IGNOU BUDE-144 Solved Question Paper PDF Download

IGNOU BUDE-144 Previous Year Solved Question Paper in Hindi

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Q1. Explain any three of the following excerpts with reference to the context. (a) Oh! What is this I see? The moon! Yes, it is the moon. Who says it is a moonless night (Amavas)? How bright, how beautiful, how captivating is this moon! (b) When I saw life in the form of a woman, she was laughing, dancing, and singing, and when I saw life in the form of a man, he was thinking, thinking, and thinking. (c) Just think, what did you do after coming into this world? What did you sow? What did you reap? What did you create? What did you destroy? How many tears did you wipe? How many fallen ones did you support? How many did you make laugh? (d) What is it if not the misfortune of the nation that we hesitate while speaking our own language. We feel ashamed of our own culture. (e) Oh brother, will you people let me sleep or not. I have returned tired from a whole day’s work. At least let me rest a little.

Ans. (a) Oh! What is this I see? The moon! Yes, it is the moon. Who says it is a moonless night (Amavas)? How bright, how beautiful, how captivating is this moon! Reference to Context: This excerpt is taken from the masterpiece play ‘Yahudi ki Ladki’ (The Jewish Girl) by the renowned Urdu playwright, Agha Hashr Kashmiri . These lines are spoken by the play’s heroine, Hannah, when she is deeply in love with the Roman prince, Marcus. Lost in thoughts of her beloved on a dark, moonless night, she visualizes his face as the moon itself. Explanation: In this dialogue, Hannah is completely submerged in the emotion of love. The darkness of the outside world holds no meaning for her because her heart is illuminated by love’s light. She questions the reality of it being a moonless night (Amavas), declaring it to be a full-moon night for her because her ‘moon’—her lover—is present in her thoughts. Here, the ‘moon’ is a powerful metaphor (Iste’ara) for her lover, Marcus. The use of words like ‘roshan’ (bright), ‘haseen’ (beautiful), and ‘dilkash’ (captivating) not only describes the beloved’s beauty but also exquisitely portrays the mental state of a young woman in love. This dialogue highlights the romantic aspect of the drama and shows how the experience of love can alter one’s perception of reality. It symbolizes Hannah’s innocent and profound love, which tragically becomes the cause of her downfall. (c) Just think, what did you do after coming into this world? What did you sow? What did you reap? What did you create? What did you destroy? How many tears did you wipe? How many fallen ones did you support? How many did you make laugh? Reference to Context: This powerful dialogue is from Imtiaz Ali Taj’s historical and tragic play, ‘Anarkali’ . These words are spoken by Emperor Akbar to his favorite kaneez (handmaiden), Anarkali (Nadira), after he, enraged by her love affair with Prince Salim, has sentenced her to be entombed alive in a wall. This dialogue reveals the depth of Akbar’s character and his moral conflict. Explanation: Through this dialogue, Akbar is not merely scolding Anarkali; he is raising profound philosophical questions about life. He asks her what meaningful deeds she has performed in her life. Questions like ‘What did you sow? What did you reap?’ imply her contribution to society and humanity. Questions such as ‘How many tears did you wipe?’ and ‘How many did you make laugh?’ show that for Akbar, an individual’s worth lies in their actions and their ability to do good for others. On one hand, he is a stern ruler who can pass any sentence to uphold the principles of the empire; on the other, he is also a father and a human being who understands life’s moral values. This dialogue frames Anarkali’s love as a personal desire, while Akbar weighs it on the scales of social and moral responsibility. It reinforces the play’s central conflict— love versus duty . (d) What is it if not the misfortune of the nation that we hesitate while speaking our own language. We feel ashamed of our own culture. Reference to Context: This excerpt is taken from a famous social one-act play, ‘Apni Boli’ (Our Own Language) , by Ishtiaq Hussain Qureshi . This line is spoken when the characters in the play neglect their mother tongue, Urdu, and take pride in speaking English. The dialogue presents the central idea of the play, which is a sharp satire on the inferiority complex towards one’s own language and culture. Explanation: In this dialogue, the author attacks the mental slavery that alienates a nation from its language and culture. By calling it the ‘misfortune of the nation’ (qaum ki badkismati), the author highlights the seriousness of the problem. He believes that when a community begins to feel ashamed of its own identity—its language and culture (tehzeeb)—it is a sign of its decline. The use of words ‘hesitate’ (jhijhakte hain) and ‘feel ashamed’ (sharmate hain) signifies the inferiority complex that has taken root in society due to a colonial mindset. This dialogue is not just about language; it is about cultural identity (saqafati shanakht) and national self-respect (qaumi waqar) . The author’s message is that the progress and development of any nation depend on respecting its own roots, language, and culture. This dialogue remains equally relevant in today’s context.

