IGNOU BUDE-143 Solved Question Paper PDF Download

IGNOU BUDE-143 Previous Year Solved Question Paper in Hindi

IGNOU BUDE-143 Previous Year Solved Question Paper in English

Q1. Explain any two of the following excerpts with reference to context. (a) When he lifted his head, tears were flowing from his eyes. He said – Sir, there is no strength left in my hands. The wife died, the children died. Whatever I had, is all gone. Now I live for my livelihood. One has to do everything for the stomach. (b) By God, it seems as if these things had no owner until now. They have come into our possession only now. Amma, now if you look at these things, their reality will be revealed. In the homes of the poor, they seem like a necklace of pearls around the neck of a forest dweller. (c) The head clerk sat silently on his chair, searching for something in the clouds of cigarette smoke. A porter came before him and said, ‘Sir, the train has arrived.’ (d) When he would race his tonga on the city’s roads, there would be a special kind of shine in his eyes. He would talk to the passengers about the new law and tell them that everything would change now. There will be no difference between the white and the black anymore.

Ans. (b) By God, it seems as if… Reference to Context: This excerpt is taken from Munshi Premchand’s masterpiece short story, ‘Kafan’ (The Shroud) . This passage is part of the story’s climax, where Ghisu and his son Madhav are sitting in a tavern, drinking and eating fried bread (puris) with the money they collected as donations for the shroud of Madhav’s deceased wife, Budhiya. This sentence is spoken by Ghisu to his son Madhav at a moment when, for the first time in their lives, they are eating good food not from their own hard-earned money, but from alms. Explanation: This excerpt provides a deep analysis of the psychological state of Ghisu and Madhav and the horror of poverty. Ghisu’s statement that ‘these things had no owner until now’ shows that hunger and deprivation have eroded their sense of right and wrong. They consider the food and alcohol, acquired in the name of a dead person’s last rites, as their own ‘milk-kiyat’ (property). This does not highlight their moral decay as much as it exposes the cruelty of the socio-economic system that has pushed them into this state. ‘In the homes of the poor, they seem like a necklace of pearls around the neck of a forest dweller’ – this line is filled with sharp satire and pathos . It means that good things, good food, and comfort are so irrelevant and unattainable in the lives of the poor that even if they get them, they seem out of place and awkward. It also critiques the irony of a society that cannot provide food to a living person but readily collects money for their shroud after death. Here, Premchand shows how extreme poverty can absolve a person of self-respect and social duties, forcing them to focus solely on fulfilling their immediate physical needs. This quote encapsulates the core theme of the story, which is the dehumanizing effect of poverty .

(d) When he would race his tonga on the city’s roads… Reference to Context: This excerpt is from Saadat Hasan Manto’s famous short story ‘Naya Qanoon’ (The New Constitution) . The protagonist of this story is Ustad Mangu, a tonga (horse-cart) driver. The quote describes the period when the ‘Government of India Act of 1935’ was about to be implemented, and a hope had ignited among common people, especially those like Ustad Mangu, that this ‘new law’ would change everything, end British rule, and usher in an era of equality. Explanation: This excerpt highlights Ustad Mangu’s naivety, his hope, and his deep-seated resentment towards the British regime. The ‘special kind of shine in his eyes’ indicates that he is not just a tonga driver, but a citizen eager for political and social change. By talking to his passengers about the ‘new law,’ he not only shows off his knowledge but also expresses the desire for freedom and equality simmering in his heart. His belief that ‘everything would change now’ and ‘there will be no difference between the white and the black anymore’ lays the foundation for the story’s central satire . Manto brilliantly portrays the political consciousness and aspirations of a common man. Mangu’s thoughts are symbolic of the collective desire of millions of Indians suppressed under colonial rule. However, the story’s ending depicts the tragedy of this hope being shattered when Mangu gets into a scuffle with a ‘gora’ (white) soldier, and the ‘new law’, instead of helping him, sends him behind bars. This excerpt presents the optimistic phase of the story which eventually turns into a cruel irony , and this is the greatest artistic merit of the story. It shows that laws on paper cannot change the life of the common man until the ground reality and the power structure change.

