ISC Class 12 English Literature Board Exam Question Paper 2019 with Solutions

ISC Class 12 English Literature Board Exam Question Paper with Solutions 2019

SECTION A

THE TEMPEST - Shakespeare

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

(a) Prospero: Ariel, thy charge
Exactly is perform'd; but there's more work.
What is the time o' th day?
Ariel: Past the mid-season.
Prospero: At least two glasses. The time' twixt six and now
Must by us both be spent most preciously.
Ariel: Is there more toil? Since thou dost give me pains,
Let me remember thee what thou hast promised
Which is not yet performed me.

(i) Where are Ariel and Prospero? Where had Prospero sent Ariel? [1]

Answer:
Ariel and Prospero are on an island in front of Prospero's cell. Prospero had sent Ariel to cause a storm in the sea and bring his enemies, Alonso, Antonio, and others onto the island.

Teacher's Note:
a) Note the setting, which is outside Prospero's cell at about two bells past midday.
b) Students must clearly state both the current location and the location of the preceding task.

(ii) What account of his task does Ariel give Prospero? [2]

Answer:
Ariel tells Prospero how he caused a storm on the sea and frightened the persons on the ship. All except the sailors deserted the ship and plunged into the sea. Ferdinand was sitting in one part of the island while the others were separated in another part, unaware of what had happened to each other.

Teacher's Note:
a) Highlight Ariel's efficient execution of the tempest as commanded by Prospero.
b) Mention the splitting of the ship's crew and passengers into isolated groups across the island.

(iii) What had Ariel done with Alonso and his companions? [2]

Answer:
Ariel had so arranged everything by his supernatural powers that Alonso and others had been scattered on the island in small groups. While Ferdinand was sitting in one part of the island thinking that the others had drowned, the others were in different groups believing their companions had died in the storm.

Teacher's Note:
a) Emphasize the psychological torture of separation inflicted upon the King's party.
b) Ensure both Alonso's group and Ferdinand's isolated state are included in the answer.

(iv) Which promise does Ariel remind Prospero about? What does this tell you about Ariel? [2]

Answer:
Ariel reminds Prospero that he had promised to set him free if he performed his tasks efficiently. This shows that although Ariel possesses all the qualities of air and great supernatural powers, he is a spirit under the strict control of Prospero and has always longed for his freedom.

Teacher's Note:
a) Identify the core desire of Ariel for liberty from servitude.
b) Note the dependent relationship between the master magician and his powerful spirit servant.

(v) Why does Ariel think that he deserves what has been promised to him? What effect do his words have on Prospero? [2]

Answer:
Ariel thinks he deserves his freedom because he has faithfully and efficiently carried out Prospero's instructions regarding the ship and its passengers. Prospero gets enraged at Ariel's words and angrily reminds him of his torturous past when he was imprisoned in the cleft of a pine tree by the witch Sycorax.

Teacher's Note:
a) Explain Ariel's justification based on successful completion of hazardous duties.
b) Point out Prospero's sudden burst of anger and his tactical reminder of Sycorax's cruelty.

(vi) Give the meanings of the following words in the context of the passage:
(a) twixt.
(b) remember [1]

Answer:
(a) between
(b) remind

Teacher's Note:
a) Contextual vocabulary questions require precise lexical meanings.
b) 'Remember' in Elizabethan English is frequently used in the causative sense of reminding someone.

(b) Antonio: Then let us both be sudden.
Gonzalo : (Waking) Now, good angels Preserve the king
Alonso: Why how now? Ho! Awake?
Why are you drawn?
Wherefore this ghastly looking?
Gonzalo: 'What's the matter?

(i) Where are the speakers? Briefly explain how they were at this place. [1]

Answer:
The speakers are in one part of the island where Ariel had left them. They had reached here after their miraculous escape from the storm in the sea caused by Ariel, having jumped into the sea to escape because the ship was about to sink.

Teacher's Note:
a) Establish the geographic location on the island where the King's party is resting.
b) Briefly link their arrival to the shipwreck engineered by Ariel.

(ii) What does Antonio mean by "Then let us both be sudden"? What does he convince Sebastian to do? [2]

Answer:
Antonio means that they should act with immediate promptness and speed to execute their murderous plot. He convinces Sebastian to murder his sleeping brother Alonso, the King of Naples, so that Sebastian can seize the crown.

