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IGNOU BEGC-111 Previous Year Solved Question Paper in Hindi

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Q1. Explain with reference to the context any four of the following (in 40-50 words each) : (a) I willed my Keepsakes—Signed away What portion of me be Assignable—and then it was There interposed a Fly— (b) This is a noon for strangers who part The window-drapes and peer in, their hot eyes Brimming with the sun, not seeing a thing in Shadowy rooms and turn away and look So yearningly at the brick-ledged well. (c) For the akshara you scratched on the walls so furtively, the akshara you tried to match with the sounds you heard They’ve quickened now, with life. (d) Her dream, like the dreams of a dozen other women. But she woke up before the dream began. And then she never fell asleep again. (e) Verily the snuggling case of my bosom is she And the honour of her father’s tilted cap. A daughter she is, a houri of paradise; Once she leaves home, it will be for ever.

Ans.

(a) These lines are from Emily Dickinson’s poem “I heard a Fly buzz—when I died—” . The speaker describes the moment of her death, having willed away her worldly possessions. It is meant to be a solemn, spiritual moment, but the interjection of a common Fly disrupts the gravity, symbolizing the mundane and physical reality of death that trivializes the grand event.

(b) These lines are from Kamala Das’s poem “The Old Playhouse.” Here, the speaker describes a loveless and suffocating relationship. The “strangers” symbolize outsiders who peer into her life but are unable to comprehend the emptiness and suffering within its “shadowy rooms.” The brick-ledged well represents a deep, unfulfilled yearning and inner depth they cannot see.

(c) These lines are from Hira Bansode’s poem “Akshara.” The speaker, a Dalit woman, celebrates achieving literacy. The ‘akshara’ (letters) she once practised in secret have now become a powerful tool of empowerment and self-expression, “quickened… with life.” It’s a potent statement against caste and gender oppression.

(d) These lines are from Ambai’s story “A Kitchen in the Corner of the House.” The lines refer to Jiji, who dreamt of learning to dance. Her “waking up before the dream began” signifies the harsh reality that prevented her from even pursuing her aspirations. It symbolises the unfulfilled dreams of countless women whose potential was confined to domestic boundaries.

(e) These lines describe the traditional status of a daughter, likely in the context of a text like Rassundari Devi’s “Amar Jiban.” It portrays a daughter as a prized possession (“snuggling case of my bosom”) but also as a temporary guest, destined to leave her home forever upon marriage. It highlights a woman’s subordinate and transient position in patriarchal society.

Q2. Discuss the importance of language with reference to women’s writing.

Ans. The importance of language in women’s writing is paramount, as it serves as a primary tool for challenging patriarchal structures and articulating female experience. Historically, language has been a male-dominated domain, often marginalizing, misrepresenting, or simply erasing women’s perspectives, emotions, and realities. Women writers have addressed this linguistic barrier in several ways. 1. Reclaiming and Subverting Language: Many women writers take the existing language and bend it to suit their needs. They challenge traditional metaphors, experiment with syntax, and assign new meanings to words historically used to confine them. Emily Dickinson , for instance, broke conventional grammar and punctuation, creating a language that mirrored uncertainty and internal complexity, a departure from the authoritative male poetic voice. 2. Creating a ‘Feminine’ Language: French feminist theorists, such as Hélène Cixous , proposed the concept of ‘écriture féminine’ (feminine writing). This advocates for a language that stems from the female body and experience, rather than the linear, logical discourse of patriarchy. It is often more fluid, poetic, and non-linear. Kamala Das’s confessional and emotionally raw poetry exemplifies this approach, rejecting the restraint imposed by male-dominated literary traditions. 3. Breaking the Silence: Women’s writing often addresses subjects traditionally considered taboo—such as female sexuality, menstruation, postpartum depression, and domestic abuse. To write about these openly, authors must forge a new vocabulary and perspective. Charlotte Perkins Gilman’s “The Yellow Wallpaper” uses symbolic language to describe a woman’s mental breakdown, an experience dismissed by the medical language of her time. In essence, language for women writers is not just a medium of communication; it is a site of liberation. Through it, they construct their identities, validate their stories, and challenge the socio-linguistic norms that have long kept them silent. It is a political act of writing the female self into existence.

Q3. Briefly trace the themes in A Vindication of the Rights of Women.

