Text Book Solutions All Class

Reflect and Respond

I. Work in pairs. Discuss the difference between Olympics, Special Olympics, and Paralympics.

Ans:

II. Work in pairs to match the words ’empathy’, ‘sympathy’, and ‘compassion’ to the sentences given in the table.

Ans:

III. Work in pairs. List the words you associate with ’empathy’. Share your responses with your classmates and teacher.

Ans:

Words associated with empathy: understanding, compassion, kindness, sensitivity, care, consideration, awareness, warmth, acceptance, patience, solidarity, inclusion, support, listening, humanity, and selflessness.

Check Your Understanding

I. Work in pairs. Match the words and phrases in Column 1 with their meanings in Column 2.

Ans:

II. Identify the gist of each stanza. Write the number of the stanza in the boxes given.

Ans:

Gist 1 → Stanza 2  
Gist 2 → Stanza 4  
Gist 3 → Stanza 8  
Gist 4 → Stanza 3  
Gist 5 → Stanza 1  
Gist 6 → Stanza 6  
Gist 7 → Stanza 7  
Gist 8 → Stanza 5

III. Let us appreciate the poem.

1. Two examples of alliteration from the poem are (i) __________ and (ii) __________.

Ans:

(i) “stumbled and staggered” — repetition of the ‘s’ sound, mimicking the unsteady movement of the fallen runner.

(ii) “gold… games” — repetition of the ‘g’ sound in the first stanza. (Other valid examples: “resolved… runners,” “beaming… banner”)

2. Give three examples of visual imagery from the poem.

Ans:

• (i) “Nine resolved athletes in the back of the starting line / Poised for the sound of the gun” — athletes crouched at starting blocks, tense and focused.
• (ii) “The smallest among them, he stumbled and staggered / And fell to the asphalt instead” — a small figure crashing to the hard road surface.
• (iii) “They came to the finish line holding hands still / And a standing ovation and nine beaming faces” — nine athletes crossing hand-in-hand while the crowd rises to applaud.

3. Give an example of auditory imagery from the poem.

Ans:

“The signal was given, the pistol exploded” — the word “exploded” evokes the sharp, sudden crack of the starting pistol. (Also valid: “He gave out a cry of frustration and anguish.”)

4. How does the use of imagery make the poem more appealing?

Ans:

Imagery transforms the poem from a simple narrative into an immersive sensory experience. Visual imagery (athletes at the blocks, the fall onto asphalt, nine beaming faces) lets the reader see the events as if watching in real time. Auditory imagery (the pistol exploding, the cry of anguish) makes the scene feel urgent. Together, the images help the reader not just understand but feel the poem — making the central message of empathy and inclusion deeply moving rather than merely stated.

5. How does the poet’s tone change from the beginning to the end of the poem?

Ans:

The tone begins anticipatory and energetic — building competitive excitement as athletes prepare to race. It shifts to tense and sympathetic when the smallest runner falls. As the eight others return to help, the tone becomes warm and uplifting. By the final stanza, the tone is celebratory and reverential — filled with quiet awe at what the nine athletes have demonstrated together.

6. What is the overall mood created by the poem?

Ans:

The overall mood is warmly inspiring and emotionally uplifting. Despite a brief moment of sadness when the young athlete falls, the dominant mood is hope, compassion, and joy — the kind produced when human beings set aside personal ambition to care for one another. There is also quiet wonder at the unexpected turn, and deep admiration for the collective humanity shown. The victory is not competitive but spiritual — the victory of kindness over competition.

7. What is the message being conveyed by the poem?

Ans:

The central message is that empathy, compassion, and collective support are more valuable than individual achievement. The eight athletes who abandon their chance at gold to help their fallen competitor show that true sportsmanship lies in lifting others up, not defeating them. The poem also celebrates the spirit of the Special Olympics — where inclusion and shared humanity take priority over rankings. The greatest victories are not won alone, but together.

Critical Reflection

I. Read the extracts given below and answer the questions that follow.

Extract 1

The eight other runners pulled up on their heels
The ones who had trained for so long to compete
One by one they all turned round and went back to help him
And brought the young boy to his feet.

(i) Select the correct option to complete the sentence. The phrase ‘pulled up on their heels’ means that the runners _______.

• A. moved aside
• B. stopped running
• C. tried to run faster
• D. jumped ahead

Ans: B. stopped running.

“Pulled up on their heels” means they abruptly stopped — pulling back onto one’s heels is the physical action of halting suddenly.

(ii) Mention one character trait common to all the eight other runners.

Ans:

Empathy / compassion / selflessness. Despite months of training and the goal of winning, each runner chose to abandon their personal ambition and return to help — a spontaneous, unanimous act of fellow-feeling that placed another’s dignity above their own.

(iii) What is the tone of the poet in these lines?

Ans:

The tone is warm, admiring, and deeply moved. The measured, deliberate narration (“one by one they all turned round”) conveys immense respect for what the runners spontaneously chose to do, with a gentle tenderness in the final image of the young boy being brought back to his feet.

(iv) How might the young athlete have felt on being helped by the others?

Ans:

Initially overcome with frustration and anguish at his fall, the young athlete would have experienced a rapid shift when he saw the eight others stop and return for him — feeling a surge of gratitude, relief, and deep emotional warmth. The kindness of competitors reaching down to lift him would have transformed his moment of greatest humiliation into one of the most memorable experiences of his life. He likely felt valued, included, and no longer alone.

(v) Would you consider this incident as a turning point in the poem? If yes, why? If no, why not?

Ans:

Yes, this is undoubtedly the central turning point. Before it, the poem follows the expected arc of a competitive race. The moment the eight runners stop and return redefines the entire poem — from that point, it is no longer about a race but about human connection and collective compassion. Without this turning point, the poem would be an ordinary description of a race; because of it, it becomes a profound reflection on empathy and the true spirit of sport.

Extract 2

That’s how the race ended, with nine gold medals
They came to the finish line holding hands still
And a standing ovation and nine beaming faces
Said more than these words ever will.

(i) How did the nine contestants feel when they reached the finishing line together?

Ans:

The nine contestants felt joyful, fulfilled, and united — their “beaming” faces suggest radiant, uncontained happiness. It was not the competitive joy of defeating others but the deeper joy of completing the race as one, with compassion and shared purpose. They experienced a collective triumph far richer than any individual gold medal.

(ii) Why do you think all the nine contestants were given gold medals?

Ans:

All nine were given gold medals because they all demonstrated the highest qualities sport can aspire to — courage, perseverance, empathy, and selflessness. The fallen boy showed resilience; the eight others showed extraordinary compassion and sacrifice. In the Special Olympics, where inclusion and shared joy are paramount, all nine were equally deserving. The medals recognised not a finishing position but a quality of character — and all nine possessed that quality fully.

(iii) Complete the sentence appropriately. The holding of hands signifies a feeling of ___________________.

Ans:

…unity, solidarity, mutual support, and collective belonging — a shared recognition that they faced the race not as rivals but as companions, completing it together rather than separately.

(iv) Choose the correct option to complete the sentence. The spectators giving a ‘standing ovation’ indicates that they were _________.

• A. amazed
• B. speechless
• C. distracted
• D. thoughtful

Ans: A. amazed.

A standing ovation expresses deep admiration and emotional engagement — the crowd rose because what they witnessed exceeded all ordinary expectations of a sports event and touched something universal in them.

(v) Explain the last line of the extract.

Ans:

The line “Said more than these words ever will” is both an admission of the limits of language and a testament to the power of human action. The poet says that the standing ovation and beaming faces communicated something so profound that no words — not even the poem itself — can fully capture it. It is the poet’s act of stepping back and acknowledging that at the highest moments of human compassion, language becomes inadequate. The reader is invited to feel what words cannot say.

II. Answer the following questions.

1. Describe how the setting established in the first two stanzas of the poem creates a vivid atmosphere for the events that follow.

Ans:

Stanza 1 establishes that athletes have come from “all over the country” after “many weeks and months of training” — creating a sense of enormous personal investment and high stakes. Stanza 2 adds the watching community — spectators gathered, this is the “final event of the day,” with “excitement… high.” By establishing both the athletes’ inner ambition and the crowd’s collective anticipation, the poet creates an atmosphere of heightened tension that makes the compassion that follows feel all the more surprising and humanly significant by contrast.

2. How do you think the youngest athlete might have felt when he fell?

Ans:

The fall onto asphalt was physically painful, but the emotional pain was far greater. After months of training, he saw those efforts collapse in a single stumble — in front of a watching crowd. He would have felt humiliated, helpless, and defeated. The poem captures this: he “gave out a cry of frustration and anguish” and felt his “dreams and his efforts dashed in the dirt.” This depth of despair makes the compassion that followed all the more transformative.

3. Why were the athletes eager to begin the race?

Ans:

The athletes had invested “many weeks and months of training” and travelled from “all over the country” — the hundred-yard dash was the culmination of everything they had worked for. The poem describes them as “nine resolved athletes,” showing intense determination and focus. For athletes with intellectual disabilities competing at a Special Olympics event, the race also carried the additional emotional significance of being recognised and celebrated as sportspersons — making their readiness even more poignant.

4. What does the transformation of the hundred-yard dash to a walk symbolise?

Ans:

• Victory of compassion over competition: The race, which existed to find the fastest runner, was willingly transformed into a shared journey completed in solidarity.
• Inclusion over exclusion: By slowing to the pace of the one who could not run, the others ensured no one was left behind — the very ethos of the Special Olympics.
• How we treat others matters more than how fast we move: The dash — speed and individual achievement — was surrendered in favour of the walk — patience, togetherness, shared purpose.
• Metaphor for life’s journey: We do not always sprint alone; sometimes we walk alongside others and find that the walk is richer than any race.

5. How might the poem be different if the focus was solely on individual achievement rather than collective support?

Ans:

The poem would describe a single winner crossing first, with the fallen boy as a runner who simply failed — unfortunate but irrelevant to the outcome. The nine gold medals would not exist, nor would the standing ovation or the beaming faces. A poem about an individual winner in a race is ordinary; a poem about nine human beings choosing each other over victory is extraordinary. It is the transformation from competition to compassion that makes “Nine Gold Medals” not just a poem about sport but a poem about what it means to be human.

6. How does the poet’s use of language and tone enhance the reader’s engagement with the poem?

Ans:

• Narrative directness: Simple, accessible language makes the poem feel immediate and sincere — like a story told by an eyewitness.
• Emotionally charged vocabulary: Words like “anguish,” “stumbled,” “staggered,” “dashed in the dirt,” and “beaming” place the reader inside the scene.
• Tone shifting: The tone moves from energetic to sympathetic to warmly celebratory — guiding the reader through the same emotional journey as the event itself.
• The closing admission: “Said more than these words ever will” invites the reader to feel beyond the poem, amplifying its impact through restraint.
• Imagery: Vivid sensory images (the pistol exploding, the asphalt, nine hands at the finish line) keep the reader visually and emotionally anchored throughout.

7. What might be the poet’s purpose of writing this poem?

Ans:

• Celebrating the Special Olympics spirit: By immortalising this extraordinary act of empathy in verse, Roth ensures the moment of collective compassion is remembered and honoured.
• Challenging conventional success: In a world that rewards individual achievement, the poem argues that the highest victories are those of the heart — choosing to be with others rather than ahead of them.
• Advocacy for inclusion and dignity: The poem presents athletes with disabilities not as objects of sympathy but as individuals capable of extraordinary moral and sporting greatness.
• A reminder for every reader: The moments in life when we truly win are the moments when we help someone else to their feet.

Vocabulary in Context

I. The phrase ‘standing ovation’ is an example of an adjective–noun collocation. Identify two other similar examples from the poem.

Ans:

Other valid examples: “final event,” “resolved athletes,” “young boy.”

II. Complete the table given below by writing four nouns in Column 2 that collocate with the adjectives in Column 1.

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III. Choose the correct adjectives from those given in the box for the underlined words given in the sentences below. Ensure you do not use the same adjective twice.

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️ Speaking Activity

I. Work in pairs. Take turns to express your points of view regarding Special Olympics. Use the key points and sentence starters given.

Ans: Sample Conversation

Student A: What is your opinion on the importance of Special Olympics in today’s world?

Student B: Personally, I believe that the Special Olympics is one of the most important sporting events in the world. It gives athletes with intellectual disabilities the opportunity to train, compete, and be recognised as the capable, talented individuals they are. From my perspective, this does more for inclusion and social acceptance than any awareness campaign could.

Student A: I hold the opinion that the Special Olympics has a transformative impact on the athletes themselves. How do you feel about its effect on sportspersons with special abilities?

Student B: I have a strong feeling that participating in Special Olympics gives athletes a sense of identity, pride, and belonging that they may not always find in everyday social settings. It builds confidence, physical fitness, and lifelong friendships. In your view, is there enough awareness about Special Olympics in our schools and communities?

Student A: It’s my belief that we need to do much more. Most people know about the Olympics and even the Paralympics, but Special Olympics is far less discussed. We could create awareness by inviting Special Olympics athletes to our school, organising inclusive sports days, and sharing stories like the one in the poem.

Writing Task

I. Work in pairs to write three creative slogans on Special Olympics.

Ans: Sample Slogans

Slogan 1: “Every Stride Counts — Special Olympics: Run Your Race!”

Slogan 2: “Different Abilities, One Heart — Win Together.”

Slogan 3: “Special Olympics: Where Every Finish Line Is a Victory.”

Now, create a poster based on the inspiration you have drawn from the poem. (Steps and guidance below)

Ans: Sample Poster Outline

Title (large, bold): NINE GOLD MEDALS — The Race We Run Together

Slogan (central, prominent): Every Stride Counts — Special Olympics: Run Your Race!

Key message: When one of us falls, all of us turn back. Special Olympics celebrates the courage, compassion, and determination of every athlete — because winning is not just crossing the line first; it is crossing it together.

Illustration suggestion: Nine athletes running hand-in-hand toward a finish line, with a cheering crowd and gold medals gleaming above them; the Special Olympics logo centred at the top.

Call to action: Support, Participate, Include — Be a Champion of Change.

Footer: Inspired by “Nine Gold Medals” by David Roth | Special Olympics: Igniting a Universe of Potential

(Students should colour, decorate, and present this as a box-item poster on an A3 sheet, using the Steps to Design a Poster guidelines provided in the textbook.)

Reflect and Respond

I. Look at the picture of Sheetal Devi carefully and share your observations. Does this personality inspire you? Give a caption for this picture.

1. Observations about the picture:

Ans:

The picture shows Sheetal Devi, a young para-archer, drawing her compound bow using her feet — a remarkable adaptation as she was born without arms. She appears completely focused and concentrated. The Paralympics logo in the background contextualises the setting as an elite international competition.

2. Does this personality inspire you? Explain how.

Ans:

Yes, Sheetal Devi is deeply inspiring. Born without arms, she chose archery — one of the most precision-demanding sports — and competed at international level. She teaches us that the only real limitation is the one we accept in our minds, and that with determination and support, any barrier can be crossed.

3. Caption for this picture:

Ans:

“Sheetal Devi — Where There Is a Will, There Is Always a Way.”
Alternative: “No Arms, No Limits — India’s Golden Para-Archer Defies the Impossible.”

II. Complete the table given below about Paralympics. (What I know / What I want to know)

Ans (Sample):

Check Your Understanding

I. Fill in the fact table based on the interview with Dr. Deepa Malik.

Ans:

II. Choose whether the given statements display: fact-opinion or cause-effect.

Set (1):

(i) In the 2016 Rio Paralympic Games, I secured the silver medal in the shot-put event.
(ii) I feel it was a moment of personal victory and a step forward in changing perceptions.

Ans: Fact-Opinion.

Statement (i) is a fact — a verifiable, documented event. Statement (ii) is an opinion — Dr. Malik’s personal interpretation (“I feel”) about its significance.

Set (2):

(i) I was diagnosed with a tumour in my spine.
(ii) I had a surgery and was told that I would be bound to a wheelchair for the rest of my life.

Ans: Cause-Effect.

Statement (i) is the cause — the spinal tumour diagnosis. Statement (ii) is the effect — surgery resulting in permanent paralysis.

III. Work in pairs to identify which pairs of sentences show cause-effect or fact-opinion.

Ans:

Critical Reflection

I. Read the extracts given below and answer the questions that follow.

Extract 1

I had two choices — squander my life in remorse or transform it to a world of limitless possibilities. I love sports and had been a swimmer too, so I decided to switch to para-athletics. This is how my Paralympics journey began. My breakthrough moment came in the 2016 Rio Paralympic Games, when I secured the silver medal in the shot-put event. In hindsight, I feel it was a moment of personal victory and a step forward in changing perceptions.

(i) Give a reason for the following statement. The speaker’s decision to transform her life can be likened to the concept of a caterpillar transforming into a butterfly.

Ans:

Just as a caterpillar undergoes profound transformation within the constraints of its cocoon to emerge as a butterfly, Dr. Malik transformed within the confines of a wheelchair and paralysis. She chose not to see her disability as an ending but as the beginning of a new chapter — emerging from her lowest point not broken, but transformed into an international para-athlete, advocate, and inspiration. In both cases, the most limiting condition becomes the foundation of the most remarkable reinvention.

(ii) Why could the speaker switch to para-athletics quite comfortably?

Ans:

She could switch comfortably because she had always loved sports and had been a competitive swimmer before her illness. This pre-existing passion and experience gave her the discipline, competitive mindset, and motivational foundation needed to transition — making the switch a natural extension of her identity rather than an entirely new undertaking.

(iii) Complete the sentence with an appropriate reason. The speaker calls 2016 Rio Paralympic Games as a ‘breakthrough moment’ because ________.

Ans:

…because it was the first time she won a medal at Paralympic level — silver in the shot-put — marking her arrival on the world stage and validating her decision to switch to para-athletics. It shifted public perception about what a para-athlete could achieve and opened doors to greater recognition and advocacy.

(iv) Select the correct option to complete the sentence. The phrase ‘in hindsight’ indicates the speaker is __________.

• A. curious
• B. reflective
• C. determined
• D. courageous

Ans: B. reflective.

“In hindsight” means looking back with understanding gained since then — a reflective act. Dr. Malik is thinking deeply about the meaning of a past event, not expressing curiosity, determination, or courage in that phrase.

(v) The speaker uses the phrase ‘changing perceptions’. List one likely perception the speaker might have changed.

Ans:

The widely held belief that a person physically disabled and confined to a wheelchair cannot compete at the elite international level. By becoming India’s first female Paralympic medallist, Dr. Malik demonstrated concretely that a wheelchair-user can be a world-class athlete — challenging the stereotype that disability and sporting excellence are mutually exclusive.

Extract 2

Honestly, I feel sports, especially Paralympics, have the extraordinary ability to challenge stereotypes and change attitudes towards disability. When people witness the strength, skill, and competitive spirit of para-athletes, it breaks down preconceived notions. Paralympics has given me a new lease of life and helped me push boundaries.

(i) Choose the option that lists the words to describe the tone of the speaker.

• A. appreciative
• B. moralistic
• C. sentimental
• D. optimistic
• E. defensive
• (a) A and D
• (b) B, D, and E
• (c) B and C
• (d) A, C, and E

Ans: (a) A and D — appreciative and optimistic.

Dr. Malik is appreciative of what Paralympics gave her (“a new lease of life”) and optimistic in her positive conviction about sports’ “extraordinary ability” to challenge stereotypes. The tone is not moralistic, sentimental, or defensive.

(ii) Complete the analogy given below with a word from the extract. ability : potential :: preconceived notions : __________

Ans: stereotypes.

Just as “ability” relates to “potential” (both refer to what one is capable of), “preconceived notions” relates to “stereotypes” — both are fixed, unfair judgements formed without adequate knowledge. Preconceived notions are the personal form; stereotypes the broader social form.

(iii) State whether the following sentence is true or false. Paralympics is a platform that not only showcases the remarkable abilities of para-athletes but also questions stereotypes.

Ans: True.

Dr. Malik states that Paralympics has “the extraordinary ability to challenge stereotypes and change attitudes towards disability.” When audiences witness para-athletes perform with skill and competitive spirit, it directly counters the preconceived notion that disabled people are limited.

(iv) What does ‘helped me push boundaries’ tell us about the speaker?

Ans:

It tells us that Dr. Malik is inherently driven to exceed her own limits and does not accept boundaries set by her physical condition or societal expectations. She is growth-oriented — always looking to do more — and for her, the Paralympics has been not just a competitive platform but a catalyst that continuously stretches her personal and professional horizons.

(v) Which phrase from the extract suggests that the speaker was able to transform her life?

Ans:

The phrase “a new lease of life.” This means being given a fresh start and renewed purpose after difficulty. By saying “Paralympics has given me a new lease of life,” Dr. Malik indicates that the sport fundamentally revived her sense of self and ability to live fully and meaningfully — the turning point that transformed potential despair into achievement and inspiration.

