ISC Class 12 English Literature Board Exam Question Paper 2020 with Solutions

ISC Grade 12 Literature English Paper 2 Board Exam Question Paper with Solutions

SECTION A

THE TEMPEST - Shakespeare

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

(a) Prospero : This blue-eyed hag was hither brought with child,
And here was left by th' sailors. Thou, my slave, As thou report's thyself, was then her servant, And for thou wast a spirit too delicate To act
her earthy and abhorr'd commands, Refusing her grand hests, she did confine thee, By help of her more potent ministers And in her most unmitigable rage, Into a cloven pine.....

(i) What leads Prospero to talk about the 'blue-eyed hag'? [1 Mark]

Answer:
Prospero talks about the blue-eyed hag, Sycorax, when he is rebuking Ariel for expressing impatience and complaining about his servitude.

Teacher's Note:
a) Note the context: Ariel asks Prospero when he will gain his liberty, which angers Prospero and prompts him to remind Ariel of his past imprisonment.
b) Students must remember that 'blue-eyed' here refers to dark circles around the eyes caused by pregnancy or fatigue, not the modern eye colour.

(ii) Why was she brought to this island? [2 Marks]

Answer:
Sycorax was banished from her native city of Argier (Algiers) for committing grave crimes whose witcheries were too manifold to be detailed, but because of her major influence or because her life was spared by the Athenians, she was shipped away and brought to this island.

Teacher's Note:
a) Ensure clarity regarding her origin in Argier.
b) Mention that her life was spared due to certain considerations, leading to her exile on the remote island.

(iii) What account do we get of Ariel's suffering in the cloven pine? [2 Marks]

Answer:
Ariel was confined into a split (cloven) pine tree by Sycorax through her potent ministers and unmitigable rage because Ariel refused to perform her earthy and abhorred commands. Within this tree, Ariel groaned in agony for twelve years.

Teacher's Note:
a) Highlight the duration of suffering (twelve years) and the cause (refusal to obey dark commands).
b) Avoid confusing Ariel's imprisonment by Sycorax with Prospero's later imprisonment of Ariel.

(iv) How does Prospero describe the hag's son? [2 Marks]

Answer:
Prospero describes Sycorax's son, Caliban, as a freckled whelp, hag-born, and not honored with a human shape, emphasizing his deformed and monstrous nature.

Teacher's Note:
a) Focus on descriptive adjectives used by Prospero such as freckled and hag-born.
b) This establishes Caliban's subhuman or monstrous status in Prospero's eyes.

(v) What does Prospero threaten to do to Ariel now? What effect does his threat have on Ariel? [2 Marks]

Answer:
Prospero threatens to rend an oak and peg Ariel inside its knotty entrails to howl away twelve winters if he dares to murmur or complain further. The threat immediately subdues Ariel, who begs pardon and promises to perform his tasks obediently.

Teacher's Note:
a) Mention the specific punishment threatened (pegging inside an oak tree for twelve winters).
b) Note Ariel's submissive and compliant reaction to the warning.

(vi) Give the meanings of the following words in the context of the passage:
abhorred, cloven [1 Mark]

Answer:
Abhorred means hated, detested, or loathed. Cloven means split, divided, or cleaved.

Teacher's Note:
a) Definitions must be contextual to the Shakespearean text.
b) Ensure both words are defined clearly for full credit.

(b) Caliban: I prithee let me bring thee where crabs grow, And I with my long nails will dig thee pig-nuts, Show thee a jay's nest, and instruct thee how To snare the nimble marmoset. I'll bring thee To clust' ring filberts, and sometimes I'll get thee Young scamels from the rock. Wilt thou go with me?

(i) To whom is Caliban speaking these lines? [1 Mark]

Answer:
Caliban is speaking these lines to Stephano (along with Trinculo).

Teacher's Note:
a) Identify Stephano clearly as the drunken butler.
b) Note that Caliban mistakes him for a celestial being because of the celestial liquor he tasted.

(ii) Briefly describe the circumstance under which he had met them. [2 Marks]

Answer:
Caliban met them during the tempest aftermath while hiding under his gaberdine to escape what he thought was Prospero's spirits. Stephano and Trinculo stumbled upon him; Stephano gave Caliban his bottle of wine to drink, leading Caliban to worship him as a god.

Teacher's Note:
a) Mention the storm and Caliban's attempt to hide.
b) Highlight the role of the magical liquor in forging this alliance.

(iii) Who does he think they are? Why? [2 Marks]

Answer:
Caliban thinks they are gods who have dropped from heaven. He believes this because of the celestial liquor (wine) Stephano gave him, which he had never tasted before on his island.

Teacher's Note:
a) Emphasize Caliban's naive awe of the alcohol.
b) Explain how the intoxicating drink convinced him of their divine origin.

(iv) To which other person had Caliban shown such a slavish attitude? What had the result been? [2 Marks]

Answer:
Caliban had shown a similar slavish attitude to Prospero when Prospero first arrived on the island and treated him with kindness, showing him all the qualities of the isle. The result was that Prospero later enslaved him after Caliban attempted to violate Miranda.

Teacher's Note:
a) Identify Prospero as the initial master.
b) Briefly state how their relationship soured due to Caliban's actions.

(v) How do his present listeners respond to his words? [2 Marks]

Answer:
His listeners, particularly Stephano, are amused, intrigued, and eager to exploit Caliban's willingness to serve, seeing him as a source of entertainment and potential subjugation.

Teacher's Note:
a) Focus on Stephano's reaction of drunken dominance.
b) Highlight the comedic yet exploitative nature of their interaction.

(vi) Give the meanings of the following words as they are used in the context of the passage:
snare, marmoset. [1 Mark]

Answer:
Snare means to catch or trap using a noose or trap. Marmoset means a small type of monkey found in tropical regions.

Teacher's Note:
a) Provide precise definitions suitable for literary context.
b) Ensure both terms are correctly explained.

(c) Ariel: Thy thoughts I cleave to. What's thy pleasure?
Prospero: Spirit, we must prepare to meet with Caliban.
Ariel: Ay, my commander. When I presented Ceres I thought to have told thee of it, but I fear'd Lest I might anger thee.
Prospero: Say again, where didst thou leave these varlets?

(i) For whom is the term varlets being used? [1 Mark]

Answer:
The term varlets is used for Stephano and Trinculo.

Teacher's Note:
a) Identify the drunkards accurately.
b) Note the dismissive tone implied by 'varlets'.

(ii) What comical behaviour of theirs does Ariel narrate now? [2 Marks]

Answer:
Ariel narrates how Stephano and Trinculo were red-hot with drinking, valorous, and stumbling about, walking through briars, furzes, gorse, and thorns which pricked their shins, yet continuing their drunken plotting.

