All Five Papers Pt-I (Imp - Questions)

THURSDAY, 5 MARCH 2015
ELEMENTS OF LITERARY STYLE
ELEMENTS OF LITERARY STYLE
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1. SENTENCE STRUCTURE
(i) Are the sentences long or short?
(ii) Why do sentences change?
(iii) Do sentences contain many subordinate clauses, or are they often fragments?
(iv) Are there any digressions or interruptions?
2. PACE
Is the writing heavily descriptive, with emphasis on setting and atmosphere, OR

Does it focus on action and plot movement?
3. EXPANSIVE/ECONOMICAL DICTION
(i) Is the writing tight and efficient, or elaborate and long-winded?
(ii) Why does the author sue one or the other mode, and why?
4. VOCABULARY
(i) Are the words simple or fancy?

(ii) Are the words technical, flowery, cerebral, punning, obscure and son on ----?
5. FIGURES OF SPEECH
(i) Are there any metaphors, similes, or symbols?
(ii) Are there any other uses of figurative language (personification, metonymy, and
so on)?
6. USE OF DIALOGUE
(i) How often does dialogue tell the story?

(ii) Do we see whole conversations or just fragments?
(iii) Does the conversation use slang or is it formal? Does it appear natural or
contrived?
(iv) Does the dialogue give a sense of pacing, of pauses, of the unsaid?
(v) How much does it substitute for narration?
7. POINT OF VIEW
Possibilities: first, second, third, omniscient, limited omniscient, multiple, inanimate,
free indirect discourse.
8. CHARACTER DEVELOPMENT
(i) How does the author introduce characters?

(ii) How do we see characters evolution in the story?
(iii) What is the function and motivation of characters?
(iv) What kinds of characters are they? Full/round? Stock characters? Stereotypes?
Caricatures?
9. TONE
(i) What is the author's attitude?
(ii) What is the mood of the story?
(iii) Does the author seem sarcastic? Aggressive? Wistful? Pessimistic? In love?
Philosophically detached? Hopeful? Ironic? Bitter? And so on ----.
(iv) Whatever the tone, where is it visible in the narrative?
10. WORD COLOUR, WORD SOUND

How much does the language call attention to or depend on the quality of its sound,
e.g. through alliteration, assonance, consonance, dissonance, rhythm, unusual word
choice, and so on?
11. PARAGRAPH / CHAPTER STRUCTURE
(i) Are paragraphs very short, or are they enormous block running across many
pages?
(ii) Are the chapters short or long? How many are there, how are they organized,
and why is this important?
12. TIME SEQUENCING / CHRONOLOGY

(i) How has the author organized the chronology of events? To what effect?
(ii) What is the work's structural 'rhythm'?
13. ALLUSION
How and how often does the author refer to other texts, myths, symbols, famous
figures, historical events, quotations, and son on?
14. EXPERIMENTATION IN LANGUAGE

Are they any unusual techniques, such as stream-of-consciousness, mixing styles
and genres, unusual layout on the page, breaking rules of grammar and form, odd
or unstable narrative perspectives, onomatopoeia, aporia, and so on?
15. METAFICTIONAL TECHNIQUES
(i) Does the author call attention to his or her own process of narration?
(ii) Are the narrator's position, role, and thoughts as a storyteller mentioned
explicitly in the text?
(iii) What function does this serve?
Notes Prepared By: Prof. Shahbaz Asghar
Posted by Prof. Shahbaz Asghar at 03:40 No comments:
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WEDNESDAY, 18 FEBRUARY 2015
IMPORTANT QUESTIONS - NOVEL
3. IMPORTANT QUESTIONS NOVEL

1. BARCHESTER TOWERS BY ANTHONY
TROLLOPE
1. Major Thematic Concerns in 'Barcherster Towers'
2. The Setting in 'Barchester Towers'
3. Trollope's Art of Characterization
4.
5.
6.
7.
8.
Trollope's Humour and Style

'Barcherster Towers' As a Picture of Common Life
Trollope As a Male Jane Austen
Character Sketch of Mr. Slope
Character Sketch of Signora Neroni
2. PRIDE AND PREJUDICE BY JANE AUSTEN

9. Significance of the Title "Pride and Prejudice"
10. Plot of "Pride and Prejudice"
11. Theme of Love and Marriage in "Pride and Prejudice"
12. Character of Elizabeth Bennet
13. Male Characters in "Pride and Prejudice"
14. Irony in "Pride and Prejudice"
15. Jane Austen As a Moralist
16. Jane Austen's Limited Range
3. ADAM BEDE BY GEORGE ELIOT

17.
18.
19.
20.
21.
22.
23.
24.
Major Thematic Concerns in 'Adam Bede'

Psychological Realism in 'Adam Bede'
Ending of 'Adam Bede'
George Eliot's Narrative Technique
George Eliot's Art of Characterization
Character Sketch of Adam Bede
Character Sketch of Dinnah Morris
Character Sketch of Hetty Sorrel
4. A TALE OF TWO CITIES BY CHARLES

DICKENS
25.
26.
27.
28.
29.
30.
31.
32.
Significance of the Title "A Tale of Two Cities"

Symbolism in "A Tale of Two Cities"
Theme of Death and Resurrection in "A Tale of Two Cities"
Character of Sydney Carton
Conflict of Interests and Clash of Characters in "A Tale of Two Cities"
Dickens' Narrative Technique and Style in "A Tale of Two Cities"
Autobiographical Elements in "A Tale of Two Cities"
"A Tale of Two Cities" As a Social Novel in Political Background
5. THE RETURN OF THE NATIVE BY THOMAS

HARDY
33.
34.
35.
36.
37.
38.
'The Return of the Native' As a Tragedy

Role of Fate and Chance in 'The Return of the Native
'The Return of the Native' As a Study of Disillusionment
Fatalistic Elements in 'The Return of the Native'
Significance of Edgon Heath
Character Sketch of Eustacia Vye
39. Character Sketch of Clym Yeobright

40. Hardy's Tragic Vision and Pessimism
IMPORTANT QUESTIONS - AMERICAN LITERATURE
5. IMPORTANT QUESTIONS AMERICAN LITERATURE

1. ADRIENNE RICH AND SYLVIA PLATH
1.
2.
3.
4.
5.
6.
7.
8.
Major Themes in Adrienne Rich's Poetry

Critical Appreciation of 'Diving into the Wreck'
Critical Appreciation of 'Aunt Jennifer's Tigers'
Critical Appreciation of 'Final Notation'
Major Themes in Sylvia Plath's Poetry
Critical Appreciation of 'Morning Song'
Critical Appreciation of 'Poppies in October'
Critical Appreciation of 'The Bee Meeting'
2. RICHARD WILBUR AND JOHN ASHBERY
9. Richard Wilbur As a Modern Poet

