IGNOU BUDC-109 Solved Question Paper PDF Download

IGNOU BUDC-109 Previous Year Solved Question Paper in Hindi

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Q1. Write an essay on the tradition of satire and humour in Urdu.

Ans. The tradition of satire and humour in Urdu literature is both old and rich, with its roots tracing back to the classical era. Initially, it existed in the forms of ‘Hajv’ (personal lampooning) and ‘Zarafat’ (wit/humour). Poets like Mir Taqi Mir and Mirza Muhammad Rafi Sauda used their satirical poetry to critique social and personal flaws. Sauda, in particular, vividly depicted the decline of his contemporary society in his works ‘Shahr Ashob’ and ‘Qasida-e-Tazheek-e-Rozgar’. The poetry and letters of Mirza Ghalib are replete with excellent examples of ‘Zarafat’, a subtle wit that often arises from deep seriousness. However, the credit for establishing satire and humour as a robust genre in Urdu prose (Nasr) largely goes to Sir Syed Ahmed Khan and his contemporaries. The newspaper ‘Avadh Punch’ played a significant role in advancing this tradition. The most prominent humourist of this period was Akbar Allahabadi , who used his poetry to launch profound satirical attacks on Western civilization and its blind imitation. In the 20th century, this tradition reached new heights. In prose, Patras Bokhari laid the foundation for pure humour through his essays. His book “Mazameen-e-Patras” is still considered a milestone in Urdu humour. Rasheed Ahmed Siddiqui introduced an intellectual and serious dimension to humour. His sketches (Khake) and essays reflect the cultural life of Aligarh. Following them, writers like Shaukat Thanvi, Imtiaz Ali Taj, Kanhaiya Lal Kapoor, and Ibn-e-Insha carried this legacy forward. In the modern era, the most important name is Mushtaq Ahmed Yousufi , whose prose is considered the pinnacle of Urdu satire and humour. His books ‘Chiragh Talay’ and ‘Aab-e-Gum’ set new standards for humorous writing. Thus, satire and humour in Urdu have not just been a source of laughter, but also a powerful medium for social reform and self-analysis.

Q2. Describe the characteristics of Patras Bokhari’s humour writing.

Ans. Ahmed Shah Bokhari, better known by his pen name ‘Patras Bokhari’ , is considered the founder of pure humour in Urdu literature. The most significant characteristic of his humour is its naturalness and lack of artificiality. He does not create humour through wordplay or forced jokes; instead, his humour arises organically from characters, situations, and circumstances. His book “Mazameen-e-Patras” is a prime example of this style. Some key characteristics of Patras’s humour writing are:

• Situational Comedy: Patras describes everyday situations—like student life in a hostel, keeping a dog, or waking up early—in such a way that the circumstances themselves become hilarious. His essays ‘Savere Jo Kal Aankh Meri Khuli’ and ‘Kutte’ are excellent examples.
• Characterization: The characters Patras presents in his essays are lively and interesting. He often portrays himself as a naive, simple-minded person who constantly finds himself in trouble. This element of self-deprecation makes his humour even more delightful.
• Freshness and Charm in Writing: His language is simple, fluid, and captivating. It is free from affectation and heavy, ornate words. This simplicity is what makes his style unique.
• Influence of Western Literature: Patras was greatly influenced by English literature, especially by humorists like Stephen Leacock and Jerome K. Jerome. He successfully adapted the style of English humour into Urdu, but presented it with a completely Eastern flavour.
• Subtle Satire: Patras’s humour is not devoid of satire, but his satire is very gentle and mild. He does not hurt anyone’s feelings but rather pokes fun at social weaknesses with affection.

Patras Bokhari elevated humour writing to the status of a serious art form and proved that its purpose is not just to make people laugh, but also to provoke deep thought.