Teacher's Note:
a) Mention their drunken and disoriented state.
b) Highlight the physical comedy of getting tangled in thorns.

<(iii) Where had these people been going, Why? [2 Marks]

Answer:
They had been going toward Prospero's cell with the intention of murdering Prospero, seizing his books, and taking control of the island to make Stephano king and Miranda queen.

Teacher's Note:
a) State their malicious objective clearly.
b) Mention the conspiracy incited by Caliban.

(iv) Where did Ariel leave them eventually? What did they do then? [2 Marks]

Answer:
Ariel left them in a foul filthy mantled pool beyond Prospero's cell, which danced up to their chins. When they got out, they were bedraggled and distracted by shining glistering garments hung out by Prospero as bait.

Teacher's Note:
a) Describe the stinking pond/swamp setting.
b) Explain how they fell for the distraction of the fine clothes.

(v) What does Prospero tell Ariel to do? Why? [2 Marks]

Answer:
Prospero tells Ariel to bring stale (gorgeous trash/apparel) and hang them on his lime tree to act as fairy-tail traps, in order to lure and entrap the thieves.

Teacher's Note:
a) Detail the trap set using glittering garments.
b) Explain Prospero's strategy to punish and distract the conspirators.

(vi) Give the meaning of the following words as they are used in the context of the passage:
Cleave, varlets [1 Mark]

Answer:
Cleave means to adhere closely to, stick to, or follow intently. Varlets means rascals, scoundrels, or low fellows.

Teacher's Note:
a) Define both terms accurately based on Elizabethan usage.
b) Ensure students understand 'cleave' in the sense of mental adherence.

CANDIDA - George Bernard Shaw

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

(a) Morell : (thoughtfully) . Um! Time for him to take another look at Candida before she grows out of his knowledge. (He resigns himself to the inevitable, and goes out). Lexy looks after him with beaming worship. Miss Garnett, not being able to shake Lexy, relieves her feelings by worrying the typewriter.
Lary: What a good man! What a thorough loving soul he is! (He takes Morell's place at the table, making himself very comfortable as he takes out a cigaret).
Proserpine: (impatiently, pulling the letter she has been working at off the typewriter and folding it) Oh, a man ought to be able to be fond of his wife without making a fool of himself about her.

(i) Who is Morell talking about? How does he react when he gets to know about the arrival of this person? [1 Mark]

Answer:
Morell is talking about Eugene Marchbanks. When he first learns of Marchbanks' arrival, he welcomes him warmly and affectionately, inviting him in.

Teacher's Note:
a) Identify Marchbanks as the visitor.
b) Note Morell's initial welcoming and paternal attitude towards the young poet.

(ii) What advice has Morell given Lexy about marriage? [2 Marks]

Answer:
Morell has advised Lexy that when he gets married, he must treat his wife with absolute openness and confidence, ensuring there are no secrets or closed doors between them.

Teacher's Note:
a) Emphasize Morell's idealistic view of marital transparency.
b) Contrast this with the underlying hidden tensions in the Morell household.

(iii) What does Proserpine say further to express her displeasure? [2 Marks]

Answer:
Proserpine expresses further displeasure by criticizing the way men make idols out of their wives, acting foolishly infatuated and placing them on pedestals.

Teacher's Note:
a) Highlight Proserpine's pragmatic and cynical view of romantic adoration.
b) Note her irritation with Morell's constant praising of Candida.

(iv) When Lexy expresses unhappiness at Proserpine's feelings against Candida, how does Prossy defend herself? [2 Marks]

Answer:
Prossy defends herself by stating that she has nothing against Candida personally, but she resents the constant worship and idealized perfection attributed to her by the men around her.

Teacher's Note:
a) Distinguish between personal malice and frustration with collective adoration.
b) Show Prossy's independent working-woman perspective.

(v) Judging by Lexy's disbelief, how does Proserpine condemn men's ideas about women? [2 Marks]

Answer:
Proserpine condemns men's romanticized and unrealistic notions about women, arguing that men treat women either as flawless goddesses or foolish objects of worship rather than normal human beings.

Teacher's Note:
a) Highlight Shaw's critique of Victorian gender stereotypes.
b) Note Prossy's sharp insight into male hypocrisy.

(vi) How does Lexy voice his regret then? [1 Mark]

Answer:
Lexy expresses shock and mild reprimand, saying, "Oh, Miss Prossy!" in disbelief at her irreverent remarks.

Teacher's Note:
a) Point out Lexy's blind worship of Morell and everything associated with him.
b) Note his scandalized reaction to Prossy's outspokenness.

(b) Marchbanks: about in search I go ab of love; and I find it in unmeasured stores in the bosoms of others. But when I try to ask for it, shyness strangles me; and I stand dumb, or worse than dumb, saving meaningless things: foolish lies. And the affection I am longing for given to dogs and pet birds, because they come and ask for it. (Almost whispering) It must be asked for: it is like a cannot speak unless it is first spoken to. (At his usual pitch, but with deep melancholy) All the love in the world is longing to speak; only it dare not, because it is shy! shy! shy! That is the world's tragedy. (With a deep sigh, he sits in the visitors' chair and buries his face in his hands.)
Proserpine: (amazed, but keeping her wits about her: her point of honor in encounters with strange young men) Wicked people get over that shyness occasionally, don't they?

(i) Where are Marchbanks and Proserpine? [1 Mark]

Answer:
They are in James Morell's study at St. Dominic's Parsonage in Victoria Park, London.

Teacher's Note:
a) Identify the setting as Morell's office/study.
b) Note the domestic realism of Shaw's stage directions.

(ii) How does Marchbanks offend Proserpine? [2 Marks]

Answer:
Marchbanks offends Proserpine by bluntly telling her that she is crying for love just as he is, exposing her secret emotional vulnerability and loneliness which she tries to hide behind her brisk professional demeanor.

Teacher's Note:
a) Focus on Marchbanks' uncanny psychological insight.
b) Explain why Prossy finds this uncomfortably direct and offensive.

(iii) What are Marchbanks' ideas of love? [2 Marks]

Answer:
Marchbanks believes that love is an immense, universal longing present in everyone's heart, but it remains unexpressed and trapped because people are paralyzed by shyness and fear of rejection.

Teacher's Note:
a) Emphasize his view of love as a tragic universal hunger.
b) Highlight the barrier of shyness he describes.

(iv) What is 'like a ghost'? Why has he used this reference? [2 Marks]

Answer:
Marchbanks refers to unexpressed love or a spirit longing to communicate as being unable to speak unless spoken to first. He uses this reference to illustrate how silence and fear isolate human beings from one another.