10. Critical Appreciation of 'Still, Citizen Sparrow'
11. Critical Appreciation of 'After the Last Bulletin'
12. Critical Appreciation of 'Marginalia'
13. John Ashbery As a Modern Poet
14. Major Themes in John Ashbury's Poetry
15. Critical Appreciation of 'Melodic Train'
16. Critical Appreciation of 'The Painter'
3. MOURNING BECOMES ELECTRA BY EUGENE

O' NEIL
17.
18.
19.
20.
21.
22.
'Mourning Becomes Electra' As a Tragedy

Eugene O' Neil's Tragic Vision
Character Sketch of Electra
Symbolism in 'Mourning Becomes Electra'
Major Themes in 'Mourning Becomes Electra'
Relationship Between the Mother and Daughter
4. THE CRUCIBLE BY ARTHUR MILLER

23.
24.
25.
26.
Major Thematic Concerns in 'The Crucible'

Theme of Individual and Society in 'The Crucible'
Symbolic Significance of the Title 'The Crucible'
Puritanism in 'The Crucible'
27. Character Sketch of John Proctor

28. Character Sketch of Abigail
5. FOR WHOM THE BELL TOLLS BY

HEMINGWAY
29.
30.
31.
32.
33.
34.
Hemingway's Style -- Fictional Technique

Major Thematic Concerns in 'For Whom the Bell Tolls'
Concept of Ritual and Morality in 'For Whom the Bell Tolls'
Robert Jordan As a Tragic Hero
Motives Behind Jordan's Sacrifice
Relationship Between Jordan and Maria
6. JAZZ BY TONI MORRISON

35.
36.
37.
38.
39.
40.
Major Themes in 'Jazz'

Symbolic Significance of the Title 'Jazz'
Female Characters in 'Jazz'
Character Sketch of Violet
Characters of Dorcas and Felice
City As a Character in 'Jazz'

MONDAY, 16 FEBRUARY 2015
IMPORTANT QUESTIONS - PROSE
4. IMPORTANT QUESTIONS PROSE

1. SELECTED ESSAYS BY BACON
1.
2.
3.
4.
5.
6.
7.
8.
Bacon's Prose Style

Bacon As a Moralist
Bacon As a Philosopher
Bacon's Worldly Wisdom
Renaissance Elements in Bacon
Critical Appreciation of 'Of Parents and Children'
Critical Appreciation of 'Of Great Place'
Critical Appreciation of 'Of Studies'
2. GULLIVER'S TRAVELS BY SWIFT

9. Swift's Prose Style
10. Swift As a Satirist
11. Swift As a Misanthrope
12. Popularity of 'Gulliver's Travels'
13.
14.
15.
16.
Irony in 'Gulliver's Travels'

Elements of Utopia in 'Gulliver's Travels'
First and Last Voyage of 'Gulliver's Travels'
Character Sketch of Gulliver
3. UNPOPULAR ESSAYS BY RUSSELL

17.
18.
19.
20.
21.
22.
23.
24.
Russell's Prose Style

Russell As an Essayist
Russell As a Philosopher
Connection Between Philosophy and Politics
The Future of Mankind
On Being Modern-Minded
The Functions of a Teacher
Ideas That Have Helped Mankind
4. CULTURE AND IMPERIALISM BY EDWARD

SAID
25.
26.
27.
28.
29.
30.
31.
32.
Edward Said's Prose Style

Edward Said's Views on Culture
Edward Said's Views on Imperialism
Relationship Between Culture and Imperialism
Central Thesis of 'Introduction to Culture and Imperialism'
The Public Role of the Intellectual
The Case of Colonized Nations in 'Introduction to Culture and Imperialim'
Classical English Novelists in 'Introduction to Culture and Imperialism'
5. THE REDRESS OF POETRY BY SEAMUS

HEANEY
33.
34.
35.
36.
37.
38.
39.
40.
Heaney's Prose Style

Heaney's Views About Poetry
Accusations Against Poetry
Heaney's Defense of Poetry
Poetry will Never Become Irrelevant
Poetry Brings Human Existence into Fuller Life
Poetry Redress Social, Economic and Cultural Ills
Inclusive Consciousness in 'Redress of Poetry'

SUNDAY, 8 FEBRUARY 2015
IMPORTANT QUESTIONS - DRAMA
IMPORTANT QUESTIONS - DRAMA
1. OEDIPUS REX BY SOPHOCLES

1. Explain the following extracts with reference to the context.
(a) How dreadful knowledge of the truth can be
When there's no help in truth! I knew this well,
But did not act on it! Else I should not have come.
(b) At a feast, a drunken man maundering his cups
Cries out that I am not my father's son!
I contained myself that night, though I felt anger
And a sinking heart. The next day I visited
My father and mother, and questioned them. They stormed,
Calling it all the slanderous rant of a fool;
And this relieved me.
(c) O holy majesty of heavenly powers!
May I never see that day! Never!
Rather let me vanish from the race of men
Than know the abomination destined me!
(a) Why should anyone in this world be afraid,
Since Fate rules us and nothing can be foreseen?
A man should live only for the present day.
(b) To have been the man they call his mother's husband!
Oh accurst! O child of evil,
To have entered that wretched bed -The selfsame one! More primal sin itself, this fell to me.
(c) Ah dear friend
Are you faithful even yet, you alone?
Are you still standing near me, will you stay here,
Patient, to care for the blind? The blind man!
Yet even blind I know who it is attends me,
By the voice's tone -- Though my new darkness hide the comforter.
(a) Do not counsel me any more. This punishment
That I have laid upon myself is just.
If I had eyes,
I do not know how I could bear the sight
Of my father, when I came to the house of Death,
Or my mother: for I have sinned against them both
So vilely that I could not make my peace
By strangling my own life.
(b) Let every man in mankind's frailty
Consider his last day; and let none
Presume on his good fortune until he finds
Life, at his death, a memory without pain.
(c) Forth from the borders thrust me with all speed,
Set me within some vasty desert where
No mortal voice shall greet me any more.
4. Dramatic Irony in "Oedipus Rex"
5. Role of Fate and Freewill in "Oedipus Rex"
6. Role of Hubris in "Oedipus Rex"
7. Relationship Between Man and gods in "Oedipus Rex"

