Friday, December 16, 2016

The Wild Swans at Coole - Poem by William Butler Yeats

The Wild Swans at Coole - Poem by William Butler Yeats

Summary

With the trees “in their autumn beauty,” the speaker walks down the dry woodland paths to the water, which mirrors the still October twilight of the sky. Upon the water float “nine-and-fifty swans.” The speaker says that nineteen years have passed since he first came to the water and counted the swans; that first time, before he had “well finished,” he saw the swans mount up into the sky and scatter, “whelling in great broken rings / Upon their clamorous wings.” The speaker says that his heart is sore, for after nineteen autumns of watching and being cheered by the swans, he finds that everything in his life has changed. The swans, though, are still unwearied, and they paddle by in the water or fly by in the air in pairs, “lover by lover.” Their hearts, the speaker says, “have not grown cold,” and wherever they go they are attended by “passion or conquest.” But now, as they drift over the still water, they are “Mysterious, beautiful,” and the speaker wonders where they will build their nests, and by what lake’s edge or pool they will “delight men’s eyes,” when he awakes one morning to find that they have flown away.

EXPLANATION

One of the most unusual features of Yeats’s poetic career is the fact that the poet came into his greatest powers only as he neared old age; whereas many poets fade after the first burst of youth, Yeats continued to grow more confident and more innovative with his writing until almost the day he died. Though he was a famous and successful writer in his youth, his poetic reputation today is founded almost solely on poems written after he was fifty. He is thus the great poet of old age, writing honestly and with astonishing force about the pain of time’s passage and feeling that the ageless heart was “fastened to a dying animal,” as he wrote in “Sailing to Byzantium.” The great struggle that enlivens many of Yeats’s best poems is the struggle to uphold the integrity of the soul, and to preserve the mind’s connection to the “deep heart’s core,” despite physical decay and the pain of memory.

“The Wild Swans at Coole,” part of the 1919 collection of the same name, is one of Yeats’s earliest and most moving testaments to the heart-ache of living in a time when “all’s changed.” (And when Yeats says “All’s changed, changed utterly” in the fifteen years since he first saw the swans, he means it—the First World War and the Irish civil war both occurred during these years.) The simple narrative of the poem, recounting the poet’s trips to the lake at Augusta Gregory’s Coole Park residence to count the swans on the water, is given its solemn serenity by the beautiful nature imagery of the early stanzas, the plaintive tone of the poet, and the carefully constructed poetic stanza—the two trimeter lines, which give the poet an opportunity to utter short, heartfelt statements before a long silence ensured by the short line (“Their hearts have not grown old...”). The speaker, caught up in the gentle pain of personal memory, contrasts sharply with the swans, which are treated as symbols of the essential: their hearts have not grown old; they are still attended by passion and conquest.

Chandalika by Rabindranath Tagore – Class 12 Summary & Q&A

Updated on: 29 August 2026 · Class 12 English Elective · Kaleidoscope — Drama

Chandalika by Rabindranath Tagore — study notes for Class 12 English Elective

Chandalika is a powerful dramatic work about caste discrimination, dignity, self-awareness, desire and the difference between love and possession. These notes provide a summary and answers to the textbook questions for Class 12 English Elective, Kaleidoscope.

Summary and Themes

Chandalika by Rabindranath Tagore draws on a Buddhist legend associated with Ananda, a disciple of the Buddha, and Prakriti, a young woman from a community treated as “untouchable”. When Ananda asks Prakriti for water, he treats her with the dignity that society has denied her. For Prakriti, this ordinary act becomes a moment of awakening: she begins to recognise her own humanity and describes the experience as a “new birth”.

Prakriti’s new sense of worth, however, becomes entangled with her desire for Ananda. When he does not respond to her longing as she wishes, she urges her mother, Maya, to use magic to bring him to her. The spell draws Ananda into a state of suffering and spiritual conflict. Seeing the monk’s torment, Prakriti recognises the harm caused by her attempt to possess him. Her mother ultimately releases him from the spell, paying a terrible price. Prakriti is left with remorse and a painful but important understanding of herself.

The play challenges caste-based exclusion and asks what it means to recognise another person’s dignity. It also distinguishes self-respect from possessiveness: the awakening that first liberates Prakriti becomes destructive when she tries to control another person. The drama can therefore be read as both a critique of social injustice and an exploration of desire, responsibility and self-realisation.

Reading note: The play invites social and psychological interpretations. When discussing caste, power or subaltern identity, connect the interpretation to specific events and language in the text rather than presenting a critical reading as the only possible meaning.

Summary of Chandalika in About 200 Words

Rabindranath Tagore’s Chandalika is based on a Buddhist legend. Ananda, a disciple of the Buddha, asks Prakriti, a young woman from a community regarded as untouchable, for water. By accepting water from her without treating her as impure, he gives her an experience of dignity she has rarely known. Prakriti calls this awakening her “new birth”.

Her new self-awareness soon becomes mixed with an intense desire for Ananda. When he remains devoted to his spiritual path, Prakriti persuades her mother, Maya, to use magic to draw him to her. The spell causes Ananda deep suffering. When Prakriti sees his distress, she understands that her desire has become an attempt to possess him rather than respect his freedom.

Maya releases Ananda from the spell, but the act has a tragic cost. Prakriti is left to confront her actions and the difference between self-respect and selfish desire. The play condemns caste discrimination and affirms the dignity of people who are marginalised by society. At the same time, it shows that liberation cannot be built on the domination of another person. Prakriti’s painful self-realisation brings together the play’s social, emotional and spiritual concerns.


Read and Find Out: Questions and Answers

1. How does Prakriti’s mother react when she hears of Prakriti’s encounter with the monk?

Answer (30–40 words):
Maya is alarmed by Prakriti’s account because it challenges the social boundaries she has learned to accept. She warns her daughter against becoming attached to the monk and fears the consequences of crossing established caste and religious limits.

