Class 10 English Footprints Without Feet Chapter 6 The Making of a Scientist by ROBERT W. PETERSON

Richard Ebright has received the Searle Scholar Award and the Schering Plough Award for

Monarch Butterfly

Biochemistry and Molecular Biology. It was his fascination for butterflies that opened the world of science to him.

READ AND FIND OUT

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Question 1. 
How did a book become a turning point in Richard Ebright’s life?

Answer:

Richard Ebright's mother gave him a book title: "The Travels of Monarch X". This book helped young Richard develop his scientific curiosity. He got interested in the migration of Monarch butterflies which led him to other scientific experiments which established him as a great scientist. That is why the book is regarded as a turning point in Richard Ebright's life.

Question 2.
How did his mother help him?

Answer:
Richard Ebright's mother looked after him well. She ensured that Richard was busy in curricular and co-curricular activities. She spent time with him playing and helping in his studies. She took him to places and bought scientific equipment and books for him. In fact the woman behind Richard Ebright's success was her mother.

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Question 1.
What lesson does Ebright learn when he does not win anything at a science fair?

Answer:
When Ebright does not win anything at the science fair he realizes that the winners tried to do real experiments unlike Ebright who just showed frog tissues under the microscope.

Question 2.
 What experiments and projects does he then undertake?

Answer:
He undertook many projects and experiments. He worked on viceroy butterflies to show that they copied monarch butterflies. He studied bright spots on the monarch pupa and discovered a new hormone. Also, he found out how cells read their DNA.

Question 3.
What are the qualities that go into the making of a scientist?

Answer:
There are three qualities that go in the making of a scientist. First rate mind, curiosity and will to win. Ebright possessed all these which made him a great scientist.

THINK ABOUT IT

Question 1.
How can one become a scientist, an economist, a historian... ? Does it simply involve reading many books on the subject? Does it involve observing, thinking and doing experiments?

Answer:

Becoming a scientist typically requires a combination of education and experience. Here are some steps you can take to become a scientist:

Choose a field of study: Scientists work in a wide range of fields, including biology, physics, chemistry, and psychology. Decide which field you are interested in pursuing and focus your studies on that subject.

Earn a bachelor's degree: Most scientists have at least a bachelor's degree in their field of study. A bachelor's degree typically takes four years to complete and includes coursework in math, science, and the specific field of study you have chosen.

Gain practical experience: Many scientists gain practical experience by participating in internships or research assistantships while they are in school. These opportunities allow you to work alongside experienced scientists and learn about the day-to-day work of a scientist.

Earn a graduate degree: Many scientists pursue a graduate degree, such as a master's degree or a PhD, in order to advance their careers and conduct more advanced research. A graduate degree usually takes two to six years to complete, depending on the program.

Find a job: Scientists often work in research and development for companies, government agencies, or universities. You can find job openings by networking with other scientists, attending job fairs, or searching online job boards.

It's important to note that becoming a scientist requires a strong foundation in math and science and a passion for learning and discovery. It can be a challenging career path, but it can also be extremely rewarding for those who are interested in advancing our understanding of the world and solving complex problems.

Question 2.

You must have read about cells and DNA in your science books. Discuss Richard Ebright’s work in the light of what you have studied. If you get an opportunity to work like Richard Ebright on projects

and experiments, which field would you like to work on and why?

Answer:

Richard Ebright is a biochemist and molecular geneticist who has made significant contributions to the field of molecular biology. One of his most notable works is the discovery of the mechanism behind transcriptional regulation, which is the process by which genetic information is transcribed into proteins.

Ebright's research has focused on understanding the mechanisms behind gene expression and regulation in bacteria. He has studied the proteins and enzymes that control transcription, as well as the transcriptional activators and repressors that bind to specific DNA sequences and regulate gene expression.

Ebright has also made significant contributions to the field of antibiotic resistance. He has studied the mechanisms behind bacterial resistance to antibiotics and has developed methods for identifying new antibiotics and for improving the efficacy of existing ones.

Ebright's work has been recognized with numerous awards, including the Alan T. Waterman Award from the National Science Foundation, the ASM/AAAS Inventor of the Year Award, and the Franklin Institute's Bower Award for Achievement in Science. He is also a member of the National Academy of Sciences.

If I get a chance to work I would like to work on antibiotic resistance because mankind is suffering a lot due to this. Drugs are proving ineffective and a solution should be sought as soon as possible.

TALK ABOUT IT

Question1. 

 Children everywhere wonder about the world around them. The questions they ask are the beginning of scientific inquiry. Given below are some questions that children in India have asked Professor Yash Pal and Dr Rahul Pal as reported in their book, Discovered Questions (NCERT, 2006).

(i) What is DNA fingerprinting? What are its uses?

(ii) How do honeybees identify their own honeycombs?

(iii) Why does rain fall in drops?

Can you answer these questions? You will find Professor Yash Pal’s and

Dr Rahul Pal’s answers (as given in Discovered Questions) on page 75.

Answer (i)

DNA fingerprinting is a method used to identify an individual's unique DNA profile. It involves analyzing specific sequences of DNA called "short tandem repeats" (STRs), which are found at specific locations on a person's chromosomes. These sequences are unique to each individual, making them useful for identifying individuals through genetic testing.

There are many uses for DNA fingerprinting, including:

Criminal investigations: DNA fingerprinting is often used to identify suspects in criminal cases. It can help determine whether a suspect's DNA matches DNA found at a crime scene.

Paternity testing: DNA fingerprinting can be used to determine whether an individual is the biological parent of a child.

Identification of missing persons: DNA fingerprinting can be used to identify missing persons by comparing their DNA to DNA samples taken from family members.

Identification of human remains: DNA fingerprinting can be used to identify human remains, particularly in cases where the body has been decomposed or mutilated.

Immigration and citizenship: DNA fingerprinting can be used to verify family relationships in immigration and citizenship cases.

Medical research: DNA fingerprinting can be used to study genetic disorders and to identify genetic risk factors for certain diseases.

Answer (ii)

Honeybees use a combination of scent, shape, and location to identify their own honeycombs.

First, honeybees secrete a special scent, called the "brood scent," onto the cells of the honeycomb that contain eggs, larvae, or pupae. This scent is unique to the hive and serves as a marker for the bees to recognize their own brood cells.

Secondly, honeybees also use the shape and size of the cells on the honeycomb to identify their own. Each hive has a specific pattern of cell shapes and sizes, and the bees are able to recognize this pattern as unique to their own hive.

Finally, honeybees use the location of the honeycomb within the hive as a way to identify it. Each hive has a specific layout, with the queen's cells located in a central location, and the honey and pollen stores located in a different area. The bees are able to navigate the hive and locate their own honeycombs based on their knowledge of the hive's layout.

Answer(iii)

Rain falls in drops because of the way that water vapor condenses into liquid form in the atmosphere. When the air becomes saturated with water vapor, the excess vapor begins to condense onto tiny particles, such as dust or salt, in the air. As these particles accumulate more and more water, they become heavier and begin to fall towards the ground.

As the droplets fall, they also collide with other droplets, merging and growing in size. Eventually, the droplets become large enough to be visible as raindrops. The shape of the raindrop is influenced by the size of the droplet and the rate at which it is falling. Generally, smaller droplets fall more slowly and are more spherical in shape, while larger droplets fall more quickly and have a more tear-drop shape.

