IGNOU BHDC-109 Solved Question Paper PDF Download

IGNOU BHDC-109 Previous Year Solved Question Paper in Hindi

IGNOU BHDC-109 Previous Year Solved Question Paper in English

Q1. Translate and explain any three of the following passages with reference to the context:

(a) Can a greater calamity in life be imagined? Can a more heinous baseness be conceived in this world? Never before would any father have put such a grave stigma on his son! The one whose character everyone praised, who was considered an ideal for other young men, who never let impure thoughts wander near him, upon him this grave stigma!

Ans. Context: This passage is excerpted from Bhagwati Charan Verma’s famous philosophical novel, ‘Chitralekha’ . The novel centers on the problem of sin and virtue. This statement is a self-dialogue by Shvetank, one of the main characters of the novel. This feeling of pain and rebellion arises in Shvetank’s mind when his father, Mahaprabhu Ratnambar, accuses him of being corrupt and characterless due to his association with the dancer Chitralekha.

Explanation: This passage expresses Shvetank’s deep mental anguish and sense of humiliation. He considers the stain cast upon him by his father to be the greatest calamity of life and the most heinous baseness in the world. For him, it is unbelievable and unbearable that the very father who should be proud of his son is leveling such a serious accusation against him.

Shvetank is fully confident about the purity of his character. He knows that despite being in Chitralekha’s company, he never allowed impure thoughts into his mind. In society, his character was always seen as an ideal , and everyone praised him. In such a situation, being maligned by his own father is a cruel blow to his self-respect. This passage highlights the agony of an innocent person when they are misunderstood by their most trusted individual. It poignantly presents the tragedy of the shattering of values like character, honor, and familial trust . Shvetank’s pain is not just personal but a symbol of a moral crisis.

(b) The writ of destiny is fixed. Not a single letter of it can be moved from here to there. It does not change, it will not change. But which creator has made that inscrutable writ of fate, what is his purpose in it—can one ever desire to ask and know this, or not. Perhaps not.

Ans. Context: This passage has been taken from the famous novel ‘Chitralekha’ written by Bhagwati Charan Verma . This novel explores philosophical questions like sin, virtue, and destiny. This statement reflects the fatalistic view expressed by the characters towards life’s events. It is a contemplation on human helplessness and the supremacy of fate, which is part of the novel’s central philosophy.

Explanation: In this passage, the author has established the irrevocability and supremacy of destiny or fate. The speaker believes that human destiny is pre-determined and not even a slight change is possible in it. ‘The writ of destiny is fixed’ means that what is meant to happen, will happen; human efforts cannot change it.

Following this, the passage raises a deep philosophical question. If everything is already decided, then what is the purpose of the Creator or God who wrote this inscrutable (beyond logic) writ? There is a natural desire in the human mind to know this, but it is immediately suppressed. By saying ‘Perhaps not,’ the speaker accepts that man is not capable of understanding the Creator’s plan and its purpose, or of questioning it. This excerpt shows human intellectual limitations and helplessness before destiny . It represents the core idea of ‘Chitralekha’ that man is a slave to his circumstances, and the judgment of his actions is often determined by forces beyond his control.

(d) I can tell by looking at the hand. We can tell things that astrologers cannot. We know the chants and spells that no one else knows. We can identify the wild herbs of the forest that the great physicians of the capitals do not know.

Ans. Context: This passage is quoted from Vrindavanlal Varma’s famous historical novel, ‘Mrignayani’ . This statement belongs to an important character in the novel, Lakhi Natni. Lakhi is a friend of Mrignayani and a representative of an acrobat community (‘Nat’). She says this while taking pride in her community’s traditional knowledge, folk wisdom, and deep connection with nature.

Explanation: Through this passage, Lakhi is asserting the superiority of her community’s specific and unwritten knowledge. She says that her knowledge is not based on scriptures and classical learning but on experience and tradition passed down through generations.

• Folk Knowledge vs. Classical Knowledge: Lakhi says that her people can tell things by reading palms that great astrologers cannot. This shows that folk knowledge has its own subtle insight that goes beyond formal knowledge.
• Spells and Herbs: She mentions her community’s knowledge of secret spells and forest herbs. She claims that their knowledge is superior to that of the great physicians in the capital because they are closer to nature.
• Self-confidence and Pride: This statement reflects Lakhi’s deep self-confidence and pride in her community and its traditions. She does not consider her rural and forest-based culture inferior to the urban and courtly culture; instead, she believes it to be superior.