Ans. Mary Wollstonecraft’s A Vindication of the Rights of Woman (1792) is a foundational text in feminist philosophy, introducing several revolutionary themes that remain relevant today. A central theme is the importance of education . Wollstonecraft argues that women should receive a rational education, just like men, to develop their reason and intellect. She fiercely criticizes the superficial “accomplishment-based” education of her time, which was designed to make women merely pleasing but weak and irrational beings. Education, she believed, would enable women to be better mothers, wives, and, most importantly, independent citizens. Another key theme is the universality of reason . Wollstonecraft rejects the notion that reason is gender-specific. She argues that God endowed both men and women with the faculty of reason, and it is therefore unnatural and immoral to prevent women from using their intellectual capacities to the fullest. She urges women not to be “slaves of their senses” but to base their lives on principles of logic and reason. The work also delves into the nature of marriage and companionship . Wollstonecraft advocates for a marriage based on mutual respect, friendship, and intellectual companionship, not just on fleeting passion or social convenience. She believed that when women are educated as equals to men, they can become their true partners rather than just their mistresses, leading to a more stable and virtuous society. Finally, Wollstonecraft addresses the themes of civic virtue and liberty . She argues that no society can be truly virtuous or free if half of its population—women—is kept in a state of ignorance and dependency. By denying women their rights, society undermines its own moral and intellectual foundation. Thus, the emancipation of women is not just a matter of individual benefit but is essential for the advancement of society as a whole.

Q4. How does Chandrabati deviate from accepted narratives in her Ramayana ? Illustrate.

Ans. Chandrabati , a 16th-century Bengali poet, deviates significantly from the traditional Ramayana narratives established by male poets like Valmiki and Tulsidas. Her Ramayana is a revolutionary retelling that shifts the narrative focus to Sita’s perspective , making it a profoundly feminist text. The most crucial deviation is the narrative’s centre of gravity. While traditional Ramayanas focus on Rama’s heroic deeds and dharma, Chandrabati’s version centres on Sita’s sorrows and suffering . It does not portray Rama as an ideal king and husband but as a man swayed by suspicion, jealousy, and social pressure. The character of Rama is more human and flawed than divine. Chandrabati introduces several narrative innovations that strengthen Sita’s character:

• Sita’s Birth: Unlike in traditional tales where Sita emerges from the earth, Chandrabati presents her as the daughter of Ravana’s wife, Mandodari, who was abandoned due to a prophecy. This establishes a tragic link between Sita and Ravana and adds a layer of complexity to the narrative.
• Kukua’s Counsel: Chandrabati lessens the malice of Kaikeyi, Rama’s stepmother, and instead blames her maid, Kukua, for inciting her to demand Rama’s exile. This shows a more nuanced understanding of relationships between women.
• Sita’s Monologue (Baromasya): Chandrabati gives Sita a voice. Her writing details Sita’s sorrows during her exile, her abduction, and her loneliness in Lanka. This monologue focuses on Sita’s inner life and emotions, which are often overlooked in male-centric versions.
• The Final Refusal: Perhaps the most powerful deviation comes at the end. When Rama, after the trial by fire, still hesitates to accept Sita and asks her to return to Ayodhya, Chandrabati’s Sita refuses to go with him. She chooses to return to the lap of her mother, Earth, rather than return to a husband who doubted and abandoned her. This is a powerful act of agency and self-respect, rather than that of a passive victim.

Thus, Chandrabati’s Ramayana subverts the accepted narrative, bringing a woman’s story from the margins to the centre and offering a powerful critique of patriarchal injustice.

Q5. What, according to you, are the implications of Angela’s diary in ‘The Legacy’ ? Give a reasoned answer.

