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BEGLA-137
- ➤ Question 1: Put the bracketed verb in the correct form in the following sentences and identify the verb phrase type:
- ➤ Question 2: Give the meanings of the following phrasal verbs. Use them in sentences of your own.
- ➤ Question 3: Make sentences to bring out the difference in meanings.
- ➤ Question 4: State if the verbs in each of the following sentences are used as auxiliaries or as main verbs: (Any 5).
- ➤ Question 5: Give the negative and question forms of the following sentences:
- ➤ Question 6: Change the direct expressions into indirect forms and the indirect expressions into indirect forms.
- ➤ Question 7: Write short notes on any 4 of the following:
- ➤ Question 8: Discuss the various patterns of repetition used by poets to elevate their writings. Give examples.
1. Put the bracketed verb in the correct form in the following sentences and identify the verb phrase type:
(i) He is singing. (Present Continuous)
(ii) Arun may be expelled. (Modal + Passive)
(iii) He has accepted his mistake. (Present Perfect)
(iv) You ought to accept your mistake. (Modal + Infinitive)
(v) Arun has been watching the game for two hours. (Present Perfect Continuous)
(vi) This song has already been sung twice. (Present Perfect Passive)
(vii) As a young man, I used to walk seven miles a day. (Past Habitual)
(viii) He should have been punished for his carelessness. (Modal + Perfect Passive)
(ix) I was led to believe that the matter had been settled. (Passive Voice + Past Perfect)
(x) This programme is being watched by millions of people all over the country. (Present Continuous Passive)
2. Give the meanings of the following phrasal verbs. Use them in sentences of your own.
(i) Cover up: To hide or conceal a mistake or crime.
- Sentence: The management tried to cover up the scandal to avoid bad press.
- Sentence: He fell for the email scam and lost a lot of money.
(iii) Give up: To stop trying to do something; to quit.
- Sentence: Even though the training was tough, she refused to give up.
(iv) Bring up: To raise a child; or to mention a topic for discussion.
- Sentence: Please don't bring up that sensitive subject at dinner.
(v) Move in: To start living in a new house or apartment.
- Sentence: Our new neighbors will move in next Saturday.
(vi) Look after: To take care of someone or something.
- Sentence: Can you look after my cat while I'm on vacation?
(vii) Throw away: To dispose of something as trash.
- Sentence: It's a shame to throw away food that is still perfectly good.
(viii) Bring back: To return something; or to cause something to be remembered.
- Sentence: This old photograph brings back so many happy memories.
(ix) Turn down: To reject or refuse an offer or request.
- Sentence: She had to turn down the job offer because it was too far from her home.
(x) Stand for: To represent or symbolize.
- Sentence: The acronym 'UNESCO' stands for United Nations Educational, Scientific and Cultural Organization.
3. Make sentences to bring out the difference in meanings.
(i) Site / Sight:
- Site: The company chose a beautiful site for its new office building.
- Sight: The sunset over the ocean was a breathtaking sight.
(ii) Stair / Stare:
- Stair: Be careful on the last stair; it's broken.
- Stare: It's rude to stare at people.
(iii) Break / Brake:
- Break: If you drop the glass, it will break.
- Brake: He had to slam on the brake to avoid hitting the car in front.
(iv) Son / Sun:
- Son: My son just graduated from university.
- Sun: The sun provides light and warmth to the Earth.
(v) Plain / Plane:
- Plain: The food was quite plain, but it was nourishing.
- Plane: We watched the plane take off from the runway.
(vi) Straight / Strait:
- Straight: Walk straight down this road for two blocks.
- Strait: The ship sailed through the narrow Strait of Gibraltar
(vii) Wait / Weight:
- Wait: Please wait here until your name is called.
- Weight: The boxer had to lose weight before the fight.
(viii) Hare / Hair:
- Hare: The quick brown hare disappeared into the bushes.
- Hair: She has long, beautiful brown hair.
