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IGNOU BEGM-163 Previous Year Solved Question Paper in Hindi

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Q1. Write short notes on any four of the following in 75 to 100 words each: 4×5=20 (a) Third Person Narrative (b) Style (c) Round characters (d) Epic (e) Themes (f) Plot

Ans.

(a) Third Person Narrative A third-person narrative is a storytelling mode where the narrator is not a character in the story and refers to the characters by pronouns such as “he,” “she,” and “they.” It is one of the most common narrative perspectives. The main types are: omniscient , where the narrator knows the thoughts and feelings of all characters; and limited , where the narrator is confined to the thoughts and perspective of a single character. A third type, objective , describes only external actions and dialogue, without revealing any character’s inner thoughts. This mode allows the author to provide a broad, encompassing view of the story’s world.

(b) Style In literature, style refers to the author’s distinctive use of language. It is the author’s voice or literary fingerprint. Style is not just what the author says, but how they say it. Its key elements include: diction (word choice) , syntax (sentence structure) , tone , figurative language (like metaphors and similes), and the rhythm of the narrative. An author’s style can be formal, informal, journalistic, or poetic, and it contributes significantly to the overall effect and meaning of the text. Ernest Hemingway’s minimalist style, for example, is characterized by his direct and unadorned prose.

(c) Round characters The term, coined by E.M. Forster in his book “Aspects of the Novel,” describes characters who are complex, multi-dimensional, and psychologically realistic. Unlike “flat” characters, who are built around a single idea or quality, round characters possess depth and the capacity for growth. They are capable of surprising the reader with their actions and behaviour, much like real people. They often experience internal conflicts and change in response to the events of the novel. Edna Pontellier in Kate Chopin’s The Awakening is a prime example, evolving from a conventional housewife into an independent woman.

(d) Epic An epic is a long, narrative poem that centres on a heroic or epoch-making subject. Traditionally, it recounts the deeds of a hero whose actions affect the fate of a tribe or nation. Characteristics of the epic include a grand scale , the intervention of supernatural forces, an elevated and formal style , and the depiction of culturally significant events. Homer’s Iliad and Odyssey are foundational epics of Western literature. The novel has often been described as a “prose epic” because it shares the epic’s ability to paint a broad canvas of society, but in prose form.

(e) Themes The theme is the central idea, message, or underlying meaning of a literary work. It is distinct from the plot or subject; the subject is what the novel is “about” (e.g., war), while the theme is the author’s statement or perspective on that subject (e.g., “war is dehumanizing”). Themes are rarely stated directly and are often expressed through characters, events, symbols, and the plot. In Chinua Achebe’s Things Fall Apart , major themes include the clash of cultures , tradition versus change, and fate versus free will. A novel can have multiple, interrelated themes.

(f) Plot The plot refers to the sequence of events in a literary work and their cause-and-effect relationship. It is not just “what happens,” but also “why it happens.” It is the story’s structure, carefully arranged by the author to create tension, mystery, and emotional response. According to Gustav Freytag’s pyramid, a conventional plot consists of five stages: exposition , rising action , climax , falling action , and resolution . An effective plot engages the reader and drives the narrative forward towards a satisfying conclusion.

Q2. Answer any two of the following questions in 200-250 words each : 2×10=20 (a) Write a note on the future of the novel. (b) Write a brief character sketch of Sukru Jani. (c) Write a note on the significance of the various symbols in The Awakening. (d) Examine the major traits of Okonkwo’s personality.

Ans.

(a) Write a note on the future of the novel. The future of the novel in the digital age is a subject of constant debate. Critics argue that the novel is in decline, facing dwindling attention spans and declining reading habits due to competition from social media and streaming services. However, this view overlooks the novel’s remarkable adaptability . The novel is not dying; it is evolving. E-books, audiobooks, and digital platforms have made literature more accessible than ever, reaching new audiences. Furthermore, the traditional boundaries of the novel are being challenged. Interactive fiction, hypertext novels, and multimedia elements are creating new possibilities for storytelling. Genre-blending is becoming increasingly common, blurring the lines between literary and popular fiction. Most importantly, the novel remains a vital platform for diverse voices. Postcolonial, feminist, and LGBTQ+ authors are using the form to represent global perspectives that were previously marginalized. While the medium of consumption may change, the fundamental human need for long-form narrative—to explore the human experience, foster empathy, and reflect on complex social issues—ensures that the novel will remain a vibrant and relevant art form. Its future lies not in its static preservation but in its dynamic capacity for reinvention.

