Confusion shame remorse despair At once his bossom swell The damps of death bedewed his brow The damps of death bedewed his brow He shook he groaned he fell

 

Confusion shame remorse despair

At once his bossom swell

The damps of death bedewed his brow

The damps of death bedewed his brow

He shook he groaned he fell,scanscion,bege 106,poetry,

Thy way not mine o lord However dark it be Lead me with thine own hand Choose out the path for me

 

Thy way not mine o lord 

However dark it be

Lead me with thine own hand

Choose out the path for me,bege 106,scanscion,

The way was long the wind was cold The minstrel was infirm and old

 

The way was long the wind was cold 

The minstrel was infirm and old,bege 106,scancion,

In woods a ranger To joy a stranger poetry Scanscion

 

In woods a ranger

To joy a stranger 

I put /my hat/ upon /my head And walked/ into/ the strand And there/ I met ano/ ther man Whose hat /was in/ his hand,scanscion,bege 106, poetry,

 

I put /my hat/ upon /my head And walked/ into/ the strand And there/ I met ano/ ther man Whose hat /was in/ his hand.

With ravished ears the monarch hears assumes the God affects to nod and seems to shake the spheres Bege 106 Scanscion

 

With ravished ears the monarch hears assumes the God affects to nod and seems to shake the spheres Bege 106 Scanscion

Bege Scanscion Post 1

 

Spenserian Stanza

 

BEGE-106 Understanding Poetry Assignment

BEGE-106 Understanding Poetry

 Assignment 2019-2020 (Based on Blocks 1-8) 

Course Code: BEGE-106/2019-20

 Max. Marks: 100 

Attempt all questions. 

1. Write a critical appreciation of the poem ‘To Coy His Mistress’. 20

 2. Critically analyse the poem ‘A Hot Noon in Malabar’. 20 

3. Discuss the title of the poem ‘A Rain of Rites’. 20

 4. Discuss the central theme of the poem 

‘Because I Could Not Stop for Death’. 20 

5. Explain with reference to the context the following lines: 10 x 2=20

 a) Must come and bide. And such are we ― Unreasoning, sanguine, visionary ― That I can hope Health, love friends, scope In full for thee; can dream thou’lt find Joys seldom yet attained by humankind! 

b) All the earth and air with thy voice is loud, As, when night is bare, From one lovely cloud The moon rains out her beams, and heaven is overflow’d



Pdf Download at https://webservices.ignou.ac.in/assignments/bdp_ba/2019-20/misc/BEGE-106.pdf

BEGE-106 UNDERSTANDING POETRY - June, 2019 Question Paper ELECTIVE COURSE: ENGLISH

No. of Printed Pages : 4+3=7
BEGE-106/EEG-06 BEGE-106
BACHELOR'S DEGREE PROGRAMME Term-End Examination June, 2019
ELECTIVE COURSE: ENGLISH
BEGE-106 UNDERSTANDING POETRY
Maximum Marks: 100
Time: 3 hours
Note: Answer questions no. 1, 2 and 3 and any two of the remaining questions.

1(a) Comment on any one of the following passages in respect of the prosodic features:
(i) Thy way not mine, O Lord However dark it be Lead me by thine own hand, Choose out the path for me.

(ii) How fleet is the glance of the mind!  Compared with the speed of its flight
The tempest itself lags behind
And the swift winged arrows of light.

(b) Write short notes on any tw0 of the following: 2x5-10
(i) Ballad Stanza
(ii) Rhyme Royal
(iii) Satire
(iv) Syneedoche
(v) Terza Rima
(vi) Apostrophe

2 Comment on any four of the following passages with reference to their context. .      4x8-32

(a)Yet in these thoughts myself
almost despising
Haply I think on thee, and then my state, Like to the lark at break of day arising. From sullen earth, sings hymns at heavens gate;

(b) But All subsists by elemental strife; And Passions are the elements of Life. The gen'ral Order, since the whole began, Is kept in Nature, and is kept in Man.

(c) Now more than ever seems it rich to die,
To cease upon the midnight with no pain, While thou art pouring forth thy soul abroad
In such an ecstasy!

(d)  If I trip him just a-dying. 
Sure of heaven as sure can be,
Spin him round and send him flying
Off to hell, a Manichee?

