Waris Shah

          (e-content  created by Dr N A Jarandikar)

 “I Say unto Waris Shah” is a poem written by Amrita Pritam, a well-known Punjabi writer honored with the Sahitya Akademi Award, Padma Shri, Padma Vibhushan, and the Bharatiya Dnyanpeeth. In the poem, she appeals to Waris Shah to wake up from his grave and turn over a page of the Book of Love. According to the poet, when one daughter of the fabled Punjab wept, Waris Shah gave voice to her silent grief. Today, a million daughters of Punjab are weeping, but there is no one to speak about their condition.

The poet then describes the miserable state of the daughters and paints a somber picture of Punjab. The pastures are full of corpses, the river Chenab has turned crimson, and someone has poured poison into the five rivers of Punjab, making the once fertile land toxic. Not only the water and land but also the wind in Punjab has become poisonous, causing the people to behave madly. As a result, the songs of Punjab have vanished, the spinning wheel is stopped, the swing along the branch of a tree is snapped, the flute is lost in bewilderment, and blood is raining on the earth. The princesses of the valley weep in the graveyards.

In this sad and pathetic condition of Punjab, there is no one to give voice to the sorrows of these daughters. Therefore, the poet once again appeals to Waris Shah to wake up from the grave and turn over a page of the Book of Love.

The references in this poem are essential to understand who Waris Shah is and the reasons behind the sad condition of Punjab and its daughters. Waris Shah is an 18th-century Sufi poet known for his famous poem “Heer-Ranjha,” a love story that, according to Amrita Pritam, gave voice to the silent grief of Heer. When a million daughters of Punjab weep, it is only natural for Waris Shah to turn a page of the Book of Love, which is an epic poem depicting the love story of Heer-Ranjha.

The poem is set against the backdrop of the partition of India in 1947, leading to the creation of two nations, India and Pakistan. Punjab, one of the main provinces, was divided, causing significant suffering for the Sikh community. The communal violence that ensued highlighted the brutal nature of mankind. Sikh women and children became soft targets. In “I Say unto Waris Shah,” Amrita Pritam vividly captures the heart-rending picture of Punjab through powerful imagery such as crimson Chenab, poisoned five rivers, cursed land, and blood-rained earth. In this way, the poem reflects the poet’s emotions and feelings toward the suffering caused by the partition.

BA I_Sem. II (Syllabus and QP Pattern)

 

B.A. Part I (Discipline Specific Core)

(Paper –II) (Semester – II)

Modern Indian Writing in English Translation

(CBCS along with NEP)

Detailed Syllabus

Poems –

Unit 1.

             Rabindra Nath Tagore:

  i) Light, Oh Where is the Light?

 ii) When My Play Was With Thee

Amrita Pritam:

i) I Say Unto Waris Shah

Unit 2. G. M. Muktibodh:

 i) The Void

ii) So Very Far

Play -

Unit 3.  Satish Alekar– Mahanirvan

Unit 4. Satish Alekar– Mahanirvan 

 

Pattern of Question Paper

Semester II  (Paper –II)                                           Total Marks – 40

            Q. 1. Multiple choice questions with four alternatives.                                              (08)

                        (4 on Poems & 4 on Mahanirvan  to be set)

            Q.2.Answer the following questions in about 250-300 words.                                  (08)

                        ( A or B on Unit 1 & 2)

            Q.3. Answer the following questions in about 250-300 words.                                 (08)

                        (A or B on Mahanirvan)

Q.4. Write short notes in about 100-150 words each. (4 out of 6)                             (16)

            ( 3 on Poems & 3 on Mahanirvan to be set)

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*Note: Semester II: 10 Marks for Internal Evaluation: Unit Test

BA III_Sem. VI Syllabus/QP Pattern

 

B. A. Part III Special English

INTRODUCTION TO LITERARY CRITICISM (CBCS)

Semester VI (Paper XII) (DSE- E136)