2. Will Prakriti resign herself to her lot?

Answer (30–40 words):
No. Ananda’s acceptance of water awakens Prakriti’s sense of dignity, and she refuses to return quietly to her former sense of inferiority. However, her resistance becomes misguided when she tries to make Ananda come to her through magic.

3. Will the spell work? What will happen when Ananda is made to come?

Answer (30–40 words):
The spell draws Ananda towards Prakriti, but it also subjects him to intense suffering. Seeing his distress forces Prakriti to recognise the cruelty of her demand. Maya finally releases him from the spell, and the act ends tragically for her.

Thinking about the Play

1. Why does something so ordinary and commonplace as giving water to a wayfarer become so significant to Prakriti?

Answer (50–60 words):
For Prakriti, giving water becomes a “new birth” because people have taught her that she is impure and unworthy of ordinary human contact. Ananda accepts water from her without hesitation. His action challenges the humiliation imposed on her by caste prejudice and helps her recognise her own dignity and humanity.

2. Why is the girl named Prakriti in the play? What images in the play relate to this theme?

Answer (50–60 words):
The name Prakriti means nature. Her emotions move from awakening and joy to restless desire and remorse, suggesting the powerful and sometimes conflicting forces of human nature. The play’s images of the earth, water, storm, shadow and fire help convey emotional change and turmoil. These images support the theme without reducing the character to a single quality.

3. How does the churning of emotions bring about self-realisation in Prakriti, even at the cost of her mother’s life?

Answer (50–60 words):
Prakriti’s first experience of dignity develops into an intense desire to possess Ananda. She persuades her mother to use magic, but Ananda’s suffering makes her see the harm she has caused. Her mother’s final act of release brings the crisis to an end. Prakriti gains painful self-knowledge and recognises that love cannot mean control.

4. How does the mirror reflect the turmoil experienced by the monk as a result of the spell?

Answer (50–60 words):
The mirror makes Ananda’s suffering visible to Prakriti. The images associated with flames and torment convey the violence of the spell against his spiritual discipline. As she witnesses his distress, Prakriti can no longer see her desire as harmless. The mirror therefore helps turn her attention from her own longing to the suffering she has caused.

5. What is the role of the mother in Prakriti’s self-realisation? What are her hopes and fears for her daughter?

Answer (50–60 words):
Maya understands the dangers of the spell but eventually gives in to Prakriti’s demand. She is concerned about her daughter’s future and the social limits imposed on them, yet she also fears the consequences of interfering with Ananda’s will. By releasing him, Maya helps bring Prakriti to self-realisation, though the outcome is tragic.

6. “Acceptance of one’s fate is easy. Questioning the imbalance of the human social order is tumultuous.” Discuss with reference to the play.

Answer (160–180 words):
The play explores the conflict between accepting an unjust social order and questioning it. Prakriti has been taught that her birth makes her impure and that she must accept humiliation. When Ananda accepts water from her, she experiences a new sense of dignity. His action exposes the cruelty of a system that denies people equal respect because of their birth.

Prakriti’s awakening is significant because she no longer accepts the identity imposed on her by society. Yet her rebellion becomes complicated by her desire for Ananda. Instead of respecting his freedom, she tries to bring him to her through magic. This causes suffering for Ananda and leads to a tragic crisis involving Maya.

Through Prakriti’s journey, Tagore shows that challenging injustice can unsettle deeply rooted beliefs. The play also warns that resistance loses its ethical force when it becomes an attempt to control another person. Prakriti’s experience brings together the struggle for dignity and the need for responsibility, freedom and self-knowledge.

Appreciation: Questions and Answers

1. How does the dramatic technique suit the theme of the play?

Answer (160–180 words):
Chandalika uses dialogue, song, chant and symbolic imagery to present both social conflict and the characters’ inner struggles. Rather than relying only on external action, the drama gives attention to Prakriti’s changing consciousness. Her conversation with Ananda awakens her self-respect; later, her desire and the spell lead her into moral and emotional turmoil.

The well and water are central images because they connect an ordinary act with the question of human dignity. The spell and the images associated with the mirror, storm, shadow and fire help make invisible feelings dramatically visible. Songs and chants add emotional intensity and allow the characters’ inner states to emerge through performance.

These techniques support the play’s themes of caste prejudice, desire, freedom and self-realisation. The dramatic form does not merely tell the audience that Prakriti changes; it stages the conflict through which she comes to understand herself. The combination of dialogue, music and symbolism therefore strengthens the play’s emotional impact and its social criticism.

2. By focusing attention on the consciousness of an outcast girl, the play sensitises the viewer/reader to the injustice of distinctions based on the accidents of human birth. Discuss how individual conflict is highlighted against the backdrop of social reality.

Answer (160–180 words):
The play presents caste discrimination through Prakriti’s personal experience. She has been made to feel that her birth places her outside the circle of people who deserve ordinary respect. When Ananda accepts water from her, this small act challenges the social rule that has shaped her identity. She begins to understand that her dignity does not depend on the status society assigns her.

Her individual conflict develops from this awakening. She longs to preserve the recognition she has received, but her desire for Ananda becomes possessive. Maya represents the fear and caution produced by a society in which crossing caste boundaries has serious consequences. The conflict is therefore personal, but it is rooted in a wider social order.

By centring Prakriti’s consciousness, Tagore encourages the audience to question the injustice of judging people by birth. At the same time, the play examines the ethical choices that follow an awakening. It suggests that dignity must be joined with respect for the freedom of others.

3. “I will enthrone you on the summit of all my dishonour, and build your royal seat of my shame, my fear and my joy.” Pick out more examples of the interplay of opposites from the text. What does this device convey?

