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Shortest solutions for CS231n 2021-2024

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Cs231n: assignment solutions.

Convolutional Neural Networks for Visual Recognition

Stanford - Spring 2021-2024

Solutions for CS231n course assignments offered by Stanford University (Spring 2021-2024). Inline questions are explained in detail, the code is brief and commented (see examples below). From what I investigated, these should be the shortest code solutions (excluding open-ended challenges). In assignment 2, DenseNet is used in PyTorch notebook and ResNet in TensorFlow notebook.

Check out the solutions for CS224n . They contain more comprehensive explanations than others.

Main sources (official)

• Course page
• Assignments
• Lecture notes
• Lecture videos (2017)

Assignment 1

• Q1 : k-Nearest Neighbor classifier. ( Done )
• Q2 : Training a Support Vector Machine. ( Done )
• Q3 : Implement a Softmax classifier. ( Done )
• Q4 : Two-Layer Neural Network. ( Done )
• Q5 : Higher Level Representations: Image Features. ( Done )

Assignment 2

• Q1 : Fully-connected Neural Network. ( Done )
• Q2 : Batch Normalization. ( Done )
• Q3 : Dropout. ( Done )
• Q4 : Convolutional Networks. ( Done )
• Q5 option 1 : PyTorch on CIFAR-10. ( Done )
• Q5 option 2 : TensorFlow on CIFAR-10. ( Done )

Assignment 3

• Q1 : Image Captioning with Vanilla RNNs ( Done )
• Q2 : Image Captioning with Transformers ( Done )
• Q3 : Network Visualization: Saliency Maps, Class Visualization, and Fooling Images ( Done )
• Q4 : Generative Adversarial Networks ( Done )
• Q5 : Self-Supervised Learning for Image Classification ( Done )
• Q6 : Image Captioning with LSTMs ( Done )

Running Locally

It is advised to run in Colab , however, you can also run locally. To do so, first, set up your environment - either through conda or venv . It is advised to install PyTorch in advance with GPU acceleration. Then, follow the steps:

• Install the required packages: pip install -r requirements.txt
• Change every first code cell in .ipynb files to: %cd cs231n/datasets/ ! bash get_datasets.sh %cd ../../
• Change the first code cell in section Fast Layers in ConvolutionalNetworks.ipynb to: %cd cs231n ! python setup.py build_ext --inplace %cd ..

I've gathered all the requirements for all 3 assignments into one file requirements.txt so there is no need to additionally install the requirements specified under each assignment folder. If you plan to complete TensorFlow.ipynb , then you also need to additionally install Tensorflow .

Note : to use MPS acceleration via Apple M1, see the comment in #4 .

It is possible that once in a while a dimension in the gradcheck will not match exactly. What could such a discrepancy be caused by? Is it a reason for concern? What is a simple example in one dimension where a gradient check could fail? How would change the margin affect of the frequency of this happening? Hint: the SVM loss function is not strictly speaking differentiable

Your Answer

• Relative error - the discrepancy is caused due to arbitrary choice of small values of $h$ because by definition it should approach 0 . Analytic computation produces an exact result (as precise as computation precision allows) while numeric solution only approximates the result.
• Kinks - $\max$ only has a subgradient because when both values in $\max$ are equal, its gradient is undefined, therefore, not smooth. Such parts, referred to as kinks , may cause numeric gradient to produce different results from analytic computation due to (again) arbitrary choice of $h$ .
• When comparing analytic and numeric methods, kinks are more dangerous than small inaccuracies where the gradient is smooth. Small derivative inaccuracies still change the weight by approximately the same amount but kinks may cause unintentional updates as seen in an example below. If the unintentional values would have a noticeable affect on parameter updates, it is a reason for concern.
• Assume $x=-10^{-9}$ . Then the analytic computation of the derivative of $\max(0, x)$ would yield 0 . However, if we choose our $h=10^{-8}$ , then the numeric computation would yield 0.9 .
• Assuming all other parameters remain unchanged , increasing $\Delta$ will lower the frequency of kinks . This is because higher $\Delta$ will cause more $x$ to be positive, thus reducing the probability of kinks. In reality though, it would not have a big effect - if we increase the margin $\Delta$ , the SVM will only learn to increase the (negative) gap between $\hat y_i - \hat y_c$ and 0 (when $i\ne c$ ). But that still means, if we add $\Delta$ , there is the same chance for $x$ to result on the edge.

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Aiou code 1431 basics of ict assignments spring and autumn.

In a period dominated by know-how , proficiency in Info and Communication Expertise (ICT) is an elementary ability for fulfillment in numerous fields. Allama Iqbal Open College (AIOU) acknowledges the significance of ICT schooling and presents Code 1431 – Fundamentals of ICT, a course designed to equip college students with the foundational data required to navigate the digital panorama . On this weblog , we are going to discover the assignments for AIOU Code 1431 in each of the Spring and Autumn semesters, shedding mild on the important things ideas, and sensible functions .

Significance of Fundamentals of ICT:

Prior to delving into the assignments, it is important to know why Fundamentals of ICT is a vital course. ICT encompasses a variety of applied sciences , together with computer systems , software program functions , networks, and the web . Proficiency in these areas is significant for people in nearly every career   because it allows environment-friendly communication, information administration , and problem-solving.