Q3. Write a critical note on any two of the following. (a) Rashid Ahmed Siddiqui’s sketch writing (b) Shaukat Thanvi’s humour writing (c) Kanhaiya Lal Kapoor as a satirist

Ans. (a) Rashid Ahmed Siddiqui’s sketch writing (Khaka Nigari) Rashid Ahmed Siddiqui is among those Urdu writers who gave satire and humour a new intellectual and serious dimension. His work in the field of sketch writing (Khaka Nigari) is unparalleled. His book “Ganjha-e-Giranmaya” is a seminal document of Urdu sketch writing. The most significant feature of Rasheed Sahab’s sketches is that they do not merely describe a person’s external appearance, but delve deep into their entire personality, their thoughts, habits, and the depths of their mind. The cultural life of Aligarh Muslim University and its characters hold a special place in his sketches. He portrays even ordinary characters in such a way that they appear extraordinary. His sketches present a beautiful blend of humour and seriousness. Even when he mentions a person’s flaws, it is done with an underlying sense of affection and empathy. His language is somewhat difficult and complex, with a frequent use of Arabic and Persian words. His sentences are long and convoluted, but it is this very style that gives his sketches a unique identity. He possessed the art of narrating an entire story in a single sentence. In short, Rashid Ahmed Siddiqui’s sketch writing is a profound and artistic analysis of a personality’s inner and outer world.

(b) Shaukat Thanvi’s humour writing Shaukat Thanvi was a very popular and beloved humourist in Urdu literature. The greatest quality of his humour writing is its simplicity, informality, and accessibility. He created humour from everyday life events and human weaknesses. He was a humorist of the masses, whose writings could be easily understood and enjoyed by people from all walks of life. In his stories and essays, Shaukat Thanvi often resorted to exaggeration (Mubaligha Arai) and caricature . His famous novel ‘Swadeshi Rail’ is a prime example, where he exaggerates situations to such an extent that it becomes difficult to stop laughing. His characters, such as ‘Qazi Ji’, are familiar social types whose foolishness and actions make readers laugh heartily. Shaukat Thanvi also worked extensively for the radio, and his plays became very popular. His satire was not very sharp; his main aim was to make his readers laugh and entertain them. Through his prolific writings, he brought Urdu humour to the common people and took it to new heights of popularity.

(c) Kanhaiya Lal Kapoor as a satirist Kanhaiya Lal Kapoor is a significant satirist in Urdu. While Patras’s focus is on pure humour, Kapoor’s special domain is satire. With his satirical arrows, he strikes hard at the flaws, hypocrisy, and affectation present in society, literature, and politics. In his writings, humour is merely a veil behind which lies a serious and reformist purpose. The most prominent feature of Kanhaiya Lal Kapoor’s satire is ‘parody’ . He caused a stir in the literary world by parodying the poems of Ghalib, Iqbal, and other great poets, as well as famous prose works. His essay “Ghalib Jadeed Sho’ra ki ek Majlis Mein” (Ghalib in a gathering of modern poets) is the finest example of this, in which he mocks the meaningless drivel that passes for modern poetry. Furthermore, his essay “Cheeni Shayar” (The Chinese Poet) is a sharp satire on plagiarism and superficiality in literature. Kapoor’s style is very sharp and biting. He was not one to compromise. His language is simple, but his satire has great depth. Through his writings, he showed society a mirror of its weaknesses and openly criticized the wrong trends in the literary world.

Q4. Explain the following excerpt with reference to context. (a) When the question arises of coining new words or terms in the Urdu language… Save me from my friends. (b) Dogs! It is generally said that the dog is a loyal animal… how foolish man is.

