BEGC 101 Solved Assignment/Study Material Free Download

BEGC–101, the first subject of the program, imparts knowledge on the classical literature of India. Students are acquainted with the literary masterpieces of renowned Indian scholars, such Abhijnana Shakuntala by Kalidasa, Mahabharata by Vyas, Mrichchhatika by Sudraka, and Cilappatikaran. The textual and character examination of ancient novels in BEGC-101 enhances students’ comprehension of these works.

BEGC 101 Course Details

Course Code: BEGC 101
Title of the Course:  Indian Classical Literature
No of Credits: 6

BEGC 101 Study Material Free Download Link

BEGC 101 Previous Year Question Papers

BEGC 101 Assignment Question Paper

BEGC 101 Solved Assignment

Section – A

Answer with reference to the context in about 100 words each:

(i) “That first creator of the Creator That Bearer of oblations offered with Holy Rites: That one who utters the Holy Chants: Those two that order Time: That which extends,”

Ans. This excerpt appears to be referencing the Vedic hymns, a cornerstone of Indian classical literature. The “first creator of the Creator” can be interpreted as a reference to Prajapati, a deity in Vedic texts often associated with creation. The “Bearer of oblations” signifies Agni, the fire god, who is the medium through which offerings are made to other deities.

The “one who utters the Holy Chants” is likely a reference to the Rishi or the sage, the seer who composed and recited these hymns. The “two that order Time” could be alluding to the concepts of day and night or the deities Surya (the Sun) and Chandra (the Moon), which govern the passage of time. This excerpt encapsulates the complex interplay of deities and cosmic principles found in Vedic literature, emphasizing the sacred rituals and the metaphysical order of the universe.

(iii) “This music hall is empty! Where could the actors have gone? (reflecting) Ah! I got it!—The home of a sonless person is empty; he who doesn’t have a real friend finds all the time empty; the quarters are empty to a fool; and everything is empty to a poor man.”

Ans. This line is from the Mahabharata, one of the greatest epics in Indian classical literature. The speaker here is likely referring to the onset of the great war at Kurukshetra, a central event in the Mahabharata. The “fourth—punishment” signifies danda, one of the four Upayas (means of persuasion) in ancient Indian statecraft, the others being Sama (conciliation), Dana (giving), and Bheda (division). This highlights the inevitable conflict and the moral dilemmas faced by the characters, encapsulating the epic’s exploration of dharma (duty/righteousness), karma (action), and the complex human emotions and decisions that lead to the cataclysmic war.

(iii) “This music hall is empty! Where could the actors have gone? (reflecting) Ah! I got it!—The home of a sonless person is empty; he who doesn’t have a real friend finds all the time empty; the quarters are empty to a fool; and everything is empty to a poor man.”

Ans. This excerpt seems to reflect themes found in classical Sanskrit plays, such as those by Kalidasa. It uses the empty music hall as a metaphor to explore deeper existential and social emptiness. The comparisons made—an empty home without a son, time being empty without friends, quarters being empty to a fool, and everything being empty to a poor man—emphasize the importance of relationships, wisdom, and material wealth in human life. This passage captures the reflective and philosophical nature of classical Sanskrit drama, where personal and societal issues are often interwoven.

(iv) “One saw the fine work of making Cloth from silk, fur and cotton In the weavers quarters. Silk, coral, Sandalwood, agar, flawless pearls, Gems, gold, and an endless profusion Of rare ornaments were piled high In the commodious streets.”

Ans. This passage likely describes a scene from classical Indian poetry or a description from ancient Indian texts such as the Arthashastra or Kautilya’s work, which document the economic and social life of the times. The vivid imagery of various luxury goods—silk, pearls, gems, and gold—reflects the prosperity and richness of urban centers in ancient India. This description highlights the skilled craftsmanship and the bustling trade activities that were central to the economic life in classical Indian society. It emphasizes the cultural and material wealth that flourished during this period, as well as the sophisticated urban planning and societal structure.

Section B

1. Examine the theme of concealment in Abhijnana Shakuntalam/ The Loom of Time.

Ans. Kalidasa’s play “Abhijnana Shakuntalam” (The Recognition of Shakuntala), translated into English as “The Loom of Time,” masterfully weaves the theme of concealment throughout its narrative. This theme is explored through various dimensions—physical, emotional, and divine.