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AIOU Code 1431 Curriculum Overview:

Code 1431 covers a broad spectrum of subjects , together with PC fundamentals, working programs , phrase processing, spreadsheets, web utilization , and more . The course is structured to make sure that college students develop a strong understanding of the fundamental ICT instruments and functions which can be broadly utilized in each educational {and professional} setting.

Spring Semester Assignments:

The Spring semester assignments for AIOU Code 1431 typically deal with constructing a foundational understanding of ICT ideas . College students could also be required to reveal their proficiency in utilizing primary PC functions , equivalent to phrase processors and spreadsheets. Assignments may contain exploring the web for analysis functions and understanding the moral implications of ICT use.

Autumn Semester Assignments:

Because the course progresses to the Autumn semester, assignments are inclined to grow to be extra superior , requiring college students to use their data in sensible situations . Matters equivalent to database administration , multimedia functions , and the usage of ICT in particular industries could also be lined . These assignments goal is to problem college students use their ICT abilities in real-world conditions , getting ready them for the calls of the fashionable office .

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IGNOU Assignment 2024-25: Submission Last Date, Question Paper

IGNOU Assignment 2024-25: Submission Last Date – The IGNOU Assignment Question Paper is now available for Download for TEE Session December 2024 as well as TEE June 2025. IGNOU Assignment Submission Last Date is 30th September 2024 which is applicable for TEE December 2024 students. Therefore, the students who going to appear in TEE December 2024 should download and submit their IGNOU Assignment before the last date.

After getting admission to IGNOU University, all candidates have to download and submit only the latest session assignments for their selected programs. The candidates can download the IGNOU assignment question paper for each course from here after their admission is confirmed by the university. Furthermore, it is required for students to submit the required assignments to appear in the IGNOU term end examinations. The assignments for IGNOU courses are now uploaded online and the students can now check and download the latest assignment questions for TEE December 2024 and June 2025.

IGNOU Assignment 2024-25

Every IGNOU candidates have to write and submit their assignments to the respective study centre before the due date. If any student fails to submit then he/she cannot attend the upcoming Term End Exam conducted by IGNOU University. Candidates can also get bits of help from IGNOU Solved Assignment to prepare the best assignment sheet for submitting it to their centre. Candidates are requested to submit their assignments as soon as possible to appear in the upcoming term-end exam.

IGNOU Assignment Submission Last Date 2024

The Last Date for Submission of the IGNOU Assignment for the Term End Exam December 2024 is 30th September 2024. The due date is subject to change only after the official announcement from IGNOU Head Office otherwise it remains unchanged. The last date may differ for each program so the candidate is advised to confirm the due date from their concerned course of IGNOU after downloading the assignment question from this page. Candidates are requested to submit their assignments before the last date without waiting for the next extension period for the submission of assignments. The given last date will be the final date to accept the assignments by the study centre. The last date is still too far from now and it is enough time to write all your assignments before the time duration and can be submitted without any issues.

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In assignments, you must get 40% marks for passing, and thereafter you can fill IGNOU Exam Form to appear in the TEE Examination. For e.g. if the assignment has total marks of 100 then students have to get at least 40 marks to pass out .

IGNOU Assignment Question Paper 2024

We have categorized the IGNOU Assignment Question Papers by UG, PG, Diploma, and Certificates so that the students can easily find their course assignments only by looking at their respective lists of assignments. Just find your programme from the list of assignments and start downloading it on your device. Start writing each and every course assignment by your hand because no printing or typing is allowed in the assignments.

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The students have multiple options to submit their assignments to IGNOU through online as well as offline mode. However, the preferred method can vary at each regional centre that should be confirmed by contacting to the respective regional centre.

Also Check: How To Submit IGNOU Assignment Dec 2024?

Generally, the students have to submit their assignments through offline mode by visiting their respective study centres to hand over the assignments to the coordinator. However, the regional centre can facilitate receiving the assignment through online mode by creating a separate link or portal to receive submissions or they can collect the same through official email.

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Note – Candidates are also requested to keep their physical assignment in a safe place because you may have to submit the physical copy of your written assignment to the study centre if it is requested by the study centre.

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Many of the students are confused that which assignments should be submitted for December 2024 Term End Examination so here is the solution to it.

If you have a program that is having an exam annually then you should submit January 2024 session assignment for TEE December 2024. However, if you have a program with a semester system then you should submit July 2024 session assignment to appear for December 2024 session term-end examination.

We hope that your questions and doubts are now clear about which assignment needs to be submitted for Dec 2024 so let’s get started to write the assignment solution of your program.

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If your programme/course is not available in the list given above then you can contact IGNOU officials by talking with the IGNOU Student Service Centre via 011-29572513 or 011-29572514.

Above all assignments are just available with questions, so you have to solve it with the help of reference books or any other materials but do not copy whole answers to the assignments but read the answer in the material, think, and rewrite the answer in your response sheet with your own.

IGNOU Assignment 2024-25: FAQs

Q1. Is it Compulsory to Submit an IGNOU Assignment? Answer: Yes. It is mandatory to submit the assignment to complete your program.