Module V:	Romantic Criticism: William Wordsworth’s Theory of Poetic Diction (From William Wordsworth’s Preface to Lyrical Ballads)
Module VI:	Victorian Criticism: Matthew Arnold’s Touchstone Method ( From Matthew Arnold’s The Study of Poetry)
Module VII:	Modern Criticism: T S Eliot’s Tradition and Individual Talent (1919)
Module VIII:	Practical Criticism: Poetry

 

Question Paper Pattern

Total Marks: 40

Q1.	Objective type Question	Marks
	A) Multiple choice questions with four alternatives.	4
	B) Answer the following questions in one word/phrase/sentence each.	4
	(Q1. A and B to be set on topics covering Module V to VII) (At least one item to be set on each Module) .
Q2.	Answer in the questions 250-300 words each.               (A or B to be set on Module V, VI, and VII)	10
Q3.	Answer the questions in about 250-300 words each.     (A or B to be set on Module V, VI, and VII)	10
Q4.	Write critical appreciation of the given poem with the help of points such as title, theme, content, devices, message, style, rhyme-scheme, diction, type of poem, tone, stanza-pattern, metre, etc. (Based on Module VIII)	12

 

Note: Semester VI: 10 Marks for Internal Evaluation: STUDENTS’ GROUP PROJECT

 

ENGLISH POETRY (CBCS)

Semester VI (Paper XIII) (DSE – E137)

Module V:	Topics For Background Readings:
	1. Victorian Poetry
	2. Modern English Poetry
	3. Modern Indian English Poetry
Module VI:	Selections from Victorian Poetry:
	1. The Lady Of Shallot (by Alfred Lord Tennyson)
	2. My Last Duchess (by Robert Browning)
	3. Love Came Down At Christmas (by Christiana Rossetti)
Module VII:	Selections from Modern English Poetry:
	1. No Second Troy (by W. B. Yeats)
	2. The Hollow Men (by T. S. Eliot)
	3. Tonight I Can Write (by Pablo Neruda)
Module VIII:	Selections from Modern Indian English Poetry:
	1. The Professor (by Nissim Ezekiel)
	2. A Hot Noon in Malabar (by Kamala Das)
	3. A River (by A. K. Ramanujan)
	4. A Kind of Happiness (by Jayanta Mahapatra)

Question Paper Pattern

Q. 1	A) Four multiple choice questions with four alternatives	04
	B) Answer the following questions in one word/ phrase/sentence each.	04
	(Q. 1 A and B to be set on Module VI, VII and VIII)
Q. 2	Answer the following questions in about 250-300 words.  (A or B to be set on Module V)	10
Q. 3	Answer the following questions in about 250-300 words.  (A or B to be set on VI, VII or VIII)	10
Q. 4	Write Short Notes in about 100-150 words each (3out of 4)  (Two be set on Module V and two be on Module VI, VII or VIII)	12

 

*Note: Semester VI: 10 Marks for internal Evaluation: STUDENTS’ GROUP PROJECT

 

English Drama:

Semester VI (Paper XIV) (DSE – E138)

MODULE V	Types of Drama
MODULE VI	Comedy as a Form
MODULE VII	Nagmandala – Girish Karnad
MODULE VIII	Harvest – Manjula Padmanabhan

 

PATTERN OF QUESTION PAPER

Marks: 40

Q1. A) Four multiple choice questions with four alternatives                      (4)

B) Answer the following questions in one word/ phrase/sentence each.    (4)

(Q. 1 A and B to be set on Module VII and VIII)

Q.2. Answer the following questions in about 250-300 words.          (10)

(A or B to be set on Module V and VI)

Q.3. Answer the following questions in about 250-300 words.          (10)

(A or B to be set on VII and VIII)

Q.4. Write Short Notes in about 100-150 words each (3out of 4)      (12)

(Two be set on Module V and VI and two be on Module VII and VIII)

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*Note: Semester VI: 10 Marks for Internal Evaluation: STUDENTS’ GROUP PROJECT

 

 

 

 

 

ENGLISH NOVEL (CBCS) Discipline Specific Elective

SEMESTER VI (Paper XV) (DSE – E139)

MODULE V	Historical and Psychological Novel
MODULE VI	Satirical Novel and Epistolary novel
MODULE VII	Animal Farm: A Fairy Tale - George Orwell
MODULE VIII	The Guide - R. K. Narayan

