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MEG 02 BRITISH DRAMA Solved Assignment 2022-23

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Answer any five questions.

All questions carry equal marks.

Answer each question in about 350 to 400 words.

SECTION -1

Q. 1. Discuss Waiting for Godot from the perspective of the theatre of the Absurd.

Samuel Beckett is a revolutionary playwright. He is an iconoclast and an image breaker. He has shattered conventions and pioneered a new kind of drama. His drama is above categories of tragedy and comedy. It is called absurd drama. His plays show the situation in which we are. They expose us in our existential predicament. Waiting for Godot is an absurd drama. In fact, absurd drama presents human life and human situation as absurd. This type of drama is free from traditional plot, story or division into acts and scenes. Here we get few characters. They have symbolic significance. Dialogues are very short and crisp. Nothing significant happens on the stage. It prefers existential themes. Things are not explained but they are merely hinted at. One can find all these features in Waiting for Godot.

In an absurd play, the characters generally lose their identity. In Waiting for Godot, we find tramps as characters. They lose their identity in Act II. Their relationship is in doubt. They spend the night apart. Life to them is an endless rain of blows. Estragon and Vladimir have lost their identity. The other pair of characters Pozzo and Lucky become blind and dumb respectively. Suicide is a recurrent temptation.

Waiting for Godot deals with the absurdity of man’s existence in this universe. When the play starts Estragon and Vladimir agree that they have nothing to do. They think that they have lost each other. They admit that struggle has been of no use. Sometimes they feel that they should jump from a tower and kill themselves. On another occasion they want to hang themselves immediately with a tree. The existence of Pozzo and Lucky is also absurd. They become blind and dumb respectively.

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Q. 2. Discuss the typical Shakespearean comic elements in the play in A Midsummer Night’s Dream.

Shakespeare's A Midsummer Night's Dream is one of his most popular and enduring comedic plays. As with most Elizabethan comedies, this play is a light-hearted romp through many types of humor, all ending happily in the final scene.

Also common to this era, comedy is centered on marriage and relationships, and a happy ending means uniting the courting couples. High comedy can also be called situational comedy, in which the source of humor is the situation of mistaken identity or miscommunication. Low comedy involves silliness, inappropriateness, and sometimes references that can be taken as vulgar or sexual.

Slapstick is physical humor: action rather than dialogue. Shakespearean comedy is the fast-paced, witty banter we see in all of Shakespeare's comedic plays: clever dialogue and play-on-words, often delivered in a dramatic manner.

The Characters There are four sets of characters in the play, representing four specific and recognizable types. First, the authorities begin the action of the play: Theseus and Hippolyta, accompanied by Egeus. Their ruling about Hermia's choice of man sets the plot in motion. Then we have the fairy world, represented by King Oberon and Queen Titania, the mischievous Puck, and Titania's attendants. The fairy world represents the place separated from reality, where any strange and magical thing might occur.

Yet we soon discover that magical spells can even work on the inhabitants of the fairy world when Titania falls in love with Bottom. The would-be lovers, Hermia, Helena, Lysander, and Demetrius, retreat into the forest to escape Hermia's sentence to marry Demetrius or be banished from Athens.

Hermia wants Lysander, and Helena is pursuing Demetrius. This type of high comedy was very popular in Shakespeare's time: the humor of troublesome situations and how to talk one's way out of them.

The fast-paced, witty banter, especially between the sexes, along with double meanings and puns, are generally what we think of as Shakespearean comedy. If it seems familiar to you, just think of the plots of modern TV half-hour comedies like The Big Bang Theory, where the humor often comes from clever conversation and a situation that gets out of control.

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Q. 3. What do you think is the dominant quality of Hamlet’s character? Discuss with suitable examples.

The paradox of Hamlet's nature draws people to the character. He is at once the consummate iconoclast, in self-imposed exile from Elsinore Society, while, at the same time, he is the adulated champion of Denmark — the people's hero. He has no friends left, but Horatio loves him unconditionally. He is angry, dejected, depressed, and brooding; he is manic, elated, enthusiastic, and energetic. He is dark and suicidal, a man who loathes himself and his fate.