8. Oedipus Rex As a Tragic Hero
2. DR. FAUSTUS BY MARLOWE

(a) If we say that we have no sin,
We deceive ourselves, and there's no truth in us.
Why then belike we must sin,
And so consequently die.
Ay, we must die an everlasting death.
(b) How am I glutted with conceit of this!
Shall I make spirits fetch me what I please,
Resolve me of all ambiguities,
Perform what desperate enterprise will?
(c) Had I as many souls as there be stars,
I'd give them all for Mephistopheles.
(a) The god thou serv'st is thine own appetite,
Wherein is fix'd the love of Beelzebub:
To him I'll build an altar and a church,
And offer lukewarm blood of new-born babes.
(b) Sweet Helen, make me immortal with a kiss
Her lips suck forth my soul: see where it flies.
Come, Helen, come, give me my soul again.
(c) Accursed Faustus, wretch, what hast thou done?
I do repent, and yet I do despair.
Hell strives with grace for conquest in my breast.
What shall I do to shun the snares of death?
(a) Oh, thou art fairer than evening air
Clad in the beauty of a thousand stars;
Brighter art thou than flaming Jupiter.
(b) O soul, be changed into little water drops,
And fall into the ocean, ne'er be found!
Adders and serpents, let me breathe a while!
Ugly hell, gape not! Come not Lucifer!
I'll burn my book! Ah-Mephistophillis.
(c) Ay, Faustus, now thou hast no hope of heaven;
Therefore despair; think only upon hell,
For that must be thy mansion, there to dwell.
12. "Dr. Faustus" As a Morality Play
13. "Dr. Faustus" As a Modern Tragedy
14. Renaissance Elements in "Dr. Faustus"
15. Significance of Last Speech in "Dr. Faustus"
16. Dr. Faustus As a Tragic Hero
3. OTHELLO BY SHAKESPEARE

(a) To be suspected, framed to make women false.
The Moor is of a free and open nature

That thinks men honest that but seem to be so,
And will as tenderly be led by the' nose
As asses are.
(b) Now, by heaven,
My blood begins my safer guides to rule,
And passion, have my best judgment collied,
Assays to lead the way.
(c) I had rather be a toad
And live upon the vapor of a dungeon
Than keep a corner in the thing I love
For others' uses.
(a) Believe me, I had rather have lost my purse
Full of crusadoes. And but my noble Moor
Is true of mind and made of no such baseness
As jealous creature are, it were enough
To put him to ill thinking.
(b) Work on, My medicine, work! Thus credulous fools are caught,
And many worthy and chaste dames even thus,
All guiltless, meet reproach. -- What, ho! My lord!
My lord, I say! Othello!
(c) Oh, devil, devil!
If that the earth could teem with woman's tears,
Each drop she falls would prove a crocodile.
Out of my sight!
(a) Here, stand behind this bulk, straight will he come.
Wear thy good rapier bare, and put it home.
Quick, quick! Fear nothing. I'll be at thy elbow.
It makes us, or it mars us. Think on that,
And fix most firm thy resolution.
(b) And yet I fear you, for you're fatal then
When your eyes roll so. Why I should fear I know not,
Since guiltiness I know not. But yet I feel fear.
(c) Whip me, ye devils,
From the possession of this heavenly sight!
Blow me about in winds, roast me in sulfur,
Wash me in steep-down gulfs of liquid fire! -20. "Othello" As a Domestic Tragedy
21. Theme of Jealously in "Othello"
22. Othello As a Tragic Hero
23. Character Sketch of Iago
24. Character Sketch of Desdemona
4. THE WINTER'S TALE BY SHAKESPEARE

(a) No, in good earnest.
How sometimes nature will betray its folly,
Its tenderness, and make itself a pastime

To harder bosoms!
(b) Should a villain say so,
The most replenish'd villain in the world,
He were as much more villain: you, my lord,
Do but mistake.
(c) There's some ill planet reigns:
I must be patient till the heavens look
With an aspect more favourable.
(a) Be certain what you do, sir, lest your justice
Prove violence; in which three great ones suffer,
Yourself, your queen, your son.
(b) If it prove
She's otherwise, I'll keep my stables where
I lodge my wife; I'll go in couples with her;
Than when I feel and see her no farther trust her;
For every inch of woman in the world,
Ay, every dram of woman's flesh is false, If she be.
(c) Sir, it is three days since I saw the prince. What
his happier affairs may be, are to me unknown: but I
have missingly noted, he is of late much retired
from court and is less frequent to his princely
exercises than formerly he hath appeared.
(a) Thou dearest Perdita,
With these forced thoughts, I prithee, darken not
The mirth o' the feast. Or I'll be thine, my fair,
Or not my father's. For I cannot be
Mine own, nor anything to any, if
I be not thine.
(b) Thou old traitor,
I am sorry that by hanging thee I can
But shorten thy life one week. And thou, fresh piece
Of excellent witchcraft, who of force must know
The royal fool thou copest with, -(c) Whilst I remember
Her and her virtues, I cannot forget
My blemishes in them, and so still think of
The wrong I did myself; which was so much,
The heirless it hath made my kingdom and
Destroy'd the sweet'st companion that e'er man
Bred his hopes out of.
28. "The Winter's Tale" As a Tragic Comedy
29. Role of Divine Intervention in "The Winter's Tale"
30. Pastoral Elements in "The Winter's Tale"
31. Relationship Between Parents and Children in "The Winter's Tale"
32. Leontes' Jealousy in "The Winter's Tale"
5. THE IMPORTANCE OF BEING EARNEST BY

OSCAR WILDE
(a) Nothing will induce me to part with Bunbury, and if you ever get married, which
seems to me extremely problematic, you will be very glad to know Bunbury. A man
who marries without knowing Bunbury has a very tedious time of it.
(b) I do not approve of anything that tampers with natural ignorance. Ignorance is
like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of
modern education is radically unsound. Fortunately in England, at any rate,
education produces no effect whatsoever.
(c) Your vanity is ridiculous, your conduct an outrage, and your presence in my
garden utterly absurd. However, you have got to catch the four-five, and I hope you
will have a pleasant journey back to town.
(a) True. In matters of grave importance, style, not sincerity is the vital thing. Mr.
Worthing, what explanation can you offer to me for pretending to have a brother?
Was it in order that you might have an opportunity of coming up to town to see me
as often as possible?
(b) Exploded! Was he the victim of a revolutionary outrage? I was not aware that Mr.
Bunbury was interested in social legislation. If so, he is well punished for his
morbidity.
(c) I beg you pardon for interrupting you, Lady Bracknell, but this engagement is
quite out of the question. I am Miss Cardew's guardian, and she cannot marry
without any consent until she comes to age. The consent I absolutely decline to
give.
(a) It pains me very much to have to speak frankly to you, Lady Bracknell, about
your nephew, but the fact is that I do not approve at all of his moral character. I
suspect him of being untruthful.
(b) That does not seem to me to be a grave objection. Thirty-five is a very attractive
age. London society is full of women of the very highest birth who have, of their own
free choice, remained thirty-five for years.
(c) Gwendolen, it is a terrible thing for a man to find out suddenly that all his life he
has been speaking nothing but the truth. Can you forgive me?
36. "Importance of Being Earnest" As a Social Satire
37. Major Themes in "The Importance of Being Earnest"
38. "The Importance of Being Earnest" As a Trivial Comedy for Serious
People
39. Character Sketch of Algernon
40. Character Sketch of Miss Prism