Overall, the reason rain falls in drops is due to the process of condensation and the gravitational force pulling the droplets towards the ground.

Question 2.

You also must have wondered about certain things around you. Share these questions with your class, and try and answer them.

Answer:
These are the things I wonder about:

• The way the leaves on the trees rustle in the breeze
• The intricate patterns on a butterfly's wings
• The clouds in the sky, constantly shifting and changing
• The diversity of plants and animals in my environment
• The way the sun casts shadows on objects
• The way different materials feel and look
• The sounds of nature, such as birds singing or the rush of a stream
• The technology and systems that make everyday life possible, such as electricity and transportation
• The cultural and social norms of my community
• The mysteries of the universe and the mysteries of the human mind.

Class 12 - Kaleidoscope - Non Fiction - 03 Film Making

 STOP AND THINK QUESTIONS

Q1. What childhood memories does the author recollect that had a bearing on his later involvement with filmmaking?

ANSWER: The author had a childhood which made him aware of the two main types of characters in life. The good and the villainous. He came to know about these from his father who prepared sermons. From this knowledge, he easily connected to the stories like. Red Riding Hood and the Wolf, and all the others. And the wolf was the Devil, without horns but with a tail and a gaping red mouth. From imagining these bits to imagining church bells and hearing a piano from a picture at his grandmother's house at Uppsala everything was a part of his creative association with his childhood memories.

Q2. What connection does the author draw between filmmaking and conjuring?

ANSWER: The author says that film making and Conjuring are of the same dice because both require deception of the human eye. Most of the times the viewer is caught between the frames of a movie. Cause whatever emotion or situation is shown in it is false or enacted. But with the help of certain filming instruments, the film seems to be a real-life event and people express real emotions while watching it.

Q3. What is the nature of the first impressions that form the basis for a film?

ANSWER: A film is a finished product. The basis of a film is laid on split-second impressions that disappear as soon as they come. This means that the birth of a film can be a from anything as small as a note of music to an actor who seems to have been born for a role yet to be played. It isn't the story that takes the shape of a film. It is an idea, a feeling, a reflex of a second that draws into a film if it is followed beautifully.

Q4. Which art form is film-making closest to? What is the reason for the similarity?

ANSWER: Filmmaking is the closest to music according to the author. This is because both film and music are based on a certain rhythm. It is the inhalation and exhalation in a continuous sequence of recreation by directly affecting the emotions rather than affecting the intellect.

Q5. Quite often a film made out of a book is not very successful. Discuss.

ANSWER: There is a wide range of difference between films and literary work. Every literary work has an irrational aspect which forms the basis of its existence. This irrational dimension is the inherent seed of every literary work and makes a reader connect to it. The bitter part is that most of the times this aspect of literary creation is not physical. It is an emotion that can be struck through innumerable written lines but can never be put into enactment and converted into films.

Even after knowing this, when a literary work is forcefully converted into a movie, the nucleus or the purpose of the movie is in mist. Or the adjustments done to put the novel in terms of a film breaks the backbone of the movie and takes the magic element away from it.

Q6. What, according to Bergman, is the relationship between a film-maker and his audience?

ANSWER: A filmmaker essentially makes the story come live and the audience gives reactions. This means that the audience is meant to evaluate what the director has put into action. It's like the relationship between a teacher and a student. The audience is meant to rate or react to the movies. The reaction is the main element of the movie.

Q7. What is the story of the Cathedral of Chartres and how does the author relate it to his profession?

ANSWER: The story of the Cathedral of Chartres begins when the cathedral was hit by lightning and burnt down to ashes. Soon thousands of people came from all points of the compass, like a giant procession of ants, and together they began to rebuild the cathedral on its old site. They worked until the building was completed—master builders, artists, labourers, clowns, noblemen, priests, burghers. But they all remained anonymous and no one knows to this day who built the cathedral of Chartres.

The author says that in the old times the craftsmanship brought in glory. There was nothing like self-identity back in those days. It was all done for god. And the author wants to enjoy his own work. He wants to be satisfied with the quality of his work and enjoy his wok. That’s all he desires.

Q8. What are some of the flaws of the world of filmmaking today?

ANSWER: The world of filmmaking is dependent on learning from each other’s work and collaborating together. But today people have become so self-conscious that they do not want to share their ideas and the concept is that sharing will make the film vulnerable. Also, people are no longer polite and gentle. The expression has become very brutal. What was as easy as a play to the author once has now become a struggle. Failure, criticism, public indifference all hurt more today than yesterday. The brutality of the industry is undisguised.

UNDERSTANDING THE TEXT

Q1. Pick out examples from the text that show Bergman’s sensitivity to sensory impressions which have made him a great filmmaker.

ANSWER: There are many instances. But the most prominent ones are when he could imagine a whole live representation of the wall hanging and could imagine even the church bells ringing. He also could visualize the pigeons fly and was transported into a completely different world. It was a complete melodramatic scene created by Bergman in his fantasy of imagination.

The second instance is when he sees the cranes at Dalarna and left all work to watch the cranes fly.

Q2. What do you understand of the complexity of the little invisible steps that go into the making of a good film?

ANSWER: The first step is to get an idea of the theme. Once the theme is clear from split-second impressions and the topic is absolutely strong enough to take shape of reality, The next step is the storyline. Montage, rhythm and the relation of one picture to another—the vital third dimension without which the film is merely a dead product from a factory. The next important thing is shooting the movie helping each other work in the same direction to make the film a success. So the steps of filmmaking are idea formulation, storyline, scripting and shooting.

Q3. What are some of the risks that film-making involves?

ANSWER: Film-making involves storytelling through a sequence of pictures. It is absolutely important that the public identifies with the theme of the movie. If the theme is completely alien, then the message that the film wants to deliver will not be understood. Another thing is choosing the idea. If the theme of the movie is different from the current demand of the public, it will be difficult for the producer to impress the viewers.

Q4. What misgivings does Bergman have about the contemporary film industry?

ANSWER: The contemporary film industry doesn’t want to understand the fact that everyone learns from the other and that this is a continuous process. The current generation of filmmakers has the mentality of secluding oneself and ideas from everyone else. They take it to be cheating or creating plagiarised content. But in reality, it is a fact that we are all a community of people and we have to learn from each other. Learning from one another is the ultimate source of knowledge for us.

Q5. Compare Bergman’s views about making films out of books with that of Umberto Eco’s.

ANSWER: According to Bergman a novel cannot be put into a film completely. If done so, it becomes a complete injustice to the novel because the novel triggers the intellectual faculty of a person whereas the film triggers the emotion directly.

But according to Umberto Eco, the film takes over the popularity of a novel and it's only when the movie is made out of a novel that the novel reaches the epitome of its popularity. So the film indirectly helps the novel.

TALKING ABOUT THE TEXT

Q1. According to the author, split-second impressions form a ‘mental state, not an actual story, but one abounding in fertile associations and images’.

Compare this with Virginia Woolf’s experiment with the stream of consciousness technique in ‘The Mark on the Wall’.