Teacher's Note:
a) Explain the conspiratorial urgency behind the word 'sudden'.
b) Highlight Antonio's corrupting influence over the weak-willed Sebastian.

(iii) What makes Gonzalo and Alonso wake up suddenly? [2]

Answer:
Seeing that Gonzalo's life is in danger, Ariel sings a warning song into Gonzalo's ear, telling him that the conspirators are ready to seize the opportunity while they sleep. Gonzalo wakes up and, seeing Antonio and Sebastian with drawn swords, immediately awakens Alonso.

Teacher's Note:
a) Emphasize the supernatural intervention by Ariel to thwart the assassination.
b) Note the quick reaction of Gonzalo upon waking.

(iv) What reason do Sebastian and Antonio give for their strange behavior? [2]

Answer:
When questioned by Gonzalo and Alonso as to why they have drawn their swords, Antonio and Sebastian lie, telling them that they had heard a deep and distant growl like that of bulls or lions, which had awakened them and frightened them into drawing their swords in self-defense.

Teacher's Note:
a) Identify the quick fabrication made by the conspirators to cover up their crime.
b) Mention the reference to roaring wild beasts.

(v) Which sounds had Gonzalo heard? What did the king's party decide to do at the end of the scene? [2]

Answer:
Gonzalo had heard a low murmuring sound, which was actually Ariel's voice buzzing in his ear to wake him up. At the end of the scene, Alonso and his companions decide to resume their search for Ferdinand, whom they are certain is wandering somewhere on the island.

Teacher's Note:
a) Distinguish between the real supernatural cause and the King party's perception.
b) Note the continuation of the search for the missing prince.

(vi) Give the meanings of the following words as they are used in the context of the passage: [1]
(a) sudden
(b) drawn

Answer:
(a) speedy, prompt
(b) with swords drawn, ready to attack

Teacher's Note:
a) Check accuracy of contextual definitions.
b) Ensure 'drawn' reflects the physical unsheathing of weapons.

(c) Stephano: Put off that gown, Trinculo [Reaches for it]. By this hand, I'll have that gown.
Trinculo: Thy grace shall have it.
Caliban: dropsy drown this fool! What do you mean
To dote thus on such luggage? Let's alone,
And do the murder first. If he awake,
From toe to crown he'll fill our skins with pinches
Make us strange stuff.

(i) Where are Trinculo and Stephano? What has distracted Trinculo? [1]

Answer:
Trinculo and Stephano are quite near Prospero's cell. Glistening and glittering apparel hanging on the lime trees by Prospero has distracted Trinculo's attention.

Teacher's Note:
a) Identify the trap set by Prospero and Ariel using gaudy apparel.
b) Note the comic distraction of the lower-class conspirators.

(ii) Which murder is Caliban referring to? Why does he want this? [2]

Answer:
Caliban is referring to the plan to murder Prospero. He wants Prospero dead because he is deeply resentful of him, believing that the island rightfully belongs to him and that Prospero has usurped it through the power of his magic.

Teacher's Note:
a) State the primary motive of Caliban's revenge and desire for ownership.
b) Mention his enslavement under Prospero.

(iii) What temptations does he offer to make them carry out the plan? [2]

Answer:
Caliban assures Stephano that once Prospero is killed, Stephano will become the king of the island and marry Prospero's beautiful daughter Miranda. Trinculo will be made his viceroy, and Caliban himself will become Stephano's loyal bondsman.

Teacher's Note:
a) Outline the division of power promised by Caliban.
b) Note how Caliban trades one master for another.

(iv) What would the two have to do first to ensure the success of the plan? [2]

Answer:
To ensure the success of their plan, Stephano and Trinculo must first seize Prospero's books of magic. Once his books are taken away, Prospero will have no spirits at his command, making it easy to kill him.

Teacher's Note:
a) Emphasize the strategic importance of Prospero's magical books.
b) Students must mention the dependence of Prospero's power on his library.

(v) What does Caliban fear would happen if they fail? [2]

Answer:
Caliban is terrified that Prospero might wake up during their petty theft. If he does, Caliban fears Prospero will punish them by filling their bodies with pinches from head to toe and transforming them into strange, deformed shapes.

Teacher's Note:
a) Highlight Caliban's lingering fear of Prospero's magical punishments.
b) Note the contrast between Caliban's bloodthirsty plot and his superstitious dread.