Q2. Can I Submit the IGNOU Assignment Online? Answer: A few IGNOU Regional Centres are accepting Assignment Submissions through online mode for TEE 2024.

Q3. What is the Last Date for the Submission of IGNOU Assignment? Answer: It is 30th September 2024 for TEE December 2024.

Q4. Is IGNOU Assignment Last Date Extended? Answer: No. The university has not extended the last date of assignment for TEE December 2024.

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Q6. To whom I can Submit IGNOU Assignment? Answer: Coordinator of the Concerned Study centre of IGNOU.

Q7. Can I give IGNOU exam without submitting the assignment? Answer: Yes, you can appear in the examination, but it is not recommended to appear without submission of assignment.

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Q9. Can I submit the assignment on Saturday & Sunday? Answer: Yes. Majority of the study centres are open on Saturday and Sunday to receive submission of assignments.

2,132 thoughts on “IGNOU Assignment 2024-25: Submission Last Date, Question Paper”

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Aiou Assignments’ Questions & Answers – Matric Solved Assignments Autumn & Spring 2021-22

Table of Contents

 Aiou Assignments’ Questions & Answers 

To perform better in your exams, you need to build strong foundations in each subject throughout your schooling and university years. 

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AIOU Will the paper be canceled in the whole country?

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  Aiou Assignments’ Questions & Answers – Matric Solved Assignments Autumn & Spring 2021-22

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AIOU Regular Program Results Release with CMS results of BA/Ad and BS OLD/B.Ed.

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Aiou Past Papers BA 460 Mercantile Law Spring 2021

 Aiou Past Papers BA Mercantile Law Spring 2022 Download 

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About Allama Iqbal Open University

Aiou Allama Iqbal Open University is a public research university located in Islamabad, Pakistan. It was established in 1974 and is the world's largest institution of distance and open education. Allama Iqbal Open University offers courses in a wide range of disciplines including arts, sciences, education, and technology. The Aiou mission is to provide educational opportunities to individuals who are unable to attend traditional on-campus programs, through the use of distance learning methods such as self-study materials, multimedia resources, and support from tutors.

AIOU has a student body of over 1.3 million, including students from all over Pakistan and other countries. It offers programs for undergraduates, graduate, and postgraduate levels, as well as short-term certificate courses. The university operates through a network of regional campuses and study centers and its curriculum is designed to meet the needs of a diverse range of students. If you have any questions related to Allama Iqbal Open University visit Aiou official blog website https://www.aiou.edu.pk/

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Past papers are previous exam papers that can be used as a study aid to help prepare for future exams. They provide students with an idea of the format, style, and types of questions that have been asked in past exams, and can be a valuable tool for gauging their understanding of the subject matter. Past papers are more helpful for those students who are intelligent and want to get 1st position. so we advise all interested students to read past papers for getting good marks.

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AIOU ASSIGNMENT SPRING 2024

When it comes to pursuing your education at Allama Iqbal Open University (AIOU), assignments play a crucial role in evaluating your understanding and knowledge. In this comprehensive guide, we’ll delve into everything you need to know about AIOU assignments, including solved assignments from aiou studio 9 website, assignment question papers in PDF format, submission guidelines, and important dates. Let’s embark on a journey to excel in your AIOU assignments!

AIOU STUDIO 9: YOUR GO-TO RESOURCE FOR AIOU ASSIGNMENTS

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Solved assignments hold the key to understanding the requirements and expectations of AIOU assignments. Aiou Studio 9 offers a wide range of solved assignments, categorized by course codes and programs. These assignments not only serve as references but also provide insights into proper structuring, formatting, and content presentation, ensuring that you can deliver high-quality work.

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SUBMISSION GUIDELINES AND IMPORTANT DATES FOR AIOU ASSIGNMENTS

Submission time table: staying on track with deadlines.

Adhering to submission deadlines is of paramount importance for successfully completing AIOU assignments. Here’s a breakdown of the submission timetable for different types of assignments:

On this page, you can check AIOU assignment dates for the semester Spring 2024. Checking assignment dates are very compulsory for AIOU students because they must have to submit assignments on time.

MATRIC ASSIGNMENT DATES [SC NAME=”CURRENT-SEMESTER” ][/SC]

Matric Assignment submission dates for Spring 2024 is as below:-

Find Aiou Tutor

The education system at Allama Iqbal Open University is starting from the Matric. In other words, this is the lowest class in the university in which you can enroll. Likewise, if you wish to know about dates on which you can enroll yourself in Matric class I would be happy to guide you with that. Firstly University is offering two times admissions throughout the year. For example Autumn and spring both have the same duration of six months.

MATRIC AUTUMN ADMISSIONS TIMETABLE/SCHEDULE

You can take admission in the autumn semester from  15th July to 4th September .

MATRIC SPRING ADMISSIONS TIMETABLE/SCHEDULE

You can take admission in the Spring semester from  15th January to 20th February September .

By meticulously noting these deadlines, you can effectively manage your time and ensure punctual assignment submissions.

FA ICom Intermediate Assignmnets submission dates for Spring 2024 is as below:-

Find Aiou tutor

After Matric second class in which you can take admission is FA ICom or you can call it Intermediate. In other words, this is the lowest class in the university in which you can enroll. Likewise, if you wish to know about dates on which you can enroll yourself in FA class I would be happy to guide you with that. Firstly University is offering two times admissions throughout the year. For example Autumn and spring both have the same duration of six months.

