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IGNOU BEGC 102 Solved Assignment 2022-23

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• 1.0.1 1. Write short notes in about 100 words each:
• 1.0.2 (i) Epic
• 1.0.3 (ii) Unity of Action
• 1.0.4 2. Reference to the Context in about 100 words each:  (i) “… This proclamation I address to all:- Thebans, if any knows the man by whom Laius, son of Labadacus, was slain, I summon him to make clean shrift to me.”
• 1.0.5 (ii) “…What happened after that I cannot tell, Nor how the end befell, for with a shriek Burst on us Oedipus; all eyes were fixed On Oedipus, as up and down he strode, Nor could we mark her agony to the end”.
• 1.0.6 1. Write a note on the different facets of war that is highlighted in the Iliad.
• 1.0.7 2. Does Oedipus Rex resonate with us even today? Discuss.
• 1.0.8 3. Does Euclio get integrated into society at the end of the Pot of Gold? Comment.   –  Answer
• 1.0.9 4. Examine the satire as a genre. – Answer
• 1.0.10 IGNOU Instructions for the BEGC 102 European Classical Literature  
• 1.1.1 Related

BEGC 102 Solved Assignment 2022-23

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 Note: Attempt all questions. All questions carry equal marks.

Note: Remember the submission of assignment is a precondition for appearing in the examination. If you do not submit the assignment on time, you will not be allowed to appear in the examination.

1. Write short notes in about 100 words each:

Epic, long narrative poem recounting heroic deeds, although the term has also been loosely used to describe novels, such as Leo Tolstoy’s War and Peace, and motion pictures, such as Sergey Eisenstein’s Ivan the Terrible. In literary usage, the term encompasses both oral and written compositions. The prime examples of the oral epic are Homer’s Iliad and Odyssey.

Outstanding examples of the written epic include Virgil’s Aeneid and Lucan’s Pharsalia in Latin, Chanson de Roland in medieval French, Ludovico Ariosto’s Orlando furioso and Torquato Tasso’s Gerusalemme liberata in Italian, Cantar de mio Cid in Spanish, and John Milton’s Paradise Lost and Edmund Spenser’s Faerie Queene in English. There are also seriocomic epics, such as the Morgante of a 15th-century Italian poet, Luigi Pulci, and the pseudo-Homeric Battle of the Frogs and Mice.

Another distinct group is made up of the so-called beast epics—narrative poems written in Latin in the Middle Ages and dealing with the struggle between a cunning fox and a cruel and stupid wolf. Underlying all of the written forms is some trace of an oral character, partly because of the monumental persuasiveness of Homer’s example but more largely because the epic was, in fact, born of an oral tradition. It is on the oral tradition of the epic form that this article will focus.

(ii) Unity of Action

Unity of Action in drama, the three principles derived by French classicists from Aristotle’s Poetics; they require a play to have a single action represented as occurring in a single place and within the course of a day. These principles were called, respectively, unity of action, unity of place, and unity of time. These three unities were redefined in 1570 by the Italian humanist Lodovico Castelvetro in his interpretation of Aristotle, and they are usually referred to as “Aristotelian rules” for dramatic structure. Actually, Aristotle’s observations on tragedy are descriptive rather than prescriptive, and he emphasizes only one unity, that of plot, or action.

In the French classical tragedy, the unities were adhered to literally and became the source of endless critical polemics. Disputes arose over such problems as whether a single day meant 12 or 24 hours and whether a single place meant one room or one city. Some believed that the action represented in the play should occupy no more time than that required for the play’s performance—about two hours. In spite of such severe restrictions, the great 17th-century French dramatists Pierre Corneille and Jean Racine, confining the crises of their characters’ lives to a single setting and a brief span of hours, produced a unique form of tragedy that derives its austere power from its singleness of concentration. The prestige of the unities continued to dominate French drama until the Romantic era, when it was destroyed, in an evening of catcalls and violence, with the opening of Victor Hugo’s Romantic tragedy Hernani (1830).

Classical Greek and Latin dramas were strict in form. The concept of the three unities, in relation to classical drama, derives from Aristotle’s Poetics but is not directly formulated by the Greek philosopher. He merely states that a tragedy should have unity of action. The Poetics was unknown in Western Europe during the Middle Ages.

During the Renaissance a Latin translation is published in Italy, after which there is much discussion of classical literary principles. However it is not until 1570, in a book by Lodovico Castelvetro, that the concept of three unities evolves:

Unity of Action: It is the unity of action which makes the plot intelligible, coherent, and individual. The events and incidents are connected with each other logically and inevitably on the principle of probability; they move towards a common goal, the Catastrophe, aimed at by the dramatist. The plot must have “a beginning, a middle and an end” Dr. Jonson in his Preface to Shakespeare rejected the “three unities”. However in England, the unities of time and place are optional device for the playwrights. An example of modern plays composed strictly according to the unities is TennesseWilliams’ Cat on a Hot Tin Roof.

2. Reference to the Context in about 100 words each:  (i) “… This proclamation I address to all:- Thebans, if any knows the man by whom Laius, son of Labadacus, was slain, I summon him to make clean shrift to me.”

