50 Practice Questions of Modals in English Grammar with Answers

Mastering modal verbs like can, should, must, and might is essential for speaking and writing English fluently. They help us express ability, permission, obligation, and possibility.

In this guide, we'll quickly review the most important modals and their uses. Then, test your knowledge with 50 practice questions specifically designed for CBSE Class 9 and 10 students. Let's get started!

All Modals with Definition and Examples

Can

Definition: Expresses ability, capability, permission, or possibility.

Example: I can swim. Can I borrow your pen?

Could

Definition: Expresses past ability, permission, or possibility.

Example: I could swim when I was younger. Could I use your phone?

May

Definition: Expresses permission, possibility, or uncertainty.

Example: May I go to the restroom? It may rain later.

Might

Definition: Expresses possibility or uncertainty.

Example: She might come to the party. It might be a good idea to call ahead.

Must

Definition: Expresses obligation, necessity, or strong probability.

Example: You must follow the rules. It must be cold outside.

Shall

Definition: Expresses suggestions, offers, or future actions.

Example: Shall we go for a walk? I shall do my best to help you.

Should

Definition: Expresses advice, recommendations, or expectations.

Example: You should study for the exam. It should be a great movie.

Will

Definition: Expresses future actions, predictions, or willingness.

Example: I will meet you at the cafe. It will rain tomorrow.

Would

Definition: Expresses past habits, polite requests, or hypothetical situations.

Example: He would always take a walk after dinner. Would you like some tea?

Ought to

Definition: Expresses moral obligation, strong recommendation, or expectation.

Example: You ought to apologize. He ought to be here by now.

Need to

Definition: Expresses necessity or obligation.

Example: You need to finish your homework. I need to buy groceries.

Have to

Definition: Expresses necessity or obligation.

Example: I have to go to work. They have to clean their room.

Let Us Practice

Fill in the blanks with appropriate modals. (Answer key given below)

1. She _______ be at home. She left her keys on the table.
2. We _______ go to the party if we finish our work early.
3. You _______ try the new restaurant downtown. The food is delicious.
4. He _______ swim when he was just three years old.
5. I'm not sure if I _______ come to the meeting tomorrow. I have a conflicting appointment.
6. They _______ have studied harder for the exam. They didn't do well.
7. _______ I borrow your pen? I forgot mine at home.
8. We _______ take a taxi. It's raining heavily outside.
9. He _______ have passed the driving test. He practiced a lot.
10. She _______ have left the door unlocked. That's why the house got robbed.
11. You _______ read that book. It's a classic.
12. They _______ stay up late. They have an early morning tomorrow.
13. He _______ come to the party. He wasn't invited.
14. _______ I help you with your luggage?
15. We _______ go to the gym more often. We need to stay fit.
16. I _______ finish this report by tomorrow. It's urgent.
17. They _______ go on vacation next week. Their flights are booked.
18. You _______ eat all the cake by yourself. Share it with others.
19. She _______ be tired. She worked overtime today.
20. He _______ speak French fluently. He studied it for many years.
21. We _______ be careful while crossing the road. It's busy.
22. You _______ ask for permission before using my computer.
23. They _______ play soccer every weekend. It's their favorite sport.
24. _______ I have a glass of water, please?
25. He _______ start saving money for his future.
26. She _______ attend the meeting. She has a prior engagement.
27. We _______ take the bus or walk to the park. It's just a few blocks away.
28. They _______ go to the movies tonight. They have other plans.
29. You _______ bring an umbrella. It might rain later.
30. He _______ have called to inform about the change in plans.
31. She _______ lend you her car if you promise to drive carefully.
32. _______ I have another piece of cake? It's delicious.
33. They _______ visit their grandparents over the weekend. They miss them.
34. We _______ be more mindful of our environment. Reduce, reuse, and recycle.
35. You _______ take a break. You've been working hard all day.
36. He _______ ask for help if he doesn't understand the assignment.
37. She _______ go to the doctor. Her cough has been persistent.
38. They _______ arrive on time for the concert. The tickets are non-refundable.
39. _______ I have a look at your notes? I missed the class yesterday.
40. We _______ buy a new car. Ours keeps breaking down.
41. He _______ stay focused during the exam. It's important.
42. You _______ learn to play the guitar if you practice regularly.
43. They _______ join the club if they meet the membership requirements.
44. _______ I open the window? It's stuffy in here.
45. She _______ take up dancing. It's a great way to stay active.
46. We _______ study harder for the next test. We didn't do well.
47. You _______ ask for directions. We're lost.
48. He _______ apologize for his rude behavior. It was uncalled for.
49. _______ I have a piece of advice? I think it might help.
50. They _______ visit the art museum. It's known for its impressive collection.

Click to See Answer Key

1. must

2. can

3. should

4. could

5. will

6. should

7. May

8. should

9. must

10. should

11. should

12. shouldn't

13. shouldn't

14. Can

15. should

16. must

17. will

18. shouldn't

19. must

20. can

21. should

22. should

23. should

24. May

25. should

26. can't

27. can

28. won't

29. should

30. should

31. will

32. May

33. will

34. should

35. should

36. should

37. should

38. must

39. May

40. should

41. should

42. can

43. can

44. May

45. should

46. should

47. should / ought to

48. must / should

49. May / Can

50. should / could

Please note that in some cases, more than one modal verb can be used, depending on the intended meaning.

Download Worksheet

Modal Verbs Practice Worksheet

Name: ___________________ Date: ___________________

Instructions: Fill in each blank with a suitable modal verb from the list.