IMPORTANT QUESTIONS - OEDIPUS REX BY SOPHOCLES
1. OEDIPUS REX BY SOPHOCLES

(a) How dreadful knowledge of the truth can be
When there's no help in truth! I knew this well,
But did not act on it! Else I should not have come.
(b) At a feast, a drunken man maundering his cups
Cries out that I am not my father's son!
I contained myself that night, though I felt anger
And a sinking heart. The next day I visited
My father and mother, and questioned them. They stormed,
Calling it all the slanderous rant of a fool;
And this relieved me.
(c) O holy majesty of heavenly powers!
May I never see that day! Never!
Rather let me vanish from the race of men
Than know the abomination destined me!
(a) Why should anyone in this world be afraid,
Since Fate rules us and nothing can be foreseen?
A man should live only for the present day.
(b) To have been the man they call his mother's husband!
Oh accurst! O child of evil,
To have entered that wretched bed -The selfsame one! More primal sin itself, this fell to me.
(c) Ah dear friend
Are you faithful even yet, you alone?
Are you still standing near me, will you stay here,
Patient, to care for the blind? The blind man!
Yet even blind I know who it is attends me,
By the voice's tone -- Though my new darkness hide the comforter.
(a) Do not counsel me any more. This punishment
That I have laid upon myself is just.
If I had eyes,
I do not know how I could bear the sight
Of my father, when I came to the house of Death,
Or my mother: for I have sinned against them both
So vilely that I could not make my peace
By strangling my own life.
(b) Let every man in mankind's frailty
Consider his last day; and let none
Presume on his good fortune until he finds
Life, at his death, a memory without pain.
(c) Forth from the borders thrust me with all speed,
Set me within some vasty desert where
No mortal voice shall greet me any more.
4. Dramatic Irony in "Oedipus Rex"
5. Role of Fate and Freewill in "Oedipus Rex"
6. Role of Hubris in "Oedipus Rex"
7. Relationship Between Man and gods in "Oedipus Rex"

8. Oedipus Rex As a Tragic Hero
SATURDAY, 7 FEBRUARY 2015
IMPORTANT QUESTIONS - THE IMPORTANCE OF BEING EARNEST BY OSCAR

WILDE
THE IMPORTANCE OF BEING EARNEST BY

OSCAR WILDE
(a) Nothing will induce me to part with Bunbury, and if you ever get married, which
seems to me extremely problematic, you will be very glad to know Bunbury. A man
who marries without knowing Bunbury has a very tedious time of it.
(b) I do not approve of anything that tampers with natural ignorance. Ignorance is
like a delicate exotic fruit; touch it and the bloom is gone. The whole theory of
modern education is radically unsound. Fortunately in England, at any rate,
education produces no effect whatsoever.
(c) Your vanity is ridiculous, your conduct an outrage, and your presence in my
garden utterly absurd. However, you have got to catch the four-five, and I hope you
will have a pleasant journey back to town.
(a) True. In matters of grave importance, style, not sincerity is the vital thing. Mr.
Worthing, what explanation can you offer to me for pretending to have a brother?
Was it in order that you might have an opportunity of coming up to town to see me
as often as possible?
(b) Exploded! Was he the victim of a revolutionary outrage? I was not aware that Mr.
Bunbury was interested in social legislation. If so, he is well punished for his
morbidity.
(c) I beg you pardon for interrupting you, Lady Bracknell, but this engagement is
quite out of the question. I am Miss Cardew's guardian, and she cannot marry
without any consent until she comes to age. The consent I absolutely decline to
give.
(a) It pains me very much to have to speak frankly to you, Lady Bracknell, about
your nephew, but the fact is that I do not approve at all of his moral character. I
suspect him of being untruthful.
(b) That does not seem to me to be a grave objection. Thirty-five is a very attractive
age. London society is full of women of the very highest birth who have, of their own
free choice, remained thirty-five for years.
(c) Gwendolen, it is a terrible thing for a man to find out suddenly that all his life he
has been speaking nothing but the truth. Can you forgive me?
4. "Importance of Being Earnest" As a Social Satire
5. Major Themes in "The Importance of Being Earnest"
6. "The Importance of Being Earnest" As a Trivial Comedy for Serious
People
7. Character Sketch of Algernon

8. Character Sketch of Miss Prism
SATURDAY, 7 FEBRUARY 2015
IMPORTANT QUESTIONS - THE WINTER'S TALE BY SHAKESPEARE
THE WINTER'S TALE BY SHAKESPEARE

(a) No, in good earnest.
How sometimes nature will betray its folly,
Its tenderness, and make itself a pastime
To harder bosoms!
(b) Should a villain say so,
The most replenish'd villain in the world,
He were as much more villain: you, my lord,
Do but mistake.
(c) There's some ill planet reigns:
I must be patient till the heavens look
With an aspect more favourable.
(a) Be certain what you do, sir, lest your justice
Prove violence; in which three great ones suffer,
Yourself, your queen, your son.
(b) If it prove
She's otherwise, I'll keep my stables where
I lodge my wife; I'll go in couples with her;
Than when I feel and see her no farther trust her;
For every inch of woman in the world,
Ay, every dram of woman's flesh is false, If she be.
(c) Sir, it is three days since I saw the prince. What
his happier affairs may be, are to me unknown: but I
have missingly noted, he is of late much retired
from court and is less frequent to his princely

exercises than formerly he hath appeared.
(a) Thou dearest Perdita,
With these forced thoughts, I prithee, darken not
The mirth o' the feast. Or I'll be thine, my fair,
Or not my father's. For I cannot be
Mine own, nor anything to any, if
I be not thine.
(b) Thou old traitor,
I am sorry that by hanging thee I can
But shorten thy life one week. And thou, fresh piece
Of excellent witchcraft, who of force must know
The royal fool thou copest with, -(c) Whilst I remember
Her and her virtues, I cannot forget
My blemishes in them, and so still think of
The wrong I did myself; which was so much,
The heirless it hath made my kingdom and
Destroy'd the sweet'st companion that e'er man
Bred his hopes out of.
4. "The Winter's Tale" As a Tragic Comedy
5. Role of Divine Intervention in "The Winter's Tale"
6. Pastoral Elements in "The Winter's Tale"
7. Relationship Between Parents and Children in "The Winter's Tale"
8. Leontes' Jealousy in "The Winter's Tale"
IMPORTANT QUESTIONS - DR. FAUSTUS BY MARLOWE
2. DR. FAUSTUS BY MARLOWE

