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1. Festivals have I seen that were not names :
This is young Buonaparte's natal day,

And his is henceforth an established sway-Consul for life. With worship France proclaims Her approbation, and with pomps and games, Heaven grant that other cities may be gay! Calais is not; and I have bent my way To the sea-coast, noting that each man frames His business as he likes. Far other show My youth here witnessed, in a prouder time; The senselessness of joy was then sublime! Happy is he, who, caring not for Pope, Consul, or King, can sound himself to know The destiny of Man and live in hope. (a) Explain the occasion of this sonnet. the "prouder time" to which the writer refers. plain the poet's attitude towards the Revolution, and illustrate by quotations from his other sonnets on the subject.

What is


(b) Comment on the structural qualities and peculiarities of this sonnet.

2. Explain carefully the meaning of the following. extracts in connection with the context and the general meaning of the poem from which each is taken :




In my youth's summer I did sing of One
The wandering outlaw of his own dark mind.

Me this unchartered freedom tires;

I feel the weight of chance desires.

And worst of all, a treasonable growth
Of indecisive judgments, that impaired
And shook the mind's simplicity.




The moving accident is not my trade;
To freeze the blood I have no ready arts:
'Tis my delight, alone in summer shade,
To pipe a simple song for thinking hearts.
Alas! the great world goes its way
And takes its truth from each new day.
for the gods approve

The depth, and not the tumult, of the soul. (g) Let him say, "In face of my soul's works Your world is worthless and I touch it not


Lest I should wrong them"-I'll withdraw my plea.
But does he say so? look upon his life.

Himself, who only can, gives judgment there.

Thou dost preserve the stars from wrong,

And the most ancient heavens through thee are fresh and strong.

3. What is new in the poetic diction of, Keats? Give examples from the Ode to a Nightingale. Illustrate its influence on later schools of poetry.

Compare Keat's treatment of classical legend with Tennyson's.

4. Give examples of the way in which Arnold defines and illustrates the highest standard of poetic style. In what respects does he regard the style of the following poets as falling short: Chapman, Cowper, Scott.

5. (a) On what grounds does Ruskin imply deterioration of modern society in his description of old Geneva? Is there deterioration, and if there is, how is it to be reconciled with the idea of progress? (b) Characterize Ruskin's style.



(Two questions from each section).


1. How would you describe the spirit of the 18th century, as exemplified in its literature and art. Comment on its standards and tendencies as illustrated by the works of any three of the following: Gibbon, Gray, Dr. Johnson, Sir Joshua Reynolds, James Thomson.

2. (a) Describe the rise and growth of the Romantic movement in English, showing briefly the form which it took and the significance it had in the writings of the following: Campbell, Walter Scott, Byron. Distinguish the romantic and naturalistic. elements in Scott's novels.

(b) What are the fundamental characteristics which distinguish romantic poetry from tne poetry of Wordsworth. Notice the poems of Wordsworth which show the influence of the Romantic movement.

3. Give the principal features in Carlyle's characterisations of Capt. Edward Sterling, Frank Edgeworth, Coleridge, and comment on the insight and predilections shown.


4. Give an outline of Thyrsis. Explain the traditional character of this form of poetry. What conventions does it sanction and how far has the poet made use of them. Compare it with the Lycidas in

this respect.

Describe the stanza in which it is

written and characterize the style.

5. State what you consider to be the characteristic qualities and the value of Arnold's work as a critic. Give and comment on his judgment of the following writers Addison, Macaulay, Heine, Joubert.

6. Give a brief summary of Emerson's Literary Ethics. What ideas in it do you think most valuable for his own time and country?

Compare him as a thinker with Carlyle.


7. (a) Explain the distinction Ruskin draws between 'truth' and 'imitation'. Illustrate by reference to the manner in which a tree and a portrait may be painted.

(b) What according to Ruskin are the two great truths of chiaroscuro?

(c) What are the arguments by which Ruskin seeks to found the greatness of art on its embodiment of great ideas? Give his appreciation of the ‘Old Shepherd's Chief-mourner' in this connection.

8. State the structure and give an appreciation of the qualities of Chaucer's seven-line stanza, the Spenserian stanza, Wordsworth's stanza in Ruth, Keats's stanza in Isabella.

9. Give a sketch of Chaucer's poetic development, showing clearly its three periods with their different standards and ideals.



Eighteenth Century British History I.
(Not more than six questions to be attempted).

1. Discuss the losses and gains achieved by England through the Restoration of 1660.

2. Would it be just to call William III the greatest king in modern English history? How far was his continental policy in line with the highest English interests?

3. Analyse the constituent elements of the Whig party under the early Hanoverians. To what extent was it a party of progress?

4. Write a note either (a) on the Jacobite party from 1715 to 1745, or (B) the Wesleyan movement and its influence on English society and history.

5. "Quieta non movere" (to let sleeping dogs lie); show how completely this maxim dominated the whole administration of Robert Walpole.

6. "I know that I can save England, and that no other man can." How far was the latter part of Pitt's dictum accurate? Did he fulfil the promise of the former?

7. What fresh problems of empire did the success of the Seven Years' War originate in America? Contrast the solutions proposed by Chatham and Burke.

8. "A sanctified obstruction":-in the light of this epithet, discuss the damage sustained by England through the successive errors of George III.

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