Q&A OF PYQ’S

1. ldentify and critically examine the following lines:

He yaf nat of that text a pulled hen,
That seith that hunters ben nat hooly men,
...What sholde he studie and make hymnselven wood,
Upon a book in cloystre alwey to poure,
Or swynken with his handes, and laboure,
As Austyn bit? how shal the world be served?
ANS: These lines are from Chaucer's "The General Prologue" of "The Canterbury Tales,"
specifically describing the character of the Monk. In these lines, Chaucer criticizes the Monk's
deviation from the traditional monastic lifestyle, highlighting the Monk's disregard for the
rules of his order and his pursuit of worldly pleasures.
Analysis:
Critique of the Monk's Lifestyle:
- Chaucer begins by referencing a proverbial saying, suggesting that the Monk does not
adhere to the conventional expectations of his role. The phrase "pulled hen" implies that the
Monk does not pay attention to or value such teachings, indicating his disregard for traditional
religious texts.
- The mention of hunters not being holy men suggests that the Monk's interests lie more in
worldly pursuits, such as hunting, rather than spiritual devotion. This criticism highlights the
Monk's departure from the ascetic lifestyle expected of monks.

Questioning the Monk's Purpose:

- Chaucer questions the Monk's dedication to his religious duties, wondering why he would
spend his time studying religious texts or engaging in manual labor when he could be enjoying
the pleasures of life.
- The reference to "making hymnselven wood" suggests that the Monk's obsession with
religious contemplation may drive him mad or make him overly austere. Chaucer implies that
such extreme devotion is unnecessary and impractical.

Comparison to St. Augustine's Teachings :

- Chaucer contrasts the Monk's behavior with the teachings of St. Augustine, who
emphasized the importance of labor and service to others. By mentioning Augustine, Chaucer
suggests that the Monk's lifestyle is at odds with the principles of Christian charity and
selflessness.
- The question "how shal the world be served?" underscores the Monk's neglect of his duty to
serve others and contribute to the welfare of society. Chaucer implies that the Monk's self-
indulgence is selfish and detrimental to the greater good.

Critique:
Chaucer's portrayal of the Monk reflects his satirical commentary on the corruption and
hypocrisy within the clergy of his time. The Monk's deviation from the traditional monastic
lifestyle serves as a critique of the Church's moral decay and its failure to uphold the principles
of poverty, chastity, and obedience. By depicting the Monk as a worldly and self-indulgent
figure, Chaucer exposes the disconnect between religious ideals and actual practice,
highlighting the moral ambiguity of the clergy.
Overall, these lines from "The General Prologue" provide insight into Chaucer's critique of the
medieval Church and its representatives. Through the character of the Monk, Chaucer
challenges the reader to question the authenticity of religious piety and to recognize the flaws
and contradictions within the clergy of his time.

2. Identify the speaker, contextualise and critique the following excerpt:

But shortly myn entente I wol devyse: I preche of no thyng but for coveityse.
Therfore my theme is yet, and evere was, Radix malorum est Cupiditas. Thus
kan I preche agayn that same vice Which that I use, and that is avarice
ANS: The excerpt you provided is from Geoffrey Chaucer's "The Canterbury Tales,"
specifically from the "Pardoner's Tale." The speaker is the Pardoner, one of the pilgrims
traveling to Canterbury who tells a tale to the group.

### Contextualization

The Pardoner is a church official who has the authority to grant indulgences, which are
supposed to reduce the amount of time a soul spends in purgatory. However, he is depicted as a
deeply corrupt and hypocritical character. In the prologue to his tale, the Pardoner candidly
admits to the other pilgrims that he preaches against greed solely to enrich himself. His sermon
theme is always "Radix malorum est cupiditas," which translates to "The love of money is the
root of all evil." Ironically, despite condemning greed, he himself is exceedingly greedy,
exploiting the gullibility of his audience to accumulate wealth.

### Excerpt Analysis

The excerpt reveals the Pardoner's blatant hypocrisy and moral corruption:

- **"But shortly myn entente I wol devyse:"** The Pardoner declares his intention plainly.
- **"I preche of no thyng but for coveityse."** He openly admits that his preaching is
motivated by greed.
- **"Therfore my theme is yet, and evere was, Radix malorum est Cupiditas."** He
acknowledges that his consistent theme is that the love of money is the root of all evil.
- **"Thus kan I preche agayn that same vice Which that I use, and that is avarice."** He
preaches against the vice of avarice, despite being guilty of it himself.

### Critique

The Pardoner’s confession is a striking example of Chaucer’s use of irony. By having the
Pardoner admit his own vices so openly, Chaucer critiques not only the Pardoner as an
individual but also the broader corruption within the Church. The Pardoner's lack of self-
awareness, or rather his brazen disregard for the moral teachings he espouses, exemplifies the
widespread hypocrisy that Chaucer saw in the religious institutions of his time.

Moreover, the Pardoner's tale itself, which follows this prologue, is a moral story about three
men who are destroyed by their greed. This juxtaposition emphasizes the stark contrast
between the moral lesson of the tale and the immoral life of the teller, deepening the critique of
those who exploit religion for personal gain.

In a broader literary context, the Pardoner's open confession can be seen as a brilliant narrative
technique. It engages the audience, drawing them into a complex moral landscape where the
messenger’s failings do not necessarily invalidate the message. Chaucer skillfully uses the
Pardoner to explore themes of hypocrisy, corruption, and the complexities of human nature.

3. Identify and critically examine the following lines :

Loving in truth, and fain in verse my love to
show,
That she, dear she, might take some pleasure of
my pain,
Pleasure might cause her read, reading might make
her know,
Knowledge might pity win, and pity grace obtain"

ANS: These lines are from the sonnet "Loving in truth" by Sir Philip Sidney, the first in his
sonnet sequence "Astrophil and Stella," written in the late 16th century. This sequence is one
of the most important works in the English Renaissance literary canon and is a prime example
of Elizabethan sonnet writing.

### Contextualization

"Astrophil and Stella" is a sequence of 108 sonnets and 11 songs that chronicles the unrequited
love of Astrophil (the star-lover) for Stella (the star). The name "Stella" was inspired by
Penelope Devereux, whom Sidney had admired. In the sequence, Sidney explores themes of
love, desire, and poetic creation.