II. Answer the following questions.

1. Explain how Dr. Malik’s achievements challenge societal perceptions.

Ans:

• Disability and athletics: Her silver medal at Rio, Asian Games gold, and status as first Indian female Paralympic medallist directly refute the assumption that disability and elite sporting achievement are incompatible.
• Gender and para-sport: As the first Indian woman to win a Paralympic medal, she challenged the compounded marginalisation women with disabilities face — proving neither barrier is insurmountable.
• Disability and leadership: Her role as advocate, policy contributor, and social entrepreneur challenges the perception that persons with disabilities can only be recipients of support, not architects of change.
• Wheelchair users and independence: Winning international gold and empowering others from a wheelchair directly contradicts the notion that wheelchair users are dependent or incapable of full societal participation.

2. What can be the long-term impact of involving youth in schools and colleges in advocacy with respect to disability?

Ans:

• Attitude change from an early age: Young people educated about disability in an empowering framework grow up with attitudes of equality rather than condescension, naturally including rather than excluding.
• Breaking the cycle of stereotyping: Youth who understand disability rights are far less likely to perpetuate harmful stereotypes as they enter the workplace, politics, media, and social life.
• Future professionals: Today’s students are tomorrow’s doctors, architects, and lawmakers. Sensitised youth will design more accessible buildings, fairer laws, and more empathetic healthcare.
• Inspiration for peers with disabilities: When young people see their peers advocating for inclusion, it sends a powerful message of belonging, positively impacting the self-esteem and ambition of young people with disabilities.

3. Rationalise the appropriateness of the title of this text with reference to Dr. Deepa Malik’s attitude and achievements.

Ans:

• Her own words: Dr. Malik herself uses the phrase “limitless possibilities” — she consciously chose to “transform her life to a world of limitless possibilities,” and her entire story is the proof that she succeeded.
• Defying physical limits: A person paralysed from the waist down who becomes an international para-athlete and national awardee is the living embodiment of the title.
• Beyond one person: The title applies to the entire world of Paralympics — where athletes repeatedly show the world what is possible despite what they have been told they “cannot” do.
• Her motto: “Ability beyond disability” is a direct expression of limitless possibilities — the title encapsulates her philosophy perfectly.

4. “Every setback is an opportunity to prove your strength.” How might this be a life lesson for every individual, and not just sportspersons?

Ans:

• For students: Failure in an exam or rejection from a college is a setback that can be reframed as motivation to study harder and demonstrate capability.
• For professionals: A lost job or failed business, when analysed and learned from, becomes the training ground for future success.
• For personal life: Relationship breakdowns, health challenges, and loss — even through the deepest difficulty, humans can rebuild, find new meaning, and discover strengths that ease would never have revealed.
• The universal principle: Every setback forces a choice — to collapse or to respond. Those who respond discover abilities and depths of character that become their greatest strengths.

5. Examine how Dr. Deepa Malik’s recognition as one of the 10 most inspirational para-athletes globally contributes to the larger discourse on gender equality in sports.

Ans:

• Visibility for women in para-sport: When a woman para-athlete receives global recognition of this scale, it draws attention to the fact that women with disabilities are equally capable of elite athletic achievement — visibility being the first step toward equality.
• Challenging double marginalisation: Women with disabilities face marginalisation as both women and as disabled persons. Dr. Malik’s recognition challenges both forms simultaneously.
• Role model effect: Young girls who see Dr. Malik celebrated on the world stage receive a message that women’s athletic achievement is valued — encouraging more girls to take up sports.
• Policy change: High-profile recognition creates pressure on sporting bodies and governments to invest more equitably in women’s para-sport — moving the conversation from aspiration to systemic change.

6. How might Dr. Deepa Malik’s thought, ‘ability beyond disability’, serve as a guideline for success for all future para-athletes?

Ans:

• Identity anchored in strength: It urges athletes to define themselves by what they can do, not by what they cannot — making skill and competitive spirit the defining features of their identity.
• Resilience against doubt: Para-athletes frequently face scepticism from coaches, institutions, and families. This philosophy equips them with an internal conviction strong enough to persevere despite external doubt.
• Focus on adaptation: It encourages creative thinking about how to work with the body as it is — leading to innovative training techniques and performance breakthroughs.
• Holistic success: The philosophy defines success beyond medals — as living fully, contributing to one’s community, and inspiring others. This broader definition ensures athletes find meaning even when medals are elusive.

7. What have you learnt from this interview, and how can you implement these learnings in your life?

Ans (Sample):

• The power of choice: Dr. Malik chose transformation over despair. I will try to choose action over wallowing when I face failures.
• Redefining possibility: Most limitations exist in the mind. I will question the limits I set for myself before accepting them as permanent.
• Empathy and inclusion: I will be more conscious of my assumptions about others and actively include those who may feel marginalised.
• The importance of advocacy: Personal success is most meaningful when used to create opportunities for others — I can be a voice for classmates who may be shy, isolated, or differently-abled.

Vocabulary and Structures in Context

I. Match the given phrases in Column 1 with their meanings in Column 2. Use the phrases in sentences of your own.

Ans:

II. Arrange the words related to movement on a word cline from slowest to fastest.

Ans (Slowest → Fastest):

crawl → creep → plod → amble → walk → stroll → saunter → jog → run → dart → sprint

III. Match the highlighted modal verbs in Column 1 with their functions in Column 2. (Two extra functions not needed.)

Ans:

Extra functions not used: (i) promise and (ii) possibility

IV. Make sentences with modal verbs using all their functions.

Ans:

V. Read the following sentences and answer questions about Direct and Reported Speech. Observe and complete the changes table.

Interviewer: You’ve been listed as one of the 10 most inspirational women para-athletes globally by the International Paralympic Committee.

Dr. Malik: I love sports and had been a swimmer too, so I decided to switch to para-athletics.

The sentences given above are in ____________________. (Direct Speech/Reported Speech)

The sentences given above are __________ sentences. (declarative/interrogative/exclamatory/imperative)

Now, work in pairs. Observe the changes from Column 1 to Column 2. Note these changes in Column 3. One example has been done for you.

Ans:

The sentences given are in Direct Speech.

The sentences given are declarative sentences.

VI. Change the conversation between Siya and Tarun to reported speech.

SIYA: I watched a documentary on the para equestrian event on television last night.
TARUN: I didn’t know Paralympics has equestrian events.
SIYA: It does. It was so interesting to watch.
TARUN: That’s wonderful. So, para equestrians must be training for months for this.
SIYA: They also have to find and develop their own style of communication with their horse.
TARUN: I will watch this documentary the next weekend.

Ans:

Siya said that she 1. had watched a documentary on the para equestrian event on television the previous night. Tarun replied that he hadn’t known that Paralympics had equestrian events. Siya added that 2. it did and that it had been very interesting to watch. Tarun remarked that it was wonderful and that para equestrians must be training for months for that. Siya replied that 3. they also had to find and develop their own style of communication with their horse. Tarun said that 4. he would watch that documentary the following weekend.

Speaking Activity

I. Interview the Sports Captain (informal) and Sports Coach (formal) of your school. Sample responses given below.

Sample Informal Interview — Sports Captain

Ans:

Sample Formal Interview — Sports Coach

Ans:

Writing Task

II. Draft a notice for the Inter-school Athletic Meet (not more than 50 words), in a box.

Ans: Sample Notice

Green Valley Public School, Chandigarh

NOTICE

Date: 18 March 2026

Inter-school Athletic Meet — Student Registration

Students of Classes 6–10 interested in participating in the Inter-school Athletic Meet (to be held on 5 April 2026) are requested to register with the Sports Department by 25 March 2026. Events include sprints, relay races, long jump, and shot-put. Selection trials will be held on 28 March.

(Signature)
Rohan Sharma
Sports Captain, Green Valley Public School

Reflect and Respond

I. Work in pairs. Discuss the memories from your childhood that you remember. List them and share with your classmates and teacher.

Ans (Sample):

Common childhood memories include the smell of rain on dry earth; a grandmother’s lullaby; the taste of a favourite homemade sweet; the feel of sand at a beach picnic; colourful kites during festivals; waking to the smell of fresh parathas; and the school bell at the end of a long day. These small, sensory memories form the texture of childhood and often stay with a person far longer than significant events.

II. Discuss how children’s relationship with their mother can influence their emotions and memories.

Ans:

A mother is typically a child’s first and most foundational bond, shaping the emotional landscape of early life. Her voice, touch, scent, and habits become associated with safety and comfort. Even after the mother is no longer present, these sensory associations continue to trigger emotions involuntarily — a familiar song, a flower’s scent, or a quality of light can suddenly bring back a flood of feeling. Tagore’s poem illustrates this: though he cannot consciously recall his mother, her presence lives on in sensory traces — a tune, a scent, a stillness — showing that the mother–child bond is woven into the senses themselves, not just the mind.

III. Match the words given in Column 1 with their meanings in Column 2.

Ans:

Check Your Understanding

I. Fill in the blanks with appropriate words.

Stanza 1

1. The poet remembers his mother while he __________.
2. The poet remembers the __________ but not the __________.

Setting: __________ (outdoor/indoor)

Stanza 2

1. The poet remembers his mother in the __________ season.
2. The poet remembers his mother by the smell of __________.

Setting: __________ (outdoor/indoor)

Stanza 3

1. The poet feels that his mother __________ at him from the __________.

Setting: __________ (outdoor/indoor)

Ans:

Stanza 1

1. …while he is playing / is in the midst of play.
2. …the tune (of the song) but not the words of the song / the mother herself.
3. Setting: Indoor

Stanza 2

1. …in the early autumn season.
2. …by the smell of shiuli flowers (and the morning temple service).
3. Setting: Outdoor

Stanza 3

1. …gazes / looks at him from the distant blue sky.
2. Setting: Indoor

II. The senses of olfactory (smell), auditory (hearing), and visual (sight) are three of the five basic senses in humans. Give examples of references to senses from the poem. Complete the table.

Ans:

III. Read the poem silently once again and complete the following.

Ans:

1. Two examples of alliteration from the poem are:

1. “sometimes … seems” — repetition of the ‘s’ sound in “sometimes in the midst” and “a tune seems.”
2. “hover … hum” — repetition of the ‘h’ sound in “hover over” and “hum.”

2. An example of onomatopoeia is: “hum” — the word imitates the soft, low, closed-lips sound it describes, recreating the quiet, melodic sound of the mother humming at the cradle.

3. The poem uses imagery extensively. Explain.

• Auditory imagery (Stanza 1): The tune hovering over playthings — the mother’s half-remembered lullaby — creates a vivid sound picture, as if the soft melody drifts through the air of the playroom.
• Olfactory imagery (Stanza 2): The smell of shiuli flowers mingled with temple incense on an autumn morning builds a powerfully atmospheric picture. Scent is the sense most closely linked to involuntary memory, making this the most evocative stanza.
• Visual imagery (Stanza 3): The vast blue sky seen through the bedroom window, equated with the stillness of the mother’s gaze, creates a breathtaking visual metaphor — the sky becomes a canvas on which the poet projects his memory of his mother’s face.

4. Although the poem does not have a rhyme scheme, it is enjoyable because it relies on deeply felt emotional imagery, a natural musical rhythm, and the universally relatable theme of fragmentary childhood memory. The sensory details — sound, scent, and sight — draw the reader into the poet’s world so vividly that the absence of rhyme is never felt as a lack.

5. What is the tone of the poet? Why do you say so?

The tone is wistful, tender, and gently melancholic. It is wistful because the poet reaches toward a memory that keeps slipping away; tender because the fragments are clearly cherished; and gently melancholic because of the underlying sadness of being unable to truly remember the person closest to him in infancy. The repeated phrase “I cannot remember my mother” expresses not despair but quiet, accepting sorrow.

6. What impact does the title of the poem have on the overall mood of the poem?

The title sets a tone of loss and longing before the poem begins. “Cannot” is absolute — the poet truly cannot remember her as a whole person. This prepares the reader for an exploration of what survives at the edges of memory — sensory traces rather than a full image. Each beautiful image (the tune, the scent, the sky) becomes more poignant because it is a substitute for, not a direct memory of, the mother herself.

7. The poet uses ‘I cannot remember my mother’ as a refrain because it serves as the emotional and structural anchor of the poem. Its repetition emphasises the central paradox: even though the poet cannot consciously remember his mother, her presence lives on in his senses. Each stanza begins with the same admission of loss but opens into a rich sensory memory that contradicts it — simultaneously acknowledging what is absent and celebrating what remains. The cumulative effect underscores the depth of his longing and the persistence of maternal love beyond conscious memory.

8. The poet uses symbolism to indicate the memory of his mother’s presence. Identify the symbols used in the poem.

• The hovering tune — the mother’s loving presence that cannot be seen but can still be felt; her care lingering invisibly around her child.
• The cradle — the earliest, most intimate bond between mother and child — the period of complete dependence and unconditional love.
• The shiuli flowers and temple scent — the mother’s spirituality and place in daily rituals. The shiuli, which blooms at night and falls at dawn, also symbolises transience — like the mother, beautiful but brief.
• The blue of the distant sky — infinity, eternity, and the boundless nature of a mother’s love. The sky, which touches all things, becomes a metaphor for the all-encompassing quality of her watchful presence.
• The stillness of the gaze — the calm, unconditional, patient love the mother bestows; peaceful, accepting, and eternal.

Critical Reflection

I. Read the extracts given below and answer the questions that follow.

Extract 1:

I cannot remember my mother
only sometimes in the midst of my play
a tune seems to hover over my playthings,

(i) Complete the following sentence appropriately: The poet is reminded of his mother during his ___________.

Ans: …during his playtime / while playing in the midst of his play.

(ii) What is the primary emotion conveyed by the line ‘a tune seems to hover over my playthings’?
A. It enhances the joy of play.
B. It disrupts the playtime atmosphere.
C. It activates memories of the mother.
D. It symbolises the carefree nature of childhood.

Ans: C. It activates memories of the mother. The hovering tune is the tune the mother used to hum — its primary function is the involuntary activation of her memory, not the enhancement or disruption of play.

(iii) In the context of the poem, what role does the hovering tune play during the speaker’s playtime?

Ans: The tune acts as a bridge between the speaker’s present moment and the earliest memories of his infancy — drifting unbidden into his consciousness, carrying the emotional imprint of the mother who hummed it at his cradle. It is not a conscious act of remembering; the tune simply arrives and hovers, serving as an unconscious, recurring messenger connecting the present child to the absent mother.

(iv) State whether the following sentence is true or false: The poet experiences the tune lingering over playthings only occasionally during playtime.

Ans: True. The poem says “only sometimes in the midst of my play” — confirming the experience is occasional and involuntary, not constant.

(v) How could the poet feel his mother’s presence, even though she isn’t there?

Ans: The poet feels his mother’s presence through sensory memory — the deepest and most persistent form of human recollection. The sensory experiences of his infancy (the tune she hummed, her scent from shiuli flowers and the temple, the quality of her gaze) were recorded in his body and senses at a pre-conscious level. These impressions resurface involuntarily when a similar trigger occurs — a tune during play, an autumn flower’s fragrance, the stillness of the sky. The mother is present not as a remembered image but as a felt quality woven into the fabric of his sensory world.

Extract 2:

I feel that the stillness of
my mother’s gaze on my face
has spread all over the sky.

(i) What does the poet suggest about the stillness of his mother’s gaze spreading over the sky?
A. The mother’s gaze is physically present in the sky.
B. The sky is a symbolic extension of the mother’s presence.
C. The sky mirrors the mother’s emotions.
D. The stillness is fleeting and unrelated to the mother.

Ans: B. The sky is a symbolic extension of the mother’s presence. The vast, still, infinite sky becomes a symbol carrying the quality of the mother’s gaze — her calm, enveloping, watchful love — extending it to fill the entire visible world.

(ii) What emotion does the poet associate with the ‘stillness’ of his mother’s gaze?
A. a sense of grief
B. a sense of anticipation
C. a sense of nostalgia
D. a sense of serenity

Ans: D. a sense of serenity. “Stillness” implies calm, peace, and tranquillity — not grief (active and painful), anticipation (tense), or even nostalgia (an ache of longing). The mother’s gaze was quiet, steady, and peaceful — an anchor of serenity in his early life.

(iii) State whether the following sentence is true or false: The poet suggests that the mother’s gaze has a tangible and visual effect on the sky.

Ans: False. The effect is not tangible but purely emotional and metaphorical. The poet uses the sky as a symbolic canvas onto which he projects the feeling of his mother’s still, watchful presence — it is felt rather than seen.

(iv) What is the purpose of likening the mother’s gaze to the sky?

Ans:

• It conveys the boundlessness of a mother’s love — like the sky, it has no edges and encompasses everything.
• It expresses the permanence of the memory — the sky is always there, as is the feeling of her presence.
• It elevates the personal experience to something cosmic and transcendent — the mother, though gone, has merged with the eternal.
• The sky suggests distance combined with closeness — she is far away but as omnipresent as the sky above.

(v) Complete the sentence appropriately: The tone of the poet in the given extract is _____________ because _____________.

Ans: The tone is serene and contemplative because the poet is not expressing acute grief but a quiet, philosophical peace — gazing into the blue sky and finding in its stillness a reflection of his mother’s calm gaze. The imagery is expansive and tranquil, and the emotion is gentle wonder rather than active sorrow.

II. Answer the following questions.

1. What is the emotional impact of the refrain, ‘I cannot remember my mother’?

Ans: The refrain creates a cumulative emotional impact that is both sorrowful and paradoxical. Each time it opens a stanza, it re-establishes loss — but the lines that follow immediately contradict it with vivid sensory evidence: a tune, a scent, a quality of light. This creates a moving tension between what is intellectually acknowledged (inability to remember) and what is emotionally experienced (the mother’s persistent, living presence). The refrain quietly builds from gentle sadness in the first stanza to quiet awe in the third — and by the poem’s end, has been quietly disproved: the poet does remember his mother, just not in words.

2. Interpret the connection between the poet’s mother and the following: (i) shiuli flowers   (ii) humming tune

Ans:

• (i) Shiuli flowers: The shiuli blooms at night and sheds its flowers at dawn, releasing a sweet fragrance on the early morning air. This scent, mingled with temple incense, became the sensory atmosphere the mother carried. The poet connects both to her presence, suggesting she was devout and part of the daily rituals of morning. The transient flower — beautiful but brief — also symbolises the mother herself, whose presence in the child’s life was fleeting but whose scent remains.
• (ii) Humming tune: The mother hummed a song while rocking the cradle — a deeply intimate daily ritual of infancy. Though the poet cannot recall the words, the tune was encoded in his sensory memory at a pre-verbal level. When it appears unbidden during play, it carries the emotional warmth of the cradle — the security and closeness of being mothered — without requiring any conscious effort. It is the earliest form of communication between mother and child, bypassing language and going directly to the heart.

3. What role does nature play in the poet’s description of the memory of his mother?

Ans: Nature plays a central role as the medium through which the mother’s memory is experienced. In each stanza, a specific natural element carries her presence: the tune hovering like something alive in the playroom air, the shiuli flowers’ fragrance on an autumn morning, and the boundless blue sky through the bedroom window. Nature acts as a bridge between the living and the absent — the mother lives on in the seasonal return of a flower’s fragrance, the recurring stillness of a morning, and the permanence of the sky. This reflects Tagore’s philosophical vision: nature is not separate from human feeling but deeply intertwined with it — the language through which the deepest emotions are expressed and preserved.

4. What can be inferred about the poet’s perception of the mother–child relationship?

Ans:

• The deepest and most enduring bond: Though the poet lost his mother too young to form conscious memories, her presence has never left him — embedded in the senses and the body below the level of memory.
• Felt rather than thought: The poet remembers through sound, scent, and sight — involuntary, sensory impressions — suggesting the mother–child relationship belongs to the realm of feeling, not thought.
• Sacred and spiritual: The connection of the mother’s presence to the temple’s morning service suggests she is not merely a domestic figure but something transcendent — as vast as the sky, as fragrant as temple flowers.
• Characterised by unconditional calm: The “stillness” of her gaze — peaceful, not anxious or demanding — suggests her love was calm, patient, and endlessly accepting.

Vocabulary in Context

I. Work in pairs to classify the sensory words given in the box. One example has been done for you.

Ans:

II. Fill in the blanks with sensory words from the box for the passage written by Sarojini Naidu. There are two extra words.

Ans:

Come and share my exquisite March morning with me: this sumptuous blaze of gold and sapphire sky; these 1. scarlet lilies that adorn the sunshine; the voluptuous 2. perfumes of neem and champak and serisha that beat upon the languid air with their implacable 3. scents; the thousand little gold and blue and silver breasted birds bursting with the 4. sweetness ecstasy of life in nesting time. And, do you know that the scarlet lilies are woven petal by petal from my heart’s blood, these little quivering birds are my soul made incarnate music, these heavy 5. flaming are my emotions dissolved into aerial 6. essence, this 7. shrill blue and gold sky is the ‘very me’…

Extra words (not used): sizzle, smooth

III. Write numbers against each picture with the phrases that describe them with their sensorial associations.

1. beats of music echo in air
2. melody of soothing scent, dancing in the air
3. fragrant breeze of blooming buds
4. gentle lullaby, a soft melody
5. colourful sky, painting a lively sight
6. attractive canvas painting the horizon

Ans:

Speaking Activity

I. Work in pairs. Think of an object, song, or a place that is memorable for you. Take turns to speak about it using the prompts given below.