FA I.COM INTERMEDIATE AUTUMN ADMISSIONS TIMETABLE/SCHEDULE

Fa i.com intermediate spring admissions timetable/schedule.

You can take admission in the Spring semester from  15th January to 20th February September.

BA Associate Degree | BCom  Assignment dates Spring 2024

BA Associate degree B.Com Assignmnets submission dates for Spring 2024 is as below:-

AIOU Assignment Tips and Strategies for Success

Understanding the assignment format.

To excel in your AIOU assignments, a solid grasp of the assignment format is essential. Assignments typically require a structured approach with a clear introduction, main body, and conclusion. Pay close attention to specific instructions concerning word count, formatting, and referencing styles. Aligning your work with the assignment format is pivotal to securing favorable evaluations.

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FREE MEG-01 Solved Question Paper of Exam Held in March 2022 (December 2021)

Meg-1 solved question paper of december 2021 term end exam held in march 2022, master’s degree programme (meg) term-end examination december 2021 meg-01: british poetry.

Q1. Answer any two of the following with reference to the context : 10×2=20 (a) Wilt thou forgive that sinne where I begunne, Which is my sin, though it were done before ? Wilt thou forgive those sinnes through Which I runne

(b) Hence vain deluding joyes, The brood of folly without father bred, How little you bested, Or fill the fixed mind with all your toyes;

(c) When my mother died I was very young, And my father sold me while yet my tongue could scarcely cry “weep!” “weep!” “weep!” “weep!” So your chimneys I sweep, and in soot I sleep.

(d) There is a panther stalks me down : One day I’ll have my death of him; His greed has set the moods aflame, He prowls more lordly than the sun.

(a) Wilt thou forgive that sinne where I begunne, Which is my sin, though it were done before ? Wilt thou forgive those sinnes through Which I runne

Context:  These lines are taken from the poem Hymn to God the Father by John Donne.

Explanation:  In these lines we can very clearly feel the warm impulses tugging at the soul of the poet. It is the rhetorical elaboration of antithesis that makes the impulse clear. The antithesis in “When thou hast done, thou hast not done” let us peep into the state of sinner in regards to God. God grants him forgiveness for his one sin as he says, “Thou has done”, but when he goes again to ask for the same favor from the God he feels that God has not granted him forgiveness for his sin thus we have pot saying, “thou hast not done”. The various pushes and pulls of poet’s internal conflict are depicted perfectly through the antithesis of these lines.

Context:  These lines are taken from poem Il Penseroso by John Milton.

Explanation:  The speaker orders “vain deluding joys” to leave him. He then welcomes Melancholy as a Goddess so bright that humans cannot see her. Instead, they perceive her as appareled in black, the hue of wisdom. She is the daughter of Saturn, a solitary god, and of Vesta, the Goddess of the hearth. The speaker invites Melancholy to come forth and and bring with her as companions Peace, Quiet, Fast (fasting from food), Leisure, and Contemplation, a cherub. A nightingale’s song to interrupt the silence would be welcome, for it would help in “smoothing the rugged brow of night” (line 58). The sight of the moon crossing the sky “Like one that had been led astray/Through the heav’ns wide pathless way” (69- 70) would also be welcome.

Q2. Attempt an analysis of the portraits of the prioress, the monk, the Friar, and the wife of Bath. 20

It is the General Prologue that serves to establish firmly the framework for the entire story-collection: the pilgrimage that risks being turned into a tale-telling competition. The title “General Prologue” is a modern invention, although a few manuscripts call it prologus. There are very few major textual differences between the various manuscripts. The structure of the General Prologue is a simple one. After an elaborate introduction in lines 1-34, the narrator begins the series of portraits (lines 35-719). These are followed by a report of the Host’s suggestion of a tale-telling contest and its acceptance (lines 720-821). On the following morning the pilgrims assemble and it is decided that the Knight shall tell the first tale (lines 822-858).

Chaucer, the narrator begins the description of the characters with the Knight.

The Knight is the picture of a professional soldier, come straight from foreign wars with clothes all stained from his armour. His travels are remarkably vast; he has fought in Prussia, Lithuania, Russia, Spain, North Africa, and Turkey against Pagans, Moors, and Saracens, killing many. The variety of lords for whom

he has fought suggests that he is some kind of mercenary, but it seems that Chaucer may have known people at the English court with similar records. The narrator insists: “He was a verray, parfit, gentil knight,” but some modern readers, ill at ease with idealized warriors, and doubtful about the value of the narrator’s enthusiasms, have questioned this evaluation.

His son, the Squire, is by contrast an elegant young man about court, with fashionable clothes and romantic skills of singing and dancing.

Their Yeoman is a skilled servant in charge of the knight’s land; his dress is described in detail, but not his character.