Q2. Shed light on the characteristics of Agha Hashr Kashmiri’s playwriting.

Ans. Agha Hashr Kashmiri is famously known as the ‘Shakespeare of Urdu’ , a title that reflects his immense contribution to Urdu drama. While catering to the commercial demands of the Parsi Theatre, he also elevated Urdu drama to literary and artistic heights. The main characteristics of his playwriting are as follows:

• Language and Dialogue: Agha Hashr’s greatest strength was his command over language and dialogue. He used rhyming and rhythmic prose (Muqaffa aur Musajja Nasr) , which was highly appealing to the ear. His dialogues were filled with poetry, couplets, and theatricality. While his language may differ from modern colloquial speech, it was extremely successful in creating the right atmosphere and conveying the characters’ emotions.
• Plot and Themes: Hashr sourced his plots from various places, including Shakespeare’s plays, Indian mythology, and social issues. His early plays were purely for entertainment, but later, in plays like ‘Yahudi ki Ladki’ and ‘Rustam-o-Sohrab’ , he tackled serious themes such as love, loyalty, religious tolerance, and human values.
• Characterization: Agha Hashr’s characters are often loud and melodramatic . They are archetypes of good and evil—the hero is virtuous and idealistic, while the villain crosses all limits of cruelty. However, some characters, like Ezra in ‘Yahudi ki Ladki’, are complex and have psychological layers, showcasing the depth of his writing.
• Songs and Music: As per the demands of Parsi Theatre, Hashr’s plays were replete with songs and music. These songs not only entertained the audience but also served to advance the plot and express the characters’ feelings.
• Stagecraft: Hashr understood well that drama is meant to be performed on stage, not just read. Therefore, his plays paid great attention to grand sets, spectacular costumes, and dramatic scenes that left a profound impact on the audience.

In summary, Agha Hashr gave a new direction to Urdu drama. He popularized it among the masses and, along with commercial success, added literary value to it. His art of dialogue and theatricality are considered unparalleled even today.

Q3. Present a critical analysis of the characters in the play ‘Yahudi ki Ladki’.

Ans. Agha Hashr Kashmiri’s play ‘Yahudi ki Ladki’ (The Jewish Girl) is a milestone in the history of Urdu drama, and a large part of its success is owed to its powerful and memorable characters. While these characters are somewhat melodramatic in the tradition of Parsi Theatre, they also possess a deep complexity of human emotions. A critical analysis of the main characters:

• Hannah: She is the heroine and the title character of the play. Hannah is a symbol of innocence, love, and sacrifice . She falls in selfless love with the Roman prince Marcus and becomes a victim of his deceit. Her character portrays the devotion of a girl in love, but in the end, when faced with the insult of her father and her religion, she sacrifices her love for self-respect. Her character is that of a tragic heroine who wins the deep sympathy of the audience.
• Ezra: He is Hannah’s father and a Jewish priest. Ezra is the most complex and powerful character in the play. On one hand, he is a father who loves his daughter immensely. On the other, he is consumed by a desire for revenge against the Romans for his humiliation. His character represents a constant struggle between love and hatred. He does not hesitate to use his daughter’s feelings to seek revenge, but in the end, his paternal love triumphs. Ezra’s character is a testament to a deep understanding of human psychology.
• Marcus: He is a Roman prince and the play’s anti-hero. He does love Hannah, but his love is selfish and cowardly . He hides the truth of his relationship with Hannah for fear of his social standing and his fiancée, Octavia. He is a weak character trapped between power and love, whose cowardice is the primary cause of the entire tragedy.
• Octavia and Brutus: Octavia, Marcus’s Roman fiancée, is a symbol of pride, jealousy, and power . Brutus, the Roman governor, represents the stern and merciless side of law and order. Both these characters reflect the arrogance of Roman society and their hatred for the Jews, thereby intensifying the play’s central conflict.

