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Friday, December 16, 2016
The Wild Swans at Coole - Poem by William Butler Yeats
CHANDALIKA - RABINDRANATH TAGORE
NOTES ON 'CHANDALIKA' - RABINDRANATH TAGORE
SUMMARY
Summary of Chandalika in 200 words
The play Chandalika by Rabindranath Tagore is based on a Buddhist legend. Ananda, a disciple of the Buddha, once asked a girl of the lowest caste, a chandalika, for water. This simple act changed the girl, Prakriti. For the first time, she felt respected as a human being. She called it her “new birth.”
Prakriti wanted to dedicate herself to Ananda, but he remained detached. Hurt and humiliated, she forced her mother, who knew magic, to cast a spell on him. The spell was stronger than Ananda’s will, and he was drawn to her house, suffering in shame and torment. When Prakriti saw him degraded, she realised her mistake. He was no longer the noble monk who had given her self-respect. Filled with remorse, she begged forgiveness.
Her mother then revoked the spell but lost her life in doing so. Prakriti was left wiser but deeply saddened.
The play is not about lust but about dignity, pride, and self-realisation. It shows that true love means freedom, not possession. It also teaches that self-consciousness is good in moderation, but when mixed with pride it becomes destructive. Through suffering, Prakriti learns this hard truth, though at the cost of her mother’s life.
Read and Find Out Q&A Chandalika by Rabindranath Tagore
1. How does Prakriti’s mother react when she hears of Prakriti’s encounter with the monk?
Answer (30–40 words):
Prakriti’s mother is shocked. She fears punishment for breaking caste
rules. She cannot understand her daughter’s new feelings. She warns her
not to trust monks’ words. She worries that spells may change Prakriti’s
soul itself.
2. Will Prakriti resign herself to her lot?
Answer (30–40 words):
No, she will not resign herself. She refuses to accept her life of
humiliation. She insists that her mother must use spells to bring Ananda
back. She believes her desire is stronger than religious mantras.
3. Will the spell work? What will happen when Ananda is made to come?
Answer (30–40 words):
Yes, the spell works but with terrible results. Ananda suffers great
torment as he struggles against it. At last, he comes weakened and broken.
Horrified, Prakriti repents. The mother revokes the spell and dies in the
process.
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 is a new birth. No one had ever accepted water
from her before. Ananda treats her with dignity, saying all water is holy.
This makes her realise her own worth as a human being. The simple act
frees her from the lifelong shame of being untouchable.
2. Why is the girl named Prakriti in the play? What are the images in the play that relate to this theme?
Answer (50–60 words):
The name “Prakriti” means nature. Like nature, she is both nurturing and
destructive. Images of clouds, storms, rivers, and flowers reflect her
emotions. The spell is called the “spell of the earth.” Her feelings rise
and fall like seasons. Her name shows her link with elemental forces of
creation and destruction.
3. How does the churning of emotions bring about self-realisation in Prakriti even if at the cost of her mother’s life?
Answer (50–60 words):
Prakriti’s passion turns into selfish desire. She forces her mother to use
magic. When Ananda arrives, broken and humiliated, she realises her
mistake. She sees that true love means giving freedom, not possession.
This painful learning costs her mother’s life. Yet, it redeems Prakriti,
making her wiser and aware of her humanity.
4. How does the mirror reflect the turmoil experienced by the monk as a result of the working of the spell?
Answer (50–60 words):
The mirror shows Ananda’s agony under the spell. His body appears
surrounded by flames. His face shows torment, anger, and deep suffering.
At times, he seems to curse himself. Prakriti sees her pain and his
merging in the mirror. It symbolises how her desire drags him down from
peace to turmoil.
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):
The mother warns Prakriti against desire. Yet, she finally yields and
casts the spell. She loves her daughter and hopes she may find happiness.
At the same time, she fears disgrace and punishment. In the end, she
sacrifices her own life to save Ananda. Her actions indirectly lead
Prakriti to self-realisation.
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 shows the conflict between accepting fate and questioning
injustice. Prakriti is born an untouchable. Society expects her to accept
humiliation quietly. Her mother also advises her to remain within limits.
But when Ananda accepts water from her, she realises she is also a human
being. This new awareness awakens pride and self-worth in her. She refuses
to accept a life of shame and dares to challenge both caste rules and
religion itself.
Her questioning, however, brings turmoil. She becomes restless and demands possession of Ananda. She forces her mother to use magic against the monk. This act disturbs the order of nature and results in suffering for all. Ananda faces torment, the mother loses her life, and Prakriti herself feels guilt and pain.