ANSWER: Split Second Impressions is what Bergman associates with the beginning of the film that is a very vague but agreeable event which disappears as they come and leave behind a mood. He says that this is a mental state, not an actual story being a brightly coloured thread sticking out of the dark sack of unconsciousness. With the accumulation of all these threads, one can carefully weave a complete film but it requires patience and a pattern in accordance with these rhythms, obeying laws born out of and conditioned by his original stimulus can gain enough strength it could be made into a film. It requires proper analysis of the Impressions; Its rhythms, moods, atmosphere, tensions, sequences that give a perfect screenplay.

Whereas the Mark on the Wall Summary by Virginia Woolf is a first-person narrative recalling the past and specifics of an event. The narrator beautifully crafts his stream of consciousness into words that try to reflect and associate a series of event with a singularity of a mark on the wall. The process of thinking exhibits a spectrum of event related to the one being discussed and shows how vivid a mind could be.

Q2. Bergman talks about the various influences in his life including his parents and his religious upbringing. To what extent are an individual’s achievements dependent on the kind of influences he or she has had in life? Discuss.

ANSWER: An individual’s achievement is a mixed bag consisting of all his thoughts, his life experiences and his background. It shapes the way one perceives things around him and lays a path towards positivity and success. Bergman associates his motivation towards film and manipulating viewers emotions to the world of his childhood and his religious upbringing similarly one can definitely find pieces of their memory associate with every up and down of their lives. There is a substantial amount of evidence indicating that the way individuals are brought up has important implications on how they cope with their future, by serving as a framework for how they interpret success and the possibility of future achievements. Human behaviour is more closely related to environment and upbringing than education. Interpersonal skills and personality traits grow stronger with disciplined environments and many more examples could be easily related. Growing up and all other influential factors keep working in sync to help a person decide his both taken and untaken road that paves a path to his achievement depending on the role the person is playing. A person achievement depends closely on his personality and one could easily figure that personality is a pattern of thoughts, feelings and behaviours collected gradually over time and situation. So, one could easily map a person’s learnt behaviour to his life’s achievement. The environment that one entertains in his/her life collects the various modes of their problem solving, decision making and creative skills and help them in evolution in this brief period of time being on both positive and negative edges. Thus, with all these references and the statements of Bergman associating his childhood with his achievements one can safely assume the necessary association of an individual’s achievement with their incidents and influences bagged through their lives.

APPRECIATION

Q1. Autobiographical accounts make interesting reading when the author selects episodes that are connected to the pursuit of excellence. How does this apply to Ingmar Bergman’s narration of the details of film-making?

ANSWER: Autobiographical accounts do make interesting reading when the author selects episodes that are connected to the pursuit of excellence. In context with Ingmar Bergman’s narration of the details of film-making, one could easily find references to a various past event that draws readers attention on his hunger to perfection in filmmaking. He starts accounting the importance of childhood experiences and environment and how it moulds a person and paves his path to success. He describes the split-second Impressions that weave into an actual movie with hard work and giving importance to details that help him envisage a proper screenplay with appropriate dialogues. He shows the importance of working at the root level and also writing and says about the difference between film and literature. He finally lays the importance of people in one’s success in life. He describes the role of his parents and the values they inculcated in him. He urges taking advantages of setbacks to become stronger and thus shows how excellence in one’s career could be achieved.

Q2. Comment on the conversational tone of the narration. Compare this with the very informal style adopted by Umberto Eco in the interview.

ANSWER: People tend to prefer persons or textual materials where a conversational tone is used because when someone reads something written in a conversational tone, it tricks people’s brain to think that they are directly involved. As a result, a conversational tone is more effective for getting a message across–and getting that message to stick and this is what the narrator has utilised in this narration which leaves readers in a state of awe and motivation. They can relate well to the narrator’s story and can find pieces in them that can help them to reach their own goals. Whereas The informal style adopted by Umberto Eco in the interview is a series of questions with the person's answers and it's like reading them as a documentary of events and answers. It is casual and is appropriate when communicating with a large mass.

Class XII - English - Flamingo - Deep Water - Notes

Introduction | Complete Text | Questions and Answers

William Douglas (1898-1980)

About the author

William Douglas (1898-1980) was born in Maine, Minnesota. After graduating with a Bachelors of Arts in English and Economics, he spent two years teaching high school in Yakima. However, he got tired of this and decided to pursue a legal career. He met Franklin D. Roosevelt at Yale and became an adviser and friend to the President. Douglas was a leading advocate of individual rights. He retired in 1975 with a term lasting thirty-six years and remains the longest-serving Justice in the history of the court. The following excerpt is taken from Of Men and Mountains by William O. Douglas. It reveals how as a young boy William Douglas nearly drowned in a swimming pool. In this essay he talks about his fear of water and thereafter, how he finally overcame it. Notice how the autobiographical part of  the selection is used to support his discussion of fear.

Complete Text

It had happened when I was ten or eleven years old. I had decided to learn to swim. There was a pool at the Y.M.C.A. in Yakima that offered exactly the opportunity. The Yakima River was treacherous. Mother continually warned against it, and kept fresh in my mind the details of each drowning in the river. But the Y.M.C.A. pool was safe. It was only two or three feet deep at the shallow end; and while it was nine feet deep at the other, the drop was gradual. I got a pair of water wings and went to the pool. I hated to walk naked into it and show my skinny legs. But I subdued my pride and did it. 

From the beginning, however, I had an aversion to the water when I was in it. This started when I was three or four years old and father took me to the beach in California. He and I stood together in the surf. I hung on to him, yet the waves knocked me down and swept over me. I was buried in water. My breath was gone. I was frightened. Father laughed, but there was terror in my heart at the overpowering force of the waves. 

My introduction to the Y.M.CA. swimming pool revived unpleasant memories and stirred childish fears. But in a little while I gathered confidence. I paddled with my new water wings, watching the other boys and trying to learn by aping them. I did this two or three times on different days and was just beginning to feel at ease in the water when the misadventure happened.

I went to the pool when no one else was there. The place was quiet. The water was still, and the tiled bottom was as white and clean as a bathtub. I was timid about going in alone, so I sat on the side of the pool to wait for others. 

I had not been there long when in came a big bruiser of a boy, probably eighteen years old. He had thick hair on his chest. He was a beautiful physical specimen, with legs and arms that showed rippling muscles. He yelled, “Hi, Skinny! How’d you like to be ducked?” 

With that he picked me up and tossed me into the deep end. I landed in a sitting position, swallowed water, and went at once to the bottom. I was frightened, but not yet  frightened out of my wits. On the way down I planned: When my feet hit the bottom, I would make a big jump, come to the surface, lie flat on it, and paddle to the edge of the pool.

It seemed a long way down. Those nine feet were more like ninety, and before I touched bottom my lungs were ready to burst. But when my feet hit bottom I summoned all my strength and made what I thought was a great spring upwards. I imagined I would bob to the surface like a cork. Instead, I came up slowly. I opened my eyes and saw nothing  but water — water that had a dirty yellow tinge to it. I grew panicky. I reached up as if to grab a rope and my hands clutched only at water. I was suffocating. I tried to yell but no sound came out. Then my eyes and nose came out of the water — but not my mouth.

I flailed at the surface of the water, swallowed and choked. I tried to bring my legs up, but they hung as dead weights, paralysed and rigid. A great force was pulling me under. I screamed, but only the water heard me. I had started on the long journey back to the bottom of the pool.

