(Only 250 words)

The essence of poetry is that it deals with events which concern a large number of peopel and can be grasped not as immediate personal experience but as matter known largely from heresy and presented in simplified and often abstract forms.It is thus antithesis of all poetry which deals with the special,individual activity of the self and tries to present this as specially and as individually as it can.The poet who deals with public themes may himself be affected,even deeply,by contemporary events at some point in his own being, but to see them in their breadth and depth he must rely largely on what he hears from other men and from mass instruments of communication. From the start his impulse to write about them is different from any impulse to write about his own affairs.It may be just as strong and just as compelling, but it is not of the same kind.He has to give his own version of something which millions of others may share with him,and however individual he may wish to be, he cannot avoid relying to a large extent on much that he knows only from second hand.
Fundamentally this may not matter,for after all what else did Shakespear do: but the political poet does not construct an imaginary past,he attempts to grasp and interpret a vast present.Between him and his subject there is a gap which he can never completely cross,and all his attempts to make events part of himself must be to some extent hampered by recalcitrant elements in them,which he does not understand or cannot assimilate or find irrelevant to his creative task.In such poetry selection which is indispensable to all art,has to be made from an unusally large field of possibilities and guided by an exacting sense of what really matters and what does not.On one side he may try to include too much and lose himself in issues where he is not imaginatively at home; on the other side he may see some huge event merely from a private angle which need not mean much to others.Political poetry oscillates between these extremes, and its history in our time has been largely attempts to make the best of one or the other of themor to see what compromises can be made between them.

COMPETITIVE EXAMINATION 1971

1. Make a Précis of following passage in about 250 words:

The essence of poetry is that it deals with events, which concern a large number of people and can be grasped not as immediate personal experience but as matter known largely from heresy and presented in simplified and often abstract forms. It is thus the antithesis of all poetry, which deals with the special, individual activity of the self and tries to present this as specially and as individually as it can. The poet who deals with public themes may himself be affected, even deeply, by contemporary events at some point in his own being, but to see them in their breadth and depth he must rely largely on what he hears from other men and from mass instruments of communication. From the start his impulse to write about them is different from any impulse to write about his own affairs. It may be just as strong and just as compelling, but it is not of the same kind. He has to give his own version of something, which millions of others may share with him, and however individual he may wish to be, he cannot avoid relying to a large extent on much that he knows only from second hand. Fundamentally, this may not matter, for after all what else did Shakespeare do: but the political poet does not construct an imaginary past, he attempts to grasp and interpret a vast present. Between him and his subject there is a gap, which he can never completely cross, and all his attempts to make events part of himself must be to some extent hampered by recalcitrant elements in them, which he does not understand or cannot assimilate or find irrelevant to his creative task. In such poetry, selection which is indispensable to all art, has to be made from an unusually large field of possibilities and guided by an exacting sense of what really matters and what does not. On one side he may try to include too much and lose himself in issues where he is not imaginatively at home, on the other side he may see some huge event merely from a private angle which need not mean much to others. Political poetry oscillates between these extremes, and its history in our time has been largely attempts to make the best of one or the other of them or to see what compromises can be made between them.(400 words)/3 = 133.333
ANS


Generally, one of the characteristics of poetry is to elaborate ideas that could be shared with a large section of society. Besides, it should be simple and straightforward. Writing poetry about public matters concerns not only with poet's experience, but also with public opinions and sentiments. Unlike others, a political poet has to deal mainly with an immediate present. He has to face with a huge chunk of information that contains all relevant as well as irrelevant facts. In addition, the political poets need to utilize the individual choice of selecting the essentials, which may not always be correct. There leaves nuance of compromising characteristics in such finished poetry, i.e., verbose, biased or a combination of both. Thus, to write political poetry is an intricate task for the poets. (129 words)

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Lo! man is in a state of loss. (Al-Asr:103:2) And every small and great thing is recorded. (Al-Qamar:54:53) And guard yourselves against a day in which ye will be brought back to Allah. Then every soul will be paid in full that which it hath earned, and they will not be wronged. (Al-Baqara:2:281)

