Government of Kerala
DEPARTMENT OF EDUCATION
Prepared by
State Council of Educational Research and Training (SCERT), Kerala
2011
KERALA READER
ENGLISH
PART - 1
Standard
X
2
THE NATIONAL ANTHEM
Jana-gana-mana adhinayaka, jaya he
Bharatha-bhagya-vidhata.
Punjab-Sindh-Gujarat-Maratha
Dravida-Utkala-Banga
Vindhya-Himachala-Yamuna-Ganga
Uchchala-Jaladhi-taranga
Tava subha name jage,
Tava subha asisa mage,
Gahe tava jaya gatha.
Jana-gana-mangala-dayaka jaya he
Bharatha-bhagya-vidhata.
Jaya he, jaya he, jaya he,
Jaya jaya jaya, jaya he!
PLEDGE
India is my country. All Indians are my brothers and sisters.
I love my country, and I am proud of its rich and varied heritage. I shall
always strive to be worthy of it.
I shall give respect to my parents, teachers and all elders and treat everyone
with courtesy.
I pledge my devotion to my country and my people. In their well-being
and prosperity alone lies my happiness.
Prepared by:
State Council of Educational Research and Training (SCERT)
Poojappura, Thiruvananthapuram 695012, Kerala
Website : www.scert.kerala.gov.in
e-mail : scertkerala@asianetindia.com
Phone : 0471 - 2341883, Fax : 0471 - 2341869
First Edition : 2011
Typesetting : SCERT
Lay out : SCERT
Cover design : SCERT
Printed at : KBPS, Kakkanad, Kochi
© Department of Education, Government of Kerala
3
Dear students
The learning and teaching of English language is one of the main priorities
of our education system. Language has a fundamental role in learning all
subjects. The English Reader Standard X (Part 1 & Part 2) is designed in
such a fashion that the critical acumen of the learner is sharpened so that
his/her power of understanding is enhanced. At the same time, it posits
'English' not merely as the British and American varieties per se; rather,
due focus is on English as written and spoken across the globe. The
selections in this book include texts in English from India, Africa, England
and America and translations of texts from Latin America, other European
countries and of course, India. The book has also taken care to present
texts beyond the paper based media and to include the new textual
landscape of popular culture, digital and screen media. Your teacher will
lead you through the enticing world of multidimensional texts and in
interacting with them you will have to analyse them critically as well.
The activities included in the book give you ample scope for expressing
your ideas creatively, agreeing and disagreeing on issues raised by your
teacher and friends and critically analysing texts and expressing your ideas
in writing.
Hope you will make use of this book in its full potentials and enrich your
proficiency in English.
Wish you all success.
Prof. M.A. KHADER
Director
SCERT
4
Advisor
Prof. Jayaseelan K.A, Professor Emeritus, English and Foreign Languages
University, Hyderabad
Chairperson
Prof. (Dr) Jameela Begum A, Professor, Institute of English & Director,
Centre for Canadian Studies, University of Kerala
Special Invitees
Nasiruddin Khan, Formerly of Dept. of Languages, NCERT, New Delhi
Dr Anandan K.N, Consultant, SSA, Kerala
Members
BinduS.V, HSST, Janardhanapuram HSS Ottasekharamangalam, Thiruvananthapuram
Chandini K.K, Assistant Professor, SCERT
Chandran K, HSST, Govt. HSS, Vadakara, Kozhikode
Jayarajan K, HSA, Perambra HS, Kozhikode
Jose D’ Sujeev, HSA, GVHSS Karakulam, Thiruvananthapuram
Jose K. Philip, Assistant Professor, Govt. College, Kottayam
Preetha P.V, NVT, GVHSS Manacaud, Thiruvananthapuram
Rajagopalan E.P, HSA, GHSS Vellur, Kannur
Raveendran K.V, HSA, GVHSS Madikkai II, Kasargode
Raveendran Nair S, Assistant Professor, SCERT
Reshmi Reghunath, HSST, GVHSS, Karakulam, Thiruvananthapuram
Sajai K.V, HSST, GMHSS Muvattupuzha, Ernakulam
Sajith E.P, HSA, GVHSS Payyoli, Vadakara
Satheesan V.P, Tutor, District Centre for English, Kozhikode
Sujith S, HSA, Pantheerankavu HS, Kozhikode
Dr Suresh Kumar N, Research Officer, SCERT
Academic Co-ordinator
Dinesh K.T, Research Officer, SCERT
Artists
Haridas N.K, Drawing Teacher, GHSS, Azhiyoor
Ramesan P, Drawing Teacher, Iringannoor HSS, Kozhikode
Experts
Bindu S, Sel. Grade Lecturer (Retd.), University College, Thiruvananthapuram
Dr Jamuna B.S, Director, CELT, Institute of English, University of Kerala
Moncy Abraham, Sel. Grade Lecturer (Retd.), University College, Thiruvananthapuram
Dr Muraleedharan K.C, Associate Professor, Payyannoor College
Dr Saji Mathew, Lecturer, School of Letters, Mahatma Gandhi University, Kottayam
Dr Sherrif K.M, Reader, Department of English, University of Calicut
English
Standard X
Textbook Development Committee
5
Contents
Unit Page
Unit - I Generations 7-44
Father’s Help (Short Story) 9
Night of the Scorpion (Poem) 24
Games at Twilight (Short Story) 27
Once upon a Time (Poem) 33
Unit - II The World of Mystery 45-78
The Man who Shouted Teresa (Short Story) 46
The Blue Bouquet (Short Story) 48
The Himalayas (Poem) 60
The Method of Sherlock Holmes (Novel) 63
Skimbleshanks: The Railway Cat (Poem) 69
Unit - III Reality to Reel 79-106
The Wizard of Sound (Interview) 80
Tea-shops in Malayalam Cinema (Article) 82
Celluloid Heroes (Song) 96
Sunshine through the Rain (Screenplay) 99
Glossary 107-112
6
CONSTITUTION OF INDIA
Part IV A
FUNDAMENTAL DUTIES OF CITIZENS
ARTICLE 51 A
Fundamental Duties- It shall be the duty of every citizen of India:
(a) to abide by the Constitution and respect its ideals and Institutions, the National
Flag and the National Anthem;
(b) to cherish and follow the noble ideals which inspired our national struggle for
freedom;
(c) to uphold and protect the sovereignty, unity and integrity of India;
(d) to defend the country and render national service when called upon to do so;
(e) to promote harmony and the spirit of common brotherhood amongst all the
people of India transcending religious, linguistic and regional or sectional diversities;
to renounce practices derogatory to the dignity of women;
(f) to value and preserve the rich heritage of our composite culture;
(g) to protect and improve the natural environment including forests, lakes, rivers,
wildlife and to have compassion for living creatures;
(h) to develop the scientific temper, humanism and the spirit of inquiry and reform;
(i) to safeguard public property and to abjure violence;
(j) to strive towards excellence in all spheres of individual and collective activity so
that the nation constantly rises to higher levels of endeavour and achievements.
(k) who is a parent or guardian to provide opportunities for education to his child
or, as the case may be, ward between age of six and fourteen years.
UNIT I
GENERATIONS
Discuss
• What do you see in the cartoon?
• Suggest the remarks that the father and the daughter may be making.
• How is the passage of time represented in the cartoon?
• How does the cartoonist establish the ideas he wants to convey?
CARTOON
FATHER’S HELP
1. Lying in bed, Swami realised with a shudder that it was
Monday morning. It looked as though only a moment ago
it had been the last period on Friday. Already Monday was
here. He hoped that an earthquake would reduce the school
building to dust, but that good building—Albert Mission
School—had withstood similar prayers for over a hundred
years now. At nine o’clock Swaminathan wailed, ‘I have a
headache.’ His mother said, ‘Why don’t you go to school
in a jutka*?’
‘So that I may be completely dead at the other end? Have
you any idea what it means to be jolted in a jutka?’
‘Have you many important lessons today?’
R.K. Narayan (1906 -2001), a
well-known Indian writer in
English, was born in Chennai.
Most of his works are set in the
fictional town of Malgudi. His
famous works include Swami and
Friends, The English Teacher, The
Financial Expert, The Guide, The
Man-eater of Malgudi, The Vendor
of Sweets, Malgudi Days and The
Grandmother’s Tale. Narayan won
numerous awards and honours.
These include: Sahitya Akademi
Award for The Guide in 1958;
Padma Bhushan in 1964; and A.C.
Benson Medal by the Royal Society
of Literature in 1980. R.K.Laxman,
the famous cartoonist, is his
brother.
1. Why do you think that Swami
is not ready to go to school?
(Para 1)
2. School stories are known for
their humour. Cite an instance of
humour from paragraph 1.
How do your parents help you? Can you guess what help the father in the
story has given to his child? Who could be the other characters in this
story? Read on and find out.
KEEP TRACK OF YOUR READING
Read up to 'Pause & Reflect'.
Identify the central characters and
setting of the story.
Note down your impressions of the
characters.
Pick out the most striking event.
Identify the narrative techniques
used to build conflicts in the story.
Underline the striking words/
expressions/ images used.
SHORT STORY
* a two wheeled horse-drawn carriage
‘Important! That geography teacher has been teaching the
same lesson for over a year now. And we have arithmetic,
which means for a whole period we are going to be beaten
by the teacher… important lessons!’
And Mother generously suggested that Swami might stay
at home.
2. At 9.30, when he ought to have been shouting in the
school prayer hall, Swami was lying on the bench in
Mother’s room. Father asked him, ‘Have you no school
today?’
‘Headache,’ Swami replied.
‘Nonsense! Dress up and go.’
‘Headache.’
‘Loaf about less on Sundays and you will be without a
headache on Monday.’
Swami knew how stubborn his father could be and
changed his tactics. ‘I can’t go so late to the class.’
‘I agree, but you’ll have to; it is your own fault. You should
have asked me before deciding to stay away.’
‘What will the teacher think if I go so late?’
‘Tell him you had a headache and so are late.’
‘He will beat me if I say so.’
‘Will he? Let us see. What is his name?’
‘Samuel.’
‘Does he beat the boys?’
‘He is very violent, especially with boys who come late.
Some days ago a boy was made to stay on his knees for a
whole period in a corner of the class because he came late
and that too after getting six cuts from the cane and having
his ears twisted. I wouldn’t like to go late to Samuel’s class.’
‘If he’s so violent, why not tell your headmaster about it?’
‘They say that even the headmaster is afraid of him. He is
such a violent man.’
4. Swami speaks about different
modes of punishment at school.
Do you think Samuel punishes
boys like that? State reasons to
justify your answer. (Para 2)
FATHER’S HELP
There are several stories about
boys like Swami. Adventures of
Tom Sawyer is a famous novel in
this category.
Find out such interesting school
stories from your library or from
the following websites.
www.gutenberg.org
www.scribd.com
www.stories.com
www.classicstories.org
REACH & READ
3. What are Swami’s impressions
of his school? (Para 1)
Reading
Have I identified the central
characters and setting of the story?
Have I picked out the striking
events from the story?
Have I identified the narrative
techniques used in the story to
build conflicts?
Have I shared the ideas I gathered
with my friends during group
reading?
Have I noted down my impressions
of the characters?
Have I tried to get clarification for
the words/ expressions I didn't
understand?
Have I picked out words/
expressions for my personal
wordlist?
Have I been able to answer the
questions posed by my teacher?
What difficulties have I faced in my
reading?
ASSESS YOURSELF
3. And then Swami gave a lurid account of Samuel’s
violence; how when he started caning he would not stop
till he saw blood on the boy’s hand, which he made the
boy press to his forehead like a vermilion marking. Swami
hoped that with this his father would be made to see that
he couldn’t go to his class late. But Father’s behaviour
took an unexpected turn. He became excited. ‘What do
these teachers mean by beating our children? They must
be driven out of service. I will see…’
The result was that he proposed to send Swami late to
his class as a kind of challenge. He was also going to send
a letter with Swami to the headmaster. No amount of
protest from Swami was of any avail.
Swami had to go to school.
4. By the time he was ready, Father had composed a letter
to the headmaster, put it in an envelope and sealed it.
‘What have you written, Father?’ Swaminathan asked
apprehensively.
‘Nothing for you. Give this to your headmaster and go to
your class.’
5. Do you think Swami’s father will
have written anything against
Samuel in the letter? Justify your
answer. (Para 4)
FATHER’S HELP
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
‘Have you written anything about our teacher, Samuel?’
‘Plenty of things about him. When your headmaster reads
it, he will probably dismiss Samuel from the school and
hand him over to the police.’
‘What has he done, Father?’
‘Well, there is a full account of everything he has done in
the letter. Give it to your headmaster. You must bring an
acknowledgement from him in the evening.’
Pause and Reflect
5. Swami went to school feeling that he was the worst
perjurer on earth. His conscience bothered him: he wasn’t
at all sure if he had been accurate in his description of
Samuel. He could not decide how much of what he had
said was imagined and how much of it was real. He
stopped for a moment on the roadside to make up his
mind about Samuel: he was not such a bad man after all.
Personally he was much more genial than the rest; often
he cracked a joke or two centering around Swami’s
inactions and Swami took it as a mark of Samuel’s
personal regard for him. But there was no doubt that he
treated pupils badly…. His cane skinned pupils’ hands.
Swami cast his mind about for an instance of this. There
was none within his knowledge. Years and years ago he
was reputed to have skinned the knuckles of a boy in
first standard and made him smear the blood on his face.
No one had actually seen it. But year after year the story
persisted among the boys.... Swami’s head was dizzy with
confusion in regard to Samuel’s character—whether he
was good or bad, whether he deserved the allegations in
the letter or not.... Swami felt an impulse to run home
and beg his father to take back the letter. But Father was
an obstinate man.
FATHER’S HELP
Pause & Reflect
What turn do you expect the
story to take from this point?
Why?
KEEP TRACK OF YOUR READING
Is there any change in the locale?
How does it contribute to the
progress of the story?
Do your impressions of the
characters change while reading the
second part of the story?
School-lore
Stories and anecdotes on
schools generated and
propagated mainly by students
and teachers can be termed
school-lore. It is part of
modern folk culture. Every school
has its own lore. Paragraph 5
describes the popular lore about
Samuel.
6. As he approached the yellow building he realised that he
was perjuring himself and was ruining his teacher.
Probably the headmaster would dismiss Samuel and then
the police would chain him and put him in jail. For all
this disgrace, humiliation and suffering, who would be
responsible? Swami shuddered. The more he thought of
Samuel, the more he grieved for him—the dark face, his
small red-streaked eyes, his thin line of moustache, his
unshaven cheek and chin, his yellow coat; everything
filled Swami with sorrow. As he felt the bulge of the letter
in his pocket, he felt like an executioner. For a moment he
was angry with his father and wondered why he should
not fling into the gutter the letter of a man so unreasonable
and stubborn.
7. As he entered the school gate an idea occurred to him, a
sort of solution. He wouldn’t deliver the letter to the
headmaster immediately, but at the end of the day—to
that extent he would disobey his father and exercise his
independence. There was nothing wrong in it and Father
would not know it anyway. If the letter was given at the
end of the day there was a chance that Samuel might do
something to justify the letter.
8. Swami stood at the entrance to his class. Samuel was
teaching arithmetic. He looked at Swami for a moment.
Swami stood hoping that Samuel would fall on him and
tear his skin off. But Samuel merely asked, ‘Are you just
coming to the class?’
‘Yes, sir.’
‘You are half an hour late.’
‘I know it.’ Swami hoped that he would be attacked now.
He almost prayed: ‘God of Thirupathi, please make
Samuel beat me.’
‘Why are you late?’
Swami wanted to reply, ‘Just to see what you can do.’ But
he merely said, ‘I have a headache, sir.’
6. Who does Swami dislike more
at this juncture - Samuel or
Father? Why? (Para 6)
7. Why does Swami decide to
handover the letter only in the
evening? (Para 7)
8. ‘...there was a chance that
Samuel might do something to
justify the letter.’ What does Swami
mean? (Para 7)
9. ‘Swami hoped that he would be
attacked now.’ What could be
Swami’s intention? (Para 8)
10. How does the author bring in
Swami’s thoughts in the course
of the narration? Quote sentences
to support your answer.
FATHER’S HELP
‘Then why did you come to the school at all?’
A most unexpected question from Samuel. ‘My father said
that I shouldn’t miss the class, sir,’ said Swami.
This seemed to impress Samuel. ‘Your father is quite right;
a very sensible man. We want more parents like him.’
‘You don’t know what my father has done to you,’ Swami
thought. He was more puzzled than ever about Samuel’s
character.
‘All right, go to your seat. Have you still a headache?’
‘Slightly, sir.’
9. Swami went to his seat with a bleeding heart. He had
never met a man so good as Samuel. The teacher was
inspecting the home lessons, which usually produced (at
least, according to Swami’s impression) scenes of great
violence. Notebooks would be flung at faces, boys would
be abused, caned and made to stand up on benches. But
today Samuel appeared to have developed more tolerance
and gentleness. He pushed away the bad books, just
touched people with the cane, never made anyone stand
up for more than a few minutes. Swami’s turn came. He
almost thanked God for the chance.
11. Read paragraph 8 and pick out
the instances of irony in it.
12. Which expression shows
Swami’s feeling of guilt? (Para 9)
13. How does Swami’s
experiences in the class
contradict his expectations?
(Para 10)
FATHER’S HELP
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
10. ‘Swaminathan, where is your homework?’
‘I have not done any homework, sir,’ he said blandly.
There was a pause.
‘Why—headache?’ asked Samuel.
‘Yes, sir.’
‘All right, sit down.’ Swami sat down, wondering what had
come over Samuel. The period came to an end, and Swami
felt desolate. The last period for the day was again taken
by Samuel. He came this time to teach them Indian History.
The period began at 3.45 and ended at 4.30. Swaminathan
had sat through the previous periods thinking acutely. He
could not devise any means of provoking Samuel. When
the clock struck four, Swami felt desperate. Half an hour
more. Samuel was reading the text, the portion describing
Vasco da Gama’s arrival in India. The boys listened in halflanguor.
Swami suddenly asked at the top of his voice, ‘Why
did not Columbus come to India, sir?’
‘He lost his way.’
‘I can’t believe it, it is unbelievable, sir.’
‘Why?’
‘Such a great man. Would he have not known the way?’
‘Don’t shout. I can hear you quite well.’
‘I am not shouting, sir, this is my ordinary voice, which
God has given me. How can I help it?’
‘Shut up and sit down.’
Swaminathan sat down, feeling slightly happy at his
success. The teacher threw a puzzled, suspicious glance
at him and resumed his lessons.
11. His next chance occurred when Sankar of the first bench
got up and asked, ‘Sir, was Vasco da Gama the very first
person to come to India?’
Before the teacher could answer, Swami shouted from the
back bench, ‘That’s what they say.’
FATHER’S HELP
14. Do you ask questions in your
class the way Swami does?
If not, why? (Para 10)
Back to the Roots
Do you know?
The word 'chair' came from the
Latin word 'cathedra' which
means the seat of the Bishop. The
Malayalam word Kasera is also
from 'cathedra'. The study of
the origin and the developments
in the meaning of words is called
'etymology'.
Now, find out the etymology of
the following words. You may
refer to a dictionary, better an
etymological dictionary. You
may also search the site http://
www.etymonline.com
puzzle
devil
assistant
15. ‘Swaminathan sat down,
feeling slightly happy at his
success.’ In what sense was he
successful? (Para 10)
The teacher and all the boys looked at Swami. The teacher
was puzzled by Swami’s obtrusive behaviour today.
‘Swaminathan, you are shouting again.’
‘I am not shouting, sir. How can I help my voice, given by
God?’ The school clock struck a quarter-hour. A quarter
more. Swami must do something drastic in fifteen
minutes. Samuel had scowled at him and snubbed him,
but it was hardly adequate. Swami felt that with a little
more effort Samuel could be made to deserve dismissal
and imprisonment.
Pause and Reflect
12. The teacher came to the end of a section in the textbook
and stopped. He proposed to spend the remaining few
minutes putting questions to the boys. He ordered the
whole class to put away their books, and asked someone
in the second row, ‘What’s the date of Vasco da Gama’s
arrival in India?’
Swaminathan shot up and screeched, ‘1648, December 20.’
‘You needn’t shout,’ said the teacher. He asked, ‘Has your
headache made you mad?’
‘I have no headache now, sir,’ replied the thunderer
brightly.
‘Sit down, you idiot.’ Swami was thrilled at being called
an idiot. ‘If you get up again I will cane you,’ said the
teacher. Swami sat down, feeling happy at the promise.
The teacher then asked, ‘I am going to put a few questions
on the Mughal period. Among the Mughal emperors,
whom would you call the greatest, whom the strongest
and whom the most religious emperor?’
Swami got up. As soon as he was seen, the teacher said
emphatically, ‘Sit down.’
‘I want to answer, sir.’
‘Sit down.’
‘No, sir, I want to answer.’
FATHER’S HELP
16. I have a headache.
He becomes a headache to the
whole class.
What difference in meaning do you
find in the two usages of the word
‘headache’? (Para 12)
17. What is the nature of the
teacher’s ‘promise’? (Para 12)
What are your impressions of
Swami now? Is there any change
in your attitude towards him?
Justify your views.
Pause & Reflect
‘What did I say I’d do if you got up again?’
‘You said you would cane me and peel the skin off my
knuckles and make me press it on my forehead.’
‘All right, come here.’
13. Swaminathan left his seat joyfully and hopped onto
the platform. The teacher took out his cane from the
drawer and shouted angrily, ‘Open your hand, you little
devil.’ He whacked three wholesome cuts on each palm.
Swami received them without blenching. After half a
dozen the teacher asked, ‘Will these do, or do you want
some more?’
14. Swami merely held out his hand again and received
two more; and the bell rang. Swami jumped down from
the platform with a light heart, though his hands were
smarting. He picked up his books, took out the letter lying
in his pocket and ran to the headmaster’s room. He found
the door locked.
He asked the peon, ‘Where is the headmaster?’
‘Why do you want him?’
‘My father has sent a letter for him.’
FATHER’S HELP
18. Are your teachers and parents
like the ones portrayed here? In
what ways are they different?
(Para 13)
19. Where does Swami enjoy
more freedom - at school or at
home? How about you?
(Para 13)
20. What made Swami’s heart
‘light‘? (Para 14)
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
‘He has taken the afternoon off and won’t come back for a
week. You can give the letter to the assistant headmaster.
He will be here now.’
‘Who is he?’
‘Your teacher, Samuel. He will be here in a second.’
Swaminathan fled from the place. As soon as Swami went
home with the letter, Father remarked, ‘I knew you
wouldn’t deliver it, you coward.’
‘I swear our headmaster is on leave,’ Swaminathan began.
Father replied, ‘Don’t lie in addition to being a coward…’
Swami held up the envelope and said, ‘I will give this to
the headmaster as soon as he is back.’ Father snatched it
from his hand, tore it up and thrust it into the wastepaper
basket under his table. He muttered, ‘Don’t come
to me for help even if Samuel throttles you. You deserve
your Samuel.’
‘You said you would cane me and
peel the skin off my knuckles and
make me press it on my
forehead.’
Did the teacher ever speak like
this?
If not, how did Swami get such
an idea about the teacher?
Read the story again and find out.
Pause & Reflect
FATHER’S HELP
21. What might have prompted
Father to tear the letter? (Para 14)
READY REFERENCE
acknowledgement (n): a note confirming receipt of something
allegation (n): a claim that somebody has done something wrong, usually false
executioner (n): an official who carries out a sentence of death
facet /"f{sIt/(n): a particular aspect of a thing
genial /"dZi:ni@l/(adj): friendly and cheerful
impulse (n): a sudden strong desire to do something
inaction (n): lack of action
languor /"l{Ng@/(n): lack of energy or alertness; dullness
loaf (v): to waste time in a lazy way
obtrusive (adj): noticeable in an unpleasant way
perjure /"p3:dZ@/(v): to tell a lie wilfully
scowl (v): to look at somebody in an angry or annoyed way
shudder (v): to shiver because you are frightened
snub (v): to insult with sharp words
wail (v): to cry loudly in pain or grief
whack /w{k/(v): to strike or beat forcefully with a sharp blow
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
Let’s Look Back
¨ Did the story meet your expectations on the themes?
¨ Which of the themes satisfied your expectation and which did not?
¨ Does this story target a specific group of readers?
Is this story only about the consequences of telling a lie? Can you find
more themes in it?
• Need for better understanding between parents and children
• Problems of the conventional system of schooling
•
•
Comment on the title Father’s Help and suggest alternatives.
There are three different references to prayer in the story. What are
they? Say how each differs from the other? (Para 1,2 & 8)
‘...often he cracked a joke or two centering around Swami’s
inactions...’ (Para 5)
What could have been the jokes? Discuss in groups and write.
Activity i
Activity ii
Activity iii
Activity iv
TEXTUAL ACTIVITIES
Briefly describe your impressions of Samuel and Swami's father.
Activity v
ASSESS YOURSELF
Paragraph
Have I placed the main idea of the
paragraph aptly?
Have I included all the supporting
details of the main point?
Have I organised the paragraph
well?
How well have I connected the
sentences in the paragraph?
Have I suggested my own ideas in
the paragraph?
What changes will I make next time
I prepare a paragraph?
a) Imagine the content of the letter written by Swami’s father and
draft the letter.
b) Write the reply the headmaster would have written if Swami had given
him the letter.
‘You deserve your Samuel.’ (Para 14)
What does this statement indicate? Prepare a write-up about an
ideal student-teacher rapport on the basis of the story.
Mother asks Swami to go to school in a jutka. What mode of
transport do most students of your school use? Conduct a survey.
Write a brief report of the survey.
Activity vi
Activity vii
Activity viii
Letter
Have I written a personal letter/an
official letter/a business letter?
Have I used appropriate language
in the letter?
Have I followed the format of a
letter?
Have I been able to convey the
ideas I wanted to express?
How well have I participated in
group refinement?
How can I improve writing a letter
next time?
ASSESS YOURSELF
Write-up
Have I placed the main idea of the
write-up aptly?
Have I included all the supporting
details of the main point?
Have I organised the write-up well?
How well have I connected the
sentences in the write-up?
Have I suggested new ideas in the
write-up?
What changes will I make next
time I prepare a write-up?
ASSESS YOURSELF
TEXTUAL ACTIVITIES
Report
Have I prepared a good
questionnaire?
Have I analysed the data I
collected?
Have I interpreted the data using
charts?
Have I explained the main idea of
the report right at the beginning?
How apt has been the title of the
report?
Has the language of my reporting
been suitable?
What changes will I make next time
I write a report?
ASSESS YOURSELF
Here is a brief description of the appearance of Samuel, Swami’s
teacher.
‘The more he thought of Samuel, the more he
grieved for him—the dark face, his small redstreaked
eyes, his thin line of moustache, his
unshaven cheek and chin, his yellow coat;
everything filled Swami with sorrow.’ (Para 6)
Now, describe the appearance of a person you are familiar with.
Activity ix
TEXTUAL ACTIVITIES
Activity x
Imagine Swami’s ‘next day’ at school and narrate it.
Collect different stories about and anecdotes on your
school and prepare a book of school-lore.
Narrative
Have I fixed the events of the
story?
Has the setting been described
clearly?
Have the characters been portrayed
well?
Have the dialogues I used in the
story been relevant?
Have I created proper images in the
story?
How effective have been the
opening and ending of the story?
How imaginative is the story?
Have I given constructive
suggestions to the other groups?
How will I improve next time I write
a narrative?
ASSESS YOURSELF
Description
Have I portrayed the person well?
How effective is the opening
sentence of the description?
How well have I connected the
sentences in the description?
Have I organised the description
well?
Have I given constructive
suggestions to the other groups?
What will I be doing differently next
time I write a description?
ASSESS YOURSELF
Read the following sentences from the story Father’s Help.
‘If you get up again, I’ll cane you.’
The teacher took out his cane from the drawer and shouted angrily...
In the first sentence ‘cane’ is used as a verb whereas in the second it is used as a noun.
Now, use each of the following words in sentences of your own as a noun and as a verb.
plan ride account stay crack skin chain wonder
Read the sets of words given below and circle the odd word out in each set. The first item has been
done for you.
a. sick ill ailing fine
b. shudder shiver shake shriek
c. stubborn obstinate sorrow stern
d. puzzled confused pathetic perplexed
e. ecstatic sad unhappy miserable
f. disgrace tolerance humiliation suffering
g. beat believe hit thrash
Read the sentences given below.
Swami went to his seat with a bleeding heart. ( Para 9)
Swami jumped down from the platform with a light heart... ( Para 14)
What do the expressions ‘bleeding heart’ and ‘light heart’ mean?
Find out similar expressions containing the word ‘heart’ and write down their meanings.
e.g. broken heart, kind heart, heavy heart
Activity 1
Activity 2
Activity 3
VOCABULARY ACTIVITIES
Replace the words in bold letters in the following sentences with suitable words from the ones
given in brackets.
(wailed, jolted, lurid, composed, genial, screeched)
a. The train made a loud unpleasant noise as it drew out of the station.
b. She carefully prepared a memorandum.
c. ‘But what shall I do?’ Bernard said in a loud, sad and complaining way.
d. The salesman was cheerful and friendly and hence he could sell off his products quite easily.
e. The autorickshaw moved suddenly and roughly down the country road.
f. He gave me a deliberately shocking description of how the children got killed.
Revisit the story and make a list of words related to the characters’ mental make-up (e.g. stubborn)
and physical reactions (e.g. shudder).
Character Mental make-up Physical reactions
Here is a web diagram. Complete it using phrasal verbs
derived from ‘put’ and use them in sentences of your
own. One is done for you.
They had to put off the staging of the new play until
December.
put
off up with
away
out
up
Activity 4
Activity 5
Activity 6
Now, read the story Games at Twilight by Anita Desai given in the Extended Reading section on Page 27.
VOCABULARY ACTIVITIES
I remember the night my mother
was stung by a scorpion. Ten hours
of steady rain had driven him
to crawl beneath a sack of rice.
Parting with his poison - flash
of diabolic tail in the dark room -
he risked the rain again.
The peasants came like swarms of flies
and buzzed the name of God a hundred times
to paralyse the Evil One.
With candles and with lanterns
throwing giant scorpion shadows
on the mud-baked walls
they searched for him: he was not found.
1. How effective is the dramatic
opening of the poem?
2. What details about time, place
and characters can you infer from
the first four lines of the poem?
3. Did the scorpion stay back in
the house? Pick out the lines
which indicate this.
4. A scorpion usually stings, but
the poet has made use of a
different expression for sting. Find
it out from the poem.
NIGHT OF THE SCORPION
Think of a family crisis. Will all the members of the family face it in the same
way? What would be the reactions of your neighbours and other well-wishers?
Nissim Ezekiel (1924 -2004),
poet, playwright, editor and art
critic, is a prominent figure in
post-independent India’s literary
history. He is considered as one
of the leading poets in Indian
writing in English. He won the
Sahitya Akademi Award in 1983
for his collection of poems,
Latter-Day Psalms.
KEEP TRACK OF YOUR READING
Read the whole poem.
Note down lines/images that you
find interesting.
Identify the themes in the poem.
POETRY
5. What are the peasants
compared to? Why?
6. How does the scorpion become
a gigantic figure in the poem?
7. How is the presence of the
scorpion felt though it had gone
away?
8. May the sins of your
previous birth
be burned away tonight...
Do people still have such beliefs?
Share your views.
9. Who are the characters in the
poem? Why do they react in
different ways to the same
incident?
10. The concern of the mother is
not like that of the others.
Comment on her attitude.
11. Is the scorpion something
more than an ordinary being?
Justify your answer.
They clicked their tongues.
With every movement that the scorpion made
his poison moved in Mother's blood, they said.
May he sit still, they said.
May the sins of your previous birth
be burned away tonight, they said.
May your suffering decrease
the misfortunes of your next birth, they said.
May the sum of all evil
balanced in this unreal world
against the sum of good
become diminished by your pain.
May the poison purify your flesh
of desire, and your spirit of ambition,
they said, and they sat around
on the floor with my mother in the centre,
the peace of understanding on each face.
More candles, more lanterns, more neighbours,
more insects, and the endless rain.
My mother twisted through and through,
groaning on a mat.
My father, sceptic, rationalist,
trying every curse and blessing,
powder, mixture, herb and hybrid.
