IGNOU MEG-14 Solved Question Paper PDF Download

IGNOU MEG-14 Previous Year Solved Question Paper in Hindi

IGNOU MEG-14 Previous Year Solved Question Paper in English

Q1. Discuss with reference to the context any four of the following passages : 4×5=20 (a) into the still autumn nights were borne by the cold winds onto the season of carols. (b) We’ll put the tornado on the run O bumble-bee, the black bumble-bee ! Wherefore are you so sad and forlorn ! (c) Though all the world is for you Yet the most precious gift of all Is the thirst that the creator showered on you. (d) Mistakes and fine follies howl, Every eye begets it’s many dreams, And no king’s ordinance is here honoured. (e) As though it has seen the long-banished lover Living in disguise in the neighborhood (f) Come, for their sake, let’s demolish these kitchens how !

Ans. An explanation of four of the given passages with reference to their context is as follows: (a) into the still autumn nights… These lines are from the poem ‘The Void’ (Shunya) by Gajanan Madhav Muktibodh . The poem explores a profound sense of inner emptiness or void within the speaker’s consciousness. This passage describes the nature of this void’s progression. The ‘still autumn nights’ suggest a sense of silence and stasis, but it is a cold, lifeless stillness. The ‘cold winds’ carry this feeling forward, symbolizing an emotional chill and detachment. The ‘season of carols,’ typically associated with joy, warmth, and celebration (Christmas), is used ironically here. It represents a phase that is outwardly festive but inwardly mechanical and devoid of genuine feeling. Thus, the lines depict a journey from a quiet emptiness to a sterile, emotionally barren existence. (c) Though all the world is for you… These lines are from Harivansh Rai Bachchan’s celebrated work, ‘Madhushala’ (The House of Wine) . The poem is an extended metaphor on life, death, love, and spirituality, using the ‘madhushala’ (tavern) and ‘madira’ (wine) as central symbols. In this particular stanza, the poet declares ‘thirst’ to be the most precious gift. Here, ‘thirst’ is not merely physical; it is a profound symbol for a deep spiritual or existential longing . It represents the unquenchable quest for knowledge, love, or the divine. The poet argues that even if all the pleasures of the world are available to you, it is this sense of perpetual seeking and incompleteness that gives life meaning and purpose. It is a ‘gift from the creator’ because it saves one from complacency and keeps one on the path of growth and discovery. (d) Mistakes and fine follies howl… These lines are also from Gajanan Madhav Muktibodh’s poem ‘The Void’ . They come from the section where the poet describes the chaotic and ungoverned nature of the inner void. This ‘void’ is not a peaceful space but one teeming with suppressed desires, mistakes, and primal impulses. The phrase ‘Mistakes and fine follies howl’ suggests a space where social norms and logic have no control. ‘Every eye begets its many dreams’ indicates a subjective and anarchic world. The concluding line, ‘And no king’s ordinance is here honoured,’ powerfully reinforces the idea that this inner world is beyond the rules of external authority, law, and order. It is a realm where the raw, unfiltered consciousness of the individual reigns supreme. (f) Come, for their sake, let’s demolish these kitchens now ! This powerful line is the concluding call to action from the poem ‘Kitchen’ by Vimala . The poem uses the kitchen as a potent symbol of female oppression and domestic confinement. Throughout the poem, the kitchen is portrayed not as a place of nourishment but as a grimy, suffocating, and oppressive space that drains women of their energy, creativity, and identity. These final lines are both a literal and a symbolic call. Literally, it is a call to destroy the physical space that confines women. Symbolically, it is a much larger and more significant call: it is an exhortation to demolish the patriarchal structures, traditions, and mindsets that bind women to traditional domestic roles. The phrase ‘for their sake’ refers to future generations, to save them from the same suffocation and oppression. It is a radical feminist statement demanding complete liberation.

Q2. Discuss the thematic and poetic-style of the poem ‘Tree and the Sage’. 20 Or Do you consider the poem ‘Kitchen’ as a feminist poem ? Give reasons for your answer.