Ans. In Virginia Woolf’s “The Legacy,” Angela’s diary is a central and devastating device with profound implications. It is not merely a plot point but a powerful symbol that unlocks the story’s core themes: the disparity between inner and outer reality, the failure of communication, and the hidden life of a woman in a repressive society. The first and most obvious implication is that the diary reveals the true self of Angela . To her husband, Gilbert Clandon, Angela was the perfect wife—beautiful, devoted, and content with her grand social life. Her diary, however, paints a completely different picture: that of a woman bored by her superficial existence, yearning for intellectual and emotional stimulation, and utterly misunderstood by her husband. The diary functions as a private space where she can express the thoughts and feelings she could not reveal publicly. Secondly, the diary illustrates the complete failure of communication in a hollow marriage. Gilbert knows his wife so little that he has no inkling of her deep dissatisfaction. As he reads, he discovers how his speeches, his parties, and his entire existence were tedious to Angela. It is tragically ironic that he only begins to truly “hear” her after her death, through her written words. Thirdly, the diary is a testament to Angela’s search for autonomy and love . It uncovers her affair with B.M., a man who offered her the intellectual and emotional connection missing in her marriage. This relationship was not just a dalliance but a symbol of her quest for meaning and authenticity. The diary makes it clear that her death, whether a suicide or an accident, was directly linked to the stress of this hidden life and her longing to belong. Finally, the most devastating implication of the diary is the shattering of Gilbert’s self-deception . Before reading it, he sees his “legacy” as the memory of his wife and his successful political career. After reading it, his true legacy is the knowledge of his own ignorance, egotism, and failure to make his wife happy. Angela’s diary thus becomes a mirror reflecting not only her hidden truth but also the emptiness of Gilbert’s own character, leading to the story’s tragic conclusion.

Q6. Do you agree that A Testimony of Our Inexhaustible Treasure is a ‘spiritual autobiography’ ? Give reasons for your answer.

Ans. Yes, I strongly agree that Lalithambika Antharjanam’s A Testimony of Our Inexhaustible Treasure can be classified as a ‘spiritual autobiography’. While it may not be spiritual in a conventional religious sense, it documents a profound quest for the liberation and self-realisation of the human spirit, which is a broader form of spirituality. The reasons for it being an ‘autobiography’ are clear: it draws from the author’s personal experiences and observations, growing up within the orthodox Namboodiri Brahmin community in Kerala. It is a powerful, first-person account of her own life and the lives of women around her. The reasons for terming it ‘spiritual’ are more nuanced:

1. Journey from Ignorance to Enlightenment: The text charts the journey of Namboodiri women from a state of extreme seclusion, illiteracy, and oppression (the life behind the ghosha or veil) to one of emancipation and self-awareness. This transition from the darkness of ignorance to the light of knowledge is a classic motif of many spiritual journeys.
2. Symbolism of the ‘Treasure’: The ‘inexhaustible treasure’ in the title does not refer to material wealth. Instead, it symbolizes the inner strength, resilience, knowledge, and human dignity that lay buried within these women. The discovery and reclamation of this internal, indestructible treasure is a deeply spiritual quest.
3. The Search for Liberation: The text is not just about social reforms; it is about the liberation of the human soul. Antharjanam describes the dehumanization endured by the women—treated as mere child-bearing machines, cut off from the world. The struggle to break free from this bondage, to reclaim one’s humanity and individuality, is essentially a spiritual struggle.
4. The Stance of a Witness: The author positions herself as giving a ‘testimony’. She is not just telling her story but is bearing witness to the suffering and triumph of a whole generation of women. This act of witnessing, of conscious observation, is in many spiritual traditions a path to self-knowledge.

Thus, the work transcends a conventional autobiography to document the collective journey of a community’s soul—from the ‘death’ of oppression to the ‘rebirth’ of self-realization and freedom. It is a testament to the triumph of the human spirit, making it a powerful spiritual autobiography.

Q7. Attempt a reading of Philips’ personality in ‘A Cup of Tea’ with suitable examples.