(e) We slowed again,
  And as the tightened brakes took hold, there swelled
A sense of falling, like an arrow-shower Sent out of sight, somewhere becoming rain.

(f) When I heard the Earth-song.
I was no longer brave;
My avarice cooled.
Like lust in the chill of the grave

(g) We're blessed  by our own seed & golden hairy naked accomplishment - bodies growing into mad black formal sunflowers in the sunset.

(h)  She opened her wormy legs wide.
I felt the hunger there
  the other one, the fish slithering,  turning inside.

3. Bring out the salient features of English poetry 16 in the fourteenth century
            OR

Write short notes on any two of the following: 16
(a) Anne Bradstreet
(b) Phillis Wheatley
(c)The Fireside Poets
(d) Chicago Renaissance

4. Critically evaluate any one of the following poems: 16

(a)When the Assault Was Intended to the City

(b) Ode to the West Wind  

(c) Pied Beauty

(d) No Second Troy

(e) Death Sets a Thing Significant

(f) Damayanti to Nala in the Hour of Exile

5). Attempt a critique of any one of the following poets: 16
(a) Andrew Marvell
(b) Thomas Gray
(c) William Wordsworth
(d) Seamus Heaney
(e) Robert Frost

6) How is Indian poetry in English different from English and American poetry? 16

Emily Dickinson's Collected Poems Summary and Analysis of "Because I could not stop for Death --"

Emily Dickinson's Collected Poems Summary and Analysis of "Because I could not stop for Death --"

In this poem, Dickinson’s speaker is communicating from beyond the grave, describing her journey with Death, personified, from life to afterlife. In the opening stanza, the speaker is too busy for Death (“Because I could not stop for Death—“), so Death—“kindly”—takes the time to do what she cannot, and stops for her.

This “civility” that Death exhibits in taking time out for her leads her to give up on those things that had made her so busy—“And I had put away/My labor and my leisure too”—so they can just enjoy this carriage ride (“We slowly drove – He knew no haste”).

In the third stanza we see reminders of the world that the speaker is passing from, with children playing and fields of grain. Her place in the world shifts between this stanza and the next; in the third stanza, “We passed the Setting Sun—,” but at the opening of the fourth stanza, she corrects this—“Or rather – He passed Us –“—because she has stopped being an active agent, and is only now a part of the landscape.

In this stanza, after the realization of her new place in the world, her death also becomes suddenly very physical, as “The Dews drew quivering and chill—,” and she explains that her dress is only gossamer, and her “Tippet,” a kind of cape usually made out of fur, is “only Tulle.”

After this moment of seeing the coldness of her death, the carriage pauses at her new “House.” The description of the house—“A Swelling of the Ground—“—makes it clear that this is no cottage, but instead a grave. Yet they only “pause” at this house, because although it is ostensibly her home, it is really only a resting place as she travels to eternity.

The final stanza shows a glimpse of this immortality, made most clear in the first two lines, where she says that although it has been centuries since she has died, it feels no longer than a day. It is not just any day that she compares it to, however—it is the very day of her death, when she saw “the Horses’ Heads” that were pulling her towards this eternity.

Analysis
Dickinson’s poems deal with death again and again, and it is never quite the same in any poem. In “Because I could not stop for Death—,” we see death personified. He is no frightening, or even intimidating, reaper, but rather a courteous and gentle guide, leading her to eternity. The speaker feels no fear when Death picks her up in his carriage, she just sees it as an act of kindness, as she was too busy to find time for him.

It is this kindness, this individual attention to her—it is emphasized in the first stanza that the carriage holds just the two of them, doubly so because of the internal rhyme in “held” and “ourselves”—that leads the speaker to so easily give up on her life and what it contained. This is explicitly stated, as it is “For His Civility” that she puts away her “labor” and her “leisure,” which is Dickinson using metonymy to represent another alliterative word—her life.

Indeed, the next stanza shows the life is not so great, as this quiet, slow carriage ride is contrasted with what she sees as they go. A school scene of children playing, which could be emotional, is instead only an example of the difficulty of life—although the children are playing “At Recess,” the verb she uses is “strove,” emphasizing the labors of existence. The use of anaphora with “We passed” also emphasizes the tiring repetitiveness of mundane routine.