He even poured a little paraffin
upon the bitten toe and put a match to it.
I watched the flame feeding on my mother.
I watched the holy man perform his rites
to tame the poison with an incantation.
After twenty hours
it lost its sting.
My mother only said
Thank God the scorpion picked on me
and spared my children.
NIGHT OF THE SCORPION
Do you think this poem has any contemporary relevance? Give
reasons for your answer.
The poem abounds in images of many types. Cite examples for the
following from the poem.
Visual images : ________________________________
Auditory images : ________________________________
Olfactory images : ________________________________
Tactile images : ________________________________
How are reason and belief contrasted in the poem? Identify the
relevant lines.
Do you think the poem has multiple levels of meaning? If so, what
do you equate the night, the sting of the scorpion (the poison injected
into the mother’s body), mother, father, child and the people in the
poem with? Briefly describe your reading of the poem. Cite lines
from the poem to substantiate your points.
Activity i
Activity ii
Activity iii
Activity iv
Now, read the poem Once upon a Time by Gabriel Okara given in the Extended Reading section on Page 33.
TEXTUAL ACTIVITIES
GAMES AT TWILIGHT
1. It was still too hot to play outdoors. They had their tea,
after the long day of confinement in the house that was
not cool but at least a protection from the sun. Their faces
were red, but their mother would not open the door.
‘Please, ma, please,’ they begged. ‘We'll play in the
veranda and porch - we won't go a step out of the porch.’
‘You will, I know you will, and then...’
‘No - we won't, we won't,’ they wailed so horrendously
that she actually let down the bolt of the front door so
that they burst out like seeds from a crackling, overripe
pod into the veranda, with such wild, maniacal yells.
2. They faced the afternoon. It was too hot. Too bright.
‘Let's play hide and seek.’
‘Who'll be the catcher?’
‘You be it.’
‘Why should I? You be-’
‘You're the eldest-’
‘That doesn't mean-’
3. The shoves became harder. Some kicked out. The
motherly Mira intervened. She pulled the boys roughly
apart.
‘Make a circle, make a circle!’ she shouted, firmly pulling
and pushing till a kind of vague circle was formed. ‘Now
clap!’ she roared and clapping, they all chanted in
Anita Desai (b.1937), is an
Indian novelist and short story
writer. She is known for the
sensitive portrayal of the inner
feelings of her female
characters. Many of Anita Desai's
novels explore the conflicts in
families and the alienation of
middle-class women. Her major
works include the novels Fire on
the Mountain,The Zig Zag Way
and The Village by the Sea, a book
for children. She is now a Fellow
of the Royal Society of Literature,
Cambridge.
What games do you usually play in the evenings? Have you had memorable
experiences during such games? Can you narrate any of them? Try to
predict the plot of the story you are going to read. Now, read on and find
out if your predictions are proved right.
1. Do your parents restrict you
from going out to play? What
would be your feelings then?
2. Pick out the expressions that
you like most from the first
paragraph of the story. State why
you like them.
KEEP TRACK OF YOUR READING
Identify the central characters and
setting of the story.
Note down your impressions of the
characters.
Pick out the most striking event.
Identify the narrative techniques
used to build conflicts in the story.
Underline the striking words/
expressions/images used in the
story.
EXTENDED READING
SHORT STORY
3. Why does Raghu refer to his
mother’s instructions? (Para 4)
4. How does the author create a
powerful word picture of the
abandoned shed? (Para 6)
5. The fear in Ravi’s mind is
conveyed well by the author in
paragraph 7. Do you agree?
Substantiate your views.
6. Who will be the winner of the
game - Raghu or Ravi? Justify
your answer. (Para 8)
melancholy unison: ‘Dip, dip, dip - my blue ship -’ and
dropped out of the circle with a yell and a jump of relief
and jubilation.
4. Raghu was the catcher. He started to protest, to cry.
‘You cheated-Mira cheated-Anu cheated-’ but it was too
late, the others had all already streaked away. There was
no one to hear when he called out, ‘Only in the verandathe
porch-Ma said-Ma said to stay in the porch!’ No one
had stopped to listen, all he saw were their brown legs
flashing through the dusty shrubs, scrambling up brick
walls, leaping over compost heaps and hedges and then
the porch stood empty in the purple shade of the
bougainvilla.
5. He started whistling spiritedly so that the hiders should
hear and tremble. Ravi heard the whistling and felt himself
too exposed, sitting on an upturned flowerpot behind the
garage. Where could he burrow? He could run around
the garage if he heard Raghu come - around and around
and around. Ravi looked about him desperately.
6. Next to the garage was another shed with a big green
door. Ravi slipped into the shed which had the smell of
rats, anthills, dust and spider webs. Ravi had never cared
to enter such a dark and depressing mortuary of defunct
household goods. But, as Raghu’s whistling came closer
he suddenly slipped off the flowerpot and slipped inside
the shed through the crack and was gone.
7. Ravi stood frozen inside the shed. Then he shivered all
over. Something had tickled the back of his neck. It took
him a while to pick up the courage to lift his hand and
explore. It was an insect - perhaps a spider - exploring
him. He squashed it and wondered how many more
creatures were watching him, waiting to reach out and
touch him, the stranger.
8. He contemplated slipping out of the shed and into the
fray. He wondered if it would not be better to be captured
by Raghu and be returned to the milling crowd as long as
he could, be in the sun, the light, the free spaces of the
garden and the familiarity of his brothers, sisters and
cousins.
GAMESAT TWILIGHT
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
9. Ravi sat back on the harsh edge of the tub, deciding to
hold out a bit longer. What fun if they were all found and
caught - he alone left unconquered! He had never known
that sensation. Nothing more wonderful had ever
happened to him than being taken out by an uncle and
bought a whole slab of chocolate all to himself. There he
sat smiling, knocking his heels against the bathtub, now
and then getting up and going to the door to put his ear
to the broad crack and listening for sounds of the game,
the pursuer and the pursued and then returning to his
seat with the dogged determination of the true winner, a
breaker of records, a champion.
10. It grew darker in the shed. Through the crack Ravi
saw the long purple shadows of the shed. Could he hear
the children's voices? It seemed to him that he could. It
seemed to him that he could hear them chanting, singing,
laughing. But what about the game? What had happened?
Could it be over? How could it when he was still not
found?
GAMESAT TWILIGHT
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
7. Have you ever experienced
the thrill of being unconquered in
a game you have played? If so,
narrate the experience. (Para 9)
8. What might have happened to
the game? (Para 10)
11. It then occurred to him that he could have slipped out
long ago, dashed across the yard to the veranda and
touched the ‘den.’ It was necessary to do that to win. He
had forgotten. He had only remembered the part of hiding
and trying to elude the seeker. He had done that
successfully. With a whimper he rushed out of the shed
and flung himself at the white pillar and bawled, ‘Den!
Den! Den!’
12. Out on the lawn, the children stopped chanting. They
all turned to stare at him in amazement. They stared,
wondering at his reappearance, his passion, his wild
animal howling. Their mother rose from her basket chair
and came toward him, worried, annoyed, saying, ‘Stop it,
stop it, Ravi. Don't be a baby. Have you hurt yourself?’
But Ravi would not let them. He tore himself out of his
mother's grasp and pounded across the lawn into their
midst, charging at them with his head lowered so that
they scattered in surprise. ‘I won, I won, I won,’ he bawled,
shaking his head so that the big tears flew. ‘Raghu didn't
find me. I won, I won...’
13. It took them a minute to grasp what he was saying,
even who he was. They had quite forgotten him. Raghu
had found all the others long ago. There had been a fight
about who was to be the catcher next. The parents had
come out, taken up their positions on the cane chairs. They
had begun to play again, sing and chant. All this time no
one had remembered Ravi. Having disappeared from the
scene, he had disappeared from their minds. Clean.
‘Don't be a fool,’ Raghu said roughly, pushing him aside,
and even Mira said, ‘Stop howling, Ravi. If you want to
play, you can stand at the end of the line,’ and she put
him there very firmly.
14. The game proceeded. Two pairs of arms reached up
and met in an arc. The children trooped under it again
and again in a lugubrious circle, ducking their heads and
intoning,
GAMESAT TWILIGHT
9. If the hider is not found out in
a game of hide and seek, won’t
the hider be the winner? Don’t
you think Ravi is the winner of
this game? Justify your answer.
(Para 11)
10. What is the spirit of a game -
winning it or participating in it?
What do you think? Substantiate
your arguments. (Para 12)
11. Does the saying ‘out of sight,
out of mind’ get justified here?
Pick out the words and
expressions that substantiate
your answer. (Para 13)
‘The grass is green,
The rose is red;
Remember me
When I am dead, dead, dead, dead...’
And the arc of thin arms trembled in the twilight and the
heads were bowed so sadly, and their feet tramped to that
melancholy refrain so mournfully, so helplessly, that Ravi
could not bear it. He would not follow them, he would not
be included in this funereal game. He had wanted victory
and triumph - not a funeral. But he had been forgotten,
left out, and he would not join them now. The ignominy of
being forgotten - how could he face it? He felt his heart go
heavy and ache inside him unbearably. He lay down full
length on the damp grass, crushing his face into it, no longer
crying, silenced by a terrible sense of his insignificance.
(Adapted)
12. Why is the last game ‘funereal’
for Ravi? Why didn’t Ravi want to
be included in it? (Para 14)
GAMESAT TWILIGHT
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
Do you think Games at Twilight is more than a narrative on a game? What
does the game symbolise? Explain.
Do you empathise with Ravi? Does his experience remind you of any
of your childhood experiences? Narrate it.
What specific words and images in this story are appealing to you? If
you are asked to draw a picture to illustrate the story, which scene
would you select? Why?
Activity i
Activity ii
Activity iii
Now, read the poem Night of the Scorpion by Nissim Ezekiel given on Page 24.
TEXTUAL ACTIVITIES
Narrative
Have I fixed the events of the
story?
Has the setting been described
clearly?
Have the characters been portrayed
well?
Have the dialogues I used in the
story been relevant?
Have I created proper images in the
story?
How effective have been the
opening and ending of the story?
How imaginative is the story?
Have I given constructive
suggestions to the other groups?
How will I improve next time I write
a narrative?
ASSESS YOURSELF
ONCE UPON A TIME
Once upon a time, son,
they used to laugh with their hearts
and laugh with their eyes;
but now they only laugh with their teeth,
while their ice-block-cold eyes
search behind my shadow.
There was a time indeed
they used to shake hands with their hearts;
but that's gone, son.
Now they shake hands without hearts
while their left hands search
my empty pockets.
Gabriel Okara (b.1921),
Nigerian poet and novelist, is a
self-educated man. In 1953, his
poem The Call of the River Nun
won an award at the Nigerian
Festival of Arts. He has been
successful in capturing the
moods, sights and sounds of his
country.
1. What does the title Once upon
a Time signify?
2. Look at the expressions ‘their
eyes’ and ‘their teeth’. Who is the
poet talking about?
3. What does the line ‘they used
to shake hands with their hearts’
imply?
4. Why do the left hands search
empty pockets now? What does
this indicate?
5. The poet uses certain words
to show his disappointment.
Identify them.
You might have read stories beginning with ‘Once upon a time...’ What is the
significance of such a beginning? What do you think the poem is trying to
communicate? Read on and find out.
POETRY
EXTENDED READING
'Feel at home'! 'Come again';
they say, and when I come
again and feel
at home, once,twice,
there will be no thrice
for then I find doors shut on me.
So I have learned many things, son.
I have learned to wear many faces
like dresses - homeface,
officeface, streetface, hostface,
cocktailface ,with all their conforming smiles
like a fixed portrait smile.
And I have learned, too,
to laugh with only my teeth
and shake hands without my heart.
I have also learned to say,’Goodbye’,
when I mean ‘Good-riddance’;
to say ‘Glad to meet you’,
without being glad; and to say ‘It's been
nice talking to you’, after being bored.
But believe me, son.
I want to be what I used to be
when I was like you. I want
to unlearn all these muting things.
Most of all, I want to relearn
how to laugh, for my laugh in the mirror
shows only my teeth like a snake’s bare fangs!
So show me, son,
how to laugh; show me how
I used to laugh and smile
once upon a time when I was like you.
6. Pick out the words and
expressions that indicate ‘life
once’ and ‘life now’. How is ‘life
once’ contrasted with ‘life now’?
7. Did the poet get a warm
reception at first? Pick out
expressions from stanza 3 in
support of your answer.
8. Was the poet received the
same way all the time he visited
them?
9. Why does the poet suggest that
he has to pretend at times? What
does it tell about the attitude of
the poet?
10. Note the contrasting ideas in
the stanza beginning with ‘And I
have learned...’
11. What are the ‘muting things’?
Why are they called so?
12. What does the poet want to
‘unlearn’ and ‘relearn’?
13. Why are the teeth compared
to a snake’s bare fangs?
14. What is the mood created at
the end of the poem?
ONCE UPON A TIME
Who is the poem addressed to? What is the poet trying to convey?
List words and expressions that tell us about the poet’s attitude towards the
past and the present.
The poet uses certain images in the poem. List a few of them.
• laugh with their teeth - visual image
Pick out the similies in the poem.
e.g. • like a fixed portrait smile
Activity i
Activity ii
Activity iii
Activity iv
TEXTUAL ACTIVITIES
Read the sentence from the story Father’s Help.
‘Dress up and go.’
You can find a number of such sentences that are used to give a command/order in the story.
They are called imperative sentences.
a. Revisit the first and last part of the story and make a list of such sentences. You are sure to find
more than five.
b. What might be the reason behind using many imperative sentences in the story? Do they throw
light on the theme and characterisation of the story? Explain.
c. Give more examples of such utterances you are likely to hear at home or at school.
At home At school
e.g. Do your homework promptly.
d. Guess the context of each utterance you have listed and say who the speaker is.
Utterance Context Speaker
Activity 1
LANGUAGE ACTIVITIES
Do your homework Early morning while sipping bed coffee Father
promptly.
Read the following sentence from the story.
By the time he was ready, Father had composed a letter to the headmaster... (Para 4)
Now, look at the sentence given below:
Before they got into the bus, all the seats had been occupied.
These sentences describe two events. At the time of the first event, the second event has already
taken place. Analyse the change in the two verb forms that are used in each of these sentences.
Now, frame five sentences as shown above using the pairs of events described below.
a) I come home my parents go to bed
b) We reach the railway station the train leaves
c) You are born India becomes independent
d) He joins here he works in another school
e) Priya is ready her husband leaves the place
a. Read the following sentence from the story.
And Mother generously suggested that Swami might stay at home.
What could be the actual words of the mother to Swami?
‘Swami, you may stay at home.’
The sentence in the story is in reported speech.
What changes occur when a conversation is reported?
You have to say who said the sentence and to whom it was said. Then, you have to think of reporting
words like said, told, suggested, advised, asked, exclaimed etc. according to the sentence to be
reported.
Report the following conversations.
a. Swami: I can’t go so late to the class.
b. Father: What do these teachers mean by beating the children?
c. Mother: Have you any important lessons today?
d. Samuel: Shut up and sit down.
e. Peon: He has taken the afternoon off and won’t come back for a week.
Activity 2
Activity 3
LANGUAGE ACTIVITIES
b. Imagine you are Swami’s classmate. You would like to report to your parents the conversation
between Swami and Samuel about Columbus. How would you report it to your parents? (Para 10)
Read the following sentence from the first paragraph of the story.
It looked as though only a moment ago it had been the last period on Friday.
More examples:
He behaved as though nothing had happened.
It sounds as though you had a good time.
‘As though’ and ‘as if’ mean ‘in a way that suggests something’.
Now, complete the following sentences.
a. Shaju screamed as though he _________________________________________________
b. They were silent as though ___________________________________________________
c. I _____________ as though __________________________________________________
Read the following sentence from Para 6 of the story.
The more he thought of Samuel, the more he grieved for him...
Comparatives with ‘the ..., the ...’ is used to say that things change or vary together, or that two
variable quantities are systematically related.
Complete the following sentences suitably.
a. The more he thinks, ____________________________________________________
b. The faster she starts, ____________________________________________________
c. The farther he went, ____________________________________________________
d. The more she tried, ____________________________________________________
e. The more you complain, __________________________________________________
Activity 4
Activity 5
LANGUAGE ACTIVITIES
Read the following sentences from the story.
‘If you get up again, I will cane you.’
If the letter was given at the end of the day, there was a chance that Samuel
might do something to justify the letter.
Read another sentence of the same kind.
If he had been informed, he would have come.
Here ‘if’ is used to talk about a condition. ‘If’ is also used while talking about something that always
happens in a particular situation.
Plastic will melt, if it gets too hot.
Now, complete the following sentences suitably.
a. If she is happy, ____________________________________________________________
b. Plants will wither if __________________________________________________________
c. Balu would definitely be angry, ________________________________________________
d. If they had started early, _____________________________________________________
Comma can kill a man
Hang him not let him go.
How do we punctuate this string of words?
One way to do it is: Hang him not, let him go.
But there is another way of punctuating this: Hang him, not let him go.
It is just the opposite in meaning to the first one. So it has been said - a comma can kill!
The presence or absence of a punctuation mark can change the meaning of a sentence.
Here is a paragraph from a short story. Make it meaningful by punctuating it.
shanta could not stay in her class any longer she had done clay modelling
music drill a bit of alphabet and numbers and was now cutting coloured
paper she would have to cut till the bell rang and the teacher said now put
away the scissors and take up your alphabet shanta was impatient to know
the time she asked her friend sitting next to her is it five now may be she
replied or is it six i dont think so her friend replied because night comes at
six
Find out the difference in the meaning of the two sentences.
a. The panda eats shoots and leaves.
b. The panda eats, shoots and leaves.
Activity 6
Activity 7
LANGUAGE ACTIVITIES
Activity 8
LANGUAGE ACTIVITIES
You’ve learnt noun phrases in your previous classes, haven’t you?
Read the following passage from Father’s Help’ and underline the noun phrases. One has been
done for you.
Swaminathan left his seat joyfully and hopped onto the platform. The
teacher took out his cane from the drawer and shouted angrily, ‘Open your
hand, you little devil.’ He whacked three wholesome cuts on each palm.
Swami received them without blenching. After half a dozen the teacher
asked, ‘Will these do, or do you want some more?’
Classify the noun phrases according to the positions they occupy in the sentences.
Noun phrases in subject position
• Swaminathan
• the teacher
•
•
Noun phrases in object/ complement position
• his seat
• his cane
•
•
Noun phrases after a preposition
• (onto) the platform
• (from) the drawer
•
•
Let's sum up
• Noun phrases can function as the subject of a sentence, the object of a verb or preposition
and as a complement.
• The preposition and the noun phrase that follow it can together be called a prepositional
phrase.
Activity 9
LANGUAGE ACTIVITIES
The noun phrase in a sentence has a head noun and sometimes qualifying words built around it.
Closely examine each noun phrase you have identified and find out what type of qualifying words
appear before and after the head noun.
e.g. • Swaminathan [head noun]
• the teacher [article (the) + head noun (teacher)]
• his cane [possessive (his)+ head noun (cane)]
Let's sum up
1. Words which come before the head noun can be :
- articles (a/an, the)
- possessives (Swaminathan's, teacher's, my, your, his, her, their etc.)
- demonstratives ( this, that , these, those )
- adjectives (wholesome, nice, tall etc.)
- numerals (three, twelve etc.)
- ordinals (first, second, last etc.)
- quantifiers (all, all of, some, a few etc.)
2. Articles, possessives and demonstratives are called determiners.
3. Sometimes a quantifier can appear before a determiner. In that case we call it a predeterminer.
e.g. All my brothers
Some of the pictures
4. A prepositional phrase can appear after the head noun.
e.g. The doctor from London
5. Even a whole clause can qualify the head noun. Such clauses are called relative clauses or
adjectival clauses.
e.g. The boy who broke the window left the place.
Read the following sentences and identify the sentence patterns (combinations of clause elements)
such as subject, verb, complement, object and adverbial in them.
1. I yawned.
2. Fred opened the door.
3. Dinner is ready.
4. Manoj went to London.
5. My teacher gave me a book.
6. Henry had his feet badly hurt.
7. Sam put the bottles in the cellar.
Let's sum up
• The sentence pattern (combinations of clause elements) in the above sentences are arranged to
make the following patterns:
1. Subject + Verb
2. Subject + Verb + Object
3. Subject + Verb + Complement
4. Subject + Verb + Adverbial
5. Subject + Verb + Object + Object
6. Subject + Verb + Object + Complement
7. Subject + Verb + Object + Adverbial
• These are the basic patterns of a clause (sentence) in English.
• Noun phrase stands as a subject, object or in some cases complement (e.g. 'John is a
driver') of a sentence.
Activity 10
LANGUAGE ACTIVITIES
Read the following passage, identify the sentence patterns and label them.
I love stories. I read a story yesterday. It was interesting. It was an adventurous story. I love
adventurous stories. My friend hates them. She told me a tragic story. Tragic stories make
me cry. I cried for an hour. She narrated the incident to everyone. All my friends are mocking
me now.
Editing Codes
Editors use symbols like the following to correct mistakes. These symbols show writers what
changes editors want them to make.
Activity 11
Activity 12
Other symbols we can use are:
WF (wrong form) : The harder you work the best will be your achievements.
WW (wrong word) : -patient, funny and kindly.
T (wrong tense) : In the last few weeks you don’t have much fun.
^ (something missing) : They arrived in Cochin 1st July.
Sp.(Wrong spelling) : confortable
WO (wrong word order) : They haven’t seen yet London.
P (wrong punctuation) : Look out.
–” (not necessary) : John came in and he sat out.
? (you don’t understand)
LANGUAGE ACTIVITIES
Now, edit the following review of Charlie Chaplin’s film, Modern Times using the editing codes.
Modern Times
Chaplin’s ‘silent’last film, was made when everyone else was making talkies,
an innovation the film world is experimenting with then. In the film charlie
turns against modern society, the machine age. Firstly we see Him frantically
trying to keep up with a production line, tighten bolts. then he is selected for
an experiment with an automatic a feeding machine, but various mishaps
leads his boss to believe he has gone mad and Charlie is sent to a mental
hospital When he gets out, he is mistook for a communist while waving a red
flag. He is again send to jail but he manages to escapes from jail. We see Charlie
throwgh many more such escapades.
SPACE IT!
Space the text and make it meaningful. You may use a computer.
ElephantswalkedoutofAfricaandontotheIndiansubcontinentmuchbeforemandid,fully20lakhyearsago.
Likeus,theythriveunderawidevarietyofconditions,andearlyelephantsmusthavehadarunofthewholecountry.
TodaytheyarerestrictedtothemorehillywoodedtractssuchasthoseoftheWesternGhatssouthofGoa.
Astudyhasbroughtoutastartlingfact:elephantpopulationsoftheNilgirishavehadnogeneticexchangewith
populationssouthofthePalghatgapforovertwolakhyears.Possibly,therewasforalongtime,ahugelakeinthe
Palghatgapthatcutoffallelephantmigrations.TheplainselephantsmayhavedisappearedafterPalghatwasbrought
undertheplough3000yearsago.Hopefully,oneofthesedayswewillfindouttheanswertothisfascinatingpuzzle.
Language Game
LANGUAGE ACTIVITIES
ENGLISH X 45
UNIT II
THE WORLD OF MYSTERY
46
I stepped off the pavement and from the middle of the street,
brought my hands to my mouth and shouted towards the top
stories of the block: ‘Teresa!’
Someone walked by. Again I shouted: ‘Teresa!’ The man said:
‘If you don’t shout louder she won’t hear you. Let’s both try.
So: count to three, on three we shout together.’ And he said,
‘One, two, three.’ And we both yelled, ‘Tereeeesaaa!’
A small group of friends passing by saw us calling out. They
said, ‘Come on, we’ll give you a shout too.’ And they joined us
in the middle of the street and then everybody together
shouted, ‘Te-reee-saaa!’
A quarter of an hour later, there were a whole bunch of us,
twenty almost. And every now and then somebody new came
along.
Organising ourselves to give a good shout, all at the same time
wasn’t easy. There was always someone who began before
three or went on too long. We agreed that the ‘Te’ should be
shouted low and long, the ‘re’ high and long and ‘sa’ low and
short. It sounded great.
We were beginning to get it right, when somebody asked, ‘But
are you sure she’s at home?’
‘No,’ I said.
‘That’s bad,’ another said, ‘Forgotten your key, have you?’
‘Actually,’ I said, ‘I have my key.’
‘So,’ they asked, ‘why don’t you go on up?’
‘Oh, but I don’t live here,’ I answered. ‘I live on the other side
of the town.’
SHORT STORY
THE MAN WHO SHOUTED TERESA
Italo Calvino (1923 - 85) is
an Italian journalist and writer
of short stories and novels. His
best-known works include the
novels Invisible Cities and If on
a Winter's Night a Traveller. He
is the most-translated
contemporary Italian writer.
Calvino was made Honorary
Member of the American
Academy in 1975 and the
following year he was awarded
the Austrian State Prize for
European Literature. This short
story is taken from his
collection Numbers in the
Dark .
‘You can’t understand everything that happens in this world. It will be a dull old world if you could.’ Do you
agree? Share your views. Now, guess why the man shouted Teresa and who Teresa was. Finally check
whether your ideas are the same or different from what happens in the story.
ENGLISH X 47
‘Well then, excuse my curiosity,’ one asked, ‘but who does live
here?’
‘I really wouldn’t know,’ I said.
People were a bit upset about this.
‘So could you please explain,’ somebody asked, ‘why you are
standing down here calling out Teresa?’
‘As far as I am concerned,’ I said, ‘we can call another name, or
try somewhere else. It’s no big deal.’
The others were a bit annoyed.
‘I hope you weren’t playing a trick on us?’ one asked
suspiciously.
‘What?’ I said. The others said nothing.
There was a moment’s embarrassment.
‘Look’, someone said, ‘why don’t we call Teresa one last time,
then we’ll go home’.
So we did it again. ‘One two three ‘Teresa!’ but it didn’t come
out very well. Then people headed off home, some one way, some
the other.
I’d already left the place; when I thought I heard a voice still
calling: ‘Tee-reee-sa!’
Discuss
1) Can you think of any strange experience you have had like the one described in the story?
2) If you were present at the scene described in the story what would you do?
3) Is there anything really strange about what happens in the story? Share your views.
48
1. What details of place, time and
weather can you infer from
paragraph 1 of the story?
2. List the images used in
paragraph 1 and classify them as
visual, tactile, olfactory and
auditory.
Octavio Paz (1914–98), Mexican
writer, poet and diplomat won the
Nobel Prize for Literature in 1990.
His essay, The Labyrinth of Solitude
goes deep into the minds of his
countrymen, describing them as
hidden behind masks of solitude.
THE BLUE BOUQUET
1. When I woke up I was soaked with sweat. The floor of
my room had been freshly sprinkled and a warm vapour
was rising from the red tiles. A moth flew around and
around the naked bulb, dazzled by the light. I got out of
the hammock and walked barefoot across the room, being
careful not to step on a scorpion if one had come out of its
SHORT STORY
KEEP TRACK OF YOUR READING
Read up to ‘Pause & Reflect’.
Identify the central characters and
setting of the story.
Note down your impressions of the
characters.
Pick out the most striking event.
Identify the narrative techniques
used to build conflicts in the story.
Underline the striking words/
expressions/images used.
What could a blue bouquet be made of? What predictions can you make
about the theme of the story after reading the title? Are the events narrated
in a story believable? Share your thoughts with your friends and read on to
see what sort of events are narrated here.
ENGLISH X 49
hiding place to enjoy the coolness of the floor. I stood at
the window for a few minutes, breathing in the air from
the field and listening to the vast, feminine breathing of
the night. Then I walked over to the washstand, poured
some water into the enamel basin and moistened a towel.
I rubbed my chest and legs with the damp cloth, dried
myself a little, and got dressed, first making sure that no
bugs had got into the seams of my clothes. I went leaping
down the green-painted staircase and blundered into the
hotelkeeper at the door. He was blind in one eye, a glum
and reticent man, sitting there in a rush chair, smoking a
cigarette, with his eyes half closed.
Now he peered at me with his good eye. ‘Where are you
going, senor?’ he asked in a hoarse voice.
‘To take a walk. It’s too hot to stay in my room.’
‘But everything’s closed up by now. And we don’t have
any streetlights here. You’d better stay in.’
2. I shrugged my shoulders, mumbled, ‘I’ll be right back,’
and went out into the darkness. At first I couldn’t see
anything at all. I groped my way along the stone-paved
street. I lit a cigarette. Suddenly the moon came out from
behind a black cloud, lighting up a weather-beaten white
wall. I stopped in my tracks, blinded by that whiteness. A
faint breeze stirred the air and I could smell the fragrance
of the tamarind trees. The night was murmurous with the
sounds of leaves and insects. The crickets had bivouacked
among the tall weeds. I raised my eyes: up there the stars
were also camping out. I thought that the whole universe
was a grand system of signals, a conversation among
enormous beings. My own actions, the creak of a cricket,
the blinking of a star, were merely pauses and syllables,
odd fragments of that dialogue. I was only one syllable, of
only one word. But what was that word? Who was uttering
it? And to whom? I tossed my cigarette onto the sidewalk.
It fell in a glowing arc, giving off sparks like a miniature
comet.
3. Comment on the description of
the hotelkeeper. What impression
does the description create in you?
(Para 1)
THE BLUE BOUQUET
Reading
Have I identified the central
characters and setting of the story?
Have I picked out the striking events
from the story?
Have I identified the techniques used
to build conflict in the story?
Have I shared with my friends the
ideas gathered during group
reading?
Have I noted down my impressions
of the characters?
Have I tried to get clarification for the
words/ expressions I didn't
understand?
Have I picked out words/ expressions
for my personal wordlist?
Have I been able to answer the
questions posed by my teacher?
What difficulties have I faced in my
reading?
ASSESS YOURSELF
4.‘...the whole universe was a grand
system of signals...’ Does the
universe engage in a conversation
with us? If so, how? (Para 2)
50
3. I walked on, slowly, for a long while. I felt safe and free,
because those great lips were pronouncing me so clearly,
so joyously. The night was a garden of eyes.
Pause and Reflect
4. Then, when I was crossing a street I could tell that
someone had come out of a doorway. I turned around but
couldn’t see anything. I began to walk faster. A moment
later I could hear the scuff of huaraches on the warm stones.
I didn’t want to look back, even though I knew the shadow
was catching up with me. I tried to run. I couldn’t. Then I
stopped short. And before I could defend myself I felt the
point of a knife against my back, and a soft voice said,
‘Don’t move, senor, or you’re dead.’
Without turning my head I asked, ‘What do you want?’
‘Your eyes, senor.’ His voice was strangely gentle, almost
embarrassed.
‘My eyes? What are you going to do with my eyes? Look,
I’ve got a little money on me. Not much, but it’s something.
I’ll give you everything I’ve got if you’ll let me go. Don’t
kill me.’
‘You shouldn’t be scared, senor. I’m not going to kill you. I
just want your eyes.’
‘But what do you want them for?’
‘It’s my sweetheart’s idea. She’d like to have a bouquet of
blue eyes. There aren’t many people around here that have
them.’
‘Mine won’t do you any good. They aren’t blue, they’re light
brown.’
‘No, senor. Don’t try to fool me. I know they’re blue.’
‘But we’re both Christians, hombre! You can’t just gouge
my eyes out. I’ll give you everything I’ve got on me.’
‘Don’t be so squeamish.’ His voice was harsh now. ‘Turn
around.’
5. ‘The night was a garden of eyes.’
Why does the narrator feel so?
(Para 3)
THE BLUE BOUQUET
Do you think the night is as ‘safe
and free’ as he thinks? Justify your
answer.
Pause & Reflect
6. ‘You shouldn’t be scared, senor.
I’m not going to kill you. I just want
your eyes.’ Comment on the way
the stranger presents his demand
to the narrator. (Para 4)
7. Do you think the stranger really
wants to present a bouquet of blue
eyes to his sweetheart? Why? (Para
4)
8. How does the narrator try to save
himself from the stranger?(Para 4)
KEEP TRACK OF YOUR READING
Is there any change in the location?
How does it contribute to the
progression of the story?
The first part of the story is full of
descriptions. What change do you
notice in the second part?
ENGLISH X 51
5. I turned around. He was short and slight, with a palm
sombrero half covering his face. He had a long machete in
his right hand. It glittered in the moonlight.
