XII eng notes -2 (2)

What’s Your Dream By Ruskin Bond Summary

Through this short story Ruskin Bond teaches us a profound lesson about the very  business of living- to pursue our dream, to materialize it and at the same time to be ready read y to lose everything. One afternoon, the narrator was seated on the branch of a litchi tree and was brooding. A very old beggar was passing that way. Seeing the narrator all alone on the litchi tree in spite of the litchi season he asked him what his dream was. Such a question surprised the narrator. Firstly, because he had not expected such a question from an old street beggar and that too in English. The narrator thawed and told promptly that he wanted to have room of his own. The old man interpreted the dream of the boy and told what he wanted was freedom. When the narrator enquired how he could find his dream, the beggar replied in a friendly manner that there was no magic formula for finding one’s dream. One must work hard for his dream and move towards it constantly discarding all other things that came in the way. But he cautioned the narrator that normally the difficult times follow after the fulfillment of one’s dream. This surprised the narrator. The old man explained that it is very easy to lose everything as after fulfillment of the dream one might become very greedy or careless and start taking everything for granted.He, however, advised the narrator to pursue his dream doggedly, but , not at the co st of other people’s dreams. The narrator went back home and demanded a room of his own and got it. The narrator realized that freedom is something that one must insist upon to get.

A Devoted Son By Anita Desai

A Summary Rakesh scored the highest rank in the country for his Medical Examination. Instead of getting lost in the most envied success; Rakesh bent down and touched his father’s feet. This pleased the father for it was another reason for the vegetable vender to be  proud of being Rakesh’s father. For an uneducated uneducate d family like lik e Rakesh’s, this success  brought cheers. Getting Rakesh educated was Varmaji’s greatest dream. Neighbours came to congratulate Rakesh, his father Varmaji and his mother. Presents flowed into Varma ji’s house as garlands, halwa, party clothes and fountain pens to last years, even a watch or two.To his neighbours Vermaji told about his son’s touching his feet even after becoming a doctor with a first rank. Some of the good neighbours appreciated this son and this father while others, envious as neighbours are, felt that Varmaji was giving himself airs. Soon Rakesh cleared his MD course with flying colours. Having won a scholarship, Rakesh went to the USA. Rakesh worked in some most prestigious hospitals in the USA. Finally Rakesh returned to his native place. Rakesh married a girl that his mother wanted him to marry. For some years Rakesh worked in the city hospital, quickly rising to the top of the administrative organization, and was made a director before he left to set up his own clinic. Rakesh  bought a new car and unfailingly drove his parents in it to his clinic. Varmaji and his wife were the happiest in the world.For a while, Rakesh’s fame seemed to grow just a little dimmer but soon he became the richest doctor in town. Varmaji grew very old and number of ailments left him bed ridden. Rakesh’s mother passed away. (She was quite fortunate that her famous doctor-son rubbed her feet during her last days) Varmaji was quite helpless and his old age was going to be more miserable Varmaji fell ill so frequently and with such mysterious diseases that even his son could not cure him. Everyone ignored his strange illnesses but Rakesh (the pearl of his father) was always with him. Rakesh took great care of his father, brought him morning tea, read him newspaper and reminded him to take medicines.After a while Rakesh began

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to impose certain restriction upon his father. No sweets, not too much food, no fried food, etc.When the old man resented or tried to bribe Rakesh’s son for his delicacies, Rakesh scolded his father. Rakesh had by this time developed a doctor-patient relation with his father. Rakesh was only concerned with his father’s health but the old man thought his son was being miserly.One day Varmaji met his neighbour old Bhatia, next door. He told old Bhatia how his son and daughter-in-law refused him food. Varmaji realized that, even with a doctor at home he was not half as happy as old Bhatia. He began to think that his son had crossed all limits.Determined, Varmaji announced that he didn’t need his son’s medicines. All that he wished was death.

The Hum of Insects By Robert Lynd Summary The most common human response to insects is that of revulsion combined with fear. In the given essay the author shows how these creatures that annoy us so much can also delight us. The author begins by saying that the place where one hears the hum of an insect makes all the difference. What sounds like music in one place may strike a jarring note in another. Thereafter he goes on to dwell upon the differences between bees and wasps on one hand and mosquitoes on the other. Lynd feels that the mosquito is an unscrupulous creature as it attacks without waiting to be attacked. On the other hand, the bees and the wasps are noble creatures in comparison because they never injure human beings unless a human being injures them. However they do not discriminate between one human being and another or for that matter if a bee loses its head it does not even wait for a human  being in order to relieve its feelings. In spite of all this, Lynd feels that the bee is morally far higher in the scale than the mosquito; the bee not only onl y gives us honey but also helps in  pollination and above all unlike the mosquito it does not attack unless provoked. Using his typical sense of humour, Lynd then goes on to expound how to avoid the sting of a wasp. An infallible preventive is to lie still and hold one’s breath till it has finished trying to sting. Gradually shifting on to a serious note, the author wonders whether the delightfulness of the hum of insects depends on itself or its surroundings or the nostalgia it arouses. The author then says that the hum of insects, the noise of the sea and the noise of the the  birds have an infinite capacity to give us pleasure probably because be cause on o n hearing h earing them we  become a part of some universal music and that their rhythm echoes in some way the rhythm of our breath and blood. These sounds seem to echo the chorus of life and the  pleasure that man feels in being alive. The hum of insects also is a pleasant one as it reminds one of the pleasant experiences of the past, especially the childhood memories when one’s world did not exist beyond the garden gate and there were no worries, everyone appeared to be happy, peace seemed to reign every where and there was the illusion that things would last that way forever. To the innocent children the world appeared to be full of people who laugh because they are happy and smile because they are kind . a child’s favourite toy is the garden and the farm. In conclusion, Lynd goes on to say that the it is probably the child in us that responds most to pleasures such as the hum of insects, the infinite variety of nature and restores the illusion that all is well in this world. However the illusion comes to an end when man is reminded of the mundane realities of life and then the insects once again appear to be little stabbing creatures that make an irritating noise.

Questions on Board Pattern

 Short  Short  –  Answe  Answer Type Type Quest Questii ons ( 50 Wor Wor ds & 3 Marks Mark s ea each)

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1. Why does the author say, “It makes all the difference whether you hear an insect in the bedroom or in the garden”? 2. Why does the author say that ‘the bee is morally higher in the scale than the mosquito’? 3. How does Lynd differentiate between mosquitoes and bees ? 4. What makes man feel that he has become part of some universal music? 5. What are the memories of childhood that Lynd talks of? 6. Why is the world a pleasant place for a child? 7. How is a child’s world different from an adult’s as discussed in the essay “The Hum of Insects”? 8. ‘The essay “Hum of Insects” ends in an anti-climax’ Discuss.

Long  –   Answer Type Questions (100 Words & 5 Marks each) 1. In “The Hum of Insects” the reader journeys through the magic of reminiscence to the present day reality. Comment. 2. Discuss the memories that Lynd has of his childhood. Why does he call some of them ‘illusions’? 3. How does Lynd change the common man’s perception of revulsion and fear towards insects? 4. “There is a child in every one of us-the grown ups, but the fact that we don’t see that child makes our life a burden, a problem, a perennial cause for all our grumbles.’ Comment on Lynd’s essay in the light of the given statement. 5. Our pleasure in the hum of insects is also a pleasure of reminiscence. Comment.

Value-B ased Questions (100 Words & 5 Marks each) 1. What are the values imparted by Lynd through his views on childhood. How relevant are these values for us today? 2. How does Lynd portray man’s unity with nature in the essay “The Hum of Insects”? Comment on the importance of this realization for man in today’s world. THE JUDGEMENT OF PARIS by Leonard Merrick Synopsis Robichon, Quinquart and Mademoiselle Brouette were members of the Theatre Supreme. Brouette was a captivating actress. Both Robichon and Quinquart were talented comedians and loved the lady equally . She did not favour any of them in particular. When the two troubled her to know whom she would marry, in a frivolous manner she said she would marry the better actor of the two. This, she said, would be decided by the audience of Paris. The two actors were now worried as to how this would take place  because whi le one’s facial expression exhibited comic, the other was fat and disposed to  bring laughter to others. Worried they sat and discussed the possibilities of getting a different role to prove who the better actor was. Just as they were brooding on the issue, they were approached by Jacques Roux who had been an executioner for twenty years but had given it up as he was against capital punishment and had to stand in front of the audience and lecture on the horrors of the job that he had been doing . He was nervous and in spite of a good number of rehearsals could not bring himself to deliver the same . He approached them to know how to face the audience . The opportunity was taken by Robichon . He decided to go in place of Jacques Roux and deliver the speech. Brouettee with Quinquart went to the theatre to witness the same. Robichon delivered his speech . The hall listened in silence and rapt attention.Then the actor received an invitation from Marquis de Thevenin . Robichon, thrilled at the compliment went to meet Marquis . He offered Robichon some wine which he later disclosed to have poisoned in

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order to take revenge as Roux was the executioner of his only son. This shocked Robichon and while staring unbelievingly the Marquis removed his make up to show that he was Quinquart. Quinquart proved to be a better actor and got the hand of Suzanne in marriage. Answer the following questions in about 50 words each : 3 marks What were the drawbacks in the plan that the two comedians had devised to meet a) the conditions of the challenge put forth by Suzanne? How did Robichon put his powers to a tremendous test? b) Robichon had to take certain precautions regarding his make up as Jacques Roux. c) Why? How did Robichon enthrall the audience at Appeville – Sous-Bois? d) Describe Marquis de Thevenin. e)  f) ‘Fight, or faint, as you please – you are doomed.’ Who says this and to whom? How has ‘you’ been doomed? How did Robichon react to the news that he had been poisoned?  g)  Answer the following Question in about 100 words each: 5 marks a) Draw a pen-portrait of Suzanne Brouette. b) Bring out the aptness of the title of the story ‘The Judgement of Paris’. c) ‘Every thing is fair in love and war.’ Justify the statement in the light of the story.