(a) If we say that we have no sin,
We deceive ourselves, and there's no truth in us.
Why then belike we must sin,
And so consequently die.
Ay, we must die an everlasting death.
(b) How am I glutted with conceit of this!
Shall I make spirits fetch me what I please,
Resolve me of all ambiguities,

Perform what desperate enterprise will?
(c) Had I as many souls as there be stars,
I'd give them all for Mephistopheles.
(a) The god thou serv'st is thine own appetite,
Wherein is fix'd the love of Beelzebub:
To him I'll build an altar and a church,
And offer lukewarm blood of new-born babes.
(b) Sweet Helen, make me immortal with a kiss
Her lips suck forth my soul: see where it flies.
Come, Helen, come, give me my soul again.
(c) Accursed Faustus, wretch, what hast thou done?
I do repent, and yet I do despair.
Hell strives with grace for conquest in my breast.
What shall I do to shun the snares of death?
(a) Oh, thou art fairer than evening air
Clad in the beauty of a thousand stars;
Brighter art thou than flaming Jupiter.
(b) O soul, be changed into little water drops,
And fall into the ocean, ne'er be found!
Adders and serpents, let me breathe a while!
Ugly hell, gape not! Come not Lucifer!
I'll burn my book! Ah-Mephistophillis.
(c) Ay, Faustus, now thou hast no hope of heaven;
Therefore despair; think only upon hell,
For that must be thy mansion, there to dwell.
12. "Dr. Faustus" As a Morality Play
13. "Dr. Faustus" As a Modern Tragedy
14. Renaissance Elements in "Dr. Faustus"
15. Significance of Last Speech in "Dr. Faustus"
16. Dr. Faustus As a Tragic Hero
FRIDAY, 6 FEBRUARY 2015
IMPORTANT QUESTIONS - OTHELLO BY SHAKESPEARE
OTHELLO BY SHAKESPEARE
(a) To be suspected, framed to make women false.
The Moor is of a free and open nature
That thinks men honest that but seem to be so,
And will as tenderly be led by the' nose
As asses are.
(b) Now, by heaven,
My blood begins my safer guides to rule,
And passion, have my best judgment collied,
Assays to lead the way.
(c) I had rather be a toad
And live upon the vapor of a dungeon
Than keep a corner in the thing I love
For others' uses.
(a) Believe me, I had rather have lost my purse
Full of crusadoes. And but my noble Moor
Is true of mind and made of no such baseness
As jealous creature are, it were enough
To put him to ill thinking.
(b) Work on, My medicine, work! Thus credulous fools are caught,
And many worthy and chaste dames even thus,
All guiltless, meet reproach. -- What, ho! My lord!
My lord, I say! Othello!
(c) Oh, devil, devil!
If that the earth could teem with woman's tears,
Each drop she falls would prove a crocodile.
Out of my sight!
(a) Here, stand behind this bulk, straight will he come.
Wear thy good rapier bare, and put it home.
Quick, quick! Fear nothing. I'll be at thy elbow.
It makes us, or it mars us. Think on that,
And fix most firm thy resolution.
(b) And yet I fear you, for you're fatal then
When your eyes roll so. Why I should fear I know not,
Since guiltiness I know not. But yet I feel fear.
(c) Whip me, ye devils,
From the possession of this heavenly sight!
Blow me about in winds, roast me in sulfur,
Wash me in steep-down gulfs of liquid fire! -4. "Othello" As a Domestic Tragedy
5.
6.
7.
8.
Theme of Jealously in "Othello"

Othello As a Tragic Hero
Character Sketch of Iago
Character Sketch of Desdemona

TUESDAY, 3 FEBRUARY 2015
IMPORTANT QUESTIONS - CLASSICAL POETRY
IMPORTANT QUESTIONS CLASSICAL POETRY

1. THE PROLOGUE BY CHAUCER
(a) That of hir smylyng was ful symple and coy;
Hire gretteste ooth was but by Seinte Loy;
And she was cleped Madame Eglentyne.
(b) And theron heng a brooch al with grene,
On which ther was first write a crowned A,
And after Amor Vincit Omnia.
(c) Therfore he was a prikasour aright:
Grehoundes he hadde as swift as fowel in flight;
Of prikyng and of huntyng for the hare
Was al his lust, for no cost wolde he spare.
(d) Ful wel biloved and famulier was he
With frankeleyns over al in his contree,

And eek with worthy wommen of the toun;
(a) Seint Julian he was in his contree.
His breed, his ale, was alweys after oon;
A bettre envyned man was nowher noon.
(b) He knew the cause of everich maladye,
Were it of hoot, or coold, or moyste, or drye,
And where they engendred, and of what homour.
(c) In al the parisshe wif ne was ther noon
That to the offrynge bifore hire sholde goon;
And if ther dide, certeyn so wrooth was she,
That she was out of alle charitee.
(d) She was a worthy womman al hir lyve:
Housbondes at chirche dore she hadde fyve,
Withouten oother compaignye in youthe, --3. Explain the following extracts with reference to the context.
(a) For if a preest be foul, on whom we truste,
No wonder is a lewed man to ruste;
And shame it is, if a prest take keep,
A shiten shepherde and a clean sheep.
(b) He waited after no pompe and reverence,
Ne maked him a spiced conscience,
But Cristes loore and his apostles twelve
He taughte, but first he folwed it hymselve.
(c) A bettre felawe sholde men noght fynde.
He wolde suffre for a quart of wyn

A good felawe to have his concubyn
A twelf mongh, and excuse hym atte fulle;
(d) Greet chiere made oure hoost us everichon,
And to the soper sette he us anon.
He served us with vitaille at the beste;
Strong
was
the
wyn,
and
wel
to
drynke
us
leste.
4.
Female
Characters
in
'The
Prologue'
5.
Ecclesiastical
Characters
in
'The
Prologue'
6. 'The Prologue' As a Cross-section of the 14th Century English Society
7.
Irony
and
Satire
in
'The
Prologue'
8. Chaucer's Style and Narrative Skill in 'The Prologue'
2. PARADISE LOST BY JOHN MILTON