The Following Lines taken from Oedipus Rex Play. Oedipus Rex is Greek Oidipous Tyrannos , play by  Sophocles, performed sometime between 430 and 426  BCE , that marks the summit of classical Greek drama’s formal achievement, known for its tight construction, mounting tension, and perfect use of the dramatic devices of recognition and discovery. It examines the story of Oedipus, who, in attempting to flee from his fate, rushes headlong to meet it.

The scene opens with Creon’s denial of plotting against Oedipus. When Oedipus angrily repeats his charges, Creon again denies it, arguing rationally that he has no motivation to usurp the throne. The wrangling stops when Jocasta — the queen and Creon’s sister — divides the men, sending Creon home.

Oedipus continues to complain of Creon’s charge (through Tiresias) that he himself killed Laius. When Jocasta hears that the charge comes from a prophet, she dismisses it immediately. No one can see the future, she insists. As proof, she offers the story of a prophecy that her son would kill her husband, a fate avoided when Laius abandoned the child on a mountain.

After Oedipus learns the details of Laius’ death, he begins to worry that he is indeed the murderer. Jocasta, however, reminds him that Laius died at the hands of many men, not one. Nevertheless, Oedipus asks that the only living witness to the murderer — a shepherd — be brought to him for questioning.

(ii) “…What happened after that I cannot tell, Nor how the end befell, for with a shriek Burst on us Oedipus; all eyes were fixed On Oedipus, as up and down he strode, Nor could we mark her agony to the end”.

The Following lines is taken from the play Oedipus Rex . There are A boy leads in the blind prophet Tiresias. Oedipus begs him to reveal who Laius’s murderer is, but Tiresias answers only that he knows the truth but wishes he did not. Puzzled at first, then angry, Oedipus insists that Tiresias tell Thebes what he knows. Provoked by the anger and insults of Oedipus, Tiresias begins to hint at his knowledge. Finally, when Oedipus furiously accuses Tiresias of the murder, Tiresias tells Oedipus that Oedipus himself is the curse. Oedipus dares Tiresias to say it again, and so Tiresias calls Oedipus the murderer. The king criticizes Tiresias’s powers wildly and insults his blindness, but Tiresias only responds that the insults will eventually be turned on Oedipus by all of Thebes. Driven into a fury by the accusation, Oedipus proceeds to concoct a story that Creon and Tiresias are conspiring to overthrow him.

The leader of the Chorus asks Oedipus to calm down, but Tiresias only taunts Oedipus further, saying that the king does not even know who his parents are. This statement both infuriates and intrigues Oedipus, who asks for the truth of his parentage. Tiresias answers only in riddles, saying that the murderer of Laius will turn out to be both brother and father to his children, both son and husband to his mother. The characters exit and the Chorus takes the stage, confused and unsure whom to believe. They resolve that they will not believe any of these accusations against Oedipus unless they are shown proof. Creon enters, soon followed by Oedipus. Oedipus accuses Creon of trying to overthrow him, since it was he who recommended that Tiresias come. Creon asks Oedipus to be rational, but Oedipus says that he wants Creon murdered. Both Creon and the leader of the Chorus try to get Oedipus to understand that he’s concocting fantasies, but Oedipus is resolute in his conclusions and his fury.

Section B Answer the following in about 350 words each:

1. Write a note on the different facets of war that is highlighted in the Iliad.

The Iliad is the first great book, and the first great book about the suffering and loss of war. We love to tell stories about war. Tony Blair wove his own when giving evidence at the Chilcot inquiry yesterday: the latest, unpoetic attempt to make sense of an east-west clash of powers. He might note that “spin ” goes back to The Iliad: the first-century writer Dio Chrysostom argued that Homer, for reasons of his own, suppressed the truth about the Trojan war – in reality, the Greeks lost. “Men learn with difficulty . . . but they are deceived only too readily,” he wrote.

Civilisation – with its settlements, its boundary lines, its hierarchies – breeds conflict and narrative alike. In The Iliad, two characters have the narrative urge, and something approaching a synoptic view of the scenes surging around them. Achilles sings stories of heroes’ deeds in battle, and Helen embroiders scenes of fighting on an elaborate textile. Advertisement Many wishing to make sense of wars in their own time have reached for The Iliad. Alexander the Great, perhaps the most flamboyantly successful soldier in history, slept beside a copy annotated by his tutor, Aristotle. “He esteemed it a perfect portable treasure of all military virtue and knowledge,” according to Plutarch’s biography.

Simone Weil’s essay, “L’Iliade ou le poème de la force”, published in 1940, holds that “the true hero, the true ­subject at the centre of The Iliad is force”, which she defines as “that X that turns anybody who is subjected to it into a thing”. Her contemporary Rachel Bespaloff, a Geneva-raised philosopher who wound up in the United States, also turned to Homer’s poem as a “method of facing” the second world war. For her, it tells a profound, human story – “Suffering and loss have stripped Hector bare,” her essay “On The Iliad” begins. We are still turning to The Iliad, amid our own wars: the Australian writer David Malouf’s recent novel, Ransom , is about the encounter between Priam and Achilles in The Iliad’s final book, while Caroline Alexander’s new study of the poem, The War that Killed Achilles (Faber), sees it as a meditation on the catastrophic effects of conflict. While she does not indulge in crass equivalences, it is hard not to be alerted by her reading to the devastation caused by the conflicts in Afghanistan and Iraq.

