ISC Class 12 English Literature Board Exam Question Paper 2018 with Solutions

ISC Class 12 English Paper - 2 Literature in English Board Exam Question Paper with Solutions

SECTION - A

MUCH ADO ABOUT NOTHING - Shakespeare

Question 1
Choose two of the passages (a) to (c) and answer briefly the questions that follow:

(a) Benedick : I can see yet without spectacles, and I see no such matter. There's her cousin, an she were not possessed with a fury, exceeds her as much in beauty as the first of May doth the last of December. But I hope you have no intent to turn husband, have you?

(i) Whom is Benedick referring to in the above lines? [1 Mark]

Answer: Benedick is referring to Hero, who is Claudio's lover.

Teacher's Note:
a) Identify characters correctly based on the context of the dialogue.
b) Keep answers direct and precise as per the marks allotted.

(ii) Benedick says: 'I see no such matter.' What does he mean by it? [2 Marks]

Answer: Benedick means to say that he can still see clearly without glasses and he does not find Claudio's exaggerated praise of Hero to be correct or justified.

Teacher's Note:
a) Explain the literal and contextual meaning of the phrase.
b) Avoid unnecessary wordiness; focus on Benedick's skepticism.

(iii) Explain the lines: [1½ Marks]
"There's her cousin, an she were not
possessed with a fury, exceeds her as much in
beauty as the first of May doth the last of December."

Answer: Benedick implies that Hero's cousin, Beatrice, would surpass Hero in beauty if she did not have such a fiery and hasty temper, comparing the contrast between them to the transition from the vibrant month of May to the cold month of December.

Teacher's Note:
a) Decode the metaphor comparing Beatrice to May and December.
b) Ensure all parts of the quoted extract are explained clearly.

(iv) What does the comparison of Beatrice with May suggest about Benedick? [2 Marks]

Answer: The comparison suggests that while Benedick outwardly rails against marriage and expresses disdain for Beatrice, he is keenly observant of her beauty and acknowledges her striking presence, even while criticizing her temper.

Teacher's Note:
a) Highlight the underlying psychological undercurrent between Benedick and Beatrice.
b) Note the contrast between his verbal disdain and his actual observation.

(v) What does Claudio mean by 'sworn the contrary'? [1½ Marks]

Answer: Claudio means that even if he had taken a solemn oath never to marry, he would break that vow if Hero agreed to be his wife.

Teacher's Note:
a) Interpret the idiomatic expression accurately in context.
b) Show how deeply infatuated Claudio is at this point.

(vi) Give the meaning of the following words as they are used in the context of the passage:
possessed; fury; intent [1½ Marks]

Answer:
possessed - taken over or influenced by
fury - anger or fierce temper
intent - intention or decided plan

Teacher's Note:
a) Provide contextual vocabulary meanings.
b) Ensure definitions match the specific scene.

(b) Don John : Come, let us to the banquet
[Exeunt all but Claudio]
Claudio : Thus answer 1 in name of Benedick,
But hear these ill news with the ears of Claudio. 'Tis certain so; the prince woos for himself. Friendship is constant in all other things
Save in the office and affairs of love.
Therefore all hearts in love use their own tongues.
Let every eye negotiate for itself,
And trust no agent; for beauty is a witch
Against whose charms faith melteth into blood.
This is an accident of hourly proof,
Which I Mistrusted not. Farewell , therefore, Hero.
[Enter Benedick]
Benedick : Count Claudio?
Claudio : Yea, the same.

(i) Where are the speakers? Describe Claudio's state of mind. [1 Mark]

Answer: The speakers are at the banquet. Claudio is in a state of despair and betrayal, believing that Don Pedro has wooed Hero for himself.

Teacher's Note:
a) State the setting accurately.
b) Capture the emotional shift caused by Don John's deception.

(ii) What has Don John just revealed to Claudio? [2 Marks]

Answer: Don John has deceitfully revealed to Claudio that the Prince, Don Pedro, is wooing Hero for himself instead of securing her hand for Claudio.

Teacher's Note:
a) Identify the core misinformation spread by Don John.
b) Explain how this triggers the central conflict.

(iii) Explain the lines:
"Therefore all hearts in love use their own tongues.
Let every eye negotiate for itself,
And trust no agent;" [1½ Marks]

Answer: Claudio means that in matters of love, individuals should speak and act for themselves directly rather than relying on a third party or intermediary, because trusting an agent in romance often leads to betrayal.

Teacher's Note:
a) Paraphrase the quotation clearly.
b) Relate it to Claudio's mistaken belief about Don Pedro.