Teacher's Note:
a) Clarify the metaphorical comparison.
b) Connect it to the theme of emotional isolation.

(v) What does Marchbanks tell about his shyness to Proserpine? [2 Marks]

Answer:
Marchbanks tells Proserpine that his shyness paralyzes him completely, making him stand dumb or utter foolish lies when he tries to ask for the affection he desperately craves, unlike pets who easily ask and receive love.

Teacher's Note:
a) Highlight his sense of inadequacy compared to animals.
b) Explain how shyness acts as a barrier to human connection.

(vi) Does Marchbanks agree with Proserpine when she says that wicked people do not feel shy? [1 Mark]

Answer:
No, Marchbanks is too engrossed in his own emotional turmoil to engage with her sarcastic remark in agreement.

Teacher's Note:
a) Note the conversational disconnect between them.
b) Show how Marchbanks remains absorbed in his poetic melancholy.

(c) Marchbanks: [Convulsively] Onions!
Candida: Yes, onions. Not even Spanish ones: nasty little red onions. You shall help me to slice them. Come along. [She catches him by the wrist and runs out, pulling him after her. Burgess rises in consternation, and stands aghast on the hearth-rug, staring after them.]
Burgess: Candy didnt oughter andle a hearl's nevvy like that. Its goin too fur with it.

(i) Why is Marchbanks disgusted by the Onions? [1 Mark]

Answer:
Marchbanks is disgusted because onions are trivial, earthy, and unromantic kitchen chores that clash violently with his poetic, ethereal worship of Candida.

Teacher's Note:
a) Contrast the mundane domestic reality of onions with Marchbanks' romantic idealism.
b) Note the comic deflation of his poetic posturing.

(ii) Why had he been similarly agitated a little earlier? [2 Marks]

Answer:
He had been similarly agitated earlier when Morell treated Candida with casual domestic familiarity, asking her to attend to household matters or domestic chores, which Marchbanks felt degraded her divine status.

Teacher's Note:
a) Link his agitation to the lowering of Candida from a pedestal.
b) Show his inability to accept her ordinary domestic roles.

(iii) How had Candida responded then? [2 Marks]

Answer:
Candida had responded with gentle amusement, practicality, and firmness, refusing to be treated as an untouchable goddess and asserting her reality as a mother and housewife.

Teacher's Note:
a) Emphasize Candida's grounded, down-to-earth nature.
b) Note how she handles Marchbanks' youthful melodrama.

(iv) Why is Burgess shocked? [2 Marks]

Answer:
Burgess is shocked because Candida treats Marchbanks so informally and roughly, dragging him by the wrist to do kitchen work, forgetting that he is an aristocrat (an earl's nephew).

Teacher's Note:
a) Highlight Burgess's social class consciousness and awe of titles.
b) Contrast Burgess's reverence for aristocracy with Candida's egalitarian domesticity.

(v) What does he get to know about Marchbanks soon? [2 Marks]

Answer:
He learns about Marchbanks' noble lineage, specifically that he is the nephew of an earl, which fills Burgess with excessive social deference.

Teacher's Note:
a) Note Burgess's preoccupation with social status.
b) Explain how this background shapes Burgess's attitude towards Eugene.

(vi) Why does Morell appear disinterested? [1 Mark]

Answer:
Morell appears secure in his relationship with Candida and trusts her completely, though he is soon tested by Eugene's passionate declarations.

Teacher's Note:
a) Note Morell's initial complacency.
b) Recognize the dramatic irony leading into the climax of the play.

SECTION B

THE TEMPEST - Shakespeare

Question 3
Referring closely to Act IV, scene i:

(a) Describe the blessings showered by Ceres and Iris on Miranda and Ferdinand. What is the significance of these blessings? [8 Marks]

Answer:
1. Iris, acting as a messenger of Ceres, summons the goddess of agriculture to celebrate the contract of true love between Ferdinand and Miranda.
2. Ceres arrives and bestows a blessing of earthly abundance, wishing that spring come to them at the very fading of harvest, ensuring continuous prosperity.
3. Juno, the queen of heaven, joins the masque and blesses the couple with honor, riches, marriage-blessing, and perpetual joy.
4. Together, Ceres and Juno sing a joint blessing of scarcity-free living, wishing earth's increase, foison plenty, barns and garners never empty, and vines and plants with heavy burdens.
5. The significance of these blessings lies in their thematic contrast to the sterile, barren curse placed upon the island by Sycorax and the hardships endured by Prospero.
6. They symbolize fertility, social harmony, lawful union, and the restoration of legitimate political order through the royal marriage of Ferdinand and Miranda.
7. The blessings elevate the young couple's love from a private romance to a dynastic alliance that will heal past wounds between Milan and Naples.
8. However, the sudden interruption of the masque by Prospero when he remembers Caliban's conspiracy highlights the fleeting nature of magical illusions compared to harsh reality.

Teacher's Note:
a) Detail the specific contributions of Iris, Ceres, and Juno.
b) Connect the pastoral blessings to themes of fertility, dynastic renewal, and the transitory nature of art.

(b) What did Prospero tell Ferdinand just before the masque? What did he emphasize and how did Ferdinand answer him? [6 Marks]

Answer:
1. Before the masque, Prospero formally ratifies the betrothal of Ferdinand and Miranda, acknowledging that Ferdinand has endured all his trials as rigorous tests of his love.
2. He bestows Miranda upon Ferdinand as a rich gift and a third of his own life.
3. Prospero strongly emphasizes the strict requirement of pre-marital chastity, warning Ferdinand not to break the virgin-knot before all holy rites are celebrated.
4. He cautions that if this vow is broken, heaven will shower down barren hate, sour eyed discord, and bitter dust upon their union instead of sweet bride-ceremony.
5. Ferdinand answers respectfully and reassuringly, promising absolute self-control and swearing that no lustful thought or passion will conquer his white cold virgin snow of chastity.
6. He assures Prospero that his honor shall stand as the guard to his untainted tempers, ensuring that even the most tempting opportunities will not weaken his resolve.

Teacher's Note:
a) Highlight Prospero's paternal protectiveness and moral strictness.
b) Note Ferdinand's solemn oath of honor and obedience.