2. Does Oedipus Rex resonate with us even today? Discuss.

Oedipus the King, written by Sophocles around 430 BC, is one of, if not the most, important and influential tragedy ever written. It became the base for most of the tragedies written since. In spite of the fact that some of the story line may seem a little out of place now, parallels can be very easily drawn with the present time. Even though it was written over 2000 years ago, Oedipus the King is still fitting and applicable in today’s society. In ancient Greece, the people believed that the gods already decided upon their fates and destinies. They believed that nothing that they could do could change them, no matter what they do.

Oedipus tried to change what he knew to be his destiny, to kill his father and marry his mother, by moving away from the city and family that he knew to be his own. He found out later in the play that by moving he had actually fulfilled his destiny. His parents tried to change their destinies, but that too backfired on them. In modern times, most religions that have beliefs similar to this are in the eastern part of the world. Most people in the west believe that they are in charge of their own fates and destinies and that they can be altered by things that they do or don’t do. Walton notices this too. He states that “Oedipus is not a turannos at all. He is the legitimate son of the previous king………………………………………………………………………………………………….

3. Does Euclio get integrated into society at the end of the Pot of Gold? Comment.   –  Answer

4. examine the satire as a genre. – answer.

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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).

Aims: This assignment is concerned mainly with assessing your application and your understanding of the course material. You are not to reproduce chunks of information from the course material but to use the skills of critical appreciation that you may have acquired during the course of study. This assignment aims to teach as well as to assess your performance.

Guidelines: There are three sections – Section A, B & C, you are required to attempt all questions in your own words and hand written Assignments should be submitted on time.

Instructions: Before attempting the questions please read the following instructions carefully.

IGNOU Instructions for the BEGC 102 European Classical Literature  

BEGC 102 European Classical Literature Solved Assignment 2022-23 Before attempting the assignment, please read the following instructions carefully.

• Read the detailed instructions about the assignment given in the Handbook and Programme Guide.
• Write your  enrolment number, name, full address and date on the top right corner of the first page of your response sheet (s).
• 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).
• Use only foolscap size paper for your response and tag all the pages carefully
• Write the relevant question number with each answer.
• You should write in  your own handwriting .

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BEGC 102 Solved Assignment 2022-23  You will find it useful to keep the following points in mind:

• 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.
• 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.
• 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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BEGC 102 Solved Assignment 2022-23

European Classical Literature

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Max. Marks: 100

Answer all questions.

(ii) Unity of Action

2. Reference to the Context in about 100 words each: 2 X 5 = 10

(i) “… This proclamation I address to all:-

Thebans, if any knows the man by whom

Laius, son of Labadacus, was slain,

I summon him to make clean shrift to me.”

(ii) “…What happened after that I cannot tell,

Nor how the end befell, for with a shriek

Burst on us Oedipus; all eyes were fixed

On Oedipus, as up and down he strode,

Nor could we mark her agony to the end”.

Answer the following in about 350 words each: 4 X 20 = 80

1. Write a note on the different facets of war that is highlighted in the Iliad.

2. Does Oedipus Rex resonate with us even today? Discuss.

3. Does Euclio get integrated into society at the end of the Pot of Gold? Comment.

4. Examine the satire as a genre.

BEGC 102 Solved Assignment 2022-23,  BEGC 102 Solved Assignment 2022-23, BEGC 102 Solved Assignment 2022-23, BEGC 102 Assignment, IGNOU Assignment BEGC 101 2022-23- Gandhi National Open University had recently uploaded the assignments of the present session for Programme for the year 2022-23. BEGC 102 Solved Assignment 2022-23 Students are recommended to download their Assignments from this web page itself. They don’t got to go anywhere else when everything regarding the Assignments are available during this article only.

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BEGC 102 previous year question paper

B.A. ENGLISH (HONOURS) (BAEGH) Term-End Examination BEGC-102 : CLASSICAL EUROPEAN LITERATURE

BEGC 102 Previous Question Papers

Begc 102 question paper december 2022.

BEGC 102 June 2022 Question Paper

About begc 102 question paper.

This paper has three sections – A, B and C. Answer questions from all three sections. Attempt any four questions from Section A, two questions from Section B, and three questions from Section C. Each question carries 5 marks

In section A, you have to write short notes on four topics. Usually, there will be eight questions, out of eight yo have to attempt any four. It is very important that you have to answer each question in 200 words.

In section B, at the same time, there will be six questions. Out of six, you have to attempt any two. Answer each question in 400 words. Each question carries 10 Marks.

In section C, candidates have to attempt any three out of eight. Each question carries 20 marks. It is mandatory to remember that you have to answer each question in 800 words.

Begc 102 European classical literature  

Classical European literature refers to the literary works produced in Europe from ancient times to roughly the 19th century. It encompasses a wide range of genres, themes, and styles, reflecting the cultural, social, and historical contexts of their respective periods. Here in the BEGC-102 : EUROPEAN CLASSICAL LITERATURE you will learn about selected writers from the classical European literature.