1. Make a Précis of following passage.

The essence of poetry is that it deals with events, which concern a large number of people and can be grasped not as immediate personal experience but as matter known largely from heresy and presented in simplified and often abstract forms. It is thus the antithesis of all poetry, which deals with the special, individual activity of the self and tries to present this as specially and as individually as it can. The poet who deals with public themes may himself be affected, even deeply, by contemporary events at some point in his own being, but to see them in their breadth and depth he must rely largely on what he hears from other men and from mass instruments of communication. From the start his impulse to write about them is different from any impulse to write about his own affairs. It may be just as strong and just as compelling, but it is not of the same kind. He has to give his own version of something, which millions of others may share with him, and however individual he may wish to be, he cannot avoid relying to a large extent on much that he knows only from second hand. Fundamentally, this may not matter, for after all what else did Shakespeare do: but the political poet does not construct an imaginary past, he attempts to grasp and interpret a vast present. Between him and his subject there is a gap, which he can never completely cross, and all his attempts to make events part of himself must be to some extent hampered by recalcitrant elements in them, which he does not understand or cannot assimilate or find irrelevant to his creative task. In such poetry, selection which is indispensable to all art, has to be made from an unusually large field of possibilities and guided by an exacting sense of what really matters and what does not. On one side he may try to include too much and lose himself in issues where he is not imaginatively at home, on the other side he may see some huge event merely from a private angle which need not mean much to others. Political poetry oscillates between these extremes, and its history in our time has been largely attempts to make the best of one or the other of them or to see what compromises can be made between them.(400 words)/3 = 133.333

DISTINCTION BETWEEN IMAGINATIVE AND POLITICAL POETRY

The core of poetry relates to large number of people's activity presented in simplified and often abstract forms. The poet may get impinge on such poetry but he should rely on the comments of other people and sources. Disparate to such poet, a political poet seizes the present. He finds it extraneous to raise imaginary past. He endeavors to grapple and infer a vast present. It may seem persuasive or compelling but it is not. Such poetry is assorted from extraordinary large domains of leeway escorted by a meticulous approach of the issue. He may indulge himself too many in issues which are not imaginative or he may perceive issues which may not grab other's attention. Political poetry fluctuates between these two radicals, and many attempts have been made to make the best out of both.

136 Words.

Not a good attempt though, just a try. Plz tell me if there are mistakes in it.
With Regards.

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I will permit no man to narrow and degrade my soul by making me hate him.

salam...........

im new to this forum and am already very dejected after going through DMC's of senior members.When so many excellent students can slip in eng comp than students like me dont stand a chance to get thru this paper. I am below average in english composition and need ur guidance to workout my mistakes.i Will inshAllah try to contribute in this thread as much as i can but need ur guidance

Regards

Despite of the fact that a supreme literary work, produced by intelligentsia of an age, may not receive desired acclaim, it serves as a reflective window for the following generations to look into that period. Moreover, rise of a work to a masterpiece is often slow paced like John Keats work, but once developed it receives huge attention from readers of the older generation. 59 Words

Title: Classic Literature: a mirror image of an age

Make a précis of the given passage and suggest a suitable heading.