This passage underlines the

importance of folk culture and its knowledge

depicted in the novel. It shows that outside of formal education and courtly civilization, there exists a vast and effective repository of knowledge that often remains neglected.

Q2. Shed light on the pre-Premchand Hindi novels.

Ans. The initial phase of the Hindi novel is known as the pre-Premchand era , roughly dated from 1877 to 1918. The novels of this era were behind Premchand’s novels in terms of realistic consciousness and artistic maturity, but they successfully created a substantial readership for the Hindi novel. The novels of this period can be mainly divided into three streams:

1. Reformist or Didactic Novels: The main purpose of novels in this stream was to provide social reform and moral instruction along with entertainment. Lala Srinivas Das’s ‘Pariksha Guru’ (1882) , which Acharya Ramchandra Shukla considered the first original Hindi novel, falls into this category. This novel teaches lessons about the influence of company and traditional values through the story of a rich young man, Madanmohan. Similarly, Shraddharam Phillauri’s ‘Bhagyawati’ (1877) and Balkrishna Bhatt’s ‘Nutan Brahmachari’ were also focused on social reform and moral sermons. The language of these novels was simple and the style was didactic.

2. ‘Tilism-Aiyyari’ (Fantasy and Espionage) Novels: This stream made the Hindi novel immensely popular. Its pioneer was Babu Devakinandan Khatri . His novels ‘Chandrakanta’ (1888) and ‘Chandrakanta Santati’ introduced readers to a unique world of imagination, mystery, adventure, magic (tilism), and espionage (aiyyari). The sole purpose of these novels was entertainment. Their language was simple and the style extremely engaging, which led to millions of people learning Hindi just to read them. These novels lacked character development or social issues, but their plot complexity and ability to sustain curiosity were unparalleled.

3. Detective and Historical Novels: The prominent writer of this stream was Gopalram Gahmari , who was influenced by Arthur Conan Doyle. He wrote hundreds of detective novels like ‘Sar Kati Lash’ (The Headless Corpse) and ‘Jasoos ki Bhool’ (The Detective’s Mistake). These novels focused on crime, investigation, and the process of solving mysteries. Additionally, Kishorilal Goswami wrote historical novels like ‘Tara’ and ‘Razia Begum’, which were a mix of romance and history.

In short, the pre-Premchand Hindi novel gave a new form to Hindi prose and built a large readership. Although they lacked artistic depth and social realism, they prepared a strong background for Premchand’s realistic novels.

Q3. Discuss the features of the plot of the novel ‘Chitralekha’.

Ans. ‘Chitralekha’ (1934), written by Bhagwati Charan Verma, is an extremely popular and significant novel in Hindi literature. Its plot holds a special place due to its unique structure and philosophical content. Its main features are as follows:

1. Philosophical Foundation: The entire plot of the novel is based on a philosophical question – “What is sin and what is virtue?” Mahaprabhu Ratnambar sends his two disciples, Shvetank and Vishaldev, to find the answer to this question to the epicurean feudal lord Beejgupta and the ascetic Kumaragiri, respectively. All the events and actions of the characters in the novel revolve around this central question.

2. Experimental and Balanced Structure: The plot structure is not linear or flat. It is based on the conflicts between indulgence and asceticism, love and renunciation, lust and spirituality. On one hand, there is the life of indulgence of Beejgupta and Chitralekha, and on the other, the harsh penance of Kumaragiri. The author has presented these two poles in a very balanced manner and has advanced the story through them.

3. Character-driven Plot: The plot of ‘Chitralekha’ is not event-driven but character-driven . The story develops through the mental conflicts of the characters, their decisions, and their character transformations. In particular, the character of Chitralekha is the focal point of the story. Her love for Beejgupta, her attraction towards Kumaragiri, and her eventual return to Beejgupta give momentum to the narrative.

