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BEGC-101: IGNOU BAG Solved Assignment 2022-2023

• 1 Section A
• 2 Write short notes/ answer with reference to the context in about 100 words each:
• 3 1.(i) The purpose of Dramatic Art
• 4 (ii) The Sanskrit Epic Tradition
• 5 (iii) “Now I see no other course open but the fourth – punishment. The kings are marching to Kurukshetra to their doom!”
• 6 (iv) … “And from that exalted line/ Of heavenly nymphs was Matavi descended./ A woman of flawlwss birth, of broad shoulders,/ And curly hair, spilling pollen, she was/ Noted for her style of great distinction.”
• 7 Section B
• 8 Answer the following in about 350 words each:
• 9 1. Examine the difference between the Shakuntala in Abhijnana Shakuntala and the Shakuntala episode in the Mahabharata.
• 10 2. Write a critical note on the predicament of Karna in the Mahabharata.
• 11 3. Discuss the significance of the storm in Mrichchhkatika?
• 12.1 How to Download BEGC-101 Solved Assignment?
• 12.2 Is the BEGC-101 Solved Assignment Free?
• 12.3 What is the last submission date for BEGC-101 Solved Assignment?

Write short notes/ answer with reference to the context in about 100 words each:

1.(i) the purpose of dramatic art.

Ans: Dramatic art is a form of art that involves live performances by actors, where a story is told through dialogue, actions, and emotions. The purpose of dramatic art is to entertain, inform, and educate audiences. It allows individuals to escape their reality and immerse themselves in a world created by the playwright and actors. Additionally, dramatic art is a tool for social commentary and can be used to explore complex societal issues, offer criticism, and challenge the status quo. It can also be a platform for self-expression, allowing individuals to explore their emotions and thoughts through the medium of performance. Overall, the purpose of dramatic art is multifaceted, with its impact on society and the individual often being significant.

(ii) The Sanskrit Epic Tradition

Ans: The Sanskrit epic tradition refers to a body of literature composed in the Sanskrit language, which includes the two great epics of India, the Mahabharata and the Ramayana. These epics are considered as two of the most significant works of literature in Indian history and culture, and they have influenced art, literature, and culture across the Indian subcontinent and beyond.

The Mahabharata is a complex narrative that includes numerous sub-stories and is primarily concerned with the conflict between two sets of cousins, the Kauravas and the Pandavas, over the throne of the kingdom of Hastinapura. The Ramayana, on the other hand, tells the story of the prince Rama and his wife Sita, who is abducted by the demon king Ravana.

Both the Mahabharata and the Ramayana are rich in themes and symbolism, and they explore complex philosophical and ethical issues. They are also sources of inspiration for art, music, and dance, and have been adapted into various forms over the centuries.

The Sanskrit epic tradition is an important part of Indian culture and has played a significant role in shaping the worldview and values of the Indian people.

(iii) “Now I see no other course open but the fourth – punishment. The kings are marching to Kurukshetra to their doom!”

Ans: This statement is a quote from the character Bhishma in the Sanskrit epic Mahabharata, which is one of the most significant works of literature in Indian history and culture.

In this context, Bhishma is referring to the imminent war between the Kauravas and the Pandavas, two sets of cousins who are in a conflict over the throne of the kingdom of Hastinapura. Despite efforts to resolve the conflict peacefully, including negotiations and appeals to reason and duty, the situation has escalated to the point where war seems inevitable.

Bhishma, who is a respected elder and advisor to the Kuru dynasty, recognizes that the war will have devastating consequences for both sides, including the loss of countless lives and the destruction of kingdoms. However, he also believes that the situation has reached a point where punishment is necessary to restore order and justice.

Overall, this quote highlights the complex moral and ethical issues at the heart of the Mahabharata and illustrates the tragic nature of the conflict that unfolds in the epic.

(iv) … “And from that exalted line/ Of heavenly nymphs was Matavi descended./ A woman of flawlwss birth, of broad shoulders,/ And curly hair, spilling pollen, she was/ Noted for her style of great distinction.”

Ans: This quote is from the Sanskrit epic poem, Ramayana. It describes the character Matavi, who is said to be descended from a line of heavenly nymphs. Matavi is portrayed as a woman of flawless birth, with broad shoulders and curly hair that “spills pollen,” which is a poetic way of saying that she has long, beautiful hair that is compared to the fine powder found in flowers.

