IGNOU BHDC-111 Solved Question Paper PDF Download

IGNOU BHDC-111 Previous Year Solved Question Paper in Hindi

IGNOU BHDC-111 Previous Year Solved Question Paper in English

Q1. Express your views on Hindi drama of the Bharatendu era.

Ans. Bharatendu Harishchandra is considered the father of modern Hindi drama and theatre. His arrival gave a new direction and identity to Hindi drama. The main features of Hindi drama of the Bharatendu era are as follows: 1. Social and National Consciousness: The main objective of the plays of this era was social reform and the propagation of national consciousness, along with entertainment. Plays like ‘Bharat Durdasha’ vividly depict the pathetic condition of the country at that time, while ‘Andher Nagari’ is a sharp satire on the contemporary administrative system. 2. Thematic Diversity: Dramas of the Bharatendu era accommodated a wide range of subjects, including mythological, historical, social, political, and farcical themes. During this period, along with original plays, dramas were also translated from Sanskrit, Bengali, and English. 3. Inclusion of Folk Elements: These plays adopted elements of folk theatre styles (like Nautanki, Ramlila) instead of the commercialism and glitter of Parsi theatre. This helped the plays connect with the common people. 4. Simple and Comprehensible Language: The language of the plays was colloquial Hindi, in which words from Urdu and other popular languages were used naturally. The aim was to make the plays accessible to the maximum number of people. Dialogues were short, crisp, and impactful. 5. Quality of Stageability: Bharatendu himself was a skilled actor, so he wrote plays that could be easily staged. He also made efforts to refine the theatre. Prominent playwrights of this era, besides Bharatendu Harishchandra himself, include Lala Srinivas Das (‘Randhir Premmohini’), Balkrishna Bhatt (‘Nal-Damayanti Swayamvar’), and Radhakrishna Das (‘Maharani Padmavati’). In short, the Bharatendu era laid the foundation of Hindi drama and gave it a meaningful direction by connecting it with public life.

Q2. Highlight the character traits of Mahant and Govardhan Das from ‘Andher Nagari’.

Ans. The two main characters of Bharatendu Harishchandra’s farce ‘Andher Nagari’, the Mahant (sage) and his disciple Govardhan Das, are complete opposites in terms of character. Their character traits clarify the core message of the play: Character Traits of the Mahant:

• Far-sighted and Wise: The Mahant is an extremely far-sighted and knowledgeable person. As soon as he enters the city, he senses the irrational governance and says, “It is not proper to live in a city where vegetables and sweets are sold at the same price.”
• Free from Greed and Content: The Mahant has no greed for worldly things. He also teaches his disciple to avoid greed. He believes that greed is the root of sin.
• Guide and Well-wisher: He is a true well-wisher of his disciples. He warns Govardhan Das about the consequences of greed and, in the end, when Govardhan Das gets into trouble, it is he who saves his life with his intelligence and strategy.

Character Traits of Govardhan Das:

• Greedy and Gluttonous: The character of Govardhan Das is a symbol of greed and avarice. He decides to stay in ‘Andher Nagari’ due to the lure of cheap food. His sole aim is to get good and cheap food.
• Short-sighted and Unwise: He ignores his guru’s warning and considers immediate pleasure as everything. He lacks the ability to think ahead. He fails to understand the gravity of the situation.
• Materialistic: Govardhan Das is a completely materialistic person. For him, filling his stomach is more important than knowledge and wisdom. It is because of this folly that he endangers his own life.

In conclusion, the Mahant is a symbol of

wisdom, knowledge, and foresight

, while Govardhan Das represents

greed, ignorance, and short-sightedness

. Through these two contrasting characters, Bharatendu has conveyed the message that the result of greed and foolishness is always destructive, whereas wisdom and knowledge are what protect an individual.

Q3. Describe the song scheme of the play ‘Dhruvswamini’ with examples.