(iv) How does Don John succeed in conveying his thoughts to Claudio? What is his intention in doing so? [2 Marks]

Answer: Don John succeeds by pretending to mistake Claudio for Benedick and feigning reluctance to share bitter truth. His intention is purely malicious, driven by his bitter nature and desire to ruin Claudio's happiness out of spite.

Teacher's Note:
a) Mention the tactical deception used by Don John.
b) Highlight his underlying motive of malice.

(v) Why is 'beauty' said to be a 'witch'? Which aspect of Claudio is seen here? [2 Marks]

Answer: Beauty is said to be a 'witch' because it possesses magical charms that can overpower loyalty, making even friends betray one another in matters of love. This highlights Claudio's gullibility and insecurity.

Teacher's Note:
a) Explain the metaphorical significance of beauty as a witch.
b) Analyze Claudio's swift readiness to believe the worst.

(vi) Give the meanings of the following words as they are used in the context of the passage:
ill; save; office; [1½ Marks]

Answer:
ill - bad or unfortunate
save - except for
office - duty, function, or business

Teacher's Note:
a) Provide exact contextual meanings.
b) Pay close attention to words like 'save' and 'office' in Elizabethan English.

(c) Don John : Fie, fie, they are
Not to be nam'd my lord, not to be spoke of,
There is not chastity enough in language
Without offence to utter them. Thus, pretty lady,
I am sorry for thy much misgovernment.
Claudio : O Hero! What a Hero hadst thou been
If half thy outward graces had been plac'd
About thy thoughts and counsels of thy heart!
But fare thee well, most foul, most fair; farewell
Thou pure impiety and impious purity
For thee I'll lock up all the gates of love,
And on my eyelids shall conjecture hang
To turn all beauty into thoughts of harm,
And never shall it more be gracious.

(i) Where are the speakers? What leads Claudio to speak in this manner? [1 Mark]

Answer: The speakers are at the wedding altar. Claudio speaks in this manner because he believes he has witnessed Hero's infidelity and unchastity.

Teacher's Note:
a) State the dramatic setting (the aborted wedding).
b) Link Claudio's outburst to Don John's slanderous plot.

(ii) What are the charges levelled against Hero by Don Pedro? [2 Marks]

Answer: Don Pedro (along with Claudio) charges Hero with being disloyal, unchaste, and engaging in shameful meetings with other men on the very eve of her wedding.

Teacher's Note:
a) Outline the core false accusations.
b) Emphasize the public humiliation inflicted upon Hero.

(iii) Explain the lines:
"What a Hero hadst thou been
If half thy outward graces had been plac'd
About thy thoughts and counsels of thy heart!" [1½ Marks]

Answer: Claudio means that Hero would have been a truly noble and flawless person if her inner virtues, thoughts, and morals matched her beautiful outward appearance.

Teacher's Note:
a) Contrast outward appearance with inner morality.
b) Explain the bitter tone of disillusionment.

(iv) What are the immediate reactions of Leonato and Hero to Claudio's words? [2 Marks]

Answer: Leonato is filled with utter shock, shame, and despair, wishing for death or a dagger to end his life, while Hero faints and collapses to the ground unconscious due to the overwhelming shock of the false accusations.

Teacher's Note:
a) Detail both characters' reactions.
b) Highlight the dramatic intensity of the wedding scene.

(v) What impressions do we form about Leonato in this scene? [2 Marks]

Answer: Leonato appears easily influenced by authority and reputation. Instead of defending his daughter immediately, he readily believes the accusations of princes and wishes for death out of wounded family pride.

Teacher's Note:
a) Evaluate Leonato's character flaw regarding social honor.
b) Contrast his hasty belief in the slander with a father's unconditional trust.

(vi) Give the meanings of the following words as they are used in the context of the passage:
misgovernment; impiety; conjecture [1½ Marks]

Answer:
misgovernment - misconduct, loose behavior, or moral failing
impiety - lack of reverence, wickedness, or sinfulness
conjecture - suspicion, guesswork, or surmise

Teacher's Note:
a) Provide accurate contextual definitions.
b) Ensure the Elizabethan nuance is captured.

ARMS AND THE MAN - George Bernard Shaw

Question 2
Choose two of the passages (a) to (c) and answer briefly the questions that follow:

(a) Raina : Come away from the window (She takes him firmly back to the middle of the room. The moment she releases him he turns mechanically towards the window again. She seizes him and turns him back, exclaiming) Please! (He becomes motionless, like a hypnotized rabbit, his fatigue gaining fast on him. She releases him, and addresses him patronizingly). Now listen. You must trust to our hospitality. You do not yet know in whose house you are. I am a Petkoff.
The Man : A pet what?
Raina : [rather indignantly] I mean that I belong to the family of the Petkoffs, the richest and best known in our country.
The Man : Oh yes, of course. I beg your pardon. The Petkoffs, to be sure. How stupid of me!
Raina : You know you never heard of them until this moment. How can you stoop to pretend!
The Man : Forgive me. I'm too tired to think; and the change of subject was too much for me. Dont scold me.