Through this, Tagore shows that questioning unjust systems is painful but necessary. Prakriti does not gain happiness, but she gains self-realisation. The play suggests that real change comes only when individuals resist oppression, even if it brings conflict and tragedy.
Appreciation Q&A Chandalika by Rabindranath Tagore
1. How does the dramatic technique suit the theme of the play?
Answer (160–180 words):
The dramatic technique of Chandalika matches its theme of
spiritual conflict. The play is written as a psychological drama, not a
simple tale. It uses dialogue, song, and symbolic images to reveal
Prakriti’s inner struggle. The well, the mirror, and the spells act as
dramatic devices. They externalise her emotions and make the audience see
her transformation.
The absence of divisions in acts makes the flow continuous, showing that the conflict is unbroken within her. The songs and chants express moods that cannot be spoken directly. The mother’s spells, the storm, and the mirror add intensity and suspense.
This technique suits the theme because the play is not about outward events but about the awakening of self-consciousness. The drama takes place mainly in Prakriti’s mind and heart. The use of contrast—light and darkness, storm and calm—brings her turmoil alive on stage. Thus, the dramatic form becomes a fitting vessel for Tagore’s exploration of love, pride, sin, and redemption.
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 makes the reader feel the pain of caste discrimination through
Prakriti’s experience. As an untouchable, she grows up with shame. When
Ananda accepts water from her, she feels recognised for the first time.
This small act challenges the social order that had denied her dignity.
Her individual conflict begins when she wants to hold on to that recognition. Society says she is impure, but her heart says she is human. She feels torn between the old belief of slavery and the new awakening of self-worth. Her desire for Ananda symbolises her longing for acceptance and equality.
The backdrop of social reality makes her struggle sharper. Religion and caste rules are against her. Her mother warns her not to cross boundaries. Yet Prakriti dares to rebel, and in doing so, she disturbs not only society but her own peace.
Through her conflict, Tagore exposes the cruelty of judging people by birth. The play shows how one individual’s awakening can question the entire social system.
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 such examples of the interplay of opposites from the text. What does this device succeed in conveying?
Answer (160–180 words):
The play often uses opposites to express intense emotions. Prakriti speaks
of being cursed all her life, yet she calls her meeting with Ananda a “new
birth.” She compares little water in his hands to a “boundless sea.” She
describes poison killing poison, curse fighting curse. The spell itself is
shown as both creative and destructive.
Another striking example is when Prakriti says, “Without the churning, how can the well be cleansed?” Here, turmoil becomes a way to reach purity. The images of storm and fire against calm and light also reflect this duality.
This interplay of opposites conveys the complexity of her feelings. She is both uplifted and destroyed by her desire. Love is shown as both divine and selfish. The use of contrasts deepens the tragedy. It shows that human emotions are never simple—they are mixtures of joy and pain, purity and shame. Tagore’s language thus mirrors the contradictions of the human soul.
4. ‘Shadow, mist, storm’ on the one hand, ‘flames, fire,’ on the other. Comment on the effect of these and similar images of contrast on the viewer/reader.
Answer (160–180 words):
The play uses vivid natural images to symbolise inner states. Shadow,
mist, and storm suggest confusion, fear, and helplessness. They reflect
Ananda’s turmoil under the spell and Prakriti’s restless desire. Flames
and fire, in contrast, suggest passion, destruction, and also
purification.
The clash between these images creates a powerful effect. The reader can feel the struggle as if nature itself were shaken. The storm mirrors Prakriti’s desire pulling Ananda down. The flames show both her burning passion and the destructive power of the spell. At the same time, fire also suggests cleansing, as when Prakriti realises her mistake.
These contrasts heighten the drama. They make inner conflict visible to the senses. The stage imagery keeps shifting from light to darkness, from calm to violence, which reflects the unstable emotions of the characters. For the viewer or reader, this creates both fear and pity, leading to a deeper understanding of Prakriti’s tragic journey.
BROKEN IMAGES - GIRISH KARNAD
NOTES ON 'BROKEN IMAGES' - GIRISH KARNAD
EXPLANATIONBROKEN 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.
Thursday, December 15, 2016
The Argumentative Indian - Amartya Sen
Notes on 'The Argumentative Indian' - Amartya Sen
EXPLANATION
WHY THE NOVEL MATTERS – D.H. LAWRENCE
Notes on Why the Novel Matters by D.H. Lawrence
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Why the Novel Matters by DH Lawrence |
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:
-
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. -
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. -
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."