(b) Write a brief character sketch of Sukru Jani. Sukru Jani is the protagonist of Gopinath Mohanty’s poignant novel, Paraja , and a respected patriarch of the Paraja tribe in Odisha. He embodies a deep, ancestral connection to his land, traditions, and family. At the novel’s outset, Sukru is a proud and hardworking farmer , living in harmony with nature and commanding respect within his community. His entire existence revolves around his ancestral land, which for him is not just a source of livelihood but a symbol of his identity and heritage. However, his world begins to crumble when he takes a small loan from the exploitative moneylender (Sahukar), Ramchandra Biswal. This debt traps him and his family in a vicious cycle of debt-bondage (gotram) . As the debt mounts, Sukru is gradually stripped of his land, his freedom, and his self-respect. The novel charts his tragic transformation from a self-sufficient tribal headman to an exploited, powerless labourer. His character represents the plight of countless indigenous people victimized by systemic injustice and exploitation. In the end, his desperate act of violence is a powerful but devastating rebellion against the dehumanization he has endured.

(c) Write a note on the significance of the various symbols in The Awakening. Kate Chopin’s The Awakening is rich with symbols that illuminate Edna Pontellier’s journey of self-discovery and liberation. The most prominent symbol is the sea . It represents freedom, escape, and rebirth. Edna’s learning to swim parallels her growing independence and self-awareness. The “seductive, whispering” voice of the sea calls her away from social constraints. In the end, her final walk into the sea is an ambiguous act—it is either the ultimate act of liberation or a surrender to overwhelming forces. The motif of sleep and awakening is both literal and metaphorical. Edna is “awakening” from a long “slumber” of societal conformity, where she was oblivious to her own desires and identity. This awakening leads her into a world where she seeks artistic, emotional, and sexual fulfillment. Birds are also significant symbols. The caged parrot and mockingbird at the beginning of the novel represent women trapped in domestic roles, unable to communicate authentically. At the end, the bird with a broken wing, falling over the sea, symbolizes Edna’s failed attempt to fly and her ultimate vulnerability, suggesting that the flight to true autonomy for a woman of her era was unsustainable.

(d) Examine the major traits of Okonkwo’s personality. Okonkwo, the protagonist of Chinua Achebe’s Things Fall Apart , is a character driven by a few dominant, interconnected traits. His most defining trait is a profound fear of weakness and failure . This fear stems from the legacy of his father, Unoka, who was lazy, effeminate, and died in debt. Okonkwo is obsessed with being nothing like his father, which makes him severe, aggressive, and relentlessly ambitious. This fear drives him to commit cruel acts, such as beating his wife during the Week of Peace and killing his adopted son, Ikemefuna, because he is terrified of appearing weak. Secondly, Okonkwo is fiercely ambitious and hardworking . He rises from poverty to become a respected leader and warrior in his clan, Umuofia, through sheer determination. He embodies the traditional Igbo ideals of masculinity and success. However, his third major trait is his rigidity and inflexibility . He is resistant to change and cannot adapt to new ideas or circumstances. When the Christian missionaries and colonial administrators arrive, Okonkwo’s rigid way of understanding the world prevents him from compromising or adapting. This very inflexibility, which was once the source of his strength, ultimately leads to his tragic downfall as he is unable to cope with the changing world.

Q3. Answer any three of the following questions in 300-350 words each : 3×20=60 (a) Examine the feminist issues as depicted through the character of Edna Pontellier. (b) Discuss the economic plight of the tribals as portrayed in the novel Paraja. (c) Discuss the contribution of Freud and Lacan to pschoanalytical studies. (d) Examine the use of folk elements in the novel Things Fall Apart. (e) “Things Fall Apart” is about diverse socio-political organisations. Describe the differences between the Ibos, the Yoruba and the Hausa, while answering this question. (f) Examine The Awakening from a psychoanalytical point of view.

Ans.

(a) Examine the feminist issues as depicted through the character of Edna Pontellier. Kate Chopin’s The Awakening , published in 1899, was far ahead of its time in addressing several key feminist issues through its protagonist, Edna Pontellier. The novel is a powerful critique of 19th-century patriarchal society and the restrictive roles imposed upon women. The first and foremost issue is the rejection of the “mother-woman” ideal . This ideal, embodied by Edna’s friend Adèle Ratignolle, represents women who dedicate their entire existence to their husbands and children. Edna, in contrast, feels suffocated by these traditional roles. While she loves her children, she refuses to “efface herself” for them. This marks the beginning of her quest for an individual identity beyond her roles as wife and mother. Secondly, the novel explores the theme of sexual liberation . Edna is in a passionless marriage with Léonce. Her awakening begins with an emotional and romantic love for Robert Lebrun and culminates in a physical affair with Alcée Arobin. By acknowledging her sexuality and pursuing relationships outside of her marriage, Edna directly challenges the Victorian notion that women were not sexual beings. Thirdly, Edna strives for artistic and economic independence . She begins to take her painting seriously and achieves a degree of financial freedom by selling her art. Her move from the family home to the “pigeon-house” is a symbolic act of her declaration of independence. However, the novel also shows the tragic impossibility for a woman to achieve true autonomy. Social condemnation, Robert’s abandonment of her due to his own conventionality, and emotional isolation ultimately overwhelm Edna. Her suicide can be read simultaneously as a tragic defeat and as a final act of defiance, a refusal to surrender to societal expectations. Edna’s struggle highlights the desire of women for individual identity and self-expression, making it an enduring work of feminist literature.

