Assignment Code: BEGC-109/TMA/2023-24

Course Code: BEGC-109

Assignment Name: British Romantic Literature

Year: 2023-2024

Verification Status: Verified by Professor

Answer any five questions. All questions carry equal marks.

Q1) Explain in detail the formal features of folk poetry.

Ans) Folk poetry, also known as traditional or oral poetry, is a form of poetic expression that has been passed down through generations within a particular cultural or regional context. It is characterized by distinct formal features that distinguish it from more conventional or literary forms of poetry. These features reflect the unique oral and communal nature of folk poetry.

a)     Oral Tradition: Folk poetry is primarily an oral tradition, passed down from one generation to the next through spoken language and memorization rather than through written texts. The reliance on oral transmission means that the poetry often follows rhythmic and repetitive patterns to aid in memorization.

b)     Rhythm and Meter: Many forms of folk poetry, such as ballads, rely on strong rhythmic and metrical patterns. These rhythmic patterns help make the poems easier to remember and recite. In English folk ballads, for example, common meters like iambic tetrameter or iambic trimeter are frequently used.

c)     Rhyme Schemes: Folk poetry often employs rhyme schemes, which can vary depending on the tradition. Some folk poems use a simple AABB rhyme scheme, while others may have more complex patterns. The use of rhyme aids in memorization and contributes to the musical and mnemonic qualities of the poetry.

d)     Stanza Forms: Many folk poems use consistent stanza forms or patterns. For example, the ballad stanza, a common form in folk ballads, typically consists of four lines, with alternating lines of iambic tetrameter and iambic trimeter, following an AABB rhyme scheme.

e)     Repetition: Repetition is a key feature of folk poetry. This can include the repetition of words, phrases, or lines for emphasis or for mnemonic purposes. Repetition also contributes to the oral and performative aspect of folk poetry.

f)      Narrative Structure: Folk poetry often tells a story or conveys a message. This narrative structure is a defining feature, as many folk poems are meant to be not only recited but also performed or sung. The storytelling aspect of folk poetry often includes character development, dialogue, and conflict.

g)     Formulaic Expressions: Folk poetry frequently includes formulaic expressions or phrases that are commonly used within a specific tradition. These formulas help to maintain the authenticity and continuity of the tradition. In the epic tradition, for example, we find formulaic epithets used to describe characters (e.g., "rosy-fingered dawn" in Homer's "Iliad").

h)     Themes and Subjects: Folk poetry often centres on themes and subjects that are significant to the community or culture from which it originates. These themes can include love, nature, daily life, religious beliefs, folklore, legends, and historical events. The choice of themes reflects the concerns and interests of the community.

i)       Cultural Specificity: Folk poetry is closely tied to the cultural context from which it arises. It often incorporates elements of the culture's language, values, customs, and beliefs. This cultural specificity distinguishes folk poetry from more universal or literary forms.

j)       Anonymity: Many folk poems lack attribution to specific authors or creators. They are considered communal creations, originating from the collective imagination of a community. This anonymity reinforces the idea that folk poetry belongs to the people rather than to individual authors.

k)     Performance and Participation: Folk poetry is not just a written form; it is meant to be performed and shared within the community. Often, folk poems are recited, chanted, sung, or accompanied by music, and they may involve audience participation or communal recitation.

l)       Variability: Folk poetry can exhibit a high degree of variability. Different regions, communities, or performers may have their own variations of the same poem or song. This variability reflects the dynamic and evolving nature of folk poetry within oral traditions.

Q2) What is the relationship between innocence and experience as Blake sees it?

Ans) William Blake, the visionary English poet and artist, explored the complex relationship between innocence and experience in his literary and artistic works. This theme is central to many of his poems, notably in his "Songs of Innocence" and "Songs of Experience," as well as his illuminated books. Blake's views on innocence and experience are multifaceted and often critical of the societal and religious norms of his time.

a)     Duality and Contrast: One of the central ideas in Blake's work is the duality between innocence and experience. He saw these two states not as binary opposites but as interconnected aspects of the human condition. In "Songs of Innocence" and "Songs of Experience," Blake explores the contrasting qualities and consequences of these states. Innocence is associated with purity, joy, and harmony, while experience is linked to corruption, suffering, and division.

b)     The Loss of Innocence: Blake believed that every individual is born in a state of innocence but gradually loses it as they grow and interact with the world. This loss of innocence is often attributed to societal norms, religious dogma, and the corrupting influence of authority figures. He saw organized religion, particularly the Church of England, as a major force in the loss of innocence.