The Prioress is one of the most fully described pilgrims, and it is with her that we first notice the narrator’s refusal to judge the value of what he sees. Her portrait is more concerned with how she eats than how she prays. She is rather too kind to animals, while there is no mention of her kindness to people. Finally, she has a costly set of beads around her arm, which should be used for prayer, but end in a brooch inscribed ambiguously Amor vincit omnia (Virgil’s “Love conquers all”). She has a Nun with her and “three” priests. This is a problem in counting the total number of pilgrims as twenty-nine: the word ‘three’ must have been added later on account of the rhyme, while only one Nun’s Priest is in fact given a Tale and he is not the subject of a portrait here.

The Monk continues the series of incongruous church- people; in this description the narratorial voice often seems to be echoing the monk’s comments in indirect quotation. He has many horses at home; he does not respect his monastic rule, but goes hunting instead of praying. The narrator expresses surprisingly strong support for the Monk’s chosen style of living.

The Friar follows, and by now it seems clear that

Chaucer has a special interest in church-people who so confidently live in contradiction with what is expected of them; the narrator, though, gives no sign of feeling any problem, as when he reports that the “worthy” Friar avoided the company of lepers and beggars. By this point the alert reader is alert to the narrator’s too-ready use of ‘worthy’ but critics are still unsure of what Chaucer’s intended strategy was here.

The Merchant is briefly described, and is followed by the Clerk of Oxenford (Oxford) who is as sincere a student as could be wished: poor, skinny like his horse, and book-loving.

The Sergeant at Law is an expert lawyer, and with him is the Franklin, a gentleman from the country whose main interest is food: “It snowed in his house of meat and drink.” Then Chaucer adds a brief list of five tradesmen belonging to the same fraternity, dressed in its uniform: a Haberdasher, a Carpenter, a Weaver, a

Dyer and a Tapestry-maker. None of these is described here or given a Tale to tell later. They have brought their Cook with them, he is an expert, his skills are listed, as well as some unexpected personal details. The Shipman who is described next is expert at sailing and at stealing the wine his passengers bring with them; he is also a dangerous character, perhaps a pirate.

The Doctor of Physics is praised by the narrator, “He was a verray parfit praktisour,” and there follows a list of the fifteen main masters of medieval medicine; the fact that he, like most doctors in satire, “loved gold in special” is added at the end.

The Wife of Bath is the only woman, beside the

Prioress and her companion Nun, on this pilgrimage. Again the narrator is positive: “She was a worthy woman al hir live” and he glides quickly over the five husbands that later figure in such detail in her Prologue, where also we may read how she became deaf. She is a business woman of strong self-importance, and her elaborate dress is a sign of her character as well as her wealth.

From her, we pass to the most clearly idealized portrait in the Prologue, the Parson. While the previous churchmen were all interested in things of this world more than in true christianity, the Parson represents the opposite pole.

He is accompanied by his equally idealized brother, the Plowman, “a true swinker” (hard-working man) “Living in peace and perfect charity.” If the Parson is the model churchman, the Plowman is the model Christian, as in Piers Plowman, one who is always ready to help the poor. It is sometimes suggested that the choice of a Plowman shows that Chaucer had read a version of Piers Plowman.

The series then ends with a mixed group of people of whom most are quite terrible: the Miller is a kind of ugly thug without charm. The Manciple is praised as a skillful steward in a household of lawyers; they are clever men but he is cleverest, since he cheats them all, the narrator cheerfully tells us. The Reeve is the manager of a farm, and he too is lining his own pocket.

Last we learn of the Summoner and the Pardoner, two grotesque figures on the edge of the church, living by it without being priests; one administers the church courts, the other sells pardons (indulgences). Children are afraid of the Summoner’s face, he is suffering from some kind of skin disease; he is corrupt, as the narrator tells us after naively saying “A better fellow should men not find.” But it is the Pardoner who is really odd, and modern critics have enjoyed discussing just what Chaucer meant by saying: “I trowe he were a gelding or a mare”. With his collection of pigs’ bones in a glass, that he uses as relics of saints to delude simple poor people, he is a monster in every way, and he concludes the list of pilgrims.

The narrator of this Prologue is Chaucer, but this pilgrim Chaucer is not to be too simply identified with the author Chaucer. He explains that in what follows, he is only acting as the faithful reporter of what others have said, without adding or omitting anything; he must not then be blamed for what he reports. Neither must he be blamed if he does not put people in the order of their social rank, “My wit is short, ye may well understand.” This persona continues to profess the utter naivety that we have already noted in his uncritical descriptions of the pilgrims.

Q3. Can “Mac Flecknoe” be called a comic fantasy? Comment.  20

A satire is funny, but not in all the cases. Sometimes satire can be bitter and evoke our terror. But in Mac Flecknoe the fun and humour we witness, is excellent. Dryden takes us into a journey which is not only funny but also hilarious. The attack of Dryden on the bad literature involves not only beauty but also the use of wit in such a way that it turns out in to reality of life experiences. Indeed, Mac Flecknoe is full of fun and wit and there is no denial of this fact.

Written in about 1678, “Mac Flecknoe” is the outcome of a series of disagreements between Thomas Shadwell and Dryden. Their quarrel blossomed from the following disagreements: “(i) their different estimates of the genius of Ben Jonson, (ii) the preference of Dryden for comedy of wit and repartee and of Shadwell, the chief disciple of Jonson, for humours comedy, (iii) a sharp disagreement over the true purpose of comedy, (iv) contention over the value of rhymed plays, and (v) plagiarism.