4. The Primacy of Destiny and Circumstance: The novel’s conclusion is that man is neither good nor bad, neither a sinner nor a saint; he is merely a slave of circumstances . In the plot, every character acts as compelled by the circumstances of their time. The fall of Kumaragiri and the self-analysis of Chitralekha reinforce this principle. Thus, this novel gives more importance to destiny and circumstance than to actions (karma).

5. Modern Thought in a Historical Background: The novel’s background is the Mauryan society of Pataliputra, but the problems and thoughts it raises are entirely modern and universal. The conflict in the minds of the characters regarding the definition of love, morality, and sin-virtue is a conflict of every human in every age.

Ultimately, the plot of ‘Chitralekha’, through its philosophical depth, balanced structure, and strong characters, inspires readers to engage in deep ideological contemplation, which is its greatest success.

Q4. Throw light on the character traits of Mrinal.

Ans. Mrinal, the protagonist of Jainendra Kumar’s psychological novel ‘Tyagpatra’ (The Resignation Letter, 1937) , is one of the most unforgettable and poignant female characters in Hindi literature. Her character is extremely complex, rebellious, and at the same time, self-tormenting. Her main character traits are as follows:

1. Rebellious Nature: From childhood, Mrinal has a rebellious nature against social conventions and bonds. She questions traditions that suppress a woman’s freedom and individuality. Her spontaneous, carefree, and uninhibited nature is an eyesore to society. This rebellious consciousness becomes the cause of the tragedy in her future life.

2. The Zenith of Self-torment and Self-sacrifice: The most prominent and paradoxical quality of Mrinal’s character is her self-sacrifice . Despite being ostracized by society and family, she does not complain to anyone. When abandoned by her husband, she silently endures everything to save her family’s honor. She does not blame others for her sorrows but inflicts pain upon herself. Her entire life is a silent sacrifice of herself for the happiness of others.

3. Spontaneity and Innocence: Despite numerous hardships and social stigmas, Mrinal never loses her inner purity and spontaneity. Her love is chaste and devoid of lust. She lives with a coal-seller, but her soul remains untainted. Society calls her a ‘fallen woman’, but in the reader’s eyes, she remains dignified due to her innocence.

4. Symbol of Female Identity: Mrinal represents thousands of women of her era whose personalities were crushed under the rigid system of a patriarchal society. Her life raises the question of whether society has the right to destroy a person’s life, especially a woman’s, in this manner. Her ‘Tyagpatra’ is not just a letter but an indictment of the entire social system.

5. Deep Psychology: Jainendra has crafted Mrinal’s character with deep psychological insight. Her actions are driven more by her emotions and the depths of her subconscious than by logic. Her deep affection for her nephew Pramod and her narration of her entire tragic story to him reveal the psychological aspects of her character.

In short, Mrinal is a remarkable blend of rebellion, sacrifice, pain, and dignity. She is a tragic heroine who, through her suffering, places a permanent question mark on the morality of society.

Q5. Discuss the structure and craft of the novel ‘Manas ka Hans’.

Ans. Amritlal Nagar’s novel ‘Manas ka Hans’ (The Swan of the Manas Lake, 1972) is a timeless biographical novel based on the life of Goswami Tulsidas. Its success largely depends on its well-knit structure and mature craftsmanship. The main features of its structure and craft are as follows:

1. Biographical Structure: The basic structure of the novel is biographical , presenting the significant events of Tulsidas’s life chronologically from his birth. Nagar has woven the scattered threads of Tulsidas’s life—his cursed childhood, his deep love for Ratnavali and her rejection, his turn towards devotion to Rama, the composition of ‘Ramcharitmanas’, and his conflict with contemporary society—into a coherent narrative.

2. Synthesis of Research and Imagination: Nagar’s craft is based on his profound research acumen . He has created a wonderful synthesis of historical facts, popular legends, and cues from Tulsidas’s own works (Kavitavali, Vinaypatrika, etc.). Where historical facts are silent, he has filled the gaps with his creative imagination, making Tulsidas’s character emerge as a living, breathing human being. This synthesis provides both authenticity and interest to the novel.

3. Psychological Realism: This novel is not just a chronicle of events but also a deep analysis of Tulsidas’s inner world . Nagar has minutely depicted Tulsidas’s internal conflicts, his struggle with carnal desires and the path to freedom from them, his love and guilt towards Ratnavali, and his singular devotion to Rama. This brings Tulsidas’s character down from a divine pedestal to a human level.