Ans. (a) Excerpt (a) Reference to Text: This excerpt is taken from the humorous essay “Mujhe Mere Doston Se Bachao” (Save Me from My Friends) by the renowned Urdu writer Sajjad Haider Yaldram . This essay is included in his collection of essays, ‘Khayalistan’. Context: In this essay, the author talks about his friends who, in the name of friendship, waste his time. He mentions a friend, Muhammad Tehseen, who visits him daily and disturbs his reading and writing. During this narrative, the author compares his own situation with the state of the Urdu language. He argues that just as his ignorant friends are harming him with their actions, some misguided supporters of Urdu are making the language difficult and inaccessible by coining new and obscure words. This excerpt presents this very idea. Explanation: In this passage, Sajjad Haider Yaldram points to a very important issue. He says that when the need arises to create new words or terminology in Urdu, some people deliberately choose difficult Arabic and Persian words, ignoring simpler and more common ones. Their aim is not to serve Urdu, but to show off their own scholarship. They introduce words that nobody understands, thereby alienating the language from the common people. The author sees a parallel between his own plight and that of the Urdu language. He states, “My fate and Urdu’s are the same.” Just as his friends ruin his time and peace in the name of friendship, these “supporters” of Urdu are harming it in the name of service. That is why he and the Urdu language both make the same plea: “Save me from my friends.” This sentence is the central idea of the essay and contains a deep satire: that sometimes, ignorant friends can cause more harm than enemies.

(b) Excerpt (b) Reference to Text: This excerpt is taken from the essay “Kutte” (Dogs) by the peerless Urdu humorist Patras Bokhari . The essay is part of his famous book “Mazameen-e-Patras”. Context: In this essay, Patras Bokhari describes the types of dogs and their habits in his unique humorous style. He begins the essay by mentioning zoologists and discussing the breeds of dogs. He contrasts native and foreign dogs and then moves on to what is the common opinion about dogs versus the reality. The given excerpt is part of this discussion, where he makes a satirical comment on the loyalty and foolishness of dogs. Explanation: In this excerpt, Patras Bokhari starts with a common notion that “the dog is a loyal animal,” but he immediately questions it. He says that this loyalty often borders on foolishness. A dog always considers its master to be the best person in the world, no matter what he is really like. It unthinkingly barks at every enemy of its master and loves every friend. Patras mocks this ‘blind loyalty’ by saying that from this habit of a dog, we can only draw one conclusion: “how foolish man is.” The satire here is two-layered. The first layer is that the dog is foolish to think so highly of man. But the second, deeper layer is that man himself is so foolish and arrogant that he gives this blind worship a beautiful name like ‘loyalty’ and feels happy about it. In a very light-hearted manner, Patras delivers a profound satire on human nature’s vanity and self-love. This is the genius of his humour: he talks about animals while exposing human weaknesses.

Q5. Explain the following excerpt with reference to context. The charpai and the gathering are intertwined in our culture… they remain alive.

Ans. Reference to Text: This beautiful excerpt is taken from the famous humorous essay “Charpai” by the stylistically unique writer Rasheed Ahmed Siddiqui . Context: In this essay, Rasheed Ahmed Siddiqui presents an ordinary, everyday object, the ‘charpai’ (a traditional woven cot), as a cultural and social symbol. He explains that in India, especially in the towns and villages of U.P., the charpai is not just an object for sleeping or sitting, but holds the status of a social institution. It is the centre of friends’ get-togethers, arguments, and gossip. The given excerpt elaborates on this very idea of how the charpai and the ‘majlis’ (gathering) are intrinsically linked. Explanation: In this passage, Rasheed Ahmed Siddiqui, in his characteristic philosophical and humorous style, explains that in our society, the ‘charpai’ and the ‘majlis’ (gathering) are inseparable. A gathering cannot be imagined without a charpai, just as imagination is essential for a poet or colours for a painter. He states that the charpai is the ‘seat’, the ‘president’, and the ‘session’ of our gatherings. When he says, “The gathering happens on the charpai, the charpai is not in the gathering,” he makes a subtle point. It means that the charpai is the foundation upon which the gathering is established; the gathering does not give birth to the charpai. He then explains that the charpai is the very place where major issues of our culture—such as politics, literature, and society—are debated. These debates sometimes escalate to fisticuffs and verbal abuse. However, in the author’s view, this very noise and conflict is a sign that the nation is alive. Silence and tranquility are signs of death. In this way, Rasheed Ahmed Siddiqui transforms the charpai into a symbol of a vibrant and dynamic cultural life. His style of expression is intellectual and delightful, which sets his humour apart from others.