(vi) Give the meaning of the following words as they are used in the context of the passage:
(a) dropsy
(b) crown. [1]

Answer:
(a) a kind of disease in which the body retains fluids (used here as an oath or curse)
(b) head or top of the head

Teacher's Note:
a) Explain 'dropsy' as an abusive curse word common in Elizabethan parlance.
b) Define 'crown' contextually as the top of the head rather than a royal diadem.

SECTION B

(Answer four questions on at least three textbooks which may include Either The Tempest or Candida)

THE TEMPEST - Shakespeare

Question 3. Referring closely to the conversation between Prospero and Miranda in Act 1 Scene ii, answer the following:
(a) Narrate what Prospero tells Miranda about his past and the circumstances which brought him to the island. [8]
(b) How does Miranda react to this tale? What is Prospero's purpose in telling her this tale? [6]
(c) What do you conclude about Prospero from this conversation? [6]

Answer:
(a) Prospero reveals to Miranda that twelve years ago he was the Duke of Milan, a position of great power and nobility. Being deeply engrossed in his liberal studies and magic, he entrusted the administration of state affairs to his younger brother, Antonio. Over ambitious and hungry for power, Antonio conspired with Alonso, the King of Naples. In exchange for an annual tribute and submission to Naples, Alonso helped Antonio oust Prospero. One dark night, Antonio and his men took Prospero and his infant daughter Miranda into a leaky, broken boat without tackle, sail, or mast, expecting them to drown. However, providence and the loyal Gonzalo provided them with food, water, and books, leading them safely to this deserted island.
(b) Miranda is intensely moved by the tale, weeping out of sympathy for the hardship and suffering her father endured, and expressing sorrow that she must have been a burden to him. Prospero's purpose in recounting this history is multi-fold: to awaken Miranda's memory of her royal identity, to explain why they live in exile, and to psychologically prepare her for the grand design he has set in motion, which involves restoring her to her rightful place and uniting her with Ferdinand.
(c) From the conversation, Prospero emerges as a complex, authoritative, and deeply intellectual figure. He is a loving and protective father who cares deeply for Miranda's upbringing and future. Although deeply wronged and betrayed by his brother, he is not merely vengeful; rather, he views himself as an instrument of divine justice seeking to make his enemies realize their sins. He is also firm, commanding, and somewhat impatient when asserting his authority over Ariel and Caliban, demonstrating the dual nature of a scholar-magician and a ruler.

Teacher's Note:
a) Ensure all key plot points of the backstory of Milan are covered in part (a).
b) Evaluate student understanding of Prospero's psychological motivation and character traits in parts (b) and (c).

Question 4. Miranda is a perfect blend of innocence and determination. Discuss her role in the play with close reference to the text. [20]

Answer:
Miranda occupies a central, symbolic position in *The Tempest* as an embodiment of uncorrupted natural goodness, innocence, and surprising inner strength. Having grown up on a secluded island with no human company other than her father and the monster Caliban, she knows nothing of the corruption of the civilized world. Her absolute innocence is demonstrated when she first witnesses the shipwreck and cries out in profound empathy for the suffering souls aboard, pleading with her father to mitigate their distress: "O, I have suffered / With those that I saw suffer."

Despite her sheltered upbringing and gentle nature, Miranda possesses remarkable moral courage and determination, particularly when it comes to matters of the heart. When she encounters Prince Ferdinand, it is love at first sight. Free from the artificial conventions and deceit of courtly society, she displays complete candor and emotional honesty. When Ferdinand is subjected to arduous labor piling logs by Prospero, Miranda's sympathy and love overcome her traditional submissiveness. She disobeys her father's temporary injunction and goes to comfort Ferdinand, offering to share his burden. Her steadfast determination shines brilliantly in her romantic declaration: "I am your wife, if you will marry me; / If not, I'll die your maid... You may deny me; but I'll be your servant, / Whether you will or not."

Ultimately, Miranda serves as a foil to the corruption of Antonio and Sebastian. Her purity makes her worthy of becoming the bridge between Milan and Naples through her union with Ferdinand. Her role in the play transcends that of a passive romantic heroine; she represents the hope for a regenerated, harmonious future world.

Teacher's Note:
a) Check for direct textual references supporting both her innocence and her determination.
b) Ensure the essay links her character traits to the overarching themes of reconciliation and renewal in the play.