(a) Of Man's first disobedience, and the fruit
Of that forbidden Tree, whose mortal taste
Brought death into the world, and all our woe,
With loss of Eden, till one greater Man
Restore us.
(b) Nine times the space that measures day and night
To mortal men, he with his horrid crew
Lay vanquished, rolling in the fiery gulf,
Confounded though immortal.
(c) A dungeon horrible, on all sided round,
As one great furnace flamed; yet from those flames
No light, but rather darkness visible
Served only to discover sights of woe.
(d) Regions of sorrow, doleful shades, where peace
And rest can never dwell, hope never comes
That comes to all.
(a) "Fallen Cherub, to be weak is miserable,
Doing or suffering: but of this be sure,
To do aught good never will be our task,
But ever to do ill our sole delight.
(b) If then his providence
Our of our evil seek to bring forth good,
Our labour must be to pervert that end,

And out of good still to find means of evil;
(c) Infernal world! and thou, profoundest Hell,
Receive they new possessor, one who brings
A mind not to be changed by place or time.
(d) Here we may reign secure, and in my choice
To reign is worth ambition, though in Hell:
Better to reign in Hell, than to serve in Heaven.
(a) His spear -- to equal which the tallest pine
Hewn on Norwegian hills, to be the mast
Of some great ammiral, were but a want -(b) Thrice he assayed, and thrice, in spite of scorn,
Tears, such as Angels weep, burst forth: at last
Words interwove with sighs found out their way:
(c) O myrids of immortal Spirits! O Powers
Matchless, but with the Almighty! --and that strife
Was not inglorious, though the event was dire,
As this place testifies, and this dire change,
Hateful to utter.
(d) Space may produce new worlds; whereof so rife
There went a fame in Heaven that he ere long
Intended to create, and therein plant
A generation whom his choice regard
Should favour equal to the Sons of Heaven:
12. Milton's Grand Style in 'Paradise Lost'
13. 'Paradise Lost' As a Renaissance Epic
14. The Hero of 'Paradise Lost': Satan or Adam
15. Responsible Person for the Fall of Man
16. Milton's Justifying the Ways to God to Men
3. THE RAPE OF THE LOCK BY ALEXANDER

POPE
(a) Sol through white curtains shot a timorous ray,
And opened those eyes that must eclipse the day:
No lap-dogs give themselves the rousing shake,
And sleepless lovers, just at twelve, awake:
(b) Know further yet: whoever fair and chaste
Rejects mankind, is by some sylph embraced.
For spirits, freed from mortal laws, with ease
Assume what sexes and what shapes they please.

(c) Oft, when the world imagine women stray,
The sylphs through mystic mazes guide their way,
Through all the giddy circle they pursue,
And old impertinence expel by new.
(d) To fifty chosen sylphs, of special note,
We trust th' important charge, the petticoat;
Oft have we known the seven-fold fence to fail,
Though stiff with hoops, and armed with ribs of whale;
(a) Whatever spirit, careless of his charge,
His post neglects, or leaves the fair at large,
Shall feel sharp vengeance soon o'ertake his sins,
Be stopped in vials, or transfixed with pins;
(b) O thoughtless mortals! ever blind to fate,
Too soon dejected, and to soon elate.
Sudden, these hounours shall be snatched away,
And cursed for ever this victorious day.
(c) Then flashed the living lightning from her eyes,
And screams of horror rend the affirighted skies.
Not louder shrieks to pitying Heaven are cast,
When husbands, or when lapdogs breathe their last;
(d) For, the sad moment, when the sylphs withdrew,
And Ariel weeping from Belinda flew,
Umbirel, a dusky, melancholy sprite,
As ever sullied the fair face of light,
(a) Gods! shall the ravisher display your hair,
While the Fobs envy, and the Ladies stare!
Honour forbid! At whose unrivalled shrine
Ease, pleasure, virtue, all our sex resign.
(b) "For ever curs'd be this detested day,
Which snatched my best, my favourite curl away!
Happy! ah ten times happy had I been,
If Hampton-Court these eyes had never seen!
(c) What moved my mind with youthful Lords to roam?
Oh had I stayed, and said my prayers at home!
'Twas this, the morning omens seemed to tell,
Thrice from my trembling hand the patch-box fell;
(d) When those fair suns shall set, as set they must,
And all those tresses shall be laid in dust.
This lock, the Muse shall consecrate to fame,
And midst the stars inscribe Belinda's name.
20. 'The Rape of the Lock" As a Mock Epic
21.
22.
23.
24.
"The Rape of the Lock" As a Social Satire

Supernatural Elements in "The Rape of the Lock"
Reasons for the Popularity of "The Rape of the Lock"
Character Sketch of Blenda
LOVE & DIVINE POEMS BY JOHN DONNE

(a) My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest;
Where can we finde two better hemispheares
Without sharpe north, without declining west?
(b) If our two loves be one, or thou and I
Love so alike that none doe slacken, none can die.
(c) Goe and catche a falling starre,
Get with child a mandrake roote,
Tell me where all past years are,
Or who cleft the devil's foot,
Teach me to heare Mermaids singing,
Or to keep off envies stinging,
(d) If yet I have not all thy love,
Dear, I shall never have it all;
I cannot breath one other sigh, to move,
Nor can intreat one other teare to fall;
(a) Thy beames so reverend, and strong
Why shouldst thou think?
I could eclipse and cloud them with a winke,
But that I would not lose her sight so long.
(b) She's all states, and all princes I;
Nothing else is;
Princes doe but play us; compar'd to this,
All honour's mimique, all wealth alchimie.
(c) Than by her shadow what she weares.
Of perverse sexe, where none is true but shee,
Who's therefore true, because her truth kills mee.
(d) Or let these two, themselves, not me decay;
So shall I live thy Stage, not triumph bee;
Lest thou they love and hate and mee undoe,
To let mee live, O love and hate mee too.
(a) As virtuous men passe mildly away,
And whisper to their soules to goe,
Whilst some of their sad friends doe say,

"Now his breath goes," and some say, "No."
(b) If they be two, they are two so
As stiffle twin compasses are two;
Thy soule, the fix'd foot, makes no show
To move, but doth, if th' other doe.
(c) And though it in the centre sit,
Yet, when the other far doth rome,
It leanes, and hearkens after it,
And growes erect, as that comes home.
(d) One short sleepe past, wee wake eternally,
And death shall be no more; Death, thou shalt die.
28. Donne As a Love Poet
29. Donne's Attitude Towards Women
30. Donne As a Metaphysical Poet
31. Use of Hyperbole and Paradox in Donne's Poetry
32. Critical Appreciation of
(i) The Sun Rising
(ii) A Valediction: Forbidding Mourning
5. POETRY OF WYATT AND SURREY

