IGNOU BUDC-131 Solved Question Paper PDF Download

IGNOU BUDC-131 Previous Year Solved Question Paper in Hindi

IGNOU BUDC-131 Previous Year Solved Question Paper in English

Q1. Explain any two of the following: (a) Jogi na ho to kya ho tuk haal to bayaan kar Kis cheez ka hai jogi tu kis liye hai jogi Kya dhyaan hai tera aur kya gyaan hai tera Kis devta ka chela aur kya hai naam tera (b) Ae khaak-e-hind teri azmat mein kya gumaan hai Dariya-e-faiz-e-qudrat tere liye rawaan hai Tere jabeen se noor-e-husn-e-azal ayaan hai Allah re zeb-o-zeenat kya auj-e-izz-o-shaan hai (c) Jab apna qaafila azm-o-yaqeen se niklega Jidhar bhi chahenge rasta waheen se niklega Watan ki mitti mujhe ediyan ragadne de Mujhe yaqeen hai ke chashma yaheen se niklega (d) Shafaq, dhanak, mehtaab, ghataein, taare, naghme, bijli, phool In mein to koi cheez aisi nahi jo tere jaisi ho Yeh sab kuch to faani hai lekin tu baaqi hai aur rahegi

Ans. (a) Context and Explanation: This stanza is taken from the poem ‘Jogi Nama’ by the famous ‘people’s poet’ ( Awaami Shayar ) of Urdu, Nazir Akbarabadi . In this poem, the poet engages in a dialogue with a Jogi (an ascetic or yogi) and tries to understand the profound mysteries of life, the world, and spirituality.

Explanation: The poet asks the Jogi, “O Jogi, if you are truly a Jogi, then tell me a little about your state and your secrets. What is it that you seek, and why have you become a Jogi? What is the focus of your meditation, and what knowledge do you possess? Which deity are you a disciple of, and what is your real name?” In this stanza, Nazir raises philosophical questions using simple and direct language. Through the character of the Jogi, he seeks to understand the essence of worldly renunciation and spiritual quest. This stanza represents Nazir’s style, where he contemplates the great truths of life through common characters.

(b) Context and Explanation: This stanza is from the famous poem ‘Khaak-e-Hind’ (The Soil of India) by Pandit Brij Narayan Chakbast . This poem is an expression of deep love and reverence for India and is considered a masterpiece of patriotic poetry in Urdu.

Explanation: The poet addresses the land of India, saying, “O soil of India, there can be no doubt about your greatness. The river of nature’s grace and generosity flows for you.” The poet further says that from India’s forehead (jabeen), the light of eternal beauty (husn-e-azal) is evident. He exclaims with wonder and admiration, “O Allah! How splendid is your beauty and adornment, and how high is the peak of your honour and glory.” In this stanza, Chakbast personifies India as a mother and praises its natural beauty, spiritual heritage, and glorious history. The stanza reflects the poet’s deep reverence for India and its greatness.

(c) Context and Explanation: These couplets are from a famous ghazal by the prominent modern Urdu poet, Ahmed Faraz . Faraz is known for his romantic and revolutionary poetry, and these couplets clearly express feelings of hope, determination, and deep attachment to the motherland.

Explanation: In the first couplet, the poet says that when our caravan sets out with determination and faith (azm-o-yaqeen), a path will emerge wherever we wish it to. This couplet emphasizes the power of self-belief and collective will. It means that if people unite and march towards a goal, no obstacle can stop them. In the second couplet, the poet expresses his deep connection to his homeland (watan). He says, “Let me rub my heels on the soil of my country, for I am certain that the spring (of success and prosperity) will gush forth from this very spot.” This couplet symbolizes sacrifice, dedication, and the belief that progress is only possible through a connection with one’s own land.

(d) Context and Explanation: This stanza is taken from the poem ‘Chakle’ (The Brothels) by the renowned progressive poet and lyricist, Sahir Ludhianvi . The poem presents the tragedy and irony of the lives of a marginalized section of society—prostitutes—whose art and beauty are bought by society, but who are denied respect.

Explanation: The poet lists various beautiful forms of nature and art—such as the evening twilight (shafaq), rainbow (dhanak), moon (mehtaab), clouds (ghataein), stars, songs (naghme), lightning, and flowers. He then compares all these beautiful things to the woman (prostitute) who has been disgraced by society. The poet says that among all these natural beauties, there is nothing that is like you. He further states that all these things are mortal (faani) and will one day perish, but your existence (as a social reality and tragedy) is eternal and will remain. Through this stanza, Sahir makes a profound satirical comment on society’s hypocrisy. He suggests that the existence of the women whom society buys and sells is more permanent and real than the natural beauties that people admire. It is a powerful social commentary.