(i) Why did the man keep turning to the window? [1 Mark]

Answer: The man kept turning back toward the window because he was exhausted, disoriented, and seeking a way to escape or keep watch.

Teacher's Note:
a) Mention Bluntschli's extreme fatigue and need for caution.
b) Keep the answer concise.

(ii) Which examples of the social superiority of the Petkoffs does Raina give the man? [2 Marks]

Answer: Raina boasts that her family owns the only library in Bulgaria, possesses a majestic house with a staircase, and is the richest and best-known family in the country.

Teacher's Note:
a) List the specific markers of wealth emphasized by Raina.
b) Highlight the element of social snobbery.

(iii) Which family does Raina mention? With whom does she compare herself? What does this tell you about her? [2 Marks]

Answer: Raina mentions the Petkoff family. She operates under romanticized, melodramatic illusions of aristocratic superiority, showing her youthful vanity and desire to impress a stranger.

Teacher's Note:
a) Identify the family name.
b) Analyze Raina's romantic posturing and social pretension.

(iv) In Raina's opinion, what should the man have done instead of threatening her? [2 Marks]

Answer: In Raina's opinion, instead of threatening her with his pistol, the man should have calmly trusted their noble hospitality as a gentleman would.

Teacher's Note:
a) Contrast the soldier's practical survival instincts with Raina's romantic ideals.
b) Emphasize her expectation of chivalric behavior.

(v) What does the man tell Raina about his father? Why does he do so? [2 Marks]

Answer: The man tells Raina that his father owned a chain of hotels in Switzerland. He does this partly in a matter-of-fact tone and partly to deflate her aristocratic pretensions with middle-class practicality.

Teacher's Note:
a) State the background of Bluntschli's family.
b) Explain the thematic contrast between Swiss hotel-keeping and Bulgarian military posturing.

(vi) What does the man do at the end of the scene? [1 Mark]

Teacher's Note:
a) Mention the comic anticlimax of the scene.
b) Highlight Bluntschli's utter physical fatigue.

(b) Sergius : Louka! (she stops and looks defiantly at him)
A gentleman has no right to hurt a woman under any circumstances. [with profound humility, uncovering his head] I beg your pardon.
Louka : That sort of apology may satisfy a lady. Of what use is it to a servant?
Sergius : [rudely crossed in his chivalry, throws it off with a bitter laugh, and says slightingly] Oh! You wish to be paid for the hurt? [He puts on his shako, and takes some money from his pocket].
Louka : [her eyes filling with tears in spite of herself] No: I want my hurt made well.
Sergius : [sobered by her tone] How?

(i) Why does Sergius ask Louka's pardon? [1 Mark]

Answer: Sergius asks Louka's pardon because he physically grabbed her arm roughly and hurt her.

Teacher's Note:
a) State the immediate cause of the apology.
b) Keep it precise.

(ii) Why had he hurt her? [2 Marks]

Answer: He had hurt her because she was hinting cryptically about Raina's secret affection for another man, and in his frustration to uncover the truth, he gripped her arm forcefully.

Teacher's Note:
a) Explain Louka's provocative teasing.
b) Note Sergius's loss of temper.

(iii) Why does Louka remind Sergius that she is a servant? [2 Marks]

Answer: Louka reminds Sergius that she is a servant to highlight the hypocrisy and double standards of upper-class gentlemen who feel a formal chivalric apology is enough for an aristocratic lady but useless for a working-class woman.

Teacher's Note:
a) Discuss the class divide emphasized by Louka.
b) Show how she rejects empty upper-class gestures.

(iv) Why do Louka's eyes fill with tears? [2 Marks]

Answer: Louka's eyes fill with tears out of wounded pride, anger, and frustration at Sergius's arrogant assumption that her hurt can simply be compensated with money.

Teacher's Note:
a) Analyze Louka's emotional reaction.
b) Point out her self-respect despite being a servant.

(v) How does Louka want her hurt made well? [2 Marks]

Answer: Louka implies that true amends require genuine respect and emotional acknowledgement rather than condescending charity, ultimately challenging the barrier between their social classes.

Teacher's Note:
a) Interpret Louka's demand for true equality of respect.
b) Note how she manipulates Sergius's romantic ego.