Answer (160–180 words):
The quoted lines combine ideas that appear to contradict one another: dishonour becomes a throne, while shame and fear are turned into a royal seat. Such contrasts show how intensely Prakriti’s feelings have changed. The play also contrasts the shame imposed on her by society with the “new birth” she experiences when Ananda accepts water from her. Images of a small quantity of water and a boundless sea similarly connect an ordinary event with an immense emotional effect.

The language of poison answering poison, curse answering curse, and the churning that cleanses the well also brings opposites together. These images suggest that a painful disturbance can lead to recognition, although it can also cause harm. The spell itself is linked to both Prakriti’s hope and the suffering that follows.

The interplay of opposites conveys the complexity of human emotion. Prakriti experiences dignity and shame, joy and pain, freedom and possessiveness. The contrasts deepen the tragedy and show that her awakening is not a simple movement from ignorance to happiness; it involves difficult moral choices and painful self-knowledge.

4. “Shadow, mist, storm” on the one hand, and “flames, fire” on the other. Comment on the effect of these and similar images on the viewer or reader.

Answer (160–180 words):
The images of shadow, mist and storm create an atmosphere of uncertainty, fear and emotional disturbance. They reflect the confusion surrounding the spell and the characters’ inner struggles. Flames and fire suggest intense passion and destructive force; in context, they help the audience imagine the suffering that follows Prakriti’s attempt to bring Ananda to her.

These contrasting images make inner conflict more vivid on stage. Instead of explaining every emotion directly, the play uses the language of nature to help the audience sense the characters’ changing states. Storm and fire suggest that the desire which initially grows from a search for dignity has become dangerous. Images of calm and clarity, by contrast, can be associated with the possibility of recognition and release.

The contrasts heighten the drama and deepen the audience’s response. They help connect Prakriti’s personal turmoil with the larger questions of freedom, responsibility and human dignity. The imagery is effective because it makes emotional conflict visible and memorable without requiring every image to have only one fixed meaning.

About these notes: These study notes are intended to support reading and revision. Students should consult the prescribed text and adapt answers to the wording and requirements of their examination questions.

Author: Malik Mohd Arshad · EnglishNotes.in

BROKEN IMAGES - GIRISH KARNAD

NOTES ON 'BROKEN IMAGES' - GIRISH KARNAD

EXPLANATION

BROKEN IMAGES
has one set – a TV studio – but a multi-layered theme. It weaves in issues as far apart as the hegemony of English over Indian languages and the hollowness of a media which bestows greatness on a work that lay unnoticed in its original language but when translated into English becomes the toast of the global literary world.  It also deals with psychological repression of an inverted kind.  The central character Manjula, the now successful, Kannada-turned-English writer has a handicapped, wheelchair bound sister, Malini.  But it is the disabled Malini who turns out to be the really healthy and whole person.  It is Malini who not only wins the love of Manjula’s husband, Pramod, but is far more centered and happy than her caretaker sister, Manjula.Not just that.  After her death, it is Manjula whose loveless married life ends by Pramod walking out and moving to Los Angeles and the phenomenal success that she has wrested from Malini by stealing Malini’s unpublished MSS tasting like poison.  

The metaphor of Manjula aka Shabana talking about her heroic exploits with the book on a live television show ends with her finding that her image just does not leave the monitor. It is not her, of course.  It looks like her but it is Malini and the conflict between the self and the image,  between delusion and reality, between the outer mask and the inner truth that emerges in the tussle between the sisters and is the very stuff of the drama. 
Broken Images takes many a side swipe at all those writers in English who are constantly in the news, for fat advances from foreign publishers, for works that are many years away to seeing the light of day, for invitations to foreign colleges, lecture tours and autograph signing sprees. There are also the questions that stare in the face: are the Indian English  cut off from the "smell of the soil," have they sold out to a market-driven economy, have they struck a trade-off with their conscience by not writing in their native language, etc. etc. 
In appropriating the stolen novel, one in which her sister has caricatured her and made her out to be a pushy, conniving, duplicitous relative, a defiant Manjula shouts: "I wrote the novel in English because it burst out in English....What baffles me - actually, hurts me - is why our intellectuals can't grasp this simple fact." We see Manjula Nayak subjected to an interrogation that teases, taunts and finally strips the secrets from her soul.  The TV image reveals the sordid truth about Manjula's marriage, her far from easy relationship with her dead sister Malini and the mysterious circumstances in which the best-selling novel that was written by Malini (with the help of Pramod who, too, was always at home) and now published by Manjula, finds her conceits punctured and her deceptions gradually unravelled. 

Finally she is forced into anger or emotional collapse. The 55-minute play progresses towards a tight and stirring finish as Manjula seems to morph into Malini as "differences of ink and blood and language" are obliterated in a Babel of voices and a jumble of television images.  

Talking about the technical facet of the play, director Alyque said, "There are two Shabanas in the play, it is Shabana speaking to Shabana. With the aid of technology, there are two Shabanas on the stage at the same time!" Meanwhile, the equally excited Shabana says, "The minute I finished reading the script, I said I was on! The play is so dramatic and challenging. It is a technical nightmare; I have to react to my own televised image on the screen. The image is shot as a single one hour shot, so the timing is crucial, there is no room for mistake." 

It is in these climactic moments that Shabana Azmi proves her dramatic worth and for just a few seconds, like the computer image breaking into a million shards, she captures the trauma of the two sisters’ existence.  As for Padamsee’s direction, it is nothing to write home about. 

Thursday, December 15, 2016

The Argumentative Indian - Amartya Sen

Notes on 'The Argumentative Indian' - Amartya Sen

EXPLANATION

The Argumentative Indian is a book written by Nobel Prize winning Indian economist Amartya Sen. It is a collection of essays that discuss India's history and identity, focusing on the traditions of public debate and intellectual pluralism. Martha Nussbaum says the book "demonstrates the importance of public debate in Indian traditions generally."