Ans. The use of songs holds a special place in the plays of Jaishankar Prasad. These songs are not merely for decoration or entertainment; they are an integral part of the drama that propels the narrative, expresses the characters’ emotions, and provides philosophical depth. The song scheme of the play ‘Dhruvswamini’ is also extremely powerful and meaningful. There are a total of four songs in ‘Dhruvswamini’, sung by different characters, and each has its own dramatic significance: 1. Dhruvswamini’s First Song: “Yauvan teri chanchal chhaya” (O Youth, your fickle shadow). This song, at the beginning of the play, expresses Dhruvswamini’s despair, helplessness, and sorrowful state of mind. When she is handed over to Shakraj like an object, she sings this song about the futility of her youth. This song presents a poignant picture of her inner pain and subjugation. 2. Mandakini’s First Song: “Yeh kasak, are ansoo seh ja” (This pain, O tears, endure it). This song appears when Mandakini witnesses Dhruvswamini’s plight and Ramgupta’s cowardice. Through this song, she not only consoles Dhruvswamini but also makes a sharp comment on the tyranny of men and the helplessness of women. This song is a voice of female consciousness. 3. Koma’s Song: “Yauvan, madhuvan ka, kalp-vriksh hai” (Youth is the wish-fulfilling tree of a pleasure garden). This song is sung by Koma in Shakraj’s camp. It expresses the intoxication and transience of love. This song reflects Koma’s exclusive love for Shakraj and her dream world, which is about to shatter. 4. Mandakini’s Second Song: “Pairon ke neeche jaldhar hon” (May there be clouds beneath the feet). This song is sung by Mandakini at the climax of the play. When Chandragupta kills Shakraj and frees Dhruvswamini, this song emerges as a symbol of victory, valor, and self-respect. It is a kind of victory anthem that celebrates the restoration of a woman’s honor and the nation’s pride. Thus, the songs in ‘Dhruvswamini’ do not just add poetic quality; they reveal the inner world of the characters, signal turns in the plot, and reinforce the ideological aspect of the play .

Q4. Highlight the features of Jaishankar Prasad’s plays.

Ans. Jaishankar Prasad is known as a pillar in the history of Hindi drama. Through his plays, he provided a new literary and intellectual level to Hindi drama. The main features of his plays are as follows: 1. Historical-Cultural Background: Most of Prasad’s plays (‘Skandagupta’, ‘Chandragupta’, ‘Dhruvswamini’) are based on the events of India’s golden past. He attempts to present solutions to contemporary problems (such as national unity, foreign invasion, internal strife) through history. He awakens national pride by glorifying the past. 2. National Consciousness: His plays are deeply imbued with national sentiment. Songs like ‘Himadri Tung Shring Se’ or ‘Arun Yeh Madhumay Desh Hamara’ have become immortal voices of nationalism. He establishes the ideals of patriotism, sacrifice, and valor in his plays. 3. Strong Characterization: Prasad’s characters are extremely lively and psychologically complex. They are not just good or bad but are a mixture of human virtues and weaknesses. The internal conflict of Skandagupta, the idealism of Chanakya, and the rebellious voice of Dhruvswamini demonstrate the depth of his character portrayal. Female characters are particularly strong, educated, and conscious of their rights. 4. Poetic and Philosophical Language: Prasad was primarily a poet, so the language of his plays is highly poetic, ornate, and Sanskritized. The dialogues are filled with philosophy and depth of thought. This language gives his plays a literary dignity. 5. Importance of Song Scheme: The use of songs in his plays is a key feature. These songs advance the plot, express the characters’ emotions, and intensify the atmosphere of the play. 6. The Question of Stageability: Due to the complexity of the language, long dialogues, and intricate scenes, the stageability of Prasad’s plays has often been questioned. However, with the development of modern theatrical techniques, their successful staging has now become possible. In short, Jaishankar Prasad greatly enriched Hindi drama in terms of theme, language, and characterization, and elevated it to a new height.

Q5. Express your views on the structural features of one-act plays and other dramatic forms.

Ans. Both one-act plays and other dramatic forms, like full-length plays, are written to be performed on stage, but there are fundamental differences in their structural features. This difference is reflected in their length, purpose, and impact. Structural Features of a One-Act Play:

• Brevity: The most significant feature of a one-act play is its size. It concludes in a single act. Its plot is very concise and well-knit.
• Unity: A one-act play strictly adheres to the ‘Three Unities’ (unity of action, place, and time). It has a single main event or action, which takes place in a single location and within a specific time frame (usually within 24 hours).
• Intensity and Climax: The purpose of a one-act play is to present a slice of life, a single problem, or a single emotion with full intensity, leaving a deep and immediate impact on the audience. Its beginning, development, and end occur at a very rapid pace.
• Characters and Dialogue: The number of characters is limited. Dialogues are short, crisp, and meaningful, directly advancing the plot.