Matavi is also noted for her style of great distinction, suggesting that she is a woman of great elegance and refinement. The passage shows how the Ramayana uses poetic language and vivid descriptions to create a rich and immersive world that is filled with vibrant characters.

Overall, the quote highlights the importance of lineage and ancestry in Indian culture and mythology, as well as the beauty and grace that are valued in women. It also shows how the Ramayana, like other works of Sanskrit literature, is characterized by its poetic language, vivid imagery, and rich characterization.

Answer the following in about 350 words each:

1. examine the difference between the shakuntala in abhijnana shakuntala and the shakuntala episode in the mahabharata..

Ans: Shakuntala is a character in Indian mythology who has been depicted in various texts and forms of art over the centuries. Two prominent depictions of Shakuntala are in the play Abhijnana Shakuntala by Kalidasa and the Shakuntala episode in the Mahabharata. While both these works feature Shakuntala as a central character, there are significant differences between the two depictions.

Abhijnana Shakuntala is a play written by Kalidasa in the 5th century CE. It tells the story of Shakuntala, the daughter of the sage Vishwamitra and the apsara Menaka. Shakuntala falls in love with King Dushyanta and marries him in secret. However, the king is cursed to forget about Shakuntala, and she is forced to live in isolation until the curse is lifted. The play explores themes of love, fate, and the consequences of human actions.

On the other hand, the Shakuntala episode in the Mahabharata is a part of the epic poem that tells the story of the Kuru dynasty. In this episode, Shakuntala is the daughter of the sage Kanva and is raised in the forest. King Dushyanta meets her in the forest and marries her in a ceremony without witnesses. However, when Dushyanta has to leave, he gives Shakuntala a ring as a token of his love and promises to return for her. When she later goes to the king’s court to join him, she is rejected because she cannot produce the ring, which she has lost. But later, the ring is found inside a fish’s belly, and Shakuntala is accepted back by the king.

One of the main differences between the two depictions is the nature of Shakuntala’s character. In Abhijnana Shakuntala, Shakuntala is portrayed as a sensitive, emotional character who is deeply affected by the curse that makes the king forget about her. She is shown as a loving wife who longs to be reunited with her husband. In contrast, the Shakuntala of the Mahabharata is a more practical and strong-willed character who fights to be recognized by the king and to reclaim her rightful place in his court.

Another difference is the focus on the romantic relationship between Shakuntala and King Dushyanta. In Abhijnana Shakuntala, the play centers around the love story between the two characters and the challenges they face in being together. In the Shakuntala episode of the Mahabharata, the focus is more on the social and political implications of their marriage, including the rejection of Shakuntala by the king’s court and her eventual reinstatement.

2. Write a critical note on the predicament of Karna in the Mahabharata.

Ans: Karna is one of the most complex and tragic characters in the Mahabharata, the epic poem that tells the story of the Kuru dynasty. Karna is the son of Kunti and the sun god Surya, but he is raised by a low-caste charioteer. He faces numerous challenges throughout the story, including rejection by his mother and society, struggles with his identity, and ultimately, his loyalty to Duryodhana, the Kaurava prince.

Karna’s predicament begins with his birth. Kunti, who is unmarried, gives birth to him and abandons him in a basket on a river. He is found and raised by Adhiratha, a charioteer, and his wife, Radha. Despite being raised in poverty and being rejected by his mother, Karna grows up to be a skilled warrior and a friend of Duryodhana.

One of the central themes of Karna’s predicament is his struggle with his identity. He is aware of his noble birth and heritage, but his low-caste upbringing and his loyalty to Duryodhana prevent him from fully embracing his identity. He is often ridiculed and discriminated against by members of the Kuru court, who see him as a low-caste outsider. Despite this, Karna is a skilled warrior and earns the respect of many, including his enemies.

Another aspect of Karna’s predicament is his relationship with Duryodhana. Despite knowing that Duryodhana is on the wrong side of the war, Karna remains loyal to him and fights for the Kauravas. This loyalty ultimately leads to his downfall, as he is killed in battle by Arjuna, one of the Pandavas. Karna’s death is tragic, as he is killed by his own brother, whom he had never met before the war.