Q6. Review the humour writing of Mushtaq Ahmed Yousufi.

Ans. It would not be an exaggeration to call Mushtaq Ahmed Yousufi the ‘last prophet’ of satire and humour in Urdu prose. He is an heir to the tradition of Patras and Rasheed Ahmed Siddiqui, but through his hard work, intellect, and mastery over language, he developed a style that is uniquely his own. His humour writing is not limited to just making people laugh; it is a profound and intellectual commentary on life’s truths, human weaknesses, and social hypocrisy. The key characteristics of Yousufi’s humour are:

• Command over Language and Expression: Yousufi’s prose is highly polished and ornate. He uses each word with great care and consideration. His sentences are crisp and multi-layered. He enriches his humour with his knowledge of Urdu, English, Persian, and Arabic literature, giving it intellectual depth.
• Depth of Satire: Yousufi’s humour is often intertwined with deep satire. Through situations and characters, he critiques societal flaws in such a way that the reader is compelled to think while laughing. He never criticizes directly; his satire is subtle and artistic.
• Unmatched Characterization: Yousufi has given Urdu literature several memorable characters, the most famous of whom is Mirza Abdul Wadood Baig . These characters represent a certain class of society, and Yousufi creates humour and satire through their actions and words.
• Parody and Distortion (Tahrif): He uses famous proverbs, idioms, and verses of poetry with slight alterations to create new and humorous situations. This is a testament to his extraordinary creativity.
• Deep Observation of Human Psychology: Yousufi has a profound understanding of human nature and psychology. He describes human vanity, greed, ostentation, and foolishness so skillfully that the reader feels he knows them and their society very closely.

His books, such as

“Chiragh Talay”, “Khakam ba-dahan”, “Zarguzasht”

, and

“Aab-e-Gum”

, are masterpieces of Urdu satire and humour. Yousufi has bestowed a new respect and a new standard upon Urdu humour.

Q7. Review the tradition of satire and humour in Urdu poetry.

Ans. Like Urdu prose, Urdu poetry also has a strong and splendid tradition of satire and humour. It began in the classical period with ‘Hajv’ (condemnatory poetry). Mirza Muhammad Rafi Sauda is considered the master of Hajv in Urdu. In his satirical poems, he targeted the nawabs, nobles of his time, and even the weakness of his own horse. Traces of wit (Zarafat) and satire can also be found in the poetry of Mir Taqi Mir. The poetry of Inshaullah Khan ‘Insha’ is marked by its playfulness and wit. In Mirza Ghalib’s work, satire and wit are integrated with deep and serious philosophy, which was a part of his personality. The credit for using satire and humour in poetry as a mission goes to Akbar Allahabadi . He used his poetry as a weapon against English civilization, Western education, and its blind imitation. The satire in his poetry is very sharp and purposeful. He mocked Western culture through characters like ‘Leader’, ‘College’, and ‘Miss’. In the 20th century, several poets carried this tradition forward. Some important names among them are:

• Syed Mohammad Jafri: He wrote deeply satirical poems on political and social conditions. His poem “Clerky” is a famous example.
• Zamir Jafri: He was in the army, and his poetry has a distinct military-style wit and informality. He wrote on social and political issues in a light-hearted manner.
• Dilawar Figar: He is known as the “Emperor of Humour” (Shahenshah-e-Zarafat). He continued the tradition of Akbar Allahabadi. He wrote very sharp and enjoyable couplets (Qat’aat) and poems on political leaders, inflation, and social flaws. His skill in writing parodies was also remarkable.

These poets proved that poetry is not just for expressing love and beauty, but can also be used as a powerful medium to expose society’s flaws and to create political and social awareness among people.