‘Hold a match to your face.’
I lit a match and held it up in front of my face. The flame
made me close my eyes and he pried up my lids with his
fingers. He couldn’t see well enough, so he stood on tiptoes
and stared at me. The match burned my fingers and I threw
it away. He was silent for a moment.
‘Aren’t you sure now? They aren’t blue.’
‘You’re very clever, senor,’ he said. ‘Light another match.’
I lit another and held it close to my eyes. He tugged at my
sleeve. ‘Kneel down.’
6. I knelt. He grabbed my hair and bent my head back. Then
he leaned over me, gazing intently, and the machete came
closer and closer till it touched my eyelids. I shut my eyes.
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
THE BLUE BOUQUET
Back to the Roots
Find out the etymology of the
following words. You may refer
to a dictionary, better an
etymological dictionary. You may
also search the site http://
www.etymonline.com
signal
system
comet
52
Let’s Look Back
¨ Does the story meet your expectations about the themes?
¨ What narrative techniques does the writer employ to render the story a
dream-like quality?
READY REFERENCE
bivouac /"bIvu{k/(v): to take shelter temporarily
bouquet /bU"keI/(n): an arrangement of flowers, especially one that
you gift to someone
gouge /gaUdZ/(v): to make a hole or cut out something with a sharp
object in a rough or violent way
hombre /"Qmbre/(n): an informal term for a youth or man; similar to
the usage ‘a nice guy’
huaraches /w{"rA:tSs/(n): a type of sandal (open shoe) made of many
narrow strips of leather woven together
machete /m@"Seti/(n): a large knife with a broad heavy blade, used as
a weapon or a tool
plaza (n): a public square or market place, especially in towns in Spanish
speaking countries
senor (n): a form of polite address for a man in a Spanish speaking area
singe /sIndZ/ (v): to burn the surface of an object slightly, usually by
mistake; to be burnt in this way
sombrero /sQm"bre@r@U/(n): a Mexican hat for men that is tall with a
wide round brim turned up at the edges
squeamish /"skwi:mIS/(adj): easily shocked or upset by unpleasant
sights
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
Are the events described in the
story believable? Has the writer
been able to present the story in
a convincing manner? Comment.
Pause & Reflect
9. How does the stranger’s exit add
to the mysterious atmosphere of
the story? (Para 6)
THE BLUE BOUQUET
‘Open them up,’ he told me. ‘Wide.’
I opened my eyes again. The match-flame singed my lashes.
Suddenly he let go. ‘No. They’re not blue. Excuse me.’ And
he disappeared.
7. I huddled against the wall with my hands over my face.
Later I got up and ran through the deserted streets for
almost an hour. When I finally stumbled into the plaza I
saw the hotelkeeper still sitting at the door. I went in
without speaking to him. The next day I got out of that
village.
ENGLISH X 53
Outline building
Read the following passage (Para I) of the story that tells you how the
narrator got ready and left the hotel room for a walk in the night.
I stood at the window for a few minutes, breathing
in the air from the fields and listening to the vast,
feminine breathing of the night. Then I walked over
to the washstand, poured some water into the
enamel basin and moistened a towel. I rubbed my
chest and legs with the damp cloth, dried myself a
little, and got dressed, first making sure that no
bugs had got into the seams of my clothes. I went
leaping down the green-painted staircase and
blundered into the hotelkeeper at the door.
Visualise the actions and fill in the bubbles given below:
a. Which are the different positions the narrator moves to from the
window?
window
b. What actions does he perform at each of these positions?
stood
Develop an outline of the narrator’s actions at each of these positions.
standing at the window
Activity i
TEXTUAL ACTIVITIES
54
Build up a story/narrative from an outline
Read the ending of the story. It ends abruptly:
When I finally stumbled into the plaza I saw the
hotelkeeper still sitting at the door. I went in
without speaking to him. The next day I got out of
that village.
What might the narrator have done after returning to his room?
Imagine the objects/ things in the room.
Now, think of his actions in the room. Don’t forget that he is extremely
shocked and terrified.
a. door - he rushes in through the door
b.
c.
d.
e. bed -
Describe the actions of the narrator.
e.g. The narrator- rushing in through the door.
Now, narrate his thoughts and actions as he returns to his room.
Activity ii
door wardrobe
TEXTUAL ACTIVITIES
Narrative
Have I fixed the events of the story
appropriately?
Has the setting been described
clearly?
Have the characters been portrayed
appropriately?
Have the dialogues I used in the
story been relevant?
Have I created proper images in the
story?
How effective have the opening and
ending of the story been?
How imaginative has the story
been?
What has been the easiest part of
writing the narrative? (narrating
events, describing people/things,
writing dialogues etc.)
Have I given constructive
suggestions to the other groups?
How will I improve next time I write
a narrative?
ASSESS YOURSELF
ENGLISH X 55
Evoking the setting
Read paragraph 2 of the story and analyse how the author creates
the atmosphere of the night.
Identify the images used by the writer to create the atmosphere.
Classify them as visual, auditory, tactile and olfactory.
Identify the techniques used by the author to construct images, by
asking questions like:
Where did he see it? What effect did it create?
e.g.: Moon - visual image - from behind a cloud - lighting up a wall
Identify other images used in the paragraph, classify them and answer
the questions given above.
Now, imagine that you are on a beach at sunset. Make a list of things/
persons you see there.
• beach •
• •
Now, take any one of them and build a word-web.
e.g. red sun
Ask questions as shown in the example below to describe them.
How does it look? Where do you see it?
e.g.
What effect does it create? What does it do?
What feeling does it create in you?
Attempt a description of the sunset at the beach creating suitable
images.
Activity iii
beach
TEXTUAL ACTIVITIES
red sun
56
Read how the stranger whom the narrator meets in the street at
night is described.
He was short and slight, with a palm sombrero half
covering his face. He had a long machete in his
right hand. It glittered in the moonlight.
Now, think of any film/sports star whom you like the most.
• How does he/she look?
• What are his/her facial features?
• What is the colour of his/her eyes?
• How tall is he/she? Is he/she fat, slim or well-built?
• How old is he/she?
•
•
Think about the person in the light of these questions and describe
him/her.
You might have had nightmares which made you wake up from sleep
in alarm. Describe one such experience.
Activity iv
Activity v
TEXTUAL ACTIVITIES
Description
Have I described the setting clearly?
Have I created proper images?
How effective is the opening
sentence of the description?
Has there been a natural
progression of thoughts and
actions?
How imaginative is the description?
Have I organised the description
well?
How well have I connected the
sentences in the description?
Have I given constructive
suggestions to other groups?
What will I be doing differently next
time I write a description?
ASSESS YOURSELF
ENGLISH X 57
Read the following sentence from the story The Blue Bouquet.
I tossed my cigarette onto the sidewalk.
'Sidewalk' is a flat part at the side of a road for people to walk on.
'Sidewalk' is an American English word. Its equivalent in British English is 'pavement'.
Replace the American English words given in bold letters in the sentences below with words that
mean the same in British English. Refer to a dictionary, if necessary.
a. I drove to the nearest gas station to fill gasoline.
b. I have bought new drapes for my bedroom.
c. We went by elevator to the tenth floor.
d. We rang up the fire department and the fire trucks came to the scene of the accident
immediately.
e. I take cookies and milk every evening.
In the story The Blue Bouquet, we read that the moth flew around the naked bulb, dazzled by the
light.
The word 'dazzle' is associated with 'sight'. If a strong light dazzles you, it is so bright that you
cannot see anything for a while.
a) Given below are a few words. Say which senses they are associated with and what they mean.
(deafening, blinding, scorching, pungent, thunderous, biting, nauseating)
Activity 1
Activity 2
VOCABULARY ACTIVITIES
58
b) Now, fill in the blanks with appropriate forms of the words given in Activity 2(a).
a. I ended my call on the mobile, ____________ by the municipal siren.
b. When I came out of the cinema hall I couldn't see my way, ____________ by the bright sun.
c. There was a____________ applause when he completed his presentation.
d. She was shivering from the ____________ cold outside.
e. He applied sunscreen lotion on his body to save himself from being ____________ by the hot
sun.
f. As she was allergic, she couldn't bear the ____________ smell of burning rubber.
g. He ran to the toilet ____________ by the smell of rotten meat.
A few compound words are used in the story The Blue Bouquet. They are split up and given in two
different columns below. Find the compound words by matching the appropriate words in the columns
and say what they mean. Refer to the story, if necessary.
Column A Column B Compound word
bare case
hiding light
wash walk
stair place
street toe
side foot
door heart
sweet keeper
tip stand
hotel way
Find words from the story The Blue Bouquet which are similar in meaning to the following words/
phrases.
a. thoroughly wet with
b. unwilling to tell people about things
c. to try and reach a place by feeling with your hands because you cannot see clearly
Activity 3
Activity 4
VOCABULARY ACTIVITIES
ENGLISH X 59
d. to make a hole or cut out something with a sharp object in a rough and violent way
e. to take hold of somebody/ something with your hands, suddenly, firmly and roughly
f. a broad heavy knife used as a cutting tool and as a weapon
g. to stand closely together because of cold or fear
Read the following sentences from The Blue Bouquet.
I shrugged my shoulders, mumbled, ‘I’ll be right back...’
The night was murmurous with the sound of leaves and insects.
‘Mumbling’ and ‘murmuring’ mean speaking in a low voice. ‘Mumble’ is usually negative.
e.g. Will you stop mumbling?
Complete the following crossword using words associated with sound.
Across Down
3. people often do this on the phone for hours 1. speak loudly
4. a low continuous sound 2. problem in speaking clearly
5. make a loud deep sound like a lion
Activity 5
‘Murmur’ is more positive.
e.g. They murmured their approval.
VOCABULARY ACTIVITIES
1 2
4 5
S S
C R
R
3
Now, read the excerpt The Method of Sherlock Holmes in the Extended Reading section given on Page 63.
60
Sujata Bhatt (b.1956), was
born in Ahmedabad, grew up in
Pune and emigrated to the United
States in 1968. She is a freelance
writer and has translated many
Gujarati poems into English. She
has written many poems,
including Search for My Tongue,
Pure Lizard and The Himalayas
(also titled Swami Anand). Many
of her poems have love and
violence as themes. They explore
issues such as racism and the
interaction between Asian,
European and North American
cultures.
POETRY
Look at the picture given. What impressions does it create? Making
use of the clues you get from the picture and the title of the poem,
guess the setting, characters and themes .
In Kosbad* during the monsoons
there are so many shades of green
your mind forgets other colours.
At that time
I am seventeen, and have just started
to wear a sari every day.
Swami Anand is eighty nine
and almost blind.
1. Who do you think are the
characters in the poem?
2. How does the poet make use of
the colour, ‘green’ in the poem?
3. How does the poet hint that she
is in her growing stage and Swami
Anand has withdrawn to a kind of
hibernation?
4. What does Swami Anand’s
blindness suggest? How do the
glasses serve a different purpose
here?
THE HIMALAYAS
* a small town in Maharastra
ENGLISH X 61
His thick glasses don’t seem to work,
they only magnify his cloudy eyes.
Mornings he summons me
from the kitchen
and I read to him until lunch time.
One day he tells me
‘you can read your poems now’.
I read a few, he is silent.
Thinking he’s asleep, I stop.
But he says, ‘continue.’
I begin a long one
in which the Himalayas rise
as a metaphor.
Suddenly I am ashamed
to have used the Himalayas like this,
ashamed to speak of my imaginary mountains
to a man who walked through
the ice and snow of Gangotri
barefoot
a man who lived close to Kanchenjunga
and Everest clad only in summer cotton.
I pause to apologise
but he says, ‘just continue’.
Later climbing through
the slippery green hills of Kosbad,
Swami Anand does not need to lean
on my shoulder or his umbrella.
I prod him for suggestions,
ways to improve my poems.
He is silent a long while,
then, he says
‘there’s nothing I can tell you
except continue.’
5. Does the poet have faith in the
quality and power of her poems?
Substantiate.
6. ‘Suddenly I am ashamed...’ Why
does the poet say so?
7. The poem begins with different
shades of green. What is the colour
that dominates the poem now? Bring
out its significance.
8. In what ways can you connect
the Himalayas and Swami Anand?
THE HIMALAYAS
KEEP TRACK OF YOUR READING
Read the whole poem.
Note down lines/images that you
find interesting.
Identify the themes found in the
poem.
62
How does the word ‘continue’ become a recurring message of the
poem ?
Can a poem enliven a place which you have never seen?
Substantiate.
Does the poem resemble a Zen story? Write the story as depicted in
the poem.
TEXTUAL ACTIVITIES
Activity i
Activity ii
Activity iii
Now, read the poem Skimbleshanks: The Railway Cat given in the Extended Reading section on Page 69.
ENGLISH X 63
Sir Arthur Conan Doyle (1859-
1930) is a Scottish author and
physician. Sherlock Holmes is a
fictional detective created by him.
Holmes is famous for his astute,
logical reasoning and his forensic
skills in solving difficult cases.
Holmes first appeared in
publication in 1887. The character
soon became tremendously
popular around the world.
THE METHOD OF SHERLOCK HOLMES
NOVEL
Have you ever tried to guess what a person is by observing his/her features?
How do you arrive at conclusions? Even the most insignificant detail will
have a history of its own. Read on and find out how an apparently trivial
thing becomes something very crucial.
1. Mr Sherlock Holmes, who was usually very late in the
mornings, was seated at the breakfast table. I stood upon
the hearth-rug and picked up the stick which our visitor
had left behind him the night before. It was a fine, thick
piece of wood, bulbous headed. Just under the head was a
broad silver band nearly an inch across. ‘To James
Mortimer, M.R.C.S., from his friends of the C.C.H.,’ was
engraved upon it, with the date ‘1884.’ It was just such a
stick as the old fashioned family practitioner* used to carrydignified,
solid, and reassuring.
‘Well, Watson, what do you make of it?’
2.Holmes was sitting with his back to me, and I had given
him no sign of my occupation.
‘How did you know what I was doing? I believe you have
eyes in the back of your head.’
‘I have, at least, a well-polished, silver plated coffee pot in
front of me,’ said he. ‘But, tell me, Watson, what do you
make of our visitor's stick? Since we have been so
unfortunate as to miss him and have no idea of the purpose
of his visit, this stick gains importance. Let me hear you
reconstruct the man by an examination of it.’
‘I think Dr. Mortimer is a successful, elderly medical man,
well-esteemed since those who know him give him this
mark of their appreciation.’
‘Good!’ said Holmes. ‘Excellent!’
1. From the information given in
paragraph 1, predict what sort of a
person James Mortimer is.
2. Pick out an instance of Sherlock
Holmes’ powers of observation.
(Para 2)
EXTENDED READING
KEEP TRACK OF YOUR READING
Identify the central characters and
setting of the story.
Note down your impressions of the
characters.
Pick out the most striking event.
Identify the narrative techniques
used to build conflicts in the story.
Underline the striking words/
expressions/images used in the
story.
* family practitioner - a doctor who treats patients in a local community rather than at a hospital.
64
‘I think also that the probability is in favour of his being a
country practitioner who does a great deal of his visiting
on foot.’
‘Why so?’
‘Because this stick, though originally a very handsome one
has been so used that I can hardly imagine a town
practitioner carrying it. The thick iron ferrule is worn
down, so it is evident that he has done a great amount of
walking with it.’
‘Perfectly sound!’ said Holmes.
3.‘And then again, there is the 'friends of the C.C.H.' I should
guess that to be the Something Hunt, the local hunt to
whose members he has possibly given some surgical
assistance, and which has made him a small presentation
in return.’
‘Really, Watson, you excel yourself,’ said Holmes, pushing
back his chair and lighting a cigarette. ‘I am bound to say
3. What is the nature of the
relationship between Holmes and
Watson? (Para 3)
4. What did Holmes really think of
Watson’s skills as a detective?
Reading
Have I identified the main theme
and sub-themes of each
paragraph?
Have I shared the ideas I gathered
during the group reading process?
Have I identified the central theme
of the story?
Have I tried to get clarification for
the words/ expressions I didn't
understand?
Have I been able to answer the
questions posed by my teacher?
What difficulties have I faced in my
reading?
ASSESS YOURSELF
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
THE METHOD OF SHERLOCK HOLMES
ENGLISH X 65
that you have habitually underrated your own abilities. It
may be that you are not yourself luminous, but you are a
conductor of light. Some people without possessing genius
have a remarkable power of stimulating it. I confess, my
dear fellow, that I am very much in your debt.’
4.He had never said as much before, and I must admit that
his words gave me keen pleasure. I was proud, too, to think
that I had so far mastered his system as to apply it in a
way which earned his approval. He now took the stick
from my hands and examined it for a few minutes with
his naked eyes. Then with an expression of interest he
looked over the cane again with a convex lens.
‘Interesting, though elementary,’ said he as he returned to
his favourite corner of the settee. ‘There are certainly one
or two indications upon the stick. It gives us the basis for
several deductions.’
‘Has anything escaped me?’
‘I am afraid, my dear Watson, that most of your
conclusions were erroneous. When I said that you
stimulated me I meant that I was occasionally guided
towards the truth. Not that you are entirely wrong in this
instance. The man is certainly a country practitioner. And
he walks a good deal.’
‘Then I was right.’
‘To that extent.’
‘But that was all.’
‘No, no, my dear Watson, by no means all. I would suggest,
for example, that a presentation to a doctor is more likely
to come from a hospital than from a hunt and that when
the initials 'C.C.' are placed before that hospital the words
'Charing Cross' very naturally suggest themselves.’
‘You may be right.’
5.‘The probability lies in that direction. And if we take this
as a guess we have a fresh basis from which to start our
construction of this unknown visitor.’
‘Well, then, supposing that 'C.C.H.' does stand for 'Charing
Cross Hospital,' what further inferences may we draw?’
THE METHOD OF SHERLOCK HOLMES
5. Has anything escaped Watson’s
observation? What do you think?
(Para 4)
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
66
‘I can only think of the obvious conclusion that the man
has practised in town before going to the country.’
‘I think that we might venture a little farther than this.
Look at it in this light. On what occasion would it be most
probable that such a presentation would be made? When
would his friends unite to give him a pledge of their good
will? Obviously at the moment when Dr Mortimer
withdrew from the service of the hospital in order to start
a practice for himself. We know there has been a
presentation. We believe there has been a change from a
town hospital to a country practice. Is it, then, stretching
our inference too far to say that the presentation was on
the occasion of the change?’
‘It certainly seems probable.’
6.‘Now, you will observe that he could not have been on
the staff of the hospital, since only a man well-established
in a London practice could hold such a position, and such
a one would not move into the country. What was he, then?
If he was in the hospital and yet not on the staff he could
only have been a house surgeon or a house physician. And
he left five years ago-the date is on the stick. So your grave,
middle-aged family practitioner vanishes into thin air, my
dear Watson, and there emerges a young fellow under
thirty, amiable, unambitious, absent-minded and the
possessor of a favourite dog, which I should describe
roughly as being larger than a terrier and smaller than a
mastiff.’
I laughed incredulously as Sherlock Holmes leaned back
in his settee.
‘As to the latter part, I have no means of checking you,’
said I, ‘but at least it is not difficult to find out a few
particulars about the man's age and professional career.’
7.From my small medical shelf I took down the Medical
Directory and turned up the name. There were several
Mortimers, but only one who could be our visitor. I read
his record aloud.
"Mortimer, James, M.R.C.S., 1882, Grimpen, Dartmoor,
Devon. House-surgeon, from 1882 to 1884, at Charing
Cross Hospital. Winner of the Jackson prize for
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
6. How does Holmes logically prove
that Mortimer had worked in a town
hospital? (Para 5)
7. Are Holmes’ assumptions
convincing to you? Why? (Para 6)
THE METHOD OF SHERLOCK HOLMES
ENGLISH X 67
Comparative Pathology, with essay entitled 'Is Disease
a Reversion?' Medical Officer for the parishes of
Grimpen, Thorsley, and High Barrow."
‘No mention of that local hunt, Watson,’ said Holmes with
a mischievous smile, ‘but a country doctor, as you very
keenly observed. I think that I am fairly justified in my
inferences. As to the adjectives, I said, if I remember right,
amiable, unambitious, and absent minded. It is my
experience that it is only an amiable man in this world
who receives testimonials, only an unambitious one who
abandons a London career for the country, and only an
absent-minded one who leaves his stick and not his
visiting-card after waiting an hour in your room.’
‘And the dog?’
8.‘Has been in the habit of carrying this stick behind his
master. Being a heavy stick the dog has held it tightly by
the middle, and the marks of his teeth are very plainly
visible. The dog's jaw, as shown in the space between these
marks, is too broad in my opinion for a terrier and not
broad enough for a mastiff. It may have been-yes, by Jove,
it is a curly-haired spaniel.’
9.He had risen and paced the room as he spoke. Now he
halted in the recess of the window. There was such a ring
of conviction in his voice that I glanced up in surprise.
‘My dear fellow, how can you possibly be so sure of that?’
‘For the very simple reason that I see the dog himself on
our very door-step, and there is the ring of its owner. Don't
move, I beg you, Watson. He is a professional brother of
yours, and your presence may be of assistance to me. Now
is the dramatic moment of fate, Watson. What does Dr
James Mortimer, the man of science, ask of Sherlock
Holmes, the specialist in crime? Come in!’
10. The appearance of our visitor was a surprise to me, since
I had expected a typical country practitioner. He was a
young, tall, thin man, with a long nose like a beak, which
jutted out between two keen, grey eyes from behind a pair
of gold-rimmed glasses. As he entered, his eyes fell upon
the stick in Holmes’s hand and he ran towards it with an
THE METHOD OF SHERLOCK HOLMES
8. How does Holmes justify his use
of adjectives in describing Dr
Mortimer? (Para 7)
9. What qualities of a detective do
you find in Mr Holmes? (Para 8)
10. Do you think that Holmes is
lucky too at times? Justify your
answer. (Para 9)
68
This excerpt is from the famous
novel The Hound of Baskervilles.
To know how the story unfolds,
read the novel. It is available on
http://www.gutenberg.org. To know
more about Sherlock Holmes,
read the collected works of Sir
Arthur Conan Doyle or visit the site
http://www.sherlock holmes.com.
exclamation of joy. ‘I am so very glad,’ said he. ‘I was not
sure whether I had left it here or in the Shipping Office. I
would not lose that stick for the world.’
‘A presentation, I see,’ said Holmes.
‘Yes, sir.’
‘From Charing Cross Hospital?’
‘From one or two friends there on the occasion of my
marriage.’
‘Dear, dear, that's bad!’ said Holmes, shaking his head.
Dr Mortimer blinked through his glasses in mild
astonishment. ‘Why was it bad?’
‘Only that you have disarranged our little deductions. Your
marriage, you say?’
‘Yes, sir. I married and so left the hospital and with it all
hopes of a consulting practice. It was necessary to make a
home of my own.’
THE METHOD OF SHERLOCK HOLMES
11. Why did Dr Mortimer leave
Charing Cross Hospital?
12. How far is Holmes right in his
predictions about Dr Mortimer?
(Para 10)
( Adapted)
REACH & READ
Now, read the poem The Himalayas by Sujata Bhatt given on Page 60.
ENGLISH X 69
POETRY
Thomas Stearns Eliot (1888 –
1965) is an American-born English
poet, playwright and literary critic,
who won the Nobel Prize in 1948.
The Waste Land, a representative
poem of the modernist
movement, is considered his
masterpiece. His other bestknown
poems include The Hollow
Men, Ash Wednesday and Four
Quartets. He is also known for his
seven plays, including Murder in
the Cathedral (1935).
SKIMBLESHANKS: THE RAILWAY CAT
When the Night Mail is about to leave the station there is a whisper all
around. ‘The train can’t start...!’ Everyone gets frantic. Read on...
There's a whisper down the line at 11.39
When the Night Mail's ready to depart,
Saying "Skimble where is Skimble has he gone to hunt the
thimble?
We must find him or the train can't start."
All the guards and all the porters and the stationmaster's
daughters
They are searching high and low,
Saying "Skimble where is Skimble for unless he's very
nimble
Then the Night Mail just can't go."
At 11.42 then the signal's nearly due
And the passengers are frantic to a man-
1. Why can’t the train leave the
station without Skimbleshanks?
2. How does the poet create the
locomotive rhythm in the poem?
EXTENDED READING
KEEP TRACK OF YOUR READING
Read the whole poem.
Note down lines/images that you
find interesting.
Identify possible themes in the
poem.
70
Then Skimble will appear and he'll saunter to the rear:
He's been busy in the luggage van!
He gives one flash of his glass-green eyes
And the signal goes "All Clear!"
And we're off at last for the northern part
Of the Northern Hemisphere!
You may say that by and large it is Skimble who's in charge
Of the Sleeping Car Express.
From the driver and the guards to the bagmen playing cards
He will supervise them all, more or less.
Down the corridor he paces and examines all the faces
Of the travellers in the First and the Third;
He establishes control by a regular patrol
And he'd know at once if anything occurred.
He will watch you without winking and he sees what you
are thinking
And it's certain that he doesn't approve
Of hilarity and riot, so the folk are very quiet
When Skimble is about and on the move.
You can play no pranks with Skimbleshanks!
He's a Cat that cannot be ignored;
So nothing goes wrong on the Northern Mail
When Skimbleshanks is aboard.
Oh, it's very pleasant when you have found your little den
With your name written up on the door.
And the berth is very neat with a newly folded sheet
And there's not a speck of dust on the floor.
There is every sort of light-you can make it dark or bright;
There's a handle that you turn to make a breeze.
There's a funny little basin you're supposed to wash your
face in
And a crank to shut the window if you sneeze.
3. What, do you think, is
Skimbleshanks doing in the luggage
van?
4. What is the relevance of ‘glassgreen
eyes’ here?
5. ‘He's a Cat that cannot be
ignored...’ What does this line
signify?
SKIMBLESHANKS: THE RAILWAY CAT
ENGLISH X 71
Then the guard looks in politely and will ask you very
brightly
"Do you like your morning tea weak or strong?"
But Skimble's just behind him and was ready to remind
him,
For Skimble won't let anything go wrong.
And when you creep into your cosy berth
And pull up the counterpane,
You ought to reflect that it's very nice
To know that you won't be bothered by mice-
You can leave all that to the Railway Cat,
The Cat of the Railway Train!
In the watches of the night he is always fresh and bright;
Every now and then he has a cup of tea
With perhaps a drop of Scotch while he's keeping on the
watch,
Only stopping here and there to catch a flea.
You were fast asleep at Crewe and so you never knew
That he was walking up and down the station;
You were sleeping all the while he was busy at Carlisle,
Where he greets the stationmaster with elation.
But you saw him at Dumfries, where he speaks to the police
If there's anything they ought to know about:
When you get to Gallowgate there you do not have to wait-
For Skimbleshanks will help you to get out!
He gives you a wave of his long brown tail
Which says: “I'll see you again!
You'll meet without fail on the Midnight Mail
The Cat of the Railway Train.’’
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
6. What is the mood of
Skimblshanks when he is doing his
duty in different stations?
7. How does Skimbleshanks send
the passengers off?
SKIMBLESHANKS: THE RAILWAY CAT
72
The poet uses certain expressions like ‘ he speaks to the police’ to
present the cat as a human being. Pick out other such examples from
the poem.
Read the poem Macavity, the Mystery Cat from www.poetry online.org
and compare it with the poem Skimbleshanks: The Railway Cat.
Let’s choreograph the poem.
Step 1
Read the poem again carefully and pick out the images you come
across.
Step 2
List the events/actions in the poem and plan how to present them on
the stage.
e.g. Night mail gets ready to depart.
Passengers are frantic.
Guards and porters search for someone/ something.
Skimble appears.
Step 3
Write a detailed script for choreographing the poem. Present the
choreography before an audience and discuss its effectiveness.
Use minimum properties.
Activity i
Activity ii
Activity iii
TEXTUAL ACTIVITIES
ENGLISH X 73
Read the following sentence from the story The Blue Bouquet.
When I woke up I was soaked with sweat.
Here two sentences ‘I woke up’ and ‘I was soaked with sweat’ are combined using the word ‘when’
to form a single sentence. But the addition of ‘when’ makes ‘I woke up’ dependent upon the other
sentence. Other words which do this include ‘while’, ‘though’, ‘even though’, ‘if’, ‘as’ etc.
Join the following pairs of sentences using any appropriate joining words given above.
a. He studied well. He could not pass the examination.
b. I went home hungry. I immediately sat down to dinner.
c. The clock struck four. The boys left for home.
d. He felt sick. He was travelling in a bus.
e. Wait here for a while. I shall join you.
The stranger who attacked the narrator in the street finally goes away saying:
‘No. They’re not blue. Excuse me.’
‘Excuse me’ is a polite expression. Given below are a few conversational expressions.
excuse me, beg your pardon, see you, I’m sorry, you’re welcome, pleased to meet you
Write against each of the following an appropriate expression you will use from the above list.
a. At a function, while going to your seat, you accidently step on somebody’s foot.
Activity 1
Activity 2
LANGUAGE ACTIVITIES
74
b. You did your friend a favour. The friend thanks you.
c. You are introduced to a guest. You shake hands with him.
d. You have to interrupt a conversation between two persons.
e. You did not hear what your friend said. You want him to repeat it.
f. You are bidding goodbye to a friend.
Read the following paragraph from The Blue Bouquet which describes the author’s experiences
as he walks out of the hotel room. Observe the words which are given in bold letters.
Then when I was crossing a street I could tell that someone had come out
of a doorway. I turned around but couldn’t see anything. I began to walk
faster. A moment later I could hear the scuff of huaraches on the warm
stones. I didn’t want to look back, even though I knew the shadow was
catching up with me. I tried to run. I couldn’t. Then I stopped short. And
before I could defend myself, I felt the point of a knife against my back, and
a soft voice said, ‘Don’t move, senor, or you’re dead.’
Here the words in bold letters are used to link a sequence of actions into a coherent paragraph.
What other words can you use to link a sequence of actions? Discuss.
We can use words like first, first of all, next, thereafter, secondly, after that, and then, therefore,
nevertheless, as a consequence, hence, soon, before long... etc.
Read the following sequence of events. Write a coherent paragraph using appropriate linking words.
Raju went to the market. He entered a textile shop. He bought some clothes for his
sister. He went to a tailoring shop. He gave the clothes for stitching. He went to the
Activity 3
LANGUAGE ACTIVITIES
ENGLISH X 75
Activity 4
LANGUAGE ACTIVITIES
supermarket. He had a list of provisions to be taken home. He bought all the items
quickly. He wanted to go for a film. He rushed home in an autorickshaw.
Look at the following sentences from The Blue Bouquet and find out the sentence pattern followed
in them:
1. I knelt. (noun phrase + verb phrase) - subject + verb
2. The match burned my fingers. (noun phrase + verb + noun phrase) - subject + verb + object
Now, look at another pattern in the following sentence:
Some of her friends gave Rani a bunch of flowers. (noun phrase + verb + noun phrase + noun
phrase) - subject + verb + object + object
Discuss in groups
How are different patterns of clauses formed?
It is the verb that decides what categories appear after it.
Analyse the sentences above.
Which clause elements make up the predicate of the sentence?
Let's sum up
Like a noun phrase which is an expanded form of a noun, the verb phrase is the expanded form of
a verb.
A single noun can be called a noun phrase and a single verb can be called a verb phrase.
76
LANGUAGE ACTIVITIES
In a simple sentence, noun phrase represents the subject and verb phrase represents the predicate.
In some sentences the verb phrase may contain only the verb. In certain sentences there may be
a sequence of verbal elements.
1. He sleeps. (a single verb)
2. He has been sleeping. (a sequence of verbal elements)
Read the following sentences and find out the patterns and the elements in the verb phrases.
The first two are done for you.
1. Thomas walked.
(subject + verb) - verb
2. Mathew ran through the street.
( subject + verb + adverbial) - verb + prepositional phrase
3. The swimmer is intelligent.
4. He rushed to the seashore.
5. The teacher gave the boy a prize.
6. The cricket team's success made the nation proud.
7. He parked the car in the garage.
8. He ran to the bus stop.
9. Manoj carried a big bag into the house.
10. The car driver is skilful.
Activity 5
ENGLISH X 77
LANGUAGE ACTIVITIES
As we have seen in the above examples, the verb decides the categories that follow it. Let’s work
out a few more details. Look at the following verbs:
believe think want wonder
argue is have
Write sentences with different verb phrase patterns using each verb and analyse the structure of the
verb phrase in them.
