IGNOU BUDC-108 Solved Question Paper PDF Download

IGNOU BUDC-108 Previous Year Solved Question Paper in Hindi

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Q1. Explain any two of the following excerpts with reference to context: (a) “For God’s sake, help me and pray for me that I get my beloved and I achieve my goal, otherwise I will kill myself. One day, upon hearing my state, you will regret that a certain person needlessly lost his life in my love.” (b) “Listen, O dervish, is this a city or an enchantment? Am I awake or asleep? I cannot understand what I am seeing. No sign of any man or human being is visible. Every shop and mansion is present as it should be, and in every shop, merchandise is laid out in its place.” (c) “When I saw that there was no escape from this illness, and death had suddenly placed its foot on my head, and no way of life was visible, then I too resolved to die.”

Ans. Model answers for (a) and (b): (a) Explanation Reference to Context: This excerpt is taken from the timeless Dastan (tale) “Bagh-o-Bahar” by Mir Amman Dehlavi . It is part of the story of the first dervish. The first dervish, a prince of Yemen, falls in love with a princess from Damascus. After many difficulties, when he meets her, the princess asks him to wait for her at a place near her palace. While waiting, he sees a beautiful young man emerge from a box. The princess meets the young man, but her Abyssinian slave sees them, and in a fit of rage, wounds both the princess and the young man. The dervish witnesses all this and becomes extremely sad and desperate. The given lines are uttered by the dervish in this state of despair when he meets a man of God (mard-e-khuda). Explanation: In these lines, the first dervish, after narrating his sad story to a man of God, is pleading for help. His language reflects deep despair, helplessness, and the intensity of his love . He says, “For God’s sake, help me and pray that I find my beloved and achieve my objective.” His desperation has reached a point where he threatens suicide. He says that if his goal is not met, he will end his life, and then his beloved will regret hearing that someone needlessly lost their life for her love. This statement reflects the tradition of Dastan characters who are ready to sacrifice their lives for love. Mir Amman has used simple, natural, and conversational language here, which is the most significant characteristic of Fort William College prose. There is no artificiality or formality, but a simple and heartfelt plea. (b) Explanation Reference to Context: This excerpt is also from the famous Dastan “Bagh-o-Bahar” by Mir Amman Dehlavi . This scene occurs after King Azad Bakht, having heard the stories of the four dervishes, decides to help them. With the help of the jinn of Malik-us-Sadiq, he finds Prince Nimroz in a deserted city, who is trapped in an enchantment (tilism). When Azad Bakht enters the city, he is astonished by its strange and mysterious condition. The given lines express the surprise and wonder of King Azad Bakht, which he conveys to one of his companions (possibly a dervish). Explanation: These lines depict King Azad Bakht’s state of extreme astonishment. He is in a city that is fully furnished and decorated, but there are no humans or living beings. He asks his companion, “Listen, O dervish, is this a city or some magic (enchantment)?” He cannot believe his eyes and wonders if he is dreaming. He says he cannot comprehend what he is seeing. Every shop and mansion is in perfect condition, and the goods are arranged in the shops, but there is no one to use them. This scene creates a mysterious and magical atmosphere , which is an important element of Dastans. Mir Amman’s language here is also extremely simple and effective . By using common words instead of complex ones, he has brought an otherworldly scene to life for the reader. This excerpt is an excellent example of the narrative art and popularity of “Bagh-o-Bahar”.

Q2. Write a comprehensive note on the literary services of Fort William College.

Ans. Fort William College was established in 1800 in Calcutta by the then Governor-General, Lord Wellesley . The primary objective of the college was to educate young British civil servants in Indian languages, culture, and laws to enable them to govern effectively. For the instruction of Urdu (then called Hindustani), Dr. John Gilchrist was appointed as the head of the Hindustani department. The literary services of Fort William College are of historical importance for the development of Urdu prose. Dr. Gilchrist took several significant steps to promote Urdu prose:

• Encouragement of Simple Prose: Gilchrist realized that the traditional Urdu prose style of the time, which was heavily Persianized, ornate, and difficult to understand for British officials, was not practical. Therefore, he encouraged writers to write in a simple, lucid, and conversational language .
• A Group of Writers: He appointed several writers like Mir Amman, Haidar Bakhsh Haidari, Sher Ali Afsos, and Nihal Chand Lahori, who were tasked with writing or translating books into simple prose.
• Important Works: Many important books were written under the patronage of this college. The most famous among them is Mir Amman’s “Bagh-o-Bahar” , which is still considered a model for its simple and idiomatic language. Other significant works include Haidar Bakhsh Haidari’s “Aaraish-e-Mehfil”, Nihal Chand Lahori’s “Mazhab-e-Ishq”, and Sher Ali Afsos’s “Bagh-e-Urdu”.
• Changed the Direction of Urdu Prose: Fort William College rescued Urdu prose from the clutches of ornate and complex style (musajja aur muqaffa nasr) and gave it a practical, communication-oriented, and modern form. It freed prose from the influence of poetry and provided it with an opportunity to develop independently.

