SUGGESTION 2014/3rd SEM/English Department/Burdwan University

PAPER 301
Unit 1
1.
2.
3.
4.
5.
6.

Aristotles views on hamartia.

Aristotles doctrine of catharsis.
Aristotles doctrine of imitation.
Why does Aristotle consider plot more important than character?
On what grounds does Plato banish poetry from his Republic?
Discuss Platos theory of Ideas with reference to The Republic (3, 10).

Unit 2
1. How does Sidney demonstrate the superiority of poetry to history and philosophy in his
APOLOGY FOR POETRY? /Title /Sidneys arguments in the essay.

PAPER 302
Unit 1
1. Discuss after Coleridge the difference between Fancy and Imagination.
2. Examine critically Coleridges definition of a poem as that species of composition which is
opposed to works of science in Biographia Literaria.
3. For all good poetry is the spontaneous overflow of powerful feelings... Elaborate this
statement in the light of Wordsworths essay Preface to Lyrical Ballads.

Unit 2
1. What are four different types of critics? /Eliot suggests some normative principles of criticism
in TO CRITICISE THE CRITIC.
2. What according to I. A. Richards is the essence of tragedy?

PAPER 303
Unit 1
1.
2.
3.
4.
5.
6.

The Tempest as a masque.

A postcolonial reading of The Tempest.
Shakespearean treatment of nature and nurture in The Tempest.
Theme of madness in Twelfth Night.
Unmasking of folly is what Twelfth Night is all about. /Journey from immaturity to maturity.
Note of sadness/melancholia in TWELFTH NIGHT.

Unit 2
1. Structure of Shakespearean sonnets.
2. Theme of mutability in Shakespearean sonnets.

PAPER 304
Unit 1
1.
2.
3.
4.
5.
6.
7.
8.

Significance of storm scenes in King Lear.

Significance of the role of the Fool in King Lear.
Animal imagery.
Tragedy of power and possession.
Character of Enobarbaus.
Character of Cleopatra.
Character of Antony- Antony as a mixture of greatness and erratic judgements.
Poetic tragedy of love/ love and politics (khichuri if possible)

Unit 2
1. Contribution of L. C. Knights.
2. Political Shakespeare.
3. COLERIDGEs SHAKESPEARE CRITICISM