The first verb in the list has been done for you.
1. I believe his words. (verb + noun phrase)
2. I believe that he is intelligent. (verb + clause)
3. I believe John to be intelligent. (verb+ to-infinitive)
The verb 'believe' is followed by elements of three different grammatical categories namely, a
noun phrase, a sentence (clause) and a to - infinitive clause.
•
•
•
Read the following passage and edit it suitably using appropriate editing codes.
Before he had his breakfast, mother ironed his clothes. So he could dress up
immediately. Mother told him that he can take an auto to the school. He left
silently as though he doesn’t hear it. He decided walk to school. However, the
more he walk, the most he became tired. I could he thought have taken an
auto. But this is one way I could learn endure how to.
Activity 6
Activity 7
78
When Things Speak
Who is the speaker of the following?
1. My son is a metre and my baby is a centimetre. On a racing car I am driven in 10 seconds.
2. I start off very big and end up as nothing. My head is lit and I burn with a flame. I burn slowly. I am
both old-fashioned and very fashionable.
1.
2.
Now, write what the following say about themselves.
1. Tree
2. Shadow
3. Bird
4. Lightning
5. Mountain
6. River
Language Game
LANGUAGE ACTIVITIES
ENGLISH X 79
UNIT III
REALITY TO REEL
ENGLISH X 80
How does it feel to be an Oscar winner?
I can’t believe it! I can’t believe it’s real! It’s incredible!
In India, technicians often do not get much recognition.
Do you think this achievement will change that?
I hope so. It is very sad that we technicians are looked down
upon. But I would like to see the good side of it, instead! I think
the next decade is going to be Indian cinema’s golden period,
for there are so many youngsters who are going to get inspired
by this success.
What was the general response?
Incredible would be a mild word. I can’t put into words the
kind of response I got for this film. Almost all my friends in the
film world and people in general congratulated me. Outside
the Kodak theatre, when the general public saw an Indian, there
was euphoria. That was a very touching experience.
Tell us about yourself.
I come from a small village named Vilakkupara in Kollam
district, Kerala. I always wanted to be a film-maker, but I could
not get admission in FTII (Film and Television Institute of India,
Pune) to learn film direction, as it was very competitive and I
didn't know much about the medium then. I wanted to study
at the Film Institute, because there you can learn everything
about film-making. I was a physics graduate, so I chose sound
as my specialisation. Once I started learning about sound, I
was sure of what I wanted to do, as it is another means of
communicating with your audience.
INTERVIEW
THE WIZARD OF SOUND
Resul Pookutty (b.1971),
sound designer, editor and
mixer was born in
Vilakkupara, a village in
Kollam district of Kerala. He
won the Oscar Award for Best
Sound Mixing for the film
Slumdog Millionaire. He has
worked in Hindi, Tamil and
Malayalam movies as well as
in Hollywood. He graduated
from Film and Television
Institute of India, Pune.
Sound designing in Indian films has remained a silent zone until recently. The impact of sound designing in
enhancing the experience of a film had not been realised. Not surprisingly, sound technicians often feel left
out, as they do not get any recognition.
All that is set to change after Resul Pookutty bagged the Oscar award.
Resul’s ascent to the Academy Award was not easy. In this interview, with great humility and in his typical
unassuming way, he recounts his journey from his village, Vilakkupara in Kerala to the Kodak Theatre in Los
Angeles, the venue of the Oscar ceremony. Read on...
ENGLISH X 81
What exactly is sound designing?
The camera gives you an idea about the visual aspects of the film;
that's the cameraman's job. We do the same with sound. A film's
soundtrack is an amalgamation of different kinds of sounds like
dialogues, ambience, sound effects, other audio design elements
and music. As sound designers, we put all these elements together
in such a way that it gives the audience a complete auditory
experience and it comes across as a new composition different from
music.
How do you produce sound in films?
We use many things to produce sound. If a door is being slammed
in the visual, it's not necessary that we use the same thing to make
that sound. We are constantly looking for new things to create
sounds. It's quite an imaginative job. Sound recording in India is
different from what it is abroad. Here, we shoot the scenes first
and then recreate the sound in the studio. But there, they always
record sound in sync*.
Recently, we have started recording film sound on location. It gives
you a far superior performance and natural sound. Now, filmmakers
have started using better quality sound in their movies as
it is becoming an integral part of the production values of the
movie.
Why didn't you work in the Malayalam film industry at the
beginning of your career?
There wasn't much happening in terms of sound in Malayalam
cinema then. Besides, the Malayalam film industry used to work
in Chennai in those times, and I was in Thiruvananthapuram. I
thought it would be better to work in Mumbai, as I wanted to
specialise in live sound recording for films and nothing much was
happening in this field in the southern film industry either.
Discuss
1) What comes first to your mind when you think about films - film stars/directors/ technicians?
2) How does a film become a product of teamwork?
3) What is the role of technicians in the making of a film?
4) How can sound enhance the effect of a film?
5) Apart from sounds, there are particular locations (stock locations) that enhance the effect of
a film like a park, a seashore etc. What is the impact of such locations in films?
*sound in sync : synchronising sounds and visuals while shooting
THE WIZARD OF SOUND
Now, read the article that follows titled Tea-shops in Malayalam Cinema by C.S.Venkiteswaran.
ENGLISH X 82
Dr C. S. Venkiteswaran (b.1959)
has been an active presence in Film
Society Movement from the mid
seventies. He writes on cinema
regularly in Malayalam and
English. He has won many awards
for direction of documentary films
and for film criticism including the
National Award for the Best Film
Critic for the year 2009. He has to
his credit books titled Samanthara
Yathrakal and A Door to Adoor. He
is at present Associate Professor,
Gulati Institute of Finance and
Taxation, Thiruvananthapuram. He
blogs at ‘rumblestrip’.
TEA-SHOPS IN MALAYALAM CINEMA
What appears ordinary and familiar assumes significance when we look at
it in another perspective. An example for this is the common tea-shop in
Malayalam cinema. Tea-shop has been a stock scene which reigned
Malayalam film industry for quite some time. Read on and find out more
about it.
1. Eating habits reflect the organisations of a society and
its economy. Kerala in the early twentieth century was a
caste-ridden society. One of the ways in which social
reformers sought to change it was by the introduction of
panthibhojanam. Panthibhojanam, or mixed eating was the
practice of people who belonged to different castes or
communities dining together.
2. The small wayside restaurants located mostly in villages
and popularly known as ‘tea-shops’, played a crucial role
in making panthibhojanam a way of life in Kerala. The teashops
were the products of two
important social changes that were
taking place at the time. One was the
increasing freedom of movement in
1. Why did panthibhojanam
become a revolutionary ideal? Cite
some other instances from the
history of Kerala. (Para 1)
2.a) List the words similar in
meaning to ‘tea-shop’.
b) Can you use any of those words
here instead of ‘tea-shop’? Why?
KEEP TRACK OF YOUR READING
Read up to 'Pause & Reflect'
marked in the passage.
Note down the main points in each
paragraph.
Note down words or images that
you find interesting.
Share in groups your responses to/
impressions of them.
Note down the central theme of
the passage.
ARTICLE
ENGLISH X 83
public spaces acquired by the depressed sections of society.
The other was the emergence of an economy based on
money. The tea-shop came into existence at a time when
wages began to be paid in cash, rather than in kind. It was
also the time when people were beginning to travel beyond
the boundaries of their villages to sell what they produced
in their fields or small workshops.
3. Customers were never belittled at a tea-shop on account
of their caste or religion. Anybody could get tea and snacks
if they had the money to buy them, and the fare offered
was the same for everybody. The tea-shop was a secular
space where the only criterion for entry was the possession
of money. No one was required to justify their presence at
a tea-shop, as no system of privileges of birth operated
there. This was the reason why the ‘high-born’ kept their
distance from it in the early days.
4. A customer at a tea-shop was regarded as simply an
individual, not as a member of particular caste or
community. These individuals were also, in a sense, selfexiled
from their families. Persons who were considered
worthless or insignificant in their families often achieved
a certain dignity at a tea-shop. In serving as a space for
free interaction of individuals who come from diverse
social backgrounds, a tea-shop is no different from a cinema
theatre. The atmosphere of a tea-shop often becomes tastier
than the tea and snacks served! It is, therefore, not
surprising that tea-shops played and continue to play, a
significant role in energising the narrative of many
Malayalam films.
Pause and Reflect
TEA-SHOPS IN MALAYALAM CINEMA
3. What does the author mean by
‘the increasing freedom of
movement in public spaces’?
(Para 2)
Do ‘tea-shops’ still appear in
Malayalam films? If so, how
significant are they? In what sense
is a tea-shop a secular space?
Pause & Reflect
4. ‘The atmosphere of a tea-shop
often becomes tastier than the tea
and snacks served!’ How? (Para 4)
Reading
Have I identified the main theme
and sub-themes of each paragraph?
Have I shared the ideas I gathered
during group reading?
Have I identified the central theme
of the passage as a whole up to
‘Pause & Reflect’?
Have I tried to get clarification for
the words/expressions I didn't
understand?
Have I been able to answer the
questions posed by my teacher?
What difficulties have I faced in my
reading?
ASSESS YOURSELF
ENGLISH X 84
5. In the 1954 film Neelakkuyil, directed by Ramu Kariat
and P. Bhaskaran, the human drama unfolds through the
shuttling of the narrative between the closed space of the
home and the open space of the world outside. In a way,
the local tea-shop is the centre of activity in the film. Most
of the characters are trapped in their own space and time.
But the tea-shop stands in their midst as the only modern
and secular space, a space where hawkers, fishmongers,
peasants and the local postman appear regularly as in a
photo session. The tea-shops with an occasional rush hour
also provide a counterpoint to the quiet and uneventful
life of the village. It is not a co-incidence that the
protagonist Sreedharan Nair (played by Sathyan) appears
not even once at the tea-shop, while Shankaran Nair, the
postman (played by P. Bhaskaran) makes it his favourite
hangout. The only other ‘high born’, we come across there,
is a member of a declining tharavad. For him the tea-shop
is a trading centre where he can sell the things he has
spirited away from the tharavad.
6. All other spaces, indoor or outdoor, one sees in the film -
Sreedharan Nair's home, the Dalit girl Neeli's hut, the lanes
and roads - are bound by the codes of the caste system.
The 'dream-spaces' where Sreedharan Nair and Neeli sing
and dance are the only exceptions. But these scenes are
fantasies, whereas the tea-shop is real. The difference is
clearly brought home to the viewers.
7. In Raarichan Enna Pauran (1956), another Ramu Kariat
film, we see Rarichan, an orphaned boy, running away to
the city and being given a roof over his head by a Muslim
family that runs a tea-shop. In Bhargaveenilayam (1964), a
cinematic rendering of Vaikom Muhammed Basheer's story
Neelavelicham, directed by A. Vincent, the tea-shop is the
first place the hero visits on his arrival at the village where
he had rented a house. It is at the same tea-shop that he
meets the muracherukkan of Bhargavi who was to become
the heroine of the story.
TEA-SHOPS IN MALAYALAM CINEMA
5. Why are most of the characters
in Neelakkuyil ‘trapped in their own
space and time’?(Para 5)
6. The ‘dream spaces’ and the teashop
in Neelakkuyil are similar in
one way but different in another.
How? (Para 6)
7.a) Even a single shot can convey
the message of a film. How? Cite
an example. (Para 7)
b) Cite more examples from the
films you have seen.
ENGLISH X 85
8. In P. Bhaskaran's Thurakkatha Vathil (1970), the ideals of
secularism and communal harmony are proclaimed from
the local tea-shop. The bosom friends Bapputty (played by
Prem Nazir) and Shankaran Kutty (played by Bahadur)
defy social codes by drinking tea from the same glass. In
P.N. Menon's Olavum Theeravum (1970), the hero, who is
an outsider, proves his mettle at a tea-shop near the ferry.
In Adoor Gopalakrishnan's Kodiyettam (1977) the tea-shop
is the only hangout for Shankaran Kutty the protagonist
who is yet to get rid of the shackles of tradition to become
a free individual. The political activist, on the run from
the police, in another Adoor film, Mukhamukham (1984),
finds the tea-shop a convenient hideout.
Pause and Reflect
9. The tea-shop represents a time and space free from the
drudgery of work, and therefore teems with a wide crosssection
of society. Along with genial villagers, one also
finds local toughs, political workers and, of course, a host
of strangers at the tea-shop. The sheer variety of the
customers and the possible activities -reading newspapers,
exchanging local news, discussing politics, gossiping or just
chatting - makes the tea-shop an ideal place to reveal the
'messages' and concerns of the film. In every film which
depicts the conflict between the individual/family and
society, the tea-shop, one can say, is a prominent character.
TEA-SHOPS IN MALAYALAM CINEMA
8. Where would you prefer to have
a cup of tea - a modern restaurant
or a tea-shop? Why? (Para 8)
9. Why is a tea-shop an ideal
location for film-makers?
How does the author establish the
evolution of the ‘tea-shop’ as a
cultural symbol in Malayalam
cinema?
Pause & Reflect
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
ENGLISH X 86
READY REFERENCE
adoption /@"dQpS@n/ (n): the decision to start using a name, an idea or
a plan
contemporary (adj): belonging or occurring at the present time
counterpoint (n): a thing forming a notable contrast with something
else
defy /dI"faI/ (v): to refuse to obey rules or conventions
drudgery /drVdZ@ri/ (n): hard, boring work
exile /"eksaIl/ (n): a person who chooses to live away from his/ her
own country
fare (n): a range of food
genial (adj): friendly and cheerful
pay in kind (idiom): pay in the form of goods or services, not money
proclaim/pr@U"kleIm/ (v): to announce something publicly or officially
protagonist /pr@"t{g@nIst/ (n): the leading character in a drama, film
or novel
shackles /"S{kl=z/ (n): something that restraints or prevents you
spirit away (v): to take something/someone away secretly
teem with (v): be full of
underprivileged /%Vnd@"prIvIlIdZd/ (adj): not enjoying the same rights
as the majority
10. Can contemporary film
directors still make use of teashops
in their films? Why?
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
Let’s Look Back
¨ Did the passage meet your expectations on the themes?
¨ Which of the themes satisfied your expectation and which did not?
10. As a medium the cinema goes far beyond mere
entertainment to become a record of time and space, of
everything that moves or stands still before the camera.
Its history is also the history of our culture: of our speech
and body language; of our dress-codes; of our ways of living
and making. The recurring presence of tea-shops in
contemporary Malayalam films indicates the continuing
role of cinema as a document of our lives and times.
(Translated by K. M. Sherrif)
TEA-SHOPS IN MALAYALAM CINEMA
Back to the Roots
Find out the etymology of the
following words. You may refer
to a dictionary or search the site
http://www.etymonline. com
secular
cinema
protagonist
REACH & READ
‘Take’, ‘retake’, ‘frame’, ‘shot’ and
‘scene’ are terms commonly
associated with film-making.
Prepare a short write-up on each
item. You may search the website
-http://en.wikipedia.org/wiki/
Shot(film-making).
ENGLISH X 87
Does the article say anything about direction, storyline or other aspects
of films? How is it different from a typical article on cinema?
Cite an example of a tea-shop scene from a film you have recently
seen. What role does it have in the film?
The article states that the history of cinema is the history of our
culture: of our speech and body language; of our dress codes; of
our ways of living and making.
Prepare a short write-up substantiating the statement on the basis of
a film you have seen.
Activity i
Activity ii
Activity iii
Write-up
Have I placed the main point of
the write-up aptly?
Have I included all the supporting
details of the main point?
Have I organised the write-up
well?
How well have I connected the
sentences in the write-up?
Have I suggested new ideas in the
write-up?
What changes should I make next
time I prepare a write-up?
ASSESS YOURSELF
TEXTUAL ACTIVITIES
ENGLISH X 88
Tea-shops appear as secular spaces in films. Cite other secular places
you can identify in films. Prepare a short write-up on one of them.
Olavum Theeravum, Rarichan Enna Pauran and Bhargavinilayam
are some of the Malayalam films of the last century.
Prepare a storyline of one of these films visiting the following websites:
www.imdb.com
www.wikipedia.com
Film production is teamwork. Prepare a list of the film crew who are
involved in the making of a film. Describe briefly their roles.
Members of the crew
• actor
• light boy
•
•
Actor - one who performs the role of a character in a film
Activity iv
Activity v
TEXTUAL ACTIVITIES
Activity vi
ENGLISH X 89
TEXTUAL ACTIVITIES
Suppose you get a chance to interview a film personality, what
information will you seek from him/ her? (career, early life,
achievements etc.) Prepare a questionnaire for the interview.
Prepare a short profile of Resul Pookutty, on the basis of the ideas
you have gathered from reading the interviewTh e Wizard of Sound.
You can also use other sources including the internet for more details.
Conduct a debate on the topic ‘Movies are Meant Only for Entertainment’.
Form two groups and argue ‘for’ and ‘against’ the topic.
For Against
• Films are the cheapest • Films can educate people
and the best form of entertainment
• They are appealing to the masses • They document life
• •
• •
Activity vii
Profile
Have I described him providing
necessary details?
Have I sequenced the ideas in the
proper order?
Have I linked the sentences
suitably?
Have I used the language suitable
for a profile?
What improvement should I make
the next time I write a profile?
ASSESS YOURSELF
Activity viii
ASSESS YOURSELF
Debate
Have I formed ideas to be discussed
in the debate?
Have I thought about points for
and against the topic?
Have I formed ideas to counter the
arguments likely to be raised by the
other team?
How effectively have I involved
myself in the group discussions?
How well have I presented my ideas
during the debate?
How can I improve my debating
skills next time I participate in a
debate?
Activity ix
ENGLISH X 90
Read the following.
The tea-shops with an occasional rush hour...
The expression contains a sequence of words. Its meaning in a
particular context is more than the sum total of the meaning of
individual words in it. It evokes a certain sensory perception. Moreover,
it generates several ideas in the mind of the reader. For example,
while reading ‘tea-shop with an occasional rush hour' we get ideas
like:
• it is not a posh tea-shop
• its customers are mostly working class
• the place is very noisy
• there is no space for all
• there is a flow of people coming in and going out
• it is the peak hour of the day
•
•
Pick out a couple of such expressions from the passage and list the
ideas they contain.
Pick out a few such expressions from other texts you have read and
list the ideas they contain.
a) You are organising a Film Festival in your school. What preparations
would you make for conducting the festival?
• shortlist the films
•
•
•
Activity x
Activity xi
TEXTUAL ACTIVITIES
ENGLISH X 91
b) Prepare a brochure to give publicity to the programme. You may
make use of software like Word Processor and Graphic Software in
preparing the brochure.
c) After the film festival, prepare a newsreport of the festival with
details of the films you have screened.
Write the review of a film you have seen.
Tips
Do you like the film? You may easily say ‘yes/no’.
But you have to state your reasons when you write a review of the
film.
Prewriting
Before you go ahead with writing the review, form an idea of a good
film in your mind. Discuss with the members of your group, the
features of the film you wish to focus on. Initiate a discussion on the
plot, subplots, setting, characters, dialogues, climax, music, camera,
editing, ending etc. Sit with your friends and identify the factors that
make each element successful.
Based on your discussion, grade the film as ‘excellent’, ‘good’, or
‘poor’. You cannot simply state that the film is excellent/good/poor in
a review. You have to logically explain why you consider the film so.
Drafting
a. The opening sentence of a review is very crucial. You have to
grab the readers' attention by convincing them that your review is
going to be entertaining and informative. Make a striking statement
at the beginning. Establish your strongest point. Other ways to begin
with are to quote from the movie and explain how it reflects the movie,
refer to the performance of the actors or reputation of the director
and compare their other movies with this movie, compare the movie
to another well-known movie and explain what your expectations
were and whether it was fulfilled or not.
Brochure
Have I included details of the
programme like time, venue,
persons attending etc.?
Have I included the highlights
(context, relevance, attraction
etc.) of the programme?
Have I used brief and precise
language?
Have I used images or illustrations
wherever necessary?
Have I used a layout that can
capture the attention of the
readers?
What changes should I make next
time I prepare a brochure?
ASSESS YOURSELF
Report
Have I included details like time,
place and the major events of the
festival in the report?
Have I sequenced the events in
the proper order?
Have I included details of the
opening and closing ceremony of
the festival?
How apt is the title of the report?
Has the language of my reporting
been appropriate?
What changes will I make next
time I write a report?
ASSESS YOURSELF
Activity xii
ENGLISH X 92
Given below is the beginning of a couple of student reviews of the
movie Titanic.
1. Titanic is one of those rare movies that draws you in
and suddenly you find yourself travelling in the world
of Titanic...it is you who is on that ship, you feel the
despair that those 2000 souls felt aboard the Titanic
on that chilly, miserable night in 1912.
2. This classic movie, recreating the real Titanic incident
that occurred many years ago, held me spellbound the
moment I started watching it.
b. In the first paragraph of your review, you may also include the
names of the director, main actors and the names of their characters.
You may also refer to the setting of the plot of the movie.
c. The second paragraph of your review can be the plot of the movie
(without giving away the ending).
The plot of a Malayalam movie - Kireedam is given here.
Sethumadhavan, a youngster in a village, aspires to join the
police force. His family comprises his father, mother, younger
sister and brother. He derives inspiration from his father
Achuthan Nair, who is an honest policeman. Achuthan Nair, a
doting father, wishes to make his son like him. He gets
transferred soon after Sethu appears for the qualifying
examination for selection to the post of a police officer.
Little does the family know what is in store for them in the
village which is terrified of Keerikadan Jose, the local goonda.
Achuthan Nair joins the new station that has so far turned
a blind eye to Jose's crimes. One day, Achuthan Nair comes
to know of the trouble caused by Jose at the local market.
He single-handedly sets out to arrest him. Meanwhile, Sethu
comes to know of this and hurries to the market to save his
father. Unable to bear the sight of Jose kicking his father,
Sethu confronts Jose and overpowers him. From this point
onwards, his life takes a turn for the worse. Sethu gets
typecast by the society as a ‘rowdy’. His efforts at getting
back to normal life end in failure. Even his own family start
blaming him. He is caught in a situation where he is forced to
confront Jose again. This becomes the turning point in his life.
TEXTUAL ACTIVITIES
d. In the third paragraph you can focus on what the film tries to
communicate to the viewers. Also critically analyse the value system
the film tries to project. You will be judging the possible themes of the
movie, the use of language in the dialogues, the elements of the
actions and the costumes of the actors.
e. The fourth paragraph can be about acting, sound mixing, editing,
camera and music used in the film. You may also describe the
'audience demographic' (who would like the movie). You may include
your opinion of the movie as a whole (provide details you thought
were interesting or uninteresting).
Review
Have I begun with an attentiongrabbing
sentence?
Have I cited visuals and dialogues
to support my views?
Have I organised the review into
cohesive paragraphs?
How well have I connected the
sentences I have written?
Have I brought my own ideas into
the review?
What changes will I make next time
I prepare a review?
ASSESS YOURSELF
ENGLISH X 93
TEXTUAL ACTIVITIES
Refining and Proofreading
Make sure that there are no errors in spelling, punctuation or grammar
in the review. Avoid sentences that are too long or clumsy. Look for
apt words to express your ideas.
Prepare a souvenir (Festival Book) to be published in connection with
the Film Festival. You may include details of films, write-ups and
photographs of film personalities (directors, script writers, actors,
composers etc.) and the film reviews you have prepared. You can
also make use of interesting anecdotes from the lives of the film-makers
and artists and stills from film magazines.
Activity xiii
ENGLISH X 94
t
Read the following sentence from Tea-shops in Malayalam Cinema.
Customers were never belittled at a tea-shop on account of their caste or religion.
‘Little’ is an adjective and ‘be-’ is prefixed to get its verb form. There are certain words that can be
used as verbs by prefixing ‘be-’.
Refer to a dictionary and list a few of them along with their meanings.
Word Meaning
• belittle • to make something/ somebody seem unimportant
Read the following sentence.
But the tea-shop stands in their midst as the only modern and secular space,
a space where hawkers, fishmongers, peasants and the local postman appear
regularly as in a photo session.
The word ‘photo session’ means a formal occasion for taking photographs.
A few compound words with the word 'photo' are listed below. Find out their meanings with the help
of a dictionary.
• photo finish - _______________________________________________
• photofit - _______________________________________________
• photojournalism - _______________________________________________
• photogenic - _______________________________________________
• photosensitive - _______________________________________________
• photo album - _______________________________________________
• photocall - _______________________________________________
• photo frame - _______________________________________________
• photo opportunity - _______________________________________________
• photocell - _______________________________________________
• ________________ - _______________________________________________
Activity 1
VOCABULARY ACTIVITIES
Activity 2
ENGLISH X 95
‘The tea-shops with an occasional rush hour also provide a counterpoint to
the quiet and uneventful life of the village,’ says C.S. Venkiteswaran
‘Counterpoint’ means a thing forming a notable contrast with something else.
The words listed below have ‘counter-’ as the prefix. With the help of a dictionary, find out what they
mean.
• counteract - _______________________________________________
• counter-attack - _______________________________________________
• counterbalance - _______________________________________________
• countersign - _______________________________________________
• counterpart - _______________________________________________
• counterclaim - _______________________________________________
• counter-attraction - _______________________________________________
• counterculture - _______________________________________________
• ______________ - _______________________________________________
Read the following sentence from Tea-shops in Malayalam Cinema.
It is, therefore, not surprising that tea-shops played and continue to play, a
significant role in energising the narrative of many Malayalam films.
The verb ‘energise’ is derived from the noun 'energy'. ‘Energise’ means ‘to give energy and
enthusiasm’.
You may change the following nouns into verbs and find with the help of a dictionary what they mean.
• critic - _____________________________________________________
• sympathy - _____________________________________________________
• minimum - _____________________________________________________
• visual - _____________________________________________________
• liberal - _____________________________________________________
• memory - _____________________________________________________
• politics - _____________________________________________________
• maximum - _____________________________________________________
• global - _____________________________________________________
• theory - _____________________________________________________
• ____________ - _____________________________________________________
Activity 3
Activity 4
VOCABULARY ACTIVITIES
Now, read the screenplay Sunshine Through the Rain given on the Extended Reading section on Page 99.
ENGLISH X 96
Kinks was one of the most
popular English rock bands. It
came to prominence for the first
time in 1964. Celluloid Heroes is
a well-known number by them. It
was written by their lead vocalist
and principal lyricist, Ray Davies.
CELLULOID HEROES
Indian films are quite popular for their songs. In world cinema, songs are
not used as widely as they are in our films. But there are many music bands
across the world whose songs are as popular as our film songs. Here is one
such song. Read on…
Everybody's a dreamer and everybody's a star,
And everybody's in movies, it doesn't matter who you are.
There are stars in every city,
In every house and on every street,
And if you walk down Hollywood boulevard
Their names are written in concrete!
1. 'Everybody’s in movies...' How
can every person be in movies?
What makes our day to day life
something like a movie?
2. How does the author establish
the influence of film stars in our daily
life?
3. What does the expression
‘written in concrete’ suggest? Does
this expression have any figurative
meaning? Explain.
KEEP TRACK OF YOUR READING
Read the whole song.
Note down lines/images that you
like the most.
Identify the themes in the song.
SONG
ENGLISH X 97
You can see all the stars as you walk down Hollywood
boulevard,
Some that you recognise, some that you've hardly even
heard of,
People who worked and suffered and struggled for fame,
Some who succeeded and some who suffered in vain.
Everybody's a dreamer and everybody's a star
And everybody's in show biz, it doesn't matter who you are.
And those who are successful,
Be always on your guard,
Success walks hand in hand with failure
Along Hollywood boulevard.
I wish my life was a non-stop Hollywood movie show,
A fantasy world of celluloid villains and heroes,
Because celluloid heroes never feel any pain
And celluloid heroes never really die.
Oh celluloid heroes never feel any pain
Oh celluloid heroes never really die.
I wish my life was a non-stop Hollywood movie show,
A fantasy world of celluloid villains and heroes,
Because celluloid heroes never feel any pain
And celluloid heroes never really die.
4. 'Some who succeeded and
some who suffered in vain'. Is it
applicable only to the film world?
Why?
5. How does the author caution
those who have achieved success?
6. Is the Hollywood boulevard just
the name of a street or does it have
a wider significance?
7. Who is the ‘I’ in the song? Justify
your answer.
8. a) Is it possible for anybody to
make his/her life a nonstop
Hollywood movie? Share your
views.
b) What do you wish your life to be
like?
9. How does the author describe
the celluloid world?
10. ‘Celluloid heroes never feel any
pain. Celluloid heroes never really
die.’ What do you think of the idea
expressed here?
CELLULOID HEROES
(Adapted)
ENGLISH X 98
Celluloid Heroes is a song by a popular band.
Identify the features of a song from it - the use of refrain, day to day expressions and the informal use
of language.
Songs are of various types: devotional, tragic, humorous, songs on love, nature, hero worship, lullabies
etc. Comment on the themes and mood of the song Celluloid Heroes.
Describe briefly the other categories of songs mentioned above and cite a couple of examples for
each.
Pick out the words repeated in the poem. Comment on their significance.
Activity i
Activity ii a
Activity ii b
TEXTUAL ACTIVITIES
Activity iii
ENGLISH X 99
SCREENPLAY
Akira Kurosawa (1910 - 98) is
a Japanese director, producer,
screenwriter and editor. In a
career that spanned 57 years,
Kurosawa directed 30 films. He
entered the Japanese film industry
in 1936, during the Second World
War following a brief, unsuccessful
career as a painter. Drunken Angel
(1948), Rashomon (1950), Ikiru
(1952), Seven Samurai (1954)
and Yojimbo (1961) are some of
his popular films. He is widely
regarded as one of the most
important and influential filmmakers
in the history of cinema.
In 1990, he was given the Oscar
Award for Lifetime Achievement.
He was named ‘Asian of the
Century’ posthumously.
SUNSHINE THROUGH THE RAIN
You have seen the film Sunshine through the Rain, haven’t you? Now, go
through the screenplay and find out how it relates to the visuals.
Scene 1
Morning. The front yard of a traditional Japanese house with
tiled roofs. There is bright sunshine. The walls that stretch to
either side from the gatehouse can be seen. There are three reed
baskets with things to be dried in the sun. A boy, who looks
about seven years, opens the grilled front door of the house
and comes out. He is wearing a kimono. It starts drizzling. But
the sunshine is still bright. The boy’s mother comes running
from the left side of the house, holding a parasol over her head.
She picks up two of the baskets and runs back into the house.
The boy is now standing under the eaves of the gatehouse. His
mother comes running from the house again.
Mother (to the boy): You’re staying home. The sun is
shining, but it is raining. Foxes have their wedding in such
weather. But they don’t like anybody watching it. If they
see anybody watching, they’ll be very angry.
The mother picks up the third basket and runs into the house.
The boy looks at the mother’s retreating figure and turns to
face the camera. Then he turns away from the camera again,
uncertainly.
Scene 2
A forest. Tall trees are clearly visible through a thin mist. The
trees and the thin undergrowth of grass are lit up by bright
sunshine that falls in beams through the gaps in the canopies
of the trees. The boy appears. He walks up and faces the camera.
He wanders among the trees, his eyes roving. He stops on seeing
clouds of mist rising from the ground a little away. As the boy
1. What details of the setting can
you identify in Scene 1? List them
below.
Time
Place
Weather
Character
Costume
Actions
Properties
EXTENDED READING
ENGLISH X 100
watches intently, shapes emerge from the mist. It is a fox’s
wedding.
A procession led by the groom and the bride with others in tow
is on its way. The boy watches, hidden from behind a tree. There
is music in the background. The procession moves on with
gentle, trotting steps.
The procession reaches the tree behind which the boy is hiding.
They suddenly stop, turn and look in the boy’s direction.
Frightened, the boy runs away.
Scene 3
The boy’s house.
As he walks up to the house, he finds Mother standing under
the eaves of the gatehouse.
Mother: You watched something you shouldn’t have. I
can’t let you in. An angry fox came looking for you. He left
this for you.
Mother hands the boy a baton. The boy turns it in his hands
and finds it is a sheath that encloses a dagger. The boy draws
out the dagger and then puts it back into the sheath.