Ans. In Katherine Mansfield’s “A Cup of Tea,” Philip, the husband of Rosemary Fell, is a character whose brief appearance is crucial to the story’s social satire and psychological insight. Philip’s personality embodies the conventional, patriarchal male of his time and class—he is practical, patronizing, and a preserver of the social order. 1. Practical and Conventional: When Philip arrives home to find the poor girl, Miss Smith, in his drawing-room, his immediate reaction is one of surprise and disapproval. Unlike Rosemary’s impulsive charity, Philip instantly sees the impracticality and social inappropriateness of the situation. His question, “what on earth is this?” and his suggestion, “What is she doing here?” reveal his conventional mindset. He asks if Rosemary is “mad,” suggesting that such a display of compassion is outside the norms of their social circle. His primary concern is not the girl’s welfare but the disruption she represents. 2. Patronizing and Controlling: Philip treats his wife, Rosemary, in a manner that seems affectionate but is deeply patronizing and controlling. He calls her “darling,” but he views her “little adventure” as a childish folly that needs to be put to an end. He doesn’t directly order her to send Miss Smith away but instead tries to persuade her with an argument rooted in class prejudice: “But my dear, it simply isn’t done.” This phrase encapsulates his personality—social convention and appearances matter more than individual morality or spontaneous compassion. 3. Cunning and Manipulative: Philip’s most revealing trait is his shrewd psychological manipulation. When Rosemary insists on keeping Miss Smith, Philip changes his tactic. He doesn’t object to the girl’s presence directly but plays on Rosemary’s insecurities. He casually remarks, “she was astonishingly pretty,” knowing full well that this would ignite Rosemary’s jealousy. This strategy works perfectly. Suddenly, Rosemary’s charitable zeal vanishes, and she is consumed with insecurity about her own beauty and her husband’s affection. After Miss Smith is dismissed with some money, Rosemary seeks validation from Philip. She asks him, “Philip, am I pretty?” and whispers, “I was jealous.” Philip, having re-established his power and control, reassures her, “You’re adorable.” Through this final exchange, Mansfield shows how Philip skillfully uses his wife’s emotions to restore the status quo, ensuring their comfortable, upper-class world is not disturbed by the intrusion of a poor stranger. He acts as the guardian of a social order that prioritizes surface over substance.

Q8. How does ‘The Yellow Wallpaper’ address issues of mental health specially with reference to women ? Illustrate.

Ans. Charlotte Perkins Gilman’s “The Yellow Wallpaper” is a poignant and devastating exploration of mental health issues, particularly in the context of 19th-century patriarchal society. The story serves as a powerful critique of the medical and social attitudes of the time, which invalidated women’s experiences and trivialized their suffering. 1. Critique of the “Rest Cure”: The story directly attacks the “rest cure,” a common treatment for women suffering from “hysteria” and “nervous depression.” This treatment, popularized by the famous physician S. Weir Mitchell, involved complete physical rest and a prohibition of any intellectual or creative activity. In the story, the narrator’s husband, John, who is a physician himself, imposes this cure on her. He dismisses her concerns as a “slight hysterical tendency” and forbids her from writing, her only therapeutic outlet. This treatment, instead of healing her, exacerbates her isolation and mental decline, demonstrating how the male-dominated medical profession failed to understand women’s needs. 2. The Wallpaper as a Symbol of Oppression: The yellow wallpaper becomes a powerful central symbol of the narrator’s oppression and deteriorating mental state. Initially, it is merely “repulsive” and “unclean.” But as her isolation deepens, she becomes obsessed with its pattern. She begins to see “a woman stooping down and creeping about behind the pattern.” This hidden woman is a symbol of the narrator herself—her suppressed self, her creativity, and her desire for freedom—trapped behind the “pattern” of societal and marital expectations. Her obsession is a desperate attempt to make sense of the pattern that confines her. 3. Portrayal of Postpartum Depression: Although not explicitly named, it is strongly implied that the narrator is suffering from postpartum depression. She mentions that they are at the summer house “on account of the baby,” and that she feels uneasy being around the child. The story is one of the earliest and most poignant literary depictions of this condition, highlighting how it was often misunderstood and inadequately treated, causing further anguish for mothers. 4. Madness as an Escape: The story’s tragic climax, where the narrator believes she is the woman from the wallpaper and “creeps” over her fainted husband, presents madness as the only possible escape from patriarchal control. She has finally broken the “pattern” of her confinement, but only at the cost of her sanity. She declares, “I’ve got out at last… in spite of you.” It is a horrific victory, illustrating that when women are denied agency and voice, the mind itself may become the last, albeit destructive, refuge. The story thus frames female mental illness not as a personal failing, but as a product of a repressive social structure.

Q9. Discuss the symbolic significance of the kitchen in ‘A Kitchen in a Corner of the House’.