In conclusion, while the characters of ‘Yahudi ki Ladki’ may be filled with theatricality, they effectively present timeless human emotions and conflicts like love, hatred, revenge, sacrifice, and religious bigotry. It is because of these strong characters that the play remains relevant and impactful even today.

Q4. Write the summary of the play ‘Anarkali’ in your own words.

Ans. The play ‘Anarkali’ , written by Imtiaz Ali Taj , is a masterpiece of Urdu literature and a classic tragedy. It is based on the famous legend of the love between the Mughal Prince Salim (who later became Emperor Jahangir) and a common handmaiden, Anarkali. The summary of the play is as follows: The play is divided into three acts. Act One: The play begins in the Mughal harem, where one of Emperor Akbar’s many handmaidens, Nadira (later given the title ‘Anarkali’ by Akbar), is known for her beauty and grace. Prince Salim, having returned from the battlefields, is captivated by Anarkali’s beauty and simplicity. Gradually, love blossoms between them. Another handmaiden of the harem, Dilaram, who is in one-sided love with Salim, becomes jealous of Anarkali. She conspires to expose their love affair to Emperor Akbar. Act Two: In this act, the love between Salim and Anarkali is at its peak. During the festival of Nowruz, Prince Salim publicly expresses his love for Anarkali. This news spreads like wildfire and reaches Emperor Akbar. Akbar, who considers the principles of his empire and the honor of the royal family paramount, sees this relationship as an insult to the Mughal dynasty. He tries to reason with Salim, but when Salim remains adamant, a deep conflict arises between father and son. Akbar orders Anarkali to be imprisoned. Act Three: This act is the climax and the most tragic part of the play. Salim rebels against his father’s decision. The empire is on the brink of a civil war. Anarkali, who truly loves Salim, cannot bear to see a war between father and son and the loss of thousands of lives because of her. She decides to sacrifice herself to save the empire. She has Salim rendered unconscious and surrenders herself to Akbar. Akbar, bound by his word and the principles of the empire, sentences her to be entombed alive in a wall . The play ends with Anarkali’s painful death, and Salim loses his beloved forever. Thus, ‘Anarkali’ is not just a love story, but an immortal saga of love versus duty , individual will versus the law of the state, and the ultimate sacrifice.

Q5. Write an essay on the artistic merits of the play ‘Aazmaish’.

Ans. The play ‘Aazmaish’ , written by Mohammad Mujeeb , holds a significant place among literary and realistic Urdu dramas. It tells the story of an elite Muslim family in Delhi against the backdrop of the First War of Independence in 1857. Its artistic merits set it completely apart from the Parsi theatrical tradition of Agha Hashr. The main artistic merits (Fanni Mahasin) of ‘Aazmaish’ are as follows: 1. Realistic Plot and Setting: The greatest quality of this play is its realism. Mujeeb has intertwined the historical events of the 1857 mutiny with the personal tragedy of a family. He did not resort to melodrama or hyper-theatricality; instead, he portrayed the tension, fear, uncertainty, and decline of that era with great naturalism. It is not just a historical play but a human document. 2. Psychological Characterization: Unlike the flat characters of Parsi theatre, the characters in ‘Aazmaish’ are psychologically complex and real . Nawab Sahib, who clings to his old culture and values; his wife (Begum), who is practical and courageous; and their children, who experience the turmoil in their own ways—all these characters feel alive and believable. Each character goes through the ‘trial’ (Aazmaish) of the crisis, and their internal conflict is clearly visible. 3. Natural Dialogue: Mohammad Mujeeb did not use poetic or rhyming dialogues. Instead, he employed language that was appropriate to the characters’ social status, education, and mental state. The dialogues are simple, elegant, and purposeful. They advance the story and bring out the characters’ personalities. This is an excellent example of realistic drama. 4. Thematic Depth: The title of the play, ‘Aazmaish’ (The Trial), is itself very profound. It is not just the trial of a family or a city, but the trial of an entire civilization, its values, and a nation. The play compels the audience to reflect on serious themes like patriotism, sacrifice, cultural decline, and human dignity. 5. Tragic Impact: The end of the play is extremely tragic and poignant. It depicts the tragedy of the fall of Delhi and the obliteration of an entire culture. Mujeeb presents this tragedy with great restraint and depth, leaving a lasting impact on the audience. In short, ‘Aazmaish’ is an outstanding work of art due to its realistic portrayal, psychological characters, natural dialogues, and thematic seriousness. It elevates Urdu drama from the level of entertainment to that of serious literature.