On Education B y  Albert E instein Summary (Paragraph wise)

This is an excerpt from a famous address made by the great scientist Albert Einstein at Albany, New York on October 15, 1936 on the three-hundredth anniversary of higher education in America. Para 1&2

Einstein begins by declaring that paying homage to our illustrious predecessors is the best thing to do to inspire the youth of today. However being a wanderer all his life he is  probably not the right person to that in the USA. Thereafter he goes on to say that he is not an authority on the study of teaching practices and hence whatever he is going to speak will be on the basis of personal experience and convictions. Para 3

He is of the opinion that scientific matters relate to the knowledge of truth but in matters  pertaining to education this knowledge of truth alone is not sufficient and besides this knowledge must be continually renewed lest it should be lost. It is like a marble statue in the desert that can be buried by the shifting sand dunes. We must work ceaselessly so that the statue is not hidden and knowledge is continually renewed. Thereafter Einstein goes on to stress upon the role of school in the modern era. With the passage of time and increasing economic activity, the role of the family as a bearer of tradition and education has weakened to a great extent. The same role has therefore been shifted to the school. Thus in the present times, the health of the society is, to a large degree dependent upon the school.

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Para 4

The school is not merely an agent of transferring the maximum quantity of knowledge to the growing generation. The school should develop those qualities in the individuals which are essential for the welfare of the state. This does not mean that the individual is reduced to a mere tool of the community. On the contrary the school should work towards attaining a harmonious balance wherein the individual should work for the development of himself as well as the whole of the community. Para 5

The best way to attain this ideal is by labour and activity. Para 6

The best and the most effective method of education is to encourage the students to actual  performance: be it the firsts attempts to write or a doctor’s thesis on graduation from the university etc. Para 7 There is always some motivation behind every achievement. The motivation is always strengthened by the achievement of the task. The motivating factor behind a work may vary from child to child. For some it may be fear or compulsion, for others it may be an ambitious desire for authority and distinction or a genuine interest in the activity coupled with a desire to learn and understand the same. The desire for truth and understanding is termed by Einstein as a divine curiosity which every child possesses but unfortunately is not realised. The pupils’ respect for a teacher should come from within him/her for the teacher’s human and intellectual qualities and not out of fear. Para 8

Ambition or aiming for recognition is firmly rooted in human nature. It is an important stimulus which cultivates human cooperation and binds society together. Ambition can be  both constructive and destructive. Desire for approval and be recognized is important but the desire to be recognized as better or stronger than a fellow being is injurious for the individual as well as the community and hence the school must guard against employing easy methods of creating individual ambition in order to induce pupils to work diligently.

Para 9

Citing Darwin’s theory of the struggle for existence, Einstein says that some people try to  prove in a manner which is not true to the methods of science that destructive economic struggle of competition between individuals is necessary. But he asserts that such competitions will destroy the social fabric and make life difficult for man.

Para 10

A successful man according to the author is one who receives more than what he gives. However, the value of a man should always be seen in terms of what he gives to society not what he receives.

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Para 11

Going back to the motive behind a work, be it in school or in life, the author states that it should always be pleasure in the work, pleasure in its result and realizing the value of the result to the community. The most important task of the school, according to him, is to awaken and strengthen these values in the students so that they have the desire to acquire the highest possessions of men-knowledge and an artist like workmanship. Para 12

However it is easier to make children work by the use of force or by awakening individual ambition than to make them work because they desire to possess knowledge and an artist like workmanship. An ideal school, according to the author would be one where the childlike inclination to play, the childlike inclination for recognition is developed in all students. If such a school succeeds, it will be “highly honoured” by the new generation and then the work given by the school will no longer be a burden for the students. Para 13

Such an ideal school requires ideal teachers who are like artists- perfect in their jobs. To have ideal teachers certain prerequisites should be met. They are- teachers should grow up in such school and they should be given complete freedom to select the material to be taught and the method of teaching. Many a times pressure from outside kills the pleasure in one’s work. Para 14

Till now Einstein has talked of the spirit in which the youth should be educated not the method of teaching or the medium of instruction. He ten raises the question as whether teaching of language should predominate or teaching of science. Para 15

Einstein then says that such questions are of no consequences. Citing the example of a young man who is well trained physically, he says that such a person will be well equipped to take up any kind of physical activity. Similar is the case with the training of the mind. In his own words “Education is that which remains, if one has forgotten everything that he learned in school.” Para 16

The author does not give a lot of importance to the choice of subjects at the school level. He is of the opinion that if the basic education is proper a student can take any up any specialized course as per his choice and interest later. The demands of life are many and therefore specialised training in school is neither possible nor right. The aim of the school is not to give special knowledge but to make the pupil a harmonious personality in order to meet the needs of the community. The foremost aim of the school should be develop the ability to think and judge independently and not impart special knowledge. This is  because if a person knows the fundamentals of his subjects and can. What helps a man to flourish is his knowledge and practical experience which he has gathered as a student.

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Para 17

In the last paragraph, Einstein again states categorically that what he has enunciated is only his personal opinion founded upon nothing but his personal experience as a teacher and as a student.

Questions on Board Pattern

 Short  –  Answer Type Questions (50 Words & 3 Marks each) 9. What are Einstein’s views on education based on? What according to him is the difference between scientific matters and matters relating to education? 10. What role does the school play in modern times? 11. In imparting education, how should the school strike a balance between development of the individual and development of the community? 12. What according to the author is best way to impart education? Why? 13. What are the motivating factors behind the accomplishment of an undertaking? What role does the teacher have to play as a motivator? 14. What does the author have to say regarding ‘ambition’ in the essay ‘On Education”? 15. Mention four characteristics of Einstein’s model of education. 16. What sort of environment should a school provide a student in order to make him/her perform well? 17. Why does Einstein oppose the idea of specialised education in schools?

Long  –   Answer Type Questions (100 Words & 5 Marks each) 6. According to Einstein, what is the aim of school education? Mention two ways of achieving this objective? 7. “I have known children who preferred school time to vacation.” What are the suggestions made by Einstein to make the school an enjoyable place for children? 8. Comment on Einstein’s views on education briefly. 9. In what context does Einstein say that “Education is that which remains if one has forgotten every thing he learned in school.”? What does he mean by saying this?

Value-B ased Questions (100 Words & 5 Marks each) 3. Discuss Einstein’s portrayal of an ideal school? What is the relevance of such a school in the present context? 4. How far do you agree with Einstein’s comments on the constructive and destructive forces involved in ambition? 5. “The most important motive for work in the school and in life is the pleasure in work,  pleasure in its result, and the knowledge of the value of the result to the community.” Comment. 6. In the essay ‘On Education”, Einstein lays a lot of stress on man as a social animal. According to him, in what way can we be useful to society?

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I Can Play “Schools” by May C. Jenkins

Summary "I Can Play 'Schools'" is a story which centres on the relationship between a young widow and her little girl, Marian, who is not the sort of child she had wanted. Marian was born deaf and dumb and in many respects does not fulfil her mother's expectations. The mother loves her "after all", despite an "ever-recurring ache" at t he sight of the little girl from next door, Freda, who is fair-skinned, "golden voiced" and full of confidence. Marian, on the other hand, is shy, hesitant and does not feel at ease with other children. Though the mother does not want Freda to pla y with her daughter, Freda's stubborn  persistence makes it inevitable that in the end the two girls play "schools" together quite happily. Marian's mother realises that her daughter's inadequacy and unhappiness are partly her own fault because she has not been giving her the support which only unreserved love can  provide. Within a brief period of only one hour the mother s attitude towards her handicapped ’

child changes. From now on she will be able to love her unconditionally, with no more "foolish longings" for an unattainable ideal.