The author of a work of imagination is trying to effect us wholly, as human beings, whether he knows it or not; and we are affected by it, as human beings, whether we intend to be or not. I suppose that everything we eat has some effect upon us than merely the pleasure of taste and mastication; it affects us during the process of assimilation and digestion; and I believe that exactly the same is true of any thing we read.
The fact that what we read does not concern merely something called our literary taste, but that it affects directly, though only amongst many other influences , the whole of what we are, is best elicited , I think, by a conscientious examination of the history of our individual literary education. Consider the adolescent reading of any person with some literary sensibility. Everyone, I believe, who is at all sensible to the seductions of poetry, can remember some moment in youth when he or she was completely carried away by the work of one poet. Very likely he was carried away by several poets, one after the other. The reason for this passing infatuation is not merely that our sensibility to poetry is keener in adolescence than in maturity. What happens is a kind of inundation, or invasion of the undeveloped personality, the empty (swept and garnished) room, by the stronger personality of the poet. The same thing may happen at a later age to persons who have not done much reading. One author takes complete possession of us for a time; then another, and finally they begin to affect each other in our mind. We weigh one against another; we see that each has qualities absent from others, and qualities incompatible with the qualities of others: we begin to be, in fact, critical: and it is our growing critical power which protects us from excessive possession by anyone literary personality. The good critic- and we should all try to critics, and not leave criticism to the fellows who write reviews in the papers- is the man who, to a keen and abiding sensibility, joins wide and increasingly discriminating. Wide reading is not valuable as a kind of hoarding, and the accumulation of knowledge or what sometimes is meant by the term ‘a well-stocked mind.’ It is valuable because in the process of being affected by one powerful personality after another, we cease to be dominated by anyone, or by any small number. The very different views of life, cohabiting in our minds, affect each other, and our own personality asserts itself and gives each a place in some arrangement peculiar to our self.


INFLUENCE OF READING ON PERSONALITY

Reading of a literary work leaves wholesome impact on our minds. Its effect is slow and imperceptible. It not only cultivates our literary taste but moulds our personality in the process. However, book reading affects us differently according to the level of our mental growth. Same is the truth in case of different authors. By reading different creative works, we begin to discern distinctive similarities & dissimilarities in their style & come under their strong sway. Gradually we to develop our own critical ken and thus decrease our susceptibility to one author or another. In the whole process we begin to discriminate between the work of different authors & acquire an ability to aptly criticize them. The habit of vast reading that we acquire in the long run has its own utility. It asserts all-embracing influence on the overall growth of our personality.

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Waheed Anwar Abro
Customs & Excise
37th CTP

Literature can be used as an index to measure the progress of an age, if people's attachment to books reading is analyzed. A wrong supposition is that valued books were equally valued by writer's contemporaries, as a matter of fact, recognition of work may develop slowly with time.

The true scope of poetry is beyond one’s own personal observations and experiences. It includes simplified and abstract knowledge from a variety of people rather reserving it to a few one. For instance, prior to presenting the poetic idea, it is more significant to share the views of masses and then organizing them in poetic writings. There may be some exceptions, but above construction based on vast field is essential. Moreover, a political poetry is such a type of poetry, which walks around possibilities of situations and judgment between their importances. It relies on mediating between two extremes i.e confusing in chunk of ideas or restricting the scope to singleton ideas , so that it avoids verbose or self biased poetry.

Seniors plz critically evaluate it.

Make a précis of the given passage and suggest a suitable heading (20 +5)

The touring companies had set up their stages; when playing for towns-folk and not for the nobility in the large inn yards where the crowd could sit or stand around the platform and the superior patrons could seat themselves in the galleries outside the bedrooms of the inn. The London theatres more or less reproduced this setting, though they were usually round or oval in shape and stage was more than a mere platform, having entrances at each side, a curtained inner stage and an upper stage or balcony. For imaginative Poetic drama this type of stage had many advantages. There was no scenery to be changed, the dramatist could move freely and swiftly from place to place. Having only words at his command, be had to use his imagination and compel his audience to use theirs. The play could move at great speed. Even with such limited evidence as we possess, it is not hard to believe that the Elizabethan audience, attending a poetic tragedy or comedy, found in the theatre an imaginative experience of a richness and intensity that we cannot discover in our own drama. (188 words / 3 = 62.66)

Spirit if theatre more evident in older constructions

The spirit of older stages is more evident in London theatres, where the audience was ordinary people. Rather simpler in construction, these theatres were more spacious for the dramatist to perform and grab the attention of audience and they require no interruption for change of scenery. Moreover, these theatres provided their audience with more feeling, rich in imaginations, than the modern dramas do.

Mr Irfan Ali, You Are Giving Passages To Work On, You Urself Could Do It?