(b) Discuss the economic plight of the tribals as portrayed in the novel Paraja. Gopinath Mohanty’s novel Paraja (1945) is a poignant and powerful portrayal of the severe economic plight of the Paraja tribal people of Odisha. The novel exposes the mechanisms of systemic exploitation that dispossess the tribals of their land and dignity. The root of the tribals’ economic misery is the system of debt-bondage (gotram) . The protagonist, Sukru Jani, takes a small loan from the moneylender (Sahukar) to pay an unjust fine. The moneylender imposes exorbitant interest rates, causing the debt to spiral out of control, making repayment impossible. To work off the debt, Sukru and his family are forced to become bonded labourers for the Sahukar. This system reduces them to virtual slaves, unable to reap the fruits of their own labour. The ultimate goal of this debt-bondage is land alienation . For the tribals, land is not just an economic asset; it is the center of their identity, culture, and ancestral connection. The Sahukar, often in collusion with corrupt government officials like the forest guard, uses fraudulent documents and legal trickery to usurp the tribals’ land. Sukru Jani’s gradual loss of his ancestral land is the central tragedy of the novel. Furthermore, the novel shows how both the market economy and the state apparatus are rigged against the tribals. They receive unfair prices for their produce, and the law, which should protect them, is often bent to favour their oppressors. The forest laws prevent them from accessing the forest resources on which they have depended for centuries. Overall, Paraja is not just the story of one man but a microcosm of the broader economic exploitation faced by many indigenous communities in India. It is a devastating indictment of internal colonialism, where outsiders and an indifferent state machinery destroy the lives and livelihoods of the tribal people.

(c) Discuss the contribution of Freud and Lacan to psychoanalytical studies. Sigmund Freud and Jacques Lacan are two of the most influential figures in psychoanalytic theory, fundamentally reshaping our understanding of the human mind and behaviour. Sigmund Freud (1856-1939) , the founder of psychoanalysis, introduced the concept of the unconscious mind . He argued that our thoughts, feelings, and actions are often driven by hidden desires, fears, and memories that are repressed from our conscious awareness. Freud proposed a structural model of the psyche comprising the Id , representing our primitive instincts (the pleasure principle); the Superego , the internalized moral conscience (society’s rules); and the Ego , which mediates between the demands of the Id and the Superego (the reality principle). Freud’s other key contributions include the theory of the Oedipus complex, dream analysis (“the royal road to the unconscious”), and defense mechanisms (e.g., repression). In literary criticism, Freudian analysis focuses on uncovering characters’ hidden motivations, symbolism, and narrative conflicts. Jacques Lacan (1901-1981) brought a revolutionary turn to psychoanalysis by re-interpreting Freud’s work through the lens of structural linguistics. Lacan’s famous dictum, “the unconscious is structured like a language,” is central to his theory. He replaced Freud’s developmental stages with three inter-related “Orders”: the Imaginary , the Symbolic , and the Real . For Lacan, the Mirror Stage is a crucial moment in the formation of the self (the Ego), where a child recognizes its image, creating a sense of an idealized but alienated self. Entry into the Symbolic Order—the world of language and social rules—creates a fundamental “lack” that drives human desire , which is perpetually unfulfillable. Lacan’s work provides a framework for analyzing literature in terms of how language shapes identity, the instability of the self, and the workings of desire within the text. In essence, while Freud focused on biological and developmental models to explore the unconscious, Lacan redefined it through the lens of language, structure, and lack, leaving a profound and lasting impact on psychoanalytic theory.

(d) Examine the use of folk elements in the novel Things Fall Apart. Chinua Achebe’s Things Fall Apart is a landmark novel that extensively uses folk elements to portray the richness and complexity of Igbo society before the colonial encounter. These elements are not merely decorative but are integral to the narrative and themes, giving an authentic and dignified voice to the Igbo way of life. One of the most prominent folk elements is the widespread use of proverbs . As Achebe writes, among the Igbo, “proverbs are the palm-oil with which words are eaten.” The novel is suffused with these proverbs, which encapsulate the wisdom, values, and philosophical outlook of the community. They enrich the dialogue and convey the cultural fabric of the Igbo world. For instance, proverbs like “If a child washes his hands he could eat with kings” emphasize the importance of personal achievement and merit. Folktales and myths also play a significant role. Okonkwo tells his wives and children stories, such as the tale of the tortoise, which serve as moral lessons on cunning and its consequences. These stories not only entertain but also reinforce social norms and values. These narrative traditions highlight the oral culture of Igbo society. The novel provides detailed accounts of the Igbo’s religious beliefs and rituals . The worship of the earth goddess Ani, the Week of Peace, the New Yam Festival, marriage ceremonies, and funeral rites (like that of Ezeudu) are all depicted in detail. The authority of the Oracle of the Hills and the Caves and the belief in ‘ogbanje’ (a child who dies and returns repeatedly) shape the characters’ actions and worldview. By portraying these elements, Achebe challenges the European missionary view of the Igbo as “heathens,” demonstrating instead a sophisticated and well-ordered cosmology. By weaving these folk elements into his narrative, Achebe is not simply documenting Igbo culture; he is revitalizing it from within, allowing the reader to appreciate the richness and integrity of the world that colonialism shattered.