Karna’s predicament can be seen as a commentary on the social and political structures of ancient India. His low-caste birth and his struggle to be accepted by society highlight the discrimination and prejudice that existed in ancient Indian society. His loyalty to Duryodhana, despite knowing that he is on the wrong side of the war, can be seen as a critique of blind loyalty and the destructive consequences it can have.

3. Discuss the significance of the storm in Mrichchhkatika?

Ans: The storm is a significant symbol in the ancient Indian play Mrichchhakatika (The Little Clay Cart) written by Shudraka. It is used as a dramatic device that not only adds to the narrative but also carries a deeper meaning that serves to reinforce the themes and motifs of the play.

The storm serves as a pivotal point in the play, marking a significant turning point in the plot. It occurs in Act IV when Vasantasena, a courtesan, is held captive in the house of her abductor, the merchant Samsthanaka. In the midst of the storm, Charudatta, a nobleman who has fallen on hard times, takes shelter in the same house. The storm is used to symbolize the chaos and turmoil in the lives of the characters and also serves as a catalyst for the events that follow.

The storm is significant in the play as it creates a sense of urgency and tension, heightening the dramatic tension and contributing to the climactic events of the play. It is used to convey a sense of danger, both physical and emotional, that the characters are facing. The storm is also used to signify the unpredictable nature of life and the inevitability of change.

The storm also serves as a metaphor for the social and political unrest in ancient India, which is reflected in the play’s themes of corruption and injustice. The storm is used to convey the tumultuous nature of the times, the upheaval of social norms and the struggle for power.

Additionally, the storm serves to symbolize the rebirth and renewal that follows the destruction. This is seen in the aftermath of the storm when the characters experience a sense of clarity and renewal, leading to a change in their fortunes. The storm thus serves as a metaphor for the cycle of life, death, and rebirth that is central to Indian philosophy.

4. Write a detailed note on the idea of justice in Cilappatikaran.

Ans: Cilappatikaram, also known as the Tale of an Anklet, is a Tamil epic poem written by the poet Ilango Adigal in the 5th century CE. The poem tells the story of Kovalan and Kannagi, a married couple who face a series of tragedies and injustices that lead to their ultimate downfall.

The theme of justice is a central concern in the poem. Throughout the narrative, we see how the characters struggle to attain justice in the face of social, political, and economic inequality. The poem is a powerful commentary on the nature of justice, and the challenges of achieving it in a world that is often unjust.

At the heart of the poem is the idea of dharma, which refers to the universal law that governs human conduct and morality. Dharma is often equated with justice, as it provides a framework for ethical and moral behavior that is based on fairness, compassion, and righteousness.

The poem portrays the pursuit of justice as a fundamental human desire that is both personal and collective. Kovalan and Kannagi seek justice for themselves, as they are wronged by those in power, but they also seek justice for their community, which is suffering under the yoke of oppression and corruption.

Throughout the poem, we see how the pursuit of justice is often complicated by issues of class, gender, and power. Kovalan, as a member of the merchant class, is often subject to discrimination and exploitation by those in power, while Kannagi, as a woman, faces even greater challenges in seeking justice. However, both characters are determined to fight for their rights and the rights of others, regardless of the obstacles they face.

The poem also highlights the importance of compassion and empathy in the pursuit of justice. Kovalan and Kannagi are not only seeking justice for themselves, but they are also motivated by a desire to help others who are suffering. They are guided by a deep sense of empathy and compassion, which enables them to see beyond their own personal grievances and to work towards a more just and equitable society.

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IGNOU BEGC 101 SOLVED ASSIGNMENT 2022-23

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• Post published: July 13, 2023
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Indian Classical Literature

Assignment July, 2022 & January 2023 Sessions

(Based on Blocks 1 – 4)

Write short notes/ answer with reference to the context in about 100 words each: 4 × 5 = 20 1.(i) The purpose of Dramatic Art (ii) The Sanskrit Epic Tradition (iii) “Now I see no other course open but the fourth – punishment. The kings are marching to Kurukshetra to their doom!” (iv) … “And from that exalted line/ Of heavenly nymphs was Matavi descended./ A woman of flawlwss birth, of broad shoulders,/ And curly hair, spilling pollen, she was/ Noted for her style of great distinction.”