Q2. Write a detailed note on the origin and evolution of the Urdu short story.

Ans. The Urdu Afsana (short story) emerged as a new literary genre in the early twentieth century, distinctly different from the traditional Dastaan (tales/romances). Its development was influenced by Western literature, particularly Russian and French short stories. Origin (Aaghaz): The true beginning of the Urdu short story is credited to Premchand and Sultan Haider Josh , although Sajjad Haider Yildirim had prepared the ground with his romantic and poetic prose. Premchand gave the Urdu short story a new direction. He pulled it out of the fantasy world of the Dastaans and grounded it in the realistic soil of villages and cities. His early stories, like ‘Duniya Ka Sabse Anmol Ratan’ (The Most Precious Jewel in the World), were influenced by patriotism and idealism. Gradually, he moved towards social realism , making subjects like poverty, casteism, and the exploitation of farmers the focus of his stories. Evolution (Irtiqa) and the Progressive Writers’ Movement: The establishment of the Progressive Writers’ Association (Taraqqi Pasand Tehreek) in 1936 played a revolutionary role in the evolution of the Urdu short story. This movement considered literature a tool for social change. The writers of this era embraced realism with even greater courage.

• Saadat Hasan Manto: He wrote frankly about the hypocrisy of society, the tragedy of Partition, and the psychological depths of the human mind, especially on sexual themes. Stories like ‘Khol Do’, ‘Toba Tek Singh’, and ‘Thanda Gosht’ are testaments to this.
• Ismat Chughtai: She made the issues, desires, and rebellions of women in middle-class Muslim society the subject of her stories. ‘Lihaaf’ (The Quilt) is her most controversial and famous story.
• Rajinder Singh Bedi: He depicted the inner anguish of characters and the subtleties of human relationships with great depth. ‘Garam Kot’ (The Warm Coat) and ‘Apne Dukh Mujhe De Do’ (Give Me Your Sorrows) are fine examples of his art.
• Krishan Chander: He used his romantic and poetic style to satirize social inequality and the system.

Modernism (Jadeediyat) and the Contemporary Period:

After 1960, the Urdu short story was influenced by modernism. The focus of stories shifted from external social reality to the individual’s inner world, his loneliness, alienation, and identity crisis.

Intizar Husain

used allegory, symbol, and myth, while

Qurratulain Hyder

depicted the search for identity on a vast canvas of time and history.

Today’s Urdu short story is moving forward with new techniques and themes, absorbing global influences. In its short journey of a century, it has crossed many milestones from realism to psychological analysis and symbolism, and remains a vibrant genre today.

Q3. Describe the characteristics of Premchand’s short story writing.

Ans. Munshi Premchand is considered the founder and the most important pillar of the Urdu short story. He connected Urdu fiction to the realism of the common man’s life, moving it away from the world of romanticism and fantasy. The main characteristics of his Afsana-Nigari (story writing) are as follows: 1. Realism (Haqeeqat-Pasandi): Premchand’s greatest quality is his realistic approach. His stories are a living document of early twentieth-century Indian society, especially rural life. He made the poverty of farmers and laborers, their exploitation by landlords and moneylenders, the sting of the caste system, and the pathetic condition of women the subjects of his stories. ‘Poos Ki Raat’ (A Winter’s Night), ‘Sawa Ser Gehun’ (A Quarter-Seer of Wheat), and ‘Thakur ka Kuan’ (The Thakur’s Well) are excellent examples. 2. Idealistic Realism (Misaali Haqeeqat-Pasandi): Premchand did not just depict problems; he also tried to present solutions. Many of his stories end with a character’s change of heart or the establishment of an ideal. He believed that the purpose of literature is not just entertainment but also social reform. However, in his later stories, such as ‘Kafan’ (The Shroud) , he abandoned this idealism to present a harsh and stark reality. 3. Characterization (Kirdar-Nigari): Premchand’s characters do not seem fictional but rather like living individuals taken from the society around us. Characters like Hori, Halku, Ghisu, Madhav, and Nirmala are unforgettable. He skillfully portrays not only the external lives of his characters but also their inner world, their hopes, disappointments, and psychological struggles. 4. Simple and Potent Language: Premchand used a simple, fluid, and idiomatic language of the common people, known as Hindustani . Instead of making his language complex and cumbersome, he made it a medium that directly reached the reader’s heart. His language changes according to the character and situation, which makes his stories even more effective. 5. Purposefulness: Premchand’s literature does not subscribe to the ‘art for art’s sake’ principle. For him, literature was a powerful medium for interpreting life and awakening socio-political consciousness. Each of his stories carries a deep message and compels the reader to think. In short, Premchand provided the Urdu short story with a purpose, a direction, and a social concern, which paved the way for future generations.