Ans. Do you consider the poem ‘Kitchen’ as a feminist poem? Give reasons for your answer. Yes, the poem ‘Kitchen’ by Vimala is unequivocally a powerful and significant feminist poem . It masterfully uses the kitchen, not as a mere cooking space, but as a central symbol of women’s oppression, confinement, and the erosion of their identity within a patriarchal society. There are several compelling reasons to classify it as a feminist text: 1. The Kitchen as a Symbol of Oppression: The poem subverts the traditionally positive and nurturing image of the kitchen. Here, the kitchen is a ‘prison’ . The poet employs imagery of smoke, soot, grease, and piles of unwashed dishes to create a suffocating and unpleasant atmosphere. This physical environment is a metaphor for the mental and emotional oppression faced by women confined to domesticity. 2. The Annihilation of Identity: The poem illustrates how a woman’s entire existence is reduced to the functions of the kitchen. Her time, energy, and creativity are consumed by ‘lighting the stove’ and ‘cleaning the vessels’. She loses her individual identity and becomes a mere domestic functionary. The poem highlights how patriarchy limits women’s potential solely to the domestic sphere. 3. The Invalidation of Labour: While the woman toils endlessly in the kitchen, her work is often devalued and considered non-productive. The poem draws attention to this invisible and unpaid labour that forms the backbone of the family and society but is rarely acknowledged or appreciated. This is a key theme in feminist economics and theory. 4. A Revolutionary Call for Liberation: The most potent feminist aspect of the poem is its conclusion: “Come, for their sake, let’s demolish these kitchens now!”. This is not just a call to destroy a physical space; it is a revolutionary call to dismantle all the patriarchal structures, social norms, and mindsets that enslave women. It is a clear demand to free future generations from this cycle of oppression. 5. The Personal is Political: The poem is a classic example of the feminist slogan, ‘the personal is political’. It takes a ‘personal’ or ‘private’ space like the kitchen and demonstrates how it is an integral part of a larger political and social structure that perpetuates gender inequality. In conclusion, ‘Kitchen’ is far more than a description of domestic drudgery; it is a profound political statement that exposes the oppressive nature of patriarchy and demands complete liberation for women. Its powerful imagery, symbolism, and revolutionary spirit make it a landmark text in Indian feminist literature.

Q3. Discuss Samskara as an allegory. 20 Or Tamas can be broadly called ‘a novel of partition’. Discuss.

Ans. Discuss Samskara as an allegory. U.R. Ananthamurthy’s novel ‘Samskara: A Rite for a Dead Man’ is not merely a story but a profound and complex allegory for the crisis of tradition, the decay of Brahminical orthodoxy, and the struggle of post-independence India to navigate its transition from a rigid past to a modern future. The allegorical interpretation of the novel operates on several levels: 1. Symbolism of Characters:

• Praneshacharya: As the protagonist, he is the embodiment of a decaying and moribund Brahminical tradition . He is a man of great learning and respect, but his knowledge is bookish and fails him when confronted with the messiness of real life. His fall from grace, through his sexual encounter with Chandri, allegorizes the collapse of the very orthodox system he represents.
• Naranappa: He is Praneshacharya’s antithesis and represents rebellion, modernity, and the defiance of established norms . He breaks every rule of the Brahminical code – eating meat, drinking alcohol, and living with a lower-caste woman, Chandri. His death creates a crisis for the entire agrahara (Brahmin colony), symbolizing how a single challenging event can shake a stagnant system to its core.
• Chandri: She symbolizes life force, sensuality, and nature itself. She is unfettered by the artificial constructs of caste and purity. She represents the life-giving energy that the Brahminical system has tried to suppress.

2. The Allegory of the Agrahara and the Plague:

• The Agrahara: The Brahmin settlement is an allegory for a closed, stagnant society, insulated from the outside world and trapped in its own rules and prejudices. It symbolizes an India clinging to its past and resisting change.
• The Plague: The plague that breaks out in the novel is not just a disease; it is an allegorical force of purification . It arrives to cleanse the putrefaction—moral, social, and spiritual—that pervades the agrahara. It is nature’s way of destroying the old, dead order to make way for a new beginning.

3. The Crisis of the ‘Samskara’ (Death Rite):

The central crisis of the novel is the question of Naranappa’s cremation. The dilemma of who should and how they should perform the last rites for a ‘heretic’ Brahmin is, in fact, the crisis of tradition itself. The inability of the old texts and rules to provide a solution shows their inadequacy in dealing with new, complex problems. This is a grand allegory for India’s own identity crisis—whether to cling to its old traditions or forge a new path.

In conclusion, ‘Samskara’ is more than the story of one man or one community. It is a powerful allegory capturing the dilemmas of a nation in transition—a transition from a world governed by rigid, unchanging laws to one that is more complex, uncertain, and morally ambiguous. Praneshacharya’s journey is the allegorical journey of India itself in its search for identity and modernity.

Q4. Write short notes on any two of the following : 2×10=20 (a) The character of Manohar (b) Narrative technique in ‘Very Lovely, She’ (c) Myth in Manimahesh (d) Symbols used in the play Tughlaq

Ans. (a) The character of Manohar In Girish Karnad’s celebrated play ‘Tughlaq’, the character of Manohar is a significant fictional creation, not found in historical accounts. He functions as the voice of the common man and a direct victim of the disastrous policies of the Sultan, Muhammad bin Tughlaq. Manohar’s character serves as a stark contrast to Tughlaq’s grand, idealistic, yet tyrannical persona. While the Sultan is lost in his visionary schemes, Manohar represents the devastating human cost of those schemes. His family is destroyed during the forced exodus from Delhi to Daulatabad, his mother dying on the way. This personal tragedy transforms him, fueling a quest for justice and revenge against the Sultan. The functions of Manohar’s character are manifold:

• He acts as a point of identification for the audience, who can relate more to the suffering of an ordinary individual than to the grand ambitions of a king.
• He serves as a ‘foil’ to Tughlaq, consistently highlighting the dark, destructive aspects of the Sultan’s character.
• His persistent presence is a constant, nagging reminder to Tughlaq of his failures and the human suffering he has caused.
• In the end, though he fails to assassinate Tughlaq, his very existence and his continued defiance are a testament to the Sultan’s moral and political bankruptcy.