Ans (Sample Spoken Response):

Introduction: “Growing up, I fondly remember the old brass wind chime that hung outside my grandmother’s kitchen window. It was a simple thing — seven metal tubes of different lengths that clinked against each other whenever a breeze came through.”

Sensory details: “I can still picture the faint golden glint of the brass in the afternoon light. The sound it made was not loud — it was a quiet, layered sound, like someone gently clearing their throat. If I close my eyes, I can almost feel the warm summer air on my face that always seemed to accompany that sound.”

Specific memory: “I have a clear memory of one particular afternoon when I was about seven. I had scraped my knee badly while playing and was sitting on the kitchen steps, crying. My grandmother brought me a glass of cool water and sat beside me. She didn’t say much. But the wind chime rang softly in the breeze, and somehow that gentle sound made everything feel manageable again.”

Impact on life: “To this day, whenever I hear the sound of wind chimes — in a shop, or in someone else’s home — I feel a wave of calm. It is as if my grandmother’s presence returns for a moment. It has taught me that comfort does not always require words.”

Why it is meaningful: “This memory is meaningful to me even now because it reminds me that the most comforting things in life are often the smallest ones — a sound, a presence, a moment of quiet companionship. It connects me to a particular kind of love that was wordless, steady, and completely enough.”

Writing Task

I. Imagine you had been on a school trip to a scenic place which appealed to all your senses. Write a diary entry describing the place and why it was a memorable experience.

Ans (Sample Diary Entry):

Saturday, 18 October  |  9:30 p.m.Today was one of those days I know I will think about for years. Our school trip took us to the Corbett foothills — a patch of forest reserve at the edge of a river valley — and I do not think I have ever experienced so many things at once through all my senses.

We arrived early in the morning when the mist was still clinging to the treetops. The first thing I noticed was the smell — a deep, green, wet-earth smell that hit me the moment I stepped off the bus. It was the smell of things growing and things decaying all at once, and it was one of the most alive smells I have ever encountered. My friend Ananya said it smelt like rain kept permanently in a bottle.

As we walked the trail, the sounds took over. The forest was never silent. Somewhere above us, unseen birds were calling in high, liquid notes. Further in, we heard what our guide said was the alarm call of a deer — a sharp, hollow bark that made my heart jump. Beneath all of this ran the sound of the river, a continuous low hiss that you could feel in your chest rather than just hear with your ears.

The most significant moment of the day came in the late afternoon. We sat on a boulder by the river and our teacher asked us to be completely silent for five minutes. I watched a heron stand absolutely still in the shallows, its grey feathers reflecting the fading orange sky. I felt the cold of the stone through my clothes, the warmth of the last sunlight on my face, and the cool damp air rising from the water. It was as if every sense had been switched to its highest setting.

On the bus back, nobody spoke much. I think we were all still inside the day. I realised that most of the time, I walk through the world with only part of my attention. Today, for a few hours, I was entirely there — seeing, smelling, hearing, feeling every moment. I want to remember that feeling. I want to carry it back to my ordinary days.

— [Your Name]

Reflect and Respond

I. From your experience with an elderly person at home or in your neighbourhood, complete the following graphic organiser on “Caring for the Elderly”.

Ans:

II. Fill in the table with the meanings of the following words from the story.

Ans:

III. Think of a tradition, story, or recipe passed down by grandparents or an elderly relative in your family. What does it mean to you? How does it connect you to your growing-up years? Share with your classmates and teacher.

Ans: (Sample Response)

My grandmother used to describe how our family celebrated Diwali in their village — making diyas by hand, drawing rangoli with natural colours, and preparing traditional sweets like mathri and besan ke ladoo from scratch. This tradition represents warmth, togetherness, and cultural roots. Every time I see handmade diyas or smell those sweets, I feel a bond with my grandmother and the generations before her.

Check Your Understanding – Part I

I. Why did Grandpa dislike living in the city with his daughter?

Ans: Grandpa had spent most of his life in a small, quiet town and hated the noise and bustle of city life. He missed his brick house with its large mango tree and peaceful evenings. The cramped flat felt suffocating, and his daughter’s insistence that he not go out alone made him feel like a prisoner — deeply wounding his sense of dignity as a man who had lived self-sufficiently for decades.

II. Why did Vidya not want her father to go out alone?

Ans: Vidya had genuine reason to worry. Grandpa had recently taken a double dose of medicine due to forgetfulness, causing a hospital admission. He had also once forgotten the way home during a walk, and had slipped and fallen in his garden at night, lying there until morning with no one to help. These incidents convinced Vidya that Grandpa could not safely go out alone. Her restriction came entirely from love and fear for his safety.

III. Was Ravi in favour of his mother treating Grandpa like a child? How can you say so?

Ans: No, Ravi was not in favour. He “winced” at his mother’s over-loud, patronising tone when speaking to Grandpa. He was embarrassed by this because he respected his grandfather’s intelligence and dignity. When Grandpa accused his mother of treating him like a baby and a prisoner, Ravi quickly said, “Of course not, Grandpa. Mamma would never treat you like a baby … or a prisoner” — showing he was aware of the problem and tried to protect his grandfather’s feelings.

IV. Would Ravi be able to keep up his promise to his mother?

Ans: Ravi was in a difficult dilemma — he could not force Grandpa to stay without making him feel like a prisoner, so he followed him secretly. However, this plan failed: he got into several embarrassing situations and ultimately lost track of Grandpa on the bus. So while his intention was sincere, he was not fully able to keep his promise, though thankfully Grandpa returned home safely on his own.

Check Your Understanding – Part II

I. Complete the flow chart by describing Grandpa’s day out.

Ans:

II. Was Grandpa lost as feared by Ravi’s mother?

Ans: No, Grandpa was not lost. Despite Ravi’s frantic searching, Grandpa had made his way home entirely on his own and was peacefully asleep when Ravi arrived. This showed that Grandpa was far more capable and resourceful than his family had credited him for — he had navigated the city, enjoyed his outing, returned safely, and even had gifts ready.

III. How would Ravi feel after seeing Grandpa?

Ans: Ravi would feel an enormous wave of relief and joy. After a day of anxiety, embarrassment, and finally losing Grandpa on a bus, finding him sleeping soundly would have lifted a tremendous burden. The story tells us Ravi was “overcome with affection” and hugged his grandfather, resting his cheek against the old man’s wrinkled face — revealing not just relief but deep love and renewed appreciation.

IV. Do you think Ravi’s mother will get to know about what had happened?

Ans: Grandpa revealed just enough to expose Ravi’s absence — saying “I had a quiet morning, but I don’t know about Ravi. He just disappeared instead of staying at home to look after me” — without disclosing his own adventure. Vidya learnt that Ravi had left the house but was not told the full story. The gift of a detective story book was Grandpa’s witty private signal to Ravi — a secret shared only between the two of them.

Check Your Understanding – Part III

I. Describe how Ravi’s emotional reaction upon finding Grandpa safe at home reveals his feelings towards his grandfather.

Ans: Ravi knelt beside the bed and gently pressed his cheek against his grandfather’s wrinkled face, taking in the familiar smell of eucalyptus ointment. He was “suddenly overcome with affection” and hugged Grandpa. This instinctive, tender behaviour reveals a profound emotional bond. After a day of frantic worry, the relief transformed instantly into an outpouring of love — showing that Ravi’s feelings for his grandfather are warm, genuine, and deep.

II. What might be the significance of Grandpa’s habit of giving gifts to everyone on his birthday rather than receiving them?

Ans: This habit reveals a generous, giving spirit — Grandpa derives greater pleasure from making others happy than from being celebrated himself. It also shows he still considers himself the patriarch and caretaker, challenging the story’s premise that he is frail and dependent. Most wittily, it turns the tables on Vidya: Grandpa remembered his own birthday tradition perfectly while she had forgotten it entirely.

III. Why do you think Grandpa gave Ravi a detective story book as a gift? What might this suggest about Grandpa’s awareness of Ravi’s actions earlier in the day?

Ans: The gift of The Best Detective Stories — with the pointed remark about picking up “tips on how to avoid getting fooled when trailing a suspect” — is Grandpa’s sly, affectionate way of telling Ravi he knew he was being followed all along. The “twinkle” in Grandpa’s eye confirms he was being mischievous, not oblivious. He had likely spotted Ravi at one or more stops and had deliberately given away his cap in the barber shop to mislead him.

Critical Reflection

I. Read the extracts given below and answer the questions that follow.

Extract 1:

Grandpa hated the noise and bustle of city life and when they were on their own, he often spoke longingly of his small brick house in town. “Such a wonderful place…! With that big mango tree in the garden! It is so quiet that at dusk you can even hear a leaf fall!” But then Grandpa had slipped and fallen in the garden late one evening while he was pottering around and lain outside all night because there was no one at home to help him up.

(i) Choose the emotion displayed by the Grandfather:
A. regretful   
B. apologetic   
C. nostalgic   
D. wistful

Ans: C. nostalgic. Grandpa is fondly recalling his old home and longing for the past — “nostalgic” precisely describes this warm recollection of a cherished former life.

(ii) Complete the following sentence with a reason: Grandpa hated the busy and noisy city life because ___________.

Ans: …because he had spent most of his life in a small, quiet town with his own spacious brick house and mango tree, and treasured that peace and tranquillity. The crowded, noisy, cramped city was the complete opposite of everything he valued.

(iii) Why did Grandpa come to the city despite his dislike for city life?

Ans: Grandpa came to the city because his family felt it was no longer safe for him to live alone. He had slipped and fallen in his garden one evening and lain there all night without help. This alarmed Vidya, who locked up the town house and brought him to live with the family — a decision made out of concern for his safety, not his own choice.

(iv) Choose an expression similar in meaning to ‘you can even hear a leaf fall’: 
A. end of one’s life   
B. arrival of autumn   
C. sign of good luck   
D. pin drop silence

Ans: D. pin drop silence. “You can even hear a leaf fall” describes absolute, total silence — the same idea as “pin drop silence,” a stillness so profound that even the faintest sound would be audible.

(v) State one advantage and one disadvantage of the Grandfather living in the house in town.

Ans:

• Advantage: The town house gave Grandpa peace, independence, and surroundings he loved — the garden, mango tree, and quiet life that reflected his identity. He was mentally and emotionally happiest there.
• Disadvantage: Living alone was physically dangerous — there was no one to help him in an emergency, as the incident of his fall proved, which could have had serious consequences.

Extract 2:

“I had a quiet morning, but I don’t know about Ravi. He just disappeared instead of staying at home to look after me like you told him to,” answered Grandpa coolly, while Ravi just looked confused and embarrassed. Grandpa had another surprise for Ravi. A gift-wrapped parcel! “But, Papa, Ravi’s birthday was three months ago. Have you forgotten?” exclaimed Ravi’s mother, impatiently.

(i) Choose the option that displays the tone of the Grandfather’s response: 
A. apologetic   
B. hurtful   
C. calm   
D. puzzled

Ans: C. calm. The story says Grandpa “answered coolly” — measured, unhurried, and composed. This coolness suggests he was deliberately choosing his words to expose Ravi’s absence while appearing perfectly unruffled.

(ii) Why was Ravi confused and embarrassed?

Ans: Ravi had spent the whole morning secretly following Grandpa, ended up on the wrong bus, lost his grandfather, and returned home in panic — yet here was Grandpa, perfectly fine and home before him. Grandpa’s cool statement placed Ravi in an impossible position in front of his mother, and the sly gift of a detective book hinted that Grandpa had known everything — making Ravi’s mission look both foolish and transparent.

(iii) Complete the sentence with a suitable reason: Ravi’s mother was impatient because ___________.

Ans: …because she had just returned from work to find Ravi had not stayed home as instructed, and was hearing this from Grandpa himself. Moreover, Grandpa presenting a gift-wrapped parcel confused her — she assumed he had forgotten Ravi’s birthday had already passed, seemingly confirming her fears about his failing memory.

(iv) State whether the following sentence is true or false: Grandfather forgot that Ravi’s birthday was three months ago.

Ans: False. Grandpa had not forgotten anything. His tradition was to give gifts to everyone on his own birthday — not theirs. It was Vidya who had forgotten Grandpa’s lifelong birthday tradition, and she flushed with embarrassment when she realised this. The irony is a gentle inversion: the family worried about Grandpa’s memory, but Vidya was the one who had forgotten.

(v) Why did Grandpa say he didn’t know what kind of morning Ravi might have had?

Ans: Grandpa said this with mischievous, knowing composure. He was fully aware that Ravi had been trailing him all morning. By contrasting his own “quiet” morning with Ravi’s unknown one, Grandpa was being deliberately ironic — subtly exposing Ravi’s chaotic adventure to his mother while maintaining an innocent calm.

II. Answer the following questions.

1. Grandpa is portrayed as a person with failing memory in the beginning of the story. Give two evidences to disprove the statement.

Ans:

• Evidence 1 – Chess memory: Grandpa could recall thousands of historic chess games in detail — referencing specific moves by Karpov, Bobby Fischer, and Spassky — revealing a sharp, well-preserved long-term memory.
• Evidence 2 – Birthday tradition: Grandpa remembered his lifelong tradition of giving gifts on his own birthday without any prompting, and had prepared gifts for the whole family. It was Vidya who had forgotten this tradition — not Grandpa.

2. Give two characteristic traits of each of the following characters: (i) Grandfather   (ii) Ravi   (iii) Ravi’s mother

Ans:

3. Why was Ravi worried about what Grandfather had at the tea stall?

Ans: Grandpa consumed several things specifically forbidden by the doctor — sugary tea, two bananas (“another banned item”), and an ice cream. Ravi knew his mother would be alarmed, since these items were prohibited due to Grandpa’s health condition. Watching his grandfather gleefully indulge in everything he was not supposed to have, while hiding behind a car, Ravi could only think of his mother’s likely reaction.

4. Do you think it was easy for Ravi to follow his Grandfather? If yes, why? If no, why not?

Ans: No, it was far from easy. Every hiding spot led to a new embarrassment:

• At the children’s park, he was confronted by a child’s mother who threatened him with an umbrella — he crawled out on all fours.
• At the tea stall, vendors accused him of encroaching on their space.
• He accidentally walked into a Ladies’ Hairdressing Salon and was thrown out amid shrieks.
• Finally, he sprinted onto a bus believing he was following Grandpa, only to find a complete stranger wearing a similar cap.

Every step of the way, the world conspired to make Ravi’s mission more difficult, comical, and ultimately unsuccessful.

5. ‘Ravi is a good detective’. Give one argument in favour of and against the given statement.

Ans:

• In favour: Ravi shows persistence and resourcefulness — despite numerous setbacks, he never gave up, always found new hiding spots, and tracked Grandpa through multiple locations with genuine commitment.
• Against: In practice, Ravi drew far too much attention to himself, was removed from multiple locations, and crucially was fooled into chasing the wrong person. Grandpa knew he was being followed and evaded him entirely — a clear sign that Ravi failed as a detective.

6. Was Grandfather aware that Ravi was following him? How do you know?

Ans: Yes, Grandpa was certainly aware. The clearest evidence is the gift of The Best Detective Stories with the pointed remark about “tips on how to avoid getting fooled when trailing a suspect” — directly referencing the day’s events. The narrator notes a “twinkle” in Grandpa’s eye, which the context makes clear was mischievous. He had likely spotted Ravi at one or more stops and deliberately given away his cap in the barber shop to mislead him.

7. In your opinion, who needs Vitamin-M? And why?

Ans: Metaphorically, the person who most needs Vitamin-M is Ravi’s mother, Vidya. She has forgotten the most important things: that Grandpa is an intelligent, dignified human being who managed his own life for 75 years; that his “failing memory” does not define his entire personhood; and that her own memory of his cherished traditions was itself faulty. The story is a gentle reminder that caring for the elderly must include caring for their dignity — and that memory is not the only measure of a person’s worth.

8. Some people believe society shows bias based on age (being young or old). Give an example where you might have experienced or observed such discrimination, when opinions were disregarded because of age.

Ans (Sample):

An elderly neighbour — a retired civil engineer of 40 years — tried to share his opinion at a housing society meeting about a water tank’s placement. Younger members dismissed him quickly, saying “Uncle, you wouldn’t understand the technical side.” His suggestion was actually the most practical one, proven correct when the original plan encountered the very problem he had predicted. Both the elderly and teenagers frequently face this age-based bias — their opinions dismissed not on merit but on the basis of how many years they have lived.

Vocabulary and Structures in Context

I. Classify the words given in the box into movement words (Column 1) and sound words (Column 2).

Ans:

Fill in the blanks:

Detective Shankar, 1. trailing the mysterious suspect through the dimly lit side lanes, away from the 2. bustle of the city, quickened his pace 3. briskly. The suspect’s heavy footsteps 4. thudded across the street, unaware of the pursuit. Shankar 5. twirling his magnifying glass had to 6. crouch behind the market stalls, 7. creeping through the lanes to avoid being seen. Shankar 8. grunted when he hit himself against a pole. This alarmed the suspect and he 9. darted into the night leaving only the distant 10. whirr of the sleeping city behind.

II. Study the highlighted word “dilemma” in the sentence and fill in the boxes with synonymous words.

Ans:

1. QUANDARY ← DILEMMA → 2. PREDICAMENT

Both “quandary” and “predicament” are synonyms for “dilemma” — a situation in which a person faces a difficult choice between options, each with its own disadvantages.

III. Fill in the table with meaning, part of speech, synonym, and antonym of the given words.

Ans:

IV. Match the emotions/expressions in Column 1 with their meanings in Column 2. (One meaning is extra.)4

Ans:

V. Fill in the blanks with appropriate prepositions.

Ans:

I walked (i) through the village, crossed a bridge (ii) over a brook, and found a quiet garden (iii) near a cottage. Sitting on a bench (iv) in the garden, I enjoyed the peaceful surroundings. Later, I strolled (v) along a riverbank, exploring the forest and heading (vi) towards the unknown.

VI. Read the dialogues and choose the correct answers.

1. “Shall we play chess or watch the cricket match on TV, Grandpa?” asked Ravi.
2. “Who are you?” said the little boy’s mother.
3. “What did you both do today?” asked Ravi’s mother.
4. “Have you forgotten?” countered Grandpa.
5. A small child came up to him and asked, “Are you playing hide and seek?”

Now, choose the correct answer.

A. The words in the quotes are (i) __________ (exclamatory/interrogative) sentences.

B. Sentences 1, 4, and 5 are (ii) __________ (Wh-/Yes, No type) interrogative sentences.

C. Sentences 2 and 3 are (iii) __________ (Wh-/Yes, No type) interrogative sentences.

D. So, there are (iv) __________ (two/three) types of interrogative sentences.

Ans:

• A. The words in the quotes are (i) interrogative sentences.
• B. Sentences 1, 4, and 5 are (ii) Yes/No type interrogative sentences.
• C. Sentences 2 and 3 are (iii) Wh- type interrogative sentences.
• D. So, there are (iv) two types of interrogative sentences.

VII. Complete the following sentences in reported speech based on the conversation between Arvind and Priya.

ARVIND: Do you help in taking care of your grandparents at home?

PRIYA: Yes, I do. We take turns making sure they’re alright. Do you have grandparents living with you?

ARVIND: No. My parents and I visit my grandpa every weekend. How do you manage your grandparents’ medical needs?

PRIYA: We have a schedule for giving medications and visits to the doctor.

Ans:

Arvind asked Priya if she 1. helped in taking care of her grandparents at home, for which Priya replied in the affirmative and said that they 2. took turns making sure they were alright. Priya further asked Arvind 3. whether he had grandparents living with him. Arvind replied in the negative and said that 4. his parents and he visited his grandpa every weekend. He further enquired 5. how she managed her grandparents’ medical needs. Priya responded by saying that they 6. had a schedule for giving medications and visits to the doctor.

Speaking Activity

I. Intonation practice: Revisit the story and select different questions. Work in pairs and practise speaking them aloud with the correct intonation.

Ans (Guidelines):

II. Make a presentation about a brief personal experience related to taking care of an older person.

Ans (Sample Presentation):

Background of my experience: The person I had the privilege of taking care of was my maternal grandfather, Nana ji, during the summer holidays when I was in Class 7. He had undergone knee surgery and needed help with daily activities while he recovered at home.

What I learned about myself: Caring for someone taught me valuable lessons about patience and attentiveness. In this role, I learned that I possess the ability to set aside my own wants and focus entirely on another person’s needs. One significant realisation about me during this experience was that I am more capable of empathy than I had previously believed — I could sense when he was in discomfort even before he expressed it.