1. She _______ be at home. She left her keys on the table.
2. We _______ go to the party if we finish our work early.
3. You _______ try the new restaurant downtown. The food is delicious.
4. He _______ swim when he was just three years old.
5. I'm not sure if I _______ come to the meeting tomorrow. I have a conflicting appointment.
6. They _______ have studied harder for the exam. They didn’t do well.
7. _______ I borrow your pen? I forgot mine at home.
8. We _______ take a taxi. It’s raining heavily outside.
9. He _______ have passed the driving test. He practiced a lot.
10. She _______ have left the door unlocked. That’s why the house got robbed.
11. You _______ read that book. It’s a classic.
12. They _______ stay up late. They have an early morning tomorrow.
13. He _______ come to the party. He wasn’t invited.
14. _______ I help you with your luggage?
15. We _______ go to the gym more often. We need to stay fit.
16. I _______ finish this report by tomorrow. It’s urgent.
17. They _______ go on vacation next week. Their flights are booked.
18. You _______ eat all the cake by yourself. Share it with others.
19. She _______ be tired. She worked overtime today.
20. He _______ speak French fluently. He studied it for many years.
21. We _______ be careful while crossing the road. It’s busy.
22. You _______ ask for permission before using my computer.
23. They _______ play soccer every weekend. It’s their favorite sport.
24. _______ I have a glass of water, please?
25. He _______ start saving money for his future.
26. She _______ attend the meeting. She has a prior engagement.
27. We _______ take the bus or walk to the park. It’s just a few blocks away.
28. They _______ go to the movies tonight. They have other plans.
29. You _______ bring an umbrella. It might rain later.
30. He _______ have called to inform about the change in plans.
31. She _______ lend you her car if you promise to drive carefully.
32. _______ I have another piece of cake? It’s delicious.
33. They _______ visit their grandparents over the weekend. They miss them.
34. We _______ be more mindful of our environment. Reduce, reuse, and recycle.
35. You _______ take a break. You’ve been working hard all day.
36. He _______ ask for help if he doesn’t understand the assignment.
37. She _______ go to the doctor. Her cough has been persistent.
38. They _______ arrive on time for the concert. The tickets are non-refundable.
39. _______ I have a look at your notes? I missed the class yesterday.
40. We _______ buy a new car. Ours keeps breaking down.
41. He _______ stay focused during the exam. It’s important.
42. You _______ learn to play the guitar if you practice regularly.
43. They _______ join the club if they meet the membership requirements.
44. _______ I open the window? It’s stuffy in here.
45. She _______ take up dancing. It’s a great way to stay active.
46. We _______ study harder for the next test. We didn’t do well.
47. You _______ ask for directions. We’re lost.
48. He _______ apologize for his rude behavior. It was uncalled for.
49. _______ I have a piece of advice? I think it might help.
50. They _______ visit the art museum. It’s known for its impressive collection.

Active and Passive Voice Easy Explanation with Examples for CBSE Board

Active vs. Passive Voice

Active Voice: In the Active Voice, the verb is directly related to the subject, which is the doer of the action. The focus is on the subject.

Example: She is reading a book.

Passive Voice: In the Passive Voice, the verb is related to the receiver of the action, and the focus is on the action itself. Sometimes the performer of the action (the agent) is not identified, which is known as a 'Short Passive'.

Example: The plants are watered by her every day.

Uses of the Passive Voice

1. When the action is more important than the subject (the doer).

   Active: I made a mistake.

   Passive: A mistake was made.

   (Here, the focus is on the mistake, not on who made it.)

2. When the subject is unknown or obvious.

   Active: Someone left a phone in the hall.

   Passive: A phone was left in the hall.

Rules for Changing Active to Passive Voice

1. The verb must be transitive (a verb that takes an object).
2. The subject and object switch places.
3. The main verb is changed to its third form (past participle). For example, play → played.
4. An appropriate helping verb (e.g., is, am, are, was, been) is added according to the tense.
5. Pronouns change their form (e.g., I becomes me, she becomes her).
6. The preposition 'by' is usually added before the new object (the original subject).

Tense Changes in Active to Passive Voice

Note: There is no passive form for Present Perfect Continuous, Past Perfect Continuous, Future Continuous, and Future Perfect Continuous tenses.

Tense	Active Voice Example	Passive Voice Example
Simple Present	I bake a cake.	A cake is baked by me.
Present Continuous	I am baking a cake.	A cake is being baked by me.
Present Perfect	I have baked a cake.	A cake has been baked by me.
Simple Past	The principal introduced the chief guest.	The chief guest was introduced by the principal.
Past Continuous	The principal was introducing the chief guest.	The chief guest was being introduced by the principal.
Past Perfect	The principal had introduced the chief guest.	The chief guest had been introduced by the principal.
Simple Future	The chief minister will inaugurate the new building.	The new building will be inaugurated by the chief minister.
Future Perfect	The chief minister will have inaugurated the new building.	The new building will have been inaugurated by the chief minister.

Sentences with Verbs Followed by Prepositions

The preposition remains attached to the verb in the passive form.

Active: Mr. Singh looks after the firm.

Passive: The firm is looked after by Mr. Singh.

Active: My mother looks after the whole household.

Passive: The whole household is looked after by my mother.

Sentences with Two Objects

Either object can become the subject of the passive sentence.

Active: John sent him a letter.

Passive 1: A letter was sent to him by John.

Passive 2: He was sent a letter by John.

Active: I shall tell you an interesting story.

Passive 1: An interesting story will be told to you by me.

Passive 2: You will be told an interesting story by me.

Sentences Where 'by' is Not Used

Prepositions other than 'by' (such as 'to', 'with', 'in') are used with certain verbs.