### Critical Examination

The lines you provided open the sequence, setting the tone for the poems that follow:

- **"Loving in truth, and fain in verse my love to show,"**

- Sidney's speaker, Astrophil, expresses a sincere desire to convey his genuine love through
poetry.

- **"That she, dear she, might take some pleasure of my pain,"**

- He hopes that Stella, the object of his affection, will find some enjoyment or solace in reading
about his suffering, which he has poetically immortalized.
- **"Pleasure might cause her read, reading might make her know,"**
- He wishes that the pleasure derived from his verses will prompt Stella to read them, and
through reading, she will come to understand his love and torment.

- **"Knowledge might pity win, and pity grace obtain"**

- The speaker believes that once Stella comprehends his true feelings, her knowledge of his
love might invoke pity, which, in turn, could lead to her granting him her favor or grace.

### Analysis

1. **Structure and Form:**

- The poem is structured as a sonnet, a form popularized by Petrarch and adapted by English
poets like Sidney. This particular sonnet follows the ABAB rhyme scheme typical of English
sonnets, using iambic pentameter to create a rhythmic and harmonious flow.

2. **Theme of Unrequited Love:**

- The central theme is unrequited love, a common motif in Renaissance literature. Astrophil's
love for Stella is passionate but unreturned, leading to a series of sonnets that explore his
emotional turmoil.

3. **Artistic Creation and Intention:**

- The lines highlight the relationship between artistic creation and intention. Astrophil
believes that by crafting beautiful poetry, he can communicate his suffering and, hopefully, elicit
a response from Stella. This reflects the Renaissance belief in the power of art to convey deep
personal emotions and affect the audience.

4. **Psychological Insight:**
- The lines delve into Astrophil's psyche, revealing his hopes and strategic thinking. He
employs a logical progression: his pain will lead to pleasure in Stella, which will lead to
understanding, then pity, and finally grace. This chain of reasoning underscores the speaker's
desperate hopefulness and calculated approach to winning Stella's love.

5. **Irony and Self-awareness:**

- There is an underlying irony in Astrophil’s calculated approach. He seeks to evoke pity
rather than directly asking for love, reflecting his awareness of the complexities of human
emotions and relationships. This self-awareness adds depth to his character, presenting him as
both earnest and somewhat manipulative in his quest for Stella's affection.

### Critique

Sidney’s exploration of the poet’s role in expressing and potentially manipulating emotions for
personal gain offers a meta-poetic commentary on the act of writing itself. The sincerity of
Astrophil's love is paradoxically coupled with a strategic attempt to invoke a specific emotional
response from Stella, blurring the lines between genuine feeling and poetic artifice.

In a broader literary context, these lines also reflect the Elizabethan fascination with the power
of rhetoric and the written word. Sidney, through Astrophil, showcases the capacity of poetry
not only to capture and convey emotions but also to influence and persuade the beloved,
thereby highlighting the transformative power of literature.

Overall, "Loving in truth" serves as an eloquent introduction to "Astrophil and Stella,"

encapsulating the complex interplay of love, suffering, and poetic ambition that characterizes
the sequence. Sidney’s sophisticated use of language and form, coupled with his deep
psychological insight, establishes this sonnet as a seminal work in the canon of English
literature.

4. Identify and critically examine the following lines : " She's all states,
and all princes, I,
Nothing else is.
Princes do but play us; compared to this,
All honor's mimic, all wealth alchemy"
ANS: The lines you provided are from John Donne's poem "The Sun Rising," which is one of
his most famous metaphysical poems. The poem is addressed to the sun, which the speaker feels
is an intruder interrupting his time with his beloved.

### Contextualization

"The Sun Rising" is a dramatic monologue where the speaker scolds the sun for disturbing him
and his lover. As the poem progresses, the speaker shifts from rebuking the sun to praising the
all-encompassing nature of his love. The lines you provided are from the third stanza, where
the speaker extols the supreme value of his relationship.

### Critical Examination

- **"She's all states, and all princes, I, / Nothing else is."**

- In these lines, the speaker asserts that his beloved is equivalent to all the states of the world,
and he himself is all princes. This hyperbolic comparison elevates their love to the status of a
complete, self-sufficient universe. By saying "Nothing else is," he suggests that nothing else
matters or exists outside their love.

- **"Princes do but play us; compared to this, / All honor's mimic, all wealth alchemy."**
- Here, the speaker diminishes the importance of worldly power and wealth. Princes, who
typically hold the highest social and political status, are merely imitating the true royalty that
is the speaker and his lover. The speaker further argues that all forms of honor are mere
imitations ("mimic") and all wealth is illusory, like alchemy, which was often seen as a pseudo-
science aimed at transforming base metals into gold.

### Analysis

1. **Metaphysical Conceits:**
- Donne is known for his use of metaphysical conceits, which are extended metaphors that
draw a striking parallel between seemingly unrelated things. Here, the conceit compares the
lovers to the entire world, emphasizing the intensity and completeness of their relationship.
2. **Hyperbole and Irony:**
- The poem is rich in hyperbole, as the speaker exaggerates the importance of their love to
cosmic proportions. This exaggeration is coupled with a subtle irony; while the speaker
diminishes the power of princes and the value of wealth, he simultaneously elevates his personal
experience of love to an unrealistic, almost fantastical level.

3. **Diminishment of External World:**

- By claiming "Nothing else is," the speaker dismisses the external world, suggesting that all
that truly exists is the private world of the lovers. This reflects the intense focus and inward-
looking nature of their relationship, where nothing else seems to matter or hold significance.

4. **Critique of Social and Material Values:**

- The comparison of honor to mimicry and wealth to alchemy critiques societal values,
implying that social status and material wealth are insubstantial and deceptive. This aligns
with the metaphysical poets' tendency to question and deconstruct established norms and
beliefs.

### Critique

Donne's ability to weave complex metaphors and intellectual arguments into his poetry is
evident in these lines. By elevating personal love above all worldly matters, Donne creates a
powerful statement on the nature of human relationships. The poem challenges the reader to
reconsider the true value of social status and material wealth compared to the profound and all-
encompassing experience of love.

However, the hyperbolic nature of the poem can be seen as both a strength and a potential
weakness. While it effectively conveys the intensity of the speaker's emotions, it can also be
viewed as excessively idealistic, potentially alienating readers who may find such grandiose
declarations unrealistic.

In summary, these lines from "The Sun Rising" showcase Donne's mastery of metaphysical
poetry, blending intellectual rigor with emotional depth. The poem's bold assertions and
innovative use of conceit invite readers to explore the nature of love and the relative
insignificance of worldly concerns, making it a timeless and thought-provoking work.