BEGC 102 consists of four BLOCKS:

Block-1 Homer: The Iliad  

Block-2 Sophocles: Oedipus Rex   

Block-3 Plautus: Pot of Gold  

Block-4 Horace and Ovid  

Block-1: Homer – “The Iliad” “The Iliad” is an ancient Greek epic poem attributed to Homer. It is set during the Trojan War and focuses on the hero Achilles and his struggles with pride, honor, and destiny. The poem is a foundational work of Western literature and explores themes of heroism, warfare, and the complexities of human emotions.

Block-2: Sophocles – “Oedipus Rex” “Oedipus Rex,” also known as “Oedipus the King,” is a tragedy written by Sophocles. It tells the story of Oedipus, a king who unwittingly fulfills a prophecy that he would kill his father and marry his mother. The play delves into themes of fate, free will, and the consequences of unchecked pride.

Block-3: Plautus – “Pot of Gold” “Pot of Gold” (original title: “Aulularia”) is a comedic play written by the ancient Roman playwright Plautus. The play revolves around a miser named Euclio who discovers a pot of gold and the ensuing comedic situations that arise as he tries to protect his newfound wealth. Plautus was known for his witty comedies, often centred around misunderstandings and clever wordplay.

Block-4: Horace and Ovid Horace and Ovid were both influential Roman poets during the Golden Age of Roman literature:

• Horace (Quintus Horatius Flaccus): Horace’s works include satires, odes, and epistles. His poetry reflects themes of morality, friendship, and the pursuit of a balanced life. His “Odes” are particularly well-known for their lyrical and reflective qualities.
• Ovid (Publius Ovidius Naso): Ovid is famous for his epic poem “Metamorphoses,” which narrates myths and stories of transformation from the creation of the world to the deification of Julius Caesar. He also wrote “The Art of Love” and “Heroides,” among other works.

These authors and their works represent different facets of classical European literature, showcasing the diversity and depth of storytelling, drama, and poetry from various eras in ancient Greece and Rome.

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BEGC 102 EUROPEAN CLASSICAL LITERATURE Solved Assignment 2022-23

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You are required to do one assignment for this English Honours Course titled Understanding Prose Code BEGC-101, which will be a Tutor Marked Assignment (TMA) and will carry 100 marks. It will be based on blocks 1 to 4

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Last Date for Submission of Assignment:

• ·          For June Examination: 30th April
• ·          For December Examination: 31st October

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Q.I Write short notes on the following in about 100 words each: 4 x 5 = 20

An epic poem is a long, typically novel-length, poetic work. It is a type of narrative poem, which tells a story, typically in third-person point of view, through the typical conventions of poetry. The conventions include rhyme, meter, or some other aural device, and they are used to make the tale more engaging and memorable. Epics tend to follow a hero who represents a perfect citizen of their culture. These stories are of cultural, historical, and religious importance.

Epic poetry has roots in oral tradition, which predates the written word and was the way culture and history were preserved. Although a cuneiform version (character-based inscriptions) of The Epic of Gilgamesh was written between 1300 and 1000 BC, the story may have been told as early as 2150 BC. It was likely court singers who performed and passed down the story, preserving it until it finally appeared in written form.  BEGC 102 EUROPEAN CLASSICAL LITERATURE Solved Assignment 2022-23 , IGNOU BEGC 102 Solved Assignment 2022-23 Download PDF , BEGC 102 Solved assignment pdf , BEGC 102 Solved Assignment ,  BEGC 102 Assignment , IGNOU  BEGC 102 Assignment 2022-23.

The Trojan Epics

Homer, author of the epic poems The Iliad and The Odyssey, was likely a court singer or a bard. Little is known about his personal history; some scholars hold that Homer couldn’t have been just one person. His epics brought to life the stories of the  Trojan War , though certainly the adventures of Achilles and  Odysseus  were told long before 700 BC, the rough date of Homer’s works. Virgil, a Roman poet, took inspiration from the Homeric epics and penned The Aeneid, an epic poem in dactylic hexameter. It too told the story of the Trojan War and its aftermath. This is perhaps the first well-known epic that was first written, rather than an orally told story that was eventually passed down.

Other Early Epics

Epics are stories that distill entire histories and cultures into something tangible and engaging. They deal with themes and archetypes that everyone recognizes. With cultural pride, people could see themselves in the humanity of these poems’ heroes while aspiring to their divinity. The Mahābhārata is the longest poem in history. It tells the story of ancient India, the Kurukshetra War, and the fates of two families.

The poem started as a tale (or perhaps several) told to entertain audiences. It was recorded in Sanskrit around 400 BC and now stands as an important source of Hindu beliefs and history. The well-known Beowulf was a long-sung Germanic tale that found its way to the printed page between the 8th and 11th centuries.

It follows the life of the heroic Beowulf and his encounters with monsters on his way to becoming a king. Two of the most notable English epic poems are Paradise Lost by John Milton and Idylls of the King by Alfred Lord Tennyson, written in 1663 and 1885 respectively. Paradise Lost concerns the biblical creation and fall of man, while Tennyson’s epic recounts tales of King Arthur and the Knights of the Round Table.