Active: She knows you well.

Passive: You are well known to her.

Active: The bottle contains ink.

Passive: Ink is contained in this bottle.

Active: I cannot please her.

Passive: She cannot be pleased with me.

The agent with 'by' is also omitted when the subject is unknown or understood (e.g., someone, the management, the school).

Active: Someone switched off the light.

Passive: The light was switched off.

Active: You must do your duty.

Passive: Your duty must be done.

Sentences with Modals

The structure is: Modal + be + Past Participle.

Active: I can speak English.

Passive: English can be spoken by me.

Active: You must obey your parents.

Passive: Your parents must be obeyed by you.

Note: The modal verb (can, must, should, might, etc.) does not change when converting the sentence to passive voice.

Interrogative (Question) Sentences

1. WH- Questions: Questions starting with 'who', 'what', 'where', etc. 'Who' changes to 'By whom'.

   Active: Who teaches you English?

   Passive: By whom are you taught English?

2. Yes/No Questions: Questions starting with an auxiliary verb (is, do, have, etc.). The passive question also starts with an auxiliary verb.

   Active: Does the shopkeeper sell eggs?

   Passive: Are eggs sold by the shopkeeper?

Imperative (Command/Request/Advice) Sentences

These sentences are often changed using the structure: You are [ordered/requested/advised] to...

Command (Active): Lock all the doors.

Passive: You are ordered to lock all the doors.

Advice (Active): Speak the truth.

Passive: You are advised to speak the truth.

Request (Active): Please help me arrange these books.

Passive: You are requested to help me arrange these books.

In negative imperative sentences, 'do not' changes to 'not to'. For example, "Do not touch it" becomes "You are warned not to touch it."

Click Here for 50+ Practice Questions

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.
   
   

Arms and the Man - Notes for XI Elective English

Class Notes - XI - Elective English - Arms and the Man

Play Summary | Central Idea | Characters

Play Summary

The play begins in the bedroom of Raina Petkoff in a Bulgarian town in 1885, during the Serbo-Bulgarian War. As the play opens, Catherine Petkoff and her daughter, Raina, have just heard that the Bulgarians have scored a tremendous victory in a cavalry charge led by Raina's fiancé, Major Sergius Saranoff, who is in the same regiment as Raina's father, Major Paul Petkoff. Raina is so impressed with the noble deeds of her fiancé that she fears that she might never be able to live up to his nobility. At this very moment, the maid, Louka, rushes in with the news that the Serbs are being chased through the streets and that it is necessary to lock up the house and all of the windows. Raina promises to do so later, and Louka leaves. But as Raina is reading in bed, shots are heard, there is a noise at the balcony window, and a bedraggled enemy soldier with a gun appears and threatens to kill her if she makes a sound. After the soldier and Raina exchange some words, Louka calls from outside the door; she says that several soldiers want to search the house and investigate a report that an enemy Serbian soldier was seen climbing her balcony. When Raina hears the news, she turns to the soldier. He says that he is prepared to die, but he certainly plans to kill a few Bulgarian soldiers in her bedroom before he dies. Thus, Raina impetuously decides to hide him. The soldiers investigate, find no one, and leave. Raina then calls the man out from hiding; she nervously and absentmindedly sits on his gun, but she learns that it is not loaded; the soldier carries no cartridges. He explains that instead of carrying bullets, he always carries chocolates into battle. Furthermore, he is not an enemy; he is a Swiss, a professional soldier hired by Serbia. Raina gives him the last of her chocolate creams, which he devours, maintaining that she has indeed saved his life. Now that the Bulgarian soldiers are gone, Raina wants the "chocolate cream soldier" (as she calls him) to climb back down the drainpipe, but he refuses to; whereas he could climb up, he hasn't the strength to climb down. When Raina goes after her mother to help, the "chocolate cream soldier" crawls into Raina's bed and falls instantly asleep. In fact, when they re-enter, he is sleeping so soundly that they cannot awaken him.

Act II begins four months later in the garden of Major Petkoff's house. The middle-aged servant Nicola is lecturing Louka on the importance of having proper respect for the upper class, but Louka has too independent a soul to ever be a "proper" servant. She has higher plans for herself than to marry someone like Nicola, who, she insists, has the "soul of a servant." Major Petkoff arrives home from the war, and his wife Catherine greets him with two bits of information: she suggests that Bulgaria should have annexed Serbia, and she tells him that she has had an electric bell installed in the library. Major Sergius Saranoff, Raina's fiancé and leader of the successful cavalry charge, arrives, and in the course of discussing the end of the war, he and Major Petkoff recount the now-famous story of how a Swiss soldier escaped by climbing up a balcony and into the bedroom of a noble Bulgarian woman. The women are shocked that such a crude story would be told in front of them. When the Petkoffs go into the house, Raina and Sergius discuss their love for one another, and Raina romantically declares that the two of them have found a "higher love."

When Raina goes to get her hat so that they can go for a walk, Louka comes in, and Sergius asks if she knows how tiring it is to be involved with a "higher love." Then he immediately tries to embrace the attractive maid. Since he is being so blatantly familiar, Louka declares that Miss Raina is no better than she; Raina, she says, has been having an affair while Sergius was away, but she refuses to tell Sergius who Raina's lover is, even though Sergius accidently bruises Louka's arm while trying to wrest a confession from her. When he apologizes, Louka insists that he kiss her arm, but Sergius refuses and, at that moment, Raina re-enters. Sergius is then called away, and Catherine enters. The two ladies discuss how incensed they both are that Sergius related the tale about the escaping soldier. Raina, however, doesn't care if Sergius hears about it; she is tired of his stiff propriety. At that moment, Louka announces the presence of a Swiss officer with a carpetbag, calling for the lady of the house. His name is Captain Bluntschli. Instantly, they both know he is the "chocolate cream soldier" who is returning the Major's old coat that they disguised him in. As they make rapid, desperate plans to send him away, Major Petkoff hails Bluntschli and greets him warmly as the person who aided them in the final negotiations of the war; the old Major insists that Bluntschli must their houseguest until he has to return to Switzerland.