(vi) How does Sergius react to the suggestion? [1 Mark]

Answer: Sergius is sobered, baffled, and increasingly drawn into Louka's strong-willed personality.

Teacher's Note:
a) Describe the psychological shift in Sergius.
b) Keep the answer concise.

(c) Raina : [timidly] Nine thousand hotels?
Bluntschli : Hotels! Nonsense. If you only knew! Oh, it's too ridiculous. Excuse me: I must give my fellow orders about starting. [He leaves the room hastily, with the documents in his hand].
Louka : [knowing instinctively that she can annoy Raina by disparaging Bluntschli] He has not much heart, that Swiss. He has not a word of grief for his poor father.
Raina : [bitterly] Grief! A man who has been doing nothing but killing people for years! What does he care? What does any soldier care? [She goes to the door, restraining her tears with difficulty].
Louka : Major Saranoff has been fighting too; and he has plenty of heart left. [Raina, at the door, draws herself up haughtily and goes out].

(i) What news has Bluntschli just received? [1 Mark]

Answer: Bluntschli has just received telegram news regarding the death of his father and the urgent need to manage his estate.

Teacher's Note:
a) State the sudden development in Bluntschli's personal life.
b) Keep the answer precise.

(ii) What makes Raina ask, 'Nine thousand hotels'? [2 Marks]

Answer: Raina asks this in astonishment upon learning of the immense wealth and vast hotel empire that Bluntschli has inherited from his late father, transforming him from a simple mercenary soldier into a multi-millionaire.

Teacher's Note:
a) Explain the context of the inherited wealth.
b) Highlight the comic irony of Bluntschli's actual status.

(iii) Why is Bluntschli in such a hurry to leave? What does Louka comment about him? [2 Marks]

Answer: Bluntschli is in a hurry to leave to take charge of his father's vast business empire. Louka maliciously comments that he has no heart and shows no grief for his dead father.

Teacher's Note:
a) State the reason for his departure.
b) Mention Louka's cynical remark intended to provoke Raina.

(iv) Why is Raina upset with Bluntschli? [2 Marks]

Teacher's Note:
a) Discuss Raina's romantic expectations.
b) Contrast her dramatic sensibility with Bluntschli's professional pragmatism.

(v) Who enters the room at this point? What news does he give Louka? [2 Marks]

Answer: Nicola enters the room and magnanimously releases Louka from their engagement, recognizing that she is too ambitious and destined to marry a gentleman of high status.

Teacher's Note:
a) Identify Nicola as the entering character.
b) Explain his selfless and pragmatic decision regarding Louka.

SECTION B

MUCH ADO ABOUT NOTHING - Shakespeare

Question 3 [20 Marks]
Referring closely to the play, trace Don John's plots against Claudio and Don Pedro from their earliest beginnings. How do the plots end?

Answer:
1. Don John, the illegitimate brother of Don Pedro, is naturally malicious and driven by a bitter resentment toward society and his brother's favor toward Claudio.
2. His first major plot occurs during the masquerade ball, where he intentionally misleads Claudio by pretending to mistake him for someone else and whispering that Don Pedro is wooing Hero for himself, successfully sowing seeds of jealousy and distrust.
3. When that plot is quickly dismantled, Don John devises a far more destructive scheme with the help of Borachio and Margaret to ruin Hero's chastity on the eve of her wedding.
4. Borachio courts Margaret at Hero's chamber window in the dark while Margaret is addressed as Hero, and Claudio and Don Pedro are brought by Don John to witness this staged infidelity.
5. The plot culminates in the horrific public shaming of Hero at the altar by Claudio and Don Pedro, plunging Leonato's household into grief and disgrace.
6. However, the plot ultimately unravels due to the bumbling incompetence of the local Watch led by Dogberry and Verges, who overhear Borachio boasting about the deceit to Conrade and arrest them.
7. The Sexton records the confession, and despite Don John's attempt to flee, he is captured and brought back to Messina, bringing a complete end to his villainy as justice is restored and Hero is vindicated.

Teacher's Note:
a) Trace Don John's motivations and the chronological escalation of his conspiracies.
b) Highlight the role of accidental discovery versus deliberate justice in resolving the plot.

Question 4 [20 Marks]
Shakespeare's minor characters play an important part in the development of the plot. What purpose do Dogberry, Verges and the Company of the Watch serve in the play Much Ado About Nothing?