(ii) Unity of Action

The dramatic unities are three: the unity of Action, the unity of Time, and the unity of Place. Ever since the Renaissance two reasons were advanced in support of the three unities. First, that Aristotle had enjoined them, and secondly, that they are necessary to create a dramatic illusion and in this way to make the drama credible and convincing. During the Pseudo-classical era, the unities were made into rigid rules and their observance was considered essential.

The Unity of Action

The three unities were deduced from Aristotle, but the Greek philosopher has stressed only one Unity, the unity of Action. The Action of tragedy, he says in The Poetics, must be a “complete whole”, and it must have, “organic unity”. Aristotle compares the plot of a tragedy to a living organism and says that just as in a living organism every part is harmoniously related to each other, and to the whole, so in tragedy also the various incidents and events must bear a proportionate and harmonious relationship. Just as in a living organism, no part is superfluous, and each part is essential for the life of the organism, and cannot be removed without causing injury to it, so also in the plot of a tragedy every events and every incident must be necessary essential.  BEGC 102 EUROPEAN CLASSICAL LITERATURE Solved Assignment 2022-23 , IGNOU BEGC 102 Solved Assignment 2022-23 Download PDF , BEGC 102 Solved assignment pdf , BEGC 102 Solved Assignment ,  BEGC 102 Assignment , IGNOU  BEGC 102 Assignment 2022-23.

There should be nothing superfluous, it should not be possible to take out any character or incident, without causing any injury to the plot. Digressions and episodes may be introduced, but then they should be integral to the plot, they must be made an integral part of the plot, and must contribute to the effect which the dramatist wants to create. It should not be possible even to transpose them, i.e., to shift them from one place to another.

Aristotle regards, “episodic plots as the worst”, for they are plots in which the episodes have not been properly interlinked with the main design, and do not form an organic part of the whole. Failure in episodizing is the worst fault, for it is a violation of the unity of Action. It is the unity of Action which makes the plot intelligible, coherent, and individual. There are a number of incidents, events, and situations, but they are so united, and so related structurally, that they form a complete whole. These various events are united in two ways.

First, they are connected with each other by the law of necessity and probability. They are probable and necessary under the circumstances, and they follow each other logically and inevitably. Thus there is a logical link-up of the various events, a sequence of cause and effect binding them together.

Secondly, they are unified by the fact that they all move forward towards a common goal, the Catastrophe aimed at by the dramatist.

The beginning leads logically and inevitably to the end, without any unnecessary digressions and episodes coming in between, without there being any detached scenes or incidents. In this way, there is unity in variety.

There are a number of events and scenes, but they all converge to a single point, logically and inevitably. Digression and episodes may be permitted in the Epic, but the drama is a compact whole from which all superfluity is rigorously excluded. The tragedy, therefore, has greater concentration, greater coherence, so greater effectiveness.

Q.2 Write short notes on the following in about 100 words each

(i) “… This proclamation I address to all:-

Thebans, if any knows the man by whom

Laius, son of Labadacus, was slain,

I summon him to make clean shrift to me.”

(ii) “…What happened after that I cannot tell,

Nor how the end befell, for with a shriek

Burst on us Oedipus; all eyes were fixed

On Oedipus, as up and down he strode,

Nor could we mark her agony to the end”

Answer the following in about 350 words each:

1. Write a note on the different facets of war that is highlighted in the Iliad.

The main theme of the Iliad is stated in the first line, as Homer asks the Muse to sing of the "wrath of Achilles." This wrath, all its permutations, transformations, influences, and consequences, makes up the themes of the Iliad.

In essence, the wrath of Achilles allows Homer to present and develop, within the cultural framework of heroic honor, the ideas of strife, alienation, and reconciliation. The wrath of Achilles is provoked by Achilles' sense of honor as a result of eris or discord, which leads to the warrior's alienation from the Greeks and eventually from human society. Second, the wrath of Achilles sets him up in clear contrast to his great Trojan counterpart in the story — Hektor.

Finally, the assuaging of Achilles' wrath leads to the reconciliation and reintegration of the warrior, first into his own community and second into the larger community of all humanity. When considering these three basic ideas that result from the wrath of Achilles, readers can see a grand design in the work that centers not so much on war as on the growth and development of an individual character.  BEGC 102 EUROPEAN CLASSICAL LITERATURE Solved Assignment 2022-23 , IGNOU BEGC 102 Solved Assignment 2022-23 Download PDF , BEGC 102 Solved assignment pdf , BEGC 102 Solved Assignment ,  BEGC 102 Assignment , IGNOU  BEGC 102 Assignment 2022-23.

Achilles wrath is initiated by his sense of honor. Honor for the Greeks, and specifically heroes, as readers have seen, existed on different levels. First, arete: the pursuit of excellence. Second, nobility: on the personal level, men had to treat each other properly; personal regard and honor from one's peers was essential to the proper functioning of society. Third, valor: obtained by a warrior for his accomplishments in battle. Fourth, and finally, the Greeks could obtain everlasting fame and glory for their accomplishments in life. The wrath of Achilles is based on each of these concepts.

Underlying the idea of honor is another Greek concept — strife, personified by the goddess Eris. For the Greeks, life was based on the idea of strife and turmoil. To try to avoid strife was to avoid life. A good life could be achieved by reconciling the factors that produced strife. However, war, nature, personality — everything — contained elements of strife that may not be completely reconcilable. This more elemental strife could lead to evil. Both types of strife are involved in Achilles' anger.