33. Explain the following lines with reference to the context.
(i) The long love that in my thought doth harbour
And in mine hert doth keep his residence,
Into my face presseth with bold pretence
(ii) If it be yea, I shall be fain;
If it be nay, friends as before;
You shall another man obtain,
And I mine own, and yours no more.
(iii) It was no dream: I lay broad waking.
But all is turned through my gentleness
Into a strange fashion of forsaking;
(iv) All is possible
Who so list believe.
Trust therefore first, and after preve,
34. Explain the following lines with reference to the context.
(i) The mean diet, no dainty fare;
Wisdom joined with simpleness;
The night discharged of all care,
Where wine the wit may not oppress:
(ii) Yet from my lord shall not my foot remove, -Sweet is the death that taketh end by love.
(iii) And with remembrance of the greater grief,

To banish the less, I find my chief relief.
(iv) Thus, for our guilt, this jewel have we lost,
The earth his bones, the heavens possess his ghost.
35. Wyatt As the Father of Modern English Poetry
36. Thomas Wyatt as a Sonneteer
(i) The Long Love That in My Thought Doth Harbour
(ii) They Flee From Me
38. Surrey As a Sonneteer
(i) Prisoned in Windsor
(ii) Wyatt Resteth Here
40. Comparison Between Wyatt and Surrey
Posted by Prof. Shahbaz Asghar at 22:
SATURDAY, 5 APRIL 2014
IMPORTANT LINES FOR EXPLANATION - LOVE AND DIVINE POEMS BY JOHN

DONNE
4. JOHN DONNE
(Love & Divine Poems)
QUESTION NO. 25
Explain the following extracts with reference to the context.
(a) My face in thine eye, thine in mine appears,
And true plain hearts do in the faces rest;
Where can we finde two better hemispheares
Without sharpe north, without declining west?
(b) If our two loves be one, or thou and I
Love so alike that none doe slacken, none can die.
(c) Goe and catche a falling starre,
Get with child a mandrake roote,
Tell me where all past years are,
Or who cleft the devil's foot,
Teach me to heare Mermaids singing,
Or to keep off envies stinging,
(d) If yet I have not all thy love,
Dear, I shall never have it all;
I cannot breath one other sigh, to move,
Nor can intreat one other teare to fall;
QUESTION NO. 26
(a) Thy beames so reverend, and strong
Why shouldst thou think?
I could eclipse and cloud them with a winke,
But that I would not lose her sight so long.
(b) She's all states, and all princes I;
Nothing else is;
Princes doe but play us; compar'd to this,
All honour's mimique, all wealth alchimie.
(c) Than by her shadow what she weares.
Of perverse sexe, where none is true but shee,
Who's therefore true, because her truth kills mee.

(d) Or let these two, themselves, not me decay;
So shall I live thy Stage, not triumph bee;
Lest thou they love and hate and mee undoe,
To let mee live, O love and hate mee too.
QUESTION NO. 27
(a) As virtuous men passe mildly away,
And whisper to their soules to goe,
Whilst some of their sad friends doe say,
"Now his breath goes," and some say, "No."
(b) If they be two, they are two so
As stiffle twin compasses are two;
Thy soule, the fix'd foot, makes no show
To move, but doth, if th' other doe.
(c) And though it in the centre sit,
Yet, when the other far doth rome,
It leanes, and hearkens after it,
And growes erect, as that comes home.
(d) One short sleepe past, wee wake eternally,
And death shall be no more; Death, thou shalt die.
IMPORTANT LINES FOR EXPLANATION - THE RAPE OF THE LOCK BY

ALEXANDER POPE
3. ALEXANDER POPE
(The Rape of the Lock)
QUESTION NO. 17
(a) Sol through white curtains shot a timorous ray,
And opened those eyes that must eclipse the day:
No lap-dogs give themselves the rousing shake,
And sleepless lovers, just at twelve, awake:
(b) Know further yet: whoever fair and chaste
Rejects mankind, is by some sylph embraced.
For spirits, freed from mortal laws, with ease
Assume what sexes and what shapes they please.
(c) Oft, when the world imagine women stray,

The sylphs through mystic mazes guide their way,
Through all the giddy circle they pursue,
And old impertinence expel by new.
(d) To fifty chosen sylphs, of special note,
We trust th' important charge, the petticoat;
Oft have we known the seven-fold fence to fail,
Though stiff with hoops, and armed with ribs of whale;
QUESTION NO. 18
(a) Whatever spirit, careless of his charge,
His post neglects, or leaves the fair at large,
Shall feel sharp vengeance soon o'ertake his sins,
Be stopped in vials, or transfixed with pins;
(b) O thoughtless mortals! ever blind to fate,
Too soon dejected, and to soon elate.
Sudden, these hounours shall be snatched away,
And cursed for ever this victorious day.
(c) Then flashed the living lightning from her eyes,
And screams of horror rend the affirighted skies.
Not louder shrieks to pitying Heaven are cast,
When husbands, or when lapdogs breathe their last;
(d) For, the sad moment, when the sylphs withdrew,
And Ariel weeping from Belinda flew,
Umbirel, a dusky, melancholy sprite,
As ever sullied the fair face of light,
QUESTION NO. 19
(a) Gods! shall the ravisher display your hair,
While the Fobs envy, and the Ladies stare!
Honour forbid! At whose unrivalled shrine
Ease, pleasure, virtue, all our sex resign.
(b) "For ever curs'd be this detested day,
Which snatched my best, my favourite curl away!
Happy! ah ten times happy had I been,
If Hampton-Court these eyes had never seen!
(c) What moved my mind with youthful Lords to roam?
Oh had I stayed, and said my prayers at home!
'Twas this, the morning omens seemed to tell,
Thrice from my trembling hand the patch-box fell;
(d) When those fair suns shall set, as set they must,
And all those tresses shall be laid in dust.
This lock, the Muse shall consecrate to fame,
And midst the stars inscribe Belinda's name.