5. Write a short note on the catalogues of devils in Book 1 of Paradise

Lost.
ANS: In Book 1 of John Milton’s epic poem "Paradise Lost," Milton introduces a catalog of
fallen angels who have followed Satan in his rebellion against God and have been cast into Hell.
This catalog serves several purposes within the narrative, providing both a historical and
thematic framework for the epic. Here is a short note on this catalog:

### The Catalog of Devils in Book 1 of "Paradise Lost"

**1. Purpose and Structure:**

Milton's catalog of devils serves to introduce the reader to the key figures in Satan’s demonic
army, giving the epic a sense of grandeur and historical depth. This technique, borrowed from
classical epics like Homer’s "Iliad" and Virgil’s "Aeneid," roots "Paradise Lost" in the epic
tradition, while also establishing the vast scale of the cosmic conflict between good and evil.

**2. Key Devils Introduced:**

The catalog includes several prominent fallen angels, each of whom has distinct characteristics
and backstories:

- **Moloch:** A fierce warrior known for his brutish nature and love of war, often associated
with child sacrifice.
- **Chemos (or Chemosh):** Worshipped in Moab and associated with depravity.
- **Baalim and Ashtaroth:** Ancient deities worshipped by the Canaanites, representing
various aspects of idolatry.
- **Astoreth (or Astarte):** A goddess of fertility and war, often associated with the moon.
- **Thammuz:** Known from Syrian mythology, associated with the cycle of seasons and
vegetation.
- **Dagon:** The Philistine fish-god, symbolizing the combination of human and fish
elements.
- **Rimmon:** A Syrian deity worshipped in Damascus.
- **Osiris, Isis, and Orus:** Egyptian gods, representing the syncretism of various forms of
idolatry.
- **Belial:** Representing impurity and licentiousness, known for promoting vice and
corruption.

**3. Thematic Significance:**

- **Rebellion and Idolatry:** The catalog emphasizes the themes of rebellion and idolatry.
Each demon is associated with specific ancient cults and idolatries, highlighting the pervasive
nature of sin and the perversion of true worship.
- **Historical and Mythological Integration:** By incorporating figures from different
mythologies and religions, Milton illustrates the universal nature of the fallen angels' influence
throughout human history. This integration suggests that all false gods and idols are
ultimately manifestations of these fallen beings.
- **Characterization of Evil:** The detailed descriptions of each devil underscore the
multifaceted nature of evil. Each fallen angel represents different aspects of sin and corruption,
contributing to the complex portrayal of Satan’s army.

**4. Literary Techniques:**

- **Epic Cataloging:** The catalog is a formal element typical of epic poetry, used to convey
the vastness and diversity of Satan’s followers.
- **Vivid Imagery and Allusion:** Milton employs vivid imagery and allusions to classical,
biblical, and mythological sources, enriching the text and providing a dense, intertextual
tapestry.
- **Elevated Language:** The use of elevated, poetic language enhances the grandeur and
solemnity of the narrative, fitting the epic's high style.

**Conclusion:**
The catalog of devils in Book 1 of "Paradise Lost" is a critical element that sets the stage for
the epic’s exploration of good and evil. By enumerating and describing the fallen angels, Milton
not only provides background information but also deepens the thematic complexity of the
poem. This catalog underscores the widespread impact of sin and idolatry, framing the cosmic
battle that unfolds throughout the epic.

6. Identify, contextualize and comment on the

following lines
..The broad circumference
Hung on his shoulders like the moon whose orb
Through optic glass the Tuscan artist views At
evening from the top of Fesolè
Or in Valdamo to descry new lands, Rivers or
mountains in her spotty globe.
ANS: These lines are from John Milton's "Paradise Lost," Book 1, and they describe Satan after
he has been cast into Hell. The description uses a simile comparing Satan's shield to the moon
as seen through a telescope. Let's break down the passage and its significance:

### Identification and Contextualization

**Lines:**
```
The broad circumference
Hung on his shoulders like the moon whose orb
Through optic glass the Tuscan artist views
At evening from the top of Fesolè
Or in Valdamo to descry new lands,
Rivers or mountains in her spotty globe.
```

**Source:**
John Milton, "Paradise Lost," Book 1, lines 284-289.

**Context:**
In this part of "Paradise Lost," Milton is describing Satan's immense size and grandeur, even in
his fallen state. The "broad circumference" refers to Satan's large shield, which hangs on his
shoulders. Milton then compares this shield to the moon observed through a telescope by "the
Tuscan artist," a reference to Galileo Galilei. Galileo, an Italian astronomer from Tuscany, used
a telescope ("optic glass") to observe the moon's surface, discovering its craters and mountains,
thus revealing that the moon was not a perfect sphere.

### Commentary
1. **Imagery and Simile:**
- **Imagery:** Milton's use of vivid imagery helps to emphasize the grand and imposing
nature of Satan. By likening Satan's shield to the moon, Milton provides a powerful visual that
conveys its vastness.
- **Simile:** The comparison to the moon viewed through a telescope serves to underscore
not only the size of the shield but also the awe and wonder it inspires. The moon, a celestial
body, is something grand and mysterious, which elevates the stature of Satan even in his
damned state.

2. **Reference to Galileo:**
- **Scientific Advancement:** The reference to Galileo reflects Milton's engagement with
contemporary scientific advancements. Galileo's observations, made possible by the telescope,
had profound implications for humanity's understanding of the universe. By including this
reference, Milton acknowledges the importance of science and exploration.
- **Historical Context:** Galileo was a controversial figure in Milton's time, having been
tried by the Inquisition for his support of heliocentrism. Milton's inclusion of this reference
might suggest a subtle alignment with the values of inquiry and challenging established norms.

3. **Symbolism and Themes:**

- **Satan's Grandeur:** The comparison to the moon reinforces the notion of Satan's fallen
grandeur. Even in defeat, he retains a semblance of his former magnificence, which makes his
rebellion and subsequent fall all the more tragic and complex.
- **Imperfection and Flaws:** By comparing the shield to the "spotty globe" of the moon,
Milton subtly highlights the imperfections in what might initially seem grand and perfect. This
could be seen as a reflection on the flawed nature of Satan's rebellion and the inherent
imperfections in his character.