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Notes: Marian: She avoided friends, is a lonely bird (deaf and dumb) She is comfortable only with her mother and hence plays only with her and goes for long walks with her. She is not at ease with her peers. She is hesitant, introvert and insecure. She is a keen observer and is delighted to watch all the beautiful things around her.  

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Freda: A golden girl in all sense Extrovert ,confident, sure of herself, serious, self confident and a little stubborn.  

Anne:  

She is sensitive, over protective, sympathetic and prejudiced. She is a good mother: brings up her child with a lot of care and affection single handedly, doesn’t remarry for Marian’s sake after the death o f her husband.

Extra Questions: 1. Write character sketches of the following characters: a) Marian  b) Freda c) Anne 2. How are Anne’s fears about Marian proved wrong at the end of the lesson? 3. Compare and contrast the characters of Marian and Freda.

THE LAST LETTER by Jawaharlal Nehru Summary After a succession of letters Nehru is writing his last letter to his daughter Indira from Dehradun prison in 1933.He begins by quoting Benjamin Disraeli, the great statesman of

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the nineteenth century: “Other men condemned to exile and captivity, if they survive, despair; the men of letters may reckon those days as the sweetest of his life.” Nehru does not go to the extent of comparing himself with Benjamin Disraeli but he admits that his life in prisons was not very sweet though writing and reading helped him during his imprisonment. He admits that he is neither a literary man nor a historian. In a lighter vein, he considers himself to be a dabbler in many things who, after developing various interests in life, finally adopted the popular and the most widely practiced profession of  jail going in India.

A prison with no libraries or reference books at hand is not the most suitable place in which to write on historical subjects, yet Nehru reminds Indira of the great history of the world, of India. He insists that one should have sympathy for the past when one learns history. Nehru explains the fact that it is absurd for us to judge people from the past and their ways of life by present standards. To understand a person who lived long ago, we have to understand his environment, the conditions under which he lived and the ideas that filled his mind. He feels that history is not a magic show but there is plenty of magic in the people who have eyes to see it. He is of the opinion that if we look at the past with eyes of sympathy we will find that it is a procession of people of every age and every country, different from us yet very similar to us , with the same human virtues and failings. Thereafter he goes on to give a gist of world history, the invention of machines, the wonders of science in the modern world and so on.  Nehru goes on to say that great empires have risen and fallen and forgotten for thousands of years, till their remains were excavated by explorers and archeologists but what has survived and proved stronger and more persistent than empires are the ideas that they  brought forward. Thereafter Nehru moves on to the gifts of the past; the benefits of learning history. He is of the opinion that all that we have today of culture, civilization, science or knowledge of some aspects of truth is a gift of the past. He feels that we have obligations to our past and to our future. The obligation to our future is greater than those we owe to our past for the past is gone and cannot be changed whereas the future is yet to come and we may be able to shape it a little. The past gives us some part of the truth while the future hides many aspects of the truth which requires exploration. However the past holds us in its grip and we have to struggle to be free from it and advance towards the future. The past has taught us that history never repeats itself. We cannot learn anything by slavishly copying the past or by expecting it to repeat itself. Whatever we learn from the  past is only by looking behind it and trying to discover the forces that move it. History teaches us growth and progress and of the possibility of an infinite advance for man.  Nehru quotes Marx “History has no other way of answering old questions than by putting new ones”. The past was a time of faith, blind unquestioning faith. The wonderful temples, mosques and churches of past centuries could never have been build but for the overpowering faith of the architects, builders and the people in general. The present age however is the age of reason; it is an age of disillusion, of doubt and uncertainty and questioning. We no longer accept many of the ancient beliefs and customs.Today, all around the world people search for new ways, new aspects of the truth more in harmony with our environment. Like Socrates in ancient Athens, people today ask questions, debate, quarrel and evolve new ideologies and philosophies. Sometimes the injustice, the unhappiness and the brutality of the world oppress us and we feel that there is no hope in this world. But history teaches us growth and progress. Life sometimes appears to be meaningless but it is rich and varied; we have the great seas, the mountains, the starlit nights, the snow and the glaciers, the love of family and friends, comradeship of workers, music, books and the empire of ideas.  Nehru then goes on to say that escaping from the unhappiness of others and caring little for the problems of others is no sign of courage. Thought must lead to action. People avoid action often because they are afraid of the consequences, for it involves risk and danger which seems terrible from a distance. Using the metaphor of climbing a mountain,

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 Nehru explains that taking risks actually helps us to appreciate the common things of life that we often take for granted. When the danger is overcome we can better experience the  joys of life.

The Darkling Thrush by Thomas Hardy

Summary In “The Darkling Thrush” Thomas Hardy expresses his apprehensions regarding the unknown.It is December 31, 1899.Everyone was afraid of what would happen when the old century changed to another.

As the title suggests, the poem is about a bird, a bedraggled thrush that is singing a song on a gloomy evening of the last day of the year. The poet was leaning on a coppice gate and watching the spectre grey frost covering the leafless trees of December. The spectacle he was watching was desolate and lonely. He was sad because he felt that the  New Year would bring nothing to be happy about. The sudden song of the thrush made him feel hopeful, because he felt that the bird knew about something joyous that the New Year would bring, about which the poet himself was unaware. The first person narrator walks in the countryside on a very cold evening. He leans upon a gate that is made by bushes. It is the end of the day, the year, and the century. The sun is setting. No one else is about and the narrator feels this aloneness. As he walks in nature, he stops and looks up at the sky and sees the bare branches of the trees intertwined. The narrator compares these branches to the strings on a musical instrument. [Foreshadowing of the bird to come]. He is alone because everyone else is at home before the fire. The narrator looks out at the wintry landscape which appears to him to be the corpse of the century’s end. The land’s sharp features seemed to be leaning out toward the new century. The clouds provide a cover for the corpse with the wind crying out its requiem. The winter land is barren, shrunken, and dry. Everything on earth appears without energy or passion just as the speaker feels. The narrator finds a place with no connection to anyone or anything. The third stanza offers a new theme not only for the narrator but for the reader as well. Life is nothing without the expectation that the future will provide more opportunities. In the middle of the narrator’s emptiness, the speaker hears a sound. He looks up through the barren branches and sees a singular bird, appearing thin and small with the wind ruffling his feathers, singing joyfully as though he is baring his soul to the wintry night and the gloomy end of an era. That I could think there trembled through His happy good-night air Some blessed Hope, whereof he knew And I was unaware. This seemingly lonely bird has chosen not to give in to the chill and miserable night. His efforts bring a change to the narrator and the atmosphere. There appears to be little about which to sing, yet this thrush’s song breaks the mood of unhappiness. Despite the  pessimistic attitude of the narrator, he is satisfied and appreciative to know that something in the natural world can still find joy in life. To the narrator, it is a miracle that he could share this moment of unheralded pleasure. The themes of loneliness and isolation abound in the poem. The poet’s word choice creates an atmosphere of separation from the rest of the world: desolate, weakening, haunted, and dregs. However gradually there comes a change from acceptance of the harder aspects and times in life to embrace of what joys exist; the narrator does not see the reason for that joy but is inspired to continue searching for it. Seeing the thrush and its ability to find and create beauty in a joyless landscape allows the narrator to embrace what hope he can find in his own heart, and through example spread it to others both in action and through the poem itself.

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I.REFERENCE TO THE CONTEXT II. Short questions

1. Discuss the themes of loneliness and isolation as presented by Hard y in The  Darkling Thrush . 2. How is hope ushered in by the end of the poem. 3. What are the metaphors used by the poet to convey his desolation

Hope is the Thing With Feathers Emily Dickinson

Summary

The speaker describes hope as a bird (“the thing with feathers”) that perches in the soul. There, it sings wordlessly and without pause. The song of hope sounds sweetest “in the Gale,” and it would require a terrifying storm to ever “abash the little Bird / That kept so many warm.” The speaker says that she has heard the bird of hope “in the chillest land—  / And on the strangest Sea —”, but never, no matter how extreme the conditions, did it ever ask for a single crumb from her.