Flecknoe comprehends that it is time for his departure as he has for long reigned over the realms of dullness beginning his tenure like Augustus at an early age. The first two lines are an ostentatious platitude on the transience of Life; how Fate eventually wins over the former. The only common aspect between Flecknoe and Augustus was that both of them began to rule young; the insignificance of Flecknoe is contrasted against the

stature of Augustus, in keeping with the mock-heroic tradition. Flecknoe was indubitably the undisputed King of Dullness in the realms of prose and verse. He has produced a large number of dunces and now seriously contemplates over a successor. Flecknoe pitches on Shadwell owing to a persistent dullness right from his literary infancy. There is a Biblical allusion as to how God created man in his own image. Again following the mock-heroic tradition the grandeur of God is contrasted against the conformed stupidity of Shadwell.

The other dunces have occasionally showed flashes of genius while Shadwell has consistently exemplified his expertise in the field of dullness. While others may create something intelligible once in a while, Shadwell never deviates from his record-his graph is steady and consistent for dullness.

Subsequently, the poet goes on to gibe at the corpulence of Thomas Shadwell with not too sarcastic. Dryden mocks at Shadwell’s idiocy. The man blocks the whole of vision with his huge structure. The imposing structure comes across as a huge oak that is monotonous and insensate. Just as the oak blocks the rays of the sun, Shadwell permits no enlightment of minds.

As per Dryden, Shirley and Heywood were insignificant and loquacious. They utilized words extensively without communicating any real sense. Nevertheless, Shadwell overshadowed them in their talent for verbosity. He thereby has earned himself the much coveted title of “the Prophet of Tautology”. Flecknoe is ecstatic at the fact though he is greater in absurdity than Shirley and Heywood, Shadwell has outdone them all. Verging on blasphemy, Mac Flecknoe likens himself to St. John the Baptist who arrived before Jesus to pave the way for the Savior. Likewise, the advent of Flecknoe is merely a prelude to the heralding of the ultimate epitome of Dullness, Shadwell.

Q4. Discuss “The Prelude” as an autobiographical poem.  20

Yeats in his A Vision has produced one of the most remarkable books of the last hundred years. It is in this book Yeats uses the system to present a coherent formulation of natural and supernatural. The system can be conveniently broken into three parts: a picture of history, an account of human psychology and an account of life of the soul after death. The Theory of History is the easiest aspect of the system. It bears a close resemblance to the Spengler’s cycle theory. Civilization runs through the cycles through two-thousand odd years, periods of growth, of maturity and of decline. Yeats uses symbolism drawn from the twenty-eight phases of moon. A civilization reaches its zenith at the full moon (phase

15) and then gradually declines, passing through phases 16 to 28 (the dark of the moon). Yeats further complicates his scheme by dividing his cycle into two sub-cycles of twenty-eight phases and of one one-thousand odd years each. The phases 15 of these two

sub-cycles which make up two thousand years of Christian civilization are for example, Byzantine civilization under Justinian and the Renaissance. Our own period is at phase 23 of the second sub-cycle: the moon is rounding toward the dark when the new civilization to dominate the next two thousand years will announce itself – “The Second Coming.”

In Yeats’s system man possesses: Will; Mask; Creative mind; and Body of fate. All four faculties are divided into two sets, and each member of the pair is opposite to the other. A man is classified under the phase to which his Will belongs. The Mask is always opposite to this phases. The basic form of the whole system in A Vision is the gyre, the one end of which widens concomitantly while the other narrows. Will and mask are fixed in such a relation in one gyre, while Creative mind and Body of fate in the other. “All things are from antithesis”, Yeats observes, “all things dying each other’s life, living each other’s death.”

The three symbols–Moon, mask and gyre are central to Yeats’s poem. The Moon represents fickle fortune and is associative cluster of female fertility, virginity, and sensuality. The mask fundamentally is a theatrical metaphor and the gyre symbolizes the Yeats’s concept of history and civilization.

Yeats’s poetic career can be easily divided into two phases. Both the phases are in fact opposed to each other but still are present the same view of the Yeats’ yearning for the escape from the world of mechanistic and positivistic ideas. Yeats presents the assured mastery of an evocative style which in fact is an amalgamation of Spenser, Shelley, William Morris and Pre-Raphaelites, in poems like In the Wandering of Oisin (1889), Crossway (1889), The Rose (1893), The wind Among the Reeds (1899), and In the Seven Woods (1904). If one says that these poems lack the strength and precision than only if these are compared with his later poems.

Together with Lady Gregory he founded the Irish Theatre, which was to become the Abbey Theatre, and served as its chief playwright until the movement was joined by John Synge. His plays usually treat Irish legends; they also reflect his fascination with mysticism and spiritualism. The Countess Cathleen (1892), The Land of Heart’s Desire (1894), Cathleen ni Houlihan (1902), The King’s Threshold (1904), and Deirdre (1907) are among the best known.