Thus, Manohar is not just a vengeful individual but a powerful dramatic device symbolizing the countless, nameless victims crushed under the wheels of absolute power and impractical idealism. He effectively exposes the hollowness of Tughlaq’s vision.

(d) Symbols used in the play Tughlaq

Girish Karnad masterfully employs several powerful symbols in his play ‘Tughlaq’ to deepen its themes and meaning, blending history with potent dramatic imagery. The most prominent symbols include:

1. Chess:

The game of chess is a recurring motif and a central symbol in the play. It represents

political maneuvering and the game of power

. Tughlaq sees himself as a master chess player, manipulating his subjects and courtiers like pawns to achieve his grand designs. He believes he is always several moves ahead of his opponents. However, the play reveals that his moves often backfire, leading to chaos and destruction. This symbol highlights Tughlaq’s cold, calculating, and ultimately destructive approach to governance.

2. Prayer (Namaz):

Prayer, normally a symbol of spirituality and devotion, becomes a symbol of

hypocrisy and political control

in the play. Tughlaq makes prayer compulsory and enforces it with the sword. A sacred act is thus debased into a tool for demonstrating political loyalty. Characters like Aziz and Aazam exploit this system for personal gain, while true faith is eroded. This symbol shows how Tughlaq perverted religion to serve his political ends.

3. Daulatabad:

The shifting of the capital from Delhi to Daulatabad is the single most important symbol of Tughlaq’s

grand but flawed idealism

. On paper, it was a noble idea to create a new, integrated capital for his Hindu-Muslim empire. In practice, it was an ill-conceived, cruelly executed plan that resulted in the death of thousands. Daulatabad symbolizes the city of Tughlaq’s dreams, which ultimately turns into a nightmare and stands as a monument to his failure.

4. Disguise:

The motif of disguise is another crucial symbol. Aziz uses disguise, impersonating a Brahmin to cheat the Sultan, which exposes the corruption within the system. Tughlaq himself is in a metaphorical disguise, hiding his tyranny and cruelty behind a mask of idealism and justice. This symbol points to the blurred line between truth and illusion, and the pervasive deception and uncertainty that characterize the world of the play.

Q5. Discuss Vijaydan Detha’s art of story-telling in The Compromise. 20 Or Critically appreciate the poem ‘Requiem’.

Ans. Discuss Vijaydan Detha’s art of story-telling in The Compromise. Vijaydan Detha, fondly known as ‘Bijji’, was one of modern India’s most original storytellers. His art is deeply rooted in the rich tradition of Rajasthani folklore, yet it is infused with a modern sensibility and sharp social satire. ‘The Compromise’ (originally ‘Samjhauta’ in Rajasthani) is a perfect showcase of his unique craft. The key features of Detha’s art of storytelling as seen in ‘The Compromise’ are: 1. Folktale Narrative Style: Detha adopts the voice of a ‘sutradhar’ or a traditional folk narrator. The language is simple, direct, and earthy, characteristic of rural speech. He often addresses the reader directly, creating an intimate, conversational tone. The story begins like a simple folktale—a trivial quarrel between the wives of two brothers—but gradually morphs into a serious social commentary. 2. Satire and Irony: Satire is the most potent weapon in Detha’s arsenal. ‘The Compromise’ is a scathing satire on patriarchal society. The village elders (panch), supposed to be the arbiters of justice, are portrayed as foolish and biased. The very title, ‘The Compromise’, is deeply ironic. The solution reached at the end is no just resolution but a horrific assertion of male ownership over women’s bodies and autonomy. 3. Rural Realism: Detha presents a raw and unflinching picture of rural life in Rajasthan. He exposes the power dynamics of caste, gender, and feudal authority without any romanticization. In ‘The Compromise’, we see how women are treated as male property, to be used as bargaining chips to settle their disputes. 4. Shocking and Provocative Endings: Another hallmark of Detha’s craft is his use of unexpected and often shocking endings. The conclusion of this story is deeply disturbing. When the elders decree that the two brothers should sleep with each other’s wives to ‘settle the score’, the reader is left stunned. This ending does not provide comfort or closure; instead, it makes the reader deeply uncomfortable, forcing them to reflect on the deeply ingrained misogyny of the society. In conclusion, Vijaydan Detha’s storytelling is a masterful blend of the traditional and the modern. In ‘The Compromise’, he uses the simple framework of a folktale to tell some very uncomfortable truths about patriarchy, justice, and morality. His art lies in how he weaves horror and humour together, making his stories both unforgettable and socially relevant.