Act III begins shortly after lunch and takes place in the library. Captain Bluntschli is attending to a large amount of confusing paperwork in a very efficient manner, while Sergius and Major Petkoff merely observe. Major Petkoff complains about a favorite old coat being lost, but at that moment Catherine rings the new library bell, sends Nicola after the coat, and astounds the Major by thus retrieving his lost coat. When Raina and Bluntschli are left alone, she compliments him on his looking so handsome now that he is washed and brushed. Then she assumes a high and noble tone and chides him concerning certain stories which he has told and the fact that she has had to lie for him. Bluntschli laughs at her "noble attitude" and says that he is pleased with her demeanor. Raina is amused; she says that Bluntschli is the first person to ever see through her pretensions, but she is perplexed that he didn't feel into the pockets of the old coat which she lent him; she had placed a photo of herself there with the inscription "To my Chocolate Cream Soldier." At this moment, a telegram is brought to Bluntschli relating the death of his father and the necessity of his coming home immediately to make arrangements for the six hotels that he has inherited. As Raina and Bluntschli leave the room, Louka comes in wearing her sleeve in a ridiculous fashion so that her bruise will be obvious. Sergius enters and asks if he can cure it now with a kiss. Louka questions his true bravery; she wonders if he has the courage to marry a woman who is socially beneath him, even if he loved the woman. Sergius asserts that he would, but he is now engaged to a girl so noble that all such talk is absurd. Louka then lets him know that Bluntschli is his rival and that Raina will marry the Swiss soldier. Sergius is incensed. He sees Bluntschli and immediately challenges him to a duel; then he retracts when Raina comes in and accuses him of making love to Louka merely to spy on her and Bluntschli. As they are arguing, Bluntschli asks for Louka, who has been eavesdropping at the door. She is brought in, Sergius apologizes to her, kisses her hand, and thus they become engaged. Bluntschli asks permission to become a suitor for Raina's hand, and when he lists all of the possessions which he has (200 horses, 9600 pairs of sheets, ten thousand knives and forks, etc.), permission for the marriage is granted, and Bluntschli says that he will return in two weeks to marry Raina. Succumbing with pleasure, Raina gives a loving smile to her "chocolate cream soldier."

Theme / Central Idea of the Play

One of Shaw's aims in this play is to debunk the romantic heroics of war; he wanted to present a realistic account of war and to remove all pretensions of nobility from war. It is not, however, an anti-war play; instead, it is a satire on those attitudes which would glorify war. To create this satire, Shaw chose as his title the opening lines of Virgil's Aeneid, the Roman epic which glorifies war and the heroic feats of man in war, and which begins, "Of arms and the man I sing. . . ."

When the play opens, we hear about the glorious exploits which were performed by Major Sergius Saranoff during his daring and magnificent cavalry raid, an event that turned the war against the Serbs toward victory for the Bulgarians. He thus becomes Raina Petkoff's ideal hero; yet the more that we learn about this raid, the more we realize that it was a futile, ridiculous gesture, one that bordered on an utter suicidal escapade.

In contrast, Captain Bluntschli's actions in Raina's bedroom strike us, at first, as being the actions of a coward. (Bluntschli is a Swiss, a professional soldier fighting for the Serbs.) He climbs up a water pipe and onto a balcony to escape capture, he threatens a defenseless woman with his gun, he allows her to hide him behind the curtains, and then he reveals that he carries chocolates rather than cartridges in his cartridge box because chocolates are more practical on the battlefield. Yet, as the play progresses, Bluntschli's unheroic actions become reasonable when we see that he survives, whereas had the war continued, Sergius' absurd heroic exploits would soon have left him dead.

Throughout the play, Shaw arranged his material so as to satirize the glories associated with war and to ultimately suggest that aristocratic pretensions have no place in today's wars, which are won by using business-like efficiency, such as the practical matters of which Bluntschli is a master. For example, Bluntschli is able to deal with the business of dispensing an army to another town with ease, while this was a feat that left the aristocrats (Majors Petkoff and Saranoff) completely baffled. This early play by Shaw, therefore, cuts through the noble ideals of war and the "higher love" that Raina and Sergius claim to share; Arms and the Man presents a world where the practical man who lives with no illusions and no poetic views about either love or war is shown to be the superior creature.

Characters in the Play

Captain Bluntschli: A professional soldier from Switzerland who is serving in the Serbian army. He is thirty-four years old, and he is totally realistic about the stupidity of war.

Raina Petkoff: The romantic idealist of twenty-three who views war in terms of noble and heroic deeds.

Sergius Saranoff: The extremely handsome young Bulgarian officer who leads an attack against the Serbs which was an overwhelming success.

Major Petkoff The inept, fifty-year-old father of Raina; he is wealthy by Bulgarian standards, but he is also unread, uncouth, and incompetent.

Catherine Petkoff: Raina's mother; she looks like and acts like a peasant, but she wears fashionable dressing gowns and tea gowns all the time in an effort to appear to be a Viennese lady.

Louka The Petkoffs' female servant; she is young and physically attractive, and she uses her appearance for ambitious preferment.