(c) What do you conclude about Prospero from the events that occur in the act? [6 Marks]

Answer:
1. In Act IV, Prospero is portrayed as a master director and orchestrator, controlling spirits like Ariel and Iris to stage an elaborate masque that teaches a moral lesson to the young lovers.
2. He demonstrates immense foresight and vigilance by abruptly stopping the festive celebration when he remembers the imminent physical threat posed by Caliban, Stephano, and Trinculo.
3. His famous speech about life as an insubstantial pageant reveals his philosophical maturity, recognizing that human existence and worldly power are transient illusions.
4. He displays practical wisdom and statecraft by devising a humiliating punishment (hunting the conspirators with spirits in the shape of hounds) rather than resorting to fatal violence.
5. Prospero's character evolves here from an angry, vengeful exile into a forgiving, wise ruler preparing to resume his rightful dukedom.
6. Ultimately, he emerges as a complex figure balancing divine-like magical control with human vulnerability to anger and worldly concerns.

Teacher's Note:
a) Focus on Prospero's dual role as magician and philosopher.
b) Mention the philosophical depth of the 'actors are all spirits' speech.

Question 4 [20 Marks]
Prospero refers to Caliban as "A devil, a born devil". In this context, evaluate the character and role of Caliban in the plays,

Answer:
1. Caliban is introduced as the monstrous, primitive native of the island, born of the witch Sycorax and the devil, justifying Prospero's label of a 'born devil' on whom nurture can never stick.
2. Initially, Caliban welcomed Prospero and showed him all the qualities of the isle, but their relationship turned adversarial after Caliban attempted to violate Miranda, leading to his enslavement.
3. Despite his crude and base nature, Caliban possesses a deep, lyrical appreciation for the island's natural beauty, expressing this through poetry and song, which reveals a sensitive side beneath his savagery.
4. His role in the sub-plot involves conspiring with the drunken butler Stephano and jester Trinculo to murder Prospero, showcasing his gullibility and desire for freedom.
5. However, Caliban's naive worship of Stephano as a god exposes his desperate need for a master, contrasting sharply with Ariel's spiritual aspiration for liberty.
6. Post-colonial readings view Caliban not merely as a natural monster, but as the dispossessed indigenous inhabitant victimized by European imperialism and cultural colonization.
7. Prospero's claim over the island mirrors colonial subjugation, where the native is demonized to justify enslavement and forced assimilation.
8. By the end of the play, Caliban repents, recognizes his foolishness in worshipping a drunkard, and resolves to seek wise grace, showing a capacity for self-awareness and potential redemption.

Teacher's Note:
a) Balance the traditional view of Caliban as a natural savage with the post-colonial perspective of the oppressed native.
b) Highlight textual evidence of his poetic sensitivity contrasted with his crude plotting.

CANDIDA - George Bernard Shaw

Question 5
Referring closely to Act III of the play Candida:

(a) Describe the conflict between Marchbanks and Morell regarding Candida. [8 Marks]

Answer:
1. The conflict in Act III reaches its climax as both James Morell and Eugene Marchbanks openly contend for Candida's love, stripping away Victorian social pretenses.
2. Marchbanks passionately asserts that Morell is unworthy of Candida because he treats her as a domestic drudge and a conventional clergyman's wife, failing to recognize her true spiritual greatness.
3. Eugene claims that he alone understands Candida's soul, offering her romance, poetry, and a life free from conventional bourgeois hypocrisy.
4. Morell, initially confident in his moral righteousness and husbandly rights, is deeply shaken when Marchbanks exposes the vulnerability at the heart of his marriage.
5. Morell believes his love is unselfish and rooted in moral strength, but Marchbanks accuses him of relying on professional rhetoric and domestic complacency.
6. The conflict forces Morell to confront the possibility that his preaching and moral superiority are hollow crutches.
7. Candida herself steps into the middle of this intellectual sparring match, refusing to be treated as a passive prize to be won by male rhetoric.
8. The clash exposes the contrast between Morell's rhetorical self-deception and Marchbanks' raw, honest poetic passion, setting the stage for Candida's ultimate test of both men.

Teacher's Note:
a) Emphasize the ideological and emotional nature of the duel between the secure clergyman and the passionate poet.
b) Show how Candida remains the intellectual arbiter of the conflict.

(b) Describe the auction that Candida initiates. Why do you think she terms it an auction? [6 Marks]

Answer:
1. Candida calmly takes control of the heated confrontation between Morell and Marchbanks by inviting both men to bid for her, effectively turning the situation into an auction.
2. She asks Morell to state what he has to offer her (his strength, his morality, his public service, and his need for protection) and asks Marchbanks what he offers (his weakness, his poet soul, and his desperate need for her motherly care).
3. She terms it an auction because she refuses to be treated as a passive object of property or a trophy to be fought over without her consent.
4. By using economic terminology, she strips away the romantic illusions and high-flown rhetoric of both men, reducing their emotional claims to a fair market evaluation.
5. It highlights her independent agency and ironic detachment from Victorian patriarchal expectations of submissive womanhood.
6. Through this auction, she forces each man to honestly confront his own strengths and vulnerabilities rather than hiding behind empty boasts.

Teacher's Note:
a) Explain the theatrical brilliance of the auction scene.
b) Emphasize Candida's subversion of traditional gender roles.

(c) What is the reason for the choice made by her at the end of the play? [6 Marks]

Answer:
1. At the end of the play, Candida chooses James Morell, the weaker of the two men who needs her protection, rather than Eugene Marchbanks.
2. She recognizes that Morell, despite his confident pulpit exterior and booming voice, is fundamentally an emotional dependent who would crumble without her maternal care and domestic grounding.
3. Conversely, Eugene Marchbanks has achieved emotional maturity through the ordeal, discovering his own inner strength as a poet.
4. Eugene realizes he no longer needs Candida's physical presence because he possesses the secret in his heart and has graduated from boyhood to spiritual independence.
5. Candida's choice subverts the conventional romantic expectation where the heroine chooses the passionate young lover; instead, she exercises pragmatic judgment.
6. The play concludes with Morell and Candida returning to their partnership, now enlightened by the realization that their marriage is built on mutual honesty rather than blind worship.

Teacher's Note:
a) Explain the paradox of choosing the weaker man.
b) Highlight Marchbanks' spiritual growth and departure.

Question 6 [20 Marks]
In the play Candida, Shaw presents Candida as an unconventional woman.

Answer:
1. George Bernard Shaw subverts the traditional Victorian archetype of the 'Angel in the House' by presenting Candida not as a submissive, passive wife, but as a shrewd, self-possessed, and dominant figure in her household.
2. Unlike conventional heroines who depend entirely on their husbands, Candida is intellectually superior to both James Morell and Eugene Marchbanks, seeing through their rhetorical posturing with clear-eyed realism.
3. She openly acknowledges her own power and manipulates domestic situations to maintain control, such as when she handles her father Burgess and manages the competing affections of her husband and the young poet.
4. Candida shatters Victorian sentimentality regarding motherhood and wifely duty by demanding practical honesty rather than blind adoration.
5. Her famous 'auction' scene demonstrates her refusal to be treated as property, asserting her absolute right to choose her life partner based on pragmatic need rather than romantic convention.
6. She possesses a maternal yet uninhibited sexuality, comforting the emotional weakness of both men while retaining her psychological independence.
7. Shaw uses Candida to critique societal hypocrisy, showing that true domestic strength comes from emotional maturity and realism rather than religious or social dogma.
8. Ultimately, Candida emerges as the New Woman of the Edwardian era, intelligent, self-reliant, and capable of dismantling patriarchal assumptions with a smile and a domestic chore.