In conclusion, Fort William College, even if unintentionally, opened a new path for Urdu prose. It provided Urdu with a style that was not only suitable for administration but also for future literary, educational, and journalistic purposes. That is why it is called the

cradle of modern Urdu prose

.

Q3. Why is ‘Sabras’ called the first literary prose work of Urdu? Discuss with arguments.

Ans. “Sabras” , written by Mulla Wajhi in 1635 , is considered a milestone in the history of Urdu literature and is generally credited with being the first literary prose work (adabi nasri tasneef) of Urdu. There are several solid reasons for this: 1. Literary Intent: While some prose samples in Deccani Urdu exist before “Sabras,” such as “Meraj-ul-Ashiqin,” those works were primarily written for the propagation of religious or Sufi doctrines, and their main objective was not to present literary beauty. In contrast, “Sabras” is a complete literary work , written with artistic intent. It is an allegorical Dastan that personifies the conflict between ‘Aql’ (Intellect) and ‘Dil’ (Heart) through characters. 2. Narrative Structure: “Sabras” has a well-formed story with all the characteristics of a literary narrative, including characters, plot, and climax. It is not just a collection of sermons but an interesting story of ‘Husn’ (Beauty) and ‘Ishq’ (Love), which keeps the reader engaged. This establishes it as a creative and literary prose work. 3. Stylistic Consciousness: Mulla Wajhi employed a specific prose style in “Sabras,” known as ‘musajja aur muqaffa nasr’ (rhyming and rhythmic prose) . It features rhyming at the end of sentences and a certain cadence. Although this style seems archaic today, it was an attempt at the time to make prose artistic. The author’s consciousness of his style and his effort to embellish it artistically is what makes “Sabras” a literary work. 4. Use of Imagination and Allegory: “Sabras” is based on Ibn-e-Sina’s “Qissa-e-Husn-o-Dil,” but Wajhi reshaped it with his own imagination and creativity. He personified abstract concepts like Nazar (Gaze), Khayal (Thought), Ghamza (Coquetry), and Wafa (Fidelity) as characters. This allegorical technique is indicative of high literary skill. For these reasons, “Sabras” is not just considered an old prose book, but the first consciously literary prose work in Urdu. It laid a foundation for future prose writers and proved that high-level literary prose could be created in the Urdu language.

Q4. Throw light on the reasons for the popularity of ‘Bagh-o-Bahar’.

Ans. “Bagh-o-Bahar” (1803) , written by Mir Amman Dehlavi , is one of those timeless Urdu works that remains as popular and relevant today as it was two centuries ago. There are several reasons for its immense popularity, which are as follows: 1. Simple, Lucid, and Idiomatic Language: The biggest reason for the popularity of “Bagh-o-Bahar” is its language. Mir Amman used the standard and conversational language of Delhi . He abandoned the traditional ornate and Persian-heavy prose style of the time and adopted a language that was direct, simple, and heartwarming. The natural use of idioms and proverbs adds a special charm and liveliness to the language. 2. Interesting Story and Plot: The story of “Bagh-o-Bahar” is very entertaining. It is based on a structure of stories within a story. The tales of King Azad Bakht and the four dervishes keep the reader hooked until the end. Each story is a beautiful blend of adventure, love, mystery, and human emotions, making it appealing to readers of all ages. 3. Vivid Characterization: The characters in this Dastan are very lifelike. Whether it’s the four dervishes, King Azad Bakht, or other minor and major characters, all leave an impression on the reader’s mind with their unique traits. Their joys, sorrows, and struggles feel relatable to the reader. 4. Cultural Depiction: “Bagh-o-Bahar” is a beautiful mirror of the culture and civilization of its time, especially of Delhi. It provides glimpses of the customs, lifestyle, and social values of that era, which also makes it an important cultural document. 5. Influence of Fort William College: The book was written for Fort William College under the patronage of Dr. John Gilchrist . Its purpose was to teach the Hindustani language to British officials. Because of this, it was widely promoted as a textbook, which further increased its popularity. In conclusion, the simple and charming language, entertaining plot, and vivid cultural depiction of “Bagh-o-Bahar” have given it a unique place in Urdu prose. It is still considered the best model of simple and effective prose .