4. **Poetic Technique:**
- **Elevated Language:** The elevated, formal language is characteristic of epic poetry and
serves to lend a sense of gravitas and dignity to the description, appropriate for the epic's high
style.
- **Allusion:** The allusion to Galileo enriches the text, connecting the epic narrative to real
historical and scientific contexts, thereby bridging the gap between mythic storytelling and
contemporary reality.

### Conclusion

These lines from "Paradise Lost" are a brilliant example of Milton's ability to combine vivid
imagery, contemporary references, and deep thematic content. By likening Satan's shield to the
moon as seen through Galileo's telescope, Milton not only enhances the epic's descriptive
power but also engages with broader themes of grandeur, imperfection, and the quest for
knowledge. This passage showcases Milton's skill in blending the cosmic with the personal, the
scientific with the poetic, creating a rich and layered narrative.
 7. In the General Prologue to The Canterbury Tales , Chaucer
deliberately defers moral judgment in order to allow the characters to
present their viewpoints to the reader. Do you agree? Support your
answer with textual examples.
ANS: In the General Prologue to "The Canterbury Tales," Geoffrey Chaucer indeed employs
a strategy of deferring explicit moral judgment of his characters, allowing them to present their
viewpoints directly to the reader. This approach provides a nuanced and multi-dimensional
portrayal of each pilgrim, creating a rich tapestry of medieval society. Chaucer's subtle, often
ironic presentation invites readers to form their own judgments based on the characters'
descriptions and actions.

### Textual Examples and Analysis

1. **The Knight:**
- **Description:** "A knight there was, and that a worthy man, / That fro the tyme that he
first bigan / To riden out, he loved chivalrie, / Trouthe and honour, freedom and curteisie."
- **Analysis:** Chaucer describes the Knight with reverence, listing his virtues and chivalric
qualities. The lack of any negative comment suggests admiration, but Chaucer refrains from
outright moralizing, instead letting the Knight's long list of battles and courteous behavior
speak for itself.

2. **The Prioress (Madame Eglantine):**

- **Description:** "Ful wel she soong the service dyvyne, / Entuned in hir nose ful semely, /
And Frenssh she spak ful faire and fetisly, / After the scole of Stratford atte Bowe, / For
Frenssh of Parys was to hire unknowe."
- **Analysis:** Chaucer provides a detailed, somewhat affectionate portrayal of the Prioress,
noting her refined manners and affectations. By highlighting her efforts to appear genteel and
her imperfect French, Chaucer subtly critiques her pretensions without direct condemnation,
allowing readers to infer her vanity and superficiality.

3. **The Monk:**
- **Description:** "This ilke Monk leet olde thynges pace, / And heeld after the newe world
the space. / He yaf nat of that text a pulled hen, / That seith that hunters ben nat hooly men."
- **Analysis:** The Monk is described as a modern man who prefers hunting and worldly
pleasures over traditional monastic duties. Chaucer does not directly criticize him but uses
irony to highlight the Monk's departure from expected religious behavior, leaving the moral
judgment to the reader.

4. **The Friar (Hubert):**

- **Description:** "He was an esy man to yeve penaunce / Ther as he wiste to have a good
pitaunce. / For unto a povre ordre for to yive / Is signe that a man is wel y-shrive."
- **Analysis:** Chaucer's depiction of the Friar focuses on his manipulative and self-serving
nature, revealing how he abuses his religious position for personal gain. The irony in
describing him as "an esy man to yeve penaunce" subtly critiques his corruption, while Chaucer
refrains from an overtly moralistic tone.
5. **The Wife of Bath:**
- **Description:** "Of clooth-making she hadde swich an haunt, / She passed hem of Ypres
and of Gaunt. / In al the parisshe wif ne was ther noon / That to the offrynge bifore hire sholde
goon."
- **Analysis:** The Wife of Bath is portrayed as a successful, assertive woman with multiple
marriages. Chaucer describes her with a mix of admiration and irony, emphasizing her skills
and dominance. Her own prologue and tale further reveal her views on marriage and female
sovereignty, providing a complex character that resists simple moral categorization.

### Conclusion

Chaucer's method in the General Prologue is indeed to defer explicit moral judgment, allowing
characters to present themselves through detailed and often ironic descriptions. This technique
engages readers to discern and critique the underlying values and behaviors of each pilgrim. By
avoiding direct moralizing, Chaucer creates a more realistic and engaging portrayal of medieval
society, showcasing the diversity and complexity of human nature.

8. The Pardoner's tale is an example of dramatic irony, qualified by the

fact that the Pardoner recognizes his own hypocrisy. Discuss with
examples from the text.
ANS: The Pardoner’s Tale from Geoffrey Chaucer's "The Canterbury Tales" is a prime
example of dramatic irony, particularly because the Pardoner himself is fully aware of his own
hypocrisy. The dramatic irony arises from the discrepancy between the Pardoner’s moral
sermon against greed and his own greedy and corrupt nature, which he openly admits to the
other pilgrims.

### Dramatic Irony and Hypocrisy in The Pardoner’s Tale

1. **The Pardoner's Admission of Greed:**

- **Prologue to the Tale:** The Pardoner confesses to the other pilgrims that he preaches
solely to make money, not to save souls. He admits, "I preche of no thyng but for coveityse"
(line 424), translating to "I preach of nothing but for greed."
- **Irony:** The Pardoner preaches about the very sin he practices. His tale condemns
avarice, yet he is motivated by it. This creates dramatic irony because the audience knows his
true intentions, contrasting sharply with the moral message he delivers.

2. **The Pardoner’s Tale:**

- **The Tale Itself:** In the tale, three rioters seek to kill Death but instead find a pile of
gold coins. Their greed leads them to plot against each other, resulting in all of them dying,
thus illustrating that “Radix malorum est Cupiditas” ("The love of money is the root of all
evil").
- **Irony:** The moral of the tale is clear: greed leads to destruction. Yet, this lesson comes
from the Pardoner, who embodies the very vice he condemns. His ability to tell a story that
perfectly encapsulates the dangers of greed, while being greedy himself, is a central piece of the
dramatic irony.