Teacher's Note:
a) Connect Candida's character to Shaw's broader critique of Victorian social norms.
b) Emphasize her intellectual dominance over the male characters.

THINGS FALL APART - Achebe

Question 7
Referring closely to the events, answer the following:

(a) How is the Church established and what is the role of the white men in establishing it? [8 Marks]

Answer:
1. The white missionaries arrive in Mbanta, the motherland of Okonkwo, where they request a piece of land to build their church.
2. The village elders, contemptuous of the white men, grant them a plot in the Evil Forest, believing that the malevolent spirits and dead ancestors will kill the intruders within days.
3. To the utter shock and disbelief of the clan, the white men survive unharmed after twenty-eight days, which convinces the villagers that the Christian god possesses greater medicine than local deities.
4. This miraculous survival attracts the first converts, notably outcasts and "efulefu" (worthless men), giving the church its initial foothold in the community.
5. The white men play a crucial strategic role, led initially by the zealous yet relatively tolerant Mr. Brown, who builds a school and hospital to win hearts through education and healthcare.
6. Mr. Brown engages in philosophical debates with clan leaders like Akunna, seeking peaceful integration rather than outright confrontation.
7. However, the establishment of the church also introduces an aggressive legal and administrative system backed by British colonial power.
8. Later, the arrival of the zealous extremist Mr. James Smith leads to direct provocations, culminating in the destruction of the clan's shrines and the ultimate erosion of traditional Igbo autonomy.

Teacher's Note:
a) Trace the step-by-step establishment of the church from the Evil Forest grant to conversion.
b) Differentiate between the approaches of Mr. Brown and Mr. James Smith.

(b) Why does Nwoye secretly become attracted to religion of the missionaries? What is his father's reaction? [6 Marks]

Answer:
1. Nwoye becomes attracted to Christianity because it offers answers to lingering, unresolvable grief and trauma in his own life, particularly the killing of Ikemefuna and the custom of casting away twins in the Evil Forest.
2. The Christian message of poetry, hymns, and a merciful God provides emotional solace to Nwoye, who has always felt alienated by his father Okonkwo's rigid, hyper-masculine demands.
3. When Okonkwo discovers Nwoye's association with the Christians, he flies into a violent rage, choking his son by the neck and demanding to know where he has been.
4. Unrepentant and seeking freedom from his father's tyranny, Nwoye refuses to answer, breaks away, and leaves his family home permanently to join the Christian mission school in Umuofia.
5. Okonkwo is devastated and deeply disgraced, viewing Nwoye's conversion as an abomination and cursing his destiny for fathering an effeminate son.
6. This generational rupture symbolizes the broader cultural fracture of the Igbo society under colonial impact.

Teacher's Note:
a) Highlight the psychological reasons behind Nwoye's conversion (trauma of Ikemefuna's death and twins).
b) Describe Okonkwo's violent paternal reaction and permanent alienation.

(c) Which circumstances had led to the suicide of Okonkwo? [6 Marks]

Answer:
1. Okonkwo's suicide is the culmination of cumulative humiliations and the collapse of his traditional world under British colonial rule.
2. Upon returning from his seven-year exile in Mbanta, he finds Umuofia profoundly changed, with the white men establishing a court, prison, and tax system, while the clansmen have lost their martial spirit.
3. During a meeting called to discuss resistance, white court messengers arrive to disrupt the gathering; in a blind rage, Okonkwo decapitates one of the messengers with his machete.
4. When the crowd fails to support him and instead lets the other messengers escape, Okonkwo realizes with crushing despair that Umuofia will not go to war against the British.
5. Facing imminent colonial arrest, trial, and public humiliation—the very fate of weakness and subjugation he despised all his life—he chooses death over dishonor.
6. By hanging himself, Okonkwo commits an abomination under Igbo custom (suicide is an earth crime), ensuring that he cannot even be buried with traditional rites, a tragic irony for a man who lived for clan honor.

Teacher's Note:
a) Link the suicide to his inability to adapt to colonial subjugation.
b) Emphasize the cultural irony of ending up buried as a dog due to the taboo of suicide.

Question 8 [20 Marks]
How is the story about why mosquitoes buzz around people's ears relevant to the novel?

Answer:
1. The folktale of why mosquitoes buzz around people's ears, narrated by Ekwefi to Ezinma, serves as a structural and thematic micro-narrative reflecting the broader tragedies of the novel.
2. In the folktale, a foolish chain of events begins when a mosquito tells a meaningless lie to the iguana, leading through a series of misunderstandings to the mother owl refusing to wake the sun out of grief for her dead chick.
3. This chain reaction of cause and effect mirrors how minor cultural misunderstandings and initial acts of hubris escalate into catastrophic social ruin in Umuofia.
4. Just as one foolish action in the fable disrupts the cosmic order (preventing the sun from rising), Okonkwo's impulsive violence and inflexibility disrupt the harmony of his family and clan.
5. The mosquito in the story constantly pesters humans asking if everyone still thinks it is alive and blameless, paralleling Okonkwo's constant anxiety about proving his manliness and avoiding weakness.
6. Furthermore, the inclusion of traditional folklore highlights Achebe's dedication to preserving authentic Igbo oral culture, showing how storytelling binds the community together.
7. The fable also foreshadows the destructive chain of colonial incursions, where a small, seemingly insignificant intrusion (like a single missionary in the Evil Forest) eventually snowballs into the total colonization of the Igbo nation.
8. Thus, the seemingly lighthearted animal fable encapsulates the overarching themes of consequence, guilt, and societal collapse.

Teacher's Note:
a) Analyze the thematic parallels between the folktale's chain reaction and the novel's tragic plot.
b) Highlight the role of oral tradition in framing Igbo cultural values.

Question 9 [20 Marks]
"His whole life was dominated by fear of failure and of weakness." Do you think this is true of Okonkwo? Give your views with reference to the novel.