Q5. Enlist the characteristics of the narrative style of ‘Fasana-e-Ajaib’.

Ans. Rajab Ali Baig Suroor’s “Fasana-e-Ajaib” (1824) is an important Urdu Dastan, especially known for its unique and ornate narrative style (usloob-e-bayan). This Dastan represents the literary tradition of Lucknow and its style is the complete opposite of the simple style of “Bagh-o-Bahar”. The main characteristics of the style of “Fasana-e-Ajaib” are as follows: 1. Muqaffa and Musajja Nasr (Rhyming and Rhythmic Prose): The most prominent feature of Suroor’s prose is rhyme and rhythm. Sentences and phrases are deliberately constructed to create a musicality and cadence. Almost every sentence rhymes with the preceding or following one. This style brings the prose close to poetry. 2. Excessive Use of Persian and Arabic Words: The language of “Fasana-e-Ajaib” is highly Persianized. Suroor used an abundance of rare and difficult Persian and Arabic words, idioms, and compounds to display his erudition and command of the language. This language is beyond the comprehension of the common man and was written for a specific educated class. 3. Exaggeration and Embellishment: Suroor made extensive use of hyperbole (mubaligha) in his descriptions. Whether describing a palace, the beauty of a character, or a battle scene, he presents everything in an exaggerated and ornate language. There is a profuse use of similes (tashbih), metaphors (isti’ara), and other literary embellishments. 4. Display of Erudition: One of Suroor’s main objectives in writing “Fasana-e-Ajaib” was to demonstrate his linguistic and literary abilities. The Dastan was written in response to the simplicity of Mir Amman’s “Bagh-o-Bahar” to show that the language and style of Lucknow were no less than those of Delhi. Therefore, complexity and artistry are deliberately introduced . 5. Depiction of Lucknowi Culture: Its language and style reflect the refined, formal, and artificial culture of the courts of the Nawabs of Lucknow. Just as formality and ostentation were prevalent in that society, the prose of “Fasana-e-Ajaib” also contains artificiality and formality. In short, the style of “Fasana-e-Ajaib” is artistic, ornate, complex, and scholarly . It is an excellent example of the ornate prose style (Insha Pardazi) in Urdu, which is still a subject of study for literature students for its linguistic craftsmanship.

Q6. Review the prose characteristics of Ghalib’s letters.

Ans. Mirza Asadullah Khan ‘Ghalib’ is not only considered a great pillar of Urdu poetry but is also counted among the pioneers of modern Urdu prose . His letters (khutoot), published in collections named “Oud-e-Hindi” and “Urdu-e-Mu’alla” , completely transformed the tradition of Urdu letter-writing. The prose characteristics of Ghalib’s letters are as follows: 1. Dialogue-like Style: Ghalib’s greatest achievement is that he turned letter-writing from a formal task into a personal and lively conversation. He himself wrote, “I have invented a style of writing where I have turned correspondence into a dialogue (murrasle ko mukalma bana diya).” Reading his letters feels as if Ghalib is sitting and talking to the reader. Instead of lengthy formal titles (alkab), he used simple and intimate words like “Bhai” (brother), “Miyan” (sir), and “Sahab” (Mr.). 2. Simplicity, Naturalness, and Informality: The language of Ghalib’s letters is very simple, natural, and free from artificiality. He used conversational language, which gives his prose a unique freshness and charm. He freely discusses his joys, sorrows, financial struggles, and personal problems, which reveals his personality openly to the reader. 3. Wit and Satire: Like his poetry, Ghalib’s prose is also rich in wit and satire. He can say the most serious things in a light-hearted manner. His humorous tone even in difficult situations shows his resilience. This characteristic makes his letters very entertaining. 4. Historical and Biographical Significance: Ghalib’s letters are not just literary samples but also an important historical document of the society and culture of 19th-century Delhi . The poignant and eyewitness account of the destruction of Delhi after the 1857 Mutiny, which he described in his letters, is not found elsewhere. These letters are an authentic record of his personal life, his friends, and the events of his time. In conclusion, Ghalib’s letters gave a new direction to Urdu prose. He liberated it from formality and complexity and endowed it with simplicity, naturalness, and intimacy, which paved the way for future writers like Sir Syed and Hali.

Q7. Write an essay on the prose writing of Hali.