What I learned about the older person: Understanding the needs and preferences of the older person, I learned that the elderly deeply value being spoken to with warmth and respect, not just being physically attended to. Their challenges offered insights into the difficulties of aging, such as the frustration of being physically restricted when one’s mind is still sharp and active. Caring for Nana ji deepened my understanding of the ageing process, particularly how much the elderly need companionship and conversation, not just medical care.

Writing Task

I. Write an article for your school magazine on the topic ‘Our Inspiring Elderly’.

Ans (Sample Article):

OUR INSPIRING ELDERLY

By [Your Name] | Class IXThere is a quiet, unassuming kind of heroism that lives in the homes of most Indian families — in the form of an elderly grandparent seated in a favourite armchair, a retired teacher who still carries the habit of precise observation, or a grandmother whose hands have quietly fed generations. The elderly among us are far more than people who need to be looked after. They are a living archive of wisdom, resilience, and experience that no textbook can replicate.

Consider what the elderly represent: decades of lived experience, the memory of a world that no longer exists, skills that are disappearing, and a perspective on life that comes only from having truly lived it. Many of our grandparents survived poverty, partition, illness, and loss — and emerged with a philosophical calm that their grandchildren, for all the advantages of the modern world, often lack. As Grandpa in the story Vitamin-M quietly demonstrates, the elderly can be sharp, self-sufficient, generous, and even mischievous — qualities that age does not diminish.

Take the example of 78-year-old Mrs Kaur in our neighbourhood, who has spent the past fifteen years teaching underprivileged children to read, despite her own failing eyesight. Or consider my grandfather, who, at the age of 82, still writes letters by hand and calls every letter “an exercise in patience and clarity.” These individuals overcame the challenges of a rapidly changing world — the transition from letters to emails, from local markets to online shopping, from joint families to nuclear ones — with a quiet adaptability that many younger people find difficult. Their resilience in the face of these transitions is a lesson in itself.

The most important idea to carry with us is this: the elderly do not merely need our care — they deserve our attention. In listening to their stories, in learning their recipes, in sitting patiently through their slower pace, we gain something irreplaceable. Their wisdom is a vitamin that no pharmacy can supply. Let us not wait until they are gone to realise what they gave us while they were here.

Reflect and Respond

I. Discuss what you see in a garden — the colours and where you see them.
Ans (Sample): In a garden, green dominates everywhere — from deep pine green of hedges to lighter apple green of grass and new leaves. Flowers introduce red, yellow, orange, pink, and violet. The sky shows shades of blue through gaps in the foliage, and dew drops create silver-white sparkles in morning light — making a garden a natural, living painting.

II. Speak about similarities between the garden and the painting using the given sentence prompts.

Ans (Sample):

• Just as a garden is filled with colours arranged naturally by plants, similarly, a painting is filled with colours arranged deliberately by an artist.
• A garden and a painting, both use colour, contrast, and arrangement to create a harmonious whole that evokes emotion.
• Creativity is common to both a garden and a painting — the gardener and painter both make deliberate aesthetic choices.
• Like a garden, a painting too tells a story through colours, textures, and forms placed with intention.

III. Identify palette, canvas, and a hue from the painting described.
Ans:

• Palette — The earth serves as the palette: the surface on which the colours of flowers, grass, and plants are held. In a painting, it is the board where the artist mixes colours.
• Canvas — Each garden plot is the canvas — the broad surface on which the gardener “paints” with plants and blooms.
• A hue — The vibrant red of spring blossoms or the varied green of leaves.

Check Your Understanding

I. Complete the summary of each stanza by filling in the blanks.

1. The earth / soil is portrayed as a rich palette where gardeners’ dreams flourish in the form of seeds (brushstrokes of seeds), awaiting spring.
2. The garden flowers bloom into a beautiful display of different blossoms, resembling a painted artwork by Mother Nature, in the light of morning.
3. Each garden is likened to a wide canvas, integrating art and life. Through the efforts of gardeners, gardens transform into still-life paintings.

II. Select the appropriate title for each stanza. (Two titles are extra.)

• Nature’s Work of Art
• Sweet-smelling Blossoms
• Gardens as Living Canvases
• Earth and Possibilities
• The Painter’s Canvas

Ans:

• Stanza 1 → Earth and Possibilities — the earth is described as a rich palette and seeds as brushstrokes, full of potential awaiting spring.
• Stanza 2 → Nature’s Work of Art — celebrates the blooming garden as Nature’s own masterpiece with shades of green, red, and blue.
• Stanza 3 → Gardens as Living Canvases — every plot is likened to a canvas where art and life coincide.
• Extra (unused) titles: Sweet-smelling Blossoms | The Painter’s Canvas

III. Match the poetic devices in Column 1 to the examples in Column 2.

Critical Reflection

I. Read the given extracts from the poem and answer the questions that follow.

Extract 1:
Brushstrokes of seeds, planted true,
Awaiting spring’s vibrant hue.

(i) The poet has used a metaphor in ‘Brushstrokes of seeds’. Which option from those given below uses a metaphor?
 A. Her mother’s heart heard her heartfelt request with kindness.
 B. She has a heart of gold.
 C. Her heart did a dance of joy on seeing the new doll.
 D. She has a very kind heart.
Ans: B. She has a heart of gold. “Heart of gold” directly compares the heart to gold without using “like” or “as.” Option A uses “heartfelt” (an adjective), option C is personification, and option D is a factual statement.

(ii) Complete the sentence appropriately.
 The phrase ‘planted true’ is significant because it implies __________.
Ans: …that seeds are sown with care, intention, and sincerity — not carelessly but with genuine purpose, just as a painter’s brushstrokes are deliberate and precise.

(iii) Why has the poet used the word ‘hue’ instead of ‘colours’ in the extract?
Ans:

• Rhyme: ‘Hue’ rhymes with ‘true,’ maintaining the AABB scheme. ‘Colours’ would break it.
• Precision: ‘Hue’ is a more refined, painterly term — a specific shade or tint — reinforcing the garden-as-painting metaphor.
• Rhythm: ‘Hue’ is a single syllable that fits the line’s rhythm better than the two-syllable ‘colours.’

(iv) Complete the following analogy correctly with a word from the extract.
 Summer: hot :: Spring : _________
Ans: vibrant. Just as summer is characterised by heat, spring is characterised by vibrancy — the extract itself uses the phrase “spring’s vibrant hue.”

(v) Read the Assertion (A) and the Reason (R) and select the option that is correctly suited.
 (A): Gardeners wait for Spring.
 (R): Gardens are worth painting in Spring.
 A. Both (A) and (R) are true and (R) is the correct explanation of (A).
 B. Both (A) and (R) are true but (R) is not the correct explanation of (A).
 C. (A) is true but (R) is false.
 D. (A) is false but (R) is true.
Ans: B. Gardeners wait for spring because it provides conditions for growth and blooming. Gardens are also worth painting in spring — but this is not the reason gardeners wait.

Extract 2:
Each plot, a canvas wide,
Where art and life coincide.

(i) What does ‘Each plot’ refer to in this extract?
Ans: ‘Each plot’ refers to each individual patch of garden land set aside for growing plants. Just as a painter works on a specific canvas, a gardener works on a specific plot — each separately tended plot is like a unique canvas.

(ii) Select which option imitates the rhyme scheme of the extract.
 A. beautiful and clear / laughter and cheer
 B. beautiful and clear / laughter and tears
Ans: A. The extract uses an AA rhyme scheme — “wide” and “coincide” rhyme. “Clear” and “cheer” in option A replicate this. In option B, “clear” and “tears” do not rhyme.

(iii) Select the line from the extract that conveys that gardening blends aesthetic beauty with natural growth.
Ans: “Where art and life coincide.” This line directly states that art (the creative dimension) and life (biological growth) exist simultaneously in the same garden space — “coincide” meaning they occur at the same place and time.

(iv) Complete the following sentence appropriately.
 The plot is likened to a canvas suggesting that _____________.
Ans: …just as a blank canvas is a space of infinite creative potential filled by an artist with colour and form, a garden plot is a space of infinite natural potential filled by a gardener with plants, colours, and life — both transformed through skill and care.

(v) Why has the poet most likely used the word ‘wide’ instead of ‘long’ in ‘canvas wide’?
Ans:

• Rhyme: ‘Wide’ rhymes with ‘coincide’; ‘long’ would break the AABB scheme.
• Visual suggestion: ‘Wide’ suggests expansiveness and breadth — a garden spreading outward in all directions — more apt than ‘long,’ which implies only one dimension.
• Artistic connotation: A painter’s canvas is conventionally described by width, not length — making ‘wide canvas’ the more natural artistic expression.

II. Give reasons for the comparisons made by the poet in the poem.

1. A painter is compared to a gardener because both are creative individuals who use their medium — paint on canvas, or plants in soil — to produce a carefully arranged composition. Both must plan, select materials, apply them with skill and intention, and wait patiently for the result.
2. A palette is like earth as both are foundational surfaces from which colour and beauty emerge. Just as a painter mixes colours on a palette, the earth holds nutrients and seeds from which plants and their colours spring forth.
3. Brushstrokes are like seeds because both are deliberate, precise acts of creation that set the foundation for what will eventually become a full, beautiful work — small initial gestures that lead to large, colourful outcomes.
4. A canvas is similar to a garden plot as both are defined spaces within which creative work happens — bounded areas transformed from bare surfaces into works of art through skill and care.

III. Answer the following questions.

1. How does the metaphor ‘Brushstrokes of seeds’ enhance the understanding of gardening as an art form?
Ans:

• It elevates planting to a deliberate creative gesture — the gardener makes intentional aesthetic decisions about placement, spacing, and colour, like an artist making considered brushstrokes.
• It highlights the precision and skill of gardening — a brushstroke is controlled and purposeful, suggesting gardeners plant with the same exactness as skilled painters.
• It introduces patience and anticipation — just as brushstrokes build slowly into a finished painting, seeds take time to bloom. Both require quiet nurturing before the full picture emerges.

2. What can you infer about the poet’s perspective on the relationship between nature and creativity from the following lines?
 ‘Each plot, a canvas wide, / Where art and life coincide.’
Ans:

• The poet views nature and creativity as two aspects of the same reality — “coincide” suggests art and life are fundamentally inseparable in the garden.
• The poet believes nature itself is creative — the growth of plants and arrangement of colours constitute a form of artistry rivalling any human painting.
• Human creativity is an expression of nature — gardeners participate in a creative process nature has always been engaged in, rather than imposing art upon it.

3. Do you think the imagery in the poem successfully paints a vivid picture in the reader’s mind? If yes, why? If no, why not?
Ans: Yes, the imagery is very successful:

• Colour imagery: “Shades of green, red, and blue” and “vibrant hue” conjure a bright, specific garden scene.
• Kinetic imagery: “Blossoms bloom” and “dancing in the morning light” give the garden movement — the reader can almost see flowers swaying in early sunlight.
• Sensory richness: “Morning light” introduces a specific quality — soft, warm, gentle — adding depth and atmosphere.
• Extended metaphor as imagery: The garden-as-painting comparison layers a visual metaphor over a visual scene, creating a rich, double-layered picture.

4. Support the view that the poet’s mention of the colour yellow, besides red, blue and green, would have lent effectively to the imagery.
Ans:

• Yellow is most associated with spring — sunflowers, marigolds, and daffodils are iconic spring blooms. Without it, the poem’s garden feels slightly incomplete.
• Yellow captures morning light — the poem mentions “dancing in the morning light,” and morning light is warm and golden-yellow, creating a thematic connection.
• Yellow creates contrast and brightness — the most luminous colour in the spectrum, it would add warmth and radiance to the colour scheme.
• Yellow symbolises hope and joy — deeply aligned with the poem’s celebratory, appreciative tone.

5. Considering the line ‘Gardens become paintings still’, what can you interpret about the poet’s view on the timelessness of nature’s beauty?
Ans: The line carries two complementary meanings:

• ‘Still’ as ‘even now’ (adverb): Gardens continue to become paintings today — nature’s creative cycle is unchanged even in the modern world.
• ‘Still’ as ‘motionless’ (adjective): Gardens become still-life paintings — so perfectly composed at any moment that they are already finished works of art.

Together, these convey that nature’s beauty is both eternal and instantaneous — a self-renewing masterpiece that has always already been art.

6. Justify the title of the poem, ‘Canvas of Soil’.
Ans:

• ‘Canvas’ is the artist’s surface — blank ground ready to be filled with colour and meaning, signalling the poem will treat the garden as art.
• ‘Soil’ is the gardener’s surface — humble, organic, and life-giving, sustaining everything in a garden.
• The combination declares from the title that soil is the canvas — the earth is the surface on which nature paints its masterpieces and gardeners exercise their creative art.
• It captures the poem’s deeper meaning: boundaries between art and nature dissolve in the garden — soil is not mere land but a creative medium of infinite possibility.

Vocabulary in Context

I. Discuss two things you can associate with each colour shade.

II. Discuss the meanings of the underlined painting-related words in the paragraph.

You have studied painting-related words like palette, brushstrokes, shades, hue, colours, and canvas. Now, read the following paragraph and discuss in pairs what the underlined painting-related words might mean. Discuss this way:

I think __________ means __________ because the passage talks about __________.

Example: I think portrait means a picture of someone’s face because the passage talks about capturing a friend’s features.

In the art studio, young painters eagerly approached their easels, each framing a canvas that they had to work on. The teacher encouraged them to experiment with a diverse tonal range, playing with shades and hues to bring their paintings to life. One student focused on a detailed portrait, capturing his friend’s features, first with careful underpainting and then filling the final colours. Another student worked on a mural, depicting a Spring Day on the right wall of the classroom. The room continued to buzz with artistic energy.

Ans:

• Easels: I think easels means stands that hold a canvas upright while a painter works because the passage talks about painters approaching their easels and framing a canvas — the easel is what supports the painting surface.
• Tonal range: I think tonal range means the variety of light and dark shades of colour used in a painting because the teacher encourages students to experiment with it by playing with shades and hues — the spectrum of colour values from light to dark.
• Portrait: I think portrait means a painting of a specific person’s face because a student is capturing his friend’s features — a realistic depiction of a particular person.
• Underpainting: I think underpainting means a preliminary layer of paint applied before the final colours because the student completes it first and then fills in the final colours — a foundation layer.
• Mural: I think mural means a large painting done directly on a wall because the student works on a mural on the right wall of the classroom — applied to a physical wall, not a canvas.

Speaking Activity

I. Advantages of a Flower Garden vs. a Vegetable Garden at Home

II. Sample responses expressing preference with reasons.

Would you like to have a flower garden or a vegetable garden at home? Why?

Take turns with your partner and speak your points aloud, one by one, by using the given sentence prompts to express your preference, with reasons.

•  I prefer ________ to ________ because …
•  For me, it is a ________ instead of a ________ due to …
•  If I had a choice I’d rather have a ________ than a ________ as …
•  I would prefer ________ rather than ________ since …

Sample 1 (preferring a flower garden):
I prefer a flower garden to a vegetable garden because I believe beauty has its own kind of nourishment. For me, it is a joy instead of a chore due to the fact that flowers are relatively low-maintenance and reward you with colour and fragrance every morning. If I had a choice, I’d rather have a flower garden than a vegetable garden as stepping into a blooming garden after a long school day restores my peace of mind in a way that harvesting vegetables simply cannot. I would prefer a flower garden rather than a vegetable garden since flowers attract bees and butterflies and make the entire neighbourhood more beautiful — they are a gift not just to me but to everyone around.

Sample 2 (preferring a vegetable garden):
I prefer a vegetable garden to a flower garden because it gives me something I can eat — the satisfaction of growing my own tomatoes or spinach is extraordinary. For me, it is a practical investment instead of a purely aesthetic pleasure due to the fact that fresh, homegrown vegetables are healthier and more sustainable than what we buy in the market. If I had a choice, I’d rather have a vegetable garden than a flower garden as it teaches me about patience, soil, seasons, and the effort behind every meal. I would prefer a vegetable garden rather than a flower garden since it connects me directly to the food I eat and helps my family reduce its grocery bills — making beauty and usefulness go hand in hand.

Writing Task

I. Write a descriptive piece of two to three paragraphs describing the details and colours in the garden you have visited.

• Focus on how different shades of blue, red, and green interact, create contrast, and bring the garden to life.
• Pay attention to details like the texture of petals, the varying greens of leaves, and the way light affects the colours.

Ans: Sample Descriptive Piece: A Garden I Visited

The Pinjore Gardens in Haryana, which I visited last winter, remain one of the most vivid memories of colour and form I carry with me. The garden is arranged in a series of descending terraces, and as you walk down from one level to the next, the scene shifts like turning the pages of a richly illustrated book.

At the highest level, rows of marigolds bordered the path in bands of orange and rusty red, their petals catching the thin winter sunlight and glowing as if lit from within. Just beyond them, beds of salvias stood in deep crimson and blood red, punctuated by the soft ice blue of ageratum flowers nestled at their feet. The contrast between the warm reds and the cool blues created a tension that was almost musical — like two notes in a chord that are different yet perfectly suited to each other. Where the red blossoms ended, the eye was naturally drawn sideways to a row of marigolds in vivid yellow-orange, and then to a hedge of boxwood clipped smooth and flat in a rich pine green. The greens themselves were layered: the dark, almost black-green of the cypress trees at the periphery gave way to the medium India green of the lawn, which in turn brightened into the apple green of new growth wherever the sunlight fell most directly.

What struck me most was the way the light transformed everything as the morning progressed. In the early hours, the garden was cool and shadowed, the reds appearing almost maroon in the diffused light. But as the sun rose, each colour became its fullest, truest self — the scarlet roses blazing, the jade-green lily pads on the small pond shimmering, and the white jasmine on the boundary wall glowing with an almost silver intensity. The petals of the larger roses had a soft, almost suede-like texture, and the light caught the tiny hairs on their surface, making them look as though they had been dusted with gold. In that garden, I understood exactly what the poet Maya Anthony meant: every plot truly is a canvas wide, where art and life coincide.

Reflect and Respond

I. Does anyone in your family use a hand fan? What do you call it in your language? What is it made of?
Ans (Sample): Yes, my grandmother uses a hand fan in summer. In Hindi/Punjabi, we call it a pankha. Ours is made of woven moonj grass with a wooden handle, passed down from my great-grandmother.

II. Study the pictures and complete the information.

III. Match the underlined words in Column 1 with their meanings in Column 2.

Check Your Understanding

I. Complete the table on pankha.

Critical Reflection

I. Read the extracts given below and answer the questions that follow.

Extract 1:
Over time, pankhas became significant cultural goods distributed through trade routes. They were considered exotic and stylish. Although there was substantial commonality in their use across India, different villages and towns developed their own varieties of traditional pankhas. Each place developed pankhas with distinct materials or a variety of intricate designs, that set them apart from one another.

(i) State whether the following sentence is true or false:
 Pankhas were one of the most popular items of commerce.
Ans: False. The extract says pankhas became “significant cultural goods distributed through trade routes” — it does not claim they were the most popular items of commerce overall.

(ii) Why has the word ‘traditional’ been used to describe pankhas?
Ans: The word ‘traditional’ is used because pankhas have been made and used in India for centuries, with their designs, materials, and techniques passed down through generations. They carry a long-standing cultural heritage rooted in the specific practices and aesthetics of each local community — they are not mass-produced or modern items.

(iii) Complete the following statement.
 The sentence ‘They were considered exotic and stylish’ is an opinion and not a fact because _______________.
Ans: …because it expresses a subjective judgement — what people thought or felt — rather than an objectively verifiable claim. “Exotic” and “stylish” are evaluative terms that depend on the observer’s viewpoint and cannot be measured or proven, unlike a fact which can be confirmed with evidence.

(iv) Infer one reason for commonality in the use of pankhas across India.
Ans: India’s hot climate creates a universal need for fans across all regions. Before electric fans and air conditioning, a hand fan was the simplest, most available cooling tool — a need shared by people of all geographies, cultures, and social classes, making pankhas naturally widespread throughout the country.

(v) Select which one of the two statements is the correct assertion for the given reason.
 Reason: Pankhas were made of indigenous materials, unique to the region, with elaborate designs.
 A. Each kind of pankha could be distinguished from the other.
 B. Pankhas were used by many people.
Ans: A. Because each pankha used different local materials and distinct craftsmanship, one could clearly tell apart a Rajasthani zardozi fan from a Gujarati mirror-work fan or a Bengali sola fan. Assertion B is not logically supported by the stated reason.

Extract 2:
With time and the advent of technology and innovative creations, the beautiful culture of pankhas runs the risk of slowly losing its presence among Indians. Once made for personal use, over time this handicraft has transformed into a commercial business and now provides some form of livelihood to India’s artisans. The slight increase in popularity and demand is significantly factored by the different versions of the pankha being crafted.