Answer:
1. Yes, Okonkwo's entire life, character, and tragic downfall are driven by an overwhelming, neurotic fear of resembling his lazy, debtor father, Unoka.
2. This fear manifests early in his relentless drive to achieve wealth, titles, and martial fame, rising from poverty to become one of the greatest men in Umuofia.
3. To prove his strength and mask any inner vulnerability, Okonkwo adopts an aggressively harsh demeanor, suppressing all tender emotions and ruling his household with an iron fist.
4. This terror of appearing weak leads directly to his greatest moral failures, such as participating in the murder of Ikemefuna—his surrogate son—out of fear that refusing would make him look effeminate.
5. His intolerance of idleness and gentleness causes him to alienate his sensitive son, Nwoye, pushing the boy directly into the arms of the Christian missionaries.
6. Even during his exile in Mbanta, he laments his misfortune, viewing it as a temporary setback rather than an opportunity for spiritual reflection, obsessed with regaining his former status.
7. When colonial rule shatters the traditional structures of Umuofia, Okonkwo's inability to adapt stems from his absolute refusal to countenance compromise or perceived cowardice.
8. Ultimately, his inability to accept vulnerability traps him in a rigid code of masculinity that leaves suicide as his only escape when the world changes around him, proving that fear of weakness dictated his entire existence.

Teacher's Note:
a) Support the thesis with key character arcs like the treatment of Unoka, Ikemefuna, and Nwoye.
b) Show how his strength was paradoxically rooted in deep-seated insecurity.

CONTEMPLATIONS

Question 10
Referring closely to the essay 'My Visions of India', answer the following:

(a) Relate the first and second vision of Dr. Kalam. [8 Marks]
Answer:
1. Dr. A.P.J. Abdul Kalam outlines his first vision as the 'War of Independence' in 1857, which was India's initial nationwide uprising against British colonial rule.
2. Although the 1857 revolt was suppressed by the British, it planted the vital seed of freedom and national awakening in the collective consciousness of Indians.
3. His second vision focuses on the emergence of visionary leaders and freedom fighters like Mahatma Gandhi, Subhas Chandra Bose, Lokmanya Tilak, and Sardar Patel, who united the masses.
4. This second phase culminated in India attaining political independence on August 15, 1947, fulfilling the dream of self-governance and sovereignty.
5. Dr. Kalam emphasizes that these two visions were crucial historical milestones necessary for freeing the nation from external bondage.
6. However, political independence was only a stepping stone; it laid the foundation for the third and most important vision of national development.
7. He connects these historical struggles to remind contemporary citizens of the immense sacrifices made by freedom fighters.
8. Together, the first two visions established India's political identity, setting the stage for economic and technological self-reliance.

Teacher's Note:
a) Clearly distinguish between the 1857 revolt (first vision) and the freedom movement led by national leaders (second vision).
b) Emphasize how Kalam uses history to inspire future national goals.

(b) What does he say about his third vision? [6 Marks]
Answer:
1. Dr. Kalam's third vision is for India to transform from a developing nation into a developed, economically prosperous, and technologically advanced nation.
2. He notes with concern that although India has achieved political freedom, it is still plagued by poverty, illiteracy, and underdevelopment.
3. Developed status, according to Kalam, requires economic self-reliance, leadership in science and technology, and a robust GDP growth rate.
4. He stresses that India must stand up to the world on its own terms, recognized not as a nation seeking aid, but as a global economic and intellectual superpower.
5. This vision demands a collective national mission involving youth, scientists, industrialists, and politicians working with a shared sense of purpose.
6. Ultimately, the third vision is about achieving inner strength and national self-respect through comprehensive development.

Teacher's Note:
a) Focus on economic and technological self-reliance.
b) Highlight his call for a developed India (Vision 2020).

(c) How does Dr. Kalam co-relate his message with the message of J. F. Kennedy? [6 Marks]
Answer:
1. Dr. Kalam correlates his vision for India with the inspiring call of U.S. President John F. Kennedy, who challenged America to land a man on the moon within a decade.
2. Kennedy's message demonstrated the power of a bold national goal backed by resolute political will, scientific dedication, and public support.
3. Kalam uses this parallel to argue that India, too, needs a grand, inspiring national mission to galvanize its vast population, particularly its youth.
4. Just as America united behind the space program to achieve the seemingly impossible, India must unite behind the mission of total national development and eradication of poverty.
5. He emphasizes that great nations are built by daring dreams followed by relentless execution, echoing Kennedy's pragmatic idealism.
6. This correlation bridges Western technological ambition with Indian spiritual and human potential to create a blueprint for success.

Teacher's Note:
a) Mention Kennedy's moon-landing challenge.
b) Explain how Kalam applies this to India's developmental goals.

Question 11 [20 Marks]
Referring closely to the essay On being Idle, discuss how the writer treats a light subject with a serious message.

Answer:
1. Jerome K. Jerome's essay 'On Being Idle' adopts a humorous, seemingly frivolous tone about the joys of doing nothing, celebrating laziness as a fine art.
2. The writer uses witty anecdotes and exaggerated self-mockery, describing how people boast about working hard while he openly champions the virtue of sitting quietly and watching the world go by.
3. However, beneath the lighthearted banter, the essay delivers a serious philosophical critique of modern society's obsession with endless labor and commercial productivity.
4. Jerome argues that modern man has become a slave to work, mistaking frantic activity for genuine achievement and losing touch with the simple joys of contemplation and peace.
5. He points out that true creativity, poetry, and spiritual reflection require leisure and idleness, which industrial capitalism seeks to eradicate.
6. The writer exposes the hypocrisy of people who condemn idleness in public while secretly craving rest, showing how society equates human worth with economic output.
7. Through clever irony, he elevates idleness from a vice to a meditative state necessary for mental health and human happiness.
8. Thus, Jerome successfully balances light, comedic prose with a poignant critique of the rat race, making readers reconsider the true purpose of life.

Teacher's Note:
a) Analyze the blend of humor and social critique.
b) Emphasize Jerome's warning against the perils of overwork in modern industrial society.

Question 12 [20 Marks]
In the essay On the Decay of The Art of Lying, what makes Mark Twain argue that "the Lie, as a Virtue, A Principle, is eternal"? According to Mark Twain, what is a silent lie? What example does he give to demonstrate a silent lie? Why does he oppose injurious truth and injurious lying?