c)     Religious and Social Critique: Many of Blake's works, such as "The Lamb" (from "Songs of Innocence") and "The Tyger" (from "Songs of Experience"), are critiques of religious orthodoxy and its impact on individual and collective moral development. He questions the traditional religious doctrine that views innocence as a passive state that must be protected and experience as a state to be feared.

d)     The Role of the Church: Blake's critique of the Church is particularly evident in "The Chimney Sweeper" from both "Innocence" and "Experience." In the innocent version, the Church is seen as complicit in the exploitation and suffering of child laborers, while in the experienced version, the Church is blamed for perpetuating a system of repression and hypocrisy.

e)     Human Suffering: Blake recognized that human suffering was a consequence of experience and the loss of innocence. He empathized with the downtrodden and oppressed and used his art and poetry to shed light on their plight. His works often depict the suffering of the poor, children, and the marginalized.

f)      The Poetic and Artistic Imagination: Blake believed in the power of the poetic and artistic imagination to transcend the limitations imposed by experience. He saw the creative process to reclaim lost innocence and to challenge the oppressive forces of society. His poem "The Divine Image" celebrates the qualities of mercy, pity, peace, and love as redemptive and transformative.

g)     Human Potential for Regeneration: While Blake was critical of societal and religious institutions, he also believed in the potential for individuals to regain their lost innocence and overcome the corrupting influences of experience. He saw this as a spiritual journey and a return to a state of unity with the divine.

Q3) Give an account of the punishment suffered by the Mariner. Attempt to show the various stages and the different kinds of suffering he undergoes.

Ans) In Samuel Taylor Coleridge's epic poem "The Rime of the Ancient Mariner," the eponymous mariner undergoes a series of severe and supernatural punishments for his thoughtless and destructive act of killing an albatross.

These punishments are not only physical but also spiritual and psychological, reflecting the poem's themes of guilt, redemption, and the consequences of violating the natural world. The mariner's suffering occurs in several stages, each with its own distinct forms of punishment:

a)     The Death of the Crew: The mariner's first punishment comes swiftly after he kills the albatross. His shipmates, who initially praised him for the act, soon turn against him when they see the ominous consequences. Their punishment is death by thirst, as they are stranded in a becalmed sea with no wind to propel their ship. The mariner, too, endures thirst and despair, but he remains alive, forced to witness the death of his comrades, who glare at him with "black lips, a-dying" because of his impulsive action.

b)     Isolation and Guilt: After the crew's death, the mariner experiences an intense feeling of isolation. He is left alone on the motionless ship, surrounded by the corpses of his shipmates. This isolation is a form of psychological suffering, as he grapples with overwhelming guilt for having caused their deaths. He is haunted by the accusing eyes of the dead crew members, who serve as a constant reminder of his wrongdoing.

c)     The Curse of Life-in-Death: The mariner's punishment takes a supernatural turn when he is visited by "Life-in-Death" and her crewmates, who represent otherworldly forces. Life-in-Death is a spectral figure who claims the mariner's life, while his punishment is to continue living and endure perpetual suffering. This curse of immortality is a unique form of punishment, as it forces the mariner to endure his guilt and isolation for an extended, indeterminate period.

d)     The Nightmare of the Dead Crew: As the mariner's ship is once again visited by ghostly forms of sea creatures, he experiences a terrifying nightmare. The spirits of his dead crewmates, who are now reanimated as spectral figures, torment him. They work the ship's ropes, yet their actions are futile, symbolizing the mariner's futile act of killing the albatross. This nightmare further intensifies the mariner's psychological suffering.

e)     The Reprieve of the Water Snakes: In a moment of divine intervention and potential redemption, the mariner experiences a brief reprieve from his suffering when he blesses a group of water snakes. This act of blessing the creatures, which he initially feared, represents his newfound reverence for the natural world. As a reward for this act of contrition and respect, the curse is momentarily lifted, and the ship is freed from its stagnant state as a result.

f)      Redemption through Prayer: The mariner's ultimate redemption comes through an act of spiritual awakening and a renewed appreciation for God's creation. As he experiences a profound sense of connection to the natural world and a realization of the beauty in all living things, the mariner is released from his curse. He finds spiritual renewal through prayer and penance.

Q4) What in the short run was the aim of The Vision of Judgement? Elucidate it.

Ans) "The Vision of Judgment" is a satirical poem written by Lord Byron in response to Robert Southey's "A Vision of Judgment." Southey's poem was a hagiographic portrayal of George III, the King of the United Kingdom, who had recently passed away.