I struck at the water as I went down, expending my strength as one in a nightmare fights an irresistible force. I had lost all my breath. My lungs ached, my head throbbed. I was getting dizzy. But I remembered the strategy — I would spring from the bottom of the pool and come like a cork to the surface. I would lie flat on the water, strike out with my arms, and thrash with my legs. Then I would get to the edge of the pool and be safe.

I went down, down, endlessly. I opened my eyes. Nothing but water with a yellow glow — dark water that one could not see through.

And then sheer, stark terror seized me, terror that knows no understanding, terror that knows no control, terror that no one can understand who has not experienced it. I was shrieking under water. I was paralysed under water — stiff, rigid with fear. Even the screams in my throat were frozen. Only my heart, and the pounding in my head, said that I was still alive.

And then in the midst of the terror came a touch of reason. I must remember to jump when I hit the bottom. At last I felt the tiles under me. My toes reached out as if to grab them. I jumped with everything I had.

But the jump made no difference. The water was still around me. I looked for ropes, ladders, water wings. Nothing but water. A mass of yellow water held me. Stark terror took an even deeper hold on me, like a great charge of electricity. I shook and trembled with fright. My arms wouldn’t move. My legs wouldn’t move. I tried to call for help, to call for mother. Nothing happened.

And then, strangely, there was light. I was coming out of the awful yellow water. At least my eyes were. My nose was almost out too.

Then I started down a third time. I sucked for air and got water. The yellowish light was going out. 

Then all effort ceased. I relaxed. Even my legs felt limp; and a blackness swept over my brain. It wiped out fear; it wiped out terror. There was no more panic. It was quiet and peaceful. Nothing to be afraid of. This is nice... to be drowsy... to go to sleep... no need to jump... too tired to jump... it’s nice to be carried gently... to float along in space... tender arms around me... tender arms like Mother’s... now I must go to sleep...

I crossed to oblivion, and the curtain of life fell.

The next I remember I was lying on my stomach beside the pool, vomiting. The chap that threw me in was saying, “But I was only fooling.” Someone said, “The kid nearly died. Be all right now. Let’s carry him to the locker room.” 

Several hours later, I walked home. I was weak and trembling. I shook and cried when I lay on

my bed. I couldn’t eat that night. For days a haunting fear was in my heart. The slightest exertion upset me, making me wobbly in the knees and sick to my stomach.

I never went back to the pool. I feared water. I avoided it whenever I could.

A few years later when I came to know the waters of the Cascades, I wanted to get into them. And whenever I did — whether I was wading the Tieton or Bumping River or bathing in Warm Lake of the Goat Rocks — the terror that had seized me in the pool would come back. It would take possession of me completely. My legs would become paralysed. Icy horror would grab my heart. 

This handicap stayed with me as the years rolled by. In canoes on Maine lakes fishing for landlocked salmon, bass fishing in New Hampshire, trout fishing on the Deschutes and Metolius in Oregon, fishing for salmon on the Columbia, at Bumping Lake in the Cascades — wherever I went, the haunting fear of the water followed me. It ruined my fishing trips; deprived me of the joy of canoeing, boating, and swimming.

I used every way I knew to overcome this fear, but it held me firmly in its grip. Finally, one October, I decided to get an instructor and learn to swim. I went to a pool and practiced five days a week, an hour each day. The instructor put a belt around me. A rope attached to the belt went through a pulley that ran on an overhead cable. He held on to the end of the rope, and we went back and forth, back and forth across the pool, hour after hour, day after day, week after week. On each trip across the pool a bit of the panic seized me. Each time the instructor relaxed his hold on the rope and I went under, some of the old terror returned and my legs froze. It was three months before the tension began to slack. Then he taught me to put my face under water and exhale, and to raise my nose and inhale. I repeated the exercise hundreds of times. Bit by bit I shed part of the panic that seized me when my head went under water.

Next he held me at the side of the pool and had me kick with my legs. For weeks I did just that. At first my legs refused to work. But they gradually relaxed; and finally I could command them. 

Thus, piece by piece, he built a swimmer. And when he had perfected each piece, he put them together into an integrated whole. In April he said, “Now you can swim. Dive off and swim the length of the pool, crawl stroke.” 

I did. The instructor was finished. 

But I was not finished. I still wondered if I would be terror-stricken when I was alone in the pool. I tried it. I swam the length up and down. Tiny vestiges of the old terror would return. But now I could frown and say to that terror, “Trying to scare me, eh? Well, here’s to you! Look!” And off I’d go for another length of the pool. 

This went on until July. But I was still not satisfied. I was not sure that all the terror had left. So I went to Lake Wentworth in New Hampshire, dived off a dock at Triggs Island, and swam two miles across the lake to Stamp Act Island. I swam the crawl, breast stroke, side stroke, and back stroke. Only once did the terror return. When I was in the middle of the lake, I put my face under and saw nothing but bottomless water. The old sensation returned in miniature. I laughed and said, “Well, Mr Terror, what do you think you can do to me?” It fled and I swam on.

Yet I had residual doubts. At my first opportunity I hurried west, went up the Tieton to Conrad Meadows, up the Conrad Creek Trail to Meade Glacier, and camped in the high meadow by the side of Warm Lake. The next morning I stripped, dived into the lake, and swam across to the other shore and back — just as Doug Corpron used to do. I shouted with joy, and Gilbert Peak returned the echo. I had conquered my fear of water. 

The experience had a deep meaning for me, as only those who have known stark terror and conquered it can appreciate. In death there is peace. There is terror only in the fear of death, as Roosevelt knew when he said, “All we have to fear is fear itself.” Because I had experienced both the

sensation of dying and the terror that fear of it can produce, the will to live somehow grew in intensity. 

At last I felt released — free to walk the trails and climb the peaks and to brush aside fear.

Introduction

In "Of Men and Mountains" by William Douglas, the author recounts an incident from his childhood when he was tossed into a swimming pool by an older boy and nearly drowned. He had an aversion to water from an earlier traumatic incident and had been learning to swim at the YMCA pool. When he was alone at the pool, the older boy threw him into the deep end, and Douglas was unable to swim to the surface due to fear and panic. He struggled to stay afloat and was about to lose consciousness when a lifeguard rescued him. The experience left him with a determination to overcome his fear of water and learn to swim properly.

Think as you read

1. What is the "misadventure" that William Douglas speaks about?
   
   
   ANSWER:
   The ''Misadventure'' is an incident that took place at the Y.M.C.A Swimming pool when Douglas as a kid went there to learn swimming. One day when Douglas was waiting by the side of the pool for company, a big bully picked him up and tossed him into the deep end which was nine feet in depth. As he was not a good swimmer, Douglas nearly drowned. This incident left him traumatized.
   
   
2. What were the series of emotions and fears that Douglas experienced when he was thrown into the pool? What plans did he make to come to the surface?
   
   
   ANSWER:
   William Douglas was thrown into the pool by a muscular boy. He got frightened but did not lose his wits in the beginning. While going down he planned to make a big jump when his feet would hit the bottom and come to surface, lie flat on the water and paddle to the edge of the pool. But his plan did not materialize. He went down very slowly and by the time his feet touched the bottom his lungs were ready to burst. His journey back to the top was very slow and the entire experience made him grew panicky and terrorized.
   
   The same thing happened when he went down for the second and third time in the water till he started fainting and thought himself to be dead.
   