IMPORTANT LINES FOR EXPLANATION - PARADISE LOST BOOK I BY JOHN

MILTON
2. JOHN MILTON
(Paradise Lost Book I)
QUESTION NO. 9
(a) Of Man's first disobedience, and the fruit
Of that forbidden Tree, whose mortal taste
Brought death into the world, and all our woe,
With loss of Eden, till one greater Man
Restore us.
(b) Nine times the space that measures day and night
To mortal men, he with his horrid crew
Lay vanquished, rolling in the fiery gulf,
Confounded though immortal.
(c) A dungeon horrible, on all sided round,
As one great furnace flamed; yet from those flames
No light, but rather darkness visible
Served only to discover sights of woe.
(d) Regions of sorrow, doleful shades, where peace
And rest can never dwell, hope never comes
That comes to all.
QUESTION NO. 10
(a) "Fallen Cherub, to be weak is miserable,
Doing or suffering: but of this be sure,
To do aught good never will be our task,
But ever to do ill our sole delight.
(b) If then his providence
Our of our evil seek to bring forth good,
Our labour must be to pervert that end,
And out of good still to find means of evil;
(c) Infernal world! and thou, profoundest Hell,
Receive they new possessor, one who brings
A mind not to be changed by place or time.
(d) Here we may reign secure, and in my choice
To reign is worth ambition, though in Hell:

Better to reign in Hell, than to serve in Heaven.
QUESTION NO. 11
(a) His spear -- to equal which the tallest pine
Hewn on Norwegian hills, to be the mast
Of some great ammiral, were but a want -(b) Thrice he assayed, and thrice, in spite of scorn,
Tears, such as Angels weep, burst forth: at last
Words interwove with sighs found out their way:
(c) O myrids of immortal Spirits! O Powers
Matchless, but with the Almighty! --and that strife
Was not inglorious, though the event was dire,
As this place testifies, and this dire change,
Hateful to utter.
(d) Space may produce new worlds; whereof so rife
There went a fame in Heaven that he ere long
Intended to create, and therein plant
A generation whom his choice regard
Should favour equal to the Sons of Heaven:
M.A. English (PU) - Part One Notes
1. GEOFFREY CHAUCER
(The Prologue to the Canterbury Tales)
QUESTION NO. 1
(b) And theron heng a brooch al with grene,
On which ther was first write a crowned A,
And after Amor Vincit Omnia.
(c) Therfore he was a prikasour aright:
(d) Ful wel biloved and famulier was he

QUESTION NO. 2
(c) In al the parisshe wif ne was ther noon
That to the offrynge bifore hire sholde goon;
And if ther dide, certeyn so wrooth was she,
That she was out of alle charitee.
(d) She was a worthy womman al hir lyve:
Withouten oother compaignye in youthe, --QUESTION NO. 3
(b) He waited after no pompe and reverence,
Ne maked him a spiced conscience,
But Cristes loore and his apostles twelve
He taughte, but first he folwed it hymselve.
(c) A bettre felawe sholde men noght fynde.
(d) Greet chiere made oure hoost us everichon,
Strong was the wyn, and wel to drynke us leste.
WEDNESDAY, 2 APRIL 2014
Important Lines for Explanation - The Prologue to the Canterbury

Tales by Chaucer
1. GEOFFREY CHAUCER
(The Prologue to the Canterbury Tales)
QUESTION NO. 1
(b) Therfore he was a prikasour aright:
(c) Ful wel biloved and famulier was he
QUESTION NO. 2
(c) She was a worthy womman al hir lyve:
Withouten oother compaignye in youthe, --QUESTION NO. 3
(b) A bettre felawe sholde men noght fynde.
(c) Greet chiere made oure hoost us everichon,
Strong was the wyn, and wel to drynke us leste.

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THURSDAY, 5 MARCH 2015

ELEMENTS OF LITERARY STYLE

ELEMENTS OF LITERARY STYLE

Is the writing heavily descriptive, with emphasis on setting and atmosphere, OR

(i) Are the words simple or fancy?

(i) How often does dialogue tell the story?

(i) How does the author introduce characters?

10. WORD COLOUR, WORD SOUND

11. PARAGRAPH / CHAPTER STRUCTURE

12. TIME SEQUENCING / CHRONOLOGY

14. EXPERIMENTATION IN LANGUAGE

15. METAFICTIONAL TECHNIQUES

IMPORTANT QUESTIONS - NOVEL

3. IMPORTANT QUESTIONS NOVEL

Trollope's Humour and Style

2. PRIDE AND PREJUDICE BY JANE AUSTEN

3. ADAM BEDE BY GEORGE ELIOT

Major Thematic Concerns in 'Adam Bede'

4. A TALE OF TWO CITIES BY CHARLES

Significance of the Title "A Tale of Two Cities"

5. THE RETURN OF THE NATIVE BY THOMAS

'The Return of the Native' As a Tragedy

39. Character Sketch of Clym Yeobright

IMPORTANT QUESTIONS - AMERICAN LITERATURE

5. IMPORTANT QUESTIONS AMERICAN LITERATURE

Major Themes in Adrienne Rich's Poetry

2. RICHARD WILBUR AND JOHN ASHBERY

9. Richard Wilbur As a Modern Poet

3. MOURNING BECOMES ELECTRA BY EUGENE

'Mourning Becomes Electra' As a Tragedy

4. THE CRUCIBLE BY ARTHUR MILLER

Major Thematic Concerns in 'The Crucible'

27. Character Sketch of John Proctor

5. FOR WHOM THE BELL TOLLS BY

Hemingway's Style -- Fictional Technique

6. JAZZ BY TONI MORRISON

Major Themes in 'Jazz'

Posted by Prof. Shahbaz Asghar at 00:42 No comments:

IMPORTANT QUESTIONS - PROSE

4. IMPORTANT QUESTIONS PROSE

Bacon's Prose Style

2. GULLIVER'S TRAVELS BY SWIFT

Irony in 'Gulliver's Travels'

3. UNPOPULAR ESSAYS BY RUSSELL

Russell's Prose Style

4. CULTURE AND IMPERIALISM BY EDWARD

Edward Said's Prose Style

5. THE REDRESS OF POETRY BY SEAMUS

Heaney's Prose Style

Posted by Prof. Shahbaz Asghar at 22:42 No comments:

IMPORTANT QUESTIONS - DRAMA

IMPORTANT QUESTIONS - DRAMA

1. OEDIPUS REX BY SOPHOCLES

7. Relationship Between Man and gods in "Oedipus Rex"

2. DR. FAUSTUS BY MARLOWE

17. Explain the following extracts with reference to the context.

The Moor is of a free and open nature

4. THE WINTER'S TALE BY SHAKESPEARE

Its tenderness, and make itself a pastime

5. THE IMPORTANCE OF BEING EARNEST BY

Notes Prepared By: Prof. Shahbaz Asghar

IMPORTANT QUESTIONS - OEDIPUS REX BY SOPHOCLES