Emily Dickinson’s “Hope is the Thing With Feathers,” is the VI part o f a much larger  poem called “Life.” The poem examines the abstract idea of hope in the free spirit of a  bird. Dickinson uses imagery and metaphor, to help describe why “Ho pe is the Thing With Feathers.” In the first line, Dickinson uses the metaphorical image of a bird to describe the abstract idea of hope. Hope, of course, is not an animate thing, it is inanimate, but by giving hope feathers, she begins to create an image of hope in our minds. The imagery of feathers conjures up hope in itself. Feathers represent hope  because feathers enable you to fly and offer the image of flying away to a new hope, a new beginning. In the second line, “That perches in the soul,” Dickinson continues to use the imagery of a bird to describe hope. Hope, she is implying, perches or roosts in our soul. The soul is the home for hope. It can also be seen as a metaphor. Hope rests in our soul the way a bird rests on its perch.In the third and fourth lines,Dickinson uses the imagery of a bird’s continuous song to represent e ternal hope. Birds never stop singing their song of hope. The fifth line “And sweetest in the gale is heard” describes the bird’s song of hope as sweetest in the wind. It conjures up images of a bird’s song of hope whistling above the sound of gale force winds and offering the promise that soon the storm will end.Dickinson uses the next three lines to metaphorically describe what a  person who destroys hope feels like. And sore must be the storm That could abash the little bird That kept so many warm. A person who destroys hope with a storm of anger and negativity feels the pain they cause in others. Dickinson uses a powerful image of a person abashing the bird of hope that gives comfort and warmth for so many. The destroyer of hope causes pain and soreness that hurts them the most. In the first line of the last set of stanzas “I’ve heard it in the chillest lands,” Dickinson offers the reader another reason to have hope. It is heard even in the coldest, saddest lands. Hope is eternal and everywhere. The bird’s song of hope is even heard “on the strangest sea.” Hope exists for everyone. In the last two lines, Dickinson informs us that the bird of hope asks for no favour or  price in return for its sweet song. Yet never in extremity, It asked a crumb of me.

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Hope is a free gift. It exists for all of us. All we must do is not clip the wings of hope and let it fly and sing freely. Its song can be heard over the strangest seas, coldest lands, and in the worst storms. It is a song that never ends as long as we do not let it.

I.REFERENCE TO THE CONTEXT

‘I’ve heard it in the chillest landAnd on the strangest SeaYet,never,in extremity, It asked a crumb of me’

1. 2. 3. 4.

What does ‘it’ refer to? What is ‘it’ symbolic of? 1 What do the lines ‘Yet, never, in extremity,... me’ mean? 1 What do the above lines tell the readers about the poet? 1 Mention a figure of speech used in the above quotation and explain.1

II. Short questions 1. How does the poet use the metaphorical image of a bird to describe the abstract idea of hope? 2. Discuss the poet’s use of images to drive home h er optimism in the poem Hope.

Survivors by Siegfried Sasoon Summary Written in October 1917 at Craiglockhart hospital, during Sasso on’s forced convalescence after his declaration against the war, the poem portrays the physical and mental plight of the surviving soldiers who have returned from the war. They are wounded and the shock and strain of the war have rendered them victims of neurasthenia. The opening lines give the readers a sense of misleading hope. The complacent attitude of the non-combatants is reflected in the phrase ‘No doubt’ and ‘longing to go out again’. Sassoon is deeply critical of the complacent attitude  perceived in the non-combatants at home, who are unfamiliar with the realities of war. The poet contrasts the youth and the innocence of the soldiers with the ageing  process of the war. These men are not only made old before their time but also reduced to children who have to re-learn basic processes as walking. They are tormented by memories of their friends who died. They are also haunted by feelings of being murderers.  No wonder they go to the battle field ‘grim and glad’ but come  back ‘broken and mad’.

Reference to the context Questions (6 marks) I. No doubt they’ll soon get well; the shock and strain  Have caused their stammering, disconnected talk

a. Who are they and from what will they get well soon?  b. Whose voice does the quoted line reflect? c. What is the attitude reflected in the quoted line? d. What shock and strain are being talked of here? II. and they will be proud Of glorious war that shatter’d all their pride…Men Who went out to battle, grim and glad: Children, With eyes that hate you, broken and mad.

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1 1 2 2

a. Who does ‘they’ refer to?  b. Explain the paradox in the first two lines. c. Why are the eyes full of hatred? d. What impact does war have on them?

2 2 1 1

 Short  –  Answer Type Questions (80-100 Words & 4 Marks each) 1. What is the attitude of the non  – combatants to the plight of the survivors? 2. In the poem ‘Survivors’ how does Sasoon bring out the brutality of war? 3. What effect does war have on the soldiers? ‘Men who went out to battle, grim and glad: Children, With eyes that hate you, broken and mad.’

4. Bring out the contrast signified by the quoted lines.

 At a Potato Digging by Seamus Heaney

The poem deals with two different potato harvests. One is the harvest from the present day (written in the ’60s) that goes successfully and which delivers a rich crop.The second  potato harvest looks back to the famine of 1845 when the crop failed and many people starved.Whilst the famine is no longer a threat, its ongoing fear remains and this can be seen in the use of religious language throughout the poem. Potato Famine:   The Irish Potato Famine   occurred in Ireland in 1845-49 when the  potato crop failed in successive years. As a direct consequence of the famine, Ireland's  population of almost 8,400,000 in 1844 had fallen to 6,600,000 by 1851. About 1,100,000 people died from starvation or from typhus and other famine-related diseases. The number of Irish who emigrated during the famine may have reached 1.5 million. The poem begins with Heaney describing workers in a potato field in Ireland. They follow a machine that turns up the crop and they put these into a basket and then store them.The first section of the poem is written in alternately rhymed quatrains that describe a rural scene of potato digging that is clearly in progress much later than a similar scene around the time of the famine. Heaney describes a “mechanical digger” that “wrecks the drill”. Already we ain the machine age and there is a sense that it is destructive. Humans are presented as insects who “swarm in behind”, having to “stoop to fill / Wicker creels”. People seem obeisant to the mechanical digger and their  baskets are the traditional containers for the crop, linking them with the potato digger s of the past. An ominous atmosphere is established - inhospitable weather makes “Fingers go dead in the cold”. Having likened the potato gatherers to insects, Heaney goes on in stanza to say they are “Like crows attacking crow - black fields”. There is also nothing exceedingly organised about the operation as the people are in a “higgledy line”. Their activity is described as “Processional stooping” (line 12) which conveys their numbers but also the idea that they are in a procession. The workers are working hard with their heads bowed down, bending their backs and fumbling through the earth to collect potatoes. They fill their creels and store the potatoes in pits. Since the harvest is good the poet calls the earth ‘Black mother.’ This has both a religious connotation and one that is purely mortal. The resonance of the famine past gives us a sense that there is a queue for death being formed. Heaney concludes the first part of the poem with overt references to the potato famine. The religious quality that was hinted at previously is now explicit in “homage”, “famine god”, “humbled” and “seasonal altar”. The ground becomes the locus of worship each year as those harvesting are only too aware that such largesse in nature cannot be take for granted. The second section of the poem involves the description of healthy potatoes. It is concentrated specifically on the potato itself rather than those who harvest it. They seem to be “petrified hearts of drills” (line 22).

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In this fine image, the potatoes are presented as having turned to stone, having been described previously as “inflated pebbles”. The common use of the word “petrified” is associated with fear. We are reminded of the trepidation with which each harvest is approached. Heaney goes on to say that these potatoes are “Split / by the spade” communicating both a very straightforward process but also suggesting that those digging in the time of the potato blight would have their own hearts metaphorically split by the act of cutting into a rotten crop. These, though “show white as cream”. Also, there is no rot in them, they are “knots” with a “solid feel”. The potatoes are “piled in pits” and are described as “live skulls” which reminds us of victims of atrocity as well as conveying the arresting visual metaphor that convinces us that a  potato can look like a skull. The fact that they are “blind-eyed” suggests that they are utterly unaware of the way in which they have, in the past, been intimately involved in a pivotal event in Irish history. The “live skulls image” prepares for its repetition in Part III that modulates from a metaphorical description of a potato to a shocking depiction of what human beings literally become as they are reduced to skeletal beings  by hunger. From a stanzaic point of view, Part II closes with a sestet rather than a quatrain. This lends weight to the relief and importance associated with the success of the potato cro p, something that is to be celebrated as a “clean birth”. The third section writes about the famine of the past. Fungus destroyed the entire crop of  potatoes and this happened for three consecutive years.Part III is a much more direct and graphic contemplation upon the reality and impact of the Irish potato famine. Heaney opens with the image of starving people as “Live skulls, blind -eyed, balanced on / wild higgledy skeletons…” (lines 31 -2). We are transported back in time to the mid nineteenth century where people could be “wild” with hunger. The word “higgledy” reminds us of the “higgledy line” of diggers described in Part I. This links the centuries and shows that the activity is the same and that, as humans, we are at the mercy of unpredictability of nature. In our modern world we are all familiar with the effects of famine around the world caused by crop failure. It is sobering to learn that so many people died so close to our own country. Shockingly, people were so hungry that they would eat rotten potatoes, and these poisoned them. There is a macabre transformation described in stanza two of Part III. We left Part II with a description of a permanently sound potato crop but this one only seemed to be “sound as stone” (recalling the “inflated pebbles” in Part II). The “clay pit” suggests a  place of human burial as well as the trench where potatoes rot. The line, “Millions rotted along with it” refers, on the surfac e, to potatoes but it also signals to us that the effect of this was to result in the death of mind boggling numbers of people, so dependant were they upon their staple crop. The third stanza of Part III is uncompromising in its depiction of the effects of starvation on a human body: “Mouths tightened in, eyes died hard”. The image of “a  plucked bird” suggests nakedness and death. The bird imagery is extended at the end of a stanza as Heaney presents “beaks of famine” that “snipped at guts”. Here we are given the horrific vision of people as carrion meat for vultures. Although this is metaphorical, it is nonetheless extremely powerful in evoking the pain of starvation. The people’s dwelling, “wicker huts” are places of privation, wheras the “wicker creels” in Part I are containers of plenty. The land of Ireland itself is, we are reminded, the object of resentment for those who endured the terrible suffering of the Great Hunger. The cultural collective of “A people hungering from birth” takes on a political di mension as well as purely descriptive one. The land which was referred to as ‘the black mother’ is now referred to as “the bitch earth”. The dismal “Hope rotted like a marrow” is only trumped by the description of the closing stanza of this part of the poem. The lines are littered with images of decay, rot and stench: “Stinking”, “fouled” “pus”, “filthy” and “running sore” remind us that although the famine is over, it lives on in the memory of the people. In writing the  poem, of course, Heaney is keeping such memory alive.