   
3. How did this experience affect him?
   
   ANSWER:
   
   Douglas's childhood trauma of almost drowning in a pool triggered his aversion to water. The incident left him feeling weak and tearful, and he lost his appetite. Any physical activity drained him and caused him to feel nauseous, compelling him to avoid water and stay away from the pool whenever possible. Consequently, the incident continued to haunt him for a considerable period.
   
   
4. Why was Douglas determined to get over his fear of water? 
   
   ANSWER:
   
   Douglas was determined to get over his fear of water because he wanted to live a normal life without any handicap. Since his fear of water was not letting him enjoy the water related fun activities like canoeing, boating, swimming and fishing etc. he decided to get rid of this fear completely.
   
   
5. How did the instructor “build a swimmer” out of Douglas? 
   
   
   ANSWER:
   The instructor taught him all the swimming related activities one by one. He taught him how to exhale when the face is in the water and inhale when the face is above water. He also taught him different strokes and how to use one's feet for swimming. When Douglas mastered all the skills necessary for swimming one by one, the instructor asked him to use all at once so that he could swim, and this trick worked.
   
   
6. How did Douglas make sure that he conquered the old terror? 
   
   ANSWER:
   
   Even after the swimming training was over, Douglas wasn't confident about his swimming or that he had overcome the fear. He was determined to completely get rid of it forever. He swam alone in the pool. He went to Lake Wentworth to dive. There, he tried every possible stroke he had learnt. He fought back the tiny vestiges of terror that gripped him in middle of the lake. Finally, in his diving expedition in the Warm Lake, he realised that he had truly conquered his old terror.

Fiction, Chapter 3 - The Man Who Knew too Much - Class-IX English-A

Chapter-3

The Man Who Knew Too Much

Answer these questions-

Question- What is a nickname? Can you suggest another one for private Quelch?

Answer- a nickname is a name given to a person (except the real name) in any kind of feeling (affection, jealousy etc.) or which describes his or her traits.

         Another name for private Quelch can be ‘Mr. know all ’.

Question- Private Quelch looked like a ‘professor’ when the author first met him at the training depot. Why?

Answer- When the author first met him at the training depot, his lanky, stooping posture, his frown and his horn rimmed spectacles made him look like a professor.

Question- What does the dark sun dried appearance of the sergeant suggest about him?

Answer- The dark sun dried appearance of the sergeant suggests that he was very experienced and had dedicated his life to the army. He was not a man to be trifled with and knew his subject well.

Question- How was private Quelch’s knowledge exposed even further as the sergeant’s classes went on?

Answer- As the sergeant’s classes went on and he finished his lecture he questioned everybody including the professor. The professor answered every question with confidence and accuracy and thus, his knowledge was exposed even further.

Question- What did the professor meant by intelligent reading?

Answer- By intelligent reading the professor means to do a thorough study through observation and have as much knowledge about any subject as possible.

Question- What were the professor’s ambition in the army?

Answer- The professor wanted to get a commission in the army. His first step was to get a stripe.

Question- Did private Quelch’s day to day practices take him closer towards his goal? How can you make out?

Answer- Private Quelch was hardworking and intelligent with a clear goal. But his habit of exhibiting his knowledge in the hope of impressing was his backdrop. This habit of his was extremely irritating and the reason he was appointed to the back quarters of the kitchen.

Question- Describe corporal Turnbull.

Answer- Corporal Turnbull was a young officer who had come from Dunkirk. He was disciplined and the squad used to admire him a lot. His personality commanded respect and he was known for his toughness.

Question- How did Private Quelch manage to anger the corporal?

Answer- Private Quelch interrupted the corporal in the midst of his lecture and tried to correct him where he was already correct. Then he compared the corporal’s way with the way of another instructor and showed off as if he was an expert on the subject and thus, managed to anger the corporal.

Question- Do you think that private Quelch learnt a lesson when he was chosen for cookhouse duties? Give reasons.

Answer- No, I don’t think private Quelch learnt his lesson when he was chosen for cookhouse duties because the write narrates over hearing him addressing the cooks about their unscientific method of peeling potatoes. This shows that he still used to show off his knowledge whenever he got the chance.

Want to check grammar for free? Try Free Grammar Checker.

Fiction Chapter -1 How I Taught My Grandmother to Read Class IX English-A

Chapter 1
How I Taught My Grandmother to Read

Question- What made Triveni a popular writer?

Answer- Her style of writing and her convincing stories which dealt with the day to day life of ordinary people made Triveni a popular writer. People liked her and her stories because they could easily relate to her stories as they usually depicted the psychological problems people face in their day to day life.

Question- Why did grandmother depend on the granddaughter to know the story?

Answer- Grandmother depended on her granddaughter to know the story because she was an uneducated lady who never went to school and so she didn’t know how to read or write.

Question- Pick out two sentences which state that the grandmother was desperate to know what happened in the story.

Answer- Two sentences which state that the grandmother was desperate to know the story are-

1.    “I waited eagerly for you to return.”   

2.    During that time she would forget all her work and listen with the greatest concentration.

Question-Could the grandmother succeed in accomplishing her desire to read? How?

Answer- Yes, the grandmother succeeded in accomplishing her desire to read by working very hard, doing lots of homework, reading, writing, reciting, repeating and being determined to continue and accomplish her goal of learning the Kannada alphabets.

Question- Which of the following traits would be relevant to the character of the narrator’s grandmother?

Answer- The following traits are relevant to the character of the narrator’s grandmother-

         (i) Determined- grandmother was a determined lady as she set the goal and decided to keep Saraswati pooja day as the deadline and was able to accomplish her goal in spite of many obstacles.

         (ii) Emotional- grandmother was an emotional lady as when her granddaughter was not with her she felt sad and helpless. When her granddaughter returned and she related her story and helplessness she got emotional and cried.

Question- Write the character sketch of grandmother.

Answer- The main character in the story ‘how I taught my grandmother to read’ written by Sudha Murty is Krishtakka, the grandmother of the writer. Of sixty-two years with grey hairs and wrinkled hands. She worked a lot in the kitchen as she enjoyed feeding her children and grandchildren a lot. The writer states that she had not seen her grandmother cry even in the most difficult situation which shows that she had a strong-willed character.

She was a very determined lady as she didn’t give up in spite of all obstacles when she decided to learn the Kannada language. She was also very diligent and hardworking as the amount of homework she did was amazing. She decided to learn the Kannada language so that she could read independently. This shows that she possessed an independent spirit. She was also very religious and pious as she obeyed her holy scriptures and respected her teacher (granddaughter) irrespective of her age.

Poems by Milton - On Time XII-Elective English

Portrait of Milton, c. 1629

Poems by Milton - On Time XII-Elective English

Summary of the Poem

“On Time,” by the English poet John Milton (1608-1674), deals with one of the most common themes in all of medieval or Renaissance literature: the theme of mutability, or the idea that life on earth is full of constant (and mainly negative) change. The inevitable passage of time was a particularly painful example of such change, especially since it ultimately involved physical deterioration and then, eventually, physical death. Milton’s poem is a response to such gradual but certain decay. Like many other writers of his era (an era dominated by Christian thinking), Milton emphasized that humans can escape the ravages of time by attaining an eternal life in heaven that is full of joy.