Mother: You are supposed to kill yourself. Go quickly and
ask their forgiveness. Give the knife back and tell them
how sorry you are.
Mother turns, walks to the front door, half closes the door and
turns.
SUNSHINE THROUGH THE RAIN
2. Find out the images of the
dream in Scene 2.
3. What is peculiar about the
movement of the procession?
(Scene 2)
4. Scene 2 looks like a part of a
silent movie with the visuals
changing continuously. List them.
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
ENGLISH X 101
Mother: They don’t usually forgive. You must be ready to
die. Get going. Unless they forgive you, I can’t let you in.
Boy: But I don’t know where they live.
Mother: You’ll find out. On a day like this, there are always
rainbows. Foxes live under rainbows.
The Mother closes the door on the boy’s face.
The boy stares at the closed door. Then he walks to another
door on the side and knocks at it uncertainly. He then walks
back to the front door and stands facing the camera, his head
bowed, holding the sheathed dagger in his hands.
After a few moments he walks away.
Scene 4
The boy is in a garden full of flowers. Misty hills are seen in
the distance.There is a rainbow outlined against the sky.
Holding the sheathed dagger in his hands, the boy walks
towards the rainbow.
(Screenplay reconstructed by Nadeem Noushad)
SUNSHINE THROUGH THE RAIN
5. Why do you think the mother
closes the door on the boy’s face?
(Scene 3)
6. What do you think is the climax
of the film? Why do you think so?
7. The film Sunshine through the
Rain is a fantasy. Why?
TEXTUAL ACTIVITIES
Look at the stills given below:
Long shot Mid-shot Close-up
Watch the film Sunshine through the Rain again. List the different
shots used in the film and classify them as shown above.
Scene Long shot Mid-shot Close-up
Scene 1 Front yard -
Mother speaking
to the boy
Now, read the poem Celluloid Heroes given on Page 96.
ENGLISH X 102
Look at these sentences from Tea-shops in Malayalam Cinema.
a) For him, the tea-shop is a trading centre...
b) In serving as a space for free interaction of individuals who come from
diverse social backgrounds, a tea-shop is no different from a cinema
theatre.
Usually these sentences are written as:
a) The tea-shop is a trading centre for him...
b) A tea-shop is no different from a cinema theatre in serving as a space for free
interaction of individuals who come from diverse social backgrounds.
The first set of sentences show stylistic variations. The change involves movement of elements.
This movement is restricted.
Now, change the following sentences as shown in the examples above.
1. I finished a huge piece of work in a short time.
2. The rose is a lovely flower.
3. The fangs of a snake are sharp.
4. The man told me many a story of adventure.
5. He sprang up suddenly from his seat.
1.
2.
3.
4.
5.
Read the following sentence from Tea-shops in Malayalam Cinema.
It is at the same tea-shop that he meets the muracherukkan of Bhargavi...
Here, ‘the tea-shop’ has been emphasised using ‘it’ at the beginning.
It can also be written without any emphasis as: He meets the muracherukkan of Bhargavi at the
same tea-shop.
Now, rewrite the following sentences as shown above.
1. Manoj plays cricket on Sundays.
2. I found the paper in the waste basket.
Activity 2
Activity 1
LANGUAGE ACTIVITIES
ENGLISH X 103
3. Raju hires taxi from this travel agency.
4. Soumya comes to office in her friend’s car.
Look at the following word-pyramid.
Boy
The boy
The tall boy
The tall boy in the class
The tall boy in the class who won the prize
The tall boy in the class who won the prize comes to school.
The tall boy in the class who won the prize comes to school on a bicycle.
The first five steps in the pyramid expand a noun phrase. But noun phrases alone cannot make a
sentence. From step 6 onwards, a verb phrase has been added to the noun phrase, thus making
them sentences. Basically, every sentence is a combination of a noun phrase and a verb phrase
that are meaningfully linked.
Let’s now analyse the structure of the last sentence.
1. 'The tall boy in the class who won the prize' is the noun phrase with 'boy' as the head noun.
2. It is a combination of noun phrase 'the tall boy' + prepositional phrase, 'in the class' +
relative clause, 'who won the prize'.
3. Similarly, the verb phrase of the sentence is, 'comes to school on a bicycle' with the verb
'comes' as its head.
4. This verb phrase includes the verb 'comes’ + prepositional phrase 'to school' + prepositional
phrase 'on a bicycle'.
Construct a word-pyramid by expanding the following word. Expand both the noun phrase and the
verb phrase. Analyse the structure of each step in the pyramid.
Singer
Activity 3
LANGUAGE ACTIVITIES
Activity 4
ENGLISH X 104
Coordination
Examine the following sentences and find out the categories which are combined using 'and'.
1. the boy and the girl (noun phrase + noun phrase)
2. My brother cleaned the room and I helped him (sentence + sentence)
3. He is smart and intelligent. (adjective + adjective)
4. Frogs live both on land and in water. (prepositional phrase + prepositional phrase)
Now find out the categories that are combined using 'and', 'or', 'but' etc. in the following sentences.
1. He walked slowly but steadily. .........................................................
2. I went to the market and bought some paper. .........................................................
3. I went to the market and my wife went to her office. .........................................................
4. Both the merchant and his relative are in jail. .........................................................
5. Either you or I will have to do the work. .........................................................
6. You may come to my office or I shall ring you up. .........................................................
Let's sum up
1. We can combine words, phrases and sentences using words like 'and', 'or', 'but' etc. These
words are known as coordinators.
2. The process of combining various elements using coordinators is called 'coordination' and
the structures we get as a result of coordination are called coordinate structures.
3. Sometimes, in coordinate structures containing 'and', the word 'both' appears in the beginning
of the first part of the coordinated structure and 'and' appears in the beginning of the second
part of the coordinate structure (as in example 4 above).
4. In a similar way, in coordinate structures containing 'or' we get the words 'either' in the first
part and 'or' in the second part (as in example 5 above).
Make sentences with coordinate structures involving combinations of:
1. Noun phrase + Noun phrase
2. Adjective + Adjective
3. Prepositional phrase + Prepositional phrase
4. Adverb + Adverb
5. Verb phrase + Verb phrase
6. Sentence + Sentence
Activity 5
LANGUAGE ACTIVITIES
Activity 6
ENGLISH X 105
Let's sum up
• Only similar categories can be conjoined using coordinators. Conjoining across categories is
not possible. For example, we cannot combine a noun phrase and verb phrase using
coordinators.
• When two structures are combined using coordinators both parts will have equal status.
Subordination
We have seen that two sentences can be combined using coordinators. Now, read the following
sentences and identify the clauses in them. Identify the words used to combine them.
1. When I went to the market I bought some paper. ..............................................
2. Though he came late he got the ticket. ..............................................
3. Since he worked hard he got a promotion. ..............................................
4. Even though he is intelligent he commits silly mistakes. ..............................................
5. He fell as he got down from the bus. ..............................................
6. I met an old friend while I was travelling by train. ..............................................
Let's discuss
1. There are two parts in each of these sentences. Each part is a clause.( A group of words that
includes a subject and a verb and forms a sentence or part of a sentence is usually called a
clause). Which clause in each of the above sentences can stand independently and which
clause cannot?
2. Why cannot some of the clauses in the above sentences stand alone?
3. What is the role of connecting words (such as when, though, since, as etc.) in this process of
linking two sentences?
4. Words such as ‘when’, ‘while’, ‘as’, ‘since’, ‘though’, ‘because’ etc. are called subordinating
connectives or subordinators.
5. Both coordinators (e.g. ‘and’, ‘or’) and subordinators belong to the class of connectives.
6. Coordination gives equal status to the combined units. But when we combine clauses using
the subordinators above, the clause carrying the subordinators becomes subordinated to
the other. Thus the combined clauses do not enjoy equal status.
7. The clause which cannot stand alone is called a subordinate clause and the clause that can
stand independently is called a main clause.
8. A subordinating connective, together with the clause which it connects to the main clause, is
an adverbial clause. An adverbial clause has the same function as an adverb.
E.g. We came quickly. (adverb)
We came when the rain stopped. (adverbial clause)
Activity 7
LANGUAGE ACTIVITIES
ENGLISH X 106
Activity 8
LANGUAGE ACTIVITIES
Now, edit the following passage using the editing codes.
I think there is no safe place left to riding a bicycle. But I try to ride on the
highway, in order to go to school I feel like a rabbit being chased with a wolf.
Drivers driven past me at high speed and try see how close they can get to my
bicycle without actually killing me. But I slowed down to give way to them
they too would slow down. Though in cities things are much better for a cyclist.
If traffic in cities is quiet heavy everybody has to slow down like snails. Since
the pedestrians have footpath to walk on they always walk in the road and
cause problems for a cyclist.
I Have Two Meanings
Read the following sentence.
'The teacher told the student that she had failed.'
This sentence gives you two meanings.
1. The teacher told the student that the student had failed.
2. The teacher told the student that the teacher had failed.
Such sentences are ambiguous in nature. Now rewrite the following sentences in the two senses.
1. Mary thinks of John with a smile.
2. I have read a lot recently on trains.
3. If the baby won't drink milk, boil it.
4. Can I have a taxi for five, please?
5. Flying planes can be dangerous.
Language Game
ENGLISH X 107
GLOSSARY
abandon /@"b{nd@n/(v): leave permanently
acknowledgement (n): a note confirming receipt
of something
acutely (adv): very strongly
adoption /@"dQpSn/ (n): the decision to start using
a name, an idea or a plan
The adoption of new technology helped them to
perform better.
allegation (n): a claim that somebody has done
something wrong, usually false
amalgamation /@%m{lg@"meISn/(n): the process
of mixing/combining things
amazement (n): extreme surprise
Maya stared in amazement when I told her that she had
won the scholarship.
ambience /"{mbI@ns/(n): character and
atmosphere of a place
amiable (adj): friendly and likeable
Our driver was an amiable young man.
apologise (v): to say that you are sorry for doing
something wrong or for causing a problem
The airport authorities apologised for the late departure
of the flight.
apprehensively (adv): in a state of worry or fright
that something unpleasant may happen
bag (v): to score a goal or point especially in sports
(here) to win
bare (adj): naked, uncovered
Bare feet make no sound in the soft sand.
baton (n): a short thick stick used as a weapon by
a policeman
bivouac /"bIvu{k/(v): to take shelter temporarily
The climbers bivouaced half way up the mountains.
blandly (adv): with little excitement or interest
blench (v): to react to something in a way that
shows you are frightened
blunder (v): to make a stupid or careless mistake
The police had blundered in their handling of the murder
case.
bouquet /bU"keI/(n): an arrangement of flowers,
especially one that you gift to someone
bulbous headed (adj): with round or bulged head
burrow /"bVr@U/(v): hide into something
The little girl burrowed her head in her mother’s lap
when the stranger said ‘Hi’ to her.
buzz (v): to make a continuous low sound
Bees buzzed lazily among the flowers.
by Jove (phr): used for emphasis or to indicate
surprise
clad (v): dressed
The dancer was clad in blue velvet.
click (v): to make or cause something to make a
short sharp sound (here)
Ravi clicked his fingers to get the attention of the man.
cocktail (n): an alcoholic drink made from a
mixture of different drinks
confinement (n): a state of being forced to stay
in a space
Most of our freedom fighters had to spend many
years in prison or close confinement.
conforming (adj):agreeing
conscience /"kQnS@ns/(n): the part of your mind
that tells you whether your actions are right or
wrong
consciousness /"kQnS@sn@s/(n): the condition of
being able to understand what is happening
around you
contemplate (v): to think about seriously
Are you contemplating a change of job?
contemporary /k@n"temp@r@ri/(adj): (here)
belonging to or occurring in the present time
Although the painting is hundreds of years old, it still
has a contemporary feel to it.
conviction (n): the feeling of being sure about
something and having no doubt
corridor (n): long narrow passage from which
doors open into rooms and compartments
cosy (adj): warm, comfortable and safe
counterpane (n): covering for a bed, a bed spread
criterion /kraI"tI@ri@n/ (n): pl. criteria, a standard
by which you judge, decide about or deal with
something
dagger (n): a short pointed knife used as a weapon
damp (adj): slightly wet
The grass on the ground is seen damp in the morning
dazzle (v): to become temporarily blind
Ravi was dazzled by the strong sunlight for a while.
deduction (n): the process of making judgement
about something based on the information that
you have
ENGLISH X 108
GLOSSARY
defy /dI"faI/ (v): to refuse to obey, or to act or be
against, a person, decision, law, situation, etc.
A few workers have defied the decision of the majority
by joining duty.
den (n): (here) the post behind which the ‘catcher’
stands and the hiders have to touch when the
catcher leaves the post in search of hiders
desert (v): to abandon something
The crow deserted its nest and flew away.
desolate (adj): very lonely and unhappy
desperately (adv): in a hopeless manner
The cat fought against the dog desperately.
determination (n): the quality of being firm of
purpose
Sherin was admired for her determination to learn as
many languages as possible.
dexterity (n): the ability to do something skilfully
diabolic (adj): morally bad and evil; like a devil
dignity (n): calm, serious and controlled
behaviour that makes people respect you
He is a man of dignity and calm determination.
diminish (v): to become or to make something
weaker or lesser
The world’s resources are rapidly diminishing.
discriminate (v): to show a difference between
people or things
The computer programme was unable to discriminate
between letters and numbers.
disgrace(n): the loss of a person’s respect and
approval because of bad behaviour or action
The French team returned home from the World Cup
in disgrace.
diverse /daI"v3:s/(adj): very different from each
other
Diverse dance forms made the fest spectacular.
dizzy (adj): feeling as if everything is spinning
around you and that you are not able to balance
yourself
dogged (adj): not readily giving up
Her dogged determination to succeed made her the
topper in the entrance examination.
drastic (adj): severe; having a strong effect
drudgery /drVdZ@ri/ (n): hard, boring work
Susan always complains about domestic drudgery.
eaves /i:vz/(n): the lower edges of a roof that
stick out beyond the walls
Birds had nested under the eaves.
elation (n): high spirits or joy
elude /I"lu:d/(v): to escape from
The burglars managed to elude the policemen who were
chasing them.
embarrassed (adj): ashamed, nervous or
uncomfortable in a social situation
Some people are too embarrassed to consult doctors
on their health problems.
engrave (v): to cut words or pictures on metal,
wood, glass etc.
The winner’s name is engraved on the trophy.
enhance (v): to increase or further improve the
good quality, value or status of something/
somebody
Reading enhances the language proficiency of the learner.
enthral /InTrO:l/(v): to make someone so
interested that they listen to or watch something
very carefully
The audience was enthralled for two hours by the
dazzling performance of the actor.
erroneous (adj): not correct
exception /Ik"sepSn/ (n): a person or thing that
is not included in a general stream
Most of the buildings in the town are modern, but
the church is an exception.
executioner (n): an official who carries out a
sentence of death
exercise (v): to use your power, rights or personal
qualities in order to achieve something
exile /"eksaIl/ (n): a person who is forced to leave
away from his/ her own country
Nazar returned after thirty years of exile.
facet /"f{sIt/(n): a particular aspect of a thing
fallacy (n): false ideas that many people believe
is true
It is a fallacy to say that the camera never lies.
familiarity (n): the state of being well known
from long or close association
I miss the familiarity of home in the new apartment.
fangs /f{Ns/(n): long sharp teeth of an animal such
as a snake or a wild dog
fantasy (n): an imaginary situation
Vineeth lives in a world of fantasy.
fare (n): a range of food
ferrule /feru:l/(n): a piece of metal or rubber that
covers the end of a stick to protect it
flea (n): a small insect without wings that feeds
on the blood of animals and humans
ENGLISH X 109
GLOSSARY
fling (v): to throw something with force especially
when you are angry
folk (n): people in general
frantic (adj): state of fear and anxiety
The parents were frantic when their child did not reach
home in time.
fray /freI/(n): (here) the game
The little boy, seeing the children play, also wanted to
take part in the fray.
garage /"g{rA:Z/(n): a building where a car is kept,
often forming part of a house
genial /"dZi:ni@l/(adj): friendly and cheerful
Ramu is a genial person.
glum (adj): gloomy
‘Don’t look so glum. Everything will be all right.
good-riddance (n) a rude way of saying you are
glad someone has left
gouge /gaUdZ/(v): to make a hole or cut out
something with a sharp object in a rough or
violent way
The lion’s claws had gouged the horse’s side.
grave (adj): (of people) serious in manner
hammock /"h{m@k/(n): a thing to sleep on made
of a long piece of cloth or net that is hung between
two trees
hang-out (n): a place one frequently visits
The café is a favourite hang-out of writers.
hearth /hA:T/(n): the area of the floor around a
fire place in a house
hideout (n): a secret place for hiding
hilarity (n): loud laughter, great amusement
The announcement was greeted with much hilarity and
mirth.
hoarse /hO:s/(adj): rough and harsh
hombre /"Qmbre/(n): an informal term for a youth
or man; similar to the usage ‘a nice guy’
horrendously /h@"rend@sli/(adv): in an
extremely bad manner
The conditions in the refugee camp were horrendously
bad.
huaraches /w{"rA:tSs/(n): a type of sandal (open
shoe) made of many narrow strips of leather
woven together
huddle (v): to lie or sit with your arms and legs
close to your body because you feel cold or
frightened
People were huddled together around the fire.
humiliation (n): to make sombody feel ashamed
or stupid
The writer suffered the humiliation of being criticised
in public.
hunt (n): an act of chasing and killing wild animals
for sport or food
ignominy /"Ign@mIni/(n): public embarrassment;
shame
The new political party formed under the leadership
of the film star experienced the ignominy of total defeat
in the last election.
impulse (n): a sudden strong desire to do
something
incantation /%Ink{n"teISn/(n): special words that
are spoken or sung to have a magical effect
incredulous /In"kredjUl@s/(adj): unable or
unwilling to believe something
He raised his eyebrows and gave me an incredulous look.
inference (n): something that you can find out
indirectly from what you already know
insignificant (adj): not important
Vinay is arguing about such an insignificant amount of
money.
intently (adv): carefully attending to something
I noticed her gazing intently at one of the photographs.
intone (v): to say in a low voice
The priest intoned the final prayer and left the altar.
jubilation /%dZu:bI"leISn/(n): great happiness
because of success
There was jubilation in the crowd as the winning goal
was scored.
jolt (v): move suddenly and roughly
kimono /kI"m@Un@U/(n): a long loose
piece of clothing with very wide sleeves,
traditionally worn by the Japanese on
formal occasions
knight-errant in armour (n): a brave man who
saves someone from a dangerous situation
knuckle /"nVkl=/(n): the joints in the fingers,
especially those connecting the fingers to the rest
of the hand
languor /"l{Ng@/(n): lack of energy or alertness;
dullness
loaf (v): to waste time in a lazy way
ENGLISH X 110
GLOSSARY
lugubrious /lu:"gu:bri@s/(adj): sad and serious
There was a lugubrious expression on the face of the
little girl when her mother left the place.
luminous (adj): something that shines or gives
out light
lurid (adj): shocking, sensational, horrifying or
terrible
machete /m@"Seti/(n): a large knife with a broad
heavy blade, used as a weapon or a tool
magnify (v): to make something look bigger than
it is
The dry summer has magnified the problem of water
shortage.
maniacal (adj): wild or violent
When the show began there was a maniacal rush to
grab a seat in the front row.
mastiff (n): a large strong dog with short hair often
used to guard buildings
melancholy (n): a deep feeling of sadness
As the film ended a mood of melancholy descended on
us.
metaphor (n): a word or phrase representing an
object, idea etc. used in an imaginative way to
describe something/ somebody else in order to
show that the two things have the same qualities
which makes the description more powerful e.g.
He has a heart of stone.
mettle (adj): courage and determination to do
something even when it is very difficult
mill(v): to move about while waiting for someone
People were milling about at the bus station as no bus
had arrived for a long time.
miniature (n): a very small copy or model of
something
mournfully (adv): in a very sad manner
The dog looked mournfully after its owner.
mumble (v): to say something softly and not
clearly enough to hear
‘Stop mumbling and speak out,’ the teacher ordered.
mute (adj): not speaking, refusing to speak (here)
it means to silence, subdue the poet’s self
The police glared at the thief in mute anger.
mutter (v): to grumble or complain about
something
Industrialists continued to mutter against the strict rules
of taxation.
nimble (adj): able to move quickly and neatly;
agile
obstinate (adj): refusing to change your opinions,
way of behaving etc. when other people try to
persuade you to.
obtrusive (adj): noticeable in an unpleasant way
paraffin (n): a type of oil obtained from
petroleum and used as a fuel for heating and
lighting
paralyse /"p{r@laIz/(v): to prevent something
from functioning normally
The airport has been paralysed by the strike.
parasol /"p{r@sQl/(n): a type of light umbrella
that women in the past carried to protect
themselves from the sun
parish (n): the area/region under a priest or
church
pathology /p@"TQl@dZi/(n): the scientifc study of
diseases
patrol (n): the act of going around a place to check
that all is secure and orderly
Security guards carry out regular patrols in the company
premises.
pay in kind (idiom): pay in the form of goods or
services, not money
peer (v): to look very carefully at something
The mother peered closely at the photograph.
perceive (v): to understand or think of something
in a particular way
perjure /"p3:dZ@/(v): to tell an untruth wilfully
perjurer (n): a liar
persist (v): to continue to do something despite
difficulties or opposition.
plaza (n): a public square or market place,
especially in towns in Spanish speaking countries
portrait (n): painting, drawing or photograph of
a person showing especially the face or head and
shoulders
pod (n): a long thin case filled with seeds that
develops from the flowers of some plants,
especially peas and beans
pranks (n): playful or mischievous tricks
proclaim/pr@U"kleIm/(v): to announce
something publicly or officially
The President proclaimed a state of emergency.
protagonist /pr@"t{g@nIst/ (n): the leading
character in a drama, film or novel
ENGLISH X 111
GLOSSARY
prove his mettle (phrase): show that you can do
something well inspite of difficulties
Spain proved their mettle in the FIFA World Cup 2010.
provoking (v): to say or do something that will
annoy somebody so that they react angrily
The boy’s cries for ice cream provoked his father.
pry (v): to try to find out information about other
people’s private lives in a way that is annoying or
rude
I’m sick of you prying into my personal life!
pursuer (n): a person who is chasing somebody
or something
The thief made a sudden right turn off the road in
order to escape his pursuers.
rationalist (n): a person who tries to find a logical
reason rather than a belief to explain why
something happens
rear (n): the back part of an object, vehicle or
building
The engine of the autorickshaw is in the rear.
recount (v): to tell something you have
experienced
The writer recounted the details of his childhood days
in his book.
reed (n): a type of tall plant like grass that grows
in wet places
refrain(n): a part of a song or poem that is
repeated
resume (v): to begin or continue after an
interruption.
reticent /"retIs@nt/(adj): unwilling to talk about
what you feel or what you know
Priya is very reticent about her personal life.
retreat (v): to move back and away from someone
or something
The flood waters slowly retreated.
riot /"raI@t/(n): wild or violent disturbance by a
crowd of people
rove /r@Uv/(v): to travel from one place to
another (here) it means the eyes flitting
continuously from one part of something to
another
Ali’s eyes roved over the map to spot the country.
roving (adj): moving from one place to another
and not staying anywhere permanently
saunter /"sO:nt@/(v): to walk in a leisurely manner
He sauntered down the road with his hands in his
pockets.
scramble (v): to move or climb quickly but with
difficulty
She scrambled up the steep hillside and over the rocks.
screech (v): to make a loud unpleasant sound
scuff (v): to make a mark on the smooth surface
of an object by rubbing it roughly
I scuffed my name on the heel of my shoe with a stone.
scowl (v): to look at somebody in an angry or
annoyed way
seam (n): a line where two pieces of cloth, leather
etc. have been stitched together
senor (n): a form of polite address for a man in a
Spanish speaking area
shackles /"S{kl=z/ (n): something that restraints
or prevents you
India freed itself from the shackles of British colonialism
in 1947.
sheath (n): a cover that fits closely over a knife or
sword
shipping office (n): the office of a shipping agent
shove (n): a strong push
You have to give the door a shove or it won’t close.
shriek (v): to shout
shrug (v): to raise your shoulders and then lower
them in order to express a lack of knowledge or
interest
He shrugged his shoulders as if to say that there was
nothing he could do about it.
shudder (v): to shake because you are frightened
shuttle /"SVºl/ (v): to travel between two places
A small train shuttles constantly between the concourse
and the runway.
singe /sIndZ/ (v): to burn the surface of an object
slightly, usually by mistake; to be burnt in this way
He singed his hair as he tried to light his cigarette.
skin (v): to peel the skin off
slight (adj): small and thin in size, or insignificant
The man takes offence at the slightest criticism.
smart (v): to feel a sharp stinging pain.
smear (v): to spread something
snub (v): to insult with sharp words
soak (v): to become wet with some liquid
You will be soaked if you go out in the rain.
ENGLISH X 112
GLOSSARY
sombrero /sQm"bre@r@U/(n): a Mexican hat for
men that is tall with a wide round brim turned up
at the edges
spaniel /"sp{nj@l/(n): a dog with long soft ears
that hang down
spellbound (adj): with your attention completely
held as if by a spell
A gifted musician can hold the audience spellbound.
spirit away (v): to take something/someone
away secretly
The superstar was spirited away immediately after the
function as his fans rushed towards him.
squash (v): to crush something
Squash the plastic bottles flat after use.
squeamish /"skwi:mIS/(adj): easily shocked or
upset by unpleasant sights
Horror movies are not for those who are squeamish.
streak (v): to move very fast
A car streaked down the road.
stubborn (adj): unreasonably obstinate.
stumble (v): to hit your foot against something
In a hurry she stumbled and spilled the milk.
summons (n): an order to appear in court
The police have been unable to serve a summons on
him.
swarm (n): a large group of insects,especially
bees, moving together in the same direction
syllable (n): any of the units into which a word is
divided, containing a vowel sound and usually one
or more consonants
sync sound : (here) it means synchronising
sound; a sound which is in agreement with the
scene
tactics (n): skilful devices
teem with (v): be full of
The beach was teeming with foreign tourists.
terrier (n): a small active type of dog
testimonial (n): informal written statement
describing someone’s characters and abilities
thimble /"TImbl=/(n): a metal or plastic cap with a
closed end worn to protect the finger while cutting
vegetables or sewing
throttle (v): to choke or strangle; to prevent
utterance
troop (v): to walk, usually with one person behind
the other
The little boys trooped after the teacher.
trot (v): to run fairly slowly, taking short steps
The girls trotted along happily down the lane.
tug (v): to pull with one or more short quick pulls
She tugged at his sleeve to get his attention.
undergrowth (n): bushes, small trees and other
plants growing around and under bigger trees
underprivileged /%Vnd@"prIvIlIdZd/(adj): not
enjoying the same rights or standards of living as
the majority of the population
Children from an underprivileged background need extra
care and support.
underrate (v): to not recognise how good,
important etc. somebody/something really is
unfold (v): to open or reveal
unison /"ju:nIs@n/(n): do or say something
together at the same time
The musical performance was a flop as the singers
failed to sing in unison.
venture (n): a new activity/ business that involves
taking risks
Now it is not the time to venture on such an ambitious
project.
vermilion /v@"mIli@n/(n): a brilliant red pigment
(used to adorn the forehead)
wail (v): to cry in pain or grief
whack /w{k/(v): to strike or beat forcefully with
a sharp blow
whimper(v): to make a series of small weak crying
noises
When the father prevented the boy from buying ice
cream he began to whimper.
wholesome (adj): (here) heavy and deep
wink (v): to close one eye very briefly
withstand (v): to resist
wizard (n): a man with magical powers
zone (n): an area that is distinguished by certain
features
Here, silent zone means ‘an unexplored area’
113
Government of Kerala
DEPARTMENT OF EDUCATION
Prepared by
State Council of Educational Research and Training (SCERT), Kerala
2011
KERALA READER
ENGLISH
PART - 2
Standard
X
114
THE NATIONAL ANTHEM
Jana-gana-mana adhinayaka, jaya he
Bharatha-bhagya-vidhata.
Punjab-Sindh-Gujarat-Maratha
Dravida-Utkala-Banga
Vindhya-Himachala-Yamuna-Ganga
Uchchala-Jaladhi-taranga
Tava subha name jage,
Tava subha asisa mage,
Gahe tava jaya gatha.
Jana-gana-mangala-dayaka jaya he
Bharatha-bhagya-vidhata.
Jaya he, jaya he, jaya he,
Jaya jaya jaya, jaya he!
PLEDGE
India is my country. All Indians are my brothers and sisters.
I love my country, and I am proud of its rich and varied heritage.
I shall always strive to be worthy of it.
I shall give respect to my parents, teachers and all elders and treat
everyone with courtesy.
I pledge my devotion to my country and my people. In their wellbeing
and prosperity alone lies my happiness.
Prepared by:
State Council of Educational Research and Training (SCERT)
Poojappura, Thiruvananthapuram 695012, Kerala
Website : www.scert.kerala.gov.in
e-mail : scertkerala@asianetindia.com
Phone : 0471 - 2341883, Fax : 0471 - 2341869
First Edition : 2011
Typesetting : SCERT
Lay out : SCERT
Cover design : SCERT
Printed at : KBPS, Kakkanad, Kochi
© Department of Education, Government of Kerala
115
Dear students
The learning and teaching of English language is one of the main
priorities of our education system. Language has a fundamental role
in learning all subjects. The English Reader Standard X (Part 1 & Part
2) is designed in such a fashion that the critical acumen of the learner is
sharpened so that his/her power of understanding is enhanced. At the
same time, it posits 'English' not merely as the British and American
varieties per se; rather, due focus is on English as written and spoken
across the globe. The selections in this book include texts in English
from India, Africa, England and America and translations of texts from
Latin America, other European countries and of course, India. The
book has also taken care to present texts beyond the paper based media
and to include the new textual landscape of popular culture, digital
and screen media. Your teacher will lead you through the enticing
world of multidimensional texts and in interacting with them you will
have to analyse them critically as well.
The activities included in the book give you ample scope for expressing
your ideas creatively, agreeing and disagreeing on issues raised by your
teacher and friends and critically analysing texts and expressing your
ideas in writing.
Hope you will make use of this book in its full potentials and enrich
your proficiency in English.
Wish you all success.
Prof. M.A. KHADER
Director
SCERT
116
Advisor
Prof. Jayaseelan K.A, Professor Emeritus, English and Foreign Languages
University, Hyderabad
Chairperson
Prof. (Dr) Jameela Begum A, Professor, Institute of English & Director,
Centre for Canadian Studies, University of Kerala
Special Invitees
Nasiruddin Khan, Formerly of Dept. of Languages, NCERT, New Delhi
Dr Anandan K.N, Consultant, SSA, Kerala
Members
Bindu S.V, HSST, Janardhanapuram HSS Ottasekharamangalam, Thiruvananthapuram
Chandini K.K, Assistant Professor, SCERT
Chandran K, HSST, Govt. HSS, Vadakara, Kozhikode
Jayarajan K, HSA, Perambra HS, Kozhikode
Jose D’ Sujeev, HSA, GVHSS Karakulam, Thiruvananthapuram
Jose K. Philip, Assistant Professor, Govt. College, Kottayam
Preetha P.V, NVT, GVHSS Manacaud, Thiruvananthapuram
Rajagopalan E.P, HSA, GHSS Vellur, Kannur
Raveendran K.V, HSA, GVHSS Madikkai II, Kasargode
Raveendran Nair S, Assistant Professor, SCERT
Reshmi Reghunath, HSST, GVHSS, Karakulam, Thiruvananthapuram
Sajai K.V, HSST, GHSS Mannathoor, Ernakulam
Sajith E.P, HSA, GVHSS Payyoli, Vadakara
Satheesan V.P, Tutor, District Centre for English, Kozhikode
Sujith S, HSA, Pantheerankavu HS, Kozhikode
Dr Suresh Kumar N, Research Officer, SCERT
Academic Co-ordinator
Dinesh K.T, Research Officer, SCERT
Artists
Haridas N.K, Drawing Teacher, GHSS, Azhiyoor
Ramesan P, Drawing Teacher, Iringannoor HSS, Kozhikode
Experts
Bindu S, Sel. Grade Lecturer (Retd.), University College, Thiruvananthapuram
Dr Jamuna B.S, Director, CELT, Institute of English, University of Kerala
Moncy Abraham, Sel. Grade Lecturer (Retd.), University College, Thiruvananthapuram
Dr Muraleedharan K.C, Associate Professor, Payyannoor College
Dr Saji Mathew, Lecturer, School of Letters, Mahatma Gandhi University, Kottayam
Dr Sherrif K.M, Reader, Department of English, University of Calicut
English
Standard X
Textbook Development Committee
117
Contents
Unit Page
Unit - IV Upon the Thorns of Life 119-155
The Beggar who Opened his Eyes Wide (Limerick) 120
The Beggar and the King (One Act Play) 121
Cactus (Poem) 138
The Bet (Short story) 140
In the Country (Poem) 149
Unit - V Art and Attitudes 157-182
Balthazar’s Marvellous Afternoon (Short Story) 159
The Master (Poem) 171
Art that Heals (Speech) 174
The Arrow and the Song (Poem) 179
Glossary 183-187
118
CONSTITUTION OF INDIA
Part IV A
FUNDAMENTAL DUTIES OF CITIZENS
ARTICLE 51 A
Fundamental Duties- It shall be the duty of every citizen of India:
(a) to abide by the Constitution and respect its ideals and Institutions, the National
Flag and the National Anthem;
(b) to cherish and follow the noble ideals which inspired our national struggle for
freedom;
(c) to uphold and protect the sovereignty, unity and integrity of India;
(d) to defend the country and render national service when called upon to do so;
(e) to promote harmony and the spirit of common brotherhood amongst all the
people of India transcending religious, linguistic and regional or sectional diversities;
to renounce practice derogatory to the dignity of women;
(f) to value and preserve the rich heritage of our composite culture;
(g) to protect and improve the natural environment including forests, lakes, rivers,
wildlife and to have compassion for living creatures;
(h) to develop the scientific temper, humanism and the spirit of inquiry and reform;
(i) to safeguard public property and to abjure violence;
(j) to strive towards excellence in all spheres of individual and collective activity so
that the nation constantly rises to higher levels of endeavour and achievements.