(ix) Waist / Waste:
- Waist: He tied the belt around his waist.
- Waste: It's a waste of time to argue about something so trivia.
(x) Toe / Tow:
- Toe: I accidentally stubbed my toe on the leg of the chair.
- Tow: The breakdown service had to tow our car to the garage
4. State if the verbs in each of the following sentences are used as auxiliaries or as main verbs: (Any 5).
(i) Do you have many friends in college?
- Do: Auxiliary verb (used to form a question)
(ii) My sister likes to read poetry.
- likes: Main verb
(iii) God helps those who help themselves.
- helps: Main verb
(iv) You ought to know your religion well.
- ought: Modal auxiliary verb
(v) When did India become a Republic?
- did: Auxiliary verb (used to form a past tense question)
(vi) A snake-bitten patient should not sleep.
- should: Modal auxiliary verb
(vii) I noticed the difference.
- noticed: Main verb
5. Give the negative and question forms of the following sentences:
(i) You called me
- Negative: You did not call me.
- Question: Did you call me?
(ii) I can borrow his scooter
- Negative: I cannot borrow his scooter.
- Question: Can I borrow his scooter?
(iii) He will agree.
- Negative: He will not agree.
- Question: Will he agree?
(iv) You had a good breakfast.
- Negative: You did not have a good breakfast.
- Question: Did you have a good breakfast?
(v) You used to be frightened of him.
- Negative: You did not use to be frightened of him.
- Question: Did you use to be frightened of him?
(vi) You oughtto have accepted the offer.
- Negative: You ought not to have accepted the offer.
- Question: Ought you to have accepted the offer?
(vii) He mightlike it.
- Negative: He might not like it.
- Question: Might he like it?
(viii) You wanted me to come.
- Negative: You did not want me to come.
- Question: Did you want me to come?
(ix) He is talking sense.
- Negative: He is not talking sense.
- Question: Is he talking sense?
(x) Your uncle is waiting to see you.
- Negative: Your uncle is not waiting to see you.
- Question: Is your uncle waiting to see you?
6. Change the direct expressions into indirect forms and the indirect expressions into indirect forms.
(i) Put all your books away.
- Indirect: He told me to put all my books away.
(ii) Have another mango.
- Indirect: She offered me another mango.
(iii) Unlock the door.
- Indirect: He ordered them to unlock the door.
(iv) Will you post all the letters?
- Indirect: She asked if I would post all the letters.
(v) I wonder whether you would write to him.
- This is already in an indirect form. (It reports the speaker's internal thought or question.)
(vi) Would you leave it to him?
- Indirect: He asked if I would leave it to him.
(vii) I thank you for the help.
- Indirect: He thanked me for the help.
(viii) I wish you success in life.
- Indirect: He wished me success in life.
(ix) 'I've been working,' she said.
- Indirect: She said that she had been working.
(x) They said: 'We're going home.'
- Indirect: They said that they were going home.
7. Write short notes on any 4 of the following:
(i) Rhythm
Rhythm in literature, especially poetry, refers to the pattern of stressed and unstressed syllables in a line of verse. It creates a sense of musicality and flow, making the language more memorable and engaging. Rhythm is determined by meter, which is the formal, regular pattern of stressed and unstressed syllables. For example, iambic pentameter (five pairs of an unstressed syllable followed by a stressed one) is a common rhythm in English poetry, as seen in Shakespeare's sonnets. Rhythm is a fundamental tool that poets use to influence the mood and pace of a poem, enhancing its emotional impact and auditory appeal.
(ii) Couplet
A couplet is a pair of successive lines of verse, typically rhyming and of the same length and meter. Couplets can function as a self-contained unit of thought or as part of a larger stanza. The most famous form is the heroic couplet, which is written in rhyming iambic pentameter, widely used by poets like Alexander Pope. Shakespeare often used a concluding couplet to signal the end of a sonnet or a scene in his plays, providing a sense of closure and summarizing the preceding thought. For example: "For never was a story of more woe / Than this of Juliet and her Romeo."