In a most significant way, Achilles' life begins with an attempt to avoid strife. His parents, the goddess Thetis and the mortal Peleus, invite all the gods to their wedding except Eris (strife). Eris, however, like the evil witch in fairy tales, attends anyway and tosses out the golden apple marked, "For the Fairest."

Thus, strife enters at the wedding of Achilles' parents and sets in motion the events that will ultimately lead to the Trojan War. On a more personal level, Achilles himself is an embodiment of stressful opposites. One parent is mortal; one a goddess. Consequently, he knows both mortality and immortality.

He knows he must die, but he also has a sense of the eternal. He knows that if he avoids the war he can live a long life, but that if he fights, he will die young. He knows that glory and eternal fame can be his only through early death in war while long life can be secured only by giving up the ultimate glory a Greek seeks. At first, Achilles attempts to avoid the Trojan War by pretending to be a woman; but, as in a number of instances, his attempts to avoid an action lead directly to that action.

2. Does Oedipus Rex resonate with us even today? Discuss.

Oedipus the King unfolds as a murder mystery, a political thriller, and a psychological whodunit. Throughout this mythic story of patricide and incest, Sophocles emphasizes the irony of a man determined to track down, expose, and punish an assassin, who turns out to be himself. As the play opens, the citizens of Thebes beg their king, Oedipus, to lift the plague that threatens to destroy the city. Oedipus has already sent his brother-in-law, Creon, to the oracle to learn what to do.

On his return, Creon announces that the oracle instructs them to find the murderer of Laius, the king who ruled Thebes before Oedipus. The discovery and punishment of the murderer will end the plague. At once, Oedipus sets about to solve the murder. Summoned by the king, the blind prophet Tiresias at first refuses to speak, but finally accuses Oedipus himself of killing Laius.

Oedipus mocks and rejects the prophet angrily, ordering him to leave, but not before Tiresias hints darkly of an incestuous marriage and a future of blindness, infamy, and wandering. Oedipus attempts to gain advice from Jocasta, the queen; she encourages him to ignore prophecies, explaining that a prophet once told her that Laius, her husband, would die at the hands of their son. According to Jocasta, the prophecy did not come true because the baby died, abandoned, and Laius himself was killed by a band of robbers at a crossroads.

Oedipus becomes distressed by Jocasta's remarks because just before he came to Thebes he killed a man who resembled Laius at a crossroads. To learn the truth, Oedipus sends for the only living witness to the murder, a shepherd. Another worry haunts Oedipus. As a young man, he learned from an oracle that he was fated to kill his father and marry his mother. Fear of the prophecy drove him from his home in Corinth and brought him ultimately to Thebes.

 Again, Jocasta advises him not to worry about prophecies. Oedipus finds out from a messenger that Polybus, king of Corinth, Oedipus' father, has died of old age. Jocasta rejoices — surely this is proof that the prophecy Oedipus heard is worthless. Still, Oedipus worries about fulfilling the prophecy with his mother, Merope, a concern Jocasta dismisses. Overhearing, the messenger offers what he believes will be cheering news. Polybus and Merope are not Oedipus' real parents. In fact, the messenger himself gave Oedipus to the royal couple when a shepherd offered him an abandoned baby from the house of Laius.

3. Does Euclio get integrated into society at the end of the Pot of Gold? Comment.

4. examine the satire as a genre., begc 102 assignment important note please remember that it is compulsory to submit your assignment before you can take the term end examination. also remember to keep a copy of your assignment with you and to take a receipt from your study centre when you submit the assignment..

BEGC 102 EUROPEAN CLASSICAL LITERATURE Solved Assignment 2022-23 , IGNOU BEGC 102 Solved Assignment 2022-23 Download PDF ,BEGC 102 Solved assignment pdf , BEGE142 Solved Assignment ,  BEGC 102 Assignment 2022-23

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BEGC-103: IGNOU BAG Solved Assignment 2022-2023

• 1 Q.I Explain the reference to the context of the following:
• 2 (i) The new poets still quotedThe old poets, but no one spokeIn verseOf the pregnant womanDrowned, with perhaps twins in her,
• 3 (ii) Fed on God for yearsAll her feasts were monotonousFor the only dish was always GodAnd the rest mere condiments.
• 4 (iii) May the sins of your previous birthBe burned away tonight, they saidMay your suffering decreaseThe misfortunes of your next birth, they said
• 5 (iv) O Bird of Time, say where do you learnThe changing measures you sing?In blowing forests and breaking tidesIn the happy laughter of new made brides,
• 6 Q.II What is novel? Discuss its various aspects.
• 7 Q.III Analyze the story and title of A Tiger for Malgudi.
• 8 Q.IV Discuss the style and themes of the poems of Nissim Ezeikel with special reference to the poems prescribed in your course.
• 9.1 How to Download BEGC-103 Solved Assignment?
• 9.2 Is the BEGC-103 Solved Assignment Free?
• 9.3 What is the last submission date for BEGC-103 Solved Assignment?

Q.I Explain the reference to the context of the following:

(i) the new poets still quoted the old poets, but no one spoke in verse of the pregnant woman drowned, with perhaps twins in her,.