Nicola: A realistic, middle-aged servant who is very practical.

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.

Essay-03 - Patterns of Creativity - Woven Words Class 11 Elective English Solved

Welcome to the class notes for English Class XI (Elective), focusing on Woven Words: Essay 03. In this resource, you'll explore thought-provoking questions and answers that analyze the interplay between poetry and science, referencing writers such as Shelley, Wordsworth, and Keats, as well as scientific thinkers like Darwin. Use the Table of Contents below for quick navigation and enhanced accessibility.

Table of Contents

• Understanding the Text
  • Q1: Shelley's Attitude to Science
  • Q2: Desmond King-Hele's Critique
  • Q3: Darwin's Indifference to Literature
  • Q4: Patterns of Creativity
  • Q5: Central Argument
• Talking About the Text
  • Q6: Poets as Legislators
  • Q7: Compatibility of Poetry and Science
  • Q8: Defence of Science
• Appreciation
  • Q9: Ways of Science and Poetry
  • Q10: Speaker's Commentary
  • Q11: The Cloud - Analysis
• Key Points for Quick Exam Revision

UNDERSTANDING THE TEXT (Q&A)

1. How does Shelley’s attitude to science differ from that of Wordsworth and Keats?
   Wordsworth in his poem 'A Poet's Epitaph' looks at science with a critical mind. Even in the poem 'Tables Turned' he praises nature and appreciates the beauty it gives to humanity:
   
   "Up! up! my Friend, and quit your books;"
   "Enough of Science and of Art;
   Close up those barren leaves;
   Come forth, and bring with you a heart
   That watches and receives."
   
   Wordsworth requests us to be more inclined towards Nature because there is more wisdom in it. Keats, in his poem 'Lamia', talks of two facets of human nature: one is sensual and other emotional. Keats calls philosophy destructive and pleasure unreal but inseparable. Shelley, however, presents a different view—he loves science and finds in it joy, peace, and illumination, as described by A. N. Whitehead. Shelley expressed in poetry the positive thoughts inspired by science, marking a contrast to Wordsworth and Keats.
2. ‘It is not an accident that the most discriminating literary criticism of Shelley’s thought and work is by a distinguished scientist, Desmond King-Hele.’ How does this statement bring out the meeting point of poetry and science?
   Desmond King-Hele, a British physicist, in his book Shelley: His Thought and Work, highlighted Shelley's modern and scientific approach. Shelley's poetry often demonstrates a fusion of creative imagination and scientific precision. King-Hele, as a scientist reviewing a poet's outlook on science, illustrates how poetry and science can intersect. S. Chandrasekhar referenced two examples: in "The Cloud", Shelley merges myth, science, and storytelling, and in "Prometheus Unbound", he voices humanity's wish for intellectual and spiritual freedom.
3. What do you infer from Darwin’s comment on his indifference to literature as he advanced in years?
   Darwin, known for On the Origin of Species, enjoyed literature—including Byron, Coleridge, Shelley, and Shakespeare's historical plays—until about age 30. As he aged, this interest waned. He admitted that his increased focus on science led to a decline in his aesthetic enjoyment; his mind turned into a "grinding machine to process laws out of facts". This atrophy of higher tastes is attributed to the dominance of scientific thinking over literary appreciation.
4. How do the patterns of creativity displayed by scientists differ from those displayed by poets?
   Poets celebrate nature and the present, while scientists analyze and harness nature to drive progress. Wordsworth and Keats often criticize humans for exploiting nature, whereas scientists invent and uncover natural mechanisms. There isn’t true rivalry—Shelley acknowledged the value of productive utility, and Darwin enjoyed literature in his youth. While poets immortalize the present, scientists invent for tomorrow, marking a fundamental difference in creative patterns.
5. What is the central argument of the speaker?
   In "Patterns of Creativity," S. Chandrasekhar explores why creativity differs in the arts and sciences. Instead of direct answers, he compiles observations illustrating how poets and scientists perceive each other and their crafts. Poets like Wordsworth and Keats revere nature and resist technological intrusion, while Shelley wrote poetry inspired by science. Darwin once found joy in literature but eventually focused solely on scientific pursuits. Chandrasekhar wonders why there is no "A Defence of Science" akin to Shelley's essay on poetry, hinting that perhaps scientists express their defense through their work rather than written advocacy.

TALKING ABOUT THE TEXT (Q&A)

1. ‘Poets are the unacknowledged legislators of the world’.
   Shelley, in A Defence of Poetry, declared this, emphasizing the transformative and inspiring power of poetry. Poetry can immortalize beauty, ignite change, and inspire humanity, reflecting past, present, and future. Poets and great writers act as subtle revolutionaries—participating actively in society not merely as observers, but as critics and visionaries driving moral and cultural progress.
2. Poetry and science are incompatible.
   There are always two perspectives: poets like Wordsworth and Keats see science as a threat to nature, while Shelley is a scientific poet blending joy of science into verse. Even among scientists, opinions differ—Darwin appreciated literature in youth, Faraday was absorbed entirely by experimentation. Compatibility depends on the individual, as some bridge the worlds of poetry and science, while others remain committed to their field.
3. ‘On reading Shelley’s A Defence of Poetry, the question insistently occurs why there is no similar A Defence of Science written by a scientist of equal endowment.’
   Passion for a subject shapes its expression: poets praise through words; scientists may praise through discovery. Shelley wrote eloquently for poetry, while Faraday defended his findings via field concepts and practical arguments (as with Gladstone and electricity). Scientists do defend their subject, but their medium is often practical work rather than literary expression.