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(Although Part IV is not included in your textbook it is there in the original poem. Hence its summary is included here for your reference.)

In the final section of the poem, Heaney returns to the first section of the poem – Ireland in the 1960s at lunchtime. The workers sit happily, with food to eat. Each year the potato harvest can be an anxious process, as the workers smell the potatoes and feel them for firmness - making sure they are free of the blight .Part IV modulates from an atmosphere of privation to one of plenty as we return to the diggers we met in Part I, or at least another group who are not deprived of food. Although the workers in the field are “Dead- beat” they are not dying, they are simply exhausted form their work. There is a “gay flotilla of gulls” that gives the impression of a group of little boats around a great ocean-going vessel. This is a far cry form the ominous crows, plucked bird and the vulture-like spectre that we meet earlier in the poem. Although “The rhythm deadens” inevitably links in the reader’s mind to the death we have already been confronted with earlier in the poem, there is now a new mood of optimism. The workers eat “Brown  bread” and drink “tea in bright canfuls”. Rather than simply being servants of the earth, they are “served for lunch”. In their tiredness they are able to “take their fill” in the way that their ancestors could not. Their labour will be rewarded with the satisfaction of garnering a sound potato crop, while their antecedents faced the despair of having worked until they too were “Dead- beat” but with only the spectre of death looming before them instead of the prospect of being served lunch as recompense for their labour. The “timeless fasts” are broken here but in the past t hey were eternal. The  poem concludes with another complex set of ideas. As the workers stretch out in their rest, they are described lying on “faithless ground”. This reminds us of the fact that nature can set its face flint-like against humanity, we cannot predict how it will  behave. Although the ground is faithless, a pagan image of an offering to the “bitch earth” of Part III is striking as the workers “spill / Libations of cold tea, scatter crusts.” As well as seeming like an offering to the earth (a libation is a drink offering to a god), there is also the clear sense that in times of plenty we tend to be profligate.  No famine victim could afford to throw away tea dregs or crusts. The words “spill” and “scatter” capture this sense of ease most effectiv ely. This is not to condemn those doing it, of course. Heaney is drawing attention, by contrast, to the terrible consequences of the failed potato crop in Irelannd . Imagery “To be piled in pits; live skulls” Repeated image of death linked to the  potato across generations by memories of the Heart of the land. Images of death abound once more and these are echoed in the next stanza about the famine but this time it is starving people who are ‘skulls’ and ‘blind -eyed.’45 needs no year date because the event is such a part of Ireland’s social consciousness . ‘wicker’ emphasises the simplicity of their lives but also links back to their ‘wicker creels’. Both are devoid of potatoes due to the famine. Life-long hunger and misery is emphasised here.The earth is not ‘mother’ but ‘bitch’ now. Cruel and forgiving (the famine god?) Themes • Nature  –  this poem enables the reader to understand the power of the natural world and we appreciate the extent to which it can have an impact on the lives of human  beings. The poem deals with the natural world and the different aspects of nature can be seen in the r eference to the earth as the ‘black mother’ that gives life and also the ‘bitch earth’ that is capable of inflicting great suffering.

•

Suffering  –   The suffering of the people of Ireland is described in detail in the poem and we understand the extent of the misery that was caused by the famine.

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•

The Past – Heaney’s desire to make connections between the past and present is very important to the poem –  a link is made between events more than a century apart.

Extra Questions 1. Once again digging is used symbolically by Heaney. Explain how.

2. How, in this poem, does Heaney connect past and present (think about language and images used)? 3. What view does the poem give of man's relationship with the earth? 4. Does the poet really think of the earth as a “bitch” and “faithless”? 5. Modern readers in the west may no longer have a sense of where our food comes from. How does this poem challenge us not to take things for granted? 6. How does this poem explore ideas of religion, ritual and ceremony?

Ode To Autumn by John Keats Summary In the first stanza of "To Autumn," Keats personifies autumn as one who is friends with the sun. The personified autumn and sun "conspire" on how to bring fruit and vegetation to their most ripe state. It is just before harvest time; the plants are ripe and full. Autumn is in a vibrant state, so vibrant that the bees might "think the warm days will never cease." The notion of mists and "mellow fruitfulness" indicate an early part of the day. Autumn is directly addressed in the second stanza as "thee." The speaker considers autumn during harvest time. Again personified, the speaker thinks of autumn sitting on a granary floor as the grain is being harvested. Then the speaker considers autumn asleep, made drowsy by the perfume ("fume") of the poppies. Finally, autumn is watching the apples in a "cyder-press." Since the first stanza gives subtle indications of being early in the day, the second stanza would be midday or afternoon as autumn has spent "hours by hours" watching the harvest, a sense of some time gone by. After the first stanza of ripeness and the second stanza of the harvest, the speaker tells autumn not to worry about the upcoming winter or the sounds of spring. Even though the end of autumn signals the death of some vegetation and shorter, colder days, autumn's song (sounds) are just as natural as spring's and summers. Interestingly, the speaker encourages autumn to appreciate her (autumn's) sounds in spite of the melancholy symbols that accompany the colder seasons: While barred clouds bloom the soft-dying day, And touch the stubble-plains with rosy hue; Then in a wailful choir the small gnats mourn Among the river sallows, borne aloft Or sinking as the light wind lives or dies;

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Words like "soft-dying", "wailful", and "mourn" indicate a mourning time: the end of autumn. The end of any season indicates change; since this is the natural state of things, the melancholia is joined with a sense of joy. Even though Keats (the speaker) mourned the end of autumn, he celebrated its sights, smells, and sounds for what they were. As the first stanza symbolized morning and the second stanza signalled midday, the final stanza signifies evening or night with the phrase "soft-dying day." The completion of autumn is analogous to the completion of a day; the natural progression of things. "To Autumn" is one of the last poems written by Keats. His method of developing the  poem is to heap up imagery typical of autumn. His autumn is early autumn, when all the  products of nature have reached a state of perfect maturity. Autumn is personified and is  perceived in a state of activity. In the first stanza, autumn is a friendly conspirator working with the sun to bring fruits to a state of perfect fullness and ripeness. In the second stanza, autumn is a thresher sitting on a granary floor, a reaper asleep in a grain field, a gleaner crossing a brook, and, lastly, a cider maker. In the final stanza, autumn is seen as a musician, and the music which autumn produces is as pleasant as the music of spring —  the sounds of gnats, lambs, crickets, robins and swallows. In the first stanza, Keats concentrates on the sights of autumn, ripening grapes and apples, swelling gourds and hazel nuts, and blooming flowers. In the second stanza, the emphasis is on the characteristic activities of autumn, threshing, reaping, gleaning, and cider making. In the concluding stanza, the poet puts the emphasis on the sounds of autumn, produced by insects, animals, and birds. To his ears, this music is just as sweet as the music of spring. The ending of the poem is artistically made to correspond with the ending of a day: "And gathering swallows twitter in the skies." In the evening, swallows gather in flocks  preparatory to returning to their nests for the night. "To Autumn" is sometimes called an ode, but Keats does not call it one. However, its structure and rhyme scheme are similar to those of his odes of the spring of 1819, and, like those odes, it is remarkable for its richness of imagery. It is a feast of sights and sounds Questions on Board Pattern

Reference to the context Questions (6 marks) I. Season of mist and mellow fruitfulness, Close bosom-friend of the maturing sun: Conspiring with him how to load and bless

a. Which season does the poet address as the “season of mists and mellow fruitfulness”? Why? 2  b. How is the season a ‘close bosom friend of the maturing sun’? What do the close friends conspire? 2 c. Pick out any literary device in these lines and explain. 2 II. Who hath not seen thee oft amid thy store? Sometimes whoever seeks abroad may find Thee sitting careless on a granary floor, Thy hair soft lifted by the winnowing wind:

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a. What is the poetic device employed here and what is its effect?  b. What are the different places and poses that Autumn can be found in?