Answer the following in about 350 words each: 4 X 20 = 80 1. Examine the difference between the Shakuntala in Abhijnana Shakuntala and the Shakuntala episode in the Mahabharata. 2. Write a critical note on the predicament of Karna in the Mahabharata. 3. Discuss the significance of the storm in Mrichchhkatika? 4. Write a detailed note on the idea of justice in Cilappatikaran.

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BEGC-101 Indian Classical Literature Solved Assignment 2022-2023

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Indian Classical Literature Assignment July, 2022 & January 2023 Sessions (Based on Blocks 1 – 4) Max. Marks: 100

Section A Write short notes/ answer with reference to the context in about 100 words each: 4 × 5 = 20 1. (i) The purpose of Dramatic Art (ii) The Sanskrit Epic Tradition (iii) “Now I see no other course open but the fourth – punishment. The kings are marching to Kurukshetra to their doom!” (iv) … “And from that exalted line/ Of heavenly nymphs was Matavi descended./ A woman of flawlwss birth, of broad shoulders,/ And curly hair, spilling pollen, she was/ Noted for her style of great distinction.” Section B Answer the following in about 350 words each: 4 X 20 = 80 1. Examine the difference between the Shakuntala in Abhijnana Shakuntala and the Shakuntala episode in the Mahabharata. 2. Write a critical note on the predicament of Karna in the Mahabharata. 3. Discuss the significance of the storm in Mrichchhkatika? 4. Write a detailed note on the idea of justice in Cilappatikaran.

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BEGC-101 Solved Assignment 2022-23

  Free BEGC101 Solved Assignment 2022-23 for July 2022  and  January 2023  Session

B.E.G.C-101

INDIAN CLASSICAL LITERATURE

Answer all questions. 

Section A 

Write short notes/ answer with reference to the context in about 100 words each:

1. (i)  The purpose of Dramatic Art

    (ii)  The Sanskrit Epic Tradition

   (iii)  “Now I see no other course open but the fourth – punishment. The kings are marching to Kurukshetra to their doom!”

   (iv)  ... “And from that exalted line/ Of heavenly nymphs was Matavi descended./ A woman of flawlwss birth, of broad shoulders,/ And curly hair, spilling pollen, she was/ Noted for her style of great distinction.”

Section B 

Answer the following in about 300 words each:

1.  Examine the difference between the Shakuntala in Abhijnana Shakuntala and the Shakuntala episode in the Mahabharata

2.  Write a critical note on the predicament of Karna in the Mahabharata.

3.  Discuss the significance of the storm in Mrichchhkatika?

4.  Write a detailed note on the idea of justice in Cilappatikaran.

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BEGC 101 Solved Assignment 2022-23

Indian Classical Literature

Answer all questions.

Write short notes/ answer with reference to the context in about 100 words each: 4 × 5 = 20

1. (i) The purpose of Dramatic Art

(ii) The Sanskrit Epic Tradition

(iii) “Now I see no other course open but the fourth – punishment. The kings are marching to Kurukshetra to their doom!”

(iv) ... “And from that exalted line/ Of heavenly nymphs was Matavi descended./ A

woman of flawlwss birth, of broad shoulders,/ And curly hair, spilling pollen, she

was/ Noted for her style of great distinction.”

Answer the following in about 350 words each: 4 X 20 = 80

1. Examine the difference between the Shakuntala in Abhijnana Shakuntala and the Shakuntala episode in the Mahabharata.

2. Write a critical note on the predicament of Karna in the Mahabharata.

3. Discuss the significance of the storm in Mrichchhkatika?

4. Write a detailed note on the idea of justice in Cilappatikaran.

BEGC 101 Solved Assignment 2022-23:  FREE IGNOU Assignment You can Get All students of university who needs to submit assignments should download old assignments of the respective course of 2022 available above and submit at the concerned study center. The last dates will be 30th April and 30th October of every year until their registration is valid. New assignments will not be available any more for students as course was revised.

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BEGC 101 Solved Assignment 2022-23

Indian Classical Literature

Max. Marks: 100

Answer all questions.

Write short notes/ answer with reference to the context in about 100 words each: 4 × 5 = 20

1. (i) The purpose of Dramatic Art

(ii) The Sanskrit Epic Tradition

(iii) “Now I see no other course open but the fourth – punishment. The kings are marching to Kurukshetra to their doom!”