APPRECIATION (Q&A)

1. How does the ‘assortment of remarks’ compiled by the author give us an understanding of the ways of science and poetry?
   
   The author, S. Chandrasekhar, presents an "assortment of remarks" rather than direct conclusions, creating a nuanced understanding of how creativity differs in science and poetry. Through varied observations and examples—such as Wordsworth’s and Keats’s reverence for nature versus Shelley’s poetic embrace of science—the essay highlights the contrasting yet sometimes overlapping approaches of poets and scientists. Poets are shown to celebrate emotion, intuition, and beauty, often cautioning against the mechanical or reductive tendencies of science, while scientists are depicted as seeking patterns, laws, and empirical truths, sometimes at the cost of aesthetic appreciation. This collection of remarks suggests that, although the creativity of each field is distinct, both contribute to human understanding and are shaped by their practitioners' perspectives and values.
2. Considering that this is an excerpt from a lecture, how does the commentary provided by the speaker string the arguments together?
   
   Chandrasekhar’s commentary is conversational and reflective, guiding the reader through a thoughtful exploration rather than a rigid argument. He weaves literary references, real-life scientific anecdotes, and philosophical questions together, allowing each to build upon the last. By juxtaposing the experiences of poets and scientists and transitioning smoothly between perspectives, the speaker creates a coherent narrative that invites reflection and connection among ideas. This lecture-style approach not only informs but encourages learners to recognize the mutual influences and tensions between scientific and artistic creativity.
3. The Cloud ‘fuses together a creative myth, a scientific monograph, and a gay picaresque tale of cloud adventure’— explain.
   
   Shelley’s poem "The Cloud" exemplifies a remarkable fusion of creative myth, scientific observation, and playful storytelling. As a creative myth, the cloud is personified and given agency, described as “the daughter of Earth and Water,” which evokes ancient mythological traditions. The poem also serves as a scientific monograph by detailing natural processes like condensation, evaporation, and the water cycle with accuracy, referencing scientific knowledge of the time. Finally, it is a picaresque tale through its lively narrative, chronicling the cloud’s journeys across the sky and various adventures. Thus, Shelley blends imagination, science, and storytelling to portray nature dynamically and vividly, demonstrating that poetry can both enchant and enlighten.

Key Points for Quick Exam Revision

Patterns of Creativity by S. Chandrasekhar

---

1. Differences in Creativity: Arts vs. Sciences

• The essay explores why patterns of creativity differ between artists (especially poets) and scientists.
• Chandrasekhar does not provide a direct answer but presents “an assortment of remarks” for reflection.

2. Poets Versus Scientists

• Wordsworth and Keats are often critical of science, viewing it as cold and reductive (e.g., “We murder to dissect”).
• Both poets suggest science destroys the beauty and mystery of nature.

3. Counterview from Scientists

• Some scientists, like Peter Medawar, argue that literature can expel science, not just the other way around.
• Science and literature are sometimes seen as competing rather than complementary endeavors.

4. Shelley: The Scientist’s Poet

• Shelley’s poetry is noted for its positive and modern attitude toward science.
• Desmond King-Hele admires Shelley’s blend of myth, detail, and scientific observation in poetry.
• Shelley contrasts with Wordsworth and Keats, who are more skeptical about science.

5. Example from Poetry

• In "The Cloud," Shelley poetically fuses myth (“daughter of Earth and Water”), scientific observation (cloud formation), and an adventurous narrative.
• In "Prometheus Unbound," he expresses humanity’s yearning for knowledge and liberation.

6. Charles Darwin’s Confession

• Darwin loved poetry, music, and literature in youth but lost his taste as he aged, possibly due to his mind’s focus on scientific analysis (“a machine for grinding general laws”).
• This change hints at the effects of intense scientific thinking on aesthetic appreciation.

7. Faraday’s Example

• Faraday’s scientific insights on electric fields were initially misunderstood or underestimated by contemporaries.
• His exchange with Gladstone (“You will soon be able to tax it”) is a classic example of practical scientific defense.

8. Insights from Shelley’s "A Defence of Poetry"

• Poetry makes everything beautiful and immortal.
• Poets are called “the unacknowledged legislators of the world” for their subtle yet profound societal influence.
• Poetry is described as both the center and root of knowledge, embracing science too.

9. Central Argument of the Essay

• Chandrasekhar wonders why there isn’t an equally passionate "A Defence of Science" as Shelley’s "Defence of Poetry".
• He suggests the difference in creative patterns may be inherent to each field and person.

10. Key Terms to Know

• cold philosophy, mutually sustaining endeavours, picaresque tale, cenotaph, atrophy, prophetic discernment, hierophants of unapprehended inspiration, interlunations of life

---

11. Additional Notes

• Chandrasekhar stresses not accusing either field but recognizing unique contributions and perspectives.
• He references Maxwell’s respect for Faraday and discusses the complementary roles of teaching and research in science.
• The essay closes with snippets from an interview with Chandrasekhar, emphasizing his personal and professional journey, views on science in India and the US, and his integrated approach to teaching and research.

The Rocking-horse Winner - Explanation - Summary - Q&A - Solved

The Rocking Horse Winner is a short story written by D.H. Lawrence. It talks about a young boy named Paul who tries to bring luck and money to his family. The story is sad and mysterious. It shows how the desire for money can ruin peace and love in a home. In this blog you will get the following:  

• Explanation and Analysis of 'The Rocking Horse Winner'
• Summary of  The Rocking Horse Winner
• Understanding the Expressions in the story The Rocking Horse Winner
• UNDERSTANDING THE TEXT(Q&A)
• APPRECIATION
• Multiple Choice Questions on The Rocking Horse Winner

Poem 01 - The Peacock - English Elective Class XI Notes - Woven Words

Poem 01 - The Peacock

The Peacock poem analysis, complete text, summary, theme, poetic devices, MCQs, and critical analysis for students and teachers seeking CBSE/ICSE exam preparation and literary appreciation of imagery, symbolism, and sound devices in modern Indian poetry. [Added for discoverability per content-structure guidance.