Byron's poem, on the other hand, is a biting and irreverent satirical work that aims to lampoon Southey and his sycophantic depiction of the deceased king. In the short run, the primary aim of "The Vision of Judgment" is to criticize and ridicule Southey's poem and the political and social context in which it was written.

a)     Satirical Response to Southey: Byron's immediate objective in writing "The Vision of Judgment" was to offer a scathing and satirical rejoinder to Southey's "A Vision of Judgment." Byron found Southey's poem to be a clear example of sycophantic, overly reverent, and politically motivated poetry. Southey's poem portrayed George III as a virtuous and saintly figure, which Byron considered to be an egregious distortion of reality. Byron's poem aimed to expose the absurdity of such hagiographic accounts.

b)     Attack on the Sycophantic Poets: Byron's poem was a broader critique of the "Lake Poets" of the Romantic era, of which Southey was a prominent figure. Byron, along with other poets like William Wordsworth and Samuel Taylor Coleridge, had been critical of what they perceived as the overly idealized and politically compliant poetry of the Lake Poets. "The Vision of Judgment" was, in part, an attack on the perceived moral and artistic shortcomings of this poetic movement.

c)     Defence of Satire and Free Expression: In the short run, Byron's poem was a defence of satire and free expression. He believed that poets should be able to use their craft to criticize and lampoon figures in authority, even those who were traditionally revered, without fear of censorship or persecution. Byron's satirical response to Southey was an assertion of the poet's right to engage in sharp and irreverent critique.

d)     Exposure of Political Hypocrisy: Byron's poem aimed to expose what he saw as political hypocrisy within the literary and political establishment. The poem highlighted the sycophantic flattery of the ruling class by certain poets, portraying them as mere mouthpieces of authority and the establishment. This exposure of hypocrisy was intended to challenge the prevailing norms and practices of the time.

e)     A Plea for Truth and Realism: In the short run, "The Vision of Judgment" was a plea for truth and realism in literature. Byron believed in portraying subjects as they truly were, rather than creating idealized or fabricated images. His poem called for a more honest and realistic approach to literary and political representation.

f)      A Bid for Controversy and Public Attention: Byron understood his satirical response to Southey's poem would stir controversy and public attention. In the short run, this controversy served to generate interest in his work and bring attention to his own views on literature and politics.

Q5) Discuss the development of thought in Ode to Nightingale.

Ans) John Keats' "Ode to a Nightingale" is a beautifully crafted poem that explores complex themes and emotions through the development of thought and reflection. The poem is a meditation on the contrast between the fleeting nature of human life and the enduring song of the nightingale. As the poem progresses, Keats's thought evolves, reflecting a shifting emotional landscape.

a)     Enchanted Beginnings: The poem begins with the speaker addressing the nightingale as a "light-winged Dryad of the trees" and expresses his desire to escape the world of reality by merging with the bird's enchanting song. The initial lines reflect a sense of wonder and enchantment. The nightingale's song represents an escape from the mundane and a journey into the realm of imagination and transcendence. The speaker's thoughts at this stage are captivated by the sheer beauty and magic of the nightingale's song.

b)     Lament and Desire: As the poem progresses, the speaker's mood shifts from enchantment to a deeper sense of longing and lament. He recognizes that the nightingale has been singing for centuries and will continue to sing long after he is gone. This realization leads to a sense of melancholy and a desire to escape the pains and sorrows of human existence. The nightingale's song becomes a symbol of the timeless and eternal, contrasting with the ephemeral nature of human life. The speaker desires to drink "the wine of the youth" and forget the transitory world.

c)     The Duality of Joy and Pain: Keats explores the dual nature of existence, where joy and pain are intertwined. The nightingale's song, while beautiful, also carries with it a sense of melancholy. The speaker acknowledges that the nightingale's happiness is "too happy in happiness," suggesting that even the most blissful moments contain an element of sorrow. This marks a significant shift in the development of thought, as the speaker begins to confront the complexities of existence.

d)     Return to Reality: In the latter part of the poem, the speaker's thoughts shift from a desire to escape to a return to reality. He recognizes the transient nature of the nightingale's song and the need to confront the sorrows and struggles of human life. The initial enchantment with the nightingale's song gives way to a more sombre acceptance of the human condition. The speaker acknowledges that the nightingale's song can offer only a temporary respite from the world's pain.

e)     Art as Immortality: The poem concludes with the idea that while human life is fleeting, art has the power to achieve a form of immortality. The nightingale's song, captured in poetry, will live on even after the bird is silent. The act of creating art, in this case, the poem itself, becomes a way to transcend the limitations of mortality and achieve a kind of permanence.