2 2+2

III Where are the songs of Spring? Ay where are they? Think not of them, thou hast thy music too,While barred clouds bloom the soft dying day, And touch the stubble plains’ with rosy hue

a. What do you think the poet means by ‘the songs of Spring’?  b. What image is conjured up with ‘stubble plains’? c. What does the songs of Autumn consist of? d. On what note does poet end the poem?

1 1 2 2

 Short  –  Answer Type Questions (80-100 Words & 4 Marks each) 5. In what arrested poses can one see Autumn? 6. Autumn is a season of abundance and joy with an underlying sense of sadness. Discuss with reference to the poem ‘Ode to Autumn’. 7. Why does the poet describe Autumn as a season of ‘mist and mellow fruitfulness’? 8. What makes the bees feel that the warm days will never cease? 9. What are the different kinds of imageries that the poet employs in the poem? Discuss with illustrations from the text. 10. Why ‘Ode to Autumn’ is called a fine example of poetry pertaining to the senses?

HAMLET’S DILEMMA By Shakespeare

(Summary) In the famous "To be or not to be" soliloquy, Hamlet wonders whether to live or die, given the pain he feels at his father's death/murder, and his mother Gertrude's hasty remarriage to the murderer. He wonders if it is nobler to bear his grief, or to take action. Hamlet has two ways of taking arms against the sea of troubles he faces- commit suicide or live through pain. The question is: is it better to be alive or dead? Is it nobler to put up with all the nasty things that luck throws your way, or to fight against all those troubles  by simply putting an end to them once and for all? With death we put an end to the innumerable natural shocks and torment that we have to endure in life. According to him, death is but another form of sleep. To die would be to fall asleep, to dream. He is unsure what death may bring (the dread of something after death). He can't be sure what death has in store; it may be sleep but in ‘perchance to dream’  he is speculating that it is  perhaps an experience worse than life, the sleep of death might lead to worse nightmares. Dying, sleeping —that’s all dying is— a sleep that ends all the heartache and shocks that life on earth gives us —that’s an achievement to wish for. ‘To die, to sleep’— to sleep, maybe to dream. But there’s the catch, the impediment: in death’s sleep who knows what kind of dreams might come, after we’ve put the noise and commotion of life behind us. There's the nightmare that troubles the eternal "sleep" of death. That’s certainly something to worry about. That’s the consideration that makes us stretch out our sufferings so long. After all, who would put up with all life’s humiliations— the abuse from superiors, the insults of arrogant men, the pangs of unrequited love, the inefficiency of the legal system, the rudeness of people in office, and the mistreatment good people have to take from  bad — when you could simply take your life and end it quits? Who would choose to grunt and sweat through an exhausting life, unless they were afraid of something dreadful after death- the ‘undiscover'd country’   from which ‘no traveller returns’ . Thoughts of what could happen after death "give us pause". He wonders who would bear the injustice and disappointments of life, knowing suicide would end these. It is the "dread of something after death that puzzles the will and makes us rather bear those ills we have than fly to others that we know not of..."We wonder about death without getting any answers from

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and which makes us stick to the evils we know rather than rush off to seek the ones we don’t? Who would carry this load, sweating and grunting under the burden of a weary life if it weren’t for the dread of the afterlife –  that unexplored country from whose border no traveler returns? That’s the thing that confounds us and makes us put up with those evils that we know rather than hurry to others that we don’t know about.  Thinking about it makes cowards of us all, and it follows that the first impulse to end our life is obscured  by reflecting on it. And great and important plans are diluted to the point where we don’t do anything. Fear of death makes us all cowards, and our natural boldness becomes weak with too much thinking. Actions that should be carried out at once get misdirected, and stop being actions at all. Extra questions I. Reference To The Context ‘To be or not to be-that is the question: Whether ’tis nobler in the mind to suffer  The slings and arrows of outrageous fortune, Or to take arms against a sea of troubles And, by opposing, end them. To die, to sleep’

5. 6. 7. 8.

What does Hamlet mean by ‘To be or not to be’? What are the possibilities that his mental conflict is centered around? What does sleep refer to? Identify the figure of speech in the first line and explain.

1 2 1 1

‘………..Who would fardels bear, To grunt and sweat under a weary life, But that the dread of something after death, The undiscovered country from whose bourn  No traveler returns, puzzles the will’

1. What does ‘Who would fardels bear, To grunt and sweat under a weary life’ mean? 1 2. What is it that makes the people chose to bear the brunt of life rather than death?1 3. What ‘puzzles the will’? 1 4.  Name a figure of speech used in the above quotation and explain. 2 II. Short questions 1. ‘Thus conscience does make cowards of us all” What is the philosophy that Hamlet expresses through these lines? 2. Why is it that one would rather face the torments of life than take one’s life? 3. What are the torments that man has to face in life as stated in the poem?

"Curtain” By Helen Spalding Summary The poem deals with the theme of separation, especially between lovers. The background for the poem is the tumultuous times that England and Europe were going through leading to the Second World War. The first stanza begins with the word ‘Goodbye’ u sed for parting. This word ends the first stanza and begins the second. The lovers wish each other goodbye and their intertwined (laced) fingers loosen symbolizing a gradual break in their relationship. The sense of touch is evoked in this stanza. The warmth of their relationship symbolized by their hand clasp, slowly breaks down and finally becomes cold and distant like the stiff, cold (frosted) flowers of a garden in November. Their separation is felt sharply and piercingly

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like bullets. For them even darkness, that unites without distinguishing, feels separate and strange. The second stanza states that their relationship has broken down fully. This is conveyed  by the words “There is no touch now” and by comparing their relationship to a wave that has now broken down in the lonely sea of the world. Though there is a possibility of words still to be spoken or for communication, the separation is too great a gulf for this to happen. It is so great that it swiftly out measures time (time makes us gradually forget) and engulfs one’s identity too. The third stanza pictures the state of separation. It is like the dreamer startled from her sleep, but the vivid image of the dream is lost in the process of waking. It is a state of vagueness about a vivid moment of life. All the senses like taste and sight feel numb. Even feelings have turned cold as denoted by the wor ds ‘clinic heart’ (dead heart). So there is no question of the heart breaking.

The final stanza asks questions about the separation like whether it easy and if there is nothing besides this ‘quiet disaster’; quiet because it is known only to them. The fi nal question is whether there is cause for sorrow because in the final kiss of parting, which is compared to a ‘white murder’ of love relationship, they have become two different  people, (two ghosts, two Hamlets, two soliloquies) living in a distant physical and mental world of the future. Questions: 1. Read the extract and answer the questions that follows: Incredulously the laced fingers loosen, -------------------is separate and strange.  b)  Name the poem and the poet c) Who is the poet speaking about in these lines? d) What is incredulous about laced fingers loosening? e) Explain: ‘one dark air is separate and strange.’ f) Pick out the poetic device in the above lines and explain it.

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2. ‘Is it so easy then?--------------two worlds apart, tomorrow? a) What is the ‘Quiet disaster’, being mentioned in the second line? What is the poetic device used here? 02  b) Who are the two Hamlets mentioned here? Why have they been compared to Hamlet? 02 c) Pick out two ironical facts mentioned here and explain why they are ironical? 02 d) The poet uses ‘two’ four times in the last two lines. W hich symbols are  being invoked and why? 02 3. “ And the vivid image lost even in waking---------------And this, the clinic heart,the dreamer’s is not breaking.” a) What is the narrator describing in the first line? 02  b) What is the poetic device used in the second line? Explain. 02 c) What is the mood of the narrator in these lines? Why does he/she feel like this?02 4. How does the poet convey the emotionless state of the lovers in ‘Curtain?’ 4 4 5. Justify the title of the poem ‘Curtain’ 4 6. ‘Curtains’ is a symbol. Explain in the context of the poem. A Walk By Moonlight by Henry Derozio A Summary

Derozio's A Walk by Moonlight Poetry is the awa kening of our conscience. In ‘A Walk  by Moonlight’ Derozio illustrates how, on a casual walk, he is “allied to all the bliss, which other worlds we’re told afford”. The walk and observation makes him question life

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and introspect as well. The poem starts with pleasant memories of the previous night. Derozio feels blessed with a gift. In the future, when his mind is in turmoil and anxiety, he can ponder and contemplate upon this moment and find a “happy spot” in his memories to rest. He says that there are some memories in our past which we keep looking to, “soft hours” which are far away and “vague” but they never “burn out” and disappear. And when some of these memories were thrown across his path the previous night his heart was so uplifted, he thought “it could have flown”. Derozio had been to meet a friend and saw other friends there too. All were people who thought in the same manner; they shared a common bond. “Like minds to like mind ever tend—  An universal law”. When he asked them for a walk, three at once joined him. They were his cherished friends —  two were people with intellectual minds and in age were his equals, the other was young but “endeared” by all.