Structural Features of Other Dramatic Forms (Full-Length Plays):

• Expansiveness: A full-length play is divided into several acts. Its plot is extensive, often featuring several sub-plots running alongside the main story.
• Flexibility: Adherence to the ‘Three Unities’ is not mandatory in a full-length play. Events can occur over many years and in various locations.
• Slow Development: In a play, the development of characters and plot happens gradually, through multiple situations and events. It offers the opportunity to depict the breadth and complexity of life.
• Characters and Dialogue: It can have a larger number of characters, and there is ample opportunity to explore different facets of their personalities. Dialogues can be long and analytical.

In conclusion, a one-act play is like a

‘sprint’

, aiming to create a powerful impact in a short time, whereas a full-length play is like a

‘marathon’

, patiently and extensively portraying a broad canvas of life. Both forms have their own importance and beauty.

Q6. Describe the features of Jagdish Chandra Mathur’s one-act plays and dramas.

Ans. Jagdish Chandra Mathur is an important figure in the field of modern Hindi drama and one-act plays. His writing exhibits a beautiful synthesis of tradition and modernity. The main features of his plays and one-act plays are as follows: 1. Thematic Diversity: Mathur chose diverse subjects for his plays. He wrote historical-mythological plays like ‘Konark’ and ‘Pehla Raja’, as well as social-psychological dramas like ‘Shardiya’. His plays analyze contemporary problems through historical contexts. 2. Theatricality and Stageability: Compared to Prasad’s plays, Mathur’s plays are more successful in terms of stageability. He was a skilled theatre practitioner himself, so he composed his plays with careful attention to language, dialogue, scene design, and stagecraft. His language is simple, clear, and dramatic. 3. Use of Folk Elements: Mathur creatively used elements from the folk-theatre tradition in his plays. The use of a folktale in ‘Konark’ and the inclusion of folk songs and dances in other plays attest to this approach. 4. Modern Sensibility: His one-act plays, in particular, express the problems, hopes, and despairs of modern urban life and the middle class. One-act plays like ‘Bhor ka Tara’, ‘O Mere Sapne’, and ‘Reerh ki Haddi’ tackle the conflicts of intellectuals, the problem of love, and attack social customs. 5. Symbolism: Mathur’s plays make beautiful use of symbols. The Sun Temple in ‘Konark’ is a symbol of creation and destruction, while the character of Prithu in ‘Pehla Raja’ symbolizes the conflict between power and public welfare. 6. Balanced Language Style: His language is neither overly Sanskritized like Prasad’s, nor excessively simple. He uses language according to the character and context. The dialogues are concise, satirical, and effective. In short, Jagdish Chandra Mathur provided Hindi drama with both literary dignity and theatrical significance. He enriched the Hindi dramatic tradition by successfully blending historical and modern sensibilities.

Q7. Discuss the plot of the one-act play ‘Deepdaan’.

Ans. ‘Deepdaan’, written by Dr. Ramkumar Verma, is an immortal work in Hindi one-act play literature. It is a historical one-act play whose plot is based on a famous event from the history of Chittor. The plot of the play presents the pinnacle of sacrifice, dedication, sense of duty, and loyalty. Beginning of the Plot: The one-act play begins in the palace of Chittor, where Kunwar Uday Singh, son of Maharana Sanga and heir to the throne, is with his wet nurse, Panna Dhai. The ‘Deepdaan’ (festival of lamps) is being celebrated, and Uday Singh insists on going. This is where the story gains momentum. Development of Conflict: The conflict in the story begins when it is revealed that Banvir, the illegitimate son of Maharana Vikramaditya, has killed him to usurp the throne and now intends to kill Uday Singh as well. Panna Dhai faces a terrible dilemma: on one hand, it is her duty to protect Uday Singh, the last lamp of the dynasty, and on the other, there is her motherly love for her own son. Climax: The climax of the story is extremely poignant and tense. When Panna gets the news of Banvir’s approach, she makes a harsh decision. She safely sends Uday Singh out of the palace by hiding him in the basket of a man named Kirat Bari, who collects used leaf-plates. Then, she lays her own sleeping son, Chandan, on Uday Singh’s bed and dresses him in royal clothes. End of the Plot: An intoxicated Banvir enters the room with a naked sword and asks for Uday Singh. Panna Dhai bravely points towards the bed. Banvir, mistaking Chandan for Uday Singh, kills him. With a heavy heart, Panna Dhai protects her master’s lineage by sacrificing her own son. The one-act play ends here, leaving the audience stunned and emotional. Thus, the plot of ‘Deepdaan’ is well-knit, fast-paced, and effective . It is completely successful in achieving its goal (to glorify Panna’s sacrifice). It has no unnecessary expansion and touches the audience’s heart directly.