After 1910, Yeats’s dramatic art took a sharp turn toward a highly poetical, static, and esoteric style. His later plays were written for small audiences; they experiment with masks, dance, and music, and were profoundly influenced by the Japanese Noh plays. Although a convinced patriot, Yeats deplored the hatred and the bigotry of the Nationalist movement, and his poetry is full of moving protests against it. He was appointed to the Irish Senate in 1922. Yeats is one of the few writers whose greatest works were written after the award of the Nobel Prize. Whereas he received the Prize chiefly for his dramatic works, his significance today rests on his lyric achievement. His poetry, especially the volumes The Wild Swans at Coole (1919), Michael Robartes and the Dancer (1921), The Tower (1928), The Winding Stair and Other Poems (1933), and Last Poems and Plays (1940), made him one of the outstanding and most influential twentieth-century poets writing in English. His recurrent themes are the contrast of art and life, masks, cyclical theories of life (the symbol of the winding stairs), and the ideal of beauty and ceremony contrasting with the hubbub of modern life.

Q6. Attempt an analysis of Eliot’s poetic vision in the “The Waste Land”.  20

The modernist text that becomes most conspicuously identified with the contradictory effects of this project is, of course, Eliot’s The Waste Land. Canonized as the premier address to “the unprecedented death toll of the First World War,” its historical reference encloses the illogical nexus of marital and feminist discourses of population control in order to sublate them wholly to the mythology of sacral fertility. Upon the editorial pruning by Pound, the poem’s opening introduces a montage of displaced historical codes for the outbreak and aftermath of World War-I: the postwar haunting of watering places by the dislocated German aristocrats from eastern Europe, the ethnic chauvinisms and tensions of the Hapsburg Empire displaced from the Balkans to the Baltic, and the figure of the arch-duke careening downhill on a sled nearly out of control: “Bin gar keine Russin, stamm’ aus Litauen, echt deutsch. / And when we were children, staying at the arch-duke’s / My cousin’s, he took me out on a sled, / And I was frightened.” The challenge of the poem may be sited in the insomniac reading of the baroness: “I read, much of the night, and go south in the winter.” What does one read after the catastrophe of a war that murders sleep, and what a writing replaces the peace foreclosed by historical nightmare? “Falling towers / Jerusalem Athens Alexandria / Vienna London.” The fall and dispersal of the Austro-Hungarian Empire (Vienna) opens the text, and the deferred twilight of the British Empire (London), ingesting the religion of its colonies along with India’s tea and spices, closes it in a cacophony of indigested and untranslated quotations that textually foreclose geopolitical peace. The poem’s tacit attempt to reconstitute a third empire of polyglot and polymath a culture–what Eagleton describes as “an alternative text which is nothing less than the closed, coherent, authoritative discourse of the mythologies a which frame it”–becomes no more than another haunting, another invasion of the poem by the dead. “Eliot celebrates the voices of the dead,” Maud Ellmann writes, “but he comes to dread their verbal ambush in The Waste Land.”

Ellmann’s elegant rhetorical summation of the poem’s compulsive attempt to remember and resurrect the dead through a doomed prosopopoeia–“The Waste Land strives to give a face to death”–endows the impossibility of representing the mass death and

destruction of World War-I with a compelling figure of poetic performativity. But one might argue that there are two kinds of dead trying to appear in the poem, and that they are not equal: the poetic dead voices of the literary tradition, whose eloquence is the louder for the fragmentariness of their utterance, and the voiceless war dead. Indeed, even the figure of the spared, the demobbed of returning soldier who gives the poem its most direct and specific historical reference, is not detachable from the repulsiveness of the mob. His wife, in fact, is given a face, or gives herself a face (“pulling a long face”), and it is the face of an anti-Helen; the face that launched a thousand ships becomes the young version of Pound’s “old bitch gone in the teeth.” Lil is a young bitch gone in the teeth, whose toothless face creates universal aversion: “He said, I swear, I can’t bear to look at you. / And no more can’t I, I said.” In attaching Lil’s supreme ugliness to the unwholesomeness of her class, Eliot tracks highly specific causalities – the toothlessness of calcium deficiency from the multi-parity of six pregnancies before the age of thirty-one [“You ought to be ashamed, I said, to look so antique. / (And her only thirty-one)”]– back to the pullulating breeding of the masses.

The poem reverses the flow of the war dead to return them, by way of London Bridge, to the teeming slums from which they came. Eliot, like Lewis, tropes the war as a bridge between home and front, between living and dead–“The bridge, you see, is the war” (BB, 2)–and this bridge crosses, too, the discourses of population control that have cast their contradictory shadows upon other modernistic war writing. Reversing Gaudier’s “good mouth,” Lil’s toothless head is carved into the barren landscape like a giant dead skull: “Dead mountain mouth of carious teeth that cannot spit” [I. 339] to be traversed by “the hooded hordes swarming / Over endless plain, stumbling in the cracked earth.” But in spite of the industrial and urban pollution (“The river sweats oil and tar”) they produce along with the “White bodies naked on the low damp ground / And bones cast in a little low dry garret,” the poem blasts Birth-Control for the masses as surely as did Blast. “You are a proper fool,” says Lil’s interlocutor of her botched abortion, and Lil replies, “The chemist said it would be all right, but I’ve never been the same.” As a form of population control, the war too was a botched abortion–of the sort that reduced her progeny, but left Lil ill, disfigured, and prematurely aged. World War-I may have reduced some of Europe’s unwanted masses, but at the price of leaving her countries weak, disfigured, and spiritually desiccated.