The beauty of the night transforms their thinking and revives their hearts, which had  become numb and feelingless. The poet is deeply touched by small movements of nature and uses them metaphorically to bring out the joy and enlightenment that he receives. The moon looked powerful and majestic in the sky, and benignly looked down upon the earth. The clouds “divided” and broke apart “in homage to her worth” by not trying to obscure her. The leaves swayed slightly due to the breeze but Derozio feels that they are actually dancing and “rejoicing” for the “influence of the moon”. The moon in turn seems to throw light on the leaves and make them silver robes. For the one hour, when the moon is on its zenith, the leaves look “mystic” and magical. The winds too seem to be singing and “hymning” in praise of the strength of the moon. The winds take on the role of minstrels, whose songs provoke Derozio’s soul. He feels that there is something magical in the night that “bind” them together in its spell and enchants them with its beauty. They are moved to such a great extent that they not only saw but also “felt the moonlight” around them. Amidst such a splendid scenario, the poet turns philosophical and becomes sensitive to the objects of nature. He first speaks of the “mysterious” relationship between man and nature, which though “vague”, “bind us to our earth”. The natural world fills our hearts with their “tones of holly mirth” and divine joy. Derozio then talks of the “lovely” old memories which help us in getting a better insight of ourselves. Due to this awareness we are able to connect with our spiritual selves. And when this happens, man stands “proud”; this is the uniqueness of man —  to be touched and be enriched by nature. To understand the universe, we must first understand ourselves. In times we are living, our senses have become numb. We have lost the opportunity to be stirred by beauty, but Derozio feels immense joy and pleasure as his senses are awakened at once. All his memories clear up and he is enthused by the beauty of Nature. All Nature is God’s creation and He saw sadness in man. It is only when man is able to release his soul will he survive and as Derozio glimpses the celestial hand of Nature, he too becomes divine.  Now enlightened, Derozio realizes that our bodies are mortal. He finds out that, “This earthliness goes by, And we behold the spiritualness Of all that cannot die”. The earth and all its beauty is given to us as a gift. When we understand this, we understand our spirituality and we are better human beings. This self-realization is sudden and rare. It is then that we reco gnize the voices that this “night-wind sings”. The rustling of the trees, the winds, leaves...everything — it is then that we apprehend that the “mystic melody” of Nature carries a message. These vo ices make the forest look like a musical instrument. We too begin speaking the “silken language of the stars”. Only then do we realize that it is sympathy that “pales the young moon’s cheek”. Our inner eye opens up and we can see the real possibilities that are within us. These

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glorious things may appear to others on the “sleeper’s couch” but we no more see them as dreams. They are not unreachable rainbows. It is said that such “bliss” is received only in “oth er worlds” (death). Derozio thanks God and Nature for receiving this illumination in this life itself. His heart fills with happiness and is “bettered” when he feels that he is a part of Nature and Nature is a part of him. They are “gently bound”. However lifeless and separated the flowers the stars and the sky seem, which ordinary minds may not understand, they too have their objectives. Nature has the purpose to “stir our sympathy” and move our hearts. Derozio concludes by saying that he cannot even stamp the grass as he walks. “The grass has then a voice Its heart — I hear it beat.”

In the poem, ‘A Walk by Moonlight’, Derozio not only recounts an experience but also vividly describes the effect of such an experience on his mind and heart. The effect is  profound and mind blowing, and the experience radically changes his perception. He relates about his walk back home on a moonlit night with his friends whom he ‘loved’ and esteemed and who were like-minded.

The poet was returning home one night with three of his friends after visiting another friend. The night was a ‘lovely night’ for the ‘moon stood silent in the sky’ and the ‘clouds divided’ ‘in homage to her worth’. She robed the dancing leaves with ‘silver weaves’. The poet feels that such a night was one of those ‘happy spots’ of memory of his past which never burns or fades away but shines on gently. The poet gradually moves from the physical description of night to what the scene does to him. The ‘song among the winds’ made the poet focus his thoughts. The night created magic around them. They not only ‘saw’ with their eyes but ‘felt’ with all their senses the  beautiful moon lit night. In this mood, the mystery of life was heightened and it evoked in their hearts awe and ‘holy mirth’. The scene brought about a mood which in turn made the poet’s mind alert and awake. Such a mind, the poet thinks, is a ‘light’ to itself. It  perceives better and everything looks lovely. In such a state one apprehends the ‘ spiritualness’ or the permanence of ‘all that cannot die’ going beyond the ‘earthiness’ of the world of impermanent matter. The poet then views nature –  night wind, stars, the moon –  not as inanimate but as full of life. Such a state has his ‘inward eye’ open to glories that seem to appear only in dreams. The bliss of heaven is experienced here on earth by the poet. The peak of perception that the poet arrives at is when he feels his human heart ‘gently bound’ to everything and forming ‘of all a part’ which in other words is communion and interconnectedness with the whole of nature. The flowers, the stars and the sky are then not ‘cold and lifeless as they seem’. The poet reaches a climax in his experience which is expressed in the last stanza. In that moment of deep spiritual insight and heightened sensitivity, the po et feels that he cannot ‘crush’ the grass beneath his feet for he can ‘hear’ its heart ‘beat’. The rhyme and the meter make the poem flow smoothly enhancing the theme of physical  beauty of a moonlit night and its soothing, and spiritual and psychological effect on the  poet’s soul.

Remember Caesar By Gordon Daviot Summary

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Lord Weston is a judge in England. One morning he finds a paper in his pocket with this written  – “Remember Caesar!” Absent minded and fear stricken, Weston takes it for a warning for him. Someone was trying to tell him, “Weston, remember Julius Caesar! You will meet your death as Caesar had!” In his panicky state of mind, Weston orders to shut all the doors of the house and snap all communication with the world outside. In that state, he finds a bundle of something, and, suspecting it was an explosive, he dips it in a bucket to deactivate. In the meanwhile, he loads his old gun and gets ready for an attack. At this moment he, his wife and their servant Roger hear someone knocking the main door very loudly. The play ends in utter humour. Opening the door, they find Mr. Caesar, a specialist in gardening. In fact on Tuesday Lord Weston had asked Mr. Caesar to visit his house to see about the roses. Lord Weston had left a piece of paper in his pocket with a “Remember Caesar” message to stay reminded of Mr. Caesar’s visit but forgot.

This morning, when he saw the paper under another circumstance, the old man forgot all about the Gardener Caesar and thought that it was a warning for him. And the havoc followed! Theme

The play centres round the efforts made by a panic-stricken judge to secure himself against what he considers an imminent catastrophe. The theme sustains its suspense till the truth about the scrap of paper is revealed at the end of the play. The contrast  between the conceited, pompous Judge Weston who takes a morbidly serious view of the matter and the light-hearted but sensible Lady Weston who is obviously used to her husband’s explosive reaction to tr ivialities, provides the humour

MONKEY’S PAW by W.W. Jacobs Summary SCENE –  I The dramatized version of the story comprises three scenes that revolve round the White family, the father Mr. White, the mother Mrs. White and their young son Herbert. The summary is given in three parts, each before the exercises of a scene. In the first scene, Sergeant- Major Morris Calls on the Whites and is persuaded to show them the monkey’s paw that he had been talking about. Morries hesitates and finally hunting in his pocket, he produces the paw that is dried to a mummy. On being asked about its specialty, he tells that the paw has a spell put on it by an old fakir who wanted to show that fate ruled people and that everything was cut and dried from the beginning and also there was no escape from fate. He also told them that the paw could be used by three  persons, each to get three wishes fulfilled . he then adds with a caution that the wishes are granted in such a natural manner that the person wishing would wish that he/she had not wished. Herbert is rather sceptical about the paw and goes on probing about the persons who have had their wishes to procure it from Morris and expresses his desire. When in a very pensive mood , Morris throws that paw into the fire, Mr. White rushes to the SCENE –  II Summary The next morning, the White couple ar e eagerly waiting for their son’s return from his duty. As they do so, they discuss last night, with Mr. White complaining that he could not sleep through out the night .Mrs. White ascribes the reason that blew noisily. The  postman comes whether it could be $200. After some fanfare, it reveals to be the receipt for interest on the mortgages of $200 on their house. Here, Mrs. White sees some one

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outside their house, as though hesitant to enter it. At least as if mustering enough guts, the man in black enters the gate and knocks the door. It is Mr. Sampson who comes on behalf of the company (Maw and Meggins). He seems to be under a lot of consternation to deliver some message he has been asked to deliver. At last, he tells them that while narrating a story about what happened last night at his house, Herbert was unmindful and was caught by the machines and that he is no more. He has been asked to tell that the company diclaims all responsibility. However, considering his services the company wished to present the bereaved parents with a certain amount of money. The shock to the old couple is to great that they find it difficult to talk. Suddenly, something occurs to Mr. White and he asks Mr. Sampson about the amount and Mr. Sampson tells that it is $200! Mr. White falls senseless to the ground.