(iv) ... “And from that exalted line/ Of heavenly nymphs was Matavi descended./ A woman of flawlwss birth, of broad shoulders,/ And curly hair, spilling pollen, she was/ Noted for her style of great distinction.”

Answer the following in about 350 words each: 4 X 20 = 80

1. Examine the difference between the Shakuntala in Abhijnana Shakuntala and the Shakuntala episode in the Mahabharata.

2. Write a critical note on the predicament of Karna in the Mahabharata.

3. Discuss the significance of the storm in Mrichchhkatika?

4. Write a detailed note on the idea of justice in Cilappatikaran.

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BEGC 101 Solved Assignment 2022-23,  BEGC 101 Solved Assignment 2022-23, BEGC 101 Solved Assignment 2022-23, BEGC 101 Assignment, IGNOU Assignment BEGC 101 2022-23- Gandhi National Open University had recently uploaded the assignments of the present session for Programme for the year 2022-23. BEGC 101 Solved Assignment 2022-23 Students are recommended to download their Assignments from this web page itself. They don’t got to go anywhere else when everything regarding the Assignments are available during this article only.

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BEGC 101 Solved Assignment 2022-23 :-  Those students who had successfully submitted their Assignments to their allocated study centers can now check their Assignment Status. Alongside --assignment status, they will also checkout their assignment marks & result. All this is often available in a web mode. After submitting the assignment, you'll check you BEGC 101 Solved Assignment 2022-23 only after 3-4 weeks. BEGC 101 Solved Assignment 2022-23 it'd take 40 days to declare BEGC 101 Solved Assignment 2022-23

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IGNOU BEGC 101 Solved Assignment 2022-23 , FREE BEGC 101 Indian Classical Literature Solved Assignment 2022 , FREE BEGC 101 Solved Assignment PDF , How to get BEGC 101 Solved Assignment for Free, We are providing IGNOU BEGC 101 Indian Classical Literature  Solved Assignment all over India , In this website students will get the all solutions related with their IGNOU Assignments , IGNOU Study Material , IGNOU Previous Years Papers and IGNOU Study Notes , BEGC 101 Assignment 2022-23 PDF is for those candidate who want to submit their assignments on time.

• 1.0.1 (i) The purpose of Dramatic Art
• 1.0.2 Types of Drama
• 1.0.3 (ii) The Sanskrit Epic Tradition
• 1.0.4 (iii) “Now I see no other course open but the fourth – punishment. The kings are marching to Kurukshetra to their doom!”
• 1.0.5 (iv) … “And from that exalted line/ Of heavenly nymphs was Matavi descended./ A woman of flawlwss birth, of broad shoulders,/ And curly hair, spilling pollen, she was/ Noted for her style of great distinction.”
• 1.0.6 1. Examine the difference between the Shakuntala in Abhijnana Shakuntala and the Shakuntala episode in the Mahabharata.
• 1.0.7 2. Write a critical note on the predicament of Karna in the Mahabharata. 
• 1.0.8 3. Discuss the significance of the storm in Mrichchhkatika?  –   Answer
• 1.0.9 4. Write a detailed note on the idea of justice in Cilappatikaran. –  Answer
• 1.0.10 IGNOU Instructions for the BEGC 101 Indian Classical Literature  
• 1.1.1 Related

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Write short notes/ answer with reference to the context in about 100 words each:

(i) The purpose of Dramatic Art

The Purpose of Dramatic arts tell stories on stage through action. The dramatic arts are one type of performing art, which also includes acting, pantomime, and puppetry. Each performing art has distinct attributes that determine how it tells a story. Because Music is often included as a performing art. The audience is an important feature for the performing arts : all performances are presented in front of an audience. Another important feature is that, unlike film and television, dramatic arts are performed live. Typically, dramatic arts are performed in a building called a theatre that has a stage space for the performance and seats for the audience, called the house  or  auditorium . The word theatre derives from the ancient Greek name for this space, theatron, which means “seeing place.” The most common dramatic art form is theatre or drama. In theatre, actors play characters and act out the story for an audience. This is a primary distinction between dramatic arts and performing arts. In dramatic arts, the story is represented on stage.