Q8. Highlight the characterization in ‘Bhor ka Tara’.

Ans. The characterization in Jagdish Chandra Mathur’s one-act play ‘Bhor ka Tara’ (The Morning Star) is very strong and symbolic. The play primarily presents the conflict between art and life, love and duty, and the individual versus society through three characters – Shekhar, Chhaya, and Madhav. 1. Shekhar: Shekhar is the protagonist of the play. He is a poet, famous as the ‘Morning Star’.

• Artist and Dreamer: Shekhar considers art to be superior to life. He wanders in his world of imagination and love, far from the harshness of reality. He writes poems for his beloved ‘Chhaya’ and remains engrossed in it.
• Inactive and Escapist: Initially, he is indifferent to his duties towards his country and society. Even when there is a threat of foreign invasion, he remains absorbed in his poetic pursuits, which Madhav calls his ‘inaction’.
• Character Transformation: At the end of the play, seeing the crisis facing the nation and influenced by Madhav’s arguments, Shekhar has a change of heart. He rises above his personal love and art to embrace his national duty. By burning his poems, he symbolically sacrifices his old self to give birth to a new, duty-bound self.

2. Chhaya:

Chhaya is Shekhar’s beloved and his inspiration. She is an admirer of Shekhar’s art and is devoted to his love. She is a symbol of an ideal lover who stands by Shekhar’s decision till the end. Her character helps to highlight Shekhar’s artistic and romantic side.

3. Madhav:

Madhav is Shekhar’s friend, but in character, he is his complete opposite.

• Realistic and Dutiful: Madhav is a soldier, and for him, patriotism is paramount. He does not consider art or love to be greater than duty.
• A Motivating Force: He plays the role of a catalyst in the play. He berates Shekhar for his inaction and makes him realize his duty to the nation. It is because of him that Shekhar’s transformation takes place.

Thus, through these three characters, Mathur has successfully presented a deep ideological conflict. Shekhar symbolizes

‘Art’

, Madhav symbolizes

‘Life and Duty’

, and Chhaya symbolizes

‘Love and Inspiration’

.

Q9. Write short notes on any two of the following: (a) ‘Hanush’ play’s dialogue scheme (b) Stageability in drama (c) The three unities (d) Character of Madhavi

Ans. (a) ‘Hanush’ play’s dialogue scheme The dialogue scheme is the greatest strength of Bhisham Sahni’s play ‘Hanush’. The dialogues in the play are extremely simple, natural, and appropriate to the characters. Despite being based on a Czechoslovakian folktale, they feel very close to Indian folk life in language and sentiment. The main features of the dialogues are:

• Simplicity and Naturalness: The dialogues do not use heavy literary or philosophical language. The language is colloquial, accurately reflecting the socio-economic background of the characters.
• Theatricality and Satire: The dialogues do not just convey information; they create tension, conflict, and drama. The dialogues of the representatives of power (the king, the priest) have a deep undertone of cruelty and satire.
• Revelation of Character: It is through the dialogues that the pain of Hanush’s artistic soul, his dedication, his wife Katya’s practical worries, and the priest’s cunning become clear.
• Advancing the Plot: Each dialogue moves the story forward and intensifies the tragedy of Hanush. For example, when Hanush says, “I made this lock not for my own protection, but for the protection of others,” this dialogue hints at both his dedication to his art and the impending tragedy.

Overall, the dialogue scheme of ‘Hanush’ is realistic, effective, and highly successful from a theatrical perspective.

(c) The three unities

‘The Three Unities’ is an important principle of Western dramaturgy, with its origins in the poetics of the Greek philosopher Aristotle. However, it was established as a strict rule by French and Italian Neoclassicism. The three main components of the unities are:

1. Unity of Action:

This means that a play should have one main plot or course of action. It should not contain any subplots or incidental events that do not contribute to the development of the main plot. The aim is to make the story coherent and impactful.

2. Unity of Time:

According to this rule, the events depicted in the play should occur within a specific time frame. Aristotle considered this period to be ‘one revolution of the sun’ (about 24 hours). The purpose is to create an illusion of naturalness and reality in the play.

3. Unity of Place:

This means that all the events of the play should take place in a single location. Frequent changes of scene can distract the audience and break the illusion of reality.

In the modern era, adherence to these rules can be seen, especially in realistic plays and one-act plays. However, most contemporary playwrights consider it a constraint and take liberties with it for their creative freedom. In Hindi literature, the three unities are more naturally followed in the one-act play genre.