The Argumentative Indian has brought together a selection of writings from Sen that outline the need to understand contemporary India in the light of its long argumentative tradition. The understanding and use of this argumentative tradition are critically important, Sen argues, for the success of India's democracy, the defence of its secular politics, the removal of inequalities related to class, caste, gender and community, and the pursuit of sub-continental peace.

The book takes the form of four sections containing linked essays: "Voice and Heterodoxy", "Culture and Communication", "Politics and Protest", "Reason and Identity". The first section looks at the general culture of pluralistic debate within India, dating back to Buddha and kings such as Ashoka. The second section seeks to restore the reputation of Rabindranath Tagore as an intellectual polymath, combining spiritual and political ideas, and explores India's relationship to other cultures, including the West and China, especially the peaceful and intellectually rewarding cross-fertilising relationship between the two great Asian cultures. The third section looks at conflicts of class and criticises inequalities in Indian society and arguments that have been used to justify them. Finally, the book explores modern cultures of secularism and liberalism in an Indian context.

Amartya Sen's own political agenda is clear for all to see and is wholly admirable. Given the virtue of Sen's position, to which nearly all of us would subscribe, it is hard to have to say that "The Argumentative Indian" proves on close reading to be a flawed book. This is because Sen does not go beyond stating self-evident truths. Although nicely written, and with many points of interest, there is a thinness and superficiality about the whole that displeases. [...] My greatest disappointment with this book is that its use of history is as unscrupulous and trivialising as that of those Sen wishes to bring down. "The Argumentative Indian" is not sufficiently thoughtful and serves as a forceful reminder that history is constantly being used in a dangerously naive way.

WHY THE NOVEL MATTERS – D.H. LAWRENCE

Notes on Why the Novel Matters by D.H. Lawrence

Why the Novel Matters by DH Lawrence
Why the Novel Matters by DH Lawrence
Explanation of the Essay

D.H. Lawrence begins by challenging the common belief that humans are primarily a soul, mind, or spirit housed within a body. He calls this notion a “funny superstition” and argues that every part of the body is equally alive, as opposed to inanimate objects like a bottle or jug.

Key Ideas:

  1. The Unity of the Body and Mind:
    Lawrence questions the distinction between the mind and body, asserting that both are interconnected. For instance, the hand that writes is just as alive and capable of learning as the mind that directs it.

  2. The Body as Fully Alive:
    Lawrence emphasizes that every part of the body, from skin to hair, is full of life. Unlike inanimate objects, each part of a living body is interconnected and dynamic.

  3. The Novel’s Unique Perspective:

    • A novelist understands and portrays life in its entirety, including both the physical and spiritual dimensions.
    • Philosophers, scientists, and others focus on isolated aspects of life, while novelists depict the "whole man alive."
  4. Life and Change:

    • Life is dynamic and ever-changing. Lawrence highlights how humans and their relationships evolve over time.
    • He contrasts living individuals, who embrace change, with those who conform to rigid patterns, effectively becoming “dead” in life.
  5. Morality and Relativity:
    Lawrence criticizes absolute notions of right and wrong. He argues that what is right in one situation may be wrong in another, making morality relative.

  6. The Novel as a Guide to Life:

    • Novels show how people live authentically and how they deviate from genuine living.
    • A novel helps readers navigate the complexities of life without being bogged down by rigid theories or moral absolutes.

Key Analogy:

Lawrence compares the human body to living skin and blood, contrasting it with inanimate objects like jugs or bottles, which remain lifeless inside and out.


Summary

In Why the Novel Matters, D.H. Lawrence celebrates the novel as a unique art form that addresses the whole human experience—body, mind, and spirit—unlike philosophy, science, or religion, which focus on isolated aspects of life. He argues against the traditional separation of body and soul, highlighting that life is found in every part of a living being.

Lawrence critiques absolute moral principles, advocating for a perspective that embraces the relativity of right and wrong. He asserts that the novel, by exploring how individuals live and change, surpasses other disciplines in helping people understand life’s unpredictability and complexity.

In his view, the novel is the "bright book of life," surpassing all other forms of knowledge because it captures the wholeness of existence, guiding readers to live authentically and meaningfully.

Monday, December 5, 2016

POEM - HAWK ROOSTING BY Ted Hughes - XI - ELECTIVE ENGLISH

HAWK ROOSTING

SUMMARY

This poem is written as a dramatic monologue and is told from the point of view of a hawk. The hawk details all in nature that is available to him. He perches in the tall trees, sleeping and looking for his prey. He believes all that is around him exists for him and only him. He revels in his predatory nature, fearing nothing and staking his claim on everything. He sees himself as almost god-like; all that is around him is the way it is because he deems it to be that way.

ANALYSIS OF HAWK ROOSTING

The hawk serves as the speaker of this poem; his tone is confident and almost haughty at times, although his belief in his superiority appears to be more steeped in honesty than it does in false bravado. The hawk continuously uses the pronoun “I” throughout the course of the work. Another interesting fact to note about the poem is that Hughes has written it entirely in the present tense, which adds to the sense that the hawk has always been, and will always be, at the top of the food chain.
The poem consists of six stanzas, each containing four lines. There is no set rhyme scheme to the poem, and Hughes relies on free verse in order to convey his themes to his readers.
The first stanza reads:

I sit in the top of the wood, my eyes closed,
Inaction, no falsifying dream
Between my hooked head and hooked feet:
Or in sleep rehearse perfect kills and eat.

Here, the hawk seems to be deep in meditation. He does not feel threatened by anything in the wild, and therefore, he can easily close his eyes and not worry about his surroundings. He is perched in a tree where he can easily look down on the forest he inhabits. Hughes uses interesting diction in this stanza in order to create imagery. He writes, “Between my hooked head and hooked feet…” which emphasizes the dangerous and sharp beak and claws of the bird. In line four, the hawk tells the reader that he is able to perform the perfect kill even in his sleep.
In the second stanza, the hawk conveys to his reader how easy and convenient his life is. Everything in nature, it seems, has been made for the sake of his pleasure and ease. Hughes writes:

The convenience of the high trees! 
The air’s buoyancy and the sun’s ray 
Are of advantage to me; 
And the earth’s face upward for my inspection.