Ans. Maulana Altaf Hussain ‘Hali’ is counted among the great reformers of Urdu who ushered in a new era not only in poetry but also in prose. He was deeply influenced by Sir Syed Ahmed Khan’s Aligarh Movement and used his writing as a medium for social, moral, and educational reform. The main characteristics of Hali’s prose writing (nasr-nigari) are as follows: 1. Prose with a Purpose: For Hali, prose was not merely a means of entertainment or linguistic acrobatics; it had a clear purpose – the reform and guidance of the nation . Every piece of his writing promotes some reformist idea. He insisted on making literature a critic of life and a guide for society. 2. Simplicity and Clarity: Hali deliberately avoided ornate and complex language. He believed that for ideas to be communicated effectively, the language must be simple, clear, and direct. He presented his arguments in a logical and organized manner so that even the common reader could easily understand them. His prose emphasizes practicality and clarity of thought over artificiality. 3. Critical and Logical Approach: Hali is considered the first conscious critic of Urdu . His masterpiece “Muqaddama-e-Sher-o-Shayari” is the first systematic book of Urdu criticism. In it, he debated the principles of poetry based on logic and analysis and emphasized the social purpose of literature. This logical and analytical approach is visible throughout his prose. 4. Biography Writing: Hali gave a new dimension to the art of biography writing in Urdu. He wrote important biographies like “Hayat-e-Javed” (biography of Sir Syed), “Yadgar-e-Ghalib” (biography of Ghalib), and “Hayat-e-Saadi” (biography of Sheikh Saadi). These are not just life stories of individuals but also a detailed analysis of their times, society, and contributions. He established the tradition of writing biographies with a critical and balanced perspective rather than just heaping praise. In conclusion, Hali’s prose is a literary extension of Sir Syed’s mission. He provided Urdu prose with seriousness, rationality, and a social purpose. His simple, clear, and impactful style played a crucial role in the development of modern Urdu prose and set an example for generations to come.

Q8. Write short notes on any two of the following: (a) Mohammad Husain Azad (b) Insha Allah Khan Insha (c) The prose services of Sir Syed (d) ‘Urdu-e-Mu’alla’

Ans. Model answers for (c) and (d): (c) The Prose Services of Sir Syed Sir Syed Ahmed Khan (1817-1898) was the founder of modern Urdu prose and a great social reformer of 19th-century India. His prose services were an integral part of his Aligarh Movement, which aimed at the educational, social, and intellectual upliftment of Indian Muslims. He made Urdu prose the most powerful medium for propagating his reformist ideas. The main features of his prose services are:

• Purposeful Writing: Sir Syed’s writing was based on the principle of ‘art for life’s sake’ as opposed to ‘art for art’s sake’. He wrote every article, every essay with a specific purpose, whether it was to refute superstitions, advocate for modern education, or attack social evils.
• Simple and Logical Style: To convey his ideas to the masses, Sir Syed adopted an extremely simple, direct, and logical prose style. He completely rejected the traditional ornate and complex prose and focused on expressing ideas clearly.
• The Journal ‘Tahzib-ul-Akhlaq’: In 1870, he started the journal ‘Tahzib-ul-Akhlaq’, which became the main platform for his prose writing. Through this journal, he wrote countless essays and influenced an entire generation with his writing.
• Variety of Subjects: Sir Syed wrote on diverse subjects such as religion, politics, education, social reform, history, and ethics. He broadened the scope of Urdu prose and made it capable of discussing complex and serious topics.

In short, Sir Syed gave Urdu prose a new direction, a new purpose, and a new style, which enabled it to meet the needs of the modern era.

(d) ‘Urdu-e-Mu’alla’

‘Urdu-e-Mu’alla’

is the second collection of Urdu letters (khutoot) by the great poet

Mirza Asadullah Khan ‘Ghalib’

. This collection was published posthumously in 1869. Along with ‘Oud-e-Hindi’, ‘Urdu-e-Mu’alla’ established Ghalib as one of the founders of modern Urdu prose.

The main features of this collection are:

• Conversational and Personal Style: The letters in this collection also showcase Ghalib’s signature conversational style (“murrasle ko mukalma”) at its peak. Reading the letters feels as if Ghalib is sitting face-to-face and conversing with his friends and disciples.
• Historical Importance: Most of the letters in ‘Urdu-e-Mu’alla’ belong to the period after the 1857 Mutiny. These letters present a poignant and authentic depiction of the political turmoil of that time, the ruin of Delhi, and Ghalib’s personal hardships, especially the stoppage of his pension and his financial distress.
• Ghalib’s Personality: Ghalib’s complex and fascinating personality is fully revealed in these letters. His intelligence, wit, sensitivity, loyalty to friends, and his resilience even in difficult times are reflected in these letters.
• Language and Style: The language is extremely simple, fluent, and idiomatic. Ghalib used common conversational language without any artificiality, which makes his prose timeless.

‘Urdu-e-Mu’alla’ is not just a collection of letters, but a precious document of 19th-century history, society, and the life of a great artist.