(k) who is a parent or guardian to provide opportunities for education to his child
or, as the case may be, ward between age of six and fourteen years.
UNIT IV
UPON THE THORNS OF LIFE
There was a young beggar whose eyes,
Were unique as to colour and size;
When he opened them wide,
People all turned aside,
And started away in surprise.
LIMERICK
THE BEGGAR WHO OPENED HIS EYES WIDE
Discuss
Is anyone born a beggar?
Have we ever thought about the social situations that make one a beggar?
Do beggars ask only for alms?
Do they beg for our kindness too?
Who should take care of them?
Attempt writing a limerick on the king after reading the play, The Beggar and the King given on
the next page. You may begin like: There was a great king...
Limericks are part of the English folk culture and many of them are of unknown origin as the one given here.
They are easy to remember. Limericks have survived the test of time. Limericks usually make people laugh.
Read on and find out how this limerick is different.
Limericks consist of five lines.
Lines 1, 2 and 5 of limericks
have seven to ten syllables
and they rhyme with one
another.
Lines 3 and 4 of limericks
have five to seven syllables
and they also rhyme with each
other.
A limerick generally follows
the rhyme scheme aabba.
Winthrop Parkhurst, born in
New York, has been criticised for
his Bohemian outlook on life and
appreciated for his sympathy for
the oppressed. His plays are full
of subtle wit and humour. This
play is from The Atlantic Book of
Modern Plays.
THE BEGGAR AND THE KING
How will a king treat a beggar? Can any ruler continue to ignore the demands
of the people? What will be the consequences then? Read on and find out
how the king in the one act play treats the beggar and what follows.
CHARACTERS
The King of a Great Country
His Servant
A Beggar
[A chamber in the palace overlooking a courtyard. The season
is midsummer. The windows of the palace are open and from a
distance there comes the sound of a man's voice crying for
bread.]
[The King sits in a golden chair. A golden crown is on his head
and he holds in his hand a sceptre which is also of gold. A
servant stands by his side, fanning him with an enormous fan
of peacock feathers.]
THE BEGGAR: (outside) Bread. Bread. Bread. Give me some
bread.
THE KING: (languidly) Who is that crying in the street for
bread?
THE SERVANT: (fanning) O King, it is a beggar.
THE KING: Why does he cry for bread?
THE SERVANT: O King, he cries for bread in order that he
may fill his belly.
THE KING: I do not like the sound of his voice. It annoys me
very much. Send him away.
THE SERVANT: (bowing) O King, he has been sent away.
THE KING: If that is so, then why do I hear his voice?
THE SERVANT: O King, he has been sent away many times,
yet each time that he is sent away he returns again, crying
louder than he did before.
1. The king asks, ‘Why does he cry
for bread?’ Everybody knows why
people need food. What purpose
does this piece of dialogue serve?
Place them right
Generally, a stage is divided as
shown below. Place the king and
the servant on the stage in the
positions you think they will occupy
and state your reasons.
ONE ACT PLAY
THE KING: He is very unwise to annoy me on such a warm
day. He must be punished for his impudence. Use the lash
on him.
THE SERVANT: O King, it has been done.
THE KING: Then bring out the spears.
THE SERVANT: O King, the guards have already bloodied their
swords many times driving him away from the palace
gates. But it is of no avail.
THE KING: Then bind him and gag him if necessary. If need
be cut off his tongue. I do not like the sound of the fellow's
voice. It annoys me very much.
THE SERVANT: O King, thy orders were obeyed even
yesterday.
THE KING: (frowning) No. That cannot be. A beggar who
has no tongue cannot cry for bread.
THE SERVANT: Behold, he can--if he has grown another.
2. What impressions do you form
about the beggar from the words of
the servant? Discuss.
3. ‘If need be cut off his tongue,’
says the king. Does this expression
have greater significance?
Comment.
THE BEGGAR AND THE KING
KEEP TRACK OF YOUR READING
Read up to 'Pause & Reflect'.
Note down the main ideas you have
gathered.
Note down expressions and
dialogues that you find interesting.
Share in groups your responses to/
impressions of them.
Note down the central theme of
the play.
THE KING: What! Why, men are not given more than one
tongue in a lifetime. To have more than one tongue is
treason.
THE SERVANT: If it is treason to have more than one tongue,
O king, then is this beggar surely guilty of treason.
THE KING: (pompously) The punishment for treason is death.
See to it that the fellow is slain. And do not fan me so
languidly. I am very warm.
THE SERVANT: (fanning more rapidly) Behold, O great and
illustrious king, all thy commands were obeyed even
yesterday.
THE KING: How! Do not jest with thy king.
THE SERVANT: If I jest, then there is truth in a jest. Even
yesterday, O King, as I have told thee, the beggar which
thou now hearest crying aloud in the street was slain by
thy soldiers with a sword.
THE KING: Do ghosts eat bread? Forsooth, men who have
been slain with a sword do not go about in the streets crying
for a piece of bread.
THE SERVANT: Forsooth, they do if they are fashioned as this
beggar.
THE KING: Why, he is but a man. Surely he cannot have
more than one life in a lifetime.
THE SERVANT: Listen to a tale, O King, which happened
yesterday.
THE KING: I am listening.
THE SERVANT: Thy soldiers smote this beggar for crying aloud
in the streets for bread, but his wounds are already healed.
They cut off his tongue, but he immediately grew another.
They slew him, yet he is now alive.
THE KING: Ah! that is a tale which I cannot understand at all.
THE SERVANT: O King, it may be well.
THE KING: I cannot understand what thou sayest, either.
4. Though the king’s men cut off the
beggar’s tongue it grows
immediately. What does this
signify?
THE BEGGAR AND THE KING
READING
Have I identified the main ideas
conveyed by the play?
Have I shared the ideas I gathered
during the group reading process?
Have I noted down expressions and
dialogues that struck my mind? Have
I responded to these?
Have I tried to clarify the words/
expressions I didn't understand?
Have I been able to answer the
questions posed by the teacher?
What improvement should I further
make in my reading?
ASSESS YOURSELF
THE SERVANT: O King, that may be well also.
THE KING: Thou art speaking now in riddles. I do not like
riddles. They confuse my brain.
THE SERVANT: Behold, O King, if I speak in riddles it is
because a riddle has come to pass.
[The beggar suddenly cries out loudly.]
THE BEGGAR: (outside) Bread. Bread. Give me some bread.
THE KING: Ah! He is crying out again. His voice seems to
me louder than it was before.
THE SERVANT: Hunger is as food to the lungs, O King.
THE KING: His lungs I will wager are well fed. Ha, ha!
THE SERVANT: But alas! his stomach is quite empty.
THE KING: That is not my business.
THE SERVANT: Should I not perhaps fling him a crust from
the window?
THE KING: No! To feed a beggar is always foolish. Every
crumb that is given to a beggar is an evil seed from which
springs another fellow like him.
Pause and Reflect
THE BEGGAR: (outside) Bread. Bread. Give me some bread.
THE SERVANT: He seems very hungry, O King.
THE KING: Yes. So I should judge.
THE SERVANT: If thou wilt not let me fling him a piece of
bread thine ears must pay the debts of thy hand.
THE KING: A king can have no debts.
THE SERVANT: That is true, O King. Even so, the noise of this
fellow's begging must annoy thee greatly.
THE KING: It does.
THE SERVANT: Doubtless he craves only a small crust from
thy table and he would be content.
How does the king react to the
beggar’s demand? Support your
answer by quoting relevant
dialogues.
Pause & Reflect
THE BEGGAR AND THE KING
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: ....................................
Meaning: ...............................
....................................................
....................................................
Sentence: ..............................
.........................................................
....................................................
5. What does ‘debt of hand’ imply?
THE KING: Yea, doubtless he craves only to be a king and he
would be very happy indeed.
THE SERVANT: Do not be hard, O King. Thou art ever wise
and just. This fellow is exceedingly hungry. Dost thou not
command me to fling him just one small crust from the
window?
THE KING: My commands I have already given thee. See
that the beggar is driven away.
THE SERVANT: But alas! O King, if he is driven away he will
return again even as he did before.
THE KING: Then see to it that he is slain. I cannot be annoyed
with the sound of his voice.
THE SERVANT: But alas! O great and illustrious king, if he is
slain he will come to life again even as he did before.
THE KING: Ah! that is true. But his voice troubles me. I do
not like to hear it.
THE SERVANT: His lungs are fattened with hunger. Of a truth
they are quite strong.
THE KING: Well, propose a remedy to weaken them.
THE SERVANT: A remedy, O King?
[He stops fanning.]
THE KING: That is what I said. A remedy--and do not stop
fanning me. I am exceedingly warm.
THE SERVANT: (fanning vigorously) A crust of bread, O King,
dropped from yonder window--forsooth that might prove
a remedy.
THE KING: (angrily) I have said I will not give him a crust of
bread. If I gave him a crust today he would be just as hungry
again tomorrow and my troubles would be as great as
before.
THE SERVANT: That is true, O King. Thy mind is surely filled
with great learning.
THE KING: Therefore, some other remedy must be found.
THE SERVANT: O King, the words from thy illustrious mouth
are as very meat-balls of wisdom.
THE BEGGAR AND THE KING
6. What role does the king’s servant
take?
7. a. How does the ‘crust of bread’
affect the three characters?
the beggar’s cry
The king for bread annoys
him
The servant
The beggar
b. How can all the three characters
be made happy?
THE KING: (musing) Now let me consider. Thou sayest he
does not suffer pain--
THE SERVANT: Therefore he cannot be tortured.
THE KING: And he will not die--
THE SERVANT: Therefore it is useless to kill him.
THE KING: Now let me consider. I must think of some other
way.
THE SERVANT: Perhaps a small crust of bread, O King--
THE KING: Ha! I have it. I have it. I myself will order him to
stop.
THE SERVANT: (horrified) O King!
THE KING: Send the beggar here.
THE SERVANT: O King!
THE KING: Ha! I rather fancy the fellow will stop his noise
when the king commands him to. Ha, ha, ha!
THE SERVANT: O King, thou wilt not have a beggar brought
into thy royal chamber!
THE KING: (pleased with his idea) Yea. Go outside and tell
this fellow that the king desires his presence.
THE SERVANT: O great and illustrious king, thou wilt surely
not do this thing. Thou wilt surely not soil thy royal eyes
by looking on such a filthy creature. Thou wilt surely not
contaminate thy lips by speaking to a common beggar who
cries aloud in the streets for bread.
THE KING: My ears have been soiled too much already.
Therefore go now and do as I have commanded thee.
THE SERVANT: O great and illustrious king, thou wilt surely
not--
THE KING: (roaring at him) I said, Go! (The Servant, abashed,
goes out.) Forsooth, I fancy the fellow will stop his bawling
when I order him to. Forsooth, I fancy he will be pretty
well frightened when he hears that the king desires his
presence. Ha, ha, ha, ha!
Pause and Reflect
8. What remedy does the king finally
find? Do you think it will solve the
issue? Justify your answer.
9. What arguments does the servant
use to prevent the king from meeting
the beggar? Is he successful in his
attempt? How does the king counter
the servant’s arguments?
What do you think will happen
when the beggar reaches the
palace?
Pause & Reflect
THE BEGGAR AND THE KING
THE SERVANT: (returning) O King, here is the beggar.
[A shambling creature clothed in filthy rags follows the servant
slowly into the royal chamber.]
THE KING: Ha! A magnificent sight, to be sure. Art thou the
beggar who has been crying aloud in the streets for bread?
THE BEGGAR: (in a faint voice, after a slight pause) Art thou
the king?
THE KING: I am the King.
THE SERVANT: (aside* to the beggar) It is not proper for a
beggar to ask a question to a king. Speak only as thou art
spoken to.
THE KING: (to the servant) Do thou likewise. (to the beggar) I
have ordered thee here to speak to thee concerning a very
grave matter. Thou art the beggar, I understand, who often
cries aloud in the streets for bread. Now, the complaint of
thy voice annoys me greatly. Therefore, do not beg any
more.
THE BEGGAR: (faintly) I--I do not understand.
THE KING: I said, do not beg any more.
THE BEGGAR: I--I do not understand.
THE SERVANT: (aside to the beggar) The king has commanded
thee not to beg for bread any more. The noise of thy voice
is as garbage in his ears.
THE KING: (to the servant) Ha! An excellent flower of speech.
Pin it in thy buttonhole. ( to the beggar) Thine ears, I see, are
in need of a bath even more than thy body. I said, Do not
beg any more.
THE BEGGAR: I--I do not understand.
THE KING: (making a trumpet of his hands and shouting)
DO NOT BEG ANY MORE.
THE BEGGAR: I--I do not understand.
THE KING: Heavens! He is deafer than a stone wall.
THE SERVANT: O King, he cannot be deaf, for he understood
me quite easily when I spoke to him in the street.
Place them right
Place the king, the beggar and the
servant on the stage in the positions
you think they will occupy and state
your reasons.
11. Do you think the beggar is really
deaf? What does his repeated
statement, ‘I do not understand,’
imply?
THE BEGGAR AND THE KING
10. Look at the first exchange of
words between the king and the
beggar. What is the irony implied in
the words of the beggar?
* an actor’s remark heard by the audience but is supposed not to be heard by the other characters
THE KING: (to the beggar) Art thou deaf? Canst thou hear
what I am saying to thee now?
THE BEGGAR: Alas! I can hear every word perfectly.
THE KING: Fie! The impudence. Thy tongue shall be cut off
for this.
THE SERVANT: O King, to cut off his tongue is useless, for he
will grow another.
THE KING: No matter. It shall be cut off anyway. (to the
beggar) I have ordered thee not to beg any more in the
streets. What meanest thou by saying thou dost not
understand?
THE BEGGAR: The words of thy mouth I can hear perfectly.
But their noise is only a foolish tinkling in my ears.
THE KING: Fie! Only a--! A lash will tinkle thy hide for thee
if thou dost not cure thy tongue of impudence. I, thy king,
have ordered thee not to beg any more in the streets for
bread. Signify, therefore, that thou wilt obey the orders of
thy king by quickly touching thy forehead thrice to the
floor.
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
12. Is the servant sympathetic to
the beggar? Justify your answer.
THE BEGGAR AND THE KING
A number of one act plays are
available in your library and on the
internet.
Browse the internet and find out
interesting one act plays from the
following sites and read them.
www.one-act-plays.com
http://en.wikipedia.org/wiki/
Drama
http://india.gov.in/knowindia/
theatre.php
http://en.wikipedia.org/wiki/
Theatre
REACH & READ
THE BEGGAR: That is impossible.
THE SERVANT: (aside to the beggar) Come. It is not safe to
tempt the patience of the king too long. His patience is truly
great, but he loses it most wondrous quickly.
THE KING: Come, now. I have ordered thee to touch thy
forehead to the floor.
THE SERVANT: (nudging him) And quickly.
THE BEGGAR: Wherefore should I touch my forehead to the
floor?
THE KING: In order to seal thy promise to thy king.
THE BEGGAR: But I have made no promise. Neither have I
any king.
THE KING: Ho! He has made no promise. Neither has he
any king. Ha, ha, ha. I have commanded thee not to beg
any more, for the sound of thy voice is grievous unto my
ears. Touch thy forehead now to the floor, as I have
commanded thee, and thou shall go from this palace a free
man.
THE BEGGAR: To be born into this world as a beggar is a more
unhappy thing than any that I know--unless it is to be born
a king.
THE KING: Fie! Thy tongue of a truth is too lively for thy
health. Come, now, touch thy forehead thrice to the floor
and promise solemnly that thou wilt never beg in the streets
again. And hurry!
THE SERVANT: (aside) It is wise to do as thy king commands
thee. His patience is near an end.
THE KING: Do not be afraid to soil the floor with thy forehead.
I will graciously forgive thee for that.
[The beggar stands motionless.]
THE SERVANT: I said, it is not wise to keep the king waiting.
[The beggar does not move.]
THE KING: Well? (a pause) Well? (in a rage) Well?
Pause and Reflect
13. ‘Neither have I any king,’ says
the beggar. What does he mean?
THE BEGGAR AND THE KING
What tactics does the beggar
employ to deal with the king? How
far is he successful?
Pause & Reflect
THE BEGGAR: O king, thou hast commanded me not to beg
in the streets for bread, for the noise of my voice offends
thee. Now therefore do I likewise command thee to remove
thy crown from thy forehead and throw it from yonder
window into the street. For when thou hast thrown thy
crown into the street, then will I no longer be obliged to
beg.
THE KING: Fie! Thou commandest me! Thou, a beggar from
the streets, commandest me, a king, to remove my crown
from my forehead and throw it from yonder window into
the street!
THE BEGGAR: That is what I said.
THE KING: Why, dost thou not know I can have thee slain
for such words?
THE BEGGAR: No. Thou canst not have me slain. The spears
of thy soldiers are as straws against my body.
THE KING: Ha! We shall see if they are. We shall see!
THE SERVANT: O king, it is indeed true. It is even as he has
told thee.
THE BEGGAR: I have required thee to remove thy crown from
thy forehead. If thou wilt throw it from yonder window
into the street, my voice will cease to annoy thee any more.
But if thou refuse, then thou wilt wish thou hadst never
had any crown at all. For thy days will be filled with a
terrible foreboding and thy nights will be full of horrors,
even as a ship is full of rats.
THE KING: Why, this is insolence. This is treason!
THE BEGGAR: Wilt thou throw thy crown from yonder
window?
THE KING: Why, this is high treason!
THE BEGGAR: I ask thee, wilt thou throw thy crown from
yonder window?
14. What does the beggar mean by
asking the king to throw the crown
into the street?
15. What role does the servant play
when he says, ‘It is indeed true. It
is even as he has told thee.’?
THE BEGGAR AND THE KING
THE SERVANT: (aside to the king) Perhaps it were wise to
humour him, O King. After thou hast thrown thy crown
away I can go outside and bring it to thee again.
THE BEGGAR: Well? Well? (He points to the window) Well?
THE KING: No! I will not throw my crown from that
window--no, nor from any other window. What! Shall I
obey the orders of a beggar? Never!
THE BEGGAR: (preparing to leave) Truly, that is spoken like a
king. Thou art a king, so thou wouldst prefer to lose thy
head than that silly circle of gold that so foolishly sits upon
it. But it is well. Thou art a king. Thou couldst not prefer
otherwise.
[He walks calmly towards the door.]
THE KING: (to the servant) Stop him! Seize him! Does he think
he can get off so easily with his impudence!
THE BEGGAR: (coolly) One of thy servants cannot stop me.
Neither can ten thousand of them do me any harm. I am
stronger than a mountain. I am stronger than the sea!
THE KING: Ha! We will see about that, we will see about
that. (to the servant) Hold him, I say. Call the guards. He
shall be put in chains.
THE BEGGAR: My strength is greater than a mountain and
my words are more fearful than a hurricane. This servant
of thine cannot even touch me. With one breath of my
mouth I can blow over this whole palace.
THE KING: Dost thou hear the impudence he is offering me?
Why dost thou not seize him? What is the matter with thee?
Why dost thou not call the guards?
THE BEGGAR: I will not harm thee now. I will only cry aloud
in the streets for bread wherewith to fill my belly. But one
day I will not be so kind to thee. On that day my mouth
will be filled with a rushing wind and my arms will become
as strong as steel rods, and I will blow over this palace,
and all the bones in thy foolish body I will snap between
my fingers. I will beat upon a large drum and thy head
16. Is there a shift in the servant’s
attitude? Comment.
17. How does the beggar describe
the crown? Why does the beggar
say that it sits foolishly upon the
king’s head?
18. Are there clues here to show
that the beggar is more than a single
person? What are they?
THE BEGGAR AND THE KING
Place them right
Where will you place the king now?
Also think about the position of the
beggar and the servant on the
stage. State your reasons.
will be my drumstick. I will not do these things now. But
one day I will do them. Therefore, when my voice sounds
again in thine ears, begging for bread, remember what I
have told thee. Remember, O king, and be afraid!
[He walks out. The servant, struck dumb, stares after him. The
king sits in his chair, dazed.]
THE KING: (suddenly collecting his wits) After him! After him!
He must not be allowed to escape! After him!
THE SERVANT: (faltering) O King--I cannot seem to move.
THE KING: Quick, then. Call the guards. He must be caught
and put in chains. Quick, I say. Call the guards!
THE SERVANT: O King--I cannot seem to call them.
THE KING: How! Art thou dumb? Ah!
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
e.g. huge and
unconquerable
mountain •
•
•
••
sea •
•
19. The beggar uses words like
‘mountain’ and ‘sea’. What impact
do these words create?
Back to the Roots
Find out the etymology of the
following words. You may refer
to a dictionary, better an
etymological dictionary. You
may also search the site
http://www.etymonline.com
beggar
bread
hunger
THE BEGGAR AND THE KING
20.The time and place of action of
the play is not clearly mentioned.
Why is it so? Does this play have
any contemporary relevance?
[The beggar’s voice is heard outside.]
THE BEGGAR: Bread. Bread. Give me some bread.
THE KING: Ah. [He turns towards the window, half-frightened,
and then, almost instinctively, raises his hands towards his
crown and seems on the point of tossing it out of the window.
But with an oath he replaces it and presses it firmly on his
head.] How! Am I afraid of a beggar!
THE BEGGAR: (continuing outside) Bread. Bread. Give me some
bread.
THE KING: (terribly angry) Close that window!
[The servant stands stupidly, and the voice of the beggar grows
louder as the curtain falls.]
CHECK HOW WELL YOU HAVE PREDICTED
¨ Did the king treat the beggar as you predicted?
¨ Did the events described in the play meet your expectations?
¨ Do you think you can stage the play? State your reasons.
READY REFERENCE
abashed /@"b{St/ (adj.): embarrassed and ashamed of something that
you have done
foreboding (n): a feeling that something very unpleasant is going to
happen
impudent (adj): rude, not showing respect to others
insolent /"Ins@l@nt/(adj): exteremly rude and showing no respect
jest /dZest/(v): to say things that are not serious or true
languid /"l{NgwId/(adj): moving slowly in a graceful manner, without
much energy or effort
nudge /nVdZ/(v): to push somebody with the elbow in order to get
their attention
shamble (v): to walk in a lazy way dragging the feet along the ground
tinkle (n): a light, clear ringing sound
treason /"tri:z@n/(n): the crime of betraying one’s country
wager (v): to enter into a bet with somebody
THE BEGGAR AND THE KING
Do you think the beggar becomes more powerful in the course of
the play? Cite evidence.
Revisit the dialogues of the servant and identify:
• his attitude towards the king
• his attitude towards the beggar
a) You may have noticed the properties, stage directions, voice
modulation etc. in the play. Pick out examples for each and suggest
how you would use them in different ways.
Activity i
Activity ii
Activity iii
TEXTUAL ACTIVITIES
in the play alternate suggestions
Properties used a golden chair
Stage directions
Voice modulation
b) Write a brief note on the feasibility of presenting the play. Consider
the points you have listed in the table. Think how to present the play
as cost effective as possible.
The title of the play is ‘The Beggar and the King’ and not ‘The King
and the Beggar’. Comment.
Imagine that you are asked to make an announcement before the
staging of the play. Prepare the text of the announcement.
Activity iv
Activity v
TEXTUAL ACTIVITIES
Look at the verbs highlighted in the following passage taken from the one act play The Beggar and
the King.
The King sits in a golden chair. A golden crown is on his head and he holds in
his hand a sceptre which is also of gold. A servant stands by his side, fanning
him with an enormous fan of peacock feathers.
Study and discuss the effect of these verbs in the given passage.
Now, fill in the blanks with the appropriate form of the verbs given in brackets.
(seize, leave, struggle, wink, dive, swim, sit, hit, look, fly, walk)
a. He slowly _____________ into the class, ___________ on the last bench
_____________ at his friend sitting next to him and _____________ at the teacher on
the platform.
b. Tendulkar_____________ the crease, _____________ hard at the ball and it
_____________ high in the sky to the stands.
c. Without losing a moment , he _____________ into the rising waters , _____________
against the current _____________ the man crying for help and in a few minutes,
_____________ to the shore.
The beggar in the play cries for bread.
‘weep’, ‘cry’, ‘lament’, ‘grieve’, ‘yell’ and ‘moan’ are all related words.
In the following list, five groups of such related words are given. Classify them under the five heads
given below the list.
(itch, relish, odour, observe, listen, scent, savour, pat, perceive, aroma, echo,
stink, flavour, witness, tap, essence, hit, noise, glance, perfume, sound, peep, tickle)
see : _________________________________________________________
smell : _________________________________________________________
hear : _________________________________________________________
taste : _________________________________________________________
touch : _________________________________________________________
Activity 1
Activity 2
VOCABULARY ACTIVITIES
Find out from the play, one word for the following phrases.
disrespectful behaviour - ___________________
the betrayal of one's country - ___________________
very large in size - ___________________
without any vigour or vitality - ___________________
famous, distinguished or well known - ___________________
Circle the odd word in the list given below. Write in a sentence or two your reasons for circling the
word.
a. lance sword spear bread
b. crown sceptre gutter throne
c. treason trespass treachery cheating
d. riddle puzzle brain teaser puddle
Match the items in column A with those in column B.
A B
annoy hit somone hard
smite the crime of doing harm to one's own country
treason rude
impudent irritate or make somebody slightly angry
Activity 3
Activity 4
Activity 5
VOCABULARY ACTIVITIES
Now, read the short story The Bet by Anton Chekhov given in the Extended Reading section on Page 140.
K. Satchidanandan (b. 1946) is
a major Indian poet, who writes
in Malayalam and English. He is
also a critic, editor and translator.
He was the Executive Head of the
Kendra Sahitya Akademi and
editor of Indian Literature, the
bimonthly journal of the Akademi.
He has translated the poems of
Bertolt Brecht, Garcia Lorca, Pablo
Neruda and Cesar Vallejo into
Malayalam.
CACTUS
Does the cactus find a place in your garden? Where do we usually find the
cactus? Read on and find out how the cactus is described.
Thorns are my language.
I announce my existence
with a bleeding touch.
Once these thorns were flowers.
I loathe lovers who betray.
Poets have abandoned the deserts
to go back to the gardens.
Only camels remain here, and merchants
who trample my flowers to dust.
1. What is language for? How is
language connected to one's
existence?
2. What does ‘bleeding touch’
imply?
3. What is the nature of the cactus’
language?
4. Which lines say that the cactus
once had a different life? Why did it
come to an end?
POETRY
5. What is peculiar about the life of
the cactus?
6. How does the cactus make use
of the ‘energy’ it gets rarely?
7. Are poets opportunists? Justify
your answer by citing relevant lines.
8. Is the cactus a tough fighter?
Substantiate your answer.
9. Will the language of the cactus
survive? Why do you think so?
One thorn for each rare drop of water.
I don't tempt butterflies.
No bird sings my praise.
I don't yield to droughts.
I create another beauty
beyond the moonlight,
this side of dreams,
a sharp, piercing,
parallel language.
TEXTUAL ACTIVITIES
1. What does the cactus stand for? Substantiate your answer by
quoting lines from the poem.
2. Comment on the images of garden and desert used in the poem.
3. Find out the parellels between the cactus and the poet? Explain.
CACTUS
Now, read the poem In the Country by W.H.Davies given in the Extended Reading section on Page 149.
Anton Pavlovich Chekhov
(1860-1904), Russian fictionist
and playwright was one of the
greatest short story writers in
world literature. His well-known
short stories include The Duel, The
Darling, The Black Mont etc. His
plays Three Sisters and The
Cherry Orchard have become
world classics. Chekhov was also
a practising physician.
THE BET
1. It was a dark autumn night. The old banker was walking
up and down his study and remembering how, fifteen
years before, he had given a party one autumn evening.
There had been many clever men there and many
interesting conversations. Among other things they had
talked of capital punishment. The majority of the guests,
among whom were many journalists and intellectual men,
disapproved of death penalty. They considered that form
of punishment out of date, immoral and unsuitable for
Christian states. In the opinion of some of them, death
penalty ought to be replaced everywhere by imprisonment
for life.
2. ‘I don't agree with you,’ said their host, the banker. ‘I
have not tried either death penalty or imprisonment for
life, but if one may judge a priori, death penalty is more
moral and more humane than imprisonment for life.
Capital punishment kills a man at once, but lifelong
imprisonment kills him slowly. Which executioner is the
more humane, he who kills you in a few minutes or he who
drags the life out of you in the course of many years?’
3. ‘Both are equally immoral,’ observed one of the guests,
‘for they both have the same object -- to take away life.
The State is not God. It has not the right to take away what
it cannot restore when it wants to.’
4. Among the guests was a young lawyer, a young man of
five-and-twenty. When he was asked his opinion, he said:
1. Look at the opening sentence of
the story. Does it throw light on the
events that might happen in the
story? Justify your answer.
SHORT STORY
EXTENDED READING
When will you go for a bet? Will you bet on something you are not sure
about? Do you think people bet for making money or for proving a point?
Read on and find out the story behind the bet.
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
‘The death sentence and the life sentence are equally
immoral, but if I had to choose between death penalty and
imprisonment for life, I would certainly choose the second.
To live anyhow is better than not at all.’
5. A lively discussion arose. The banker, who was younger
and more nervous in those days, was suddenly carried
away by excitement; he struck the table with his fist and
shouted at the young man:
‘It's not true! I'll bet you two millions, you wouldn't stay in
solitary confinement for five years.’
‘If you mean that in earnest,’ said the young man, ‘I'll take
the bet, but I would stay not five but fifteen years.’
‘Fifteen? Done!’ cried the banker. ‘Gentlemen, I stake two
millions!’
‘Agreed! You stake your millions and I stake my freedom!’
said the young man.
6. And this wild, senseless bet was carried out! The banker,
spoilt and frivolous, with millions beyond his reckoning,
was delighted at the bet. At supper he made fun of the young
man and said:
2. Is the young lawyer greedy? State
reasons for your answer. (Para 5)
3. Do you think that the bet was
meaningless? Why?
THE BET
‘Think better of it, young man, while there is still time. To
me two millions is a trifle, but you are losing three or four
of the best years of your life. I say three or four, because
you won't stay longer. Don't forget either, that voluntary
confinement is a great deal harder to bear than
compulsory. The thought that you have the right to step
out in liberty at any moment will poison your whole
existence in prison. I am sorry for you.’
7. And now the banker, walking to and fro, remembered all
this and asked himself: ‘What was the object of that bet?
What is the good of that man's losing fifteen years of his
life and my throwing away two millions? Can it prove that
death penalty is better or worse than imprisonment for life?