(i) Infer one negative impact of technological advancement on pankha.
Ans: The widespread availability of electric fans, air coolers, and air conditioners has dramatically reduced the everyday need for hand fans. Since pankhas were originally made for cooling, modern devices have made them functionally redundant in most households, shrinking demand and the number of artisans who can earn a livelihood from the craft.

(ii) Complete the statement with an appropriate reason.
 The writer refers to ‘pankhas’ not just as an object but as a ‘culture’ because ___________.
Ans: …because pankhas carry within them the history, traditions, artistic identity, and values of the communities that make them. Each pankha embodies a region’s unique materials, designs, and craftsmanship — not merely a tool but a living expression of cultural heritage. When pankhas are lost, an entire tradition of knowledge, artistry, and community identity is erased.

(iii) Select a line from the extract which depicts how the role of the pankha has changed over the years.
Ans: “Once made for personal use, over time this handicraft has transformed into a commercial business and now provides some form of livelihood to India’s artisans.” This line shows the pankha’s evolution from a personal domestic utility to an item of commerce — its function has shifted from cooling people to sustaining artisans economically.

(iv) List one way in which the increase in demand of pankhas might benefit artisans.
Ans: Increased demand gives artisans a more stable and sustainable source of income, motivating them to continue practising their craft, invest in better materials, and pass on their skills to the next generation — creating a positive cycle of economic viability and cultural preservation.

(v) Select the factor that has contributed to the commercialisation of pankhas.
 A. cultural preservation
 B. economic demand
 C. technological advancements
 D. artisan initiative
Ans: B. economic demand. The extract states that “the slight increase in popularity and demand is significantly factored by the different versions of the pankha being crafted” — pointing directly to economic demand as the driving force behind commercialisation.

II. Answer the following questions.

1. How does the title ‘Winds of Change’ capture the essence of the chapter?
Ans:

• Literally, it refers to the pankha itself — a fan that creates a breeze.
• Metaphorically, “winds of change” means a force of significant transformation — the chapter is about how the pankha has evolved from an ancient personal and ceremonial object to a commercialised handicraft, and how modern technology has reshaped its role.
• It also hints at the cultural winds that threaten traditional crafts, and at the positive change brought by awareness initiatives helping to revive them.
• Thus the title captures the chapter’s dual message — celebrating India’s pankha heritage while acknowledging the forces of modernity reshaping it.

2. Support the following statement with any two relevant examples from the chapter.
 ‘The structure and design of pankhas are testimony to the cultural identity of the region.’
Ans:

• Rajasthan: The zardozi hand fan, with its glittering gold threadwork, reflects the region’s tradition of opulent, richly embellished handicrafts associated with its royal courts and festive culture.
• Gujarat: The beads hand fan, covered with colourful beads and a silver handle, is directly tied to Gujarat’s identity as a centre for bead craft — reflecting its tradition of vibrant, colourful handicrafts made by industrious home-based women artisans.

3. The chapter mentions pankhas running the risk of slowly losing their presence among Indians. Evaluate how the balance between preserving traditional craftsmanship and incorporating innovative designs in the creation of pankhas will help in this regard.
Ans:

• Preserving traditional craftsmanship ensures cultural authenticity — the intricate needlework, indigenous materials, and regional designs that give each pankha its unique identity must not be lost, or the craft becomes indistinguishable from mass-produced items.
• Incorporating innovative designs ensures pankhas remain appealing to contemporary consumers — through new colour combinations, fusion aesthetics, or use as home décor and gifts — expanding the market base.
• The ideal is a complementary balance: preserving core techniques and cultural identity while allowing creative adaptation within that tradition. This approach has worked for crafts like Madhubani painting, which moved to canvas and fabric while retaining its distinctive style.
• This balance makes pankhas commercially viable without erasing their cultural significance — keeping them living expressions of Indian craftsmanship rather than museum pieces.

4. How might initiatives such as pankha-making workshops contribute to the preservation of this traditional craft?
Ans:

• Skill transmission: Experienced artisans can pass on techniques to younger generations, preventing skills from dying with aging craftspersons.
• Awareness: Workshops expose students, hobbyists, and tourists to the art and history of pankha-making, building informed consumers who value and purchase handmade fans.
• Commercial visibility: Workshops at handicraft exhibitions help artisans demonstrate and sell their work, reaching new markets.
• Economic empowerment: Income from workshops makes the craft financially sustainable, giving artisans a reason to continue.
• Cultural pride: Public celebration of the craft restores dignity and pride in pankha-making, countering the tendency to undervalue traditional manual crafts.

5. The writer mentions celebrating pankhas in the concluding part of the chapter. Assess how this could be beneficial to artisans and the craft.
Ans:

• For artisans: Exhibitions, festivals, and media coverage provide a commercial platform and restore professional identity, motivating artisans to continue rather than abandon the craft for more reliable occupations.
• For the craft: Public celebration raises awareness and demand — nationally and internationally — encouraging artisans to innovate new designs and keeping the craft alive and evolving.
• It also attracts researchers, NGOs, designers, and government bodies, leading to documentation, financial support, and policy-level protection for pankha-making as a traditional craft.

6. How does the restriction of the use of pankha for decorative purposes reflect the changing cultural role of these traditional fans in modern India?
Ans:

• Triumph of technology: Electric fans and air conditioners have made the pankha functionally redundant — it has been “retired” from daily use and relegated to a decorative or collectable status.
• Shift in cultural value: The pankha once held functional, ceremonial, and domestic significance; it now serves primarily as a symbol of heritage — displayed on walls, gifted at festivals, or exhibited in museums.
• Risk of cultural disconnection: When used only decoratively, younger generations may recognise it as “traditional” without understanding the skill and community identity it carries.
• New form of preservation: At the same time, decorative use keeps pankhas visible in homes and public spaces — a form of passive cultural preservation that ensures the object remains part of India’s visual and cultural landscape.

Vocabulary and Structures in Context

I.1. Classify the word pairs into Appearance, Place, and Material.

Ans:

I.II. Fixed expressions with ‘and’ — complete the table and match meanings.

III.1. Choose the appropriate word collocations for the following sentences.

(i) The students have to (take/give) the English exam tomorrow.
(ii) The interviewer asked the candidate to (take/have) a seat.
(iii) My scooter (dashed against/ran into) a car.
(iv) I must (take/own) responsibility for my success.
(v) I would like to (tone up/improve) my grammar.

Ans:

• (i) take — the correct collocation is “take an exam.”
• (ii) have — “have a seat” is the conventional polite expression in this context.
• (iii) ran into — means to collide with unexpectedly; the standard collocation.
• (iv) take — “take responsibility” is the fixed expression for acknowledging accountability.
• (v) improve — “improve grammar” is standard; “tone up” collocates with physical fitness, not language.

IV. Underline the verbs and fill in the blanks with present perfect tense.

Verbs underlined in the given sentences:

• 1. In modern times, pankhas have become traditional craft items in India.
• 2. Gujarat’s industrious home-based women workers have worked tirelessly in the handicraft of pankha-making.
• 3. Many tribes in India have adopted this handicraft.
• 4. Once made for personal use, this handicraft has transformed into a commercial business.

Fill in the blanks with present perfect tense:

Puppets have long fascinated audiences worldwide. Puppeteers (i) have created intricate characters and captivating stories with their skillful artistry. They (ii) have mastered the delicate movements that bring these lifeless figures to life, entertaining both children and adults. Over the years, puppetry (iii) has evolved, using modern technology while preserving traditional techniques. Many puppeteers (iv) have passed down their craft through generations, ensuring its continuity. They (v) have performed in theatres, on television, and at festivals, conveying important cultural narratives.

Speaking Activity

Sample Monologues: Imagining Yourself as a Fan

Each student picks one of four fans (Hand fan, Ceiling fan, Table fan, Handheld fan), imagines themselves as that fan, and speaks for 1–2 minutes covering: introduction, description, likes, weaknesses, and what makes them unique. Sample monologues for all four are given below.

1. The Hand Fan (Traditional Pankha)

Namaste! I am the hand fan — the pankha — one of India’s oldest and most cherished handicrafts. I have been used in India since ancient times, and evidence of my existence can be found in paintings at Ajanta. I come in many forms: sometimes I am made of palm leaf, sometimes of bamboo, sometimes adorned with mirror work or gold thread. My shape varies from state to state — round in Assam, elongated in Kerala, rectangular and fringed in Uttar Pradesh.

What I love about myself is that I am a living piece of art. When you hold me, you are not just holding a fan — you are holding history, culture, and craftsmanship passed down through generations. I am eco-friendly, require no electricity, and make no noise. I am what you need when the power goes out!

My weakness? I cannot cool an entire room, and in this age of air conditioners, people don’t pick me up as often as they used to. Many households have forgotten I exist.

What makes me unique? No two of me are ever exactly the same. I am handmade, and the artisan who crafts me puts their heart, skill, and cultural identity into every stitch and fold. I am not just a fan — I am a story. And stories, unlike electricity, never fail.

2. The Ceiling Fan

Hello everyone! I am the ceiling fan, and I am perhaps the most familiar face in every Indian household, classroom, and office. You will find me spinning overhead in homes, schools, hospitals, and dhabas across the length and breadth of this country. I have three or four blades — sometimes decorative — and I work tirelessly, often for hours at a stretch, to keep you comfortable.

What I love about myself is my efficiency and reach. I can cool an entire room, distribute air evenly, and do so using relatively little electricity compared to air conditioners. I am reliable, and most Indians consider me as essential as a bed or a stove.

My weakness? I need electricity to function, which means I am useless during power cuts — and I cannot compete with an air conditioner in extreme heat. I also cannot be carried from room to room.

What makes me unique? I am a symbol of the Indian home. When people think of a summer afternoon nap, a school classroom, or a grandmother’s room, they picture me turning slowly overhead. I am not just an appliance — I am a memory.

3. The Table Fan

Hi! I am the table fan, and I am small but mighty. You can place me on a desk, a counter, a bedside table — wherever you need me most. I have an oscillating head that allows me to rotate and distribute cool air across a wider angle, making me surprisingly effective for my size.

What I love about myself is my versatility and portability. I can go wherever you take me — from the study room to the kitchen to the verandah. I am perfect for personal use: when you are sitting at a desk for hours, I keep you refreshed without disturbing others.

My weakness? I cool only a small area directly in front of me. I cannot replace a ceiling fan in a large room, and if you forget to plug me in or I run out of battery, I am just a decorative object.

What makes me unique? I am adaptable and personal. Unlike a ceiling fan that everyone in a room shares, I belong to you specifically — you can direct me exactly where you want. In a world that celebrates personalisation, I am the fan that says: this breeze is just for you.

4. The Handheld (Mini Portable) Fan

Hello! I am the handheld fan — the modern, compact, battery-operated or USB-charged version of the ancient pankha. I fit in your bag, your pocket, or the palm of your hand. You will see me at cricket matches, outdoor weddings, on metro platforms in summer, and in the hands of commuters everywhere.

What I love about myself is that I am always there when you need me. I am the fan of freedom — I require no wall socket, no installation, and no permanent space. Just press a button and I am working instantly.

My weakness? I am small, so my cooling effect is limited. My battery runs out, and I am not very powerful in extreme heat. I am a quick fix, not a long-term solution. And I must confess — I am not as beautiful or as culturally rich as the traditional hand pankha.

What makes me unique? I represent the spirit of innovation. I have taken the ancient idea of the hand fan and transformed it for the modern, mobile world. In me, the old and the new meet: I carry the same purpose as the pankha from Ajanta — to create a breeze — but I have evolved with the times. And isn’t that what all good traditions must do?

Writing Task

I. Describe an artefact you have made in your craft class or learnt from someone.

Begin with collection and organisation of the facts with the help of the pointers given above. Do not include your opinion in the factual description.

Ans: Sample Factual Description of an Artefact Made in Craft Class: A Paper Hand Fan

Name and Physical Characteristics:
The artefact is a paper hand fan, approximately 20 centimetres in diameter when fully opened. It is circular in shape and multicoloured — the paper strips used are red, orange, green, and yellow. The handle consists of two wooden sticks approximately 15 centimetres long, bound together at the base with rubber bands and tape. The fan has a pleated, accordion-like construction that allows it to fold flat and open into a full circle.

Materials:
The fan is made from rectangular sheets of coloured craft paper, two flat wooden sticks (ice cream sticks), rubber bands, and adhesive tape. No scissors are required for the folding process, though they are used to trim the edges. The materials are lightweight and cost-effective.

Process of Making:
The paper sheets are first folded accordion-style (back and forth in equal pleats) along their length. Two sheets can be joined together for a larger fan. One wooden stick is then taped to each side at the base of the pleated bundle. The sticks are held together with rubber bands at the bottom. When the rubber bands are released, the fan opens into a full circular shape.

Usage:
The paper hand fan can be used as a personal cooling device in warm weather. It can also be used as a decorative item, a prop for cultural performances, or as a wall display. Multiple fans in different colours can be arranged to create a decorative panel.

Significance:
Making a paper hand fan by hand connects the maker to the long tradition of Indian pankha-making, helping students appreciate the skill and patience required to produce even the simplest version of this ancient craft.

Reflect and Respond

I. Given below are four riddles. Read and identify who these people are.

1. “In furrows deep, secrets I sow, 
    As time passes, I watch them grow.”
   Ans: A Farmer. The riddle refers to sowing seeds in ploughed soil and watching crops grow — the primary work of a farmer.
2. “From wheel to kiln, my skill is born, 
   Step by step, an art takes form.”
   Ans: A Potter (Pot Maker). The riddle describes working with clay on a potter’s wheel and firing pots in a kiln — the hallmarks of the potter’s craft.
3. “I lay foundations, brick by brick, 
    To build a house, it’s me you pick.”
   Ans: A Mason / Construction Worker. The riddle describes laying bricks and building foundations — the work of a mason or builder.
4. “I work with pots, pans, and spice, 
    Creating dishes that taste so nice.”
   Ans: A Cook / Chef. The riddle refers to someone who works in a kitchen using pots, pans, and spices to create food.

II. What is the role and relevance of the people you identified in the riddles? How do they contribute to society?
Ans:

• The Farmer is the foundation of civilisation — growing the food that sustains entire populations and ensuring national food security.
• The Potter is a keeper of cultural tradition — creating functional vessels for daily use and decorative objects that carry a community’s artistic heritage across generations.
• The Mason builds the physical infrastructure of society — from homes and schools to hospitals and bridges.
• The Cook nourishes communities and preserves regional food culture and culinary traditions.

All four vocations address the most basic human needs of food, water, shelter, and nourishment. Society cannot function without their skilled work, yet they are often taken for granted.

Check Your Understanding

I. State whether the following statements are true or false. Also, rectify the false statements.

II. Let us appreciate the poem.

1. Rhyme Scheme and Lineation

(i) Does the poem strictly adhere to a rhyme scheme, or is it in free verse?
Ans: The poem is written in free verse — it does not follow a strict, regular rhyme scheme. While some lines have a loose musicality, there is no consistent ABAB, AABB, or any other fixed pattern. This suits the poem’s inclusive nature — just as the vocations celebrated are many and varied, the poem’s form is also open and unconfined.

(ii) What is the impact of the varying length of lines in the poem?
Ans:

• It mirrors the diversity of vocations — just as no two crafts are alike, no two lines are identical in length.
• Longer lines describe a vocation in detail; shorter lines create emphasis and punch.
• It gives the poem a conversational, spoken-word quality, as if someone is genuinely reporting on the sounds and sights of India’s working world.
• It prevents monotony, keeping the reader engaged as each line arrives with a slightly different rhythm.

(iii) What is the pattern in the structure of most lines of the poem?
Ans: Most lines follow a pattern of naming a vocation, followed by a description of what they do or how they do it (e.g., “The carpenters celebrating; they create anything out of wood with mathematical precision”). This creates a cumulative, catalogue-like effect building an ever-expanding portrait of India’s working people, with a processional quality — as if different workers are passing by one by one and being acknowledged.

2. Speaker

(i) Who appears to be the speaker and what is her/his role here?
Ans: The speaker appears to be an attentive, appreciative observer — perhaps a poet or thoughtful citizen — who stands amid India’s vibrant working life and celebrates everything they witness. Their role is that of a witness, celebrant, and chronicler who gives voice and dignity to every vocation. By saying “I hear Bharat celebrating,” the speaker becomes the voice of collective recognition — ensuring no worker goes unseen or uncelebrated.

3. Tone and Mood

(i) Fill in the blanks with suitable options from the box.

A. The tone is celebratory and reverential, depicting a sense of admiration and respect for the artisans and craftspersons.

B. There is a joyful mood throughout the poem, capturing the vibrancy and richness of cultural traditions and skills.

4. Imagery

(i) Select any two descriptions from the poem that evoke visual images.
Ans:

• Visual Image 1: “The boatmen gathering their nets from the shore, sailing, and singing while at work, return to tell the tales of life at sea” — evokes a vivid picture of boatmen at the shoreline, pulling nets from the water, their silhouettes against the horizon as they head home.
• Visual Image 2: “Those of craftsperson, each one celebrating their craft, woven with colours and myriad hues” — evokes the colourful spectacle of craftspeople at work, their creations bursting with colour.

(ii) Fill in the blanks with suitable phrases.
 The poem includes auditory imagery through mentions of artisans with lutes, _____________, and _____________, emphasising the sounds associated with each vocation.
Ans: The poem includes auditory imagery through mentions of artisans with lutes, electricians humming, and the delicious singing of the cook, emphasising the sounds associated with each vocation.

5. Metaphor

(i) State whether the following sentence is true or false:
 The mention of ‘delicious singing’ of the cook is a metaphor because it implies that the quality of the singing is so enjoyable or pleasing that it can be equated to the experience of tasting something delicious.
Ans: True. ‘Delicious singing’ is an example of synesthesia — a figure of speech in which one sense (taste: ‘delicious’) is used to describe an experience of another sense (hearing: ‘singing’). Synesthesia is a special type of metaphor. The cook’s singing is compared to something delicious, suggesting it is warm, pleasurable, and full of life.

6. Personification

(i) Select the line that tells us that the poet personifies vocations by attributing human-like qualities to them.
Ans: The line is: “The voice of their vocation is the voice of their identity.”
Here, a vocation — an abstract concept — is given a human quality: a voice. This personifies it as something that can speak and express, treating it as a living entity that carries and communicates the worker’s entire identity, elevating work from a mere economic activity to something that speaks on behalf of the worker’s whole being.

7. Repetition

(i) Why might the poet have begun and ended with the same line — ‘I hear Bharat celebrating, the varied vocations I hear!’?
Ans:

• Structural unity: Creates a circular structure, suggesting India’s vocational richness is continuous and unending.
• Emphasis: Repetition hammers home that Bharat celebrates ALL vocations together.
• Musical quality: Gives the poem a rhythmic, hymn-like quality — like a joyful chorus the entire nation joins.
• Ongoing act: Beginning and ending with “I hear” suggests that celebrating India’s vocations is a permanent, continuous act, not a one-time event.

8. Alliteration

(i) Identify two examples of alliteration from the poem.
Ans:

• Example 1: “celebrating their craft” — repetition of the ‘c’ sound in “celebrating” and “craft.”
• Example 2: “sailing, and singing” — repetition of the ‘s’ sound, creating a smooth, flowing effect that mimics the gentle motion of a boat on water.

9. Symbolism

(i) Each vocation in the poem symbolises something more than just a job. What does it symbolise?
Ans:

• Identity and selfhood: “The voice of their vocation is the voice of their identity” — a person’s craft is not just what they do, it is who they are.
• Cultural heritage: Craftspersons and artisans keep alive traditions going back centuries, carrying the knowledge and values of their communities across generations.
• Dignity of labour: By celebrating every craft equally, the poem challenges social hierarchies — the electrician is as celebrated as the designer; the shoemaker as the architect.
• The living soul of Bharat: All vocations together symbolise the everyday, working India — of hands, voices, and skills that keep the nation flourishing.

Critical Reflection

I. Read the extract given below and answer the questions that follow.
The shoemakers affirming the quality of their work, for the feet that walk, dance, run, jump, return home.
The delicious singing of the cook, or the rhythm of designer, mason, each celebrating what belongs to them and to none else,

1. The poet says that the shoemakers ‘affirm’ the quality of their work. What does ‘affirm’ refer to here?
 (i) to make adjustments in
 (ii) to declare with confidence
 (iii) to label the goods
 (iv) to justify the efforts
Ans: (ii) to declare with confidence. The shoemakers are making a proud, dignified declaration of the excellence of what they produce — not adjusting, labelling, or merely justifying. This reflects their self-respect and pride in their craft.

2. What do quality shoes help with, according to the poet?
Ans: Quality shoes help the human feet carry out all the activities of life — to walk, dance, run, jump, and return home. This covers every kind of human movement: the ordinary (walking, returning home), the joyful and artistic (dancing), and the energetic (running and jumping) — enabling people to live fully, from labour to leisure.