Ans: The reference to the context in this excerpt likely pertains to a discussion of poetry and its evolution over time. The first line suggests that there are “new poets” who are still drawing inspiration from “old poets,” indicating a continuation of tradition and influence from previous generations of poets.

However, the second line suggests that something has changed in the content or style of poetry being produced, as “no one spoke in verse of the pregnant woman drowned.” This line indicates that there is subject matter that is being left out or overlooked in contemporary poetry, namely the tragedy of a pregnant woman’s death and the possible loss of her unborn children.

The juxtaposition of the old and new poets in the first line and the absence of discussion of this tragic event in contemporary verse in the second line may be highlighting a disconnect between tradition and current concerns, or it may be suggesting that modern poetry is lacking in some way compared to the poetry of the past. Overall, the reference to context in this excerpt points to a discussion of the evolution of poetry and its relationship to the world around it.

(ii) Fed on God for years All her feasts were monotonous For the only dish was always God And the rest mere condiments.

Ans: The reference to the context in this excerpt likely pertains to a discussion of religious devotion and the impact it has on a person’s life. The first line suggests that the subject of the passage has been deeply committed to their faith for a significant amount of time, as they have “fed on God for years.” This could indicate that they have relied on their religious beliefs as a primary source of sustenance or nourishment, both physical and spiritual.

The second line suggests that this devotion has had a monotonous quality to it. The phrase “her feasts were monotonous” could refer to religious observances that have become routine or repetitive, lacking in variety or stimulation. The final two lines of the excerpt use a metaphor to reinforce this idea, comparing the subject’s diet to a meal where “the only dish was always God” and everything else was “mere condiments.”

Taken together, the context of this passage may be exploring the consequences of an all-consuming religious devotion. It suggests that, while such devotion may sustain a person, it can also become predictable and limiting, leaving little room for other experiences or sources of meaning. The metaphor of food and nourishment emphasizes this point, suggesting that while a diet of faith may be sustaining, it can also lack variety and flavor, leading to a sense of sameness or even boredom over time.

(iii) May the sins of your previous birth Be burned away tonight, they said May your suffering decrease The misfortunes of your next birth, they said

Ans: The reference to the context in this excerpt likely pertains to a religious or spiritual ritual, in which the speaker or subject is being offered prayers or blessings for the sake of their spiritual well-being. The first line suggests that the ritual or prayer is focused on purifying the subject of past sins or wrongdoings, as they are offered the hope that “the sins of your previous birth be burned away tonight.”

The second line offers a similar sentiment, but with a different focus. Here, the prayer or blessing is focused on reducing the subject’s suffering or misfortunes in their future lives. The line “may your suffering decrease” indicates that the subject is currently experiencing some form of hardship or difficulty, and that the prayer is intended to alleviate this in some way.

Taken together, the context of this passage suggests that the speaker or subject is engaged in some form of spiritual practice or belief system that emphasizes the importance of purification and karmic consequences. The idea of being freed from past sins and spared future suffering may be seen as a means of achieving a higher state of being or a greater sense of spiritual fulfillment.

(iv) O Bird of Time, say where do you learn The changing measures you sing? In blowing forests and breaking tides In the happy laughter of new made brides,

Ans: The reference to the context in this excerpt likely pertains to the concept of time and the natural world. The first line addresses the “Bird of Time,” which could be interpreted as a metaphorical bird that represents the passage of time, or perhaps an actual bird that is symbolic of the natural cycles of life and death. The line poses a question to this bird, asking where it learns the “changing measures” that it sings, suggesting that time is a dynamic and constantly evolving force.

The second line describes two examples of the natural world that may be sources of inspiration for the Bird of Time. The “blowing forests” and “breaking tides” suggest the power and dynamism of nature, while the “happy laughter of new made brides” suggests the cyclical nature of human life, with weddings representing a new beginning and the start of a new phase of life.

Taken together, the context of this passage suggests a contemplation of the nature of time and its relationship to the natural world. The idea that the changing measures of time are learned from natural phenomena such as the wind, the ocean, and human cycles of life may suggest that time is a force that is intimately connected to the world around us. The use of poetic language and metaphor reinforces this sense of time as a mysterious and elusive force that is both beautiful and awe-inspiring.

Q.II What is novel? Discuss its various aspects.

Ans: The term “novel” can have several meanings, depending on the context in which it is used. In literature, a novel is a long piece of fictional prose, typically between 80,000 and 100,000 words, that tells a story through the actions, thoughts, and dialogue of its characters. Here are some aspects of the novel:

• Form and structure: Novels can be structured in various ways, depending on the author’s goals and the genre in which it falls. Some common structures include linear narrative, nonlinear narrative, and epistolary form. A linear narrative follows a chronological sequence of events, while a nonlinear narrative may jump back and forth in time. An epistolary novel is written in the form of letters, diary entries, or other documents.
• Themes and motifs: Novels can explore a wide range of themes, including love, loss, identity, power, and social justice. These themes may be expressed through recurring motifs, such as symbols or metaphors, that create a deeper meaning.
• Characterization: One of the primary features of a novel is its characters. A well-developed character can drive the plot and provide insight into the novel’s themes. Authors may use various techniques, such as direct or indirect characterization, to bring their characters to life.
• Style and language: The language and style of a novel can greatly affect the reader’s experience. An author’s choice of words, sentence structure, and literary devices can create a particular mood or tone, evoke emotion, or convey meaning.
• Genre: Novels can fall into various genres, such as romance, science fiction, mystery, or historical fiction. Each genre has its own conventions and expectations that the author can either follow or subvert.