Q7. Bring out the Imagist elements in Eliot and Pound.  20

In The Waste Land, Eliot presents many symbolic representation of waste land which is related to different faculties in modern sense, such as:

(a) The waste land of religion

(b) The waste land of spirit

(c) The waste land of the reproductive instinct. The poem is about Eliot’s own sense of anarchy

and futility which he witnesses everywhere. He doesn’t seem to have any intention for speaking of the disillusionment of the entire generation but still his poem is one of the most influential social criticisms of the world in which Eliot lived.

The poem can be seen as a reflection of Eliot’s disillusionment with the moral decay of post – World War-I Europe. In the work, this sense of disillusionment manifests itself symbolically through a type of Holy Grail legend. Eliot cited two books from which he drew to create the poem’s symbolism: Jessie L. Weston’s From Ritual to Romance (1920) and Sir James G. Frazer’s The Golden Bough: A Study in Magic and Religion (1890).

All the difficulties with the late-nineteenth-century idea of style seem to be summed up in The Waste Land. It is, to begin with, a poem that includes an interpretation—and one “probably not in accordance with the facts of its origin”—as part of the poem, and it is therefore a poem that makes a problem of its meaning precisely by virtue of its apparent (and apparently inadequate) effort to explain itself. We cannot understand the poem without knowing what it meant to its author, but we must also assume that what the poem meant to its author will not be its meaning. The notes to The Waste Land are, by the logic of Eliot’s philosophical critique of interpretation, simply another riddle—and not a separate one to be solved. They are, we might say, the poem’s way of treating itself as a reflex, a “something not intended as a sign,” a gesture whose full significance

it is impossible, by virtue of the nature of gestures, for the gesturer to explain.”

Eliot’s waste land suffers from a dearth of love and faith. It is impossible to demarcate precisely at every point between the physical and the spiritual symbolism of the poem; as in “Gerontion” the speaker associates the failure of love with his spiritual dejection. It is clear enough, however, that the contemporary waste land is not, like that of the romances, a realm of sexless sterility. The argument emerges that in a world that makes too much of the physical and too little of the spiritual relations between the sexes, Tiresias, for whom love and sex must form a unity, has been ruined by his inability to unify them. The action of the poem, as Tiresias recounts it, turns thus on two crucial incidents: the garden scene in Part-I and the approach to the Chapel Perilous in Part-V. The one is the traditional initiation in the presence of the Grail; the other is the mystical initiation, as described by Jessie L.Weston, into spiritual knowledge. The first, if successful, would constitute rebirth through love and sex; the second, rebirth without either. Since both fail, the quest fails, and the poem ends with a formula for purgatorial suffering, through which Tiresias may achieve the second alternative after patience and self-denial—perhaps after physical death. The counsel to give, sympathize, and control befits one whom direct ways to beatitude cannot release from suffering.

Q8. Q. 8. Attempt a critical appreciation of any one poem:  20 (a) “I Remember, I Remember” (b) “Poem in October” (c) “An Epistle to Dr. Arbuthnot” (d) “The Ballad of Reading Gaol”

(a) “I Remember, I Remember”

In an early poem titled “I Remember, I Remember”,

Philip Larkin imagines a train journey which returns him unexpectedly to his birth place in the English Midlands: “‘Why, Coventry!’ I exclaimed. ‘I was born here.’” Comically echoing Thomas Hood’s Victorian poem of the same title, Larkin subtly deflates the familiar romantic childhood idylls associated with other writers such as D.H. Lawrence and Dylan Thomas. The poem ends glumly with an acceptance of the unremarkable and the undistinguished: “‘Nothing, like something, happens anywhere’”. Looking out on a changing English landscape from the vantage point of a train window was to become a hallmark of Larkin’s work, memorably repeated in poems such as “Here” and “The Whitsun Weddings”.

The title of this poem, “I Remember, I Remember”, is a reference to another poem of the same name by Thomas Hood, a poem which shows the reader an adult’s wistful remembrance of his childhood.

Similarly, Larkin’s poem is written from the point of view of an adult reflecting on his childhood. The fact that the speaker “leant for out, and squinnied for a sign/ That this was still the town that had been ‘mine’”, shows that he was looking back on his past from a distance, sort of like an observer. The role of the speaker as an observer is further emphasized by the speaker merely being a passenger on a train passing by the town, seeing the scene flash before him. Similarly, he contemplates each memory from his childhood fleetingly.

The language used in the poem is conversational yet poetic, exaggerating slightly, as memory is wont to do, the significant events in the speaker’s childhood.

The events which seem to have been so important to him in his childhood he now denies, which show reluctance in the speaker to revisit and share his past with his friend. The dissatisfaction and disdain felt by the speaker for his childhood is obvious, especially in the tone of the last line – ‘Nothing, like something, happens anywhere.’ This line is a powerful ending to the poem. It writes off the events described throughout the entire poem as “nothing”, and indicates that everything in the poem could have happened “anywhere”, showing typical adult cynicism and dissatisfaction with life and youth, rather than fond remembrance, bringing to mind the bittersweet irony of the title of the poem “I Remember, I Remember”.

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