3. **The Pardoner’s Hypocrisy:**

- **Self-Awareness:** The Pardoner's open admission of his own corruption is striking. He
says, “Thus kan I preche agayn that same vice / Which that I use, and that is avarice” (lines
433-434), meaning “Thus I can preach against the same vice / Which I practice, and that is
avarice.”
- **Manipulation of Relics:** He further reveals how he uses fake relics to deceive people,
saying, “Relikes been they, as wenen they echoon” (line 350), meaning “They are relics, as they
believe every one.” He manipulates his audience's faith for monetary gain.
- **Irony:** The audience is aware of his deception, which heightens the irony of his
moralistic tale. Despite knowing his hypocrisy, he brazenly attempts to sell pardons and relics
to the other pilgrims after his tale, showcasing his unabashed greed.

### Examples from the Text

1. **Prologue Confession:**
- **“For though myself be a ful vicious man, / A moral tale yet I yow telle kan.” (lines 459-
460)**
- **Analysis:** The Pardoner admits he is immoral but can still tell a moral tale,
emphasizing his self-awareness and the irony of his position as a moral instructor.

2. **Exposing His Tactics:**

- **“Thanne shewe I forth my longe cristal stones, / Ycrammed ful of cloutes and of bones; /
Relikes been they, as wenen they echoon.” (lines 350-352)**
- **Analysis:** He reveals his fraudulent practices, which starkly contrasts with the moral
integrity he preaches in his tale.

3. **Hypocrisy in Practice:**
- **“But shortly myn entente I wol devyse: / I preche of no thyng but for coveityse. /
Therfore my theme is yet, and evere was, / Radix malorum est Cupiditas.” (lines 423-426)**
- **Analysis:** He bluntly states his greed-driven intentions, while his theme condemns the
love of money, encapsulating the essence of his hypocrisy.

### Conclusion

The Pardoner's Tale is imbued with dramatic irony primarily because of the Pardoner’s own
candid recognition of his hypocrisy. His moral tale against greed contrasts sharply with his
own avaricious behavior, which he does not attempt to hide. This self-awareness adds a layer of
complexity to the character, making his tale a poignant reflection on the nature of sin and the
human tendency to preach virtues that one does not practice.
 9. John Donne's metaphysical poetry is characterized by logical reasoning
but also achieves a balance between thought and feeling. Discuss with
reference to the poems : The Sun Rising", "The Canonization", "Good
Morrow".
ANS: John Donne's metaphysical poetry is renowned for its complex interplay between
intellectual rigor and deep emotional resonance. His works often feature logical reasoning,
striking metaphysical conceits, and an intense emotional depth. In "The Sun Rising," "The
Canonization," and "The Good-Morrow," Donne achieves a balance between thought and
feeling, creating poems that are both intellectually stimulating and emotionally powerful.

### "The Sun Rising"

**Logical Reasoning:**
- **Rebuking the Sun:** The speaker begins by scolding the sun for disrupting his time with
his lover. He employs logical arguments to diminish the sun's power, suggesting that their love
is not bound by the constraints of time: "Love, all alike, no season knows nor clime, / Nor
hours, days, months, which are the rags of time."
- **Microcosm:** The speaker claims that his lover is a world unto herself: "She's all states,
and all princes, I, / Nothing else is." This assertion is a logical hyperbole, arguing that their
love encompasses everything worth considering.

**Emotional Depth:**
- **Passionate Intensity:** Despite the intellectual arguments, the poem is filled with
passionate declarations of love. The speaker's desire to remain in bed with his lover, unbothered
by the outside world, showcases the depth of his feelings.
- **Intimacy:** The comparison of their love to a microcosm emphasizes the intimate, self-
contained nature of their relationship, underscoring the emotional bond between the lovers.

### "The Canonization"

**Logical Reasoning:**
- **Defense of Love:** The speaker uses a series of logical arguments to defend his love
against societal criticism. He questions why others should care about his love life: "Alas, alas,
who's injured by my love? / What merchant's ships have my sighs drowned?"
- **Metaphysical Conceits:** The poem is rich with conceits, comparing the lovers to saints
who will be canonized for their love. The argument that their love is worthy of sainthood is
presented with a blend of wit and intellectual dexterity.

**Emotional Depth:**
- **Spiritual Love:** The comparison to saints elevates their love to a spiritual plane,
suggesting a transcendent, almost holy emotional connection.
- **Transformative Power:** The poem conveys the transformative power of love, suggesting
that their love makes them immortal and worthy of reverence: "We die and rise the same, and
prove / Mysterious by this love."

### "The Good-Morrow"

**Logical Reasoning:**
- **Philosophical Reflection:** The poem begins with a philosophical reflection on the nature
of love and existence before the lovers met: "I wonder, by my troth, what thou and I / Did, till
we loved?"
- **Conceits and Geography:** Donne employs geographical conceits, comparing their love to
the discovery of new worlds and mapping out the unity of their souls: "Let sea-discoverers to
new worlds have gone, / Let maps to others, worlds on worlds have shown, / Let us possess
one world, each hath one, and is one."

**Emotional Depth:**
- **Awakening to Love:** The poem captures the emotional awakening that true love brings,
transforming the lovers' lives: "And now good morrow to our waking souls."
- **Unified Souls:** The depiction of their souls as intertwined and indivisible highlights the
profound emotional connection: "If our two loves be one, or thou and I / Love so alike that
none do slacken, none can die."

### Conclusion

In "The Sun Rising," "The Canonization," and "The Good-Morrow," John Donne masterfully
balances intellectual reasoning with deep emotional expression. His use of metaphysical
conceits and logical arguments provides an intellectual framework, while his passionate and
intimate portrayals of love bring an emotional resonance that makes his poetry enduringly
powerful. Donne's ability to merge thought and feeling is a hallmark of his metaphysical poetry,
creating works that are both intellectually engaging and emotionally moving.

10. Write an essay on the concept of pilgrimage in Raleigh's The Passionate

Man's Pilgrimage'.
ANS: The Concept of Pilgrimage in Raleigh's "The Passionate Man's Pilgrimage"

Sir Walter Raleigh’s poem "The Passionate Man's Pilgrimage" is a poignant meditation on life,
death, and the soul’s journey to the afterlife. The concept of pilgrimage serves as a central
metaphor in the poem, encapsulating the spiritual and existential themes Raleigh explores.
Through the imagery of pilgrimage, Raleigh delves into the transient nature of earthly
existence, the pursuit of spiritual enlightenment, and the hope for ultimate redemption and
peace.