In line five, the hawk seems to be marveling at how much nature has given him; he is so emphatic that he even uses an exclamation point to convey his feelings. The trees are high for him; the air is buoyant, making it easy for him to glide; the sun’s ray gives him warmth. He claims that all of these aspects of nature make his life more convenient. Hughes also creates a parallel between up and down. All is below the hawk; the earth sits below him so that he can inspect it from his perch. This dichotomy reflects the superiority of the hawk.
In the third stanza, Hughes writes, 

My feet are locked upon the rough bark. 
It took the whole of Creation 
To produce my foot, my each feather: 
Now I hold Creation in my foot

In this stanza, the hawk is announcing his perfection to his reader. Again, he draws attention to his sharp claws, stabbing into the tree limb as he perches. He explains that it took Creation—probably capitalized here in order to represent God—everything He possessed in order to produce just one of the hawk’s feet, and each and every feather on his body. This stanza gives an image of a higher power hard at work, slaving over how to create such a great and powerful being. Now, the hawk proclaims, he, himself, is God, more powerful than any being on both Earth and in Heaven.
The fourth stanza is a continuation of the third. It reads,

Or fly up, and revolve it all slowly –
I kill where I please because it is all mine.
There is no sophistry in my body:
My manners are tearing off heads –

The hawk is essentially saying that he can do whatever he pleases. He can fly slowly through the air, taking in all of the sights beneath him. He can kill wherever he pleases because all of the world belongs to him. There is no need to lie or pretend otherwise because the hawk can prove his power by tearing off the heads of his victims.
The fourth stanza does not end neatly; again, Hughes carries the thoughts of the hawk into the fifth stanza, which reads:

The allotment of death. 
For the one path of my flight is direct 
Through the bones of the living. 
No arguments assert my right:

The hawk is so god-like in this stanza that he says he chooses who lives and dies. The one flight he makes is the one he takes to kill his prey. There are no arguments necessary because he is all-powerful.
The sixth and final stanza closes the poem in an absolute way:

The sun is behind me. 
Nothing has changed since I began. 
My eye has permitted no change. 
I am going to keep things like this.

The hawk claims that the world has not changed since he was created. Since then, it has been perfect and permanent. He says it has not changed because he has not allowed it to do so.

POEM - THE WORLD IS TOO MUCH WITH US - WOVEN WORDS - CLASS XI - ELECTIVE ENGLISH

THE WORLD IS TOO MUCH WITH US
SUMMARY
Angrily, the speaker accuses the modern age of having lost its connection to nature and to everything meaningful: “Getting and spending, we lay waste our powers: / Little we see in Nature that is ours; / We have given our hearts away, a sordid boon!” He says that even when the sea “bares her bosom to the moon” and the winds howl, humanity is still out of tune, and looks on uncaringly at the spectacle of the storm. The speaker wishes that he were a pagan raised according to a different vision of the world, so that, “standing on this pleasant lea,” he might see images of ancient gods rising from the waves, a sight that would cheer him greatly. He imagines “Proteus rising from the sea,” and Triton “blowing his wreathed horn.”
FORM
This poem is one of the many excellent sonnets Wordsworth wrote in the early 1800s. Sonnets are fourteen-line poetic inventions written in iambic pentameter. There are several varieties of sonnets; “The world is too much with us” takes the form of a Petrarchan sonnet, modeled after the work of Petrarch, an Italian poet of the early Renaissance. A Petrarchan sonnet is divided into two parts, an octave (the first eight lines of the poem) and a sestet (the final six lines). The rhyme scheme of a Petrarchan sonnet is somewhat variable; in this case, the octave follows a rhyme scheme of ABBAABBA, and the sestet follows a rhyme scheme of CDCDCD. In most Petrarchan sonnets, the octave proposes a question or an idea that the sestet answers, comments upon, or criticizes.
COMMENTARY
“The world is too much with us” falls in line with a number of sonnets written by Wordsworth in the early 1800s that criticize or admonish what Wordsworth saw as the decadent material cynicism of the time. This relatively simple poem angrily states that human beings are too preoccupied with the material (“The world...getting and spending”) and have lost touch with the spiritual and with nature. In the sestet, the speaker dramatically proposes an impossible personal solution to his problem—he wishes he could have been raised as a pagan, so he could still see ancient gods in the actions of nature and thereby gain spiritual solace. His thunderous “Great God!” indicates the extremity of his wish—in Christian England, one did not often wish to be a pagan.

On the whole, this sonnet offers an angry summation of the familiar Wordsworthian theme of communion with nature, and states precisely how far the early nineteenth century was from living out the Wordsworthian ideal. The sonnet is important for its rhetorical force (it shows Wordsworth’s increasing confidence with language as an implement of dramatic power, sweeping the wind and the sea up like flowers in a bouquet), and for being representative of other poems in the Wordsworth canon—notably “London, 1802,” in which the speaker dreams of bringing back the dead poet John Milton to save his decadent era.

Friday, August 5, 2016

Short Story - I Sell My Dreams - Gabriel Garcia Marquez



Summary - I SELL MY DREAMS

                   –Gabriel Garcia Marquez

The giant wave of destruction
The story opens with the author having breakfast one sunny morning on the terrace of the Havana Riviera Hotel. Suddenly, a huge wave rises up over the sea wall, leaps over the wide, two-way street and hits the twenty-storey building of the hotel. The wave is so strong, it throws up into the air the cars on the avenue, the tourists in the lobby and the furniture of the hotel and even shatters the window panes.