Q2. Define Ghazal and shed light on its constituent parts.

Ans. The Ghazal is the most popular and significant genre of Urdu poetry. The word ‘Ghazal’ literally means “to talk to one’s beloved” or “to speak of love”. However, with time, its themes have expanded to include philosophy, mysticism, socio-political commentary, and various aspects of life, in addition to love.

The most defining feature of a ghazal is that each couplet ( sher ) is a self-contained unit of meaning and is independent. However, all the couplets are bound together by a single behr (meter) , qaafiya (rhyme) , and radif (refrain) , which gives it a structured form.

Constituent Parts of a Ghazal (Ajza-e-Tarkeebi): The structure of a ghazal is based on specific rules, and its main components are as follows:

• Matla: This is the first couplet of the ghazal. Both its lines (misras) follow the qaafiya and radif. A ghazal can have more than one matla.
• Radif: This is the word or group of words that is repeated at the end of both lines of the matla and at the end of the second line of every subsequent sher. A radif is not mandatory for a ghazal, but most ghazals have a radif.
• Qaafiya: This refers to the rhyming words that come just before the radif. The qaafiya is used in both lines of the matla and in the second line of all other shers.
• Maqta: This is the last couplet of the ghazal, in which the poet uses his ‘takhallus’ (pen name) . It is a way for the poet to insert his signature into the poem.
• Behr: This is the meter of the ghazal. The entire ghazal is written in the same behr, which provides it with a rhythmic and musical quality.
• Sher: This is a two-line unit that expresses a complete thought or feeling. A ghazal should have a minimum of five shers.

For example, consider the matla of a ghazal by Mir Taqi Mir: “Ulti ho gayin sab tadbeerein kuch na dawa ne kaam kiya / Dekha is beemari-e-dil ne aakhir kaam tamaam kiya”. Here, ‘kaam’ is the qaafiya and ‘kiya’ is the radif.

Q3. Write a detailed note on the art of the Qasida.

Ans. Qasida is a word of Arabic origin, meaning ‘to intend’ or ‘to move towards a goal’. In Urdu poetry, a qasida is a long poem written primarily with the objective of praising someone ( madah ) or satirizing them ( hajv ). Traditionally, qasidas were written in praise of kings, nobles, chieftains, or revered religious figures, for which the poet was rewarded with gifts and honour.

The Art and Structure of a Qasida: Writing a qasida is considered a complex and skillful art. It requires the poet to have exceptional command over language, a lofty imagination, and the ability to use grandiloquent words. The structure of a qasida typically consists of five main parts, known as ‘Ajza-e-Tarkeebi’ :

• Tashbeeb: This is the introductory part of the qasida. The poet does not directly start with the main subject but builds up a prelude. This can include descriptions of spring, love, youth, philosophy, or the beauty of nature. Its purpose is to capture the attention of the listener or reader.
• Gurez: This is a beautiful and artistic transition from the tashbeeb to the main subject (praise). The poet very cleverly moves from the introductory theme to the person who is to be praised. A good gurez enhances the quality of the qasida.
• Madah (Praise): This is the most important and extensive part of the qasida. Here, the poet extols the virtues of his ‘mamdooh’ (the one being praised). His bravery, generosity, wisdom, justice, and power are described in an exaggerated manner. The poet uses his full poetic genius to make this part impressive.
• Husn-e-Talab (Graceful Supplication) or Mudda’a: After the praise, the poet presents his own wish or need in a very graceful and artistic manner. This is often done through hints rather than a direct request.
• Dua (Prayer): This is the concluding part of the qasida. The poet prays for the long life, success, and prosperity of his patron, thus ending the poem on a positive note.

In Urdu, Mirza Muhammad Rafi ‘Sauda’ and Sheikh Ibrahim ‘Zauq’ were masters of the qasida. Sauda wrote both panegyric and satirical qasidas, while Zauq was associated with the Mughal court and wrote many qasidas in praise of Bahadur Shah Zafar. The qasida is not just a poetic genre but also an important source of the social and cultural history of its time.

Q4. Comment on the popular poetry of Nazir Akbarabadi.