3. What does ‘return home’ symbolise besides the literal act of returning?
Ans:

• It symbolises safety and completion — the shoemaker’s craft enables safe journeys through all of life’s activities.
• It symbolises the full circle of life — from going out into the world to returning to one’s roots and relationships.
• It symbolises belonging and identity — “home” is not just a physical place but an emotional and spiritual anchor. The shoemaker who enables people to “return home” helps them remain connected to who they are.

4. Identify the phrase that tells us that every worker’s contribution is distinct.
Ans: The phrase is: “each celebrating what belongs to them and to none else.” The words “to none else” emphasise that every worker possesses a unique skill and identity that cannot be replicated — each person’s craft is their individual, irreplaceable contribution to the world.

5. Complete the following with suitable words:
 …for the feet that walk, dance, run, jump, return home refers to ___________.
Ans: …refers to all the varied activities and journeys of human life — from daily labour and joyful celebration to physical exertion and the safe return home — made possible and comfortable by the shoemaker’s quality craftsmanship.

II. Answer the following questions.

1. Why does the poet say, ‘I hear Bharat celebrating, the varied vocations I hear’?
Ans: The poet uses this line to assert that India’s true identity lies in the living work of its people. The sounds of people working — the tap of a carpenter’s tool, the electrician’s hum, the boatman’s song — are themselves a form of celebration. India celebrates its vocations not just in festivals but through the act of work itself, every day. The repeated “I hear” reinforces that the speaker is actively listening and honouring what most overlook, urging the reader to recognise that India’s workers constitute the real music and identity of the nation.

2. What does the electrician ‘humming’ while getting ready for work suggest?
Ans:

• It suggests the electrician approaches work with contentment and purpose — humming signals a relaxed, positive inner state.
• It humanises the electrician — showing a person at ease in their vocation, not merely burdened by it.
• It creates an auditory image — the hum poetically mirrors the low hum of electricity through a wire.
• It reflects the poem’s central theme of dignity of labour — the electrician who brightens our lives hums cheerfully, treating work as a calling.

3. Explain the significance of the line, ‘The voice of their vocation is the voice of their identity.’
Ans:

• Vocation as self-expression: What a person does is inseparable from who they are — the potter’s identity is woven into the clay they shape; the boatman’s into the sea they sail.
• Work as voice: Each craftsperson speaks through their work — the carpenter through furniture, the weaver through cloth — carrying their personality, culture, and values.
• Dignity and respect: All vocations deserve equal respect because each is the unique voice of a unique human being. To dismiss any vocation is to silence that person’s identity.
• Cultural continuity: Since many vocations are passed down through generations, the “voice of their vocation” is also the accumulated voice of their ancestors — a living bridge between past and present.

4. Do you think the role of all the people belonging to different vocations is important in our daily lives? Support your answer with a reason.
Ans: Yes, absolutely. Even a single ordinary day depends on dozens of different workers: the food on our plate comes from the farmer; the pot it is cooked in from the potter; our building from the mason and carpenter; electricity from the electrician; shoes from the shoemaker; and fish from the boatman. If any one vocation were to disappear, an entire dimension of daily life would collapse. Society functions because of the interdependent network of all vocations — each contributing what uniquely belongs to them. To respect and value every vocation is to recognise the practical truth of how human civilisation is sustained.

5. Why is the poet celebrating all the vocations in the poem? Explain by giving examples from your context.
Ans: The poet celebrates all vocations because they form the foundation of society — yet most workers are invisible and their contributions taken for granted. The poem corrects this by shining a light of recognition on each one, asserting that no vocation is minor or unworthy.

From our own context:

• The raddi-wallah (scrap collector) ensures recycling of paper, metal, and plastic — an environmental worker rarely acknowledged.
• The dhobi or launderer ensures hygiene and dignity for those who cannot wash their own clothes.
• The auto-rickshaw driver ferries students, workers, and patients daily — a vital connector of urban life.
• The safai karamchari (sanitation worker) cleans streets and drains before dawn — performing one of the most essential public health services.

The poet urges society to extend the same recognition to these workers that we extend to doctors, engineers, and teachers.

6. How does the poet use sensory imagery to bring out the beauty of everyday work?
Ans:

• Auditory imagery: “The artisans with lutes, each hailing varied emotions”; “The electricians humming”; “The boatmen sailing, and singing while at work”; “The delicious singing of the cook” — making the poem feel alive with the sounds of India working.
• Visual imagery: “Craftspersons celebrating their craft, woven with colours and myriad hues” and “The boatmen gathering their nets from the shore” — painting vivid pictures of skilled people in action.
• Synesthetic imagery: “The delicious singing of the cook” blends taste (delicious) with sound (singing), creating a pleasurable mix that captures the cook’s joyful essence.
• Kinetic imagery: References to carpenters working with “mathematical precision,” the rhythm of the designer and mason, and feet that “walk, dance, run, jump” evoke the physical sensation of movement and craft.

Together, these images transform what could be a dry list of professions into a living, breathing celebration of human work in all its colour, sound, and vitality.

Vocabulary in Context

I. Match the vocations with the descriptions that follow.

II. Identify the word from Column 2 that is NOT a synonym of the word in Column 1.

Ans:

Speaking Activity

The poet speaks of several occupations in the poem. Create groups of five. Allot the role of any five vocations that the poet talks about. Each student in the group will represent one vocation. Each student speaks for 1–2 minutes about their vocation—who they are, what they do, where they work, what kind of experiences they have at work, what problems they face, and a message for all.

Ans: The following are sample 1–2 minute monologues for five vocations mentioned in the poem. Each covers who the speaker is, what they do, where they work, their experiences, the problems they face, and a message for all. Students may adapt these for their own context.

1. The Craftsperson (Weaver)

My name is Ramavva, and I am a weaver from a small village in Karnataka. Every morning, before the sun is fully up, I sit at my loom. The threads — red, green, gold, blue — are my language. I speak through colours and patterns that my grandmother taught me and her grandmother taught her. My work is not fast. One saree can take a week. But when a bride wears it on her wedding day, I feel as though I have added something beautiful and lasting to the world. The challenges I face are real — power looms in the cities produce sarees in hours that take me days, and they cost half the price. Many buyers choose the cheaper option, and I understand why. But I want to tell you: when you buy a handwoven cloth, you are not just buying fabric. You are buying the story of a life, a tradition, and a family that has kept this art alive for generations. Please value what human hands can make. It is a gift that no machine can truly replicate.

2. The Carpenter

I am Suresh, a carpenter from Rajasthan. My workshop smells of sawdust and linseed oil — it is the most honest smell in the world. I work with teak, sheesham, and mango wood. Every piece of furniture I make begins as a rough plank and ends as something that will last fifty years. I measure twice and cut once — mathematical precision, as they say. I have made beds for newborns and chairs for grandmothers. I have built temple doors and school desks. My challenges? People often think carpentry is unskilled labour, and they bargain hard on my wages. But every joint I make, every curve I carve, carries years of training. My message to you: next time you sit on a chair or open a wooden door, think for a moment about the hands that made it. A good carpenter does not just shape wood — we shape the spaces where people live their lives.

3. The Electrician

Good morning. I am Priya, an electrician, and I have been working with cables and wires for twelve years. People call me when there is no light, no power, no heat. I come with my tools, my multimeter, and my training, and I restore the electricity that makes modern life possible. I work in homes, hospitals, factories, and schools. The problems I face? People often underestimate the danger of electrical work — I have to work carefully with live wires every day, and mistakes can be fatal. I have seen colleagues injured because safety protocols were ignored. I also hum while I work — yes, that is true — because I love what I do. My message: electricity lights your home, runs your hospital, charges your phone, and keeps your food cold. Respect the people who keep that power flowing safely. And please never attempt electrical repairs without training — call a professional. It could save your life.

4. The Boatman

My name is Murugan, and I am a boatman from the coast of Tamil Nadu. I go out to sea before dawn and return by mid-morning with nets full of fish. The sea is my office, and it is both generous and dangerous. On good days, the nets come up heavy and the market pays well. On bad days — cyclones, rough waters, empty nets — we come home with nothing and still have boat loans to repay. My family worries every time I sail out. But I cannot imagine any other life. The sea is where I feel most alive. When I sing while I sail, it is not just to pass the time — it is to honour the water that gives us everything. My message: the fish on your plate did not come from a shop. It came from someone who risked their life in open waters before sunrise. Remember us when you eat. And support sustainable fishing — so that the sea can keep giving, and boatmen like me can keep returning home.

5. The Shoemaker / Cobbler

I am Rajan, and I repair and make shoes at a small stall outside the market in our town. I have been here for twenty-two years. I know every kind of sole, every kind of leather, every kind of stitch. I have repaired the school shoes of children who came back to show me their report cards. I have re-soled the sandals of old women who could not afford new ones. Every pair of shoes that leaves my hands, I stand behind fully. Some people look down on my work because I sit on the ground with my tools. But those same people cannot walk comfortably without the shoes I fix. The problems I face are rising costs of materials and the flood of cheap imported footwear that people throw away instead of repair. My message: learn to value repair over replacement. A good cobbler can make your favourite shoes last five more years. And a good pair of shoes lets you walk, run, dance, and return home safely. I am proud of that. Every single day.

Writing Task

I. Your school will be organising a ‘Career Mela’ in which students are to be made familiar with the different career options. Complete the poster for the event given below.

Sample Completed Poster for Career Mela

GREEN VALLEY PUBLIC SCHOOL

Sector 12, Chandigarh

announces

CAREER MELA

To spread awareness about various career opportunities

Date: 25 February     
Time: 9:00 a.m. to 6:00 p.m. 
Venue: School Auditorium, Green Valley Public School, Sector 12, Chandigarh

Highlights:

• Details and information booklets and brochures provided for all streams (Science, Commerce, Humanities, Vocational)
• Counsellors for all career streams and entrance examinations
• Interactive sessions and Q&A panels with professionals from industry, arts, medicine, law, and skilled trades
• Live demonstrations by vocational experts and artisans
• Stalls by leading colleges, coaching centres, and skill development organisations

CHART YOUR FUTURE AT CAREER MELA 

Entry: FREE  |  Open to all students of Classes 8–12 and their parents

Supported by: District Education Office, Chandigarh
Issued by: The Principal, Green Valley Public School

Reflect and Respond

I. Look at the pictures and identify the vocations. List at least five more vocations.
Ans: The pictures show: basket weaving, pottery (pot making), weaving/loom work, and carpentry/woodwork.
Five more vocations: blacksmithing, embroidery/needlework, stone carving, leather work (cobbling), and block printing.

II. Work in pairs. Discuss the following questions.

1. What is common among these pictures?
Ans: All pictures show people engaged in traditional, skill-based, handmade crafts requiring manual skill and expertise passed down from generation to generation. Workers create useful products using their hands and simple tools rather than machines.

2. We refer to such skill-based work as v__ __ a __ __ o __ s.
Ans: The word is vocations — a skill-based occupation or calling that a person is specially trained for, often involving manual dexterity and craftsmanship.

3. Mention a few differences between handmade and machine-made products.
Ans:

Check Your Understanding (Part I)

I. Do you think pot making is easy? If yes, why? If no, why not?
Ans: No, pot making is not easy. The story shows it is extremely laborious:

• Grey and red clay is found at a riverbank sixteen kilometres away — one must climb down a sheer drop and carry the heavy load uphill all the way back.
• The clay must then be pounded inside bamboo cylinders for a long time — Arenla mentions dropping the mould out of sheer exhaustion many times.
• Shaping the pot requires great skill and coordination. Even Sentila, despite years of watching, could not master it immediately.
• After shaping, pots are dried, loaded onto a kiln, and fired — with constant attention, as over or under-firing ruins the entire batch.
• The whole process takes months and earns only a few rupees — making it physically demanding with very little financial reward.

II. Would Sentila be able to fulfil her dream of becoming a pot maker? Explain.
Ans: Yes, it is very likely that Sentila will fulfil her dream:

• Her passion is deep and long-standing — it began in childhood and never wavered despite her mother’s disapproval.
• She secretly visits expert potters to learn, showing initiative and perseverance.
• Her father Mesoba has already told the village council that Sentila will soon be “making the best pots in the village.”
• The village council has affirmed that pot making skills must be passed on, putting social pressure on Arenla to teach her daughter.
• Arenla, despite initial reluctance, has not actively stopped Sentila’s visits — she pretends ignorance, suggesting her opposition is softening.

III. Do you think Mesoba and Arenla would support Sentila? Give a reason.
Ans: Yes, both will likely support Sentila, though perhaps reluctantly at first.

• Mesoba has already shown implicit support — he told the village council that Sentila would soon be “making the best pots in the village,” suggesting he accepts her wish.
• Arenla opposes pot making from her own bitter experience of its hardships and poor earnings. However, pressured by the village council and Mesoba, and aware of Sentila’s sincere dedication, she ultimately agrees to teach her — as seen in Part II when she takes Sentila to the riverbank.

Check Your Understanding (Part II)

I. Do you think Onula’s support helped Sentila? If yes, why? If no, why not?
Ans: Yes, Onula’s support was crucial to Sentila’s development:

• Onula identified the real problem — Sentila was too tense while working with her mother and could not relax into the work.
• She gave Sentila encouragement her mother never did: “Don’t worry, little one, I shall teach you how to make a perfect pot.” This immediately changed Sentila’s emotional state.
• After Onula’s demonstration, Sentila — “with a confidence she had never felt before” — successfully made a beautiful pot for the first time.
• Onula also wisely directed Sentila to observe her mother’s technique for shaping the rim, ensuring she continued learning from Arenla as well.
• The result: Sentila eventually makes nearly as many pots as her mother in a single session — Onula’s role as the emotional catalyst made this possible.

II. Sentila observes her mother making pots. What does this tell us about her?
Ans: Sentila’s sustained observation reveals several qualities:

• Intense passion and dedication: Even when formal training was failing, she continued to watch and internalise the craft — noting her mother’s hand positions, rhythm, and rim technique.
• Patience and perseverance: Rather than giving up after repeated failures, she kept observing, convinced she would eventually master the skill.
• Intelligence: After Onula’s guidance, her observation became focused and purposeful, leading directly to her breakthrough.
• Humility: She accepted she still had things to learn and continued watching her mother with respect and curiosity.

III. Arrange the following events of the story in the correct sequence.

Ans:

Critical Reflection

I. Read the extracts given below and answer the questions that follow.

Extract 1:
Pounding the stubborn clay inside bamboo cylinders to soften it, is also tedious. So many times I’ve dropped the mould out of sheer exhaustion and have had to start all over again. It takes months to bring out a batch of pots after so much labour. And the reward? A few rupees. But if Sentila learns weaving, she can make much more money besides providing enough cloth for the family. Weaving is not messy like pot making and can be done indoors in all seasons. Also, the time spent on weaving one shawl is much less and the return is handsome.

(i) Choose the correct reason for the given assertion.
 (A): The effort in making pots is far greater than the returns.
 A. The process of pot making is quite tiresome and long, and one hardly earns much.
 B. The process of pot making is exhausting, takes a long time, yet gives a sense of satisfaction.
Ans: A. Arenla confirms that months of physically punishing labour yields only “a few rupees” — there is no mention of satisfaction, only exhaustion and frustration at the poor return.

(ii) Why does Arenla want Sentila to learn weaving?
Ans: Arenla wants Sentila to learn weaving because:

• Weaving earns significantly more money — the return is “handsome.”
• A weaver can also produce cloth for the family’s own use.
• Weaving can be done indoors in all seasons, unlike pot making which depends on outdoor clay sources and sunshine.
• The time to make one shawl is far less than the months needed for a batch of pots.
• Weaving is not messy, unlike the heavy, dirty clay work of pot making. Having suffered pot making’s hardships all her life, Arenla wants a better future for Sentila.

(iii) State one advantage that weaving has over pot making, as per the extract.
Ans: Weaving can be done indoors in all seasons, whereas pot making requires outdoor access for clay collection and drying in the sun, making weaving a more consistent and reliable occupation throughout the year.

(iv) Choose the sentence that uses the word ‘handsome’ in the same way as in the extract.
 A. My father is a handsome man.
 B. They will make a handsome profit selling this property.
Ans: B. In the extract, “handsome” means a generous or substantial financial return — not physical appearance. Option B uses it in the same sense.

(v) ‘And the reward?’ What is the author’s purpose of using a question mark here?
Ans: The question mark is used for rhetorical emphasis. It creates a dramatic pause before the bitter answer (“A few rupees”), making the reader anticipate the contrast between enormous labour and tiny reward. It also conveys Arenla’s deep frustration and disillusionment — she is essentially asking, sarcastically and painfully, “After all that effort, what do I get?”

Extract 2:
Onula saw her taking out some clay and the implements from her basket quietly. She watched Sentila’s clumsy efforts to make a pot and noticed that Sentila was too tense. As a result, the clay seemed unable or unwilling to yield the right shape. When Sentila wearily let the misshapen lump fall flat on the ground, Onula went to her and said, “Don’t worry, little one, I shall teach you how to make a perfect pot.” Sentila watched in amazement as Onula fashioned a beautiful pot and asked her to try again.

(i) Complete the sentence with an appropriate reason.
 Onula feels Sentila’s effort at making a pot is clumsy because ______________.
Ans: Onula feels Sentila’s effort is clumsy because Sentila is far too tense and anxious while working, which prevents her from moving her hands with the relaxed, rhythmic confidence that pot making requires, causing the clay to fail to yield the right shape.

(ii) Choose the correct option to complete the following sentence.
 ‘Don’t worry, little one, I shall teach you how to make a perfect pot.’
 This shows that Onula was _____________.
 A. sincere and generous
 B. forgiving and thoughtful
 C. thoughtful and generous
 D. forgiving and sincere
Ans: C. thoughtful and generous. Onula is thoughtful because she observed Sentila’s problem carefully and understood it was tension — not lack of ability — holding her back. She is generous because she willingly offered her time and skill to teach a girl who was not her own child. “Forgiving” does not apply as there is nothing to forgive.

(iii) Which among the following is the effect of a cause?
 A. As a result, the clay seemed unable or unwilling to yield the right shape.
 B. Onula saw her taking out some clay and the implements from her basket quietly.
Ans: A. The phrase “as a result” signals this is the effect. The cause is Sentila being too tense; the effect is the clay not yielding the proper shape. Option B is simply an observation, not an effect.

(iv) ‘Onula fashioned a beautiful pot.’ Here, the word ‘fashioned’ means ______________. (created/styled)
Ans: ‘fashioned’ means created — Onula shaped and made a pot from clay using her skill. “Styled” relates to appearance and does not fit this context.

(v) How might Sentila have felt when she saw ‘the misshapen lump fall flat on the ground’?
Ans: Sentila likely felt deep disappointment, shame, and helpless frustration. The text tells us she “hung her head in shame and frustration” in an earlier session. The word “wearily” before the lump falls also tells us she was already exhausted and demoralised. Having dreamed of this craft for years, each visible failure intensified her sense of inadequacy — she may have begun to doubt whether she would ever master the skill.

II. Answer the following questions.

1. Describe the process of pot making followed by expert pot makers, as observed by Sentila.
Ans:

• Collecting the clay: Grey and red clay is dug from the riverbank sixteen kilometres away, loaded into carrying baskets, and brought uphill to the village.
• Preparing the clay: The clay is soaked in a trough, stuffed into bamboo cylinders, and pounded repeatedly to soften it into a malleable, dough-like consistency.
• Shaping the pot: The potter pushes the left hand into the softened clay, rotates it, and uses a spatula in the right hand to shape it. The regular tap, tap of the spatula gradually forms the pot — requiring perfect coordination and relaxed confidence.
• The mouth and rim: The rhythm is slackened when shaping the mouth, and a strip of elongated dough is added to form the rim.
• Drying: After two or three days, pots are given a final touch-up and taken out to dry in the sun.
• Firing: Dried pots are loaded onto a kiln on a bed of hay and dried bamboo, covered, and carefully fired — over or under-firing ruins the entire batch.

2. What warning was given to Mesoba by the village council?
Ans: The village council warned Mesoba on two counts:

• It was Arenla’s duty to teach her daughter pot making — a skill passed down through generations — and refusing to do so was a dereliction of that duty.
• Skills like pot making did not “belong” to any individual — they were the collective heritage of the entire community, and experts were obliged to pass them on to anyone who wished to learn, not just their own family. If all pot makers refused to teach, the tradition would die out — a serious loss for the community.

3. How did Sentila feel when she failed at pot making even after a year of training with her mother?
Ans: After a year of training with no progress, Sentila felt deeply ashamed and frustrated — the text states she “hung her head in shame and frustration.” This was especially painful because she had harboured this dream for so long. Watching her mother effortlessly shape the same clay into a beautiful pot intensified her sense of inadequacy. Despite these feelings, she did not abandon her dream, which speaks to her commitment and perseverance.