Answer:
1. Dogberry, Verges, and the Watch serve as the primary source of comic relief in the play, providing earthy, slapstick humor that contrasts sharply with the refined, witty discourse of the courtiers.
2. Through malapropisms - misusing complex words to mean their exact opposites (such as calling suspected criminals "salvation" instead of condemnation) - Dogberry creates enduring linguistic comedy.
3. Despite their foolishness and pompous incompetence, they ironically accomplish what the intelligent nobility cannot: they uncover Don John's treasonous plot.
4. By overhearing Borachio boast about framing Hero, the Watch secures the vital evidence needed to clear Hero's name and rescue the tragic plot from permanent disaster.
5. Furthermore, Dogberry's absurd insistence on being recorded as an "ass" highlights the theme of appearance versus reality, proving that true wisdom often resides in unexpected, humble places.
6. Thus, the minor characters are not merely decorative or comedic; they are essential structural agents who drive the resolution of the main dramatic conflict.

Teacher's Note:
a) Explain how comic relief integrates with the main plot development.
b) Emphasize the irony of foolish characters solving a serious crime.

ARMS AND THE MAN - George Bernard Shaw

Question 5 [20 Marks]
Referring closely to specific instances in the play 'Arms and the Man', discuss how Shaw presents class distinctions and social snobbery.

Answer:
1. George Bernard Shaw uses Arms and the Man to critique Victorian-era class snobbery and romantic illusions about aristocracy through subtle linguistic and behavioral cues.
2. The Petkoffs constantly boast about possessing the only library in Bulgaria and having a staircase, equating superficial material possessions with true cultural superiority.
3. Raina's posturing about her noble lineage contrasts sharply with Bluntschli's grounded, middle-class pragmatism as a professional Swiss hotelier.
4. The treatment of servants like Nicola and Louka highlights rigid social stratification; Nicola exhibits servile loyalty, believing that servants must never offend their social superiors to survive economically.
5. Louka, on the other hand, rejects her servile status with fierce ambition, refusing to accept subordination and ultimately crossing class boundaries by engaging and marrying Sergius.
6. Through Sergius's initial aristocratic posturing and eventual disillusionment, Shaw exposes the hollow theatricality of class privilege and champions genuine human character over inherited rank.

Teacher's Note:
a) Analyze how Shaw embeds social critique within comedic dialogue.
b) Contrast Nicola's subservience with Louka's upward social rebellion.

Question 6 [20 Marks]
Sergius tells Bluntschli in the play "youre not a man, youre a machine." Do you agree with Sergius' assessment of Bluntschli? Give your views.

Answer:
1. Sergius calls Bluntschli a "machine" because Bluntschli approaches warfare and life with cold, professional calculation rather than romantic heroics and theatrical posturing.
2. Unlike Sergius, who treats cavalry charges as a glorious theatrical spectacle driven by vanity, Bluntschli carries food instead of ammunition and values survival and efficiency.
3. However, Sergius's assessment is deeply ironic and inaccurate; far from being a heartless machine, Bluntschli is fundamentally humane, compassionate, and realistic.
4. Bluntschli shows deep empathy by comforting Raina, keeping her secret, and returning her soldier's coat at great personal risk.
5. He is emotionally honest, admitting his cowardice during battle and rejecting false romantic posturing, which actually makes him far more genuinely "human" than the artificial Sergius.
6. Therefore, we disagree with Sergius; Bluntschli represents common-sense humanity, whereas Sergius is the one trapped in mechanical, rehearsed roles of romantic chivalry.

Teacher's Note:
a) Evaluate the contrast between Sergius's idealism and Bluntschli's realism.
b) Explain why Sergius's label is an ironic misjudgment.

IVANHOE - Sir Walter Scott

Question 7 [20 Marks]
With close reference to the novel Ivanhoe discuss how the central plot revolves around the conflicts and tensions between the Normans and the Saxons.

Answer:
1. Sir Walter Scott's novel Ivanhoe is built upon the deep-seated historical tensions and cultural friction between the conquering Normans and the subjugated native Saxons following the conquest of 1066.
2. This conflict manifests starkly in the generational feud between Cedric the Saxon, who clings fanatically to Saxon traditions, and his disinherited son Wilfred of Ivanhoe, who serves under the Norman King Richard.
3. The political oppression of Saxons by Norman barons like Reginald Front-de-Boeuf and Brian de Bois-Guilbert highlights the systemic injustice and tyranny prevalent in twelfth-century England.
4. The outlaw band led by Locksley (Robin Hood) and his men represents Saxon resistance and the persistent spirit of freedom against Norman feudal tyranny.
5. Throughout the narrative, the personal trials of Ivanhoe, Rebecca, and Rowena become intertwined with this larger national struggle for supremacy and cultural identity.
6. Ultimately, the novel resolves these tensions not through perpetual warfare, but through gradual assimilation and reconciliation, paving the way for a unified English identity.