Ans. Nazir Akbarabadi (1735-1830) holds a unique position in Urdu literature and is rightly called the ‘Awaami Shayar’ (The People’s Poet) . At a time when Urdu poetry was steeped in courtly and elitist culture, dominated by Persian traditions, and limited to themes of love and praise, Nazir chose a completely different path. He took his poetry out of the confines of the court and connected it to the life, joys, sorrows, and culture of the common man.

Key Features of Nazir’s Popular Poetry:

1. Thematic Diversity: Nazir’s poetic canvas is vast. He wrote poems on subjects that were not previously considered worthy of poetry. His poems like ‘Aadmi Nama’ (Ode to Man), ‘Banjara Nama’ (The Nomad’s Chronicle), ‘Muflisi’ (Poverty), and ‘Rotiyan’ (Bread) depict the different forms of human beings, the transience of life, the pain of poverty, and the basic necessities of life.

2. Cultural Depiction: Nazir brought the composite culture of India (Ganga-Jamuni tehzeeb) to life in his poetry. He wrote beautiful poems on festivals like Holi, Diwali, Eid, and Shab-e-Barat. He also wrote about the local seasons, fairs, kite-flying, and even animals (like ‘Reechh ka Baccha’ – The Bear Cub), which shows his keen powers of observation.

3. Simple and Accessible Language: Unlike the court poets who used Persianized and complex language, Nazir used the language of the common people. He incorporated Khariboli, Brajbhasha, and local idioms into his poetry, which made his poems accessible and beloved to the masses.

4. Philosophical Depth: Despite its simplicity, Nazir’s poetry contains deep philosophical and spiritual thought. In ‘Banjara Nama’, he talks about the ephemerality of the world and the inevitability of death, while in ‘Aadmi Nama’, he highlights both the good and bad aspects of human nature.

In conclusion, Nazir Akbarabadi made poetry a mirror of society. He made the common man the hero of his poetry and gave voice to every aspect of his life. For this reason, he is truly the ‘People’s Poet’, and his place in Urdu literature will always be special.

Q5. Describe the characteristics of Faiz Ahmed Faiz’s ghazal writing.

Ans. Faiz Ahmed Faiz (1911-1984) is one of the most influential Urdu poets of the 20th century. He was a leading figure of the Progressive Writers’ Movement (Taraqqi Pasand Tehreek) , and his poetry exhibits a unique blend of romanticism and revolution. Faiz gave new meanings and dimensions to the traditional genre of the ghazal.

The Main Characteristics of Faiz’s Ghazal Writing are:

1. Fusion of Tradition and Modernity: Faiz retained the classical symbols and metaphors of the ghazal (like mahboob – beloved, raqeeb – rival, daar-o-rasan – gallows, qafas – cage), but he imbued them with new social and political meanings. His ‘beloved’ is not just a lover but also a symbol of revolution, freedom, or an ideal society. Similarly, the ‘rival’ is a symbol of the oppressive regime or imperialist forces.

2. Merging the Pain of Love and the Sorrows of the World: The greatest quality of Faiz’s poetry is that he merged the personal pain of love with the social and political sorrows of the world. His famous poem “Mujhse Pehli Si Mohabbat Miri Mehboob Na Maang” (My love, do not ask me for that former love) is the best example of this, where he states that besides the sorrow of love, there are many other sorrows in the world, such as poverty, exploitation, and slavery.

3. Progressive Ideology: Faiz’s poetry is deeply imbued with his progressive and socialist ideology. He raises his voice for the rights of the oppressed, the workers, and the downtrodden. His ghazals carry a message of resistance against tyranny, a longing for freedom, and hope for a better future. As in his couplet: “Nisaar main teri galiyon ke ae watan, ki jahan / Chali hai rasm ki koi na sar utha ke chale” (I sacrifice myself for your streets, O homeland, where / The custom is that no one may walk with their head held high).

4. Lyrical Quality and Aesthetic Sense: Despite its revolutionary content, Faiz’s poetry possesses a wonderful lyricism, gentleness, and aesthetic sense. His language is refined and melodious. He presents complex political ideas in a soft and heart-touching manner, which sets him apart from other revolutionary poets.

5. Optimism: Whether in prison or in exile, a ray of hope is always present in Faiz’s poetry, even in moments of deep despair. He firmly believed that the dark night would eventually be followed by morning. His famous couplet is: “Dil na-umeed to nahi, nakaam hi to hai / Lambi hai gham ki shaam, magar shaam hi to hai” (The heart is not without hope, it is only unsuccessful / Long is the evening of sorrow, but it is just an evening).