-
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.
-
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. -
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
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.
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.
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 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.
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 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 sun is behind me.
Nothing has changed since I began.
My eye has permitted no change.
I am going to keep things like this.
POEM - THE WORLD IS TOO MUCH WITH US - WOVEN WORDS - CLASS XI - ELECTIVE ENGLISH
Friday, August 5, 2016
Short Story - I Sell My Dreams - Gabriel Garcia Marquez
The giant wave of destruction
A dead woman with a serpent ring
Her dreams make her rich
Frau Frieda comes to Spain
Pablo Neruda has a dream
Some dreams slip in
Q1. Did the author believe in the prophetic ability of Frau Frieda?
Q2. Why did he think that Frau Frieda’s dreams were a stratagem for surviving?
TALKING ABOUT THE TEXT
APPRECIATION
STOP AND THINK QUESTIONS
Friday, March 18, 2016
XI English Core Novel - Up From Slavery
Saturday, March 12, 2016
The Portait of a Lady by Khushwant Singh - Hornbill - Prose - Class XI- English Core Summary and Answers
Class XI- English Core
Chapter 1 - The Portrait of a Lady
by Khushwant Singh
Hornbill - Prose - Summary and Answers
Summary of 'The Portrait of a Lady'
The story "The Portrait of a Lady" by Khushwant Singh is a nostalgic reflection on the author's relationship with his grandmother. The narrator describes his grandmother as a deeply religious, old woman who was always busy with her rosary beads and prayer books. The story is divided into three phases, depicting the changing relationship between the grandmother and the narrator as he grows up.
In the first phase, the grandmother and the narrator share a close bond. They live together in a village where the grandmother takes care of the narrator's daily needs and accompanies him to school. The second phase begins when they move to the city. Here, the narrator attends an English school, and their relationship starts to change as they spend less time together. The grandmother is upset because the subjects taught at school, like English and science, do not include religion, which was a vital part of her life.
The third phase occurs when the narrator goes to university and moves into a separate room. The distance between them grows even more, and the grandmother's loneliness increases. Despite these changes, the grandmother remains deeply religious and continues to live a life of routine and devotion.
Towards the end of the story, the grandmother's health deteriorates, and she passes away peacefully, surrounded by the family. The story concludes with the narrator and his family mourning her death, reflecting on her life and the simplicity and spirituality that characterized her existence.
The story is a beautiful depiction of the bond between the narrator and his grandmother, highlighting the themes of love, loss, and the passage of time.
Understanding the text(Q&A) of 'Portrait of a Lady'
Talking About the Text(Q&A) of 'Portrait of a Lady'
- The author’s grandmother was a religious person. What are the different ways in which we come to know this?
ANSWER: The author’s grandmother was clearly a deeply religious person, and this is shown in several ways throughout the story. She spent most of her time praying and telling the beads of her rosary. Every morning, she would softly sing her prayers while helping the author get ready for school. When they moved to the city, she was upset because the author’s new school did not teach about God or religion, which were very important to her. Even as she grew old and became bedridden, she continued to pray, showing that her faith and devotion were constants in her life.
- Describe the changing relationship between the author and his grandmother. Did their feelings for each other change?
ANSWER: The relationship between the author and his grandmother changed as they both grew older and their circumstances changed. When they lived in the village, they were very close, and she took care of him daily, even walking him to school. However, when they moved to the city, their relationship became more distant. The author went to an English school, which taught subjects that were unfamiliar to his grandmother, creating a sense of separation between them. Finally, when the author went to university and moved into his own room, the physical distance between them increased, but their emotional bond remained strong. Despite spending less time together, their love and respect for each other did not change.
- Would you agree that the author’s grandmother was a person strong in character? If yes, give instances that show this.
ANSWER: Yes, the author’s grandmother was definitely a person strong in character. She demonstrated her strength in several ways throughout the story. She handled the various changes in her life with quiet dignity, whether it was moving to the city or dealing with the loneliness that came as the author grew up. She was resilient and independent, sticking to her daily routines and maintaining her religious practices even when she became weak and bedridden. Additionally, when the author left for university, she did not openly show her sorrow. Instead, she focused on her spinning wheel and prayers, showing her inner strength and self-control.
- Have you known someone like the author’s grandmother? Do you feel the same sense of loss with regard to someone whom you have loved and lost?