Teacher's Note:
a) Connect personal character conflicts to the overarching historical background.
b) Emphasize the thematic journey from division to national unity.

Question 8 [20 Marks]
The character of King Richard I is presented in Ivanhoe not only with all his admirable qualities but also with his shortcomings. Elaborate with close reference to the text.

Answer:
1. King Richard I is portrayed in Ivanhoe through a dual persona: the legendary, chivalric Crusader king and the disguised, fun-loving Black Knight.
2. His admirable qualities include immense physical strength, undeniable bravery in battle, personal fairness, and a willingness to fight alongside outlaws and commoners against tyranny.
3. When he intervenes at the tournament of Ashby-de-la-Zouche and later leads the storming of Torquilstone castle, his martial prowess is depicted as awe-inspiring and invincible.
4. However, Scott also highlights significant shortcomings, particularly his recklessness, neglect of royal duties, and preference for romantic adventures and tavern brawls over governing his kingdom.
5. His absence from England creates a power vacuum exploited by his treacherous brother Prince John, plunging the country into chaos and civil strife.
6. Thus, Richard is presented realistically as a magnificent warrior and romantic adventurer, yet a flawed statesman whose chivalry often eclipses political responsibility.

Teacher's Note:
a) Analyze the dual representation of Richard as monarch and knight.
b) Balance his military heroism against his political negligence.

Question 9 [20 Marks]
Walter Scott appears sympathetic to Isaac's troubles. How does Scott highlight the treatment given to Jews through the character of Isaac?

Answer:
1. Sir Walter Scott introduces Isaac of York through traditional medieval stereotypes of the Jewish miser, yet transcends caricature by depicting his profound vulnerability and suffering.
2. Scott highlights the relentless institutionalized persecution faced by Jews in twelfth-century England, where they were subjected to arbitrary taxation, physical abuse, and constant threat of violence.
3. Isaac's cringing posture and fearful demeanor are shown not as inherent character flaws, but as survival mechanisms forced upon him by a hostile, rapacious Christian society.
4. The author exposes the hypocrisy of the Christian nobility, who despise Jews religiously yet eagerly borrow money from them to finance their crusades and luxurious lifestyles.
5. Through Isaac's deep paternal devotion when rescuing his daughter Rebecca, Scott humanizes him, evoking genuine reader sympathy for his plight.
6. Ultimately, Scott uses Isaac's character to critique religious bigotry and social injustice, revealing the tragic human cost of intolerance.

Teacher's Note:
a) Discuss the balance between stereotypical portrayal and genuine human sympathy.
b) Emphasize the critique of societal hypocrisy toward marginalized communities.

Question 10 [20 Marks]
Referring closely to the essay Unbirthday and Other Presents, discuss why E. V. Lucas feels that 'unbirthday' gifts are better than the regular gifts people give.

Answer:
1. E. V. Lucas's essay "The Unbirthday Gift" explores the philosophy of gift-giving with characteristic humor, charm, and lighthearted wisdom.
2. Regular gifts given on mandatory occasions like birthdays and Christmas often feel burdensome, obligatory, and insincere, driven by social custom rather than genuine affection.
3. In contrast, 'unbirthday' gifts—given spontaneously on ordinary days—carry no social pressure or expectation, making them true expressions of genuine love and thoughtfulness.
4. Lucas suggests that unexpected gifts bring a purer form of joy because they brighten an otherwise mundane day without the heavy machinery of commercial celebration.
5. The essay uses whimsical animal fables and observations to critique human artificiality, contrasting spontaneous generosity with rigid societal rituals.
6. Ultimately, Lucas argues that unbirthday gifts preserve the true spirit of giving, which should be spontaneous, unselfish, and untainted by duty.

Teacher's Note:
a) Summarize Lucas's central thesis comparing scheduled versus spontaneous gifts.
b) Highlight the essay's satirical view of social conventions.

Question 11 [20 Marks]
How does G. K. Chesterton in his essay On Running after one's Hat, romanticize difficult situations by dwelling on the notion that "An inconvenience is only an adventure wrongly considered"?

Answer:
1. G. K. Chesterton's essay "On Running After One's Hat" transforms an irritating everyday mishap into a delightful philosophical meditation on perspective and optimism.
2. Chesterton argues that modern people needlessly burden themselves by getting angry and frustrated over trivial inconveniences, such as chasing a flying hat in the wind.
3. By reframing an annoyance as an "adventure," the essay demonstrates that discomfort is entirely a matter of mental attitude rather than objective reality.
4. He uses humorous exaggeration and vivid imagery to show that ordinary life is full of romantic potential if only one possesses the imagination to perceive it.
5. Whether encountering flooded streets in London or chasing runaway headwear, the true optimist views mishaps as opportunities for amusement and wonder.
6. Thus, Chesterton teaches that happiness does not depend on avoiding obstacles, but on cultivating the playful, poetic mindset required to enjoy them.