In short, Faiz gave the ghazal a new political and social consciousness, making it the voice of the people’s struggles, while also preserving its traditional beauty and charm.

Q6. Present an introduction to the Progressive Writers’ Movement.

Ans. The Progressive Writers’ Movement (Taraqqi Pasand Tehreek) was the most significant and influential movement in 20th-century Indian literature, especially in Urdu literature. It was more than a literary movement; it was a socio-political and ideological movement that redefined the purpose and role of literature.

Origin and Objectives: The movement was formally launched in Lucknow in 1936 , with the first conference of the Progressive Writers’ Association , presided over by Munshi Premchand . The foundation for this movement was laid in London in 1935 by a group of Indian students and intellectuals, such as Sajjad Zaheer, Mulk Raj Anand, and Jyoti Ghosh. The movement was inspired by Marxist and socialist ideologies, and its main slogan was “Literature for life’s sake” (Adab baraye Zindagi) , in opposition to the principle of “Art for art’s sake”.

The main objectives of the movement were:

• To connect literature with the realities of society, moving away from a world of entertainment and fantasy.
• To highlight problems such as poverty, hunger, social injustice, casteism, feudalism, and imperialism through literature.
• To promote rationalism and a scientific outlook and to oppose superstition and conservatism.
• To make literature a powerful tool for social change and revolution.

Impact and Contribution: The Progressive Movement had a deep and lasting impact on Urdu literature.

• Change in Themes: The focus of literature shifted from kings, queens, and fairies to the life struggles of peasants, workers, Dalits, and women.
• Development of Genres: The Afsana (short story) and the Nazm (poem) in particular became powerful mediums for expressing the movement’s ideas.
• Key Figures: Many great writers and poets were associated with this movement, including Sajjad Zaheer, Faiz Ahmed Faiz, Saadat Hasan Manto, Ismat Chughtai, Krishan Chander, Rajinder Singh Bedi, Ali Sardar Jafri, and Kaifi Azmi.

Although the movement weakened organizationally after the 1950s, the social consciousness and realist perspective it brought to Indian literature can still be felt today. It made literature the voice of the masses and instilled in it a sense of social responsibility.

Q7. Discuss the origin and evolution of the Urdu short story.

Ans. The Urdu Afsana (short story) emerged as a significant literary genre in the early 20th century. Its development was a major turning point in Urdu literature, paving the way for realistic and psychological portrayal, moving away from the tradition of old epic tales (dastans) and fables.

Origin (Aghaaz): The modern short story in Urdu was born under the influence of Western literature, particularly from Russian and French writers like Chekhov and Maupassant. While both Munshi Premchand and Sultan Haider Josh are named as pioneers of the Urdu short story, Premchand is widely regarded as its true founder.

Premchand’s first short story, “Duniya Ka Sabse Anmol Ratan” (The Most Precious Jewel in the World) , was published in 1907. Initially, his stories were didactic and reformist, but he gradually moved towards realism. He made rural India, the problems of farmers, the caste system, and social evils the subjects of his stories.

Evolution (Irtiqa): The evolution of the Urdu short story can be seen in several phases:

1. The Premchand Era: This was an era of realism and social reform. Besides Premchand, writers like Sudarshan and Azam Kurevi also contributed during this period.

2. The Progressive Movement Era (Post-1936): This was the golden age of the Urdu short story. The genre became a powerful weapon for social and political change. Writers courageously touched upon new and controversial subjects.

• Saadat Hasan Manto: He wrote bold and psychologically deep stories on social hypocrisy, prostitution, and the horrors of the Partition. ‘Khol Do’ and ‘Toba Tek Singh’ are his masterpieces.
• Ismat Chughtai: She wrote fearlessly about the world of middle-class Muslim women, their suppressed desires, and sexuality. ‘Lihaaf’ (The Quilt) is her most controversial story.
• Krishan Chander and Rajinder Singh Bedi also wrote powerful stories on social inequality and human relationships in a realistic style.

3. The Modernist Era (Post-1960): In this period, the focus of the short story shifted from external reality to internal reality, i.e., individual loneliness, existential crisis, and psychological complexities. Symbolism, allegory, and stream of consciousness techniques became more important than plot. Key writers of this stream include Anwar Sajjad, Surendra Prakash, and Balraj Manra.

4. Contemporary Era: Today’s Urdu short story is a mixture of diverse themes and styles, including issues like globalization, identity crisis, and political turmoil.