(e) “Things Fall Apart” is about diverse socio-political organisations. Describe the differences between the Ibos, the Yoruba and the Hausa, while answering this question. It is important to note that Chinua Achebe’s novel Things Fall Apart focuses almost exclusively on the socio-political organization of the Igbo people, specifically within the fictional clan of Umuofia. The novel does not describe the cultures of the Yoruba or the Hausa people in any detail. However, by comparing the Igbo society depicted in the novel to the generally known political structures of Nigeria’s other major ethnic groups, the Yoruba and the Hausa-Fulani, we can understand their significant differences. Igbo Society (as depicted in the novel): The Igbo political structure was highly decentralized and democratic . They had no single king or central authority. Instead, governance operated at the level of individual villages or village-groups. Decisions were made by a council of elders and title-holders (`ndichie`), and important matters were debated by the entire assembly through consensus. There was a strong emphasis on individual achievement and hard work; a man could gain respect and status by earning wealth and titles, as Okonkwo did. It was a republican and largely egalitarian system. Yoruba Society (general knowledge): In contrast to the Igbo, the Yoruba were traditionally more centralized , organized into city-states and kingdoms. Each state was ruled by an `Oba` or king, who was considered a sacred figure. The Oba’s power was not absolute, however; it was checked and balanced by various councils, such as the `Oyo Mesi` in the Oyo Empire, which even had the power to depose a tyrannical king. The Yoruba system, therefore, was a mixture of monarchy with checks and balances. Hausa-Fulani Society (general knowledge): The Hausa-Fulani society was traditionally the most centralized and hierarchical of the three. Following the Fulani jihad in the 19th century, the region was organized into large emirates under the Sokoto Caliphate. Each emirate was ruled by an `Emir`, who held absolute political and religious authority based on Islamic law. It was a feudal-like system with a clear aristocracy and a strong, centralized administrative structure. In summary, while the Igbo society of Things Fall Apart is characterized by its democratic, decentralized, and achievement-oriented nature, Yoruba society featured elements of sacred monarchy, and Hausa-Fulani society was based on a centralized, hierarchical Islamic emirate system.

(f) Examine The Awakening from a psychoanalytical point of view. Examining Kate Chopin’s The Awakening from a psychoanalytical perspective offers a profound understanding of Edna Pontellier’s internal conflicts and her tragic end. The novel can be viewed through the lens of both Freudian and Lacanian theories. From a Freudian perspective: Edna’s story can be understood as a conflict between the three parts of the psyche—the Id, Ego, and Superego . In her earlier life, her Superego (the rigid rules of 19th-century Creole society and the expectations of her role as a wife and mother) was dominant, repressing her instinctual desires. Her “awakening” is the rebellion of her repressed Id (the desire for sexual, artistic, and personal freedom). Edna’s Ego , which should mediate between these two opposing forces, fails at this task. She rejects the dictates of the Superego entirely but is unable to integrate the demands of her Id with reality, leading to her psychic and emotional disintegration. Her infatuation with Robert and affair with Arobin represent the release of her repressed libido . From a Lacanian perspective: Using Jacques Lacan’s theories, Edna’s crisis can be seen as a crisis of identity and language. She rejects the identity that the Symbolic Order —the world of society, law, and language—imposes upon her (“Mrs. Pontellier”). She searches for an authentic, pre-linguistic “self,” an impossible quest in Lacanian theory. The sea can be interpreted as a symbol of the Real —that which is beyond language and symbolization, an undifferentiated, maternal state. Edna’s attraction to the sea represents a desire to escape the strictures of the Symbolic Order and return to a pre-Oedipal state of wholeness. Her final suicide is an ultimate retreat from the Symbolic, an attempt to merge into the Real to be free of the burden of identity. The act represents both ultimate freedom and the complete dissolution of the self. In summary, a psychoanalytic reading reveals Edna’s rebellion not just as a social or feminist act, but as a deep, psychological conflict between her inner psychic landscape and the rigid demands of the external world, which ultimately leads to her tragic end.