Line 1 begins with the vigorous verb “Fly” (that is, “flee”), which immediately asserts the speaker’s vigor and self-confidence. Rather than being intimidated by time, he attacks and mocks it (much as John Donne attacks and mocks a personified Death in his Holy Sonnet X). Time is “envious,” a word which in Milton’s era mainly meant being hateful, malignant, and/or spiteful. But perhaps it also here suggests that Time, which is limited and bound to end, envies human beings, who are capable of existing eternally. In any case, by personifying time as “Time,” Milton makes it almost seem a living thing—an assertion which already implies a bit of irony since he soon suggests that Time will die. Time, in this poem, seems not merely an abstract philosophical concept; it is a malevolent, active being whom one must resist and defeat. The speaker, however, immediately implies that he feels no fear of Time; from the very first line, he suggests that Time is fated to suffer death.

Line 2 shows Milton’s talent for using sound effects. In this case, the effects involve not only alliteration (repetition of similar consonant sounds) but also assonance (repetition of similar vowel sounds), as in the repetition here of “l’s” and short “e’s”: “Call on the lazy leaden-stepping hours.” Having already mentioned the word “race” in line 1 (a word implying speed), the speaker now implies (through the use of the particular adjectives here) that Time moves very slowly. It is as if the speaker feels contempt for the “lazy leaden-stepping hours,” as if he is almost eager for Time to run its race as quickly as possible.

Line 3 once more emphasizes the slowness of Time by comparing its movement, appropriately enough, to that of a “plummet” (or weight) in a clock, which slowly descends and thus powers the time-piece.

Line 4 implies that Time is a kind of crude glutton, eager to consume living things and then digest them in its stomach (or “womb”). It is as if Time has now become a huge, personified gut—a kind of mindless, all-consuming stomach. Here again, then, the tone is completely contemptuous.

Line 5 again speaks of Time contemptuously, suggesting that what it greedily devours is in any case worthless, so that Time seems not only crude but also stupid. Time is willing to...(to be updated later)

Q. In the poem "On Time" by John Milton, why has the poet pitted the flight of Time against the "lazy leaden-stepping hours" and "the heavy Plummets pace"?

Answer:

Milton is contrasting the seeming speed of life as it flies by and is finished to the seeming long length of individual days. He is also contrasting the ultimate end of human life with the ultimate annihilation of Time.

Fly envious Time, till thou run out thy race,
Call on the lazy leaden-stepping hours,
Whose speed is but the heavy Plummets pace;

The first line quoted here carries a Biblical allusion to the Christian notion that Time will eventually end, "till thou run out thy race," when Earth, space and time cease to exist at the end of the world, a time when a New Heaven and a New Earth without the limits of Time is expected. He defies Time's control over individual human lives in the words "Fly ... Time." The poetic narrator (presumably Milton himself) is mocking Time for two reasons. First, though life rushes past, each day has a "lazy leaden-" pace that goes only as fast as a lead weight, "Plummet." Second, Time will cease to be, "thy greedy self consum'd," but humans' lives will end in the long eternal "bliss" of unity with God:

And last of all, thy greedy self consum'd,
Then long Eternity shall greet our bliss
With an individual kiss;
And Joy shall overtake us as a flood,

In summary, Milton has developed a wonderful metaphoric paradox for understanding Time as something that is both too fast and yet prolonged: the whole is too fast but the individual parts are preciously slow. Milton further "pitted the flight of Time against the 'lazy leaden-stepping hours' and 'the heavy Plummets pace'" as a mark of defiance against the quickly spent short course of life and as a celebration of the eternal blissful life that is to follow.

Class XI - Elective English - 6. The Third and Final Continent - Jhumpa Lahiri

Class XI - Elective English - 6. The Third and Final Continent - Jhumpa Lahiri

APPRECIATION

1. Discuss the manner in which the author interweaves details of the narrator’s family with the flow of the main narrative.
   
   
   The details about the narrator's family is important for the readers in order to understand the psyche of the narrator. He had a very turbulent childhood and was brought up among very disturbed conditions at home. This is important for us to understand the bond he shared with Mrs. Croft. The words written by the author expresses that he was very attached to his mother and had fulfilled the role of an eldest son till the time she was cremated. He missed his mother a lot and recollected small incidents about she never forgetting to drape her head before coming in front of his father. When he came to know of Mrs. Croft's age which had crossed a century, he contemplated on how his mother couldn't adjust to his father's death and turned insane. Her insanity led to deterioration of her health. Her death gave him a heavy blow but he cared for her till the very last moment before cremating her. This shows his reason for growth of empathy towards Mrs. Croft because of her old age. Thus, his concern for Mrs. Croft grew which can be clearly reflected in the line: I was mortified. I had assumed Mrs. Croft was in her eighties...that this person was a widow who lived alone mortified me further still.
   
   
2. ‘Mrs Croft’s was the first death I mourned in America, for, hers was the first life I had admired; she had left this world at last,ancient and alone, never to return’—how do these lines encapsulate the bond that is possible between two strangers?
   
   A person usually feels very detached from people staying around him  abroad. Here is where originates the feeling of diaspora. The same happened with the narrator. He was away from his home and his family and, thus, never grew any feeling of affection towards anybody in America. He was quite alienated with the people of America. However, the course of action justifies his attachment and the emotional bonding which grew between him and Mrs Croft. In the foreign land, he grew a fondness towards the old lady because of various reasons. When he got to know that she was older than a century, he felt a sense of responsibility towards her. He was amazed and was quite awestruck at the idea of a widow of that age residing all alone, with nobody to take care of her . Taking up chores like heating her soup every evening or giving her eight dollars in the envelope every month satisfied him. All these instances and many more cite the fact that a very strong bond had developed between the lady and the narrator.
3. Examine the pieces of conversation in the story. How do they reflect the worldview of each of the speakers? The various conversations taking place in bits and pieces during the course of action of the story reflect a lot about people's perception on various issues and attitude towards each other and humanity in general. We see a very firm and hypocritical attitude prevalent in the tone of Mrs Croft when the narrator arrived at her place for the first time. This is when for the first time he realised that belonging to a very high standard place was important, anywhere such as Tech or Harvard. The greatness and biasness of Americans to be the first one to step on the moon, considering it an unattainable and impossibly splendid feat to be attained. However, she becomes mild for the first time when she receives the eight dollars from the narrator. Mrs Croft's orthodox ways become prominently visible when she objects to a lady and a man talking in private without a chaperone. Her conventional ways are quite evident keeping in mind the fact that she had already crossed hundred. The ways of the western world is shown to be in a very high contrast when we see Mrs Croft's daughter Helen being quite indifferent towards her mother's health or meals. Her casual tone when she says “she might have slipped” might disturb readers. However, even with the differences in opinions, perceptions and norms, the bond which had developed between the narrator and an American widow of a hundred years is worth appreciation.

Class X Literature - Footprints Without Feet - L-6 The Making of a Scientist

1. What lesson does Ebright learn when he does not win anything at a science fair? Ebright learns that it is the experimentation that is important in science and not just showing the process. 
2. What experiments and projects does he then undertake? He undertakes projects which involved the insect work.. In his eighth grade Ebright tried to find the cause of a viral disease that kills nearly all monarch caterpillars every few years.
3. What are the qualities that go into the making of a Scientist? Curious mind, competitive spirit, determination and positive thinking are some of the qualities that go into the making of a scientist.
   
