Ques 1.

Give below is a passage from The Road (Mulk Raj Anand, Sterling, Delhi), which
needs editing. Read it closely to incorporate such editorial changes as punctuation
marks, break up of sentences, paragraphing, spellings, use of capital letters, etc. 

 “after the first round of prayers pandit Suraj Mani felt that he had been constrained to
neglect so angust a personality as a landlord Thakur Singh when the latter, had come,
into the temple; so he caressed his white beard into the necessary dignity and essued
out, his staff into his right hand; rosary into his left. The Sun was breathing fire across
the world; as it moved angrily over the planes into the hills wich divid Haryana from
Rajasthan. Pandit Suraj Mani looked up at Surya for a moment and, then withdrawing his gaze quickly, preyed for mercy.
 But as the flaming heat scotched his face, he knew that this God had no mercy that
his anger was more intense them ever; and that the endless temper of the sun was
about to eat up the world, which was full of bad deeds. Surely it had been said in the
puranic holy texts that in the kali yog, the Sun would get more hot and burn the
universe into ashes because the karma of sins must get its first reward. And the gossip
that panditji had heard of the explosions of the suns energy, which had poisoned the
water of the ocan, confirmed him in his prognostications. Why, the breaking of
Dharam, by I ambardar Dhooli Singh and his followers was only one sign of the
spreding evil of this dark age; the sparks of heat burnt all over the priests face and
covered him by a scowl of hatrid against sinfull man-kind. Landlord Thakur Singh
and his son, Sajnu, were seated below the papal tree, almost as if by the instinctive
knowledge that the gods were on there side, they were waiting for the minister of
devine wishes Pandit Suraj Mani.

2. Distinguish between creative and non-creative writing. Can the distinction be
maintained in all cases?
3. What are the essential aspects of a literary work? Does context mean only the transcription of actual experience? 
4. What does „structure‟ mean? 

5. Why is critical reading necessary for an aspiring writer? 

6. Given below is an extract from the story „The Babus of Nayanjore‟ by Rabindranath Tagore (Ten Tales for Indian Students, OUP).

5 The protagonist is talking to himself, trying to understand why he dislikes Kailas Babu.
 Re-write his self-analysis in the form of a dialogue with an intimate friend. 
 When I sit down and try to analyse the thoughts and feelings that I had towards Kailas
 Babu, I see that there was a still deeper reason for my dislike. I will now explain.
 Though I am the son of a rich man, and might have wasted time at college, my industry
 was such that I took my M.A. degree in Calcutta University when quite young. My moral
 character was flawless. In addition, my outward appearance was so handsome, that if I
 were to call myself beautiful, it might be thought a mark of self-estimation, but could not
 be considered an untruth.

 There could be no question that among the young men of Bengal I was regarded by parents
 generally as a very eligible match. I myself was quite clear on the point, and had determined
to obtain my full value in the marriage market.
7. How will you distinguish a creative impulse from an emotional reaction? 
 Why is distancing from the object necessary in any creative writing?
8. What is the nature and function of the climax in a story? 
 What is an uncomplicated climax and where is it easily identifiable?
9. Explain the kinds of editing.

10. Dialogue can play an important role in Dramatising ideas. Comment.