In addition to these aspects, a novel can be evaluated based on its plot, pacing, setting, and point of view, among other factors. Ultimately, a novel is a complex and multifaceted work that can provide readers with hours of entertainment, insight, and reflection.

Q.III Analyze the story and title of A Tiger for Malgudi.

Ans: “A Tiger for Malgudi” is a novel by R.K. Narayan, a celebrated Indian writer, first published in 1983. The title of the book is straightforward and simple, but it encapsulates the central theme and plot of the story.

The story follows the life of a Royal Bengal Tiger named Raja, who is captured from the wild and brought to the fictional town of Malgudi, where he is put on display in a zoo. The zookeeper, Nataraj, becomes fascinated by Raja and becomes determined to give him a better life by releasing him back into the wild. The novel then chronicles Nataraj’s journey to set Raja free, as well as his growing attachment to the tiger.

The title “A Tiger for Malgudi” is significant because it emphasizes the central role that Raja, the tiger, plays in the story. The title also suggests the idea of possession, as if the tiger is an object that belongs to the town of Malgudi, which is a recurring theme in the novel. However, the title is also somewhat ironic since Raja is never really “for” Malgudi, but instead belongs in the wild. Thus, the title creates a tension between the tiger’s captivity and his ultimate freedom.

Furthermore, the title “A Tiger for Malgudi” also reflects the central theme of the novel, which is the relationship between humans and nature. The story explores the idea of ownership and control over the natural world, and how this relationship can be harmful to both humans and animals. Nataraj’s attempts to release Raja into the wild are a metaphor for the need to preserve and protect nature, rather than exploit it for human gain.

Q.IV Discuss the style and themes of the poems of Nissim Ezeikel with special reference to the poems prescribed in your course.

Ans: Nissim Ezekiel was one of the most significant Indian poets writing in English during the mid-20th century. His poems reflect a strong sense of cultural identity and social critique, while also demonstrating a wide range of literary techniques and styles. In this response, I will discuss the style and themes of some of his poems prescribed in various courses.

Style: Ezekiel’s poems are known for their simplicity of language, use of irony, and the integration of Indian ethos in English poetry. He often used everyday language and direct language to convey his message, with a strong focus on colloquialism and humor. In his poetry, he often employed imagery and metaphors drawn from Indian life and culture, and his use of free verse allowed him to experiment with form and structure.

Themes: Ezekiel’s poems are marked by a sense of irony, skepticism, and critique, often questioning societal norms and values. He was also interested in exploring the complex relationships between people, particularly those from different cultural and linguistic backgrounds. In his poem “The Patriot,” Ezekiel satirizes the idea of blind patriotism and points out the negative consequences of such nationalism. In “Night of the Scorpion,” he explores the concept of community and solidarity by depicting a village coming together in the face of a scorpion bite. His poem “Island” presents the complexity of the relationship between the colonizer and the colonized.

In the poem “Enterprise,” Ezekiel addresses the theme of modernization and its impact on Indian society. The poem satirizes the obsession with industrialization and the neglect of traditional agricultural practices, highlighting the negative consequences of progress. Similarly, “The Professor” critiques the educational system and the prioritization of academic knowledge over practical skills.

Q.V Critically analyze the story Swimming Lessons by Rohinton Mistry.

Ans: “Swimming Lessons” is a short story by Rohinton Mistry, a renowned Indian-Canadian writer, published in 1987. The story follows the journey of a young boy, Gustad Noble, who is sent for swimming lessons by his father, Major Jimmy Noble, during the summer of 1952 in Bombay. The story highlights the themes of societal expectations, class differences, and generational divides.

The story opens with the scene of Gustad’s father instructing him to attend swimming lessons with a private instructor, Mr. Mody. Gustad initially resists, but eventually agrees to attend the classes. Mody is a Parsi, and Gustad is a member of the working-class, highlighting the divide between the different classes in Bombay society. Gustad, as a member of the lower class, is in awe of Mody, who represents the upper class, educated elite.

As the story progresses, Gustad becomes increasingly disillusioned with Mody’s elitism and arrogance, particularly when Mody comments on Gustad’s weight and general physical appearance. Gustad’s resentment towards Mody deepens when he realizes that Mody’s so-called “swimming lessons” consist mainly of physical exercise rather than actual swimming instruction. In this sense, the story reveals the hypocrisy of the Parsi community, which, while espousing a Westernized lifestyle, also displays a disregard for physical fitness.

At the same time, the story also highlights the generational divide between Gustad and his father, Major Noble. The Major, as a member of the British Army, is deeply invested in maintaining a British colonial lifestyle, while Gustad is more interested in embracing Indian culture. The generational divide between father and son is exemplified by the fact that the Major does not understand why Gustad does not want to join the Scouts or play cricket.

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