Candida - George Bernard Shaw

Question 5. Referring closely to the second act of the play 'Candida', answer the following:
(a) Give an account of the conversation between Marchbanks, Proserpine and Burgess. [8]
(b) What opinion do Marchbanks and Burgess have of Morell? [6]
(c) What does the conversation reveal about Proserpine and Burgess? [6]

Answer:
(a) In Act II, Eugene Marchbanks is left alone in the office and absentmindedly meddles with Proserpine's typewriter, jamming it. When Proserpine returns and discovers the machine out of order, she angrily rebukes Marchbanks, accusing him of trying to type a love letter. This leads to a philosophical argument about love and shyness, during which Marchbanks remarks that people crave love but remain silent due to shyness, whereas wicked people demand it easily. Proserpine, feeling insulted and overwhelmed, becomes indignant. At this point, Mr. Burgess enters and makes a crude remark insinuating that Marchbanks must be bored talking to a mere typist. This infuriates Proserpine, who sarcastically retorts that Eugene will now enjoy Burgess's polished conversation and loses her temper, calling Burgess "a silly old fathead." Burgess threatens to report her insolence to Morell, prompting Proserpine to storm out of the room in tears.
(b) Eugene Marchbanks holds a deep reverence and intellectual understanding of Morell, though he boldly points out Morell's intellectual limitations and regards him as a windbag who relies on empty rhetoric. However, in this specific act's dialogue with Burgess, Marchbanks defends Morell against Burgess's absurd claims of madness. Burgess, on the other hand, holds a cynical, bourgeois, and utterly baffled opinion of Morell. Having previously been called a scoundrel and having heard Morell call himself a fool, Burgess is convinced that his son-in-law James Morell has completely lost his mind, equating Christian repentance and moral honesty with clinical insanity.
(c) The conversation provides sharp satirical insights into the class prejudices, insecurities, and personalities of both characters. Proserpine Garrett is revealed to be fiercely proud, extremely sensitive about her self-respect as a working-class woman, overworked, and secretly harboring deep, unrequited romantic feelings for Morell. Her sharp tongue and defensive outbursts stem from the constant slights she suffers from vulgar employers like Burgess. Mr. Burgess is exposed as a coarse, ignorant, materialistic, and class-conscious capitalist who looks down upon the working class while hypocritically posing as a reformed model employer. His inability to understand Morell's moral integrity highlights Shaw's critique of middle-class philistinism.

Teacher's Note:
a) Assess whether the sequence of the typewriter incident, Proserpine's outburst, and Burgess's entry is clearly narrated.
b) Verify that the contrasting perceptions of Morell and the social commentary on Proserpine and Burgess are well articulated.

Question 6. Miss Proserpine Garrett is a true representative of the middle class who inspires pity as well as admiration. Give your views with reference to the play. [20]

Answer:
Miss Proserpine Garrett, James Morell's secretary and typist, is one of George Bernard Shaw's most finely etched minor characters. She is a quintessential representative of the lower-middle-class working woman in Victorian England - fiercely independent, hardworking, financially insecure, and deeply sensitive about her social dignity. Through her character, Shaw elicits both admiration for her capability and profound pity for her emotional deprivations.

We admire Proserpine for her sharp intellect, quick wit, and unwavering efficiency. In an office dominated by clerical drudgery, she manages Morell's chaotic schedule with competence. She refuses to be patronized by snobbish bourgeois figures like Burgess, famously putting him in his place by calling him "a silly old fathead" when he insults her. Furthermore, she sees through the sycophantic posturing of the curate Lexy Mill, demonstrating that her judgment is far sharper than that of the men around her. Her labor is essential to the smooth functioning of Morell's socialist mission.

However, Proserpine's life also inspires deep pity. She belongs to a class that is overworked and underpaid. We learn that she works for Morell at a fraction of the salary she could command elsewhere because she is secretly, hopelessly in love with him - a tragic devotion derisively dismissed by others as "Prossy's complaint." Morell remains utterly oblivious to her emotional suffering, treating her purely as a mechanical asset. Her repressed desires and loneliness manifest in her defensive sharpness and occasional emotional vulnerability, most notably at Burgess's supper party where she drinks too much champagne out of a rare desire to enjoy life, leading to her public humiliation.

Through Proserpine, Shaw highlights the exploitation of working women and the emotional desolation caused by rigid class barriers. She is a vital human presence in the play whose quiet tragedy underscores the domestic idealism explored by Candida and Morell.