Ans. In Ambai’s story, “A Kitchen in a Corner of the House,” the kitchen functions as a potent and multi-layered symbol. It is not just a physical space for cooking, but a complex location that simultaneously represents both female bonding and community , and patriarchal confinement and limitation . As a Site of Community and Solidarity: Traditionally, the kitchen is seen as a woman’s domain. Ambai gives this a positive spin, portraying it as a sanctuary where women can create their own world, away from the male-dominated spheres of the house. It is a place where generations meet, stories are shared, and knowledge (especially culinary) is passed down from mother to daughter. The narrator recalls how the kitchen was “always full of people,” buzzing with laughter, conversation, and activity. It was a space for women to connect with one another, share their joys and sorrows, and find a sense of solidarity. The kitchen thus becomes a ‘woman’s space’ where they are temporarily free from the male gaze and can construct their own world. It is a repository of memories and oral histories, preserving the lives of women who would otherwise be forgotten. As a Symbol of Confinement and Unfulfilled Aspirations: At the same time, Ambai does not ignore the darker, more oppressive symbolism of the kitchen. It is the very space that binds women to their traditional roles and limits their potential. The most poignant example of this is the character of Jiji , a talented young girl who dreams of being a dancer. Her dream is brutally crushed, and her life is reduced to the kitchen and domestic chores. The kitchen becomes a prison for her, a symbol of her unfulfilled potential and lost dreams. When the narrator sees Jiji “in a frame filled with the kitchen’s smoke and steam,” it is a powerful image that shows how her entire being has been reduced to the haze of domesticity. The story’s title, “A Kitchen in a Corner of the House,” itself reflects this duality. It is a ‘corner,’ separate and marginalized from the main house, mirroring the subordinate position of women in society. Yet, it is in this very corner that women find a measure of their own power, community, and resilience. Ultimately, Ambai presents the kitchen as a paradoxical space. It is simultaneously a site of comfort and confinement, of community and isolation, of creativity (through food) and stifled creativity (through art). It is a nuanced symbol of the complexity of women’s lives, highlighting strategies of resistance and survival within patriarchal structures.

Q10. Comment on the women characters in Sunlight on a Broken Column. What role do they play in the overall scheme of things ?

Ans. In Attia Hosain’s novel Sunlight on a Broken Column , the women characters are crucial for exploring the social, political, and cultural shifts during a tumultuous period in India—the years leading up to and following Independence and Partition. They are not just individuals but are avatars of different ideologies and responses to tradition. Their role is central to the novel’s overall scheme, illustrating the tension between personal lives and historical events. 1. Laila (Protagonist): Laila is the novel’s heart, and her story is a microcosm of the conflict between personal freedom and traditional obligation. Raised as an orphan in a traditional Muslim taluqdari family, she receives a Western education that instills in her a desire for independence and self-determination. Her decision to marry Ameer, a man of her own choosing and against her family’s wishes, represents a bold step towards modernity. After Partition, when she returns to her ancestral home, ‘Ashiana,’ her journey becomes one of self-discovery as she tries to piece together her identity from the fragments of a broken world. Laila represents the transitional generation, caught between the security of the past and the uncertainties of the future. 2. Aunt Abida: Aunt Abida is the matriarch of the family and the embodiment of the feudal, traditional order. She upholds the purdah system and the old customs with dignity and firm belief. While she is a source of stability and love for Laila, she also represents the restrictive world that Laila seeks to escape. Aunt Abida’s character is tragic; she symbolizes a passing era, a world being destroyed by the forces of Partition and modernization. Her unwavering adherence to tradition shows both the strength and the weakness of that world. 3. Zahra (Cousin): Zahra represents a middle path between Laila and Aunt Abida. She is educated but ultimately yields to traditional expectations, accepting an arranged marriage. Zahra finds contentment and happiness within tradition, suggesting that rebellion is not the only path to self-fulfillment. She symbolizes the many women who adapted and compromised, navigating their lives within the existing social structures. 4. Other Female Characters: Other women in the novel also play significant roles. Sita , Laila’s Hindu friend, is politically active and progressive, representing the hopes of the new, secular India. The servants, like Nandi , add a class dimension, showing that the struggles for freedom and change meant different things for women of different social strata. Role in the Overall Scheme: Collectively, these women characters offer a nuanced portrait of a nation in flux. Through their personal choices, struggles, and relationships, Hosain explores grand themes: tradition versus modernity, family versus the individual, and the devastating impact of Partition on the domestic sphere. The women are not passive spectators; they are active agents shaping and responding to the world around them. They are the ‘sunlight’ on the ‘broken column,’ symbolizing hope, resilience, and continuity in a fractured past.