Q6. Write a note on the playwriting of Mohammad Mujeeb.

Ans. Mohammad Mujeeb (1902-1985) is an important figure in Urdu literature, known as a historian, an educationist, and above all, a serious and realistic playwright. Being associated with Jamia Millia Islamia, his thought and writing clearly exhibit intellectual depth and social consciousness. His playwriting is completely different from the Parsi theatrical tradition of Agha Hashr Kashmiri and indicates a new direction. The main characteristics of Mohammad Mujeeb’s playwriting are:

• Realism and Naturalism: Mujeeb freed Urdu drama from the hyper-theatricality, poetic dialogues, and unrealistic plots of Parsi Theatre. In his plays, he gave space to real-life events, natural dialogues, and believable characters. His aim was not just to entertain but to present the truths of life.
• Historical and Social Consciousness: Being a historian, Mujeeb used history as a canvas for his plays. His most famous play, ‘Aazmaish’ , is based on the backdrop of the 1857 mutiny. Similarly, in the play ‘Kheti’ , he depicted the problems of Indian farmers and the reality of rural life. His plays are imbued with deep social and political awareness.
• Deep Psychological Analysis: Mujeeb’s greatest strength is the psychological portrayal of his characters. He does not create flat, one-dimensional characters, but rather crafts characters who are full of internal conflicts, dilemmas, and complex emotions. The characters of ‘Aazmaish’ are a prime example of this.
• Simple and Purposeful Language: Instead of language filled with literary embellishments and rhymes, he used simple, elegant prose that was close to common speech. His dialogues are suited to the character and situation and maintain the natural flow of the story.
• Intellectual Approach: Mujeeb’s plays do not just appeal emotionally; they also compel the audience to think. Through his plays, he raises serious questions about history, society, politics, and human values.

In conclusion, Mohammad Mujeeb established Urdu drama as an intellectual and literary genre. By writing realistic and purposeful plays, he enriched Urdu literature and paved a new path for future playwrights.

Q7. Comment on the dialogue writing in Imtiaz Ali Taj’s play ‘Anarkali’.

Ans. Imtiaz Ali Taj’s play ‘Anarkali’ (1922) is an immortal work of Urdu literature, and a significant part of its success is owed to its unparalleled and impactful dialogue writing (mukalama nigari). The dialogues of ‘Anarkali’ do not merely advance the story; they hold literary merit in themselves and grant the play the status of a classic. The main characteristics of the dialogue writing in ‘Anarkali’ are:

• Literary and Polished Language: Taj abandoned the rhyming prose (Muqaffa Nasr) of Agha Hashr and used a pure, refined, and literary prose. The language is grand and dignified, befitting the atmosphere of the royal court. It has a flow and poetic beauty that make it a pleasure to read and hear.
• Character-Appropriate Dialogue: This is the greatest strength of Taj’s dialogue writing. Each character speaks according to their social status, personality, and emotional state.
  • Akbar’s dialogues reflect the majesty of an emperor, the helplessness of a father, and the wisdom of a philosopher. (e.g., “My command will be obeyed, Salim, or…”)
  • Salim’s dialogues carry the voice of a passionate, rebellious, and obsessive lover. He is ready to go to any extent for his love.
  • Anarkali’s dialogues reflect the humility of a handmaiden, the devotion of a lover, and finally, the courage and sacrifice of a heroine.
• Theatricality and Conflict: The dialogues are filled with tremendous dramatic tension and conflict. In particular, the scenes between Akbar and Salim are outstanding examples of the power of dialogue. Through these exchanges, the conflict between father and son, and the clash between love and duty, reach their peak.
• Philosophical Depth: The dialogues of ‘Anarkali’ are not superficial. They contain deep philosophical reflections on serious subjects like life, love, power, justice, and sacrifice. Many of Akbar’s monologues present profound thoughts on the mysteries of life and governance.
• Brevity and Effectiveness (Ikhtisar aur Taseer): Taj avoids long and tedious dialogues. His dialogues are concise, crisp, and full of deep meaning. The ability to say more in fewer words is a special quality of his dialogue writing.

In summary, the dialogue writing of ‘Anarkali’ is its soul. Imtiaz Ali Taj breathed new life into this historical tale with his linguistic style, crafting dialogues that are remembered even today for their literary beauty and dramatic impact.