Answer:
1. Mark Twain argues that the lie is eternal, virtuous, and foundational because, practically speaking, human society could not function for a single hour without tactful untruths and polite deceptions.
2. He asserts that everyone lies constantly, consciously or unconsciously, to protect feelings, maintain social harmony, and avoid unnecessary cruelty.
3. A silent lie, according to Twain, is a deception committed not by spoken words, but by silence, omission, or facial expression when one knows that keeping quiet will allow someone to form a false impression.
4. To demonstrate a silent lie, Twain gives the classic example of standing before an ignorant or arrogant person who is spouting historical or factual errors; by remaining silent and nodding politely, you lead them to believe you agree with their foolishness, thereby telling a silent lie.
5. Twain opposes injurious truth because speaking brutal, unvarnished truths when they serve no good purpose only inflicts needless pain, humiliation, and emotional damage upon others.
6. Similarly, he opposes injurious lying—lies told out of malice, selfishness, or deception that harm innocent people.
7. He champions benevolent lying (or polite falsehoods) designed to comfort, protect, and spread kindness.
8. Ultimately, Twain's satirical essay calls for a sophisticated understanding of human communication, where kindness and tact outweigh rigid, weaponized truth.

Teacher's Note:
a) Define silent lies and provide Twain's example clearly.
b) Explain his philosophical distinction between harmful truths/lies and benevolent falsehoods.

ECHOES

Question 13
Referring closely to the short story B. Wordsworth:

(a) Describe the interaction between B. Wordsworth and the young narrator. [8 Marks]
Answer:
1. The interaction begins when B. Wordsworth approaches the young narrator's yard in Port of Spain, asking if he can watch the bees in the garden.
2. Instead of finding him intrusive, the narrator is immediately captivated by the strange, poetical old man who introduces himself as a poet.
3. They strike up a deep, unconventional friendship, going on walks together into nature, lying in the grass, and watching the evening sky.
4. B. Wordsworth teaches the boy how to appreciate the poetry of ordinary things, pointing out the beauty of a single star, a swarm of bees, and the rustling coconut trees.
5. They share moments of imaginative wonder, such as looking at the milky way or inventing stories about the poet's unpublished, magnificent poem about the universe.
6. Their bond transcends the vast difference in their ages, forming a protective sanctuary of innocence against the harsh, poverty-stricken realities of urban life.
7. The poet's gentle guidance transforms the boy's worldview, teaching him empathy, imagination, and emotional sensitivity.
8. Their interactions remain a poignant symbol of pure human connection before the tragic parting caused by the poet's illness and death.

Teacher's Note:
a) Trace the evolution of the friendship from the initial garden encounter.
b) Emphasize the mentorship role of B. Wordsworth in nurturing the boy's imagination.

(b) What did the narrator learn from his friend? [6 Marks]
Answer:
1. The narrator learns to look beyond the mundane, material surface of the world and perceive the hidden poetry and beauty in everyday nature.
2. He learns the value of imagination and emotional depth, discovering that quiet contemplation, watching the stars, and listening to the wind hold more value than material wealth.
3. B. Wordsworth teaches him empathy, kindness, and how to appreciate solitude without feeling lonely.
4. He learns the tragic reality of poverty and the pain of human suffering, as he witnesses his friend's declining health and impoverished lifestyle in the one-room hut.
5. Most importantly, the narrator learns the enduring power of memory and art, realizing that even though his friend has passed away, the poetic perspective he instilled remains a permanent part of his soul.

Teacher's Note:
a) Focus on lessons of aesthetic appreciation and empathy.
b) Highlight the lasting impact of the friendship on the narrator's maturity.

(c) Do you feel that B. Wordsworth was an escapist? Give reasons for your answer. [6 Marks]
Answer:
1. Yes, in some respects B. Wordsworth can be viewed as an escapist, as he chose to live in a dream world of poetry, imagination, and nature, completely detached from the brutal economic realities of Trinidadian poverty.
2. He lived in a dilapidated, one-room hut surrounded by overgrown weeds, refusing to engage in conventional labor or practical pursuits, preferring to wander and observe the cosmos.
3. His claim about writing the greatest poem in the world about the universe, which he never actually wrote down, suggests a retreat into grandiose fantasy.
4. However, his escapism was not born out of cowardice, but out of a deep sensitivity and rejection of a materialistic society that crushed human spirit and beauty.
5. Furthermore, his tragic life story—losing his pregnant wife and retreating into solitude—shows that his detachment was a coping mechanism for profound grief.
6. Thus, while he escaped physical reality, his imaginative vision enriched the young narrator's life profoundly, making his escapism purposeful rather than entirely futile.

Teacher's Note:
a) Balance the critique of his impractical lifestyle with an understanding of his emotional trauma.
b) Highlight the distinction between idle escapism and artistic sensitivity.

Question 14 [20 Marks]
How does Roald Dahl depict the theme of obsession in his short story, The Sound Machine?

Answer:
1. Roald Dahl explores the dark, consuming nature of scientific and technological obsession through the character of Klausner, an inventor obsessed with capturing sounds beyond human hearing.
2. Klausner builds a mysterious black box—a sound machine—convinced that nature is filled with unheard frequencies, such as the screaming of flowers and trees when cut or injured.
3. His obsession isolates him from normal human interactions, making him irritable, secretive, and completely absorbed in his auditory experiments in his workshop shed.
4. When he tests the machine in his garden, hearing a terrifying, agonizing shriek from a chopped rose stem and a bleeding pine tree, his obsession intensifies into fanatical conviction.
5. He becomes violently panicked by the realization that plant life feels agonizing pain, driving him to impose his obsession onto others, such as Dr. Scott.
6. His compulsive need to prove his discovery leads him to force Dr. Scott to witness a tree being hacked, turning an ordinary garden into a site of imagined horror.
7. Dahl uses this obsession to critique the hubris of modern science, showing how unchecked technological curiosity can warp a man's sanity and disconnect him from reality.
8. The open-ended conclusion, where Klausner begs Dr. Scott to iodine the tree's wound, demonstrates that his obsession has completely severed his grip on rational thought.

Teacher's Note:
a) Trace Klausner's descent from curious inventor to obsessive fanatic.
b) Emphasize Dahl's satirical warning about scientific hubris.

Question 15 [20 Marks]
How successful was the writer in bringing out the protagonist's innate goodness in the short story, Salvatore?

Answer:
1. W. Somerset Maugham is remarkably successful in portraying Salvatore as the epitome of innate, uncorrupted human goodness, despite his ordinary appearance and humble station in life.
2. Salvatore is introduced as a simple, fifteen-year-old fisherman on the Italian coast, possessing no formal education, wealth, or intellectual brilliance, yet radiant with a natural charm and sweetness of temper.
3. The writer highlights his profound devotion to his family, particularly his tender love for his younger brothers and his patience during hard labor.
4. When struck down by a debilitating rheumatic disease doing his military service in northern Italy, Salvatore accepts his suffering without bitterness or complaint, displaying immense fortitude.
5. Despite being discharged from the navy and facing a broken engagement with the girl he loved because of his illness, he harbors no resentment, marrying a good woman named Assunta with quiet dignity.
6. He continues to work tirelessly as a fisherman, taking profound joy in fatherhood and showing infinite gentleness toward his children.
7. Maugham uses framing techniques to contrast Salvatore's saintly character with cynical modern society, proving that true goodness requires no grand heroism.
8. Through episodic milestones of Salvatore's life, the author successfully proves that beauty of soul transcends physical appearance and social status.