Q4. Critically analyze the short story ‘Kafan’.

Ans. The short story ‘Kafan’ (The Shroud) , written by Premchand in 1936, is considered a masterpiece of Urdu literature and represents the pinnacle of his literary journey. This story is an excellent example of a departure from Premchand’s idealistic realism towards a harsh, stark, and uncompromising realism. Plot Summary and Theme: The story revolves around two extremely poor, lazy, and insensitive characters – the father, Ghisu, and the son, Madhav. Madhav’s young wife, Budhiya, dies in agony during childbirth, but instead of helping her, they are more concerned that if one of them gets up, the other will eat all the roasted potatoes. After her death, they go to collect donations from the villagers to arrange for her shroud. However, instead of buying the shroud, they spend the money on alcohol and food. Critical Analysis: A critical review of ‘Kafan’ can be done on several levels:

• The Dehumanizing Effect of Poverty: This is the central theme of the story. Premchand raises the question: are Ghisu and Madhav inherently evil and insensitive, or have society and extreme poverty made them so? The story shows that when a person’s basic needs for survival are not met, morality, duty, and human emotions become meaningless. Ghisu’s argument that if Budhiya didn’t get a cloth to cover her body while alive, what good would a shroud do after death, is a terrible but powerful logic.
• An Attack on Social Hypocrisy: The story is a sharp satire on a society that does not help a living, suffering woman but is ready to give money for the rituals of her funeral. Premchand criticizes this double standard and hollow religiosity.
• Psychological Realism: ‘Kafan’ is an excellent example of psychological realism. Premchand does not justify the actions of Ghisu and Madhav, but he lays bare their psyche before the reader. Their lamentation in the tavern, followed by dancing and singing in joy, symbolizes their suppressed desires and life’s despair. They wish for Budhiya to go to ‘heaven’ because she provided them with the pleasure of a full meal for the first time in their lives.
• Artistry and Style: The greatest strength of ‘Kafan’ is its restraint and objectivity . Premchand does not become sentimental anywhere, nor does he pass any judgment. He simply presents the situation as it is and leaves the conclusion to the reader. The end of the story is shocking and disturbing, leaving a deep impact on the reader’s mind.

In conclusion, ‘Kafan’ is not just the story of Ghisu and Madhav, but the story of a cruel socio-economic system that robs a person of their humanity. It is the peak of Premchand’s art, where he states the bitterest truth of life without any embellishment.

Q5. Highlight the prominent aspects of Saadat Hasan Manto’s short story writing.