No, no. It was all nonsensical and meaningless. On my part
it was the caprice of a pampered man and on his part
simple greed for money....’
8. Then he remembered what followed that evening. It was
decided that the young man should spend the years of his
captivity under the strictest supervision in one of the lodges
in the banker's garden. It was agreed that for fifteen years
he should not be free to cross the threshold of the lodge, to
see human beings, to hear human voices or to receive letters
and newspapers. He was allowed to have a musical
instrument and books and was allowed to write letters, to
drink wine and to smoke. By the terms of the agreement,
the only relations he could have with the outer world were
through a little window made purposely for that object.
He might have anything he wanted: books, music, wine
and so on; in any quantity he desired by writing an order,
but could only receive them through the window. The
agreement provided for every detail and every trifle that
would make his imprisonment strictly solitary and bound
the young man to stay there exactly fifteen years, beginning
from twelve o'clock of November 14, 1870, and ending at
twelve o'clock of November 14, 1885.
THE BET
4. In what sense is voluntary
confinement harder than compulsory
confinement? (Para 6)
5. ‘What was the object of that bet?’
Why does the banker think about it
now? (Para 7)
6. What are the conditions put forth
for the fifteen years of confinement?
(Para 8)
Permitted
•
•
•
•
•
Not permitted
•
•
•
•
•
The slightest attempt on his part to break the conditions, if
only two minutes before the end, released the banker from
the obligation to pay him two millions.
9. For the first year of his confinement, as far as one could
judge from his brief notes, the prisoner suffered severely
from loneliness and depression. The sounds of the piano
could be heard continually day and night from his lodge.
He refused wine and tobacco. Wine, he wrote, excites the
desires, and desires are the worst foes of the prisoner; and
besides, nothing could be drearier than drinking good wine
and seeing no one. And tobacco spoilt the air of his room.
In the first year the books he sent for were principally of a
light character; novels with a complicated love plot,
sensational and fantastic stories, and so on.
10. In the second year the piano was silent in the lodge, and
the prisoner asked only for the classics. In the fifth year
music was audible again, and the prisoner asked for wine.
Those who watched him through the window said that all
that year he spent doing nothing but eating and drinking
and lying on his bed, frequently yawning and angrily
talking to himself. He did not read books. Sometimes at
night he would sit down to write; he would spend hours
writing and in the morning tear up all that he had written.
More than once he could be heard crying.
11. In the second half of the sixth year the prisoner began
zealously studying languages, philosophy, and history. He
threw himself eagerly into these studies -- so much so that
the banker had enough to do to get him the books he
ordered. In the course of four years some six hundred
volumes were procured at his request. It was during this
period that the banker received the following letter from
his prisoner:
‘My dear Jailer, I write you these lines in six languages.
Show them to people who know the languages. Let them
read them. If they find not one mistake I implore you to
fire a shot in the garden. That shot will show me that my
7. How does the lawyer relieve
himself of the pain of solitary
confinement? (Para 9)
8. Prepare a note of appreciation
you would like to pass on to the
man for his efforts to learn
languages. (Para 11)
THE BET
efforts have not been thrown away. The geniuses of all ages
and of all lands speak different languages, but the same
flame burns in them all. Oh, if you only knew what
unearthly happiness my soul feels now from being able to
understand them!’ The prisoner's desire was fulfilled. The
banker ordered two shots to be fired in the garden.
12. Then after the tenth year, the prisoner sat immovably at
the table and read nothing but the Gospel. It seemed strange
to the banker that a man who in four years had mastered
six hundred learned volumes should waste nearly a year
over one thin book easy of comprehension. Theology and
histories of religion followed the Gospels.
13. In the last two years of his confinement the prisoner read
an immense quantity of books quite indiscriminately. At
one time he was busy with the natural sciences and then
he would ask for Byron or Shakespeare. There were notes
in which he demanded at the same time books on
chemistry, and a manual of medicine, and a novel, and
some treatise on philosophy or theology. His reading
suggested a man swimming in the sea among the wreckage
of his ship and trying to save his life by greedily clutching
first at one spar and then at another.
II
14. The old banker remembered all this and thought:
‘Tomorrow at twelve o'clock he will regain his freedom.
By our agreement I ought to pay him two millions. If I do
pay him, it is all over with me: I shall be utterly ruined.’
Fifteen years before, his millions had been beyond his
reckoning; now he was afraid to ask himself which were
greater, his debts or his assets. ‘Cursed bet!’ muttered the
old man, clutching his head in despair, ‘Why didn't the
man die? He is only forty now. He will take my last penny
from me, he will marry, will enjoy life, will gamble on the
Exchange; while I shall look at him with envy like a beggar,
9. If you were left with the choice of
selecting any one pastime in a
period of solitary confinement, what
would you opt for? Why? (Para 13)
10. Why did the banker wish the
young man had died? (Para 14)
THE BET
and hear from him every day the same sentence: 'I am
indebted to you for the happiness of my life, let me help
you!' No, it is too much! The one means of being saved from
bankruptcy and disgrace is the death of that man!’
15. It struck three o'clock, the banker listened; everyone was
asleep in the house and nothing could be heard outside but
the rustling of the chilled trees. Trying to make no noise,
he took from a fireproof safe the key of the door which had
not been opened for fifteen years, put on his overcoat, and
went out of the house.
16. It was dark and cold in the garden. Rain was falling. A
damp cutting wind was racing about the garden, howling
and giving the trees no rest. The banker strained his eyes,
but could see neither the earth nor the white statues, nor
the lodge, nor the trees. Going to the spot where the lodge
stood, he twice called the watchman. No answer followed.
Evidently the watchman had sought shelter from the
weather, and was now asleep somewhere either in the
kitchen or in the greenhouse.
11. Does the description of the
weather add to the mood of the
story? Comment. (Para 16)
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
THE BET
‘If I had the pluck to carry out my intention,’ thought the
old man, ‘Suspicion would fall first upon the watchman.’
17. He felt for the steps and the door in the darkness and
entered the lodge. Then he groped his way into a little
passage and lighted a match. There was not a soul there.
There was a bedstead with no bedding on it, and in the
corner there was a dark cast-iron stove. The seals on the
door leading to the prisoner's rooms were intact.
18. When the match went out, the old man, trembling with
emotion peeped through the little window. A candle was
burning dimly in the prisoner's room. He was sitting at
the table. Nothing could be seen but his back, the hair on
his head, and his hands. Open books were lying on the table,
on the two easy-chairs and on the carpet near the table.
19. Five minutes passed and the prisoner did not once stir.
Fifteen years' imprisonment had taught him to sit still. The
banker tapped at the window with his finger and the
prisoner made no movement, whatever in response. Then
the banker cautiously broke the seals off the door and put
the key in the keyhole. The rusty lock gave a grating sound
and the door creaked. The banker expected to hear at once
footsteps and a cry of astonishment, but three minutes
passed and it was as quiet as ever in the room. He made
up his mind to go in.
20. At the table a man unlike ordinary people was sitting
motionless. He was a skeleton with the skin drawn tight
over his bones, with long curls like a woman's and a shaggy
beard. His face was yellow with an earthy tint in it, his
cheeks were hollow, his back long and narrow and the hand
on which his shaggy head was propped was so thin and
delicate that it was dreadful to look at it. His hair was
already streaked with silver and seeing his emaciated,
aged-looking face, no one would have believed that he was
only forty. He was asleep.... In front of his bowed head there
12. ‘Suspicion would fall first upon
the watchman.’ Why did the banker
think so? (Para 16)
13. Compare the young lawyer you
saw in the beginning of the story with
the man who is sitting motionless
at the table. (Para 20)
THE BET
lay on the table a sheet of paper on which there was
something written in fine handwriting.
‘Poor creature!’ thought the banker, ‘he is asleep and most
likely dreaming of the millions. And I have only to take
this half-dead man, throw him on the bed, stifle him a little
with the pillow, and the most conscientious expert would
find no sign of a violent death. But let us first read what he
has written here...’
21. The banker took the page from the table and read as
follows:
‘Tomorrow at twelve o'clock I regain my freedom and the
right to associate with other men, but before I leave this
room and see the sunshine, I think it necessary to say a few
words to you. With a clear conscience I tell you that I despise
freedom and life and health and all that in your books are
called the good things of the world.
22. ‘For fifteen years I have been intently studying earthly
life. It is true I have not seen the earth nor men, but in your
books I have them all created by the magic of your poets
and geniuses. In your books I have seen the sun rise and
have watched it at evening flood the sky, the ocean, and
the mountain-tops with gold and crimson. I have seen
green forests, fields, rivers, lakes, towns. I have heard the
singing of the sirens, and the strains of the shepherds' pipes.
In your books I have flung myself into the bottomless pit,
performed miracles, slain, burned towns, preached new
religions, conquered whole kingdoms....
23. ‘Your books have given me wisdom. All that the
unresting thought of man has created in the ages is
compressed into a small compass in my brain. I know that
I am wiser than all of you.
24. ‘And I despise your books; I despise wisdom and the
blessings of this world. It is all worthless, fleeting, illusory
and deceptive, like a mirage.
THE BET
14. ‘...he is asleep and most likely
dreaming of the millions,’ thinks the
banker. Why does the banker think
so? (Para 20)
15. How effective was the life offered
by the books? Can it be substituted
for real life? Discuss. (Para 22 &
23)
25. ‘To prove to you in action how I despise all that you live
by, I renounce the two millions of which I once dreamed
of as paradise and which now I despise. To deprive myself
of the right to the money I shall go out from here five hours
before the time fixed and so break the contract....’
26. When the banker had read this he laid the page on the
table, kissed the strange man on the head, and went out of
the lodge, weeping. At no other time, even when he had
lost heavily on the Stock Exchange, had he felt so great a
contempt for himself. When he got home he lay on his bed,
but his tears and emotion kept him for hours from sleeping
for hours.
27. Next morning the watchmen ran in with pale faces, and
told him they had seen the man who lived in the lodge
climb out of the window into the garden, go to the gate
and disappear. The banker went at once with the servants
to the lodge and made sure of the flight of his prisoner. To
avoid arousing unnecessary talk, he took from the table
the writing in which the millions were renounced and when
he got home locked it up in the fireproof safe.
16. Who, in your opinion, has learnt
a greater lesson in life - the banker
or the young lawyer? Justify your
answer.
THE BET
Now, read the poem Cactus by K. Satchidanandan on Page 138.
William Henry Davies popularly
known as W. H. Davies (1871 -
1940) is a Welsh poet. The
principal themes of his works are
the marvels of nature,
observations about life's
hardships, his own tramping
adventures and the various
persons he had met. His first book
of poetry The Soul's Destroyer
was published in 1905.
IN THE COUNTRY
Where would you like to live - in a village or a city? Why do you think one is
better than the other? Read on and find out the poet’s views .
This life is sweetest; in the wood
I hear no children cry for food;
I see no woman, white with care;
No man, with muscles wasting here.
No doubt it is a selfish thing
To fly from human suffering;
No doubt he is a selfish man,
Who shuns poor creatures sad and wan.
1. Why does the poet say that life
is sweetest in the wood?
2. Which line brings out the hardworking
nature of men in the wood?
3. What does the word 'white' in
line 3 imply?
4. How do men's muscles get
wasted?
EXTENDED READING
POETRY
5. 'It is a selfish thing to fly from
human sufferings.' Comment.
6. What is the 'homeless misery'
mentioned in the poem?
7. Who groans and sighs before the
poet?
8. Which lines indicate the helplessness
of the poet?
9. Why is the poet unable to admire
the statue and the park's green tree?
But it's a wretched life to face
Hunger in almost every place;
Cursed with a hand that's empty, when
The heart is full to help all men.
Can I admire the statue great,
When living men starve at its feet?
Can I admire the park's green tree,
A roof for homeless misery?
When I can see few men in need,
I then have power to help by deed,
Nor lose my cheerfulness in pity-
Which I must do in every city.
For when I am in those great places,
I see ten thousand suffering faces;
Before me stares a wolfish eye.
Behind me creeps a groan or sigh.
Textual Activities
1. How does the sight of the starving men become more arresting in the
poem?
2. What is the rhyme scheme of the poem?
3. Identify the images used by the poet to show the sufferings in the city. Add
other such urban images you are familiar with.
IN THE COUNTRY
You have already learnt that the clause that modifies the head noun is a relative clause.
Look at the picture given below.
John won the prize.
Who is this? What is it in his hand?
You may answer like:
1. This is John who won the prize.
2. This is the prize that John won.
Each sentence contains a relative clause. Identify the noun which the relative clause qualifies.
There is a difference in the internal structure of these sentences.
Let's sum up:
1. Both the sentences have been derived from the sentence, 'John won the prize'.
2. In sentence (1) the subject, 'John' gets more prominence and in sentence (2) the object 'the
prize' gets more prominence.
3. The process of giving prominence to a noun phrase (either the subject or the object) by
qualifying the noun phrase using a clause is called relativization.
4. The word 'that' which links the relative clause to the noun is called relative pronoun. This
can be replaced by 'who', as in sentence (1).
5. Other relative pronouns like 'which', 'when' etc. also can be used to link the clause with the
noun.
Activity 1
LANGUAGE ACTIVITIES
• This is the prize which John won.
• This is the day when John won the prize.
6. In sentence (1) the subject is changed into a relative clause. Hence it is subject relativization.
In sentence (2) the object is changed into a relative clause. Hence it is a case of object
relativization.
Read the following sentences and identify the relative clauses. Specify whether the relative clause
is a case of subject relativization or object relativization.
1. The book that I gave you was borrowed from the library.
2. The students who visited the zoo came from a far off village.
3. I want to know the person who stole my umbrella.
4. This is the house which a popular actor bought recently.
5. This is the person who talked about Mary.
Look at the sentences once again:
1. This is the prize that John won.
2. This is John, who won the prize.
The relative clauses in these two sentences serve different roles in contributing to the meaning. In
sentence (1) the identification of the noun phrase 'the prize' is possible only with the help of the
relative clause. In sentence (2) the noun phrase 'John' can be identified even without the help of the
relative clause because 'John' refers to a particular person. The relative clause which helps to
identify the noun phrase it qualifies is called identifying relative clause or defining relative
clause. The relative clause which does not contribute to identification of the noun phrase it qualifies
is known as non-identifying relative clause or non-defining relative clause.
Activity 3
LANGUAGE ACTIVITIES
Activity 2
Read the following sentences and identify the relative clauses and classify them as defining or nondefining
relative clause.
1. This is the writer who won the Sahitya Akademi Award.
2. The award that he won made him popular.
3. It was the Education Minister, who gave away the award to the writer.
4. This is my uncle, who lives in Hyderabad.
5. I know the girl who drives the blue car.
6. I met Srikanth who played for the Indian cricket team.
Let's sum up:
1. The relative pronoun 'that' when used to define a relative clause alone can be replaced with
words like 'who', ‘which’, ‘whom’, ‘whose’, ‘where’, ‘when’, ‘why’ etc.
2. In writing, the non-defining relative clause is normally separated from the noun phrase with a
comma.
Complementation
Complementation is a process where a clausal category is linked to a verb or a noun using a linking
word 'that' which is called a complementizer. Look at the following sentence:
I think that John is intelligent.
Here the whole sentence 'John is intelligent' is linked to the verb 'think' using 'that'. Thus 'that John
is intelligent’ becomes the object / complement of the verb 'think'.
Read the following sentences and identify the role of 'that' in each.
1. He believes that a revolution will happen.
2. The book that I bought is an interesting read.
LANGUAGE ACTIVITIES
Activity 4
3. I want that book.
4. Sanoj thinks that he will get high grades in the examination.
5. Who is that?
6. That is interesting.
Let's sum up:
1. In sentences (1) and (4) 'that' is used as a complementizer.
2. In sentence (2) 'that' is a relative pronoun that links the clause 'I bought' to the noun phrase
'the book'.
3. In sentence (3) ‘that’ is a demonstrative pronoun.
4. In sentence (5) and (6) 'that' is a pronoun which stands independently as a noun phrase.
5. In subject and object complements there are no links established by the complementizer.
e.g. John considers Malu honest.
Here there is no complementizer to link the object complement 'honest' to the noun phrase
'Malu'.
6. In complementation there is a linking device called complementizer.
7. In complementation what is linked is always a clause. It is called clausal complement.
Now, edit the following passage using the editing codes you are already familiar with.
I am wondering how mean some of our people are there was an open space
near the bus station to my way to school. Because now the place is strewn
with rubish and broken glass. The saplings planted on both side of the road
leading to our school were a happy site. But last wednesday I have noticed
that someone has knocked the saplings to the ground and trampled the tender
LANGUAGE ACTIVITIES
Activity 5
saplings into dirt. Someone had destroyed a bit of beautiful for no reason. The
worst incident of all that I saw happened when I am returning from school
yesterday. I saw a old woman wrapped in a dirty blanket and holding a dirty
vinyl bag packed with her belongings. She was one of the 'street woman'.
Three teenagers was walking towards the woman from the opposite direction.
They were laughing and talking in loud sound. One of them began to shout
crude remarks at she. Another grabbed her bag and pretended to threw it out.
The woman began to cry out helpless. Being had their fun, the teenagers went
on their way. I wonder why people are so unhuman at times.
LANGUAGE ACTIVITIES
When the body acts…
Parts of the body such as 'head', 'eye', 'nose' etc. can also be used as verbs.
e.g.: He headed the ball.
They eyed the cake.
The car nosed out.
Now, use the following parts of the body as verbs in sentences.
You may look up a dictionary for help.
1. elbow - _________________________________________________________
2. knuckle - _________________________________________________________
3. hand - _________________________________________________________
4. shoulder - _________________________________________________________
5. knee - _________________________________________________________
6. toe - _________________________________________________________
7. thumb - _________________________________________________________
8. teeth - _________________________________________________________
9. face - _________________________________________________________
10. mouth - _________________________________________________________
Language Game
UNIT V
ART AND ATTITUDES
Discuss
• What do you see in the pictures?
• Can you call them works of art? Why?
• What makes something a work of art?
• What types of artistic works are you familiar with?
‘Life imitates art far more than art imitates life.’
- Oscar Wilde
Look at the pictures given below.
1. Balthazar says that it is bad to
shave in the afternoon. Do people
still have similar beliefs? Share
your ideas and discuss the logic
behind such beliefs. (Para 1)
2. Why is Balthazar not aware of
the fact that the cage he has just
made is the most beautiful one in
the world? (Para 1)
SHORT STORY
Gabriel García Márquez
(b.1928), popularly known as
Gabo is a Columbian novelist,
journalist, publisher and political
activist. He received the Nobel
Prize for Literature in 1982. His
works are remarkable for their use
of magical realism. He has
secured significant critical acclaim
and widespread readership.
Márquez’s first major work is The
Story of a Shipwrecked Sailor,
which he wrote as a newspaper
series in 1955. Some of his other
major works are the novels, One
Hundred Years of Solitude, Love
in the Time of Cholera and
Chronicle of a Death Foretold . His
autobiography is titled, Living to
Tell the Tale.
BALTHAZAR’S MARVELLOUS
AFTERNOON
What impression of the story do you get from the word ‘marvellous’?
Read the story and check the appropriateness of the title.
1. The cage was finished. Balthazar hung it under the eaves,
from force of habit, and when he finished lunch everyone
was already saying that it was the most beautiful cage in
the world. So many people came to see it that a crowd
formed in front of the house and Balthazar had to take it
down and close the shop. ‘You have to shave,’ Ursula, his
wife, told him. ‘You look like a capuchin.’
‘It’s bad to shave in the afternoon.’
He had two weeks growth, short, hard, and bristly hair
like the mane of a mule and the general expression of a
frightened boy. He did not know that for some people
the cage he had just made was the most beautiful one in
the world. For him, accustomed to making cages since
childhood, it had been hardly any more difficult than the
others.
'Rest for a while then,' Ursula said to him.
2. When Balthazar woke up from his nap, she had ironed
his pants and a shirt; she had put them on a chair near the
hammock and had carried the cage to the dining table.
She regarded it in silence.
‘How much will you charge?’ she asked.
‘I don’t know,’ Balthazar answered. ‘I’m going to ask for
thirty pesos* to see if they’ll give me twenty.’
‘Ask for fifty,’ said Ursula. ‘You’ve lost a lot of sleep in
these two weeks. Furthermore, it’s rather large. I think
it’s the biggest cage I’ve ever seen in my life.’
KEEP TRACK OF YOUR READING
Read up to ‘Pause & Reflect’.
Identify the central characters and
setting of the story.
Note down your impressions of the
characters.
Pick out the most striking event.
Identify the narrative techniques
used in the story to build up conflicts.
Underline the striking words/
expressions/images used.
* a coin and monetary unit of several Latin American countries and of the Philippines
Balthazar began to shave.
‘Do you think they’ll give me fifty pesos?’
‘That’s nothing for Mr Jose Montiel, and the cage is worth
it,’ said Ursula. ‘You should ask for sixty.’
3. When he finished dressing, Balthazar opened the door
to the patio to cool off the house, and a group of children
entered the dining room.
The news had spread.
4. There were a lot of people in the dining room. The cage
was on display; with its enormous dome of wire, three
stories inside, with passageways and compartments
especially for eating and sleeping and with swings in the
space set aside for the birds’ recreation, it seemed like a
small-scale model of a gigantic ice factory. Doctor Octavio
Giraldo, an old physician who had come in to see the cage
inspected it carefully.
‘This is a flight of the imagination,’ he said. ‘You would
have been an extraordinary architect.’
BALTHAZAR’S MARVELLOUS AFTERNOON
Reading
Have I identified the central
characters and the setting of the
story?
Have I picked out the striking events
from the story?
Have I identified the narrative
techniques used in the story to build
up conflicts?
Have I shared the ideas I gathered
with my friends during group
reading?
Have I noted down my impressions
of the characters?
Have I tried to get clarification for
the words/ expressions I didn't
understand?
Have I picked out words/
expressions for my personal
wordlist?
Have I been able to answer the
questions posed by my teacher?
What difficulties have I faced in my
reading?
ASSESS YOURSELF
Balthazar blushed.
‘Thank you,’ he said.
‘You wouldn’t even need to put birds in it,’ he said, making
the cage turn in front of the audience’s eyes as if he were
auctioning it off. ‘It would be enough to hang it in the
trees so it could sing by itself.’
‘Thank you,’ Balthazar said, blushing again.
‘Fine, then I’ll take it,’ the doctor said.
‘It’s sold,’ said Ursula.
‘It belongs to the son of Mr Jose Montiel,’ said Balthazar.
‘He ordered it specially.’
The doctor adopted a respectful attitude.
‘I promised my wife I would buy her this cage this
afternoon,’ said the doctor.
‘I’m very sorry, Doctor,’ said Balthazar, ‘but I can’t sell
you something that’s sold already.’
The doctor shrugged his shoulders. Drying the sweat from
his neck with a handkerchief, he contemplated the cage
silently with the fixed, unfocused gaze of one who looks
at a ship which is sailing away.
‘How much did they pay you for it?’
Balthazar sought out Ursula’s eyes without replying.
‘Sixty pesos,’ she said.
5. The doctor kept looking at the cage. ‘It’s very pretty.’
He sighed. ‘Extremely pretty.’ Then, moving towards the
door, he began to fan himself energetically, smiling, and
the trace of that episode disappeared forever from his
memory.
‘Montiel is very rich,’ he said.
Pause and Reflect
3. ‘You wouldn’t need to put birds
in it.’ and ‘It would be enough to
hang it in the trees so it could
sing by itself’. What impressions
do these remarks create in us of
Dr Giraldo, Balthazar and the
cage? (Para 4)
4. Why does Balthazar refuse to
sell the cage to Dr Octavio
Giraldo? (Para 4)
5. The author compares the gaze
of Dr Giraldo to that of one who
looks at a ship which is sailing
away. Bring out the significance
of the comparison. (Para 4)
Do you believe that the afternoon
is going to be a marvellous one
for Balthazar? State your
reasons.
Pause & Reflect
BALTHAZAR’S MARVELLOUS AFTERNOON
6. In truth, Jose Montiel was not as rich as he seemed. In his
house, a few blocks from Balthazar’s, he remained
indifferent to the news of the cage. His wife was lying in
bed with her eyes open, while he took his siesta. Hearing
a clamour outside, she opened the door to the living room
and found a crowd in front of the house and Balthazar
with the cage in the middle of the crowd, dressed in white
and freshly shaved.
‘What a marvellous thing!’ Jose Montiel’s wife exclaimed,
with a radiant expression, leading Balthazar inside. ‘I’ve
never seen anything like it in my life,’ she said, and added,
annoyed by the crowd which piled up at the door:
‘Bring it inside before they turn the living room into a
grandstand.’
7. Balthazar was no stranger to Jose Montiel’s house. On
different occasions, because of his skill and forthright way
of dealing, he had been called in to do minor carpentry
jobs. But he never felt at ease among the rich.
‘Is Pepe home?’ he asked.
He had put the cage on the dining room table.
‘He’s at school,’ said Jose Montiel’s wife. ‘But he shouldn’t
be long,’ and she added, ‘Montiel is taking a bath.’
8. In reality, Jose Montiel had not had time to bathe. He
was giving himself an urgent alcohol rub, in order to come
out and see what was going on. ‘Adelaide!’ he shouted.
‘What’s going on?’
‘Come and see, what a marvellous thing!’ his wife shouted.
Jose Montiel, obese and hairy, his towel draped around
his neck, appeared at the bedroom window.
‘What is that?’
‘Pepe’s cage,’ said Balthazar.
His wife looked at him perplexedly.
‘Whose?’
‘Pepe’s,’ replied Balthazar. And then, turning toward Jose
Montiel, ‘Pepe ordered it.’
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: .............................
Meaning: .........................
....................................................
....................................................
Sentence: .......................
.........................................................
....................................................
6. Is there any clue which is not
quite positive for Balthazar in
paragraph 6?
7. Why is Balthazar not at ease
while he is among the rich?
(Para 7)
8. Why does Jose Montiel’s wife
look at Balthazar perplexedly?
(Para 8)
BALTHAZAR’S MARVELLOUS AFTERNOON
Jose Montiel came out of the bedroom.
‘Pepe!’ he shouted.
‘He’s not back,’ whispered his wife, motionless.
9. Pepe appeared in the doorway. He was about twelve, and
had the same curved eyelashes and was as quietly pathetic
as his mother.
‘Come here,’ Jose Montiel said to him. ‘Did you order this?’
The child lowered his head. Grabbing him by the hair,
Jose Montiel forced Pepe to look him in the eye.
‘Answer me.’
The child bit his lip without replying.
‘Montiel,’ whispered his wife.
10. Jose Montiel let the child go and turned towards
Balthazar in a fury. ‘I’m very sorry, Balthazar,’ he said.
‘But you should have consulted me before going on. Only
to you would it occur to take an order from a child.’ As he
9. ‘Pepe had the same curved
eyelashes and was as quietly
pathetic as his mother.’ What
impressions can you gather of
Jose Montiel and his family from
this? (Para 9)
10. Do you buy/order things
without informing your parents?
Is Pepe right in ordering the cage
without his father’s consent?
Justify your answer. (Para 9)
BALTHAZAR’S MARVELLOUS AFTERNOON
Back to the Roots
Find out the etymology of the
following words. You may refer
to a dictionary, better an
etymological dictionary. You
may also search the site
http://www.etymonline.com
cage
audience
Balthazar
spoke, his face recovered its serenity. He lifted the cage
without looking at it and gave it to Balthazar.
‘Take it away at once and try to sell it to whomever you
can, he said. Above all, I beg you not to argue with me.’
He patted him on the back and explained, ‘The doctor
has forbidden me to get angry.’
11.The child had remained motionless, without blinking,
until Balthazar looked at him uncertainly with the cage
in his hand. Then he emitted a guttural sound, like a dog’s
growl, and threw himself on the floor screaming.
Jose Montiel looked at him, unmoved, while the mother
tried to pacify him. ‘Don’t even pick him up,’ he said, ‘Let
him break his head on the floor.’ The child was shrieking
tearlessly while his mother held him by the wrists.
‘Leave him alone,’ Jose Montiel insisted.
‘Pepe,’ said Balthazar.
He approached the child, smiling, and held the cage out
to him. The child jumped up, embraced the cage which
was almost as big as he was and stood looking at Balthazar
through the wirework without knowing what to say. He
hadn’t shed one tear.
12. ‘Balthazar,’ said Jose Montiel softly. ‘I told you already
to take it away.’
‘Give it back,’ the woman ordered the child.
‘Keep it,’ said Balthazar. And then, to Jose Montiel, ‘After
all, that’s what I made it for.’
Jose Montiel followed him into the living room.
‘Don’t be foolish, Balthazar,’ he was saying, blocking his
path. ‘Take your piece of furniture home and don’t be
silly. I have no intention of paying you a cent.
‘It doesn’t matter,’ said Balthazar. ‘I made it expressly as
a gift for Pepe. I didn’t expect to charge anything for it.’
11. ‘Only to you would it occur to
take an order from a child,’ says
Jose Montiel to Balthazar. Is
Balthazar foolish in making the
cage for the boy? Discuss.
(Para 10)
12. Why does Balthazar give the
cage to Pepe? What is his
justification? (Para 12)
BALTHAZAR’S MARVELLOUS AFTERNOON
13. As Balthazar made his way through the spectators who
were blocking the door, Jose Montiel was shouting in the
middle of the living room. He was very pale and his eyes
were beginning to get red.
‘Idiot!’ he was shouting. ‘Take your trinket out of here.’
Pause and Reflect
14. In the pool hall, Balthazar was received with an ovation.
He had given away the cage to Pepe so he wouldn’t keep
crying. But he suddenly realised that what he had done
had a certain importance for many people, and he felt a
little excited.
‘So they gave you fifty pesos for the cage.’
‘Sixty,’ said Balthazar.
‘You’re the only one who has managed to get such a pile
of money out of Mr Jose Montiel. We have to celebrate.’
15. They bought him a drink and Balthazar responded with
a round for everybody. It was the first time he had ever
13. Why is Montiel so enraged by
the gift? (Para 13)
BALTHAZAR’S MARVELLOUS AFTERNOON
Do you think Balthazar will be a
misfit in the present society?
Why?
Pause & Reflect
14. How do the townsfolk receive
the (false) news that Balthazar
has sold the cage to Jose Montiel
for sixty pesos? (Para 14)
15. Why does Balthazar lie about
having received a good sum for
the cage? (Para 14)
The currency referred to in the
story is Columbian Peso. The
value of one Columbian Peso is
` 0.024. This value changes from
time to time. Find out the
currencies of the following
countries and their values in
Indian Rupee. You may search
the following websites:
h t t p : / / f x . s a u d e r . u b c . c a /
c u r r e n c i e s . h t m l , h t t p : / /
www.oanda.com/currency/
converter/
Afghanistan
Argentina
Bangladesh
Brazil
Brunei
Canada
China
Egypt
Germany
Ghana
Great Britain
Haiti
Pakistan
Russia
South Africa
Sri Lanka
United Arab Emirates
REACH & READ
16. Do you think Balthazar
behaved recklessly? Justify your
answer. ( Para 15, 16 & 17)
17. What was the happiest
dream of Balthazar’s life? What
is the significance of the dream
in the story? (Para 17)
been out drinking. By dusk he was completely drunk, and
he began talking about his dream of a fabulous project of
making a million cages and selling them at sixty pesos
each. By meal time his friends had left, and he was alone
in the pool hall.
16. Ursula had waited for him until eight, with a dish of
fried meat covered with slices of onion. Someone told her
that her husband was in the pool hall, delirious with
happiness, buying beers for everyone, but she didn’t
believe it, because Balthazar had never got drunk. Finally
she went to bed at midnight.
17. Balthazar had spent so much at the pool that he had
had to leave his watch in pawn, with the promise to pay
the next day. A little later, spreadeagled in the street, he
realised that somebody was taking off his shoes, but he
didn’t want to abandon the happiest dream of his life. The
women who passed on their way to five o’clock Mass
didn’t dare look at him, thinking he was dead.