4. Portrayal of the Era and Milieu: From a craft perspective, a major success of the novel is the vivid portrayal of 16th-century India. Nagar has made the social, political, and religious conditions of the time—the orthodoxy of Kashi’s pandits, Akbar’s rule, poverty, famine, epidemics—an integral part of the narrative. This elevates the novel from being just a biography of an individual to an epic of an entire era .

5. Language and Style: The language of the novel is its greatest strength. Nagar has used language appropriate to the characters and situations. He has so naturally used words and idioms from Awadhi and Braj Bhasha along with Khari Boli that the linguistic environment of the time comes alive. The style is narrative and fluid, keeping the reader engaged until the end.

In short, the structure of ‘Manas ka Hans’ is woven from the threads of historical research, creative imagination, and psychological depth, and its craft is enriched by the realistic portrayal of language and milieu.

Q6. Shed light on the significance of the milieu in the novel ‘Mrignayani’.

Ans. Vrindavanlal Varma’s historical novel ‘Mrignayani’ is not just a love story of Raja Man Singh Tomar and the Gujari queen Mrignayani; it is a living document of the entire milieu of the Gwalior kingdom in the 15th-16th centuries. The novel’s unique depiction of its setting is its greatest strength, which can be understood through the following points:

1. Historical and Political Milieu: In the novel’s background, the political conflict between the Sultan of Delhi, Sikandar Lodi, and the King of Gwalior, Man Singh Tomar, is a constant presence. Varma has realistically depicted the war strategies, treaties, conspiracies, and diplomatic maneuvers of that era. The strategic importance of the Gwalior Fort and the efforts to defend it are a significant part of the narrative. This political tension maintains a constant pace and thrill in the story.

2. Cultural Milieu: The environment of ‘Mrignayani’ is culturally very rich.

• Music: The novel presents a picture of the golden age of Indian classical music, especially Dhrupad singing . Raja Man Singh himself was a great musician and, along with Mrignayani, conducted new experiments in the field of music. The foundation of the Gwalior music gharana was laid in this era. The mention of musicians like Baiju Bawra also makes this setting authentic.
• Architecture and Art: The novel contains beautiful descriptions of the architecture of the Gwalior Fort, Gujari Mahal, Man Mandir, etc. The Gujari Mahal was built by Man Singh for Mrignayani, which symbolizes not only their love but also the architectural art of the time.

3. Social and Geographical Milieu: Varma has vividly depicted not only the courtly life but also the life of the common people, especially the lifestyle, customs, and valor of the Gujjar community . Mrignayani comes from this community, and her fearlessness, simplicity, and closeness to nature are a product of her environment. The natural beauty of Rai village, the forests, rivers, and rural life provide a solid geographical base to the story.

4. Folk Elements: The novel also incorporates folk wisdom, knowledge of herbs, and traditional beliefs through characters like Lakhi Natni. This makes the novel’s milieu more comprehensive and realistic.

In conclusion, in ‘Mrignayani’, the milieu is not just a backdrop but an active and integral part of the story. It shapes the characters, directs the events, and elevates the novel from a historical romance to the status of a cultural epic.

Q7. Evaluate the purpose of the novel ‘Aapka Bunty’.

Ans. Mannu Bhandari’s novel ‘Aapka Bunty’ (Your Bunty, 1971) is a groundbreaking work in Hindi literature, whose main purpose is to highlight the psychological tragedy of a child caught in the crossfire of the breakdown of modern marital life. The evaluation of its purposes can be done as follows:

1. Realistic Portrayal of Child Psychology: The foremost objective of the novel is to unfold the layers of an insecure, fearful, and lonely child’s (Bunty’s) mind. The deeply moving and realistic portrayal of how Bunty loses his identity, his home, and his childhood in the process of his parents’ (Shakun and Ajay) divorce and remarriage is the core of the novel. The author wants to show that children are the most silent and profound victims of adults’ decisions.

