T.Y.B.A. (External) Examination February - 2021 English ...

*RAN-2210*

*RAN-2210*

RAN-2210

T.Y.B.A. (External) Examination

February - 2021

English Paper - 11

Practical Criticism: Theory & Practice

Time: 3 Hours ]

k|Q"p : / Instructions (1)

"uQ? v$ip?h?g r"ip"uhpmu rhNsp? D?fhlu `f Ah?e gMhu.

Fill up strictly the details of signs on your answer book Name of the Examination: T.Y.B.A. (External) Name of the Subject : English Paper - 11 Practical Criticism: Theory & Practice Subject Code No.: 2 2 1 0

[ Total Marks: 100

Seat No.: Student's Signature

(2) Figures to the right indicate full marks. (3) Mention clearly the options you attempt.

Q-1. (a) Write a brief history of the evolution of practical Criticism.

[20]

OR

(b) Discuss in detail structuralism, post-Structuralism and Practical Criticism.

Q-2. Explain briefly any four of the following poetic terms and stanza forms. [20] (1) Alliteration (2) Triplets (3) Enjambment (4) Rhythm (5) Blank verse

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[ P.T.O. ]

Q-3. Explain briefly any four of the following critical terms:

[20]

(1) Stream of Consciousness

(2) Metonymy

(3) Atmosphere

(4) Collocation

(5) Myth

(6) Deviation

Q-4. Attempt a critical analysis of the following poem keeping in view of its [20] form and content.

(a) "O where are you going?" said reader to rider, " That valley is fatal when furnaces burn, Yonder's the midden whose odors will madden, That gap is the grave where the tall return."

"O do you imagine," said fearer to farer, "That dusk will delay on your path to the pass, Your diligent looking discover the lacking Your footsteps feel from granite to grass?"

"O what was that bird," said horror to hearer, "Did you see that shape in the twisted trees? Behind you swiftly the figure comes softly, The spot on your skin is a shocking disease?"

"Out of this house", said rider to reader, "Yours never will" , said farer to fearer, "They're looking for you" , said hearer to horror. As he left them there, as he left them there.

OR (b) I wander thro' each charter'd street, Near where the charter'd Thames does flow. And mark in every face I meet Marks of weakness, marks of woe.

In every cry of every Man, In every Infants cry of fear, In every voice: in every ban, The mind-forg'd manacles I hear

How the Chimney-sweepers cry Every blackning Church appalls, And the hapless Soldiers sigh Runs in blood down Palace walls

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[ Contd.

 But most thro' midnight streets I hear How the youthful Harlots curse Blasts the new-born Infants tear And blights with plagues the Marriage hearse

Q-5. Attempt a critical analysis of the following prose keeping in view of its [20] thematic and discourse pattern:

(a)One day I was travelling on foot from Galway to Dublin, and the darkness came on me and I ten miles from the town I was wanting to pass the night in. Then a hard rain began to fall and I was tired walking, so when I saw a sort of a house with no roof on it up against the road, I got in the way the walls would give me shelter. As I was looking round 1 saw a light in some trees two perches off, and thinking any sort of a house would be better than where I was, I got over a wall and went up to the house to look in at the window.

I saw a dead man laid on a table, and candles lighted, and a woman watching him. I was frightened when I saw him, but it was raining hard, and I said to myself, if he was dead he couldn't hurt me. Then I knocked on the door and the woman came and opened it.

`Good evening, ma'am.' says I.

`Good evening kindly, stranger,' says she, `Come in out of the rain.' Then she took me in and told me her husband was after dying on her, and she was watching him that night.

`But it's thirsty you'll be, stranger,' says she, `Come into the parlour.' Then she took me into the parlour--and it was a fine clean house--and she put a cup, with a saucer under it. on the table before me with fine sugar and bread.

When I'd had a cup of tea I went back into the kitchen where the dead man was lying, and she gave me a fine new pipe off the table with a drop of spirits.

`Stranger,' says she, `would you be afeared to be alone with himself?'

`Not a bit in the world, ma'am.' says I; `he that's dead can do no hurt,'

Then she said she wanted to go over and tell the neighbours the way her husband was after dying on her. and she went out and locked the door behind her.

I smoked one pipe, and I leaned out and took another off the table. I was smoking it with my hand on the back of my chair-the way you are yourself this minute, God bless you!- and I looking on the dead man, when he opened eyes as wide as myself and looked at me.

`Don't be afeared stranger,' said the dead man; `I' m not dead at all in the word. Come here and help me up, and I'll tell you all about it.'

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[ P.T.O. ]

Well, I went up and took the sheet off him, and I saw that he had a fine clean shirt on his body, and fine flannel drawers.

He sat up then, and say he:

I've got a bad wife, stranger, and I let on to be dead the way I'd catch her goings on.'

Then he got two tine sticks he had to keep down his wife, and he put them at each side of his body, and he laid himself out again as if he was dead.

OR (b)TWO BRIDGES stood near the lower part of Casterbridge town. The first,

of weather-stained brick, was immediately at the end of High Street, where a diverging branch from that thoroughfare ran round to the low-lying Durnover lanes: so that the precincts of the bridge formed the merging point of respectability and indigence. The second bridge, of stone, was further out on the highway -- in fact, fairly in the meadows, though still within the town boundary.

These bridges had speaking countenances. Every projection in each was worn down to obtuseness. partly by weather, more by friction from generations of loungers, whose toes and heels had from year to year made restless movements against these parapets, as they had stood there meditating on the aspect of affairs. In the case of the more friable bricks and stones even the flat faces were worn into hollows by the same mixed mechanism. The masonry of the top was clamped with iron at each joint; since it had been no uncommon thing for desperate men to wrench the coping off and throw it down the river, in reckless defiance of the magistrates.

For to this pair of bridges gravitated all the failures of the town; those who had failed in business, in love, in sobriety, in crime. Why the unhappy hereabout usually chose the bridges for their meditations in preference to a railing, a gate, or a stile, was not so clear.

There was a marked difference of quality between the personages who haunted the near bridge of brick and the personages who haunted the far one of stone. Those of lowest character preferred the former, adjoining the town; they did not mind the glare of the public eye. They had been of comparatively no account during their successes; and though they might feel dispirited, they had no particular sense of shame in their ruin. Their hands were mostly kept in their pockets: they wore a leather strap round their hips or knees, and boots that required a great deal of lacing, but seemed never to get any. Instead of sighing at their adversities they spat, and instead of saying the iron had entered into their souls they said they were down on their luck. Jopp in his times of distress had often stood here; so had Mother Cuxsom, Christopher Coney, and poor Abel Whittle.

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