4. ‘Onula stood there for a long time as if trying to absorb a new phenomenon’. Explain.
Ans: When Onula entered the work shed after Arenla’s death, she found two neat rows of pots — identical in quality and finish — and realised it was not the work of one person. She was overwhelmed by the realisation that Sentila, who had struggled for years to shape a single pot, had in one session produced a batch indistinguishable from her master-potter mother’s work. For Onula, this was almost miraculous. She was trying to absorb both Sentila’s achievement and the profound coincidence — a new pot maker had been born on the very day her mother died, as if the craft had passed from one to the other at the moment of transition.

5. ‘The tradition and history of the people did not belong to any individual.’ What does this symbolise?
Ans:

• It symbolises that cultural heritage is a collective treasure — a skill built and refined across generations belongs to the entire community, not any one family.
• It symbolises communal responsibility — those who possess a skill have a duty to share and preserve it for the benefit of all.
• It warns against cultural extinction — if skilled individuals refuse to pass on their knowledge, entire traditions can die with them.
• It reflects an indigenous value system where individual ownership is secondary to communal wellbeing, and cultural practices are a shared identity to be protected.

6. What is the significance of the concluding line of the story, ‘A new pot maker was born’?
Ans:

• Literally, it marks Sentila’s transformation — from a passionate but struggling learner to a skilled, independent potter who has produced a batch nearly equal to her mother’s.
• Symbolically, “was born” echoes the language of new beginnings — Sentila’s life as a pot maker begins on the same day her mother (her teacher) dies, as if the craft passed from one to the other at the moment of transition.
• It symbolises the continuity of tradition — the village council’s fear that the skill would die with Arenla is answered. The craft will live on through Sentila.
• Its brevity and simplicity give it understated power, allowing the enormity of the moment to resonate quietly with the reader.

7. What is the role of perseverance in pursuing one’s dreams? Elaborate with reference to Sentila.
Ans:

• Despite family opposition: Her mother actively discouraged pot making. Sentila neither confronted her nor abandoned her dream — she quietly continued learning from expert potters whenever she could.
• Despite repeated failure: A full year of training with her mother yielded no progress. Many would have given up. Sentila did not.
• Despite shame and frustration: She hung her head in shame many times but always came back to try again — emotional resilience as important as technical skill.
• Through patient observation: Even when her hands failed her, her eyes and mind kept learning. Her sustained observation of her mother’s technique eventually led to her breakthrough.
• The story affirms that perseverance is not passive waiting but active, ongoing effort — and that it is this quality, more than talent alone, that makes dreams a reality.

Vocabulary and Structures in Context

I. Classify the words/phrases as Tools/Implements, Raw Materials, or Process.

1. She taught Sentila how to dig the clay with a dao, load it on to her carrying basket…
2. Sentila was a quick learner and turned the clay into malleable dough. Pounding the stubborn clay inside bamboo cylinders to soften it…

The highlighted words describe the tools and materials required in the process of pot making.

Now, classify the words/phrases given in the box as shown in the table below. One example for each category has been done for you.

Ans:

II. Economic words — meanings and sentences.These words relate to livelihood and economic aspects that are crucial for any enterprise/business/vocation. Work in pairs and find the meanings of the following words related to economy. You may refer to a dictionary.Now, frame sentences using each word.

Ans:

III.1. Complete the following sentences with suitable noun clauses.

• (i) The elders emphasised that pot making was the community’s heritage and must be passed on from generation to generation, not withheld from those who wished to learn it.
• (ii) Mesoba explained why Arenla had not yet taught Sentila the craft, saying that they had wanted the girl to grow stronger after her illness before taking on the demanding work.
• (iii) Onula’s promise was that she would teach Sentila how to make a perfect pot and help her gain the confidence and technique she was lacking.
• (iv) Sentila observed her mother carefully when she was shaping the mouth of the pot, which helped her finally understand how the rhythm was slackened and how the rim of elongated dough was added to complete the pot.
• (v) The kiln, where the dried pots were loaded in a uniform pattern on a bed of hay and dried bamboo and then fired with great care, required careful attention to prevent over or under-firing.

III.2. Underline the main clause and circle the subordinate clause.

• (i) Arenla took Sentila to the riverbank (where the grey and red clay was found).
• (ii) She started on the next one, and like a sprinter (who had suddenly found momentum)…
• (iii) … skills such as pot making, (which not only catered to the needs of the people) did not belong to any individual…

III.3. Complete the following sentences with suitable relative clauses.

• (i) Sentila, whose passion for pot making had burned since childhood and who had secretly visited expert potters to learn the skill, practised the craft diligently.
• (ii) The village council, where the elders gathered to discuss matters of community importance and tradition, sought an explanation for Arenla’s reluctance.
• (iii) The potter’s hands, which moved with the practised ease of years of experience, coordinating left hand and spatula in perfect rhythm, shaped the clay into beautiful creations.
• (iv) Arenla, her mother, wanted her to learn weaving, which was cleaner, could be done indoors in all seasons, took less time, and earned a much better income than pot making.
• (v) Mesoba went home and discussed the matter with Arenla, who had been aware of her daughter’s visits to the potters all along but had chosen to pretend ignorance.

III.4. Read the highlighted words in the following lines from the text.

• Onula saw her taking out some clay…
• … make as many pots as they could.
• … did not belong to any individual.
• Slowly she walked away from this place of wonder.
• … they would not have enough days of sunshine …

(i) Find some more determiners from the text.
Ans: Additional determiners found in the text:

• her (possessive) — “her mother,” “her daughter,” “her basket”
• the (article) — “the clay,” “the kiln,” “the village”
• a (article) — “a lump,” “a beautiful pot,” “a batch”
• another (indefinite) — “another lump of clay”
• every (distributive) — “every possible way”
• next (ordinal) — “the next one”
• no (indefinite) — “no expert potters”
• one (numeral) — “just one short of her mother’s tally”

III.4.(ii) Fill in the blanks with suitable determiners.

A. The florist arranged five bouquets for her clients, that were displayed in an elegant floral shop.
B. The carpenter crafted several unique tables, and one became the centrepiece in his furniture collection.
C. Each of the apprentices in the culinary class demonstrated their knife skills during the intense cooking session.
D. Many of the sculptures were displayed at the art exhibition, showcasing their diverse artistic skills.

Speaking Activity

Work in pairs and choose two characters from the story—Sentila and one other character (Arenla, Mesoba, Onula, or a village elder).

Prepare to speak from the chosen character’s perspective based on information from the story and the understanding of the intentions of the characters.

Prepare a role-play between Sentila and the chosen character. The conversation between the characters should cover the following points:

• Sentila’s desire to learn pot making
• The challenges she faces
• The advice or perspective the other character offers

Students can use direct quotes from the story and creatively expand on the characters’ thoughts and feelings.

You may use the following sentence prompts:

• I feel/felt ________ because…
• I wish/wished ________ because…
• When you said/did ________, it made me feel/think ________ because…

Ans: Sample Role-Play: Sentila and Onula

The following is a sample role-play script covering Sentila’s desire to learn pot making, the challenges she faces, and the advice and perspective offered by Onula. Students may adapt and expand on this using direct references from the story and sentence prompts provided.

Sentila: Onula Aunty… I feel so ashamed. I have been trying for over a year, and I still cannot shape a single pot properly. I wish I had never tried — maybe Mother was right. Maybe I am not meant for this.

Onula: Don’t say that, little one. When I watched you just now, I did not see someone without talent. I saw someone who was trying so hard that the clay could feel the tension in your hands. You are fighting it, when you should be trusting it.

Sentila: But when you said that I should just relax and try again, I didn’t believe it would work. And then I made a pot! A real one! I felt something I had never felt before — like the clay was finally listening to me. But then you said the mouth was all wrong, and I felt that terrible frustration again.

Onula: I understand. But I said that to give you direction, not to discourage you. When you work with your mother next time, don’t just sit there feeling nervous — watch her hands when she shapes the mouth. See how she slackens the rhythm. Watch where she adds the rim. You are a quick learner. You will do well. I have seen it.

Sentila: I wish I could tell Mother that I want this more than anything. I feel frustrated because she sees pot making only as a burden — the aching back, the heavy clay, the long walk to the riverbank. But when I watch the pot taking shape, Aunty, it is like watching something come alive. That feeling — I cannot give it up.

Onula: Then don’t. When you said “I feel” just now — that is your answer. Your mother carries the weight of years of hard work in her words. She is not wrong about the hardship. But she cannot feel what you feel. That passion — it is your greatest tool. Carry it with you every time you sit down at the wheel, and the clay will know.

Sentila: Thank you, Aunty. I think I finally understand. I will go back, I will watch, and I will try again. One day I will make pots that even Mother cannot tell apart from her own.

Onula: (smiling) I believe you already will. Go, Sentila. The clay is waiting.

Writing Task

Reflective Writing – Sample Write-up: Identifying Skills and Passion

Reflective writing encourages introspection and thoughtful exploration of personal experiences, skills, and aspirations. It helps individuals gain deeper insights into themselves and their goals through structured reflection.

I. Follow the steps given below to create a write-up about your skills and passions.

Step 1: Introduction
Reflect on your passions and the skills you currently possess or are developing. Consider why these activities or interests are meaningful and enjoyable to you.

Step 2: Describing skills
Describe specific activities or practices you engage in to nurture your skills. This could include hobbies, classes (art, music, coding, etc.), workshops, or personal projects.

Step 3: Passion into profession
Identify which of these skills you believe have the potential to turn your passion into a profession. Explain why you think these skills are crucial or advantageous in your chosen field.

Step 4: Examples and reflection
Provide examples or anecdotes that illustrate how your skills and passions complement each other. Reflect on how these experiences have shaped your career aspirations and personal growth.

Step 5: Conclusion
Summarise your reflections. Discuss any insights gained about yourself, your skills, and your career ambitions through this exercise.

Ans

Step 1 — Introduction:
For as long as I can remember, I have been drawn to the world of words. Reading, writing, storytelling — these have never felt like work to me. While other children at school would groan when assigned an essay, I would find myself excited by the blank page and what I could fill it with. My passion is writing, and over the years I have realised that it is not just something I enjoy — it is something I need. It is how I make sense of the world around me.

Step 2 — Describing Skills:
To nurture this passion, I read widely across genres — novels, short stories, poems, journalism, and non-fiction. I keep a journal where I write every evening, recording not just events but thoughts, observations, and emotions. I have participated in school creative writing competitions and have recently started a blog where I write short stories and book reviews. I also attend a writing workshop once a month where I receive feedback from experienced writers and fellow enthusiasts. Each of these activities has sharpened a different aspect of my writing — the journal builds my habit of observation, the workshop builds my ability to accept criticism and revise, and the blog teaches me to write for an audience.

Step 3 — Passion into Profession:
I believe writing has genuine professional potential for me. The skills I am developing — communication, research, storytelling, editing — are valuable in a wide range of careers including journalism, content creation, publishing, teaching, and even law or public policy (where clear, persuasive writing is essential). I believe my ability to express complex ideas clearly and my commitment to practising every day will be my greatest advantages in any field that involves communication.

Step 4 — Examples and Reflection:
One experience that shaped my understanding of writing as a skill was when my story was rejected in a competition I had worked very hard for. I was devastated at first — but when I revisited the story months later, I could see its weaknesses clearly. I rewrote it entirely, and the revised version was published in our school magazine. That experience taught me that passion alone is not enough — perseverance, a willingness to fail, and the humility to improve are what turn passion into skill. Just like Sentila in the story, I learned that the breakthrough comes not from giving up, but from continuing to try, observe, and grow.

Step 5 — Conclusion:
This exercise of reflection has made me see that I am not just “someone who likes writing” — I am someone who is actively building a craft. I have learned that the gap between loving something and being truly good at it is filled by consistent effort, honest self-criticism, and the courage to keep going when it gets difficult. My goal is to one day write stories that matter to people — stories like the ones I have read that have stayed with me long after the last page. That is the pot maker in me: not content to simply admire the craft, but determined to master it.

Reflect and Respond

I. Recall the lines of the National Anthem and complete the table with the names of the states, mountain ranges, and rivers mentioned in it.

II. Discuss what the words ‘जय हे’ (Jaya he) in the last two lines of the National Anthem convey.
Ans: “Jaya he” means “Victory to you” or “May you be victorious.” Its repetition in the National Anthem expresses a heartfelt prayer for India’s glory, unity, and prosperity, reflecting patriotism, hope, and devotion to the nation.

III. Read the underlined words in the given lines of the poem. Choose the odd one out that does not correspond with the meaning of the underlined word.

• 1. She’s peerless, let’s praise her!
  Options: valuable, incomparable, unmatched
  Ans: valuable — “Peerless” means having no equal; incomparable and unmatched fit, but valuable does not.
• 2. Many a sage has sanctified this land.
  Options: blessed, purified, applauded
  Ans: applauded — “Sanctified” means blessed or purified; applauded is unrelated.
• 3. And here all auspicious things are found.
  Options: fortunate, fantastic, favourable
  Ans: fantastic — “Auspicious” means favourable or fortunate; fantastic does not match.
• 4. Of hoary antiquity is Bharat,
  Options: ancient times, recent past, time immemorial
  Ans: recent past — It means very ancient; recent past is the opposite.

Check Your Understanding

I. Fill in the blanks by choosing appropriate words from the box to complete the summary of the poem.

The poem is a tribute to India, celebrating its natural beauty, spiritual heritage, and 1. _______. The poet praises the 2. _______, describing it as mighty and unparalleled. The 3. _______ is depicted as generous and graceful, while the 4. _______ are honoured as sacred and unmatched. The poem highlights the contributions of 5. _______ and 6. _______ who have enriched the land with their bravery and wisdom. It also acknowledges the presence of 7. _______ and the teachings of8.  _______, highlighting India’s deep-rooted spiritual and philosophical traditions. The poet repeatedly asserts that India is 9. _______, urging everyone to10. ________ her

Ans The poem is a tribute to India, celebrating its natural beauty, spiritual heritage, and 1. historical greatness. The poet praises the 2. Himavant, describing it as mighty and unparalleled. The 3. Ganga is depicted as generous and graceful, while the 4. Upanishads are honoured as sacred and unmatched. The poem highlights the contributions of 5. warriors and 6. sages who have enriched the land with their bravery and wisdom. It also acknowledges the presence of 7. Brahma-knowledge and the teachings of 8. Buddha, highlighting India’s deep-rooted spiritual and philosophical traditions. The poet repeatedly asserts that India is 9. peerless, urging everyone to 10. praise her.

II. Complete the following features about the poem.

1. The impact on the readers (mood): The poem creates a mood of pride, admiration, reverence, and patriotism. Its celebratory tone and repeated refrain inspire joy and a deep emotional connection with India’s heritage.
2. The poet’s attitude (tone): The tone is reverential, celebratory, and patriotic, expressing pride, devotion, and awe for India’s natural, spiritual, and cultural richness.
3. The rhyme scheme: The poem does not follow a strict rhyme scheme. It has a loose pattern with occasional rhymes and a chant-like, free verse rhythm.

4. Examples of personification:

• The Ganga is described as “generous” — a human quality attributed to a river.
• India (Bharat) is referred to as “she” and “her” throughout, personifying the land as a woman deserving of praise.

III. What is the impact of the refrain, ‘she’s peerless, let’s praise her!’?
Ans:

• It acts as a rallying cry, urging readers to celebrate India.
• Its repetition reinforces the idea that India is unmatched and worthy of honour.
• It gives the poem a chant-like, hymn-like quality.
• The word “let’s” makes it inclusive, creating a sense of collective pride.
• It builds an emotional crescendo, ending each stanza with a shared declaration.

IV. Complete the following sentence appropriately.
India is metaphorically described as ‘this sunny golden land,’ suggesting that it is ________.
Ans: India is metaphorically described as ‘this sunny golden land,’ suggesting that it is a land of warmth, radiance, and abundant richness — both materially and spiritually — glowing with light, life, and unmatched splendour.

V. The poet uses symbolism. Match the symbols in Column 1 to what they suggest in Column 2.

Ans

VI. The poet uses imagery. Give any two examples from the poem.
Ans:

• Example 1 — Visual Imagery: “The mighty Himavant is ours — there’s no equal anywhere on earth.” The word mighty creates a vivid picture of the grand, majestic Himalayas, evoking awe and grandeur.
• Example 2 — Auditory Imagery: “The divinest music has been heard here” creates an auditory image of melodious chants, appealing to the sense of hearing and giving a feeling of spiritual elevation.

VII. What is the impact of the use of hyphens in the first stanza? Select the options that are true.
Ans: The options that are true are:

• 1. Creates deliberate pauses to reinforce the sense of admiration and pride.
• 3. Lends a lyrical, measured, chant-like rhythm to the poem.
• 5. Presents a key element of India’s greatness before the hyphen and makes a strong assertion about its uniqueness after it (e.g., “The mighty Himavant is ours–” followed by “there’s no equal anywhere on earth”).

The options that are false are:

• 2. FALSE — The poem does not discuss India’s weaknesses; it is purely celebratory.
• 4. FALSE — The poet’s tone is confident and assured, not hesitant.

VIII. The poet uses hyperbole in the poem. Identify examples and explain.
Ans: Hyperbole is the use of extreme exaggeration to emphasise a point.

• “The mighty Himavant is ours — there’s no equal anywhere on earth.” — While the Himalayas are the world’s highest range, claiming “no equal anywhere on earth” is an exaggeration to emphasise India’s pride in this natural wonder.
• “The generous Ganga is ours — which other river can match her grace?” — The rhetorical question implies no river can compare to the Ganga, exaggerating her supremacy to highlight her spiritual and cultural significance.
• “The sacred Upanishads are ours — what scriptures else to name with them?” — This implies no other scripture deserves comparison, exaggerating to elevate India’s philosophical heritage.

IX. The poem is an ode. Identify examples from the poem that correspond to it being an ode.
Ans: An ode is a lyrical poem expressing deep admiration for its subject in an elevated style.

• Deep admiration: Every stanza praises India — its mountains, rivers, scriptures, warriors, sages, music, and philosophies (e.g., “The mighty Himavant is ours,” “The generous Ganga is ours”).
• Elevated language: Words like “mighty,” “peerless,” “divine,” “sacred,” “gallant,” and “auspicious” give the poem a grand, formal tone.
• Emotional intensity: The repeated refrain “she’s peerless, let’s praise her!” is charged with enthusiasm, typical of an ode.
• Reverence for the subject: The poet treats India almost as a deity — referring to her as “she,” calling her peerless, and urging collective praise — hallmarks of an ode’s reverential attitude.

X. The poet uses allusion in the poem. Identify the matching allusions for the following.
Ans:

• An allusion to ancient Indian scriptures symbolising deep wisdom and enlightenment:
  → “The sacred Upanishads are ours” — The Upanishads are ancient philosophical texts forming the basis of Hindu thought, dealing with the nature of the self and ultimate reality.
• An allusion to spiritual knowledge associated with self-realisation and ultimate truth:
  → “Here Brahma-knowledge has taken root” — Brahma-vidya is the highest spiritual knowledge in Indian philosophy, concerned with understanding ultimate reality (Brahman) and achieving self-realisation.
• An allusion to Gautama Buddha’s teachings of compassion, non-violence, and enlightenment:
  → “and the Buddha preached his dhamma here” — A direct allusion to Gautama Buddha, who attained enlightenment and preached his dhamma at Bodh Gaya and Sarnath on Indian soil.

Critical Reflection

I. Read the extract given below and answer the questions that follow.

The mighty Himavant is ours–
there’s no equal anywhere on earth.
The generous Ganga is ours–
which other river can match her grace?
The sacred Upanishads are ours–
what scriptures else to name with them?

1. Complete the sentence.
 The word ‘mighty’ refers to the ________ of the Himavant.
Ans: The word ‘mighty’ refers to the immense size, power, strength, and towering grandeur of the Himavant (the Himalayas), suggesting it is not just physically enormous but also commands awe and reverence.

2. Choose the correct option to complete the sentence given below.
 The question mark at the end of the fourth and sixth line of the extract is used to __________.
(i) show doubt and uncertainty
 (ii) emphasise a point
 (iii) highlight confusion and hesitation
 (iv) reveal inquiry and curiosity
Ans: (ii) emphasise a point.
These are rhetorical questions, not genuine queries. “Which other river can match her grace?” and “What scriptures else to name with them?” both assert emphatically that nothing can compare — the question marks emphasise the peerless greatness of the Ganga and the Upanishads.

3. The poet uses the word ‘generous’ to describe the Ganga. Why?
Ans: The poet uses ‘generous’ because the Ganga has freely given water, sustenance, and spiritual purification to millions across India for thousands of years. It nourishes the vast Indo-Gangetic plain and is believed to cleanse the souls of those who bathe in it — giving freely without asking anything in return. The word also personifies the river as a benevolent, motherly figure.

4. Why has the movement of the river been described as graceful?
Ans: The Ganga flows with a serene, majestic, and dignified quality — unhurried and composed as it moves through the plains. The word “grace” also has a spiritual dimension: the Ganga is revered as a goddess (Ganga Devi) believed to have descended from heaven, making her flow divine and elegant. Personifying her movement as graceful elevates her from a mere river to a symbol of divinity and benevolence.