4. How can one become a scientist? One can become a scientist or expert in any other subject by observing, thinking and doing experiments.

Essay-01 My Watch by Mark Twain

Class Notes - English - XI - Elective - Woven Words - Essay:01

UNDERSTANDING THE TEXT

1. What was the importance of the watch to the author?
   
   
   The watch was important to the author as it showed him the correct time thus keeping him punctual. He had it working properly for 18 months until he let it run down. He had staunch faith on its judgement and its prediction. It worked perfectly until then without gaining or losing any part of it.
2. What were the attempts made by the author to get his watch repaired?
   
   
   After a possession of 18 months, the author let his watch run down. Devastated, the author went to all possible watch makers starting from the chief jeweller, the very next day. The head of the establishment pushed the regulator of the watch a little too much, which did no good, rather worsened its condition. Then the author went to another watch maker who kept it for a week and slowed it down, however, too much. Then he went to another one who kept it for three days; and then couple of more. Even after having spent thousands dollars, none of the watch makers could fix the watch. Hopeless, the author gave it a last shot and went to a watch maker who turned out to be an erstwhile, not a good, steam-boat engineer. It was now that the author realised that "a good horse was a good horse until it had run away once, and that a good watch was a good watch until the repairers got a chance at it. "
3. Why did the author finally give up on his watch?
   
   
   
   The author got the watch repaired seven times. By the end, he realised that the watch, with its original cost being two hundred dollars, had cost him two to three thousand on repairs itself. And the watch was still malfunctioning. It was when he reached the seventh watch maker and acknowledged the mechanic to be an old acquaintance, a steam-boat engineer of other days and not a good engineer. He gave his verdict like all other watch makers, the author was not gullible and this time he perceived what his uncle William used to say that a good horse was a good horse until it had run away once, and that a good watch was a good watch until the repairers got a chance at it. So, he finally gave up the repairing and decided to let the watch be.
4. What was Uncle Williams’ comment on the ‘tinkerers’ of the world?
   
   
   
   Uncle William is not a character in the story; however, the author gives a glimpse of him. When the author gave the watch for mending the last time, he reckoned that it was costing him more than the original cost. All the attempts so far have been futile and the verdict of the last watch maker made him remember what uncle William used to say that a good horse was a good horse until it had run away once, and that a good watch was a good watch until the repairers got a chance at it. The author perceived what his uncle had known with all his knowledge and experience. All the unsuccessful tinkers in the world are not specialists. They are the 'Jacks' of all trades and masters of none. Uncle William used to wonder what became of all those gunsmiths, shoe-makers, engineers and blacksmiths who never could be successful in their work sphere. It is important to acquire specialisation at least in one particular field, else one is left being a tinker, an apprentice, and not a specialist.
5. Explain these lines
   a. ‘I seemd to detect in myself a sort of sneaking fellow-feeling for the mummy in the museum, and a desire to swap news with him.’
   b. ‘Within a week it sickened to a raging fever and its pulse went up to a hundred and fifty in the shade.’
   c. ‘She makes too much steam—you want to hang the monkey wrench on the safety valve!’
   
   
   ANSWER:
   
   
   (a) After being oiled and cleaned and 'regulated' for the second time, the watch came home to the author after a week. However, the watch was slowed down to such a degree that the author missed all his appointments, his dinner. He felt like he was drifted in the past somewhere. Gradually the watch slowed even more, he felt like he was living in the previous week. The author felt like he missed all that was happening in the world. He was solitary and lingered in the past all because of his watch. The author here compares his situation to that of a mummy, who belongs to bygone ages. He felt it ideal to find a fellowship with the mummy in some museum he probably had been to or an imaginary one. He felt travelling in the past just like the mummy due to the slow time projected by his watch.
   
   
   (b) When the author let his watch run down after eighteen months, he took it to chief jeweller's to set it by the exact time. The head of the establishment however, despite being stopped by the author, pushed the regulator. This gave the watch, probably, a kick and the watch shot ahead of its time. It gained faster and faster, day by day. Post two months, it appeared to be having some sort of a fever with an extremely high pulse rate. It moved 13 days ahead of the actual date and when the year touched October, the author commented, the watch was enjoying the snow fall of November already. This erratic behaviour annoyed the author a lot and so he decided to get it doctored once again.
   
   
   (c) The seventh time the author took the watch to a watch maker, he reckoned the apprentice to be an old acquaintance, a steam-boat engineer of other days and not a good engineer. Like all watch makers, he diagnosed and gave his verdict. The author observed keenly and judged him at his very verdict when he said, "She makes too much steam-you want to hang the monkey wrench on the safety valve! The author immediately remembered what his uncle William used to say and perceived that a tinker is a tinker after all, this being an unsuccessful engineer and wondered like his uncle what became of all the unsuccessful tinkers.

TALKING ABOUT THE TEXT

1. Replacing old machines with new is better than getting them repaired.
2. It is difficult to part with personal items like a watch which have a sentimental value attached to them. 

APPRECIATION

1. How is humour employed to comment on the pains that the author took to get his watch set right?
   
   
   It is funny how the author and his dear watch had to go through all the pain that was delivered by seven watch makers. In the end, it was all futile and no good was done to the watch. The seven episodes with the watch makers are humorous as while all the watch makers tried their hand on the watch, toying it all up and operating and exploring and dissembling and then assembling every inch of it, it all gave sheer pain to the author to whom the watch was so dear. Every time with all the hope and strength he took it to a new watch maker; however, not a single of all the tinkers could put it all back to place to make it function all properly. How strange it is that none of the seven watch makers could mend the watch while they all experimented and did all sorts of research and development on it.
2. ‘The author’s treatment of the subject matter makes the readers identify themselves with the experience.’ Comment on this statement.
   
   
   Samuel L. Clemens, Mark Twain, had less than ten years of schooling. He worked as a printer's apprentice, a steamboat pilot, a prospector and a journalist. All this gave him varied experiences and a wide knowledge of humanity. In all his works, he brings in elements from his own experiences and his own life creating a replica of his own self. All his stories have a combination of realistic and make believe world. What he presents are the situations that any ordinary human might face in her/his daily life; thus, making them all appear very realistic and hence the readers easily connect to the story and identify themselves with the experiences. For instance, in the story, the author faced a problem that is so ordinary. Any of us might have a watch that malfunctions and has a simple error. However, the problem rather than being mended, aggravates every time we take it to be doctored. This is a typical example of how an ordinary human faces problems with not just gadgets; it might be a medical condition or as simple as an argument with a known face.
3. Identify some of the improbable images the author has used to effect greater humour. 
   
   
   There are instances when the author goes on exaggerating the actual situation to add humour to the story. For example, when the watch is repaired for the second time, it slowed down. The description is a hyperbole of the actual happening. No matter how slow a watch is, it will show the time according to 12 hours, it cannot literally travel in the past. However, the way the author describes its watch enjoying snowfall before the season arrives is humorous. Also, the citation of the mummy is funny, plus it describes the mental state of the poor author.