Ans. Saadat Hasan Manto is a storyteller in the history of the Urdu short story whose frankness, realism, and psychological depth have made him immortal. He was accused of obscenity and faced trials, but he never shied away from writing the truth. The prominent aspects of his story writing are as follows: 1. Depiction of the Tragedy of Partition: Manto is considered the greatest chronicler of the Partition . The way he depicted the violence, looting, and inhumanity during the 1947 partition in his stories is unparalleled. In stories like ‘Toba Tek Singh’, ‘Khol Do’, ‘Thanda Gosht’, and ‘Siyah Hashiye’ (Black Margins), he showed the fall of humanity in the name of religion. Instead of blaming one community, he exposed the madness that had turned people on both sides into beasts. 2. Psychological and Sexual Realism: Manto was a master of the dark alleys of the human mind. He particularly made sexual desires, frustrations, and complexities the subject of his stories, which was a taboo topic at the time. Through prostitutes, pimps, and other neglected characters of society, he exposed the hypocrisy of the ‘respectable’ society. Stories like ‘Bu’ (Odour), ‘Dhuvan’ (Smoke), and ‘Kali Shalwar’ (The Black Trousers) are proof of his deep psychological analysis . He believed that what society considers filth is also a part of life, and it is the writer’s job to expose it. 3. Sharp Satire on Society: Manto was a great satirist. He launched sharp attacks on social, political, and religious hypocrisy. In ‘Naya Qanoon’ (The New Constitution), he satirizes the political aspirations of a common man and the cruelty of the system. Many of his stories are a slap on the face of society’s double standards. 4. Unique Style and Technique: Manto’s writing style is very concise, crisp, and impactful. He could convey the biggest of ideas in the fewest of words. His characters are unforgettable, and the dialogues are extremely natural and sharp. The endings of his stories are often shocking, leaving the reader with a jolt and forcing them to think. This is known as the ‘chot’ (jolt) ending. 5. Humanism: Despite all the depiction of bitterness and ugliness, at the core of Manto’s writing lies a deep humanism . He finds a spark of humanity even in his most fallen characters. He shows that circumstances can make a person bad, but humanity never dies completely. In short, Manto was a courageous and honest writer who tried to heal society’s wounds by dissecting them. His literature is as relevant and powerful today as it ever was.

Q6. Shed light on the artistic merits of the short story ‘Naya Qanoon’.

Ans. Saadat Hasan Manto’s short story ‘Naya Qanoon’ (The New Constitution) is an excellent work from the perspective of artistic and technical merits (fanni muhasin). It is not just a political story but holds a special place in Urdu fiction due to its structural composition, characterization, and satirical style. Its main artistic merits are as follows: 1. Unparalleled Characterization (Bemisaal Kirdar-Nigari): The greatest strength of this story is its protagonist, Ustad Mangu . Mangu is an illiterate tonga driver, but Manto has made him an extremely vibrant and memorable character. He performs political analysis based on bits and pieces of conversations he overhears from his passengers. His excitement about the ‘new law’ (the Government of India Act, 1935), his naive hopes, and his hatred for the British are all portrayed very naturally. Through an ordinary individual, Manto successfully represents the political aspirations and consciousness of the entire colonial India. 2. Tightly-Knit Plot Structure: The story’s plot is very cohesive and focused. It is woven entirely around a single idea – the expectation of the ‘new law’. The story begins with Mangu’s curiosity, which reaches its peak in the middle as he waits for April 1st, and ends with an unexpected and tragic event. This tight structure keeps the reader’s interest engaged until the very end. 3. Effective Use of Irony and Satire: ‘Naya Qanoon’ is a brilliant example of irony . The ‘new law’ from which Mangu expects equality and freedom ultimately sends him to jail for assaulting an Englishman. His shouting “New law, new law!” and receiving the reply, “The law is the same old one,” is the story’s climax and a powerful satire on the futility of colonial reforms. This irony elevates the story from a simple incident to the level of a profound political statement. 4. Realistic Dialogue and Setting: Manto has depicted the setting of the tonga drivers’ stand, the passengers’ conversations, and the court atmosphere very realistically. The dialogues of Mangu and other characters are perfectly in line with their social background and level of education. This realism lends credibility to the story. 5. Powerful Ending: The ending of the story is Manto’s signature – brief, sudden, and jolting. The shattering of Mangu’s hopes and his disillusionment leave a lasting impact on the reader’s mind. This ending very effectively underscores the story’s message that laws on paper do not change the ground reality. Due to these artistic merits, ‘Naya Qanoon’ is not just a story but a powerful socio-political commentary that remains relevant even today.