A dead woman with a serpent ring
In the chaos that follows, a car is found to be embedded in the hotel wall with a dead woman at the wheel. She is soon identified as the Portuguese ambassador's housekeeper. The only thing that could be recovered from the woman was her gold serpent shaped ring with emerald eyes.
The author is intrigued by this information as he is reminded of another woman he had met many years back who had worn a similar ring on her right forefinger. The author is unable to find out which finger the dead woman’s ring was on.

The woman who dreams
The story goes back to the author’s first meeting with this woman in Vienna at a tavern thirty-four years before. The woman had been born in Columbia and had come to Austria as a child to learn music. As she never disclosed her real name, everybody referred to her as Frau Frieda. The author wanted to know what she did for a living, to which she replied that she sold her dreams. The third among seven children, at a very young age she had convinced her family that her dreams and her interpretation of them were as potent as oracles. A dream that she had about her brother and which she interpreted established the young girl’s power to foretell events through her dreams.

Her dreams make her rich
During the intense Viennese winters, the girl secures a job at the house of a very religious family, getting a room, three meals a day and wages just enough to cover her minor expenses. Her only job is to interpret her dreams and predict the family’s daily fate based on which the family members, including children, planned their activities. The master of the house bequeaths part of his estate to her on the condition that she continue to interpret her dreams for the family.  
One evening she whispers to the author to leave Vienna right away and not come back for five years. Her conviction is so strong that the author leaves for Rome that very night and never returns.

Frau Frieda comes to Spain
Thirteen years later, the author is in Barcelona with his poet friend Pablo Neruda. This was Neruda’s first day on Spanish soil after the Civil war, a stopover en route to Valpaiso by sea. During lunch, Neruda whispers to the author that he feels somebody is continually watching him from behind. The author turns back and is pleasantly surprised to recognise the woman watching Neruda to be Frau Frieda. She had been Neruda’s co-passenger on the ship but they had not seen each other. The author introduces her to all at the table and encourages her to talk about her dreams hoping to astound the disbelieving poet.

Pablo Neruda has a dream
After lunch, the author takes a stroll with Frau Frieda and finds out that she had managed to inherit the full estate from the Viennese family. She tells him that he can go back to Vienna now. He laughingly replies that even if her dreams were false he would never go back.
The author then leaves her to accompany Neruda back to his house for his siesta. Neruda fusses over the temperature and light in his room and once satisfied with the changes, falls asleep right away. Ten minutes later he walks into the living room refreshed. He announces that he dreamt that the woman who dreams was dreaming about him. There is some light hearted banter on this and the matter soon forgotten.

Some dreams slip in
Later that evening Neruda boards his ship and the author takes his leave of him and goes in search of Frau Frieda. He finds her on the tourist deck. She too had taken a siesta. She tells him that she had dreamt that the poet was dreaming about her. Noticing the amazement on the author’s face she quickly justifies herself saying that some dreams do slip in that have nothing to do with real life. The author never thought about her after that till the Havana tragedy.

The dead woman is identified
A few months after the incident, the author finds himself at a banquet with the Portuguese ambassador and asks him about his dead housekeeper. The ambassador speaks of her with great admiration and enthusiasm without actually explaining her work. To the author’s direct question on this the ambassador replies, she dreamed.


Q1. Did the author believe in the prophetic ability of Frau Frieda?

ANSWER: The author apparently believed in her dreams. We know this by his response of Frau Frieda's request when she said that she had dreamt of him and that he should leave Vienna for five years. The author leaves Vienna the very next day and never goes back. But later in the story he reveals, "I had always thought her dreams were no more than a stratagem for surviving. And I told her so."This hints that may be he left Vienna for some other reasons and not due to the prophetic ability of Frau Frieda.

Q2. Why did he think that Frau Frieda’s dreams were a stratagem for surviving?

ANSWER:  Frau Frieda’s dreams were a stratagem for surviving because her conversations made it clear that, dream by dream, she had taken over the entire fortune of her ineffable patrons in Vienna. That did not surprise the author, however, because the author had always thought her dreams were no more than a stratagem for surviving.

Q3. Why does the author compare Neruda to a Renaissance pope?

ANSWER: The author compares Neruda to a Renaissance pope because he moved through the crowd like an invalid elephant, with a child’s curiosity in the inner workings of each thing he saw, for the world appeared to him as an immense wind-up toy with which life invented itself. Moreover the author compared Neruda to a Renaissance pope because he was gluttonous and refined. Even against his will, he always presided at the table. Matilde, his wife, would put a bib around his neck that belonged in a barbershop rather than a dining room, but it was the only way to keep him from taking a bath in sauce.The author had never known anyone closer to the idea one has of a Renaissance pope other than Neruda.

TALKING ABOUT THE TEXT


Q1. In spite of all the rationality that human beings are capable of, most of us are suggestible and yield to archaic superstitions.

ANSWER: In spite of all the rationality that human beings are capable of, most of us are suggestible and yield to archaic superstitions because superstitions are a part of human life since in every tradition there are some superstitions, for instance, the author of the story is also yield to superstition since he obeyed the dreams of the lady and left Vienna forever and the same situation arises in everyone’s life.

Q2. Dreams and clairvoyance are as much an element of the poetic vision as religious superstition.

ANSWER: Dreams and clairvoyance are as much an element of the poetic vision as religious superstition because dreams are the root of a good poem and most poems based on dreams and clairvoyance enriches the readers with the creativity of the poet and dreams and clairvoyance are also part of religious superstitions too because in many fortune-telling priests implies their superstition to the people by making them believe that they dreamt about it.

APPRECIATION

Q1. The story hinges on a gold ring shaped like a serpent with emerald eyes. Comment on the responses that this image evokes in the reader.

ANSWER: The image of the lady in the story will have different effects on the readers but the author is successful in creating the image of the lady like a traditional fortune teller who wore golden ring shaped like a serpent and with emerald eyes. The narration is effective in order to gain the acceptance of the readers with a horror style of narration even though it is not a horror story.