Essay-02 My Three Passions by Bertrand Russel

Class Notes - English - XI - Elective - Woven Words - Essay:02

UNDERSTANDING THE TEXT

1. Why does Russell call the three passions ‘simple’?
   
   
   The essay actually is the preface to Bertrand Russell's autobiography. Every human is driven by a force, a passion all her/his life. It keeps her/him going. Some desire money, other, fame. There are some who desire simple satisfaction. Bertie's desires that he chased through his life were simple as well. He was driven by passions that any ordinary man or woman might feel for. For one, he wished love and got it too; he believed that it brought ecstasy. He got married four times to tell. Second, he hungered for knowledge and of course we all seek for it. He was a mathematician, a logician, political activist and wrote vastly on philosophy and contributed to literature, for which he received Nobel Prize as well. Third, he shared "an unbearable pity for the suffering of mankind". He took a stand against World War 1 and Vietnam war. Any human will pity a suffering man or a woman for they have a heart and feel, and so did Russell. Russell was a man who did not lust after materialistic gains; he was born in a prominent aristocratic family of Britain and gave away much of what he inherited. He rose his voice in favour of suffragists and world government. He believed in free thought in religion and morals.
   
   
2. Why has he compared the three passions to great winds?
   
   
   Russell compared his three passions to great winds as they were the driving force in his life. They directed his life and gave him the reason for his existence. These great winds are: the love, the knowledge and the pity for the suffering of the mankind. He found ecstasy in the first two that took him to heaven while the third brought him back to the earth with the practical reality. It appears from the words of the author, these are essential parts of his life. It was because of his passions, he found his life to be worth living and that he would gladly live it again if the chance were offered to him. So, his passions are like the great winds of his life directing him all along.
3. What, according to Russell, is the importance of love in life?
   
   
   Bertrand Russell is of the opinion that love brings ecstasy in one's life. He believes that the bliss that love brings is so magnificent that he could sacrifice the rest of his life for this joy of few hours. It relieves one of loneliness of this world. Russell says that in love he has seen the heaven that the great saints and poets have imagined. Here, Russell has given a spiritual dimension to love. He reached beyond through love and it was pity that brought him back.
4. How does Russell’s definition of knowledge differ from what is commonly understood by the term?Why is the quality of pity earth-bound while the other two passions are elevating?
   
   
   Knowledge is a treasure and Russell was a seeker of it. He craved to know and understood the Pythagorean power by which a number holds sway over the flux. He was a much learned man. He did believe that he achieved a little of it as well and yet he yearned for more. The understanding of the higher subjects, why the stars shine? He beseeched beyond all this and it in turn took him upward toward the heavens.
5. Why is the quality of pity earth-bound while the other two passions are elevating?
   
   Bertrand Russell had three passions governing his life all through. The first two being love and knowledge, which elevated him and took him higher to the heavens that great poets and saints have imagined. However, he said that the third one, i.e., pity, brought him back to the Earth, the reality. The pain in the echoing cries reverberated in his heart. All the sorrow in the wide world forced him to return to the Earth; the children in famine, victims tortured by oppressors, helpless old people that become a hated burden to their children. Russell was moved by the loneliness and poverty and pain that mocked human life. He imagined the ideal life of a human without any suffering and sorrow. So, he longed to alleviate the evil, however, he too suffered. He yet respected the human life and found it worth living and fought throughout his life against all evils. Bertrand fought against the Vietnam war and supported suffragists. Throughout his life he fought in favour of mankind to make this world a better place to live.
6. How have the three passions contributed to the quality of Russell’s life?
   
   
   The three passions, the great winds, in the Russell's life contributed immensely to its making. He found his life worth living and had he been given a chance, he would have lived it again. It were not just passions but the three vital virtues governing his life. These gave him directions and were behind all his actions. Bertrand Russell believed in love, knowledge and pity. Whether it was his relationships with women, or fighting against Vietnam war, his stand on Israel, or his support to suffragists it was always these three ideals that ruled all his actions.
   
   

Essay-04 Tribal Verse by G.N. Devy

Class Notes - English - XI - Electictive - Woven Words - Essays:04

UNDERSTANDING THE TEXT

1. Identify the common characteristics shared by tribal communities all over the world.
   
   
   The essayist identifies some common characteristics shared by tribal communities all over the world. The tribals live in groups that are cohesive and organically unified. They show very little interest in accumulating wealth or in using labour as a device to gather interest and capital. The tribals accept a world view in which nature, human beings and God are intimately linked and they believe in the human ability to spell and interpret truth. They live more by intuition than reason, they consider the space around them more sacred than secular, and their sense of time is personal rather than objective.
2. What distinguishes the tribal imagination from the secular imagination?
   
   
   The tribal imagination is, according to the author, dreamlike and hallucinatory. It admits fusion between various planes of existence and levels of time in a natural way. These characteristics distinguish the tribal imagination from the secular imagination. In tribal stories, oceans fly in the sky as birds, mountains swim in the water as fish, animals speak as humans and stars grow like plants. In tribal imagination, stars, seas, mountains, trees, men and animals, can be angry, sad or happy.
3. How does G.N. Devy bring out the importance of the oral literary tradition?
   
   G. N. Devy brings out the importance of the oral literary tradition by referring to the richness of the works of the tribals that have been handed down from one generation to the other orally. He tries to bring home the point that though the literary compositions have been transmitted orally yet thematically and ornamentally they are very rich. The stories and songs that have come down to the tribals through oral tradition are unique. These compositions present the exclusive world view of the tribals. He points out that the wealth and variety of these works is very enormous. In order to show the importance of the oral literary tradition, Devy throws light on the various characteristics of the tribal arts. He shows that one of the main characteristics of tribal arts is their distinct manner of constructing space and imagery, which might be described as hallucinatory. Playfulness is another dimension of this tradition. Devy advocates that proper recognition should be given to the oral literary tradition in view of its variety and richness.
4. List the distinctive features of the tribal arts.
   
   

   According to the essayist G. N. Devy, the tribal arts display many distinctive features.

   
   

   One of the distinctive features of tribal arts is their distinct manner of constructing space and imagery, which might be described as 'hallucinatory'. In both oral and visual forms of representation, tribal artists seem to interpret verbal or pictorial space as demarcated by an extremely flexible 'frame'. The boundaries between art and non art become almost invisible. In a tribal Ramayana, an episode from the Mahabharata makes a sudden and surprising appearance; tribal paintings contain a curious mixture of traditional and modern imagery.

   
   

   The tribal arts follow strict convention. Every tribal performance and creation has, at its back, another such performance or creation belonging to a previous occasion. The creativity of the tribal artist lies in adhering to the past while, at the same time, slightly subverting it.

   
   

   Playfulness is the soul of tribal arts. The tribal arts rarely assume a serious or pretentious tone. The tribal arts are relaxed and never tense.

   
   

   The tribal oral stories and songs employ bilingualism in a complex manner.
5. ‘New literature’ is a misnomer for the wealth of the Indian literary tradition. How does G.N. Devy explain this?
   
   According to the essayist, the tribal Literature should not be called 'New Literature' as this has been in existence for many years. The songs and stories of the tribals have been transmitted orally and as these have not been written down so many people have been unaware of them. The essayist contradicts the views of the western literary critics who have termed tribal literature as 'New Literature'. He says that there is nothing new in this, what might be new is the present attempt to see imaginative expression in tribal language not as folklore but as literature and to hear tribal speech not as a dialect but as a language.