#### The Pilgrimage as a Metaphor for Life

In "The Passionate Man's Pilgrimage," Raleigh uses the idea of a pilgrimage to symbolize the
human journey through life. This metaphor highlights the transient and impermanent nature of
earthly existence. Pilgrimages are inherently temporary, purposeful journeys that contrast with
permanent settlement, mirroring the human condition of temporary sojourning on Earth while
seeking a higher, eternal home.
The poem opens with a reflection on the end of life and the soul's preparation for its final
journey:

"When my soul has her mansion left,

And walks the free of an immortal wight,
In heaven, where no dim mists nor cloudy light
Obscure the rays of the ever-shining sun."

Raleigh depicts the soul leaving its "mansion" (the body) and embarking on a journey toward
immortality. This imagery evokes the pilgrim’s departure from the mundane world, seeking a
sacred destination. The earthly life is a temporary abode, and the soul’s true home lies beyond
the physical realm, in the eternal light of heaven.

#### The Spiritual Journey and Enlightenment

Throughout the poem, Raleigh emphasizes the spiritual aspects of the pilgrimage. The journey
is not merely a physical or metaphorical travel but a profound quest for spiritual enlightenment
and purification. The pilgrim's progress reflects the soul's striving for moral and spiritual
elevation, aiming to transcend earthly limitations and attain divine grace.

Raleigh writes:

"And so I 'll pass in silence, since I will

No other object choose to speak of me,
But those sweet birds whose notes and accents free
Do wonder at my exile, and do fill
The air with praises of my pilgrimage."

The silent passage through life, accompanied by the "sweet birds" singing praises, symbolizes a
serene and contemplative journey. The birds’ songs represent the soul’s aspirations and the
spiritual fulfillment that accompanies the pilgrimage. The poet’s choice to remain silent
signifies a humble acceptance of the divine will and the profound peace that comes with
spiritual enlightenment.

#### Redemption and the Hope for Eternal Peace

At its core, Raleigh’s poem expresses a deep longing for redemption and eternal peace. The
pilgrimage metaphor extends to the hope for salvation and the ultimate union with the divine.
The poet envisions the end of the pilgrimage as a joyous arrival at a heavenly destination, free
from earthly sorrows and trials.

Raleigh concludes with a vision of heavenly rest:

"There, in a better country, do I rest,

And with sweet dews, clear sunbeams, and fair trees,
Dwell in delight, and with these pleasures best,
These sacred paths, whose soul-delighting ease
Exceeds all joys that heart can or can think,
My self dissolved, and my soul ever blest."

The "better country" symbolizes heaven, where the soul finds eternal rest and bliss. The
imagery of "sweet dews," "clear sunbeams," and "fair trees" evokes the serene beauty and divine
harmony of the afterlife. The pilgrimage culminates in a state of spiritual dissolution and
eternal blessing, transcending the mortal experience.

#### Conclusion

In "The Passionate Man's Pilgrimage," Sir Walter Raleigh masterfully employs the concept of
pilgrimage to explore profound themes of life, death, and the soul’s journey toward eternal
peace. The pilgrimage serves as a powerful metaphor for the transient nature of earthly
existence, the pursuit of spiritual enlightenment, and the hope for redemption and heavenly
rest. Through this metaphor, Raleigh not only reflects on his own mortality and spiritual
aspirations but also offers a timeless meditation on the human condition and the eternal quest
for divine grace.

11.William Blake said that Milton was of the Devil's party without
knowing it, " and thought Satan the true hero of Paradise Lost. Discuss.
ANS: William Blake's provocative statement that John Milton was "of the Devil's party without
knowing it" and his view of Satan as the true hero of "Paradise Lost" reflect a complex
interpretation of Milton's epic. This perspective highlights the ambiguity in Milton's portrayal
of Satan and raises questions about heroism, rebellion, and moral complexity within the text.

### Satan as a Heroic Figure

Blake's assertion that Satan is the true hero of "Paradise Lost" stems from several key elements
of Milton's portrayal:

1. **Charismatic and Persuasive:**

- **Rhetorical Skill:** Satan is depicted as a master orator, capable of inspiring and rallying
the fallen angels with his speeches. His rhetoric is persuasive and compelling, exemplifying
qualities often attributed to traditional epic heroes.
- **Leadership:** Despite his rebellion, Satan displays strong leadership qualities. His
determination to defy God and seek revenge, even after his fall, shows resilience and an
unyielding spirit.

2. **Complex and Sympathetic:**

- **Tragic Figure:** Milton presents Satan as a complex character with moments of
introspection and doubt. His inner conflicts and the grandeur of his tragic fall evoke a degree of
sympathy and admiration, reminiscent of classical tragic heroes.
- **Defiance Against Tyranny:** Blake and some readers interpret Satan's rebellion as a
noble stand against tyranny. Satan’s assertion of his will against an omnipotent force can be
seen as a form of heroic resistance.
3. **Moral Ambiguity:**
- **Attractive Villainy:** Milton’s Satan possesses an attractive villainy, a charisma that
draws readers in despite his moral failings. This complexity adds to his heroic veneer, as he
embodies both admirable and detestable qualities.
- **Human-like Flaws:** Satan's emotions, such as pride, ambition, and envy, are deeply
human, making him relatable. His flaws make him a more nuanced character compared to the
often stoic and perfect portrayal of divine figures.

### Milton's Intent and the Structure of "Paradise Lost"

Milton’s intentions in creating such a multifaceted character are crucial to understanding

Blake's statement. While Milton’s purpose was to "justify the ways of God to men" and depict
the fall of man, his portrayal of Satan complicates this aim:

1. **Theological Context:**
- **Didactic Purpose:** Milton's epic is fundamentally a Christian poem with a clear moral
and didactic purpose. The ultimate triumph of God’s justice and the fall of Satan reinforce
traditional Christian values.
- **Inevitability of Divine Justice:** Despite Satan's apparent heroism, his rebellion is
doomed from the start. Milton emphasizes the inevitability of divine justice and the futility of
opposing God, which aligns with orthodox Christian doctrine.

2. **Narrative Techniques:**
- **Sympathetic Villainy:** Milton’s use of epic conventions and his deep psychological
insight create a villain who is both grand and sympathetic. This narrative technique adds
dramatic tension and depth to the poem.
- **Epic Tradition:** By aligning Satan with epic heroes like Achilles and Odysseus, Milton
places him within a tradition that naturally evokes admiration and heroic qualities, even as his
moral fall is depicted.