Q2. The craft of a master story-teller lies in the ability to interweave imagination and reality. Do you think that this story illustrates this?

ANSWER: The craft of a master story-teller lies in the ability to interweave imagination and reality because story telling becomes effective when it interweaves imagination in the readers and take the listeners to a virtual world. This story too illustrates this because the craft of the author in narrating the story is revealed through his masterpiece work which takes the readers to the virtual world created by the story which makes the listeners more interested.

Q3. Bring out the contradiction in the last exchange between the author and the Portuguese ambassador ‘In concrete terms,’ I asked at last, ‘what did she do?’ ‘Nothing,’ he said, with a certain disenchantment. ‘She dreamed.’

ANSWER: The last part of the story highlights the talk between the author and the Portuguese ambassador but it contains a contradiction even though the author knew what did the lady actually does he again put forward the question before of the Portuguese ambassador for his answer and the ambassador replied that she did nothing but she dreamed was the answer which the author actually knows.

Q4. Comment on the ironical element in the story.

ANSWER: Throughout the story the author utilizes all methods to create irony in the story even though the characters appear to be realistic the ironical element is hidden inside the story in the form of superstition and the appearance of lady implies an irony and in the last part of the story which highlights the talk between the author and the Portuguese ambassador is also ironical too because even though the author knew what the lady does he asks the ambassador the same question which is really ironical.

STOP AND THINK QUESTIONS

Q1. How did the author recognize the lady who was extricated from the car encrusted in the wall of Havana Riviera Hotel after the storm?

ANSWER: The author recognized the lady who was extricated from the car encrusted in the wall of Havana Riviera Hotel after the storm because of the gold ring she wore which shaped like a serpent and her emerald eye helped the author to identify the similarities with the lady which he knew from Vienna who used to wear the same type of ring and who had emerald eyes.

Q2. Why did the author leave Vienna never to return again?

ANSWER: The author left Vienna and decided never to return again because the lady who used to dream told him to leave Vienna and not to return there for next five years the author thus decided not to return to Vienna again.

Q3. How did Pablo Neruda know that somebody behind him was looking at him?

ANSWER: Paulo Neruda came to knew that somebody behind him was looking at him when he was eating he noticed a lady three chair away from him was staring at him and reported to the author that somebody behind was looking at him and when the author noticed it he found a lady staring at him and identified her it was Frau Frieda, with the snake ring on her index finger.

Q4. How did Pablo Neruda counter Frau Frieda’s claims to clairvoyance?

ANSWER: Pablo Neruda countered Frau Frieda’s claims to clairvoyance by telling her that according to him ‘Only poetry is clairvoyant,’. When she interacted with them at their table Pablo Neruda paid no attention to her and he had announced that he did not believe in prophetic dreams.
***

Friday, March 18, 2016

SA 2 EXAMINATION PAPER XI ENGLISH CORE AMU BOARD



XI English Core Novel - Up From Slavery

Up From Slavery - Summary
Up from Slavery tells the life story of Booker T. Washington, from childhood through the height of his career. It is written in the first person, supplemented with excerpts from letters and newspaper editorials about his work.
Washington was born as a slave on a plantation in Virginia. He had a burning desire for education and, once freedom came, he taught himself to read. He spent much of his boyhood working in a salt furnace and a coal mine, attending school whenever he could. When he heard of the Hampton Institute - a school open to people of all races where students could work in exchange for board - he became determined to attend. After working for some time in the home of Mrs. Viola Ruffner, he set off for Hampton. His excellent training and work habits paid off, as he was hired as a janitor and allowed to enrol.
At Hampton, Washington became acquainted with his lifelong mentor and friend, General Armstrong, to whom he credits the idea of industrial education. He also learned to eat with a tablecloth and a napkin, bathe regularly, brush his teeth, and use sheets. Donors paid his tuition, but he worked hard both during the year and in the summers to pay for his board and necessities such as clothing and books. He learned that the happiest people were those who did the most for others, and also that one of the best things education could do is to teach a man to love labour.
After graduation, Washington returned to his hometown of Malden, VA and began teaching in the community. He taught both during the day and at night, and prepared several students (including his brothers) to attend Hampton. He also studied for eight months in Washington, D.C., where he found that students were less self-reliant as they had not learned to help themselves through industrial work. He found that many blacks in the city had become lazy, hoping for an easy life.
At the close of his studies, Washington was invited to teach at Hampton. He lived with a group of American Indian men as a "house father," and also took charge of the newly opened night school. When two men wrote to General Armstrong looking for someone to take charge of a new school for coloured people in Tuskegee, Alabama, Washington was recommended and accepted the job. He spent some time traveling around the region to get a sense of people's needs, and found they were extremely great.
When the Tuskegee Institute opened, there were just 30 students and one teacher, and the only structures were an old shanty and an abandoned church. Washington, along with Olivia Davidson, a teacher who later became his wife, worked hard to raise funds to purchase an abandoned plantation close to town. They shared a vision to teach far more than books, including proper hygiene, diet, table manners, and the practical knowledge of an industry that would allow students to make a living. With a loan from General Marshall, Treasurer of the Hampton Institute, they purchased the land and had students repair the dilapidated buildings. Students also cleared the land and planted crops, under the leadership of Washington himself.
Soon Washington and Davidson began traveling north to fundraise for new buildings. Students dug the foundations and did most of the labour themselves. They also learned to make bricks and furniture, and Washington saw that providing a needed service for the community did a lot to improve race relations. Despite objections from students and their parents, Washington insisted that all students learn an industry and spend sufficient time working at their trade. Enrolment increased, and the school soon opened a boarding department. With more students came the need for more buildings and funds, and Washington increased his fundraising efforts.
When traveling north to raise money, Washington also began receiving invitations to give lectures. After speaking at the National Educational Association in Madison, WI, he received an invitation to speak in Atlanta, which opened the door to giving an address at the opening of the Atlanta Cotton states and International Exposition in September 1895. This address was the high point of his career. Speaking in front of an audience of mixed race and origin (north and south), he shared his ideas that southern blacks should remain in the south and primarily work with their hands, and that southern whites should turn to their black neighbours rather than to foreign immigrants to meet their needs. Blacks should not agitate for social equality, but rather earn privileges through hard work and struggle. The speech was extremely well received by the white community, and Washington was soon in high demand as a speaker. Some of his own race were less positive, however, as they felt he had not spoken out strongly enough for black "rights."
Washington spoke at a number of other notable events, including the dedication of the Robert Gould Shaw monument in Boston and a peace celebration in Chicago following the close of the Spanish-American war. Tuskegee by that time was able to run itself in his absence, although he was kept informed of its proceedings through daily reports. He was also honoured in a number of public receptions and received an honorary degree from Harvard University.
In the spring of 1899, some of Washington's friends in Boston arranged for him and his wife to take a tour of Europe for a few months. It was his first vacation in 19 years. The couple visited Holland, Belgium, France, and England and met a number of important individuals, including the queen of England.
Tuskegee grew enormously in the twenty years since its inception. From its start in a broken-down shanty and a hen-house, it had grown to 2300 acres of land, 66 buildings, thirty industrial departments, 1400 students, and 110 officers and instructors, and it was well-respected enough to earn a visit from President McKinley.
Characters
Washington's mother
Washington's mother was the plantation cook. She had three children: Washington, his older brother John, and his younger sister Amanda. Despite the family's poverty, she also adopted an orphan boy, James. Washington comments about how much his mother supported his education. She somehow procured a Webster spelling book for him to learn his alphabet, and she sewed a cap for him in order to fit in with the children at school. Washington greatly respected her for refusing to go into debt to purchase a store-bought cap, instead solving the problem by making one herself. She passed away during one of his summer breaks while he was studying at the Hampton Institute.