Ancient Greece is believed to be the origin of Western dramatic arts. Thespis is said to be the first actor. Before Thespis, narratives were chanted by a chorus. Thespis stepped out of the chorus and represented a character. Beginning in 534 BCE, the Ancient Greeks held annual drama competitions. Many well-known classical playwrights competed at these competitions, including Aeschylus, Sophocles, Euripides, and Aristophanes. These playwrights are the authors of the only classical Greek plays that are still around. Beyond famous plays like Sophocles’  Oedipus Rex  (c. 430-425), each playwright made major contributions to the dramatic form. For instance, Aeschylus added a second actor, which turned drama from a monologue into a dialogue between two characters. The Ancient Greeks performed in masks made of linen or cork.

After the Ancient Greeks, theatre flourished in Rome. It was a popular form of entertainment, along with gladiator fights, chariot races, and animal fights. Two well-known playwrights from this period are Terence and Plautus who went on to directly inspire playwrights for over a thousand years. The Catholic church grew concerned about theatre, primarily because theatre was associated with paganism and often mocked Christianity in its comedies. By the time Rome was captured in the 5th century CE, theatre and the dramatic arts had fallen out of favor.

Types of Drama

In The Poetics (c. 335-323 BCE), the Ancient Greek philosopher Aristotle (384-322 BCE) identified six elements of drama that are still applicable today. The six elements are:

Plot  is the action of a narrative. The plot is a sequence of events that propel the story forward. In his book  Backward and Forward , David Ball argues that plot is like a series of dominos, in which one domino falling over will trigger the next event, which will then trigger the subsequent event in a story. Plots begin with an inciting incident; an event that disrupts the status quo of the world of the play. Then the action rises toward a climax, the most heightened moment of the plot. The climax is typically the moment of change for the characters. This is followed by falling action, moving the plot to a new status quo.

Character  is the person depicted in the drama and acted out by a performer. The main character is known as the protagonist. This role drives the action of the play. Though many might imagine the antagonist to be the villain, it’s actually a character who competes with the protagonist. Often, the protagonist and antagonist share a common objective, which places them in conflict with one another.

Theme  is the central thought of the play. Some plays may argue a principle, raise a question, or try to teach the audience a specific lesson. In the dramatic arts, there is often more than one theme in a play, but the main theme is the central message the playwright wants the audience to keep with them.

Language  is often how the theme is conveyed. In studying language, one might consider the word usages, metaphors, and other stylistic choices in the dialogue. In theatre, language is also used to differentiate characters. In  A Street Car Named Desire  (1947) by Tennessee Williams, the characters of Stanley and Blanche come from different backgrounds. This is apparent in how each character speaks from their use of slang, dialects, and even their accents.

Aristotle viewed  music  and  spectacle  as the least important features of a drama. Music refers to the use of song in a performance and spectacle refers to the visual effects. Spectacle can also include the setting, which refers to where the place takes place and the visual elements that communicate it. While Aristotle believed these elements were superfluous to a good drama, they have gained prominence as storytelling techniques in the 19th and 20th centuries in melodramas and musical theatre.

(ii) The Sanskrit Epic Tradition

The Sanskrit Epic Tradition suggests, my aim is to examine the way in which certain myths which first appear (as far as India is concerned) in the Vedas, and more specifically in the Rgveda, are retold in the Sanskrit Epics, the Mahabharata and the Ramayana and to examine in what way the Epics re-use the mythological material earlier used in the Vedas. Before proceeding any further, I shall first give a brief summary of the nature, contents and dates of the texts mentioned above. The texts The oldest stratum of Sanskrit literature is called the Veda, a term which (originally at least) was roughly synonymous with mantra or brahman and meant ‘sacred utterance’. The Veda is also called the sruti ‘that which has been. heard’, or the ‘revelation’, and is, according to the later Indian tradition — especially according to the Mimamsa, a school of Vedic exegesis —— eternal and authorless, and was a‘revea1ed’ to the Vedic rsis or seers. The Veda is divided into several layers of texts: first come the Samhitas or ‘collections’.