Physical Concealment: The initial encounter between Shakuntala and King Dushyanta occurs in the hermitage, a secluded and serene setting far removed from the royal court. This physical separation sets the stage for the eventual concealment and loss of recognition. Shakuntala’s beauty and her connection to nature are hidden from the world, only to be discovered by Dushyanta, who is on a hunting expedition.

Emotional Concealment: The emotional aspects of concealment are deeply intertwined with the character of Shakuntala. After marrying Dushyanta in a Gandharva marriage, Shakuntala finds herself abandoned due to the curse of Sage Durvasa, which causes Dushyanta to forget her. Her subsequent pregnancy and her solitude in the hermitage reflect a concealed emotional turmoil. This concealment is compounded when Shakuntala, absorbed in thoughts of Dushyanta, neglects to properly greet the visiting sage, triggering the curse that forms the crux of the story’s conflict.

Divine Concealment: The divine intervention in the play further emphasizes the theme of concealment. The curse itself is an act of divine concealment, where Shakuntala’s existence and her marriage to Dushyanta are hidden from his memory. The curse symbolizes the concealment of truth and the ensuing suffering that both characters endure. The play explores how fate and divine will can obscure reality, leading to separation and sorrow.

Revelation and Recognition: The theme of concealment culminates in the revelation and recognition scene. When Dushyanta finds Shakuntala’s ring, the token of their marriage, the spell of concealment is broken. This moment of recognition restores the concealed truth, bringing about a resolution to the emotional and divine concealments that have plagued the characters.

Kalidasa uses the theme of concealment not just as a plot device but as a means to explore deeper philosophical and emotional truths. The concealment and subsequent revelation highlight the transient nature of human experiences and the ultimate triumph of truth and love. The natural world, which often conceals and reveals its beauty, serves as a metaphor for the hidden and revealed emotions and destinies of the characters.

“Abhijnana Shakuntalam” intricately employs the theme of concealment to drive its narrative and to delve into the complexities of human emotions and divine interventions. The play illustrates how concealment can lead to misunderstanding and suffering, but also how it paves the way for eventual revelation and reconciliation, thus portraying the cyclical and transformative nature of life.

2. Why does Duryodhana plot and plan to vanquish the Pandavas? Comment.

Ans. Duryodhana, a pivotal character in the Mahabharata, is driven by a complex interplay of jealousy, ambition, and a sense of entitlement, leading him to plot and plan the destruction of the Pandavas. Understanding his motivations requires examining his upbringing, his personal characteristics, and the socio-political context of the epic.

Jealousy and Rivalry: From a young age, Duryodhana harbors intense jealousy towards the Pandavas, particularly Yudhishthira, who is slated to inherit the throne of Hastinapura. Despite being the eldest son of Dhritarashtra, Duryodhana feels overshadowed by the virtues and capabilities of the Pandavas. His jealousy is exacerbated by the attention and affection that Bhishma, Drona, and other elders bestow upon the Pandavas, recognizing their rightful claim and superior qualities.

Sense of Entitlement: Duryodhana’s sense of entitlement stems from being the eldest son of Dhritarashtra, the blind king of Hastinapura. Despite the tradition that places Yudhishthira as the heir apparent, Duryodhana believes the throne should be his by birthright. This entitlement is fueled by his father’s support, who, despite understanding the Pandavas’ rightful claim, is emotionally biased towards his own son.

Ambition and Power: Duryodhana’s ambition for power knows no bounds. He is determined to secure the throne of Hastinapura for himself, even if it means resorting to unethical means. His ambition is not only for personal glory but also driven by a desire to establish his lineage and secure a legacy for his descendants.

Manipulation by Shakuni: Duryodhana’s uncle, Shakuni, plays a significant role in influencing and manipulating him. Shakuni’s own motives of revenge against the Kuru dynasty further fuel Duryodhana’s ambitions. Shakuni’s cunning strategies, including the infamous dice game that leads to the disrobing of Draupadi and the exile of the Pandavas, are instrumental in Duryodhana’s plots.