2. Critique of Adult Egocentrism: An important objective of the novel is to attack the egotism and self-centeredness of adults. Both Shakun and Ajay try to move on in their lives, find new partners, and be ‘happy’, but in this process, they forget that their son is becoming emotionally orphaned. They love Bunty, but are unable to understand his pain. The title ‘Aapka Bunty’ itself is a satire on how Bunty is divided like an object between ‘yours’ and ‘mine’.

3. Deconstruction of the Concept of ‘Home’: Through this novel, Mannu Bhandari shatters the traditional and secure concept of ‘home’. For Bunty, home is not a permanent shelter but a temporary stop. His mother’s house, his father’s new house, and finally the hostel—all these places give him a sense of insecurity and alienation. Thus, the novel brings forth the tragedy of emotional homelessness.

4. Depiction of the Modern Woman’s Conflict: Through Shakun, the author has also presented the internal conflict of a modern, educated, and independent woman. After the divorce, she tries to create an independent identity for herself but gets entangled in the complexities of motherhood and new relationships.

Evaluation: ‘Aapka Bunty’ is completely successful in its objectives. It is not just a story of a child but a psychological document of a serious crisis in modern society. Its language, craft, and realistic portrayal of characters make it so effective that it shakes the readers to their core. This novel compels society to think about the price that children ultimately have to pay for family disintegration.

Q8. Write short notes on any two of the following topics:

(b) The dialogue scheme of ‘Tyagpatra’

Ans. The dialogue scheme of Jainendra Kumar’s novel ‘Tyagpatra’ is an excellent example of his unique psychological style. The main features of its dialogue scheme are:

• Brevity and Suggestiveness: The dialogues in the novel are not long and descriptive, but extremely brief, crisp, and symbolic . Characters express very deep emotions in a few words. Most of the meaning is hidden in the silence or the ‘unsaid’ between the words.
• Psychological Depth: The main purpose of the dialogues is not to advance the story, but to reveal the mental state of the characters, their internal conflicts, and their dilemmas. Mrinal’s dialogues reflect her pain, spontaneity, and rebellion, while Pramod’s dialogues show his intellectual inertia and indecisiveness.
• Internal Monologue: The novel uses internal dialogue or monologue far more than external dialogues. The narrator, Pramod, constantly talks to himself, analyzes the events of Mrinal’s life, and repents his cowardice. This internal monologue provides the novel with its philosophical and psychological depth.
• Philosophical Touch: The dialogues often reflect Jainendra’s philosophical contemplation on subjects like life, society, morality, and duty. These dialogues compel the reader to think as well.

In short, the dialogue scheme of ‘Tyagpatra’ is a powerful medium for bringing out the inner world of the characters rather than external activities.

(d) Novelist Mannu Bhandari

Ans. Mannu Bhandari (1931-2021) was a powerful voice of the ‘Nai Kahani’ (New Story) movement and an important novelist and storyteller in Hindi. Her works realistically depict the hopes, aspirations, frustrations, and changing human relationships of the urban middle class in post-independence India. Her main characteristics as a novelist are:

• Portrayal of the Modern Woman: Mannu Bhandari is particularly known for her portrayal of the modern, educated, working woman who is struggling for her identity. Her female characters break traditional molds and are conscious of their existence and rights. Shakun in ‘Aapka Bunty’ and Deepa in ‘Mahabhoj’ are powerful examples.
• Disintegration of Familial and Marital Relationships: In her works, she has depicted the breakdown of family and marital relationships due to the complexities of modern life with great subtlety and psychological insight. The novel ‘Aapka Bunty’ is a timeless work on this subject, a poignant document of the impact of divorce on a child.
• Political and Social Satire: In her novel ‘Mahabhoj’ , she has boldly exposed the ugly face of Indian politics, the power games, corruption, and the role of the media. This novel is considered one of the best political novels in Hindi.
• Craft and Language: Mannu Bhandari’s language is very simple, restrained, and suited to the characters. She presents harsh reality without any embellishment or sentimentality. Her craft is realistic, and she creates characters with psychological insight.

Her major novels are ‘Aapka Bunty’, ‘Mahabhoj’, and ‘Ek Inch Muskan’ (co-authored with Rajendra Yadav). Mannu Bhandari’s contribution is to have enriched Hindi fiction with a new sensibility and a sense of realism.