Teacher's Note:
a) Check for a balanced discussion covering both admirable qualities (wit, efficiency) and pitiable aspects (unrequited love, class exploitation).
b) Ensure references to "Prossy's complaint" and her working-class reality are integrated effectively.

Note: Questions 7, 8 and 9 not in the syllabus

Contemplations

Question 10. Referring closely to the essay Voice of Humanity, answer the following:
(a) Describe the poet Rabindranath Tagore's first visit to Europe. [8]
(b) What creative activities did the poet indulge in upon his return to India? What did he do in addition? [6]
(c) What are the poet's thoughts about humanity? [6]

Answer:
(a) Rabindranath Tagore's first journey to Europe took place in 1878 when he was only seventeen years old, accompanied by his elder brother. Although his knowledge of English literature was limited, he was already captivated by the great poets and heroes of Europe. Italy served as his gateway to Europe; arriving at Brindisi by steamer, he was deeply enchanted by the serene, mysterious, and beautiful Mediterranean scenery. However, his brother's anxiety over his formal education cut short his stay in Italy. Upon arriving in England, Tagore experienced a stark contrast. While he acknowledged England as a great country, he felt isolated and overwhelmed by the bleak English winter where sunlight was rare, birds were silent, and strangers stared at him with curiosity, leaving him with a sense of alienation.
(b) Upon returning to India after a few months, Tagore rejected the rigid, soul-crushing formal system of education. Instead, he immersed himself in creative pursuits, writing poems, stories, and plays while living a life of quiet seclusion on the banks of the River Ganga. However, driven by a profound spiritual urge to connect with real life and humanity, he emerged from his solitude to serve children. He founded a school designed to liberate children from the bondage of conventional schooling, offering them an environment filled with freedom, nature, and deep human sympathy.
(c) Tagore holds a deeply optimistic and unwavering faith in humanity, believing that while human faith and unity can be temporarily clouded by baser elements, they can never be permanently extinguished. He observes that powerful people often exploit others and invent ideologies to justify domination. However, he asserts that only those societies will truly prosper that balance intellectual progress with spiritual magnanimity of heart. Tagore envisions a transcendent future where all human races overcome divisions, culminating in the spiritual unity of mankind.

Teacher's Note:
a) Verify that the dual experience of Italy and England in part (a) is accurately detailed.
b) Check that Tagore's educational philosophy and vision of universal human brotherhood are clearly articulated in parts (b) and (c).

Question 11. Referring closely to the essay, On-Going Out for a Walk, relate the writer's belief and views on walking for "walking's sake". [20]

Answer:
Max Beerbohm's essay *On Going Out for a Walk* is a delightfully humorous and satirical critique of the Victorian obsession with walking as an inherently virtuous and noble activity. Writing in a confessional tone, Beerbohm boldly admits that he has never voluntarily gone out for a walk merely for the sake of walking, exposing what he considers a widespread social delusion supported by tyrannical health enthusiasts whom he dubs "walk-mongers."

Beerbohm targets the dogma that physical exercise, specifically purposeless walking, is essential for moral and intellectual well-being. He argues that true thinkers and writers do not require strenuous ambulatory exertion; rather, creative ideas come thick and fast when a person is comfortably seated indoors. Forcing an intellectual out for a walk disrupts the delicate machinery of the brain. He humorously describes the internal conflict between the soul and the body during such walks: while the body urges marching ahead blindly, the rational brain questions the utter foolishness of walking miles with no destination.

Furthermore, Beerbohm detests the social dynamic of walking companionships. A solitary walk is tedious, but a walk with a talkative companion is a mental torture. Energetic companions often indulge in endless, trivial chatter or forced praise, destroying the serenity required for contemplation. The essayist contends that if one must travel to a definite place for a legitimate purpose, taking a mechanical vehicle is infinitely wiser than exhausting oneself on foot. Ultimately, Beerbohm advocates moderation and common sense, refusing to be bullied by social conventions that glorify walking for its own sake as a badge of superior morality.

Teacher's Note:
a) Check for the inclusion of Beerbohm's satirical tone and his critique of "walk-mongers."
b) Ensure the conflict between bodily exertion and intellectual concentration is well explained.