Insecurity and Fear: Despite his outward bravado, Duryodhana is deeply insecure about his position. The virtues and strengths of the Pandavas constantly threaten his claim. His plots to eliminate them are driven by a fear that as long as the Pandavas live, his position remains precarious. The Lakshagriha incident, where he attempts to burn the Pandavas alive, is a stark example of his desperate measures.

Moral Degradation: Over time, Duryodhana’s moral compass deteriorates. His initial jealousy evolves into hatred and a relentless pursuit of power. His actions, including the humiliation of Draupadi, reflect a departure from the dharma (righteousness) expected of a Kshatriya. His refusal to give even a needle-point of land to the Pandavas, despite Krishna’s efforts for peace, exemplifies his intransigence and moral decline.

Role of Fate and Destiny: The Mahabharata also emphasizes the role of fate and destiny. Duryodhana’s actions, while driven by personal motives, are often portrayed as part of a larger cosmic design. His role as an antagonist is crucial for the unfolding of the epic’s grand narrative, leading to the eventual triumph of dharma.

Duryodhana’s plotting and planning to vanquish the Pandavas are driven by a combination of jealousy, ambition, entitlement, manipulation, and fear. His character serves as a complex study of how personal flaws and external influences can lead to one’s downfall, and how individual actions are interwoven with the broader themes of fate and cosmic justice in the Mahabharata.

3. How are the views of the state integrated with the theme of Mrichchhkatika?

Ans. “Mrichchhkatika” (The Little Clay Cart), attributed to Shudraka, is a classical Sanskrit play that presents a vivid portrayal of ancient Indian society. The integration of views of the state with the play’s theme is skillfully executed, reflecting the socio-political dynamics and the nature of governance during the time.

Depiction of State and Governance: The play provides a detailed picture of the state’s functioning and its role in society. It is set in Ujjayini, a prosperous city ruled by King Palaka. The state’s role in maintaining law and order is depicted through various scenes, including the functioning of the judiciary and the presence of police officials like Samsthanaka. The efficient yet corruptible nature of the state’s machinery is evident, reflecting the complexities of governance.

Social Justice and Corruption: One of the central themes of “Mrichchhkatika” is social justice. The protagonist, Charudatta, is a noble Brahmin who faces financial ruin but remains morally upright. His plight highlights the socio-economic inequalities of the time. The corrupt practices within the state are embodied by characters like Samsthanaka, who misuse their power for personal gain. The play critiques the corruption within the state’s apparatus, showing how it impacts the lives of ordinary citizens.

Role of the Ruler: The character of King Palaka is not directly portrayed in the play but is referenced in ways that reflect the nature of his rule. The state’s prosperity is juxtaposed with the moral decline of its officials. The king’s role in the justice system becomes crucial in the resolution of the plot, where the truth about Charudatta’s innocence and the villainy of Samsthanaka is revealed. This highlights the king’s responsibility to uphold justice and moral order in the state.

Class and Caste Dynamics: The integration of state views with the theme also involves the exploration of class and caste dynamics. The play portrays characters from different social strata, from the noble Charudatta and the courtesan Vasantasena to the working-class Maitreya and the merchant class. The interactions between these characters reflect the rigid yet interdependent nature of the social hierarchy. The state’s role in maintaining these social structures is implicit, reflecting the socio-political realities of the time.

Economic Transactions and State Control: “Mrichchhkatika” also delves into economic transactions and the state’s control over trade and commerce. The marketplace scenes, the involvement of traders, and the financial dealings highlight the economic vibrancy of Ujjayini. The state’s regulation of these economic activities is suggested through the presence of officials and the enforcement of laws, albeit with the challenges of corruption and favoritism.

Moral and Ethical Dimensions: The play integrates views of the state with moral and ethical dimensions. The character of Charudatta embodies the virtues of honesty, generosity, and righteousness, while the state officials like Samsthanaka represent moral decay. The ultimate resolution of the plot, with justice being served, reinforces the importance of moral and ethical governance. The play suggests that the state has a crucial role in upholding these values, and its failure to do so leads to social injustice and suffering.

Political Intrigues and Power Struggles: Another aspect where the views of the state are integrated is through the depiction of political intrigues and power struggles. The subplot involving the rebellion against King Palaka hints at the political instability and the constant threat to the ruler’s authority. This adds a layer of realism to the play, showing that the state is not only a benefactor but also a battleground for power.