Yet, at the same time, he is an existential thinker who accepts that he must deal with life on its own terms, that he must choose to meet it head on. "We defy augury. There is special providence in the fall of a sparrow."

Hamlet not only participates in his life, but astutely observes it as well. He recognizes the decay of the Danish society (represented by his Uncle Claudius), but also understands that he can blame no social ills on just one person. He remains aware of the ironies that constitute human endeavor, and he savors them. Though he says, "Man delights not me," the contradictions that characterize us all intrigue him. "What a piece of work is a man!

How noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god!" As astutely as he observes the world around him, Hamlet also keenly critiques himself. In his soliloquys he upbraids himself for his failure to act as well as for his propensity for words.

Words are Hamlet's constant companions, his weapons, and his defenses. In Rosencrantz and Guildenstern are Dead, a play that was later adapted into a film, playwright and screenplaywright Tom Stoppard imagines the various wordplays in Hamlet as games. In one scene, his characters play a set of tennis where words serve as balls and rackets. Hamlet is certainly the Pete Sampras of wordplay.

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Q. 4. Can The Alchemist be understood as a satire? Give suitable examples.

Literature is known to have always been an adorned mirror of its time, social situation and the life thereof. If a work of literature is to be properly analysed, we have to go back to the time it was written in and look around through the author’s eyes. Ben Johnson, in his ‘The Alchemist’, paints a vivid picture of his time with colours of satire; and he, sarcastically, chooses the art of alchemy to, simultaneously, unmask the conning profession which was then at large.

Satire is a way of expression where the hypocrisy of ‘civilised’ people is brought in the open shielded only with a transparent veil of comedy. The timeline being that of the Renaissance, the society’s dust under the table was surfacing and there was nowhere to hide the murk. The rational and democratic society that we know of now, was under the initial phase of construction. With the society plunging in diverse ways of extreme contrasts, the pandemonium was too delicious for the writers of the time to resist.

5. Discuss the play Pygmalion as a romance? Elaborate.

6. Discuss the art of characterisation in The Playboy of the Western World?

7. Discuss Murder in the Cathedral as a poetic drama.

8. Comment on the historical significance of Look Back in Anger.

9. Write an essay on British Drama in the twentieth Century.

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MEG 02 BRITISH DRAMA Handwritten Assignment 2022-23

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Important Note - You may be aware that you need to submit your assignments before you can appear for the Term End Exams. Please remember to keep a copy of your completed assignment, just in case the one you submitted is lost in transit.

Submission Date :

· 31st March 2023 (if enrolled in the July 2022 Session)

· 30th Sept, 2023 (if enrolled in the January 2023 session).

IGNOU Instructions for the MEG 02 BRITISH DRAMA Assignments

MEG 02 BRITISH DRAMA Assignment 2022-23 Before attempting the assignment, please read the following instructions carefully.

1. Read the detailed instructions about the assignment given in the Handbook and Programme Guide.

2. Write your enrolment number, name, full address and date on the top right corner of the first page of your response sheet(s).

3. Write the course title, assignment number and the name of the study centre you are attached to in the centre of the first page of your response sheet(s).

4. Use only foolscap size paper for your response and tag all the pages carefully

5. Write the relevant question number with each answer.

6. You should write in your own handwriting.

GUIDELINES FOR IGNOU Assignments 2022-23

MEG 02 BRITISH DRAMA Solved Assignment 2022-23 You will find it useful to keep the following points in mind:

1. Planning: Read the questions carefully. Go through the units on which they are based. Make some points regarding each question and then rearrange these in a logical order. And please write the answers in your own words. Do not reproduce passages from the units.

2. Organisation: Be a little more selective and analytic before drawing up a rough outline of your answer. In an essay-type question, give adequate attention to your introduction and conclusion. The introduction must offer your brief interpretation of the question and how you propose to develop it. The conclusion must summarise your response to the question. In the course of your answer, you may like to make references to other texts or critics as this will add some depth to your analysis.

3. Presentation: Once you are satisfied with your answers, you can write down the final version for submission, writing each answer neatly and underlining the points you wish to emphasize.

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