ANSWER: This question invites a personal reflection. If you have known someone like the author’s grandmother, you might think about how they influenced your life, their strong character, and how you felt when they were no longer with you. You may have experienced a similar sense of loss, cherishing memories of the love and support they provided, much like the author did with his grandmother. This reflection can be an opportunity to remember and honor those who have had a significant impact on your life.The author’s grandmother was clearly a deeply religious person, and this is shown in several ways throughout the story. She spent most of her time praying and telling the beads of her rosary. Every morning, she would softly sing her prayers while helping the author get ready for school. When they moved to the city, she was upset because the author’s new school did not teach about God or religion, which were very important to her. Even as she grew old and became bedridden, she continued to pray, showing that her faith and devotion were constants in her life.
- Describe the changing relationship between the author and his grandmother. Did their feelings for each other change?
ANSWER: The relationship between the author and his grandmother changed as they both grew older and their circumstances changed. When they lived in the village, they were very close, and she took care of him daily, even walking him to school. However, when they moved to the city, their relationship became more distant. The author went to an English school, which taught subjects that were unfamiliar to his grandmother, creating a sense of separation between them. Finally, when the author went to university and moved into his own room, the physical distance between them increased, but their emotional bond remained strong. Despite spending less time together, their love and respect for each other did not change.
- Would you agree that the author’s grandmother was a person strong in character? If yes, give instances that show this.
ANSWER: Yes, the author’s grandmother was definitely a person strong in character. She demonstrated her strength in several ways throughout the story. She handled the various changes in her life with quiet dignity, whether it was moving to the city or dealing with the loneliness that came as the author grew up. She was resilient and independent, sticking to her daily routines and maintaining her religious practices even when she became weak and bedridden. Additionally, when the author left for university, she did not openly show her sorrow. Instead, she focused on her spinning wheel and prayers, showing her inner strength and self-control.
- Have you known someone like the author’s grandmother? Do you feel the same sense of loss with regard to someone whom you have loved and lost?
ANSWER: This question invites a personal reflection. If you have known someone like the author’s grandmother, you might think about how they influenced your life, their strong character, and how you felt when they were no longer with you. You may have experienced a similar sense of loss, cherishing memories of the love and support they provided, much like the author did with his grandmother. This reflection can be an opportunity to remember and honour those who have had a significant impact on your life.
Thinking About the Language of 'Portrait of a Lady'
1. Which language do you think the author and his grandmother used while talking to each other?
The author and his grandmother most likely communicated in Punjabi or Hindi, as the story is set in a Punjabi family in India. These languages were commonly spoken in the region where they lived, and it’s likely that they used their native language for everyday conversations, especially given the grandmother's traditional and religious nature.
2. Which language do you use to talk to elderly relatives in your family?
The language you use to talk to elderly relatives in your family may depend on your cultural background and family traditions. Many people communicate with their grandparents or older family members in their native or regional language, which could be anything from Hindi, Tamil, Bengali, or Marathi to languages like Urdu, Malayalam, or Gujarati. This is because elderly relatives often feel more comfortable and connected when speaking in their mother tongue.
3. How would you say ‘a dilapidated drum’ in your language?
To translate "a dilapidated drum" into your language, you would use the words that describe something old and broken down. For example, in Hindi, you might say "टूटा-फूटा ढोल" (Toota-Foota Dhol). The exact translation would depend on your native language and the specific words used for "dilapidated" and "drum."
4. Can you think of a song or a poem in your language that talks of homecoming?
Many cultures have songs or poems that speak of homecoming, reflecting the emotions of returning home after a long time. In Hindi, for instance, there is a famous song, "घर आया मेरा परदेसी" (Ghar Aaya Mera Pardesi), which expresses the joy of a loved one returning home. Similarly, in other languages, you may have songs or poems that resonate with the theme of homecoming, evoking feelings of nostalgia, warmth, and belonging.
Working with Words
The word "tell" is used in different ways in these sentences.
1. "Her fingers were busy telling the beads of her rosary."
In this sentence, "telling" refers to the act of counting or moving the beads of a rosary one by one as part of a prayer ritual. It shows a physical action linked with a religious practice.
2. "I would tell her English words and little things of Western science and learning."
Here, "tell" means to inform or share information with someone. The author is explaining that he used to teach his grandmother some English words and facts about Western science and education.
3. "At her age one could never tell."
In this sentence, "tell" means to be able to know or predict something. It implies uncertainty, suggesting that at her age, it was difficult to predict what might happen next.
4. "She told us that her end was near."
Here, "told" is used in the sense of communicating or conveying a message. The grandmother is informing the family that she believes her death is approaching.
In each of these examples, "tell" is used in a different context, demonstrating the versatility of the word in English.