Question 12. Referring closely to the essay On the Choice of a Profession, discuss the factors one must keep in mind while choosing a profession. [20]

Answer:
Robert Louis Stevenson's essay *On the Choice of a Profession* addresses young people embarking on one of the most momentous epochs of their lives. Stevenson begins with a paradoxical assertion: wisdom has very little to do with choosing a profession, and conventional career counseling offers readymade, superficial answers designed to help individuals fit smoothly into societal machinery without the trouble of genuine thought.

Stevenson highlights the modern dilemma where individuals, caught in the frantic pace of institutionalized life (education, marriage, office), lose sight of their authentic desires and individuality. He urges youngsters to "bethink yourself and bestir yourself as a man," emphasizing that financial independence is vital because no person can find true peace until they stand firmly on their own feet. However, a professional choice inherently involves sacrifice. Choosing one path means decisively rejecting a thousand other possibilities. Therefore, young people must achieve absolute clarity regarding their personal preferences and natural inclinations rather than blindly following social pressures or parental expectations.

Ultimately, Stevenson advises youth to recognize that a career should align with one's intrinsic nature. While most men eventually adapt to the compromises of their trade and sink into a comfortable, respectable somnambulism, the initial choice must be an authentic expression of individual agency rather than a surrender to conformity.

Teacher's Note:
a) Ensure the essay's core philosophical premise regarding individual agency versus social conditioning is addressed.
b) Check for references to financial independence and the necessity of rejecting alternative paths.

Echoes

Question 13. Referring closely to the short story 'To Build a Fire', answer the following:
(a) Describe the man's repeated attempts to keep himself warm. [8]
(b) Contrast the attitudes of the Man and his Dog towards the weather. [6]
(c) What does the man finally learn from his experience? [6]

Answer:
(a) Set in the freezing Yukon territory where temperatures reach seventy-five degrees below zero, the man faces a desperate struggle for survival after accidentally wetting his feet in a hidden spring. His first attempt to build a fire succeeds, allowing him to dry his moccasins and warm his freezing extremities. However, after resuming his march and losing full use of his numb fingers, he is forced to build a second fire beneath a pine tree. Disaster strikes when a mass of snow falls from the boughs, smothering the flames. Desperate, he gathers twigs and tries to ignite a single birch-bark strip with a match held in his teeth; smoke causes him to cough, extinguishing the flame. In a final, frantic bid, he seizes an entire bundle of matches between his burning heels and ignites them simultaneously. The sulfur flame burns his flesh, and in his panicked attempt to protect the fire with numb hands, he accidentally scatters the twigs and puts it out entirely.
(b) The man and his dog represent two contrasting approaches to survival - intellect versus instinct. The man relies entirely on his human intellect, scientific knowledge, and thermometers, foolishly believing that human ingenuity can conquer extreme natural conditions. He underestimates the lethal cold and presses forward arrogantly. In stark contrast, the dog is guided by pure, unerring animal instinct. Without thermometers or maps, the dog instinctively knows the deadly peril of the bitter cold, recognizing that it is no time for travel, and desires only to curl up and find warmth. While the man perishes due to his overconfidence, the dog survives by following its natural instincts.
(c) Through his harrowing experience, the man learns the hard, fatal truth that human intellect and equipment are powerless against the raw, indifferent fury of nature in the extreme wilderness. Initially arrogant and dismissive of the old-timers' warnings at Sulphur Creek, he finally realizes his profound folly when his body freezes. In his final moments, accepting the inevitability of death, he abandons his frantic running ("like a chicken with its head cut off") and meets his end with quiet dignity, acknowledging the absolute supremacy of nature.

Teacher's Note:
a) Check that the step-by-step failure of the fire-building attempts in part (a) is accurately described.
b) Ensure parts (b) and (c) capture the thematic contrast between intellect and instinct, and the man's tragic realization.

Question 14. With close reference to the short story The Singing Lesson, describe how the lesson as it progresses, becomes an echo of Miss Meadows' feelings. [20]

Answer:
Katherine Mansfield's short story *The Singing Lesson* is a masterclass in psychological realism, demonstrating how an individual's internal emotional state colors and dictates their perception of the external world. Miss Meadows, a school music teacher, enters the music hall carrying the crushing burden of a cruel letter received from her fiancé, Basil, abruptly calling off their wedding. Reeling from rejection, despair, and humiliation, her emotional turbulence transforms the entire singing class into a tragic echo of her inner agony.