SCENE –  III The third scene is very fast and pathetic . The old and bereaved White couple has forgotten every meaning of their life; they are least bothered about what is happening around them. The shock of their greatest loss reduces them almost to vegetables. Mrs. White becomes hysterical and asks of her husband for the paw and on finding it, asks him to go for another wish. She compels his to wish for their son’s being alive . Over come by the paroxysmal behavior of his wife, Mr. White wishes the same and tells Mrs. White to retire to bed. A knock is heard on the main door and Mrs. White runs towards it to open it as she believes her son has come back alive. Mr. White tries in vain to stop her. Mr. White apprehends what kind of a situation would prevail if she opens the door and starts groping for the monkey’s paw. The knock grows turbulent and persistent. Mrs. White reaches the outer door, slips the chain, slips the lower bolt and unlocks the door. The top bolt, however, does not open as it had developed some problem. She cries aloud for help . The knocks in the mean time has become tempestuous . Mr. White at last finds the paw and wishes his son dead and at peace. Mrs. White could finally fling the door open , only to kind emptiness.  Answer the following question in about 80-100 Words each: 5 marks a) What did Mr. White wish for while holding the monkey’s paw? Did his wish come true? Comment on the uncanny coincidence  b) Sergeant Morris was very apprehensive about handing over the paw to anyone else. That night he writes a diary entry, expressing his feeling and why he is apprehensive. Write his diary entry. c) Comment on the element of macabre in the play. d) Does Herbert believe in the powers of the ‘monkey’s paw? Does it have any effect on him? Give reasons for your answer.

THE INVISIBLE MAN Character Analysis Marvel-Mr. Marvel is the local tramp. Marvel is like the Invisible Man's sidekick. He abandons the Invisible Man and still, he gets pretty nicely rewarded. Marvel might not be any less sketchy than the Invisible Man, but Marvel he doesn't get caught. He is harmless, eccentric, fat, but not nearly as stupid as Griffin thinks he is. Marvel is something of a

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stock character when we first meet him. He's the poor, homeless, jobless wanderer  –  in other words, he's a tramp. He wears shabby, old-fashioned clothes, like his "obsolete hat" (13.39), and he has buttons replaced by pieces of string. The narrator goes so far as to tell us that he does everything in a leisurely manner (9.2). He doesn't seem to like work or excitement. He definitely doesn't like working for the Invisible Man. He carries his stuff, including the money the Invisible Man steals in Port Stowe. Marvel ends up successful. Since the police can't prove whose money he has, he gets to keep everything that was stolen by the Invisible Man (Epilogue.2). Then he gets even more money for telling the story of the Invisible Man (Epilogue.2)  –   was Us Weekly around then? That's how Marvel is able to rise up from being a poor tramp to being the owner of his own bar (which is named after his old boss, the Invisible Man). He is smart enough to know when a good thing has happened to him; the stories he tells to the press  bring him much attention and sympathy. In the end, he gets to keep all the money Griffin stole, and he contrives on his own to keep the books of Griffin’s e xperiments. He  becomes the owner of an inn as well as the village bard, as it is to him that people come when they want to know the stories of the Invisible Man. In spite of his earlier torment, he is the only one who actually benefits from Griffin’s presence.

Mr. and Mrs. Hall-The Halls are a typical family who don't know that they're in a science fiction story. Mr. Hall drinks and Mrs. Hall nags him abou t drinking. Mr. Hall isn't so quick (he has a "heavy intelligence" [6.4]) and Mrs. Hall takes out her frustrations on Millie, the serving girl (1.36). In other words, they are a stereotypical country couple found in many a novel (and in real life, if you know where to look.) This is why we like them in The Invisible Man: they're totally normal folk who are put into a situation that is totally abnormal. We may not identify with (or even like) the Halls,  but the fact that we recognize them as "normal," helps us understand the shock of the abnormal stranger. This is probably the role of every character in Iping, actually. They are normal (though very countrified), which makes the book seem more realistic. Even if we don't identify with them, the fact that they're realistic sets up a stark contrast to the Invisible Man.

Griffin-Griffin is the model of science without humanity. He begins his road to decline in college when he becomes so obsessed with his experiments that he hides his work lest anyone else should receive credit. When he runs out of money, he kills his own father-a crime that makes the rest of his crimes pale in comparison. He goes from scientist to fanatic when he begins to focus all of his attention merely on the concept of invisibility and neglects to think about the consequences of such a condition. He may not have had any intention initially of trying the potion on himself, but the interference of his landlord and prying neighbor lady motivate him to cover his work and remove himself from further confrontation. The evil that he could commit does not occur to him until after he has swallowed the potion and seen the reaction of the landlord and others. The irony is, that his invisibility is good only for approaching unseen and for getting away. Any gains from his crimes are useless to him. He cannot enjoy any of the normal comforts of lifesuch as food, clothes, and money. He cannot eat without hiding the action, as the food in his system will render him visible. Clothes, when he is able to wear them, must be used to cover him from head to foot in order to conceal his real “concealment”--hardly a comfortable state in the heat of the summer. He can steal money, but cannot spend it on his own accord. Thus the condition that would make him invulnerable also renders him helpless. In spite of his predicament, Griffin at no time expresses any remorse for his behavior or for the crimes, which he merely describes as “necessary.” His only regret is frustration over not having thought about the drawbacks of invisibility. For nearly a year, he works on trying to perfect an antidote; when time runs out for that activity, he first tries to leave the country, and then, that plan failing, tries to find an accomplice for himself so he can enjoy his invisibility and have all the comforts of life as well. He goes from obsession to fanaticism to insanity. KEMP-Kemp is referred to as “the doctor,” but his degree seems to be an academic one rather than a medical one. He continues his own study in hopes of being admitted to “the

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Royal Fellows.” His own experiments and fascination with science enable him to listen sensibly to Griffin, but in spite of being rather contemptuous of his fellow citizens, his common sense and decency prevent him from being a part of Griffin’s schemes. Kemp is also the only “cool headed” person in the town once the final attack begins. He r uns to escape Griffin, but as soon as Griffin catches him, he has the presence of mind to turn the capture around. He is also the first to realize that even though Griffin is invisible, he is injured, and, ultimately, dead.

PLOT STRUCTURE ANALYSIS-The plot of the story is very straightforward. It  begins in third person as the narrator introduces the Invisible Man midway through his experiences. Once the Man is revealed, Griffin himself takes over and tells how he began his experiments and what happened to him after he had taken the potion. At the end, the  point of view once again changes to that of an objective narration. As Griffin tells his story, one can see that his behavior becomes increasingly reprehensible. In a very logical way, people first in Iping, and then in surrounding towns,  become aware of the strange being in their midst. The people are curious, frightened and then determined in their attempts to bring him down and to find out who and what he really is.The climax of the story occurs when Griffin returns to take revenge on Kemp for  betraying him. The plot is resolved with the Invisible Man’s death.

THEME ANALYSIS

Corruption of Morals in the Absence of Social R estriction-The narrator uses the Invisible Man to experiment with the depth to which a person can sink when there are no social restrictions to suppress his behavior. When Griffin first kills his father, he excuses it away by saying that the man was a “sentimental fool.” When he takes the  potion himself, he endures such pain that he “understands” why the cat howled so much in the process of becoming invisible. Nevertheless he has no compassion for the cat, for his father or for any of the people he takes advantage of in the course of trying to survive invisibility. On the contrary, he descends from committing atrocities because they are necessary to his survival to committing them simply because he enjo ys doing so. This theme of corruption in the absence of social law has become a motif that is explored in other literary works. H. G. Well created his story with very little psychological elaboration or character development. Other writers, however, have taken the idea much farther; we are thus blessed with novels such as Lord of the Flies, and Heart of Darkness, along with short stories by Poe and Melville.

 Science without H umanity -Although Wells does not have his characters elaborate on this idea, the concept is represented in the character of Kemp as well as in Griffin himself. Kemp wants to stop Griffin more out of fear for himself than out of concern for the community, but he is nonetheless fascinated by the accomplishment of this misguided college student. The problem with the entire experiment is that Griffin pursued the idea of invisibility without regard to whether or not there would be any real benefit to society  because of it.

Acknowledgement: Internet

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