Thus, in a short span of a century, the Urdu short story has evolved from the imaginary world of the dastan to become a subtle and powerful mirror of the complex realities of human life and society.

Q8. Take a critical review of the short story ‘Kafan’.

Ans. ‘Kafan’ (The Shroud) is a timeless short story written by Munshi Premchand, published in 1936. It is considered not only one of Premchand’s best works but also a milestone in Hindi and Urdu fiction. This story reaches an extreme of realism where there is no room for idealism.

Plot Summary: The story centers on two characters – Ghisu (the father) and Madhav (the son) . They are extremely poor and lazy men from a low caste. Madhav’s wife, Budhiya, is in labour, but the two are so desensitized that instead of helping her, they sit outside by a fire, roasting and eating potatoes. Budhiya dies by morning. The two collect money from the villagers for her shroud (kafan). However, instead of buying the shroud, they end up spending the money on alcohol and food. They justify this by saying that the shroud would have been burnt with the corpse anyway; at least this money brought solace to their own souls.

Critical Review:

1. Extreme Realism: ‘Kafan’ marks Premchand’s transition from idealistic realism to complete realism. It presents such a stark and brutal depiction of poverty and hunger that it shakes the readers. It shows how extreme poverty can strip a person of their humanity and moral values.

2. Characterization: Ghisu and Madhav are not villains but products of a cruel and exploitative social system. Society has broken them to the point that they have no shame, responsibility, or emotion left. Their laziness is not just their nature but also a form of passive resistance against a social system that keeps them hungry despite their labour.

3. Critique of the Socio-Economic System: This story is not just about two individuals; it is a sharp satire on the feudal and caste-based system that forces human beings to become like animals. Ghisu’s statement, “What’s the use of a shroud for a dead person?” is a powerful attack on society’s religious and social conventions.

4. Controversial Ending: The ending of the story, where they spend the shroud money on alcohol, is highly controversial and shocking. It challenges traditional morality. Premchand forces the reader to ask the question: who is the real culprit – Ghisu and Madhav, or the society that has pushed them into this condition?

In conclusion, ‘Kafan’ is a profound psychological and social story that analyzes the dehumanizing effects of poverty. It represents the pinnacle of Premchand’s art, forcing us to confront the bitterest truths of society.

Q9. Shed light on the art of sketch writing (khaka).

Ans. Khaka-Nigari is an interesting and important genre of Urdu prose. The literal meaning of ‘khaka’ is ‘sketch’ or ‘outline’. In literature, khaka-nigari means to present a portrait of a person through words in such a way that their entire personality, habits, mannerisms, and character come alive before the reader’s eyes. It is different from a biography because its purpose is not to give a detailed account of facts and dates, but to capture the essence of the person’s character and personality.

The Art and Characteristics of Khaka-Nigari:

1. Holistic Portrayal of Personality: A successful khaka does not just extol the virtues of a person. It is a balanced genre in which both the person’s strengths (khoobiyan) and weaknesses (khaamiyan) are presented honestly. A khaka writer is like a painter who creates a complete picture with a few strokes, a picture that has both light and shadow.

2. Personal Touch and Informality: A khaka is often written by someone who knows the subject personally. Therefore, it has a personal and informal touch. The writer uses their experiences, meetings, and associated memories to draw a portrait of the person.

3. Selection of Incidents and Dialogues: The khaka writer selects those small incidents, anecdotes, and dialogues from the person’s life that best reveal their character. A small incident or a single dialogue can help in understanding the entire personality of the person.

4. Lively and Engaging Style: The language of a khaka is usually very lively, simple, and engaging. It often contains elements of humour and satire. Its purpose is to entertain the reader as well as to inform them.

5. Brevity: A khaka is not as detailed as a biography. It is concise, but even in its brevity, it succeeds in presenting a complete and memorable portrait of the person.

Khaka-Nigari in Urdu: The tradition of khaka-nigari in Urdu is very rich. Mirza Farhatullah Baig’s khaka, “Nazeer Ahmad Ki Kahani, Kuch Unki Kuch Meri Zabani” (The Story of Nazeer Ahmad, a little by him, a little by me), is considered the first significant khaka in Urdu. Besides him, Rasheed Ahmad Siddiqui, Saadat Hasan Manto, Ismat Chughtai, and Maulvi Abdul Haq have also written excellent khakas and enriched this genre. Manto’s collection of khakas, ‘Ganjay Farishtay’ (Bald Angels), is a brilliant example of this genre.