Teacher's Note:
a) Explain Chesterton's philosophy of transforming mundane irritations into adventures.
b) Emphasize the importance of psychological outlook over external circumstances.

Question 12 [20 Marks]
Referring closely to the essay On Going on a Journey, give Hazlitt's views about the manner in which a change of place brings about a change in ideas, opinions and feelings.

Answer:
1. William Hazlitt's essay "On Going on a Journey" champions the profound spiritual and psychological benefits of traveling in solitude.
2. Hazlitt asserts that to experience a genuine change in ideas and feelings, one must travel alone, free from the chatter, prejudices, and intellectual baggage of companions.
3. Physical movement through unfamiliar landscapes naturally stimulates the mind, purging petty worries and allowing deeper contemplation.
4. Traveling alone forces an individual to commune directly with nature and with one's inner self, leading to mental renewal and emotional liberation.
5. He argues that engaging in intellectual arguments or social chatter while traveling defeats the very purpose of a journey, which should be a sacred retreat for introspection.
6. Ultimately, Hazlitt demonstrates that changing one's physical surroundings refreshes the imagination, altering our opinions and restoring inner peace.

Teacher's Note:
a) Highlight Hazlitt's emphasis on solitude during travel.
b) Explain how physical relocation triggers internal psychological transformation.

Question 13 [20 Marks]
Ichabod Crane, the central character of the short story 'The Legend of Sleepy Hollow', is a person who arouses both our amusement and pity. Discuss.

Answer:
1. Washington Irving's Ichabod Crane is a memorable literary creation who elicits a complex mixture of ridicule and sympathy from the reader.
2. On one hand, Ichabod is a source of continuous amusement due to his grotesque, caricature-like physical appearance—tall, lanky, with huge ears, green glassy eyes, and a long snipe nose resembling a crane.
3. His immense gluttony, hypocritical flattery of farmers' wives to secure meals, and superstitious gullibility regarding New England witchcraft make him comically absurd.
4. His pompous tyranny over his students and his absurdly romantic ambitions of marrying Katrina Van Tassel solely for her father's wealth further invite satirical humor.
5. However, Ichabod also arouses our pity because he is an impoverished, rootless outsider struggling to survive in a harsh world, living a hand-to-mouth existence as a wandering schoolmaster.
6. His terrifying psychological torment by the headless horseman (actually Brom Bones in disguise) and his pathetic, ignominious flight from the village leave the reader feeling a lingering sense of pathos for his tragicomic downfall.

Teacher's Note:
a) Balance the comic caricature elements with his vulnerable outsider status.
b) Highlight the dual emotional response of laughter and pity.

Question 14 [20 Marks]
In your opinion, does Boori Ma, the main protagonist of the story A Real Durwan, deserve the life that she meets at the end of the story? Give reasons for your answer.

Answer:
1. Jhumpa Lahiri's short story "A Real Durwan" presents Boori Ma, an elderly, destitute refugee from East Pakistan who works diligently as a stairwell sweeper in a Calcutta apartment building.
2. Boori Ma takes immense pride in her duties, keeping the staircase spotless and entertaining the residents with grand, nostalgic tales of her affluent past.
3. She does not deserve the cruel fate she meets at the end, as her only "fault" is an understandable vulnerability and occasional boasts born of desperate poverty and displacement.
4. The residents, who once tolerated her presence when it suited their convenience, turn against her with callous selfishness when their newly acquired luxuries are stolen.
5. Unjustly accused of negligence and being an imposter, she is brutally beaten and cast out onto the streets by the very people she served faithfully.
6. Her tragic end serves as a poignant indictment of urban callousness, lack of empathy, and the harsh fate suffered by refugees in a fractured post-partition society.

Teacher's Note:
a) Analyze Boori Ma's innocence against the cruelty of the apartment residents.
b) Discuss the broader thematic critique of societal callousness toward refugees.

Question 15 [20 Marks]
The anthology 'ISC Collection of Short Stories' includes several stories in which a woman is the central character. Which female character has awakened your admiration, sympathy or interest and why?