There are four Samhitas: the oldest is the Rgveda Samhita, or the ‘collection of verses’, (dated circa 1500-1000 B.C.E.), composed in ten mandalas or books. Out of these, the tenth mandala is usually considered to be younger than the rest of the collection. The Rgveda consists of hymns attributed to certain families of seers, mainly containing prayers and praise addressed to different gods. In these hymns, the poets frequently mention and describe the mythical deeds of these gods, The Rgveda Samhita is thus of paramount importance for our study. The Samaveda Samhita, or the ‘collection of melodies’, mainly consists of verses taken over from the Rgveda. But the Samaveda adds musical annotations to these verses, which were meant for the use of the  udgatr -priest who had to sing these parts in the ritual. The Yajurveda Samhita, or the ‘collection of sacrificial formulae’, whose oldest text goes back to about 800 B.C.E., is not unitary, unlike the other collections. It is first subdivided into ‘white’ (sukla) and ‘black’ (krsna) Yajurveda, and consists of five texts, namely; the Vajasaneyi Samhita belonging to the White Yajurveda; and the Katha (or Kathaka) Samhita, the Kapisthala Katha Samhita, the Maitrayani Samhita and the Taittiriya Samhita belonging to the Black Yajurveda. Although these five Samhita are said to be recensions (sakhas), they are too different to go back to a single, original Ur-Yajurveda, or at least to allow such a text to be reconstructed. The Yajurveda Samhita, as its name shows, is mainly concerned with the sacrificial ritual. 

The remaining Vedic texts are necessarily attached to one of the four Samhitas. We can distinguish several different groups of texts, which were roughly composed in the following) chronological order, though there are some overlaps: the Brahmanas, the Aranyakas, the Upanisads and the Vedangas. The Brahmanas are prose compositions mainly dealing with the sacrifice, composed for the Brahmins. By their subject-matter, they continue the line of the Yajurveda Samhita. They give precise descriptions and explanations of the sacrificial ritual, but also contain dogmatic commentaries, philosophical speculations, and are a real treasure—trove of legends and myths, a point which makes them highly relevant for our study.

The Aranyakas derive their name from the term aranya, ‘forest’. They probably received this appellation due to the fact that, as secret texts, they had to be studied in the wilderness. They give the ritual a mystical—allegorical interpretation leading to meta-ritualistic ideas. The Upanisads mark a break in the Vedic literature. While retaining a connection with the sacrifice, they are also philosophical texts, recording, for instance, the emergence of the theory of samsara (cyclical reincarnation), the identification of atman and brahman, etc. Finally, the Vedangas, or auxiliary texts of the Veda, contain treatises on the ritual, phonetics, grammar, etymology, metrics and astronomy. They are all composed in the very terse sutra-style. Of these, only the auxiliary texts concerning the ritual, or Kalpasutras (subdivided into srautasutras, concerning the solemn ritual, and grhyasutras, concerning the domestic ritual) are of some limited relevance for us. In the course of this study, and mainly for the sake of convenience, we shall principally distinguish between the Rgveda Samhita, due to its greater antiquity, and the rest of the Vedic texts, which will be grouped together under the denomination of ‘the later Veda’. As for the two Sanskrit Epics, the Mahabharata and the Ramayana, let us first note that although we distinguish them by the appellation ‘Epics’, the Indian tradition itself does not generally consider that they belong to the same literary genre.

(iii) “Now I see no other course open but the fourth – punishment. The kings are marching to Kurukshetra to their doom!”

(iv) … “and from that exalted line/ of heavenly nymphs was matavi descended./ a woman of flawlwss birth, of broad shoulders,/ and curly hair, spilling pollen, she was/ noted for her style of great distinction.”.

Answer the following in about 350 words each: 4 X 20 = 80

1. Examine the difference between the Shakuntala in Abhijnana Shakuntala and the Shakuntala episode in the Mahabharata.

Although the great heroine Shakuntala has become a part of popular imagination because of the play by Kalidasa, the great  Sanskrit  dramatist, the original  story  of this distinguished lady occurs in the  Mahabharata  from which Kalidasa took his inspiration. The Mahabharata story is slightly different from Kalidasa’s version. The primary thrust in the Mahabharata is to teach us the nuances of dharma through the poignant love story of Shakuntala and king Dushyanta.

Dushyanta was a powerful and virtuous king. Once, while he was out hunting in the forests, he came across a picturesque hermitage which was as peaceful as it was beautiful. There he saw numerous saints engaged in various Vedic activities like performing yajnas and the teaching and chanting of  Vedas . He came to know that the hermitage belonged to the great saint named Kanva. Wanting to pay his obeisance to the sage, he went over to his hut and called out from outside, “Is anybody there?”. In answer to his call, there emerged from inside a maiden, who was dressed like an ascetic and was as beautiful as  goddess Lakshmi  herself. As soon as she saw that it was a guest, she welcomed him and gave him a seat, presenting him with water. She thus honoured him in appropriate ways and then smilingly asked him the purpose of his visit. The king informed her that he had come to pay respects to the illustrious sage Kanva. Shakuntala replied that he was her father and had gone out to collect fruits. She asked him to wait a while for his return.