POEM COMPLETE TEXT

His loud sharp call

seems to come from nowhere.

Then, a flash of turquoise

in the pipal tree.

The slender neck arched away from you

  as he descends,

and as he darts away, a glimpse

  of the very end of his tail. 

I was told

that you have to sit in the veranda

  and read a book,

preferably one of your favourites

  with great concentration.

The moment you begin to live

inside the book

a blue shadow will fall over you.

The wind will change direction,

The steady hum of bees

In the bushes nearby

Will stop.

The cat will awaken and stretch.

Something has broken your attention;

And if you look up in time

You might see the peacock

turning away as he gathers in his tail

to shut those dark glowing eyes,

violet fringed with golden amber.

It is the tail that has to blink

for eyes that are always open.

THEME OF THE PEACOCK

The theme of this poem is the beauty of nature and the importance of being present in the moment to fully appreciate it. The peacock is used as a symbol of this beauty and is described in vivid detail, capturing the reader's attention and encouraging them to take notice of the world around them. The poem also suggests that we need to let go of distractions and be fully immersed in the present moment in order to truly appreciate the beauty that surrounds us.

SUMMARY OF THE POEM THE PEACOCK

At the outset of the poem, the poet portrays the peacock's grandeur and loveliness. Throughout the verses, the poet anthropomorphizes the peacock as a male entity, referring to him as 'he.' The bird's piercing cry is difficult to locate, as it appears to emanate from an indiscernible source. The sound actually comes from the peacock, which can effortlessly fly to the top of a pipal or peepal tree, where it is often hidden. Against the verdant background of the pipal tree, the peacock's distinct turquoise hue (a combination of blue and green) glimmers. When it senses a human watching it, it moves its slim neck and darts away, leaving behind only a fleeting glimpse of its tail.

The poet now describes a small ritual for seeing a peacock that she has been advised to follow. One should sit on the veranda and immerse themselves in a book, preferably a cherished favorite. Once the reader is fully absorbed in the book's world, a blue shadow will descend upon them, and the wind will shift, subtly drawing attention to the surroundings. The atmosphere grows tranquil ("The steady hum of bees /In the bushes nearby will stop").

The peacock's cry, similar to that of a cat, will be audible ("The cat will awaken and stretch"), drawing attention. If spotted in time, the observer may catch a glimpse of the peacock. The peacock gracefully turns away, its tail feathers closed like shut eyelids, revealing violet borders and golden amber fillers. "It is the tail that has to blink" (the motion of the tail swaying is likened to blinking), but "the eyes are always open," and the patterns never fade. The observer will feel a sense of inner radiance and stillness that is deep and profound.

The scene's depiction highlights the difficulty of seeing a peacock (underscoring the bird's significance), as peacocks are revered, sacred birds that are not frequently encountered in the world. In Indian culture, peacocks are considered celestial and symbolize beauty and power.

UNDERSTANDING THE POEM (Q&A)

1. Comment on the lines that make you visualise the colourful image of the peacock.
   
   
   The lines which help us visualise the colourful image of the peacock are as follows:
   “a flash of turquoise”, “A blue shadow will fall over you", “To shut those dark glowing eyes”, “Violet fringed with golden amber”.
   These lines give us a clear picture of the magnificent bird in all its glory.
   
   
2. What are the cues that signal the presence of the peacock in the vicinity?
   
   
   A loud sharp call, flash of turquoise, a disappearing tail end, a blue shadow, the wind changing its direction and the awakening of the cat and its stretch are an indication that a peacock is in the vicinity.
   
   
3. How does the connection drawn between the tail and the eyes add to the descriptive detail of the poem?
   
   
   The pattern on the tail of a peacock looks like eyes, but these eyes cannot be blinked. Rather the tail when contracted appears to give an illusion of blinking a lot of eyes together. This adds to the descriptive details of the poem.
   
   
4. How does the poem capture the elusive nature of the peacock?
   
   
   The poem captures the elusive nature of the peacock by describing its activities that signal its presence indirectly. For example in the opening line of the poem we hear “His loud sharp call”, or we get a “glimpse of the very end of his tail” in the last line of the first stanza.
   If someone tries his best to get a glimpse of the elusive bird, he “might see the peacock turning away as he gathers his tail”.
   Such a description presents a very elusive nature of the peacock.
   
   
5. The peacock is a colourful bird. How does the poem capture the various colours that its plumage displays?
   
   
   The poem captures the various colours of the peacock’s plumage by use of expressions like “turquoise”, “blue shadow”, “dark glowing eyes” and “Violet fringed with golden amber”. These expressions as we can see present the colours associated with peacocks very beautifully.

Poetic Devices Used in the Poem

Curated per common literary-device standards: imagery, metaphor, personification, sound, and structure.