At the start of the lesson, Miss Meadows's cold despair is mirrored in her physical movements as she walks through the bleak corridors "with despair - cold, sharp despair." Ignoring the warm greeting of her favorite student, Mary Beazley, and casting aside the cheerful song originally scheduled, she harshly commands the girls to sing *A Lament*. She instructs them to strip all joy and expression from the music, turning the performance into a funereal dirge. The lyrics chosen—speaking of fading roses of pleasure, dreary winter, and the fleetness of music—directly reflect her shattered romantic hopes. Under her tyrannical direction, the students sing with mournful, sobbing notes that externalize her grief.

Furthermore, even the natural environment outside the high, narrow windows seems to participate in her sorrow. The swaying willow trees remind her of death and loss, and raindrops beating against the windowpanes echo her tears. When she forces the class to linger agonizingly on the word *Drear*, the psychological tension becomes so suffocating that a student begins to cry.

The dramatic pivot of the story occurs when a telegram arrives from Basil retracting his harsh words and expressing joy. Instantly, Miss Meadows's mood undergoes a miraculous transformation from dark despair to radiant ecstasy. Her perception of the classroom alters in a heartbeat: the bleak atmosphere vanishes, the sun seems to shine within her, and she cheerfully commands the girls to sing a joyful, eager wedding song (*To-oo Congratulate...*). Thus, the singing lesson serves as a sensitive psychological barometer reflecting every shift in Miss Meadows's emotional landscape.

Teacher's Note:
a) Ensure the essay tracks the transition from the bleak, mourning atmosphere of the first half to the joyful turnaround at the end.
b) Look for effective integration of textual quotations regarding the song lyrics and Miss Meadows's changing moods.

Question 15. Referring closely to the short story The Story of the Hour, give an account of the thoughts and conflicts which go through Mrs. Mallard's mind when she hears about the untimely and sudden death of her husband. Comment on the ending of the story. [20]

Answer:
Kate Chopin's *The Story of the Hour* compresses a profound psychological transformation into less than an hour. When Mrs. Louise Mallard, who suffers from a weak heart, is gently informed of the railway accident and sudden death of her husband, Brently Mallard, her reaction is initially conventional. She weeps at once with sudden, wild abandonment in her sister Josephine's arms before retreating alone to her upstairs bedroom.

Sitting by an open window facing a vibrant, spring-awakening world, a profound internal conflict unfolds within her. Initially numbed by grief, a new sensation begins to creep over her consciousness. She tries to resist it with terror, but it soon takes complete possession of her soul: the realization of absolute freedom. Louise recognizes that she is now entirely mistress of her own life. Though she knows she will weep again when she sees her husband's dead body, looking past the grief she catches a glorious vision of the coming years in which she will live solely for herself. No longer will her will be subjugated by another person's marital dominance; she whispers exultantly, "Free! Body and soul free!"

The story's ending is famously abrupt and dramatic. When Louise descends the stairs with her sister, the front door opens to reveal Brently Mallard, who was far from the scene of the accident and completely unhurt. Richard tries to shield him from his wife's view, but it is too late. Louise collapses and dies instantly. The attending doctors diagnose her death with ironic misunderstanding, proclaiming that she died of "heart disease - of joy that kills."

The ending is brilliantly crafted and deeply satisfying on a thematic level. If Louise had survived and rejoiced at her husband's return, the poignant exploration of female autonomy and repressed marital misery would have been trivialized. Her fatal heart attack is caused not by overwhelming joy, but by the shattering shock of having her brief, intoxicating vision of freedom violently snatched away, forcing her back into the prison of conventional marriage.

Teacher's Note:
a) Assess whether the psychological evolution from grief to the realization of freedom is clearly analyzed.
b) Evaluate the student's commentary on the irony of the ending and the true cause of Louise's death.

Reverie

Question 16. Referring closely to the poem The Darkling Thrush, answer the following:
(a) Describe the bleak picture of the day as described by the poet. [8]
(b) How does the atmosphere suddenly change? [6]
(c) What are the poet's feelings at the end of the poem? [6]