Observing her sophistication and grace, the king could not help noticing that she was a dazzling maiden with a charming smile and a well proportioned physical form. Her attractiveness was defined as much by her youthful physical beauty as it was by her evident austere life and humility. IGNOU BEGC 101 Solved Assignment 2022-23

2. Write a critical note on the predicament of Karna in the Mahabharata. 

The epic of Mahabharata, which was written in the remotest past of ancient India, is much more than a mere account of a battle between two branches of family. Rather it is a storehouse of moral, ethical and life-changing lessons that can elevate a man’s life from the position of chaos to cosmos. It stands as a pole star to humanity which guides and motivates mankind to choose the path of righteousness and to give up the side of evil and lawlessness. No other epic in the world is as bulky as The Mahabharata. It is eight times longer than Homer’s Illiad and Odessey, four times than Valmiki’s Ramayana and three times than The Bible. The Mahabharata bears the stamp of rich cultural heritage as well as the undying and golden history of ancient India. It is the story of bravery and indomitable courage. Though The Mahabharata was written in the ancient India, it is still relevant in the present era. The story of Mahabharata has always been imparting valuable lessons- it teaches humanity the lessons of morality, ethics, righteousness and the lesson of life, by following which one can attain the ultimate goal of human life. This  epic renders valuable suggestions to those who are seeking moral guidance or facing ethical dilemmas.

KARNA’S CHARACTER Maharathi Karna was the most tragic and unfortunate character of The Mahabharata and at the same time, he was the most powerful of all. He was even stronger than Arjuna because Arjuna could not have vanquished him without the aid of LordKrishna and the divine deity Indra. Karna was the son of Surya and the unmarried teenage Kunti for which the latter, out of shame abandoned him. Karna was adopted and raised by the foster suta parents named Radha and Adhiratha due to which he was named as ‘Sutaputra’. His other names were Vasusena, Anga-Raja, and Radheya. Karna had all the qualities of Pandavas. The qualities that were distributed among the five Pandavas were possessed by him. He was intelligent, a great archer, powerful, a man of moral values as well as handsome. Throughout his life, Karna got nothing but utter humiliation and insults. Everyone cast scornful eye on him due to his low descent. Karna never got an oppurtunity to prove himself as the best. Even Draupadi did not allow him to participate in her ‘Swayambar’ and insulted him in front of all. The character of Karna can be interpreted from many perspectives. He was brought up and grown up in the lineage of sutas hence he got the name ‘suta-putra’. This very idea evokes the concept of casteism that was privileged during that time of ancient India. The sutas belong to the lowest strata of society who lives at the margin of society and are humiliated and subjugated by the higher caste or the people from royal family. Thousand times Karna received disgrace in the name of caste. Guru Dronacharya refused to give him the knowledge of warfare because of his caste; Draupadi refused to marry him and prevented him from taking participation in her swayambar just because he was a suta. Thus, it is clear that the caste system, which has been playing a vital role in Indian society as a means of social stratification, is not the product of modern India rather the very seed of casteism had been sown in the ancient India and Karna was the worst victim of caste system. Karna’s character can also be viewed from the post-colonial perspective of Gayatri Chakravorty Spivak’s ‘subalternism’. A subaltern is a person from ‘an inferior rank’ living at the edge of society. Karna, though in reality was born in the lineage of royal family, was known as suta-putra to the external world because of his suta parentage. Throughout his life, Karna was never given due respect because everyone regarded him as a person from an inferior rank. Everyone refused and rejected him due to his low origin.

3. Discuss the significance of the storm in Mrichchhkatika?  –   Answer

4. write a detailed note on the idea of justice in cilappatikaran. –  answer.

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IGNOU Instructions for the BEGC 101 Indian Classical Literature  

BEGC 101 Indian Classical Literature Solved Assignment 2022-23 Before attempting the assignment, please read the following instructions carefully.

• Read the detailed instructions about the assignment given in the Handbook and Programme Guide.
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