### Critique of Blake’s Interpretation

Blake’s interpretation of Satan as the true hero and Milton’s unconscious allegiance to "the
Devil's party" can be critiqued from several angles:

1. **Intentional Ambiguity:**
- **Deliberate Complexity:** Milton’s complex portrayal of Satan might be intentional,
designed to evoke a range of responses and encourage deeper reflection on the nature of good
and evil.
- **Moral Lesson:** The ultimate downfall of Satan and his eternal damnation serve as a
powerful moral lesson against hubris and rebellion, underscoring Milton’s Christian message.

2. **Blake’s Romantic Perspective:**

- **Romantic Rebellion:** Blake’s own romantic ideals and his valorization of individualism
and rebellion color his interpretation. For Blake, Satan’s defiance and quest for autonomy
resonate with the Romantic hero’s struggle against oppressive forces.
 - **Critique of Orthodoxy:** Blake’s critique of Milton can also be seen as a critique of
orthodox Christianity and its emphasis on submission and obedience, aligning more with
Blake’s own views on imagination and creativity.

### Conclusion

William Blake’s statement that Milton was "of the Devil's party without knowing it" and his
view of Satan as the true hero of "Paradise Lost" highlight the enduring complexity and
ambiguity of Milton’s epic. Satan’s charismatic and multifaceted portrayal blurs the lines
between heroism and villainy, inviting diverse interpretations. While Milton’s theological
intentions are clear, his sophisticated characterizations and narrative techniques open the poem
to readings that emphasize the tragic and heroic aspects of Satan’s character. Blake’s
interpretation, while controversial, underscores the richness of "Paradise Lost" as a work that
continues to provoke thought and inspire varied perspectives.

12.Discuss the ways in which Book I of Paradise Lost Milton revises and
responds to Classical epic conventions.
ANS: In Book I of "Paradise Lost," John Milton engages with and revises classical epic
conventions in several ways, showcasing his innovative approach to the epic genre while
responding to the works of classical poets such as Homer and Virgil. Milton's revisions and
responses to classical epic conventions include the portrayal of the hero, the invocation of the
Muse, the use of epic similes, and the exploration of moral themes.

### 1. Portrayal of the Hero:

- **Classical Convention:** Classical epics typically feature a heroic protagonist who embodies
traditional virtues such as courage, strength, and honor. Heroes like Achilles in Homer’s "Iliad"
and Aeneas in Virgil’s "Aeneid" are celebrated for their martial prowess and leadership.
- **Milton's Revision:** In "Paradise Lost," Milton subverts traditional notions of heroism by
making Satan, a figure traditionally associated with evil, the central character. By depicting
Satan as a complex and charismatic figure, Milton challenges readers to reconsider their
understanding of heroism and villainy. Satan's rebellious spirit and tragic fall align him more
with the classical archetype of the tragic hero, akin to figures like Achilles or Prometheus.

### 2. Invocation of the Muse:

- **Classical Convention:** Classical epics often begin with an invocation to a divine Muse,
asking for inspiration and guidance in recounting the tale. Homer's epics, for example, begin
with invocations to the Muse of epic poetry, Calliope.
- **Milton's Revision:** Milton opens "Paradise Lost" with a Christian invocation to the Holy
Spirit, rather than a pagan Muse. This adaptation reflects Milton's Christian worldview and his
desire to align his epic with Christian themes and values. By invoking the Holy Spirit, Milton
signals his intention to write a Christian epic that seeks divine inspiration and guidance.

### 3. Epic Similes:

- **Classical Convention:** Classical epics often employ elaborate epic similes, which compare
heroic deeds or events to natural phenomena or everyday experiences. These similes serve to
enrich the narrative and evoke vivid imagery.
- **Milton's Revision:** Milton incorporates epic similes into "Paradise Lost," but he adapts
them to suit the theological and philosophical themes of his poem. For example, in describing
Satan's fall from heaven, Milton compares the fallen angels to "Autumnal leaves that strow the
brooks In Vallombrosa," creating a striking image that underscores the magnitude of their
defeat and the beauty of their former glory.

### 4. Exploration of Moral Themes:

- **Classical Convention:** Classical epics often explore moral themes such as fate, duty, and
the relationship between gods and mortals. These themes are central to the moral and ethical
framework of classical epic poetry.
- **Milton's Revision:** In "Paradise Lost," Milton expands upon classical moral themes by
introducing Christian theology and doctrine. The poem grapples with complex theological
questions such as free will, predestination, and the nature of evil. Through characters like
Satan, Adam, and Eve, Milton examines the consequences of disobedience and the importance
of moral agency in the human condition. By integrating Christian theology with classical epic
conventions, Milton creates a uniquely philosophical and theological epic that transcends
traditional boundaries.

### Conclusion:

In Book I of "Paradise Lost," John Milton revises and responds to classical epic conventions in
ways that reflect his innovative approach to the genre. By subverting traditional notions of
heroism, invoking Christian themes, adapting epic similes, and exploring complex moral and
theological themes, Milton creates a work that both engages with and transcends the classical
epic tradition. "Paradise Lost" stands as a masterpiece of epic poetry that continues to captivate
readers with its profound insights and timeless themes.

13.Elizabethan poetry strongly reflects the political attitudes, and

conventions of the Tudor court. Discuss with reference to poems
Sidney's Astrophel and Stella, Raleigh's The Passionate Man's
Pilgrimage, Donne's The sun rising, The Cannonization.
ANS: Elizabethan poetry indeed reflects the political attitudes and conventions of the Tudor
court, as poets of this era often wrote within the cultural and political context of their time.
"Astrophel and Stella" by Sir Philip Sidney, "The Passionate Man's Pilgrimage" by Sir Walter
Raleigh, and poems by John Donne such as "The Sun Rising" and "The Canonization" all
exhibit elements that reflect the political climate and courtly conventions of the Tudor period.

### Courtly Love and Political Intrigue:

1. **Sidney's "Astrophel and Stella":**
- **Courtly Love:** Sidney's sonnet sequence revolves around the unrequited love of
Astrophel (often considered a persona for Sidney himself) for Stella (representing Lady
Penelope Devereux). This reflects the courtly tradition of love poetry, where poets expressed
their feelings for noblewomen in highly stylized verse.
- **Political Context:** Sidney was a prominent figure at the Tudor court and was involved
in court politics. His poetry, including "Astrophel and Stella," reflects the tensions and rivalries
present in courtly circles. The unattainable love depicted in the poems may mirror Sidney's
own political frustrations or his commentary on courtly intrigue.