Teacher's Note:
a) Focus on Salvatore's unwavering cheerfulness, forgiveness, and paternal love.
b) Highlight Maugham's narrative skill in elevating an ordinary peasant into a moral exemplar.

REVERIE

Question 16
Referring closely to the poem Dover Beach:

(a) Describe the moonlit scene described by the poet at the beginning of the poem. [8 Marks]
Answer:
1. Matthew Arnold opens 'Dover Beach' with a serene, tranquil description of the English coastline viewed from a window overlooking the Dover Strait.
2. The sea is calm, the tide is full, and the fair moon lies fair upon the straits across the French coast, where the light gleams and is gone.
3. The cliffs of England stand grand and secure, glimmering in the vast, tranquil moonlight.
4. The speaker invites his beloved to the window, urging her to listen to the sweet, soothing night air.
5. However, this visual serenity is immediately complemented by an auditory element: the sound of the pebbles being drawn back up the beach by the retreating waves.
6. This eternal note of sadness brought by the grinding roar of the shingle introduces a subtle undercurrent of melancholy beneath the peaceful moonlight.
7. The picturesque landscape thus transitions from a physical description into a psychological canvas reflecting the poet's inner mood.
8. The tranquil moonlight serves as a deceptive mask over the spiritual turbulence and uncertainty of the modern age.

Teacher's Note:
a) Detail the visual imagery of the calm sea and moonlight.
b) Explain how the auditory sound of the pebbles bridges the calm opening to the melancholic philosophical reflection.

(b) How does the poet introduce the note of melancholy and disturbance? In this context, what does he say about Faith? [6 Marks]
Answer:
1. The poet introduces melancholy through the eternal sound of the pebbles on the beach, which Sophocles long ago heard on the Aegean, bringing in the turbid ebb and flow of human misery.
2. This auditory cue shifts the poem from a tranquil landscape description to a profound meditation on the spiritual condition of humanity.
3. Regarding Faith, Arnold compares the Sea of Faith to a once-full girdle wrapped around the earth's shore.
4. However, in the modern age, he laments that Faith is retreating with a melancholy, long-withdrawing roar, leaving behind only the naked shingles and desolate shores of the world.
5. This loss of religious certainty and spiritual conviction leaves humanity exposed, cold, and spiritually bankrupt in the wake of scientific and industrial advancements.
6. The withdrawal of faith explains the deep-seated spiritual crisis and despair characterizing the Victorian era.

Teacher's Note:
a) Analyze the metaphor of the retreating Sea of Faith.
b) Highlight the cultural trauma of Victorian religious doubt.

(c) What does the poet say about the world in which he finds himself? What is the only hope left for mankind? [6 Marks]
Answer:
1. The poet describes the modern world as a place that appears to lie before them like a land of dreams—so various, so beautiful, so new.
2. Yet, in reality, it possesses neither joy, nor love, nor light, nor certitude, nor peace, nor help for pain.
3. Instead, it is depicted as a darkling plain swept with confused alarms of struggle and flight, where ignorant armies clash by night.
4. Amidst this bleak, chaotic, and godless universe where traditional certainties have collapsed, the only hope left for mankind is genuine human love.
5. The poet turns to his beloved, pleading that they be true to one another.
6. Human fidelity and emotional connection serve as the sole refuge, anchor, and light in an otherwise cold, indifferent, and despairing world.

Teacher's Note:
a) Contrast the deceptive outward beauty of the world with its inner spiritual emptiness.
b) Emphasize the redemptive power of interpersonal love as the ultimate refuge.

Question 17 [20 Marks]
How is the power of the Music Makers brought out in We are the Music Makers?

Answer:
1. Arthur O'Shaughnessy's poem 'We Are the Music Makers' celebrates artists, poets, dreamers, and creators as the true architects and rulers of human civilization.
2. The power of the music makers is brought out through their ability to transcend time and space, building world cities with lonely, forgotten dreams and breaking down mighty empires with stirring songs.
3. The poet describes them as movers and shakers of the world forever, demonstrating that while politicians and conquerors build physical empires, it is the artists who shape human thought, emotion, and culture.
4. Even though creators often live as outcasts, wanderers, and lonely dreamers, their spiritual influence outlasts kings, dynasties, and monuments of stone.
5. Their songs possess the magical power to fashion an empire's glory or overturn ancient traditions, proving that art is more enduring than military might.
6. They carry the divine fire of imagination, echoing through history and inspiring generation after generation to reach for higher truths.
7. The poem highlights the quiet, invisible persistence of art, showing that culture survives wars, decay, and the passage of centuries.
8. Ultimately, the power of the music makers lies in their eternal legacy as the keepers of human soul and imagination.

Teacher's Note:
a) Focus on the theme of artistic immortality and cultural creation.
b) Emphasize the contrast between transient political power and enduring poetic influence.

Question 18 [20 Marks]
The poem John Brown presents two attitudes to war. Describe the two attitudes. Which one do you sympathise with? Why?

Answer:
1. Bob Dylan's anti-war ballad 'John Brown' presents two contrasting attitudes toward war: the proud, jingoistic delusion of the mother and the brutal, disillusioning reality experienced by the soldier son.
2. The mother's attitude represents blind, nationalistic patriotism; she sends her son off to war with immense pride, shining his uniform, pinning medals in her mind, and viewing war as a glorious duty to the country.
3. She expects him to return as a decorated hero bringing honor to the family, completely blind to the actual horrors of combat.
4. In stark contrast, the son's attitude is one of profound trauma, physical mutilation, and utter disillusionment after experiencing the brutality of the battlefield.
5. When the soldier returns horribly disfigured—faceless, handless, and wrapped in bandages—he rejects patriotic lies, revealing that war is nothing more than senseless slaughter where young men are turned into mangled meat for old men's political games.
6. We naturally sympathize with the son's horrifying reality rather than the mother's delusional patriotism.
7. The son's perspective exposes the cruel irony of patriotic propaganda, where innocent youth are sacrificed for empty political abstractions.
8. The poem serves as a powerful indictment of war, demonstrating how patriotic illusions shatter upon direct exposure to the battlefield.

Teacher's Note:
a) Contrast the mother's blind patriotism with the son's physical and psychological trauma.
b) Explain why the poem functions as an effective anti-war protest through this stark juxtaposition.