Washington's stepfather
Washington's stepfather brought the family to West Virginia after Emancipation, where he had procured a cabin and a job in a salt mine. He made Washington and his brother John work in the salt mine as well, even though they were still children. He was far less supportive of his stepson's desire to go to school than Washington's mother, allowing the boy to attend only with the condition that he work many hours before and after classes. Ironically, Washington took his last name from his stepfather's first name (Washington), giving himself this surname when he realized he was supposed to possess two names at school.


Washington's brother, John
John was very supportive of his younger brother. As a child, he wore Washington's new, uncomfortable flax shirt for a few days to break it in. When Washington wanted to go to the Hampton Institute to further his education, John helped him as much as he could with whatever money he could spare. He worked in the coalmines to support the family while Washington was studying. After graduating, Washington repaid the favour by preparing John to enter Hampton himself, and by saving money to help pay his expenses. John later became Superintendent of Industries at Tuskegee. Both brothers also helped send their adopted brother James to Hampton, which prepared him to become Tuskegee's postmaster.
Mrs. Viola Ruffner
Viola Ruffner was the wife of General Lewis Ruffner, owner of the salt-furnace and the coalmine where Washington and his brother John worked. Although she had a reputation for being unusually strict with her servants, Washington preferred to enter her service than to continue working at the coalmine. He worked for her at a salary of $5 per month and soon learned how to keep her satisfied. He credits her with teaching him valuable lessons about how to take care of a house. Ruffner was supportive of Washington's education and allowed him to go to school for an hour a day during some of the winter months. It was while living with her that he began to compile his first "library."
Miss Mary F. Mackie
Mary F. Mackie was the head teacher at Hampton and controlled who would be admitted. Washington impressed her with his diligence while cleaning the recitation room, and she hired him as a janitor along with allowing him to enter the institution. The position was instrumental in allowing Washington to study, as it paid for nearly all of his board. Mackie became a good friend and worked alongside Washington to prepare the school for students' entrance. He respected the way she cleaned windows, dusted rooms, put beds in order, and so on, despite being a member of one of the oldest and most cultured northern families.
General Samuel C. Armstrong
General Armstrong was the leader of the Hampton Institute and one of Washington's most important mentors. He was a northern white man, but he dedicated his life to helping students of both races in the south. Armstrong was well loved and respected by his students, who, for instance, gladly honoured his request to live in tents during the cold winter in order to make room for more students. He was instrumental in advancing Washington's career: he found a donor to defray the cost of his tuition at Hampton, invited him to return to the school to teach and start a night-school, and recommended him to the founders of the Tuskegee Institute. He helped Washington raise funds as well, donating some of his own money and introducing his former student to potential donors in the North. The two were so close that Armstrong spent several months at the end of his life with Washington at Tuskegee.



Miss Fannie N. Smith
Smith was Washington's first wife. She came from West Virginia and was a graduate of the Hampton Institute. The two married in 1882 and had one daughter, Portia Washington, who became an accomplished dressmaker, musician, and teacher. Smith passed away in 1884, just two years after marrying Washington.

Olivia A. Davidson
Davidson was Washington's second wife. She was born in Ohio, but moved to the South when she heard of the need for teachers there. Based on Washington's account, she was an extraordinarily generous and selfless woman. While working in Mississippi, for instance, one of her pupils became sick with smallpox. When nobody would nurse him for fear of catching the disease, she closed her school and nursed him herself. Similarly, she offered her services as a yellow-fever nurse in Memphis, despite having no immunity.
Davidson was educated at the Hampton Institute and the Massachusetts State Normal School. She came to Tuskegee soon afterwards, bringing many fresh ideas. Along with Washington, she helped to raise funds and to plan the future of the institution.
Washington and Davidson married in 1885. They had two children together: Baker Talia Ferro, who later mastered the brick mason’s trade at Tuskegee; and Ernest Davidson Washington, who at the time of the book's publication was studying to be a physician. Davidson passed away in 1889, after four years of marriage and eight years of work for the school.



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