2. **Raleigh's "The Passionate Man's Pilgrimage":**

- **Allegorical Commentary:** Raleigh's poem explores themes of spiritual and existential
longing, with the protagonist embarking on a metaphorical pilgrimage. While the poem is
primarily concerned with spiritual matters, its exploration of the human condition and quest for
fulfillment can be interpreted in relation to the political and social turmoil of the time.
- **Political Discontent:** Raleigh's position in the Tudor court was marked by political
ambition and eventual downfall. "The Passionate Man's Pilgrimage" can be seen as a reflection
of Raleigh's personal and political struggles, as he grappled with issues of loyalty, ambition, and
exile.

### Courtly Wit and Social Commentary:

3. **Donne's "The Sun Rising":**

- **Courtly Wit:** Donne's poem showcases his characteristic wit and intellectual
playfulness, with the speaker playfully chastising the sun for intruding upon his private love
affair. This use of wit and irony reflects the conventions of courtly poetry, where poets often
employed elaborate conceits and rhetorical flourishes.
- **Social Commentary:** While "The Sun Rising" is primarily a love poem, it can also be
interpreted as a commentary on social hierarchy and the transience of earthly power. The
speaker's dismissal of the sun's authority reflects Donne's skepticism toward conventional social
structures and hierarchies.

4. **Donne's "The Canonization":**

- **Courtly Parody:** "The Canonization" employs the conventions of courtly love poetry to
satirical effect, with the speaker humorously comparing his love to the process of canonization.
This parody of courtly conventions reflects Donne's subversive attitude toward traditional
poetic forms and his rejection of idealized notions of love.
- **Political Critique:** The poem's exploration of love, devotion, and martyrdom can also be
interpreted as a commentary on the political and religious turmoil of the Tudor period. Donne's
emphasis on personal faith and spiritual conviction may reflect his own struggles with religious
conformity and persecution.

### Conclusion:

Elizabethan poetry, including Sidney's "Astrophel and Stella," Raleigh's "The Passionate Man's
Pilgrimage," and Donne's "The Sun Rising" and "The Canonization," reflects the political
attitudes and conventions of the Tudor court in various ways. These poets engage with courtly
love traditions, political allegory, social commentary, and religious themes to offer a
multifaceted exploration of the cultural and political landscape of their time. Through their
poetry, these writers navigate the complexities of courtly life, personal ambition, and societal
expectations, shedding light on the political and social dynamics of the Elizabethan era.

14.Write an essay on the representation of femininity in the poetry of the

period. You may base your answer on any two poems Donne's The Sun
Rising, Sidney's Astrophel and Stella.
ANS: The representation of femininity in the poetry of the Elizabethan period is a complex and
multifaceted theme that reflects the societal attitudes and expectations surrounding women
during this time. Two prominent poets of the era, John Donne and Sir Philip Sidney, offer
contrasting perspectives on femininity in their works "The Sun Rising" and "Astrophel and
Stella," respectively. Through their poems, Donne and Sidney explore themes of love, desire,
beauty, and gender roles, providing insight into the cultural ideals and complexities of
femininity in Elizabethan society.

### John Donne's "The Sun Rising"

In Donne's "The Sun Rising," the speaker addresses the sun as if it were an intruder disrupting
his intimate moment with his beloved. The poem is characterized by its playful tone, witty
conceits, and bold assertions of love. While the poem primarily focuses on the speaker's
affection for his lover, it also offers insight into the representation of femininity.

- **Depiction of the Beloved:**

- Donne's portrayal of the beloved in "The Sun Rising" emphasizes her centrality to the
speaker's world. He describes her as the "she" who is the sun of his universe, implicitly
elevating her status and importance.
- The speaker's affectionate language and extravagant praise of the beloved reflect the
idealized notion of feminine beauty and allure prevalent in Elizabethan poetry. The beloved is
depicted as a paragon of grace and charm, capable of captivating the speaker with her mere
presence.

- **Gender Roles and Power Dynamics:**

- Despite the speaker's adoration for his beloved, the poem also reveals underlying power
dynamics and gender roles. The speaker asserts his dominance over the sun, suggesting that
his love for the beloved transcends the natural order and temporal constraints imposed by
daylight.
- While the beloved is celebrated for her beauty and allure, she is also objectified and
subordinated to the speaker's desires. The poem reflects the patriarchal attitudes of the time,
where women were often idealized as objects of male desire and admiration.

### Sir Philip Sidney's "Astrophel and Stella"

In Sidney's "Astrophel and Stella," the speaker addresses his beloved, Stella, in a series of
sonnets that chronicle his unrequited love and emotional turmoil. The poem is characterized by
its introspective tone, intricate imagery, and emotional intensity. Through Astrophel's
passionate declarations and poignant reflections, Sidney offers a nuanced portrayal of
femininity.

- **Complexity of Stella's Character:**

- Unlike the beloved in Donne's poem, Stella is depicted as a multidimensional character with
agency and autonomy. While Astrophel idealizes her beauty and virtues, Stella is portrayed as a
complex and independent woman with her own desires and motivations.
- Sidney explores Stella's inner thoughts and emotions, revealing her conflicted feelings
towards Astrophel and her struggles with societal expectations. Stella's refusal to succumb to
Astrophel's advances demonstrates her agency and independence, challenging traditional
gender roles and expectations.

- **Gender Dynamics and Social Conventions:**

- "Astrophel and Stella" interrogates the restrictive gender dynamics and social conventions
of Elizabethan society. The poem exposes the limitations placed on women and the constraints
of patriarchal power structures.
- Stella's resistance to Astrophel's advances and her refusal to conform to traditional gender
roles subvert the idealized notions of femininity prevalent in Elizabethan literature. Sidney's
portrayal of Stella as a strong and assertive woman challenges the passive and submissive
archetype often associated with women in poetry of the period.

### Conclusion

The representation of femininity in the poetry of John Donne and Sir Philip Sidney offers
valuable insights into the cultural ideals and complexities of gender roles in Elizabethan
society. While Donne's "The Sun Rising" idealizes feminine beauty and allure within a
patriarchal framework, Sidney's "Astrophel and Stella" challenges traditional gender norms and
empowers women with agency and autonomy. Through their poems, Donne and Sidney
navigate the complexities of love, desire, and gender dynamics, providing nuanced portraits of
femininity that reflect the social and cultural dynamics of their time.