Answer:
1. Among the remarkable female protagonists in the ISC collection, the drover's wife in Henry Lawson's classic story "The Drover's Wife" evokes the deepest admiration and sympathy.
2. Living a harsh, isolated existence in the desolate Australian outback, this nameless woman single-handedly battles relentless natural adversities, including floods, bushfires, sick livestock, and venomous snakes.
3. Despite her profound loneliness, poverty, and the crushing burden of raising children alone while her husband is away, she displays extraordinary resilience, courage, and quiet heroism.
4. Lawson portrays her not as a romanticized heroine, but as a hardened, realistic survivor molded by her brutal environment, yet retaining quiet dreams of refinement.
5. Her tense, all-night vigil waiting to kill a venomous tiger snake to protect her sleeping children encapsulates her fierce maternal devotion and indomitable spirit.
6. She inspires deep admiration because her quiet endurance demonstrates the inner strength of women facing insurmountable hardships without complaint.

Teacher's Note:
a) Select a well-defined protagonist and justify the emotional resonance.
b) Highlight themes of resilience, isolation, and maternal courage.

ISC COLLECTION OF POEMS

Question 16 [20 Marks]
Discuss how the speaker in the poem Do Not Go Gentle Into That Good Night rages against the traditional acceptance of death.

Answer:
1. Dylan Thomas's villanelle "Do Not Go Gentle Into That Good Night" is a passionate, fierce plea urging his dying father to fight tenaciously against death rather than surrendering quietly.
2. The speaker vehemently rejects the traditional, passive resignation that aging and dying individuals are expected to exhibit in the face of mortality.
3. Throughout the poem, he uses the recurring refrain "Rage, rage against the dying of the light" as a battle cry demanding resistance against the inevitability of the grave.
4. He cites various archetypes of men—wise men, good men, wild men, and grave men—who all realize too late how brief life is and desperately fight to preserve their vitality.
5. The metaphor of "night" represents death as an adversary to be battled, while "light" symbolizes life, passion, and energy.
6. Ultimately, the poem transforms grief into an act of profound rebellion, asserting that death should never be welcomed without a fierce, unyielding struggle.

Teacher's Note:
a) Analyze the structure and recurring refrains of the villanelle.
b) Emphasize the emotional intensity of the speaker's defiance against mortality.

Question 17 [20 Marks]
Wilfred Owen paints a horrific picture of a nightmarish memory on the battlefield. How does Dulce et Decorum Est become Owen's condemnation and bitter response to war?

Answer:
1. Wilfred Owen's poem "Dulce et Decorum Est" draws directly from his harrowing firsthand experiences in the trenches of World War I to dismantle romanticized notions of military glory.
2. The poem opens with stark, brutal imagery of exhausted, physically broken soldiers trudging through the mud, utterly detached from heroic ideals.
3. The sudden chaos of a gas attack shatters the silence, resulting in a horrific, agonizing scene where a soldier fails to put on his helmet in time and drowns in toxic green fumes.
4. Owen describes this death with haunting, graphic detail—the choking man drowning in front of the speaker's eyes—creating a psychological trauma that haunts his dreams forever.
5. In the final stanza, Owen bitterly attacks patriotic civilians at home who propagate false propaganda encouraging youth to die for their country.
6. By translating the Latin motto "Dulce et decorum est pro patria mori" (It is sweet and fitting to die for one's country) into an "old lie," Owen delivers an unsparing, definitive condemnation of war's senseless brutality.

Teacher's Note:
a) Examine the stark contrast between patriotic myth and battlefield reality.
b) Highlight the emotional impact of Owen's direct address to the reader.

Question 18 [20 Marks]
In the poem Breaking Out, the poet shows the gradual transformation of a young girl into a confident and independent individual who breaks the conventional stereotypes of society. Discuss with close reference to the text.

Answer:
1. Marge Piercy's poem "Breaking Out" traces the psychological and emotional journey of an adolescent girl growing up in a repressed, patriarchal environment in mid-twentieth-century America.
2. The speaker describes her painful upbringing under oppressive parental control, where women were expected to perform domestic servitude silently and without freedom.
3. The turning point occurs during an act of physical violence when she shatters a stick after a severe beating, realizing that breaking things is a necessary metaphor for destroying oppressive traditions.
4. The "two doors" in the poem represent the crucial choice in her life: either submit to the established societal norms of captivity and humiliation or shatter the status quo to claim her independence.
5. Her rebellion is framed as a political act of liberation, symbolizing the courage required to break free from generational chains that bound her mother.
6. Ultimately, the poem celebrates female empowerment, showing how personal defiance transforms a victim into a confident, self-determining individual who stands against injustice.

Teacher's Note:
a) Analyze the central metaphors of the broken stick and the two doors.
b) Discuss the feminist theme of generational liberation and personal autonomy.