 

PATTERN OF QUESTION PAPER

Marks: 40

Q1. A) Four multiple choice questions with four alternatives                      (4)

B) Answer the following questions in one word/ phrase/sentence each.    (4)

(Q. 1 A and B to be set on Module VII and VIII)

 Q.2. Answer the following questions in about 250-300 words.                 (10)

(A or B to be set on Module V and VI)

Q.3. Answer the following questions in about 250-300 words.                  (10)

(A or B to be set on VII and VIII)

Q.4. Write Short Notes in about 100-150 words each (3out of 4)              (12)

(Two be set on Module V and VI and two be on Module VII and VIII)

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*Note: Semester VI: 10 Marks for internal Evaluation: STUDENTS’ GROUP PROJECT

 

 

 

 

English Special LANGUAGE AND LINGUISTICS (CBCS) Discipline Specific Elective

Semester VI – Paper XVI (DSE - E140)

·         MODULE V Phrases

·         MODULE VI Clauses

·         MODULE VII Subordination and Coordination

·         MODULE VIII Basic and Derived Structures

i)             Inversion / Fronting

ii)            Negation

iii)          Interrogation

iv)          Exclamation

v)            Omission of Certain Elements (Relative Pronouns, Comparative Clauses, Tag Questions)

vi)          Passivisation

vii)         Subject Raising

viii)       Style Transformation

 

QUESTION PAPER PATTERN

Q. 1 a) Identify elements of clause (S, P, O, C, A) (4/6)                               (4)

        b) Transformation of sentence (to be set on Module VIII) (4/6)           (4)

Q.2 a) Write short notes. (2 each to be set on Module V & VI) (2/4)         (10)

        b) Give form and function labels to the underlined phrases. (4/6)      (4)

Q.3 a) Write short notes (To be set on Module VII) (2/3)                           (10)

        b) Identify the subordinate clauses and state their form and function. (4/6)                                                                                                                (4)

Q. 4. Do as directed. (to be set on Module VIII) (4/6)                                  (4)

 

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Note: Semester VI: 10 Marks for Internal Evaluation: STUDENTS’ GROUP PROJECT

Andrew Davies and his views about Adaptation

 Andrew Davies and his views about Adaptation:

            Andrew Davies, a screenplay writer, has achieved “fame” in his capacity as adapter. According to Andrew Davies, Adaptation is, indeed the art form of democracy.  He “sums up” what audience look for in a good adaptation. He has identified ten “secrets” to becoming a successful adapter:

1. Read the book.

2. Ask yourself: Why this book, and why now?

3. Ask yourself: Whose story is this, really?

4. Don’t be afraid to change things, especially openings.

5. Don’t start without a plan.

6. Never use a line of dialogue if you can achieve the effect with a look.

7. Crystallize dialogue to its essence.

8. Write scenes that aren’t in the book.

9. Avoid voice-over, flashbacks, and characters talking directly to camera.

10. Break your own rules when it feels like the right thing to do.

Davies ‘secrets’ reveal certain things:

Ø  The adapter need not be a servant of the adapted author.

Ø  He is free to change the text to appeal to a mass contemporary rather than a elite audience.

Ø  Adaptation is an art of democratization, a “freeing” of a text from the confined territory of its author and of its readers.

Ø  The devotion to an author’s words is the death knell of the adaptation.

Significantly enough, Davies’ advice seems to be to liberate the text. Thus he makes adaptation, the art form of democracy, indeed. Actually, his ‘secrets’ are governed by democratic values. In other words, his secrets are the rules of commonality. According to Davies the adapter need not be a servant of the adapted author. He must be free to change the text to appeal to a mass contemporary. He should think of the mass rather than elite audience. In this way adaptation is the art of democratization. It is the art of “freeing” a text from the confined territory of the author and of its readers. The adapter should ‘liberate’ the text. It is not necessary that he should pay devotion to the author’s words. Thus, he makes adaption – the art form of democracy. Adaptation brings literature to the masses. It also brings the masses to literature. Adaptation dilutes, simplifies, and therefore appeals to many rather than the few.