Answer:
(a) Thomas Hardy paints a desolate, wintry landscape at the very close of the nineteenth century. Leaning against a wooden frost-gray gate on a bleak evening, the poet observes a dying day and a dying century. The landscape is stripped of all vitality: the sun's light is fading fast, tangled climbing stems across the gray sky resemble broken, useless lyres, and the biting frost appears ghostly. The bleakness is so absolute that all living creatures seem to have taken shelter from the cold. The hanging clouds form a gloomy canopy that functions as a funeral crypt for the dying century, while the wailing wind serves as its death-lament.
(b) The oppressive gloom of the atmosphere is suddenly broken by an unexpected burst of sound - the clear, joyous, and shrill song of an aged thrush. The bird is frail, battered by storms, and seemingly on the verge of death, yet it flings its soul into the growing gloaming with ecstatic abandon. This sudden explosion of vibrant music contrasts sharply with the deadness of the surrounding winter landscape, proving that nature holds a resilient vitality that transcends human despair and seasonal decay.
(c) At the end of the poem, the poet remains in a state of bewildered contemplation. While he acknowledges the triumphant music of the bird, he cannot fully share its optimism. He concludes that the thrush must possess awareness of some blessed hope ("some blessed Hope, whereof he knew / And I was unaware") that is completely hidden from the pessimistic, grief-stricken human observer. Thus, the poem ends on a note of guarded, hesitant hope amid overarching uncertainty regarding the dawn of the new century.

Teacher's Note:
a) Check for rich descriptive details of the natural setting in part (a).
b) Ensure the symbolic role of the thrush and the poet's concluding reflection are accurately captured in parts (b) and (c).

Question 17. Describe the interaction between the Spider and the Fly in the poem The Spider and the Fly. [20]

Answer:
Mary Howitt's didactic poem *The Spider and the Fly* presents a classic allegorical tale of cunning manipulation, flattery, and fatal vanity. The interaction unfolds through a series of increasingly seductive invitations extended by the wily spider and initially rebuffed, but eventually succumbed to, by the vain fly.

The spider initiates contact by inviting the fly into his deceptively charming drawing-room, boasting of the pretty winding stairs and fine beds he has prepared. The fly wisely and prudently declines, stating that whoever sleeps upon his bed never wakes up. Undeterred, the spider shifts his strategy from lodging to hospitality, inviting her into his well-stocked pantry to partake of delicious food. Once again, the fly refuses, recognizing the sinister trap awaiting her.

Failing with hospitality, the spider resorts to his most potent weapon: unadulterated flattery. He praises the fly's personal beauty, complimenting her brilliant gauzy wings, her shining eyes, and the delicate color of her crest, inviting her to admire her reflection in his looking-glass. This appeal to her vanity proves irresistible. Overpowered by flattery, the fly lowers her guard, steps closer to the web, and is swiftly captured and devoured by the wicked spider.

Allegorically, the interaction serves as a timeless warning against the dangers of flattery and wicked people who use sweet words to lure the innocent to their destruction.

Teacher's Note:
a) Check that the three stages of the spider's invitation (lodging, food, flattery) are clearly outlined.
b) Ensure the moral lesson regarding vanity and flattery is highlighted in the response.

Question 18. The poem Crossing the Bar is a poem of affirmation and faith. Give your views. [20]

Answer:
Written by Lord Tennyson in his eighty-first year following a serious illness, *Crossing the Bar* is widely regarded as his poetic testament and epitaph. Far from being a gloomy lament over mortality, the poem is a sublime expression of deep religious faith, spiritual affirmation, and serene acceptance of death.

The poem is structured around the central metaphor of a sea voyage. The sand-bar represents the boundary between earthly life and the vast, open ocean of eternity. Tennyson expresses his hope that his departure from this life will be peaceful and seamless, just like a ship sailing out to sea at twilight propelled by a steady tide. He prays for "sunset and evening star," symbolizing the approach of old age and death, and asks that there be "no sadness of farewell" when he embarks.

Crucially, the final stanza reveals the bedrock of Tennyson's faith: the immortal soul's journey toward the divine. He expresses his ultimate spiritual desire to meet his divine Creator face to face: "I hope to see my Pilot face to face / When I have crost the bar." The figure of the 'Pilot' represents Jesus Christ, who guides the Christian soul across the treacherous waters of death into eternal peace.

Through its exquisite nautical imagery, calm tone, and profound theological confidence, *Crossing the Bar* transforms the terrifying prospect of death into a tranquil, sacred homecoming, making it an enduring masterpiece of faith and affirmation.

Teacher's Note:
a) Assess whether the central nautical metaphor of the sand-bar and the voyage is clearly explained.
b) Ensure the student emphasizes the religious faith embodied in the image of the 'Pilot' in the final stanza.