Humanization of State Officials: While the play critiques the corruption within the state, it also humanizes some of its officials. Characters like the noble thief Sharvilaka, who commits a crime out of love, reflect the complexities of human motivations and the blurred lines between right and wrong. This nuanced portrayal adds depth to the theme of governance, showing that the state is composed of individuals with their own struggles and moral dilemmas.

In conclusion, “Mrichchhkatika” integrates the views of the state with its central themes by portraying the socio-political dynamics, the role of governance, and the moral and ethical challenges faced by individuals within the system. Through its vivid characters and intricate plot, the play offers a critique of the state while also highlighting its crucial role in maintaining social order and justice. This integration enriches the narrative, making it a timeless reflection on the complexities of governance and the human condition.

4. Write a detailed note on akam and puram thinais and their corresponding landscapes in Cilappatikaran.

Ans. The “Cilappatikaran” (The Tale of an Anklet), one of the five great epics of Tamil literature, intricately weaves the themes of akam (interior) and puram (exterior) thinais (landscapes) into its narrative. These thinais are fundamental to Sangam literature and represent different aspects of human emotions and experiences, often tied to specific landscapes.

Akam Thinais: Akam refers to the inner life, encompassing personal emotions, love, and domestic life. It is often expressed through five landscapes, each associated with specific emotions and activities:

• Kurunji (Mountainous Region): Associated with union and elopement. The hilly terrain symbolizes the initial stages of love and the secretive, passionate meetings of lovers.
• Mullai (Forest and Pastoral Region): Linked to waiting and patient love. The lush greenery of the forests and pastoral lands represents tranquility and the longing of lovers separated by circumstances.
• Marutham (Agricultural Land): Represents the everyday life of couples, including infidelity and domestic conflicts. The fertile plains symbolize the daily routines and the emotional ups and downs in a relationship.
• Neythal (Seashore): Associated with separation and hardship. The vast, restless sea signifies the pain of separation and the hope for reunion.
• Paalai (Desert): Signifies unrequited love and hardship. The barren landscape of the desert reflects the desolation and suffering experienced in love.

In “Cilappatikaran,” these akam landscapes are used to depict the emotional journeys of the characters. For instance, the love and devotion between Kannagi and Kovalan are set against various thinais, symbolizing their different emotional states and the challenges they face.

Puram Thinais: Puram refers to the outer life, encompassing war, heroism, valor, and public life. Like akam, puram also has specific landscapes associated with different themes:

• Vetchi (Cattle Raid): Symbolizes aggression and heroism. The act of cattle raiding is a mark of bravery and strength.
• Vanchi (Battlefield): Represents war and valor. The battlefield is the setting for heroic deeds and the pursuit of honor.
• Uzhignai (Siege): Associated with strategic warfare and endurance. The siege landscape reflects the prolonged struggles and the tactical aspects of war.
• Tumbai (Plunder): Signifies victory and the aftermath of war. The landscape of plunder represents the rewards and consequences of conquest.
• Vaagai (Triumphal Return): Linked to celebration and glory. The triumphant return from battle symbolizes honor and the communal celebration of victory.

In “Cilappatikaran,” the puram landscapes are reflected in the public and heroic aspects of the story, such as the valor of Kovalan and the justice sought by Kannagi. The burning of Madurai, a pivotal event in the epic, can be seen as a puram element, where the exterior landscape of the city becomes a canvas for the themes of justice, vengeance, and the public consequences of personal suffering.

Integration in Cilappatikaran: The epic seamlessly integrates these akam and puram thinais, using them to enhance the narrative and deepen the emotional and thematic resonance. The landscapes serve as metaphors for the internal and external journeys of the characters, highlighting the interconnectedness of personal emotions and public actions. For example, the transition from the akam themes of love and domestic life to the puram themes of justice and public retribution in Kannagi’s quest underscores the epic’s exploration of the interplay between the personal and the societal.

In conclusion, the akam and puram thinais in “Cilappatikaran” are not just poetic devices but essential elements that structure the narrative and provide a rich, multi-layered exploration of human experience. By aligning emotions and actions with specific landscapes, the epic creates a vivid and immersive world that reflects the complexities of love, valor, suffering, and justice.