beyond

his inner turmoil and develop a more mature, balanced perspective on life. The poem thus

stands as a powerful example of Wordsworth’s ability to turn personal hardship into poetic

insight, making it one of his greatest crisis lyrics.

In summary, Tintern Abbey is a poem that explores the intersection of personal crisis,

memory, and nature. It reflects Wordsworth’s journey from youthful passion to mature

reflection, offering readers a profound meditation on the healing power of nature and the

human capacity for growth and transformation.

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