(iii) Metaphor
A metaphor is a figure of speech that makes an implicit or hidden comparison between two things that are unrelated but share some common characteristics. Unlike a simile, a metaphor does not use "like" or "as." It states that one thing is another thing. For example, in the phrase "the world's a stage," Shakespeare is not literally saying the world is a stage, but is drawing a comparison between life and a play. Metaphors are a powerful literary device because they can create vivid imagery and convey complex ideas in a concise and impactful way, encouraging the reader to see familiar things in a new light.
(iv) Personification
Personification is a figure of speech in which human qualities, characteristics, or actions are attributed to inanimate objects, animals, or abstract ideas. It is a way of bringing non-human things to life, making them more relatable and vivid to the reader. For example, in the line "The wind whispered through the trees," the wind is given the human ability to whisper, creating a sense of gentle, secretive movement. Personification helps to create a more imaginative and emotionally resonant picture of the world, allowing writers to express concepts and feelings in a more creative and impactful manner.
(v) Simile
A simile is a figure of speech that makes a direct comparison between two different things, using the words "like" or "as." The purpose of a simile is to highlight a particular quality that the two things share, thereby creating a more vivid image or a clearer understanding for the reader. For example, in Robert Burns's famous line, "O my Luve is like a red, red rose," he is comparing his love to a rose to evoke feelings of beauty and passion. Unlike a metaphor, which states that something is something else, a simile makes the comparison explicit, creating an image that is both imaginative and easy to comprehend.
8. Discuss the various patterns of repetition used by poets to elevate their writings. Give examples.
Repetition is one of the most fundamental and powerful devices in a poet's toolkit. Far from being a sign of limited vocabulary, the deliberate and artful repetition of sounds, words, phrases, or structures is a key technique used to create rhythm, build emphasis, enhance meaning, and evoke strong emotional responses. Poets employ various patterns of repetition to transform simple language into a memorable and musical artistic expression.
One of the most common forms of repetition is alliteration, the repetition of initial consonant sounds in neighboring words, such as in Samuel Taylor Coleridge's line, "The fair breeze blew, the white foam flew." This creates a musical, flowing quality that makes the line more pleasing to the ear and more memorable. A related device is assonance, the repetition of vowel sounds within words, as in "the tide rises, the tide falls," which creates a sense of internal rhyme and sonic texture.
Poets also use the repetition of entire words or phrases to create emphasis and rhythm. Anaphora is the repetition of a word or phrase at the beginning of successive clauses or lines. This technique can build a powerful, cumulative effect, creating a sense of incantatory power or insistent argument. For instance, in William Blake's "London," the repetition of "In every" at the start of three consecutive lines—"In every cry of every Man, / In every Infant's cry of fear, / In every voice, in every ban"—powerfully conveys the overwhelming and inescapable nature of the city's suffering.
The opposite of anaphora is epistrophe, the repetition of a word or phrase at the end of successive clauses. This can create a sense of finality or underscore a central, haunting idea. A famous example is found in the refrain of Edgar Allan Poe's "The Raven," where the word "Nevermore" is repeated at the end of multiple stanzas, each time with growing intensity and despair, hammering home the poem's theme of irreversible loss.
Finally, poets use refrains, which are repeated lines or stanzas that appear at regular intervals throughout a poem, similar to the chorus of a song. Refrains serve to unify the poem, create a memorable, song-like quality, and reinforce the central theme or mood. In Robert Frost's "Stopping by Woods on a Snowy Evening," the concluding repetition—"And miles to go before I sleep, / And miles to go before I sleep"—transforms a simple statement into a profound meditation on duty, life's long journey, and the allure of final rest. Through these various patterns, repetition elevates language from mere communication to an art form, creating rhythm, structure, and deep emotional resonance.