(Adapted)
READY REFERENCE
alcohol rub (v): the act of cleaning, using alcohol-based sanitisers
capuchin /k{pUtSIn/ (n): a South American monkey, with a cap of hair
on the head
clamour /"kl{m@/(n): a loud uproar, as from a crowd of people
drape /dreIp/(v): to cover or hang with cloth or other fabric, esp. in
graceful folds
guttural /"gVt@r@l/(adj): harsh; throaty
ovation /@U"veIS@n/(n): an enthusiastic public reception of a person,
marked by loud and prolonged applause
patio /"p{tI@U/(n): the courtyard of a house, enclosed by low buildings
or walls
pawn /pO:n/(v): to deposit as security for the money borrowed from a
pawnbroker
pool hall (n): a hall where billiards is played
spreadeagled (adj): lying with arms and legs outstretched
trinket /"trINkIt/ (n): a small ornament, piece of jewellery etc. usually of
little value
BALTHAZAR’S MARVELLOUS AFTERNOON
Look at the sentences quoted below. They are taken from
paragraphs 1 & 2 of the story.
a) You look like a capuchin.
b) It’s bad to shave in the afternoon.
c) Rest for a while.
d) How much will you charge?
e) I’m going to ask for thirty pesos to see if they’ll give me twenty.
f) Do you think they’ll give me fifty pesos?
Identify the speakers of these sentences and rewrite them as you
would report them.
Those who realise the value of art are not rich enough to buy
and promote works of art. But those who are rich enough to
afford them do not realise the real value of a work of art.
In the light of your reading of the story, write your responses to the
above statements in a paragraph.
Pepe was glad that Balthazar gifted the wonderful cage to him.
Imagine he writes a letter of thanks to Balthazar. What will the letter
be like?
Activity i
Activity ii
Activity iii
ASSESS YOURSELF
Paragraph
Have I placed the main idea of the
paragraph right in the beginning?
Have I been able to include all the
supporting details of the main
point?
Have I been able to organise the
paragraph well?
How well have I been able to
connect the sentences in the
paragraph?
Have I included my own ideas in
the paragraph?
What changes will I make next time
I prepare a paragraph?
Letter
Have I written a personal letter/an
official letter/a business letter?
Have I used appropriate language
in the letter?
Have I followed the appropriate
format of the letter?
Have I been able to convey the
ideas I wanted to express?
How well have I participated in
group refinement?
How can I improve writing a letter
next time?
ASSESS YOURSELF
TEXTUAL ACTIVITIES
Which artistic activities are you familiar with (painting, sculpting etc.)?
Write the names of a few artists that you have heard of.
Collect details of any one of them and prepare a profile.
There might be interesting stories or legends about skilled labourers
in your locality who rose up to the level of masters because of their
excellence in their respective fields. e.g. the story of Perunthachan.
Narrate any such story you have heard about.
Collect the profiles you have prepared and include pictures of their
works in the collection and publish it in the form of a book titled,
‘Footprints of Art’. You may publish it in your school blog too.
Activity iv
Activity v
Do you Know?
A blog is a type of website or part of a website. Blogs are usually maintained by an individual with regular
entries of commentary, descriptions of events or other materials such as graphics or video. Entries are
commonly displayed in reverse chronological order. ‘Blog’ can also be used as a verb, meaning to maintain
or add content to a blog. Many blogs provide commentary or news on a particular subject; others function
as more personal online diaries. A typical blog combines text, images and links to other blogs, web pages
and other media related to the topic. The provision for readers to leave their comments in an interactive
format is an important part of many blogs. Most blogs are primarily textual, although some focus on art like
art blog, photoblog etc.
TEXTUAL ACTIVITIES
Profile
Have I described the person
providing necessary details?
Have I sequenced the ideas in the
proper order?
Have I linked the sentences suitably?
Have I used the language suitable
for a profile?
What improvement should I make
the next time I write a profile?
ASSESS YOURSELF
Activity vi
Narrative
Have I fixed the events of the story
appropriately?
Has the setting been described
clearly?
Have the characters been portrayed
appropriately?
Have the dialogues I used in the
story been relevant?
Have I created proper images in the
story?
How effective have the opening and
ending of the story been?
How imaginative has the story
been?
What has been the easiest part of
writing the narrative? (narrating
events, describing people/things,
writing dialogues etc.)
Have I given constructive
suggestions to the other groups?
How will I improve next time I write
a narrative?
ASSESS YOURSELF
There are a number of words associated with ‘sleep’ in the story Balthazar’s Marvellous Afternoon.
With the help of a dictionary, find out the meaning of the following words/phrases.
a. nap - ______________________________________________
b. siesta - ______________________________________________
c. slumber - ______________________________________________
d. not sleep a wink - ______________________________________________
e. snore - ______________________________________________
Look at the following sentence from the story Balthazar’s Marvellous Afternoon.
‘The child was shrieking tearlessly while his mother held him by the wrists. ‘
‘Shrieking’ means making a very loud sound especially when you are excited, frightened, sad etc.
Given below are a few words expressing violent reactions. Add your own words to the list, find their
meanings with the help of a dictionary and use them in sentences of your own.
howl - ___________________________________________________
screech - ___________________________________________________
wail - ___________________________________________________
scream - ___________________________________________________
bawl - ___________________________________________________
Find out the words which are similar in meaning to the following words/phrases from the story
Balthazar’s Marvellous Afternoon.
a. The long hair on the back of a horse’s neck __________________________________
b. A long piece of cloth or a net tied between two trees used for sleeping in
__________________________________
c. The courtyard of a house, enclosed by low buildings or walls
__________________________________
d. A large structure that has many rows of seats where people sit and watch sports events, games
or races __________________________________
e. The edges of a roof that stick out beyond the walls __________________________________
Activity 1
Activity 2
Activity 3
VOCABULARY ACTIVITIES
Fill in the blanks in the following sentences with appropriate forms of the phrases given below.
These phrases occur in the lesson.
(in truth, feel at ease, in order to, let someone go, give away, get something out of)
1. Rahul ——————————— immense amount of money to charity.
2. ———————————, Rahul was listening to music even though he pretended to read.
3. I don’t know whether people———————— listening to deafeningly loud music.
4. Nurses at the hospital do all they can to make the patients———————————.
5. They left for the town————————— purchase some clothes.
6. The police arrested him suspecting that he was a thief. But they later ——————————.
Read the following sentences from the story.
‘As he spoke, his face recovered its serenity.’
Here the word ‘serenity’ is a noun. It is formed by adding the suffix ‘-ity’ to the adjectival form,
‘serene’. Similarly ‘-ness’ can also be used to form nouns from adjectives.
Form nouns from the following adjectives by adding either ‘-ity’ or ‘-ness’, whichever is suitable.
a. odd - ___________________________________________________
b. clear - ___________________________________________________
c. remote - ___________________________________________________
d. pure - ___________________________________________________
e. mean - ___________________________________________________
f. stupid - ___________________________________________________
g. amiable - ___________________________________________________
h. obese - ___________________________________________________
i. whole - ___________________________________________________
j. able - ___________________________________________________
Activity 4
Activity 5
VOCABULARY ACTIVITIES
Now, read the speech Art that Heals by Karl Paulnack given on the Extended Reading section on Page 174.
1. How many persons can you
identify in the first stanza? Who
are they? Pick out words/phrases
to substantiate your answer.
2. Do you think art and music can
be mastered by anyone who gets
proper training? Discuss.
3. Why did Han Kan refuse to sit
at the feet of the court painter?
Frederick Morgan (1922-2004)
poet, essayist and translator was
born in New York. He founded
The Hudson Review in 1947,
edited it for fifty years until the
spring of 1998. He published ten
books of poems, two collections
of fables, and two books of
translations. In 2001 he won the
Aiken Taylor Award for poetry.
THE MASTER
Who do you consider a master of something? What are the qualities of a
master? Analyse the contributions of a few masters you are familiar with
in the fields of music, arts, films, sports etc. and read the poem to find
out what made Han Kan a master.
When Han Kan was summoned
to the imperial capital
it was suggested he sit at the feet of
the illustrious senior court painter
to learn from him the refinements of the art.
POETRY
4. If Han Kan had obeyed the
royal order, what would have
happened to his career?
5. Why is the court painter’s
name not mentioned in the
poem?
6. ‘He installed himself and his
brushes amid the dung and the
flies...’ What impressions do you
get about the painter and the
painting he is going to work on?
7.’Keen alertness’, ‘eye-sparkle’,
‘sensitive stance’, ‘graceful
movement’ etc. are certain
expressions used in the poem.
Do you think that they are
attributes of the horse alone?
Justify your answer.
'No, thank you,' he replied,
'I shall apprentice myself to the stables.'
And he installed himself and his brushes amid the dung
and the flies,
and studied the horses - their bodies' keen alertness -
eye-sparkle of one, another's sensitive stance,
the way a third moved graceful in his bulk -
and painted at last the emperor's favourite,
the charger named 'Nightshining White,'
Whose likeness after centuries still dazzles.
TEXTUAL ACTIVITIES
‘I shall apprentice myself to the stables.’ Bring out the different ideas
conveyed in this line. One is done for you.
• Han Kan represents the ideas of the realist school of painting
in his own way.
Activity i
THE MASTER
Describe the process of Han Kan’s study. Why does he study every
horse instead of selecting one for his work?
Though the emperor, the painters and the horse no longer survive,
something would remain for centuries. What is it? Why is it so?
Considering the other meanings of the word ‘stable’, can we call
Han Kan a ‘stable artist’? If so, what are the other ideas generated
by the word, ‘stable’?
• He works in a stable.
•
•
•
Which usage in the poem makes the word ‘dazzles’ specially
relevant? Comment.
The word ‘charger’ used in the poem can have more than one
meaning. Find out the other meanings of the word
• A war horse of olden days
•
•
•
Activity ii
Activity iii
Activity iv
Activity v
Activity vi
TEXTUAL ACTIVITIES
Now, read the poem The Arrow and the Song given on the Extended Reading section on Page 179.
1. a. Karl Paulnack’s parents
loved music. But they did not
want their son to become a
musician. Why? (Para 1)
b. What do you think about taking
music as a profession?
2. How, according to you, does
music work? (Para 1)
Karl Paulnack, Head of the
Music Department, Boston
Conservatory, is a renowned
pianist. He has performed as a
member of orchestras and opera
companies in many parts of the
world. A frequent performer of
new music, Paulnack has been
privileged to work closely with
many of the important
composers of his time.
ART THAT HEALS
What do you want to become in life? Have you thought of pursuing art
seriously? Read on the welcome address delivered by an eminent musician
to a group of students and find out what art really is.
1. One of my parents’ deepest fears, I suspect, was that
society would not properly value me as a musician, that I
wouldn’t be appreciated. I had very good grades in high
school, I was good in science and math, and they imagined
that as a doctor or a research chemist or an engineer, I
might be more appreciated than I would be as a musician.
On some level, I think, my parents were not sure
themselves what the value of music was, what its purpose
was. And they loved music, they listened to classical
music all the time. They just weren’t really clear about its
function. We live in a society that puts music in the ‘arts
and entertainment’ section of the newspaper. Serious
music, the kind your kids are about to engage in, has
absolutely nothing whatsoever to do with entertainment.
In fact it’s the opposite of entertainment. Let me talk a
little bit about music, and how it works.
2. One of the most profound musical compositions of all
time is the Quartet for the End of Time written by French
composer Olivier Messiaen in 1940. Messiaen was 31 years
old when France entered the war against Nazi Germany.
He was captured by the Germans in June 1940, sent across
Germany in a cattle car and imprisoned in a concentration
camp. He was fortunate to find a sympathetic prison
guard who gave him paper and a place to compose. There
were three other musicians in the camp, a cellist, a
violinist, and a clarinetist. Messiaen wrote his quartet with
these specific players in mind. It was performed in January
1941 for four thousand prisoners and guards in the prison
camp. Today it is one of the most famous masterworks.
EXTENDED READING
SPEECH
3. We have learned about life in the concentration camps.
Then why would anyone in his right mind waste time
and energy writing or playing music? There was barely
enough energy on a good day to find food and water, to
avoid a beating, to stay warm, to escape torture—why
would anyone bother with music? And yet—from the
camps, we have poetry, we have music, we have visual
art; it wasn’t just this one fanatic Messiaen; many, many
people created art. Why? Well, in a place where people
are only focused on survival, on the bare necessities, the
obvious conclusion is that art must be, somehow, essential
for life. The camps were without money, without hope,
3. Is art, like food or water,
essential for life? Justify your
answer. (Para 3)
ART THAT HEALS
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: ...................................
Meaning: ...............................
....................................................
....................................................
Sentence: .............................
.........................................................
....................................................
without commerce, without recreation, without basic
respect, but they were not without art. Art is part of
survival; art is part of the human spirit, an unquenchable
expression of who we are. Art is one of the ways in which
we say, ‘I am alive and my life has meaning.’
4. It’s not a luxury, a lavish thing, an amusement or a
pastime. Music is a basic need of human survival. Music
is one of the ways we make sense of our lives, one of the
ways in which we express feelings when we have no
words, a way for us to understand things with our hearts
when we can’t with our minds. It has the ability to crack
your heart open like a walnut; it can make you cry over
sadness you didn’t know you had.
5. I’ll give you one more example, the story of the most
important concert of my life. I must tell you I have played
a little less than a thousand concerts in my life so far. The
most important concert of my entire life took place in a
nursing home about 4 years ago. I was playing with a
very dear friend of mine who is a violinist. We began, as
we often do, with Aaron Copland’s Sonata, which was
written during World War II and dedicated to a young
friend of Copland’s, a young pilot who was shot down
during the war. Now we often talk to our audiences about
the pieces we are going to play rather than providing them
with written programme notes. But in this case, because
we began the concert with this piece, we decided to talk
about the piece later in the programme and to just come
out and play the music without explanation. Midway
through the piece, an elderly man seated in a wheelchair
near the front of the concert hall began to weep. He did
come backstage afterwards, tears and all, to explain
himself. What he told us was this: ‘During World War II,
I was a pilot, and I was in an aerial combat situation where
one of my team’s planes was hit. I watched my friend
bail out and watched his parachute open, but the Japanese
planes which had engaged us returned and machine
gunned across the parachute chords so as to separate the
4. How does ‘making sense of the
world with our heart’ differ from
‘making sense of it with our mind’?
( Para 4)
5. Cite instances from your life
in which art/music has brought
old memories to you. (Para 5)
ART THAT HEALS
parachute from the pilot and I watched my friend drop
away into the ocean, realising that he was lost. I have not
thought about this for many years, but during that first
piece of music you played, this memory returned to me
so vividly that it was as though I was reliving it. I didn’t
understand why this was happening, why now, but then
when you came out to explain that this piece of music
was written to commemorate a lost pilot, it was a little
more than I could handle. How does music do that? How
did it find those feelings and those memories in me?’ For
me to play for this old soldier and help him connect, to
help him remember and mourn his friend, this is my work.
This is why music matters.
6. Well, my friends, someday at 8 pm someone is going to
walk into your concert hall and bring you a mind that is
confused, a heart that is overwhelmed, a soul that is
weary. Whether they go out whole again will depend
partly on how well you do your craft. You’re not here to
become an entertainer, and you don’t have to sell yourself.
The truth is you don’t have anything to sell; being a
musician isn’t about dispensing a product. I’m not an
entertainer; I’m a lot closer to a firefighter, a rescue worker,
a sort of therapist.
7. Frankly, ladies and gentlemen, I expect you not only to
master music; I expect you to save the planet. If there is a
future of peace for humankind, I expect it will come from
the artists, because that’s what we do.
6. Why, according to the speaker,
does music matter? (Para 5)
After reading a section, write
down a word you would like to
add to your personal wordlist.
Word: ...................................
Meaning: ...............................
....................................................
....................................................
Sentence: .............................
.........................................................
....................................................
ART THAT HEALS
7. According to the speaker,
entertaining people and making
money is not the aim of an artist.
Do you agree with him? State
reasons for your answer. (Para 6)
8. What, according to the speaker,
is the ultimate aim of an artist?
(Para 7)
Activity i
List the functions of a musician identified by the speaker. State
whether you agree or disagree with them. Give reasons.
You have decided to invite an artist to deliver a speech on the
importance of art. Prepare a notice for the programme.
Activity ii
TEXTUAL ACTIVITIES
Now, read the poem The Master by Frederick Morgan given on Page 171.
1. Identify the person, action and
the effect of the action referred
to in the first stanza of the poem.
2. What contrast have you
identified in the first and second
stanzas?
3. Is the effect of both actions
referred to in the first two stanzas
the same? If not, how are they
different?
4. Is a song greater than an
arrow? If so, in what sense?
Henry Wadsworth Longfellow
(1807–’82), American poet and
educator, wrote poems known for
their lyrical quality. Many of his
poems presented myths and
legends. His works include Paul
Revere's Ride, The Song of
Hiawatha and Evangeline. He was
also the first American to translate
Dante's The Divine Comedy into
English.
THE ARROW AND THE SONG
What is common between an arrow and a song? Read on and find out if
the poet’s ideas are the same as you guessed.
I shot an arrow into the air,
It fell to earth, I knew not where;
For, so swiftly it flew, the sight
Could not follow it in its flight.
I breathed a song into the air,
It fell to earth, I knew not where;
For who has sight so keen and strong
That it can follow the flight of song?
Long, long afterward, in an oak
I found the arrow, still unbroken;
And the song, from beginning to end,
I found again in the heart of a friend.
POETRY
EXTENDED READING
Look at the following sentences:
1. Balthazar finished the cage.
2. The cage was finished (by Balthazar).
Do these two sentences mean the same? What is the difference in the structure of these two
sentences?
Discuss with your friends.
Let's sum up:
1. Both the sentences convey the same meaning. Though there is a change in the subject, the
agent of action is the same (i.e. Balthazar).
2. The object of the first sentence has appeared as the subject of the second sentence. The
subject of the first sentence is introduced in the second sentence using a 'by - phrase’.
3. The first sentence contains the verb 'finished' which is in past tense form. Here 'finish' is the
root verb. The root verb has changed with the addition of the past tense morpheme ‘-ed’.
4. A morpheme is a meaningful morphological unit of a language that cannot be further divided.
(e.g. ‘in’, ‘come’, ‘-ing’ forming ‘incoming’) Many morphemes are smaller than words and
have a grammatical function. The word 'finished' contains two morphemes, 'finish' and the
past tense suffix '-ed'. Of these 'finish' is an independent morpheme (free morpheme) whereas
'-ed' is a dependent morpheme (bound morpheme).
5. In the second sentence we get two verbal elements, 'was' and 'finished'. 'Was' is the past
tense form of 'be'. 'Finished' is the past participle form of 'finish'.
6. The elements 'be' and '-ed' though appear in two different positions, belong to the same
category called passive morpheme. The form of the verb in sentence (1) has changed
because of the addition of the passive morpheme 'be+-en'. (The '-ed' in 'finished' is a variant
of '-en’)
7. Sentence (1) is said to be in the active voice. The second sentence which contains the
passive morpheme is said to be in the passive voice. The process of changing the active
voice to passive voice is called passivisation.
8. In the passive construction the 'by - phrase’ is not essential. Even without it the sentence
structure is complete. The phrase thus becomes an optional element (adjunct) that can be
omitted.
Read the following sentences and identify the ones in the passive voice.
The cage was finished. It was hung on the eaves. Balthazar was received with an ovation. He had
given away the cage to Pepe. He was not given any money. He left the place without any complaint.
Activity 1
Activity 2
LANGUAGE ACTIVITIES
Read the following passage. Rewrite the sentences that can be passivised.
Vehicles were moving along the road. A boy bought some apples from a shop. He ate one of
them. Then he rushed to the road. A fast moving car hit him.
Consider the following sentences and identify whether the time reference in them is past, present
or future. Also identify the verb phrase in them.
1. Rahim will come tomorrow.
2. The Prime Minister is to visit Sri Lanka tomorrow.
3. It is going to rain.
4. Smitha is leaving for Chennai next week.
5. The President arrives here on Monday.
6. The author will be giving a talk on his new book next month.
Let's sum up:
1. Future time can be expressed using different verb phrases.
2. In sentence (1) the modal auxiliary 'will' is used to express future.
3. In sentence (2) 'be + to' is used to show futurity.
4. In sentence (3) 'going to' is used to show the future action.
5. In sentence (4) 'am/is/are + ing' indicates future.
6. In sentence (5) 'simple present' shows futurity.
7. In sentence (6) 'will + be + ing' is used to indicate the future action.
Construct six meaningful sentences using different verb phrases and justify why you opt a particular
verb phrase in a sentence.
Activity 3
LANGUAGE ACTIVITIES
Activity 4
Hinged Sentences
Look at the following sentences.
He loves her children are great.
This can be split into:
He loves her. Her children are great.
In this case 'her' is the hinge word.
Rewrite the following sentence into two separate sentences that
share a 'hinge' word.
1. I love his face is very lovable.
2. Please don't do that is just what we must do.
3. Who has taken my scissors are there on the table.
4. I wanted to tell you this is something I can't tell you.
5. I feel you understand nothing at all.
6. I believe in yesterday couldn't have been better.
7. Read this sentence is an example of ambiguity.
8. I think I understand your feeling is not at all clear to me.
9. Tell me what you'd like to do whatever you like.
Language Game
LANGUAGE ACTIVITIES
ENGLISH X 183
GLOSSARY
abashed /@"b{St/ (adj): embarrassed and
ashamed of something that you have done
adopt (v): to approve or accept
The teacher has adopted new methods in teaching
English.
aerial /"e@ri@l/(adj): in the air, existing above the
ground
Satellite images give an aerial view of the places
photographed.
alcohol rub (n): the act of cleaning, using alcoholbased
sanitisers
amid /@"mId/ ( prep): in the middle of
The minister concluded his speech amid
tremendous applause.
annoy (v): to cause slight irritation to others by
troublesome, often repeated acts
The noise from the playground annoyed the old
lady who was sleeping.
apprentice (v): to make someone learn a trade
by working on it
asset (n): a thing of value, especially property,
that a person or company owns
He has an asset of 12 acres of land which he bought
for himself.
auction (v): to sell or offer goods or property in
public for higher bids
avail (n): use or benefit; ‘of no avail’ means ‘of no
use’
The doctor tried his best to save the patient but
his efforts were of no avail.
bail out (phr): attempt to save somebody
The government had to bail the company out of
financial difficulty.
bankruptcy /"b{NkrVptsi/ (n): the state of being
without enough money to pay for what you owe
bawl (v): to shout loudly in an unpleasant or angry
way
The child began to bawl out of fear.
betray (v): to give information about something/
somebody to an enemy
For years they had been betraying the secrets to
another country.
bother (v): to annoy, worry or upset somebody
Do not bother him when he is busy.
bristly (adj): like or full of bristles (here)
unshaven
He has furry eyebrows and bristly hair cropped
short.
caprice /k@"pri:s/ (n): a sudden change in attitude
or behaviour for no obvious reason
captivity (n): the state of being kept in a prison
or a confined space
Kumar was held in captivity for three years.
capuchin /k{pUtSIn/ (n): a South American
monkey, with a cap of hair on the head
cease (v): to stop something from happening or
existing
The company ceased to provide additional benefits
to its staff.
cellist /"tSelIst/ (n): a person who plays a cello;
cello is a musical instrument with strings shaped
like a large violin
charger (n): a horse that a soldier or knight rode
on in the battle in the past
clamour /"kl{m@/ (n): a loud uproar, as from a
crowd of people
A clamour was heard in the street when the results
of the election were declared.
ENGLISH X 184
GLOSSARY
clarinetist (n): a person who plays a clarinet;
clarinet is a musical instrument
combat (v): a fight between two persons
There was fierce combat between the two
neighbours.
commemorate (v): to remind people of an
important person or event from the past
A series of movies will be shown to commemorate
the first death anniversary of the famous director.
concert (n): a public performance of music
The concert led by the musicians from various
states was telecast yesterday.
confinement (n): the state of being forced to stay
in a closed space, prison etc.
conscientiously /%kQnSI"enS@slI/ (adv): taking
care to do things carefully and correctly
Vani performed all her official duties
conscientiously .
contaminate /k@n"t{mIneIt/ (v): to make a
substance dirty or impure
We should not contaminate our water resources.
contemplate /"kQnt@mpleIt/ (v): to look at or
view with continued attention; observe or study
thoughtfully
crave (v): to have a very strong desire for
something
creak (v): to make the sound that a door
sometimes makes when you open it
When the door creaked Suraj jumped out of his
bed in fear.
crumb (n): a small fragment of bread, cake or
biscuit
crust (n): the hard outer surface of bread
dazed (adj): unable to think clearly because of a
shock or blow
dazzle (v): to become blind because of brightness
John was dazzled by the headlight of the car.
deceptive /dI"septIv/(adj): likely to make you
believe something that is not true
Appearances can often be deceptive.
delirious /dI"lIrI@s/(adj): unable to think or speak
clearly because of fever, excitement or confusion
despise (v): to dislike and have no respect for
somebody or something
Manju despised gossip in any form.
dispense (v): to sell or distribute
The newly opened bakery dispenses a range of food
articles.
drape /dreIp/ (v): to cover or hang with cloth or
other fabric, esp. in graceful folds
eaves /i:vz/ (n): the edge of a roof that sticks out
over the top of a wall
emaciated /I"meISIeItId/ (adj): very thin and
weak
The emaciated rivers are a heartbreaking sight for
a lover of nature.
enormous (adj): extremely large
falter (v): to speak in a way that shows that you
are not confident
His voice faltered as he began his speech.
fanatic (n): a person who is extremely
enthusiastic about religious or political cause
filthy (adj): very dirty and unpleasant
fleeting (adj): lasting only for a short time
We paid a fleeting visit to New Delhi.
foe /f@U/(n): an enemy
ENGLISH X 185
GLOSSARY
foreboding (n): a feeling that something very
unpleasant is going to happen
Jaya had a sense of foreboding thatthenewswouldbe
bad.
forsooth (adv): in truth; in fact; certainly; indeed
forthright (adj): (too) honest or direct in
behaviour
His forthright manner might be mistaken for
rudeness.
frivolous /"frIv@l@s/ (adj): silly or amusing,
especially when such behaviour is not suitable
frown (v): to make a serious or worried
expression by bringing eyebrows together so that
lines appear on your forehead
What are you frowning at me for?
gag (v): to put a piece of cloth in somebody's
mouth to stop them from speaking
gigantic (adj): extremely large
A gigantic statue was erected in front of the office.
graciously (adv): behave kindly, politely and
generously
grating (adj): unpleasant to listen to
groan (v): to make a long deep sound because
you are annoyed, upset or in pain
The boy groaned with pain when his foot hit
against the door.
guttural /"gVt@r@l/(adj.): harsh, throaty
hide (n): the skin of an animal
humour (v): to agree with the wishes or whims
of somebody to make him/her happy
illusory (adj): not real, although seeming to be
The possibility of a peaceful solution turned out
to be illusory.
illustrious (adj): very famous and much admired
The cricket star was one of the many illustrious
visitors to the concert.
imperial (adj.): connected with an empire
The imperial family in Japan is respected
throughout the world.
impudent (adj): rude; not showing respect to
others
insolent /"Ins@l@nt/(adj): exteremly rude and
showing no respect
install (v): to fix equipment or furniture into
position so that it can be used
A new machine is installed in the factory.
jest /dZest/(v): to say things that are not serious
or true
languid /"l{NgwId/(adj): moving slowly in a
graceful manner, without much energy or effort
lash(v): to hit with great force
loathe /l@UD/(v): to dislike somebody or
something very much
I loathe the habit of smoking.
meat-balls (n): a small ball of finely-chopped
meat, usually eaten hot with a sauce
marvellous (adj): extremely good
mirage /mI"rA:Z/(n): (here) a hope or wish that
you cannot make happen because it is not realistic
mourn(v): to feel and show sadness because
somebody has died
He was still mourning his brother's death.
muse (v): to think carefully about something for
a while, ignoring what is happening around you
nap (n): a short sleep, especially during the day
Grandpa usually takes a nap after lunch.
ENGLISH X 186
GLOSSARY
nudge /nVdZ/(v): to push somebody gently with
the elbow in order to get their attention
ovation /@U"veIS@n/(n): an enthusiastic public
reception marked by loud and prolonged
applause
Sachin Tendulkar got a thunderous ovation for
his 50th test century.
overwhelm (v): to have a strong emotional effect on
She was overwhemled by feelings of guilt.
pathetic (adj): causing feelings of pity or sadness
patio /"p{tI@U/(n): the courtyard of a house,
enclosed by low buildings or walls
pawn /pO:n/(v): to deposit as security for the
money borrowed from a pawnbroker
He raised the money for the fee by pawning his
watch.
perplexedly /p@"pleks@dlI/(adv): in a confused
manner
piercing (adj): very sharp
Anju cast a piercing glance at the man.
pompously (adv): showing you are more
important than other people
pool hall (n): a hall where billiards is played
posterity /pQs"ter@ti/ (n): all the people who will
live in the future
Posterity will remember him as a great man.
procure (v): to obtain something with difficulty
Unni managed to procure a delegate pass for the
film festival.
quartet (n): a piece of music for four musicians
or singers
radiant (adj): showing great happiness
The boy gave a radiant smile when his friends
surprised him with a birthday gift.
reckon (v): to think or have an opinion about
something
I reckon that I’m going to get a good job.
refinement (n): the process of improving
something
The previous model of the car has undergone a lot
of refinement .
regard (v): to show respect or consideration for
someone or something
He has no regard for other people's feelings.
renounce (v): to state publicly that you no longer
have a particular belief or that you will no longer
behave in a particular way
Gandhiji renounced the use of violence.
restore (v): to bring back a situation or feeling
that existed before
After the operation Sonu’s eyesight was restored.
sayest (v): old form of ‘says’
sceptre /"sept@/ (n): a decorated rod carried by a
king or queen as a symbol of their power
seize /si:z/ (v): to take something suddenly by
using force
Rohan tried to seize the pen from Karan.
shamble (v): to walk in a lazy way dragging the
feet along the ground
Sick people shambled along the hospital veranda.
shaggy (adj): long and untidy
The beggar had a shaggy beard.
shrieking (adj): a short, loud cry, especially one
produced suddenly as an expression of a powerful
emotion
shun (v): to avoid somebody or something
The writer shunned all kinds of publicity.
ENGLISH X 187
GLOSSARY
siesta /si"est@/ (n) : a rest or sleep taken after
lunch, especially in hot countries
signify (v): to be a symbol of, be an indication of
Red signifies danger.
slay (v): to kill somebody in a war or a fight
smite /smaIt/ (v): to hit someone hard
soil (v): to make something dirty
solemnly (adv): seriously, not cheerfully
The girl solemnly promised not to say a word to
anyone about the incident.
solitary (adj): alone; without other people or
things around
Rani enjoys going for solitary walks.
spar (n): a strong pole used to support the sails
etc. on a ship
spreadeagled (adj): lying with arms and legs
outstretched
stable (n): a building in which horses are kept
The horse was led back to its stable.
stake /steIk/(n): something that you risk losing,
especially money, bet
They were playing cards for high stakes.
stance (n): the opinion that somebody has about
something, expressed publicly
What is the paper's stance on the budget?
stifle /"staIfl=/(v): to be unable to breathe, to
suffocate
Most of the victims were stifled by the fumes.
streak (v): to mark or cover something
Balu’s face was streaked with mud.
thee (pro.n): old form of ‘you’
theology /Ti"Ql@dZi/(n): the study of religion or
religious philosophy
threshold /"TreSh@Uld/(n): the floor or ground
before a doorway, considered as the entrance to
a building or room
thou (pro.n): old form of ‘you’
thy (det.): your (old usage)
tinkle (n): a light, clear ringing sound
trace (n): a very slight amount
trample (v): to step with your feet heavily on
something so that you crush or harm it
treason /"tri:z@n/(n): the crime of betraying one’s
country
trifle /"traIfl=/ (n): something that is not valuable
or important
trinket /"trINkIt/ (n): a small ornament, piece of
jewellery etc. usually of little value
unquenchable (adj): that cannot be satisfied
He had an unquenchable thirst for knowledge.
wager (v): to enter into a bet with somebody
wolfish eye (adj): like the eye of a wolf, a cunning
eye or gaze
wondrous (adj): strange, beautiful and impressive
wreckage (n): the parts of a vehicle, building etc.
that remain after it has been badly damaged or
destroyed
Pieces of wreckage were found ten miles away from
the site of the plane crash.
yonder (det.): at some distance from the speaker,
over there (old usage)
zealously (adv): with great energy and
enthusiasm
ENGLISH X 188
GLOSSARY