• Imagery: Vivid visual cues like “flash of turquoise,” “blue shadow,” and “violet fringed with golden amber” paint sensory-rich scenes.
• Metaphor: The tail’s “eyes” that never close extend the bird’s mystique, equating pattern with watchful presence.
• Personification: Nature “signals” with wind shifts and hush, while the tail “blinks,” animating the scene beyond literal action. 
• Alliteration/Assonance: Soft consonance in phrases like “blue shadow” and vowel echoes in “violet… golden amber” heighten musicality.
• Symbolism: The peacock embodies rare beauty and revelation, accessible through mindful attention.
• Enjambment and lineation: Run-on lines mimic quick movement and the fleeting glimpse of the bird.
• Contrast: Noise versus hush, movement versus stillness, accentuates the shift from distraction to awareness.

Critical Analysis of the Poem The Peacock

Analytical focus on attention, epiphany, and craft choices guiding perception.

The poem frames seeing as an active discipline: stillness, absorption, and sensory attunement precede the rare encounter, aligning with a contemplative poetics in which nature answers the reader’s quiet. The craft—delicate color imagery, sound softening into hush, and the tail’s “eyes” metaphor—renders epiphany as both visual and inner illumination. The peacock’s retreat resists possession, insisting that beauty is transient and must be received, not seized, a stance that critiques hurried attention and privileges mindful presence.

Extract Based MCQs from The Peacock

Each extract has 3 questions; answer key follows each question.

Extract 1

“Then, a flash of turquoise in the pipal tree. The slender neck arched away from you as he descends.”

1. “Flash of turquoise” primarily appeals to which sense?
   A) Hearing
   B) Sight
   C) Smell
   D) Touch.
   
   Answer Key: B.
   
   
2. “Arched away” suggests the peacock’s movement is:
   A) Welcoming
   B) Cautious
   C) Aggressive
   D) Static.
   
   Answer Key: B.
   
   
3. The mention of “pipal tree” contributes mainly to:
   A) Temporal setting
   B) Cultural-natural setting
   C) Speaker’s age
   D) Rhyme scheme.
   
   Answer Key: B.

Extract 2

“The moment you begin to live inside the book a blue shadow will fall over you. The wind will change direction.”

1. “Live inside the book” is best read as:
   A) Irony
   B) Hyperbole
   C) Metaphor
   D) Pun.
   
   Answer Key: C.
   
   
2. The “blue shadow” most likely signals:
   A) Sunset
   B) Rainstorm
   C) The peacock’s presence
   D) Nightfall.
   
   Answer Key: C.
   
   
3. The change in wind functions as a:
   A) Plot twist
   B) Symbolic cue
   C) Logical fallacy
   D) Metre shift.
   
   Answer Key: B.

Extract 3

“to shut those dark glowing eyes, violet fringed with golden amber. It is the tail that has to blink for eyes that are always open.”

1. The “eyes” here refer to:
   A) The bird’s eyelids
   B) Tail-feather patterns
   C) Raindrops
   D) Stars.
   
   Answer Key: B.
   
   
2. “Tail… has to blink” exemplifies:
   A) Metonymy
   B) Litotes
   C) Personification
   D) Synecdoche.
   
   Answer Key: C.
   
   
3. The color detail chiefly builds:
   A) Plot
   B) Irony
   C) Visual imagery
   D) Internal rhyme.
   
   Answer Key: C.

MCQs from the Poem The Peacock

15 objective items mixing factual recall and inference; answer key at end.

1. The initial cue of the peacock’s presence is a:
   A) Shadow
   B) Call
   C) Feather
   D) Footprint.
   
   Answer Key: B.
   
   
2. The tree specifically mentioned is the:
   A) Banyan
   B) Neem
   C) Pipal
   D) Mango.
   
   Answer Key: C.
   
   
3. The predominant color first noticed is:
   A) Saffron
   B) Turquoise
   C) Indigo
   D) Crimson.
   
   Answer Key: B.
   
   
4. The suggested posture for sighting is to:
   A) Sleep
   B) Meditate
   C) Read intently
   D) Sing.
   
   Answer Key: C.
   
   
5. “Blue shadow” indicates:
   A) Evening light
   B) The bird’s nearness
   C) Moonrise
   D) Cloud cover.
   
   Answer Key: B.
   
   
6. The ambient “hum” that stops is made by:
   A) Birds
   B) Bees
   C) Crickets
   D) Wind.
   
   Answer Key: B.
   
   
7. The domestic animal referenced is a:
   A) Dog
   B) Cow
   C) Cat
   D) Goat.
   
   Answer Key: C. 
   
   
8. The tail patterns are compared to:
   A) Jewels
   B) Raindrops
   C) Eyes
   D) Leaves.
   
   Answer Key: C. 
   
   
9. “Tail… blink” conveys mainly:
   A) Humor
   B) Motion as sight
   C) Danger
   D) Sleep.
   
   Answer Key: B.
   
   
10. The peacock’s overall behavior is best described as:
    A) Domesticated
    B) Aggressive
    C) Elusive
    D) Nocturnal.
    
    Answer Key: C.
    
    
11. The poem’s setting tone shifts toward:
    A) Chaos
    B) Hush
    C) Anger
    D) Satire.
    
    Answer Key: B.
    
    
12. The main theme stresses:
    A) Competition
    B) Possession
    C) Mindful attention
    D) Travel.
    
    Answer Key: C.
    
    
13. The speaker’s “ritual” implies that beauty is:
    A) Earned by patience
    B) Guaranteed
    C) Random
    D) Manufactured.
    
    Answer Key: A.
    
    
14. The color pairing “violet… golden amber” enhances:
    A) Plot
    B) Contrast and richness
    C) Irony
    D) Allusion.
    
    Answer Key: B.
    
    
15. The poem’s structure supports glimpses through:
    A) End-stopped couplets only
    B) Fixed refrain
    C) Enjambment and swift images
    D) Dialogue.
    
    Answer Key: C.