The next stanza moves to present a more conventional vision of death—things become cold and more sinister, the speaker’s dress is not thick enough to warm or protect her. Yet it quickly becomes clear that though this part of death—the coldness, and the next stanza’s image of the grave as home—may not be ideal, it is worth it, for it leads to the final stanza, which ends with immortality. Additionally, the use of alliteration in this stanza that emphasizes the material trappings—“gossamer” “gown” and “tippet” “tulle”—makes the stanza as a whole less sinister.

That immorality is the goal is hinted at in the first stanza, where “Immortality” is the only other occupant of the carriage, yet it is only in the final stanza that we see that the speaker has obtained it. Time suddenly loses its meaning; hundreds of years feel no different than a day. Because time is gone, the speaker can still feel with relish that moment of realization, that death was not just death, but immortality, for she “surmised the Horses’ Heads/Were toward Eternity –.” By ending with “Eternity –,” the poem itself enacts this eternity, trailing out into the infinite.

Andrew Marvell: Poems Summary and Analysis of "To His Coy Mistress"

Andrew Marvell: Poems Summary and Analysis of "To His Coy Mistress"

Summary:
The poem is spoken by a male lover to his female beloved as an attempt to convince her to sleep with him. The speaker argues that the Lady’s shyness and hesitancy would be acceptable if the two had “world enough, and time.” But because they are finite human beings, he thinks they should take advantage of their sensual embodiment while it lasts.

He tells the lady that her beauty, as well as her “long-preserved virginity,” will only become food for worms unless she gives herself to him while she lives. Rather than preserve any lofty ideals of chastity and virtue, the speaker affirms, the lovers ought to “roll all our strength, and all / Our sweetness, up into one ball.” He is alluding to their physical bodies coming together in the act of lovemaking.

Analysis:
Marvell wrote this poem in the classical tradition of a Latin love elegy, in which the speaker praises his mistress or lover through the motif of carpe diem, or “seize the day.” The poem also reflects the tradition of the erotic blazon, in which a poet constructs elaborate images of his lover’s beauty by carving her body into parts. Its verse form consists of rhymed couplets in iambic tetrameter, proceeding as AA, BB, CC, and so forth.

The speaker begins by constructing a thorough and elaborate conceit of the many things he “would” do to honor the lady properly, if the two lovers indeed had enough time. He posits impossible stretches of time during which the two might play games of courtship. He claims he could love her from ten years before the Biblical flood narrated in the Book of Genesis, while the Lady could refuse his advances up until the “conversion of the Jews,” which refers to the day of Christian judgment prophesied for the end of times in the New Testament’s Book of Revelations.

The speaker then uses the metaphor of a “vegetable love” to suggest a slow and steady growth that might increase to vast proportions, perhaps encoding a phallic suggestion. This would allow him to praise his lady’s features – eyes, forehead, breasts, and heart – in increments of hundreds and even thousands of years, which he says that the lady clearly deserves due to her superior stature. He assures the Lady that he would never value her at a “lower rate” than she deserves, at least in an ideal world where time is unlimited.

Marvell praises the lady’s beauty by complimenting her individual features using a device called an erotic blazon, which also evokes the influential techniques of 15th and 16th century Petrarchan love poetry. Petrarchan poetry is based upon rarifying and distancing the female beloved, making her into an unattainable object. In this poem, though, the speaker only uses these devices to suggest that distancing himself from his lover is mindless, because they do not have the limitless time necessary for the speaker to praise the Lady sufficiently. He therefore constructs an erotic blazon only to assert its futility.

The poem’s mood shifts in line 21, when the speaker asserts that “Time's winged chariot” is always near. The speaker’s rhetoric changes from an acknowledgement of the Lady’s limitless virtue to insisting on the radical limitations of their time as embodied beings. Once dead, he assures the Lady, her virtues and her beauty will lie in the grave along with her body as it turns to dust. Likewise, the speaker imagines his lust being reduced to ashes, while the chance for the two lovers to join sexually will be lost forever.

The third and final section of the poem shifts into an all-out plea and display of poetic prowess in which the speaker attempts to win over the Lady. He compares the Lady’s skin to a vibrant layer of morning dew that is animated by the fires of her soul and encourages her to “sport” with him “while we may.” Time devours all things, the speaker acknowledges, but he nonetheless asserts that the two of them can, in fact, turn the tables on time. They can become “amorous birds of prey” that actively consume the time they have through passionate lovemaking.

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