5. Fill in the blank with the correct option from the words given in the brackets.
 The poet is implying that the Upanishads are _________ (unmatched/abundant) in their wisdom and spiritual depth.
Ans: The poet is implying that the Upanishads are unmatched in their wisdom and spiritual depth. The rhetorical question “What scriptures else to name with them?” asserts that no other scripture can be placed alongside them — they stand supreme in philosophical and spiritual insight.

II. Answer the following questions.

1. How does the poem reflect a strong connection to cultural identity and heritage?
Ans: The poem reflects cultural identity through references to India’s defining elements:

• The Himavant represents India’s geographical identity.
• The Ganga represents its cultural and spiritual identity — a sacred river around which civilisations have grown.
• The Upanishads represent India’s intellectual and philosophical heritage.
• Gallant warriors and sages reflect India’s historical identity — brave defenders and wise thinkers who shaped its destiny.
• Brahma-knowledge and the Buddha’s dhamma represent India’s dual spiritual heritage — Vedic and Buddhist — both born on Indian soil.
• “The divinest music” alludes to India’s rich classical musical tradition. Together, these create a composite portrait of India’s ancient, deep-rooted, and unmatched civilisation.

2. What can you infer about the poet’s attitude towards India from the repeated phrase ‘she’s peerless, let’s praise her!’?
Ans:

• Deep patriotism and devotion: The poet treats India as a beloved mother figure deserving the highest honour.
• Unwavering pride: The word “peerless” reveals the poet’s absolute conviction that India is unequalled — stated with total confidence.
• A desire to inspire others: “Let’s praise her” is a collective call to action, mobilising every Indian to celebrate their homeland — reflecting his role as a nationalist using poetry to awaken pride and unity.
• Reverence bordering on worship: The repetition of the refrain gives the poem a devotional, hymn-like quality, suggesting the poet views India almost as a divine entity.

3. What does the line ‘many a sage has sanctified this land’ suggest about India’s spiritual heritage?
Ans:

• India has been home to countless sages and saints — like Vyasa, Valmiki, Adi Shankaracharya, and Kabir — who left a deep spiritual imprint on the land.
• “Sanctified” means to make holy — their tapas (penance), wisdom, and teachings have consecrated the very soil of India.
• “Many a sage” implies an unbroken line of spiritual masters across centuries, reflecting the continuity and depth of India’s spiritual tradition.

4. How does the poet connect warriors and music to India’s greatness?
Ans:

• “Gallant warriors have lived here” — acknowledges India’s martial heritage, representing strength, courage, and sacrifice alongside its spiritual greatness.
• “The divinest music has been heard here” — elevates India’s classical music traditions (Carnatic and Hindustani) to a divine level, presenting them as vehicles of devotion and beauty.
• By placing warriors and music together, the poet presents India as a complete civilisation — powerful in arms, exquisite in art, and rich in spirit.

5. How does this poem foster a sense of national pride?
Ans:

• Celebrating natural wonders: References to the Himalayas and the Ganga remind Indians of their incomparable geographical heritage.
• Honouring intellectual wealth: References to the Upanishads, Brahma-knowledge, and the Buddha’s dhamma highlight India’s profound philosophical contributions to the world.
• Recognising heroes: Mention of gallant warriors and sages honours those who built and protected the nation.
• Repeated use of “ours”: “The mighty Himavant is ours,” “The generous Ganga is ours” — this inclusive language creates a sense of collective ownership and belonging.
• The refrain: “She’s peerless, let’s praise her!” acts as a rallying cry, uniting all Indians in a shared celebration of their homeland.

Vocabulary in Context

I. Complete the table by choosing words from the poem.

Ans:

II. Complete the following table by adding a different suffix to form new words. Also, create a sentence using the created word.Ans:

Speaking Activity

I. In pairs, take turns to speak about the aspects of your village/town/city that you feel are an asset. It could be about geographical, cultural, traditional features, or even its history.

Use these cues to express your praise and admiration.

• One thing that I find truly wonderful about my village/town/city is…
• If I had to describe my village/town/city in one word, it would be…
• I have always been fascinated by the way the people of my village/town/city…
• What I want other people to know about my village/town/city is…
• When it comes to the scenery, my village/town/city truly shines because…
• I feel a deep sense of pride when I think about my village/town/city…

Note: These are sample answers for the city of Chandigarh. Students may adapt these for their own city, town, or village.

Sample Response 1:
One thing that I find truly wonderful about my city, Chandigarh, is its urban planning. It is one of the few cities in India — and indeed in Asia — that was planned from scratch as a modern city. Designed by the famous Swiss-French architect Le Corbusier, the city is laid out in neat sectors, each with its own market, school, and parks. The wide roads, green belts, and absence of traffic congestion make it one of the most liveable cities in the country.

Sample Response 2:
If I had to describe my city in one word, it would be — green. Chandigarh has an extraordinary number of parks and open spaces for a city of its size. The Rock Garden, Sukhna Lake, the Rose Garden — the largest rose garden in Asia — and the numerous sector parks make the city feel like a garden in itself. I have always been fascinated by the way the people of Chandigarh take pride in keeping their city clean and well-maintained.

Sample Response 3:
What I want other people to know about my city is its deep cultural richness. Being the shared capital of Punjab and Haryana, it sits at the confluence of two vibrant cultures. The food — from the buttery parathas to the rich dals and the famous Punjabi lassi — is a cultural experience in itself. When it comes to the scenery, my city truly shines because of its proximity to the Shivalik hills, which form a stunning backdrop and offer trekking, nature walks, and a refreshing escape from city life. I feel a deep sense of pride when I think about Chandigarh — it is a city that has managed to be both modern and rooted in its cultural traditions at the same time.

Writing Task

 I. Write a paragraph about a place that you have visited which has stayed in your memory.

One of the most unforgettable places I have ever visited is the town of Mcleod Ganj in Himachal Pradesh. My family and I travelled there during the summer holidays, primarily to escape the heat of the plains and to experience the mountains for the first time. Before the trip, we researched the place thoroughly — reading about its Tibetan culture, its monasteries, and its trekking trails — and packed warm clothes, sturdy shoes, and a camera. We stayed at a small guesthouse with a balcony that looked directly at the Dhauladhar range, and every morning I woke up to the breathtaking sight of snow-capped peaks emerging from the clouds. During our stay, we visited the Namgyal Monastery, walked through the lively Tibetan market, tasted momos and thukpa at a small café, and trekked to Triund — a high meadow from which the view of the mountains was so vast and glorious that I stood speechless for several minutes. The fresh mountain air, the sound of prayer flags fluttering in the wind, and the gentle chanting from the monastery have stayed with me long after the trip ended. It was a place that made me feel both very small and very alive at the same time, and I hope to return one day.

Reflect and Respond

I. Complete the given word web.

Ans

• To gain knowledge
• To communicate effectively
• To become independent
• To improve career opportunities

II. Read the questions given below and share your answers.

1. Which language(s) do your grandparents or elderly relatives speak?
   My grandparents speak Hindi and Punjabi.
2. How do they spend their time? How do you spend time with them?
   They spend their time reading, praying, and watching TV. I spend time with them by talking, helping them, and listening to their stories.
3. What is your favourite experience with them?
   My favourite experience is listening to their childhood stories and learning from them.
4. What is something that the elderly in your family cannot do easily but enjoy watching you do?
   They cannot use modern technology easily but enjoy watching me use a phone or computer.

III Read the following passage. Match the highlighted words with their meanings given in the box below.

The casting for the (i) protagonist of our school’s annual play was done after a lot of (ii) debate as many good actors had auditioned for the role. We had decided to present an (iii) episode from an inspirational story. It was a life story of a group of children who worked with the (iv) community to spread literacy. Every day, we reached school early to practise with (v) concentration.We waited (vi) eagerly for the final presentation. All of us played our roles in a very (vii) convincing manner as our theatre teacher had (viii) guided us well.

Ans

1. protagonist → main character
2. debate → discussion
3. episode → a part of a story
4. community → people living in one particular area
5. concentration → focus
6. eagerly → excitedly
7. convincing → believable
8. guided → directed

Check Your Understanding (Part I)

I. Complete the cause and effect table based on Part I of the story.

II. Do you think the narrator expected to see her grandmother in tears when she returned to the village? If yes, why? If no, why not?
Ans: No, the narrator did not expect it. She was surprised because her grandmother had always been strong and composed, never crying even in difficult times. The narrator did not realize her absence would upset Avva so much, especially as she felt helpless after missing Kashi Yatre.

III. How might the narrator help her grandmother to fulfil her desire to learn to read and write?
Ans: The narrator could teach her grandmother the Kannada alphabet step by step, giving daily lessons and practice from simple words to sentences. She becomes her teacher and sets Saraswati Puja during Dassara as the goal for Avva to read a novel independently.

Check Your Understanding (Part II)

I. State whether the following sentences are True or False.

Critical Reflection

I. Read the extracts and answer the questions.

Extract 1:
When I came back to my village, I saw my grandmother in tears. I was surprised, for I had never seen her cry even in the most difficult situations. What had happened? I was worried.

“Avva, is everything all right? Are you okay?”

I used to call her Avva, which means mother in the Kannada spoken in North Karnataka.

She nodded but did not reply. I did not understand and forgot about it. At night, after dinner, we were sleeping on the open terrace of our house. It was a summer night, and there was a full moon. Avva came and sat next to me. Her affectionate hands touched my forehead.

(i) Complete the following sentence with the appropriate option.
The phrase ‘never seen her cry in the most difficult situations’ tells us that the grandmother was ____________.
A. strong-willed
B. understanding
C. considerate
D. bold
Ans: A. strong-willed.
The grandmother had always faced difficulties without breaking down, which shows she was a strong-willed person. That is why finding her in tears was so surprising to the narrator.

(ii) Grandmother did not reply when the narrator asked if she was alright because she might have been too ________(emotional/tired) to respond.
Ans: emotional.
The grandmother was overwhelmed by her feelings of helplessness and longing — she had been unable to read the story she loved so much, and the emotion of that experience made it difficult for her to reply immediately.

(iii) Identify the clue from the extract that indicates a rural setting with traditional customs.
Ans: The clue is that they were sleeping on the open terrace on a summer night under the full moon, typical of rural Indian life. The word “Avva” (Kannada for grandmother) also indicates a rural, traditional setting.

(iv) Which lines of the extract establish a tender atmosphere?
Ans: The lines — “It was a summer night and there was a full moon. Avva came and sat next to me. Her affectionate hands touched my forehead.” 
The lines create a tender, warm mood through the full moon night and the grandmother’s gentle, affectionate gesture of touching the narrator’s forehead.

(v) Which of the following aspect is NOT emphasised in the given extract?
A. the emotional turmoil of the grandmother
B. the affectionate bond between the narrator and her grandmother
C. the grandmother’s regret over her lack of education
D. the narrator’s concern for her grandmother
Ans: C. the grandmother’s regret over her lack of education.
The extract focuses on the grandmother’s emotional state, the affectionate bond between narrator and grandmother, and the narrator’s concern — but the theme of regret over lack of education is addressed later in the story, not in this particular extract.

Extract 2:
“I have decided I want to learn the Kannada alphabet from tomorrow onwards. I will work very hard. I will keep Saraswati Puja day during Dassara as the deadline. By that day, I should be able to read a novel on my own. I want to be independent.”

I saw the determination on her face, yet I laughed at her.

“Avva, at this age of sixty-two, you want to learn the alphabet? All your hair is grey, your hands are wrinkled, you wear spectacles, and you work so much in the kitchen…”

Childishly, I made fun of the old lady, but she just smiled.

“For a good cause, if you are determined, you can overcome any obstacle. I will work harder than anybody, and I will do it. For learning, there is no age bar.”

(i) What does the grandmother’s statement “I want to be independent” reveal about her character?
A. She wanted to be literate.
B. She desires self-sufficiency.
C. She wants to prove her intelligence to others.
D. She feels pressured by society to learn.
Ans: B. She desires self-sufficiency.
The grandmother is a woman of dignity and self-respect. Even though her family is well-off, she feels helpless and dependent because she cannot read. Her desire to be independent reveals that she values the ability to do things on her own without relying on others.

(ii) The grandmother’s determination shows that learning has no ________.(age limit/gender bias/cultural barriers)
Ans: age limit.
At the age of sixty-two, with grey hair, wrinkled hands, and spectacles, the grandmother decides to learn the alphabet. Her resolve demonstrates that the desire and determination to learn can overcome any barrier, including age.

(iii) The narrator laughs at her grandmother’s decision to learn the alphabet at the age of sixty-two because ________.
Ans: The narrator laughs because she thinks her grandmother is too old to learn, noticing her grey hair, wrinkles, and spectacles. It reflects a childish and immature assumption, which she later realizes is wrong.

(iv) List any two qualities displayed by the grandmother.
Ans:

• Determination and willpower – She sets a firm deadline (Saraswati Puja day during Dassara) and works extremely hard to achieve her goal.
• Self-respect and dignity – Rather than asking a stranger to read for her and feeling embarrassed, she chooses to learn on her own so she can be independent.

(v) How can we say that the narrator is making assumptions about her grandmother?
Ans: The narrator assumes her sixty-two-year-old grandmother cannot learn, judging her by grey hair, wrinkles, and spectacles. This proves wrong when the grandmother successfully learns to read through determination.

II. Answer the following questions.

Q1: Why do you think the grandmother felt embarrassed to ask someone else to read to her while the narrator was away?
Ans: The grandmother felt embarrassed because she valued self-respect and independence. Asking others to read would make her seem helpless. Despite being well-off, she felt her inability to read was a personal weakness and did not want to show it, reflecting her pride and dignity.

Q2: Why does the narrator initially laugh at her grandmother’s determination to learn at the age of sixty-two?
Ans:The narrator laughs because, at twelve, she thinks in a childish and shallow way. She judges her grandmother by her age and physical appearance—grey hair, wrinkles, spectacles, and heavy kitchen work—and assumes she cannot learn. Later, she realizes this assumption was wrong.

Q3: What significance does the story of Kashi Yatre have in both the grandmother’s life and the story?
Ans: Kashi Yatre is central to the story in several ways:

• The grandmother connects deeply with its old lady protagonist, making her eager to follow every episode.
• Its theme of compassion over personal desire reflects Avva’s own selfless nature.
• Missing an episode when the narrator is away becomes the turning point, motivating her to learn to read.
• In the end, she reads the novel’s title and publisher’s name on her own, proving her success and giving the story emotional closure.

Q4: What does the grandmother’s desire to learn the Kannada alphabet reflect about her?
Ans: The grandmother’s desire to learn at the age of sixty-two reflects several admirable qualities:

• A thirst for learning – She has always regretted not being educated and now seizes the opportunity when she can.
• Determination and courage – She is not deterred by age, physical limitations, or social expectations.
• A deep desire for independence – She wants to be self-reliant so she does not have to depend on anyone else for something as basic as reading.
• Self-awareness – She understands what she has missed and is willing to work hard to make up for it.

Her resolve embodies the message that it is never too late to learn.

Q5: What lessons can we infer from the grandmother’s action of touching the narrator’s feet?
Ans: The grandmother’s action of touching her granddaughter’s feet teaches us several important lessons:

• Respect for the teacher is paramount — The grandmother makes it clear she is touching the feet of a teacher, not her granddaughter. This reflects the Indian tradition of honouring the guru regardless of age or relationship.
• Humility in a great person — A sixty-two-year-old woman bowing to a twelve-year-old shows true humility and greatness of character.
• Learning erases social barriers — The act suggests that in the realm of learning, conventional social hierarchies of age and family role become secondary.
• Gratitude must be expressed — The grandmother feels deeply grateful and expresses it in the most sincere way she knows.

Q6: What does the following line tell us about the broader theme of the story?
 “For a good cause if you are determined, you can overcome any obstacle.”
Ans: This line highlights the theme that determination can overcome any challenge, regardless of age or limitations. The grandmother’s decision to learn reading at sixty-two and succeed before Dassara proves this. It shows that education is for everyone and that obstacles like age or lack of time can be overcome with strong motivation.

Q7: How effectively does the story highlight the value of education in supporting personal independence?
Ans: The story highlights this through the grandmother, who is well-off and respected but feels helpless because she cannot read. She realises money cannot replace the independence that literacy gives. Unable to read or ask for help, she feels dependent, but once she learns, reading the book’s title herself symbolises her newfound independence and shows that education is true freedom.

Vocabulary and Structures in Context

I. Match the binomials with their meanings.

Now, use any five of the above binomials in sentences of your own.

Ans

Use any five binomials in sentences of your own:

• Sink or swim: When I joined the new school mid-year, I had to sink or swim and figure things out on my own.
• On and off: She had been practising the piano on and off for several years but never committed to it fully.
• All or nothing: For him, friendship was all or nothing — he was either fully committed or not involved at all.
• Sooner or later: Sooner or later, hard work always pays off.
• Leaps and bounds: After joining the coaching class, Riya’s progress in mathematics improved by leaps and bounds.

II. Read the following words from the text given in the box below.

These words are made by adding suitable prefixes (‘un’,‘ir’, and ‘in’) to give an opposite or negative meaning tothe words. Now, make words by adding the suitable prefixes given in the box to the words from the text in Column 1. Write the prefixed words in Column 2. One example has been done for you.

Add suitable prefixes to the following words.

Ans

III. Five words with prefixes from the story with sentences:

• Unhappy – Her face was unhappy when she could not read the magazine on her own.
• Unusual – It was unusual for an elder to touch the feet of a younger person.
• Unfortunately – Unfortunately, Triveni died very young, cutting short a brilliant literary career.
• Irrespective – A teacher must be respected irrespective of their age or gender.
• Independent – After learning to read, the grandmother felt truly independent for the first time.

IV. Match the idioms related to ‘learning’ with their meanings.

Ans

Use these idioms in sentences of your own:

• Hit the books: With the board exams approaching, Arjun decided to hit the books every evening.
• Draw a blank: When the teacher asked me the capital of Kazakhstan, I drew a complete blank.
• Learn the ropes: It took her a few weeks to learn the ropes of the new job.
• Rack one’s brain: I racked my brain trying to remember where I had kept my notebook.
• Learn by heart: The grandmother could learn by heart the entire text of every episode read to her.
• Burn the midnight oil: She burned the midnight oil to finish her project before the deadline.

V. (i) Fill in the blanks with simple past and past perfect tense form of the verbs given in brackets.

A. When the delegates ________ (arrive) at the conference, the keynote speaker ________ (already begin) the session.

B. After the students ________ (learn) how to identify fake news online, they ________ (start) verifying information before sharing it.

C. Before Kiran ________ (start) using digital payment platforms, she ________ (ensure) her understanding of online fraud prevention.

D. By the time Varun ________ (recognise) the importance of budgeting, he ________ (exhaust) most of his savings.

E. When Raghu ________ (log in) to the cybersecurity webinar, the instructor ________ (already discuss) the importance of strong passwords.

Ans

A. When the delegates arrived at the conference, the keynote speaker had already begun the session.
B. After the students learned how to identify fake news online, they started verifying information before sharing it.
C. Before Kiran started using digital payment platforms, she had ensured her understanding of online fraud prevention.
D. By the time Varun recognised the importance of budgeting, he had exhausted most of his savings.
E. When Raghu logged in to the cybersecurity webinar, the instructor had already discussed the importance of strong passwords.

(ii) Fill in the blanks with the correct form of verbs.
Last year, my parents and I A. ________ (take) a financial planning course. When we B. ________ (review) our expenses, we realised we C. ________ (spend) too much on unnecessary purchases. After my parents D. ________ (discuss) ways to save, I E. ________ (open) a savings account.

By the time we F. ________ (set) our budget, the course G. ________ (already introduce) investment strategies. We H. ________ (hurry) to take notes, but many participants I. ________ (complete) their financial plans. Despite that, we J. ________ (enjoy) learning how to manage money wisely.

Ans

Last year, my parents and I A. took a financial planning course. When we B. reviewed our expenses, we realised we C. had spent too much on unnecessary purchases. After my parents D. discussed ways to save, I E. opened a savings account.

By the time we F. set our budget, the course G. had already introduced investment strategies. We H. hurried to take notes, but many participants I. had completed their financial plans. Despite that, we J. enjoyed learning how to manage money wisely.

Speaking Activity

Turncoat is a type of solo debate where the speaker argues for and against a topic, switching sides after a certain period of time.

Choose your topic and speak ‘for’ and ‘against’ for not more than one minute each.

Topic 1: It is important to learn a new language apart from your mother tongue.

Topic 2: Learning can happen only when you are young.

Use the guidelines given below:

• Begin with speaking ‘for’ the topic for one minute.
• Your teacher will signal that it is time to switch sides.
• Then speak ‘against’ the topic for one minute.

You may use the following sentence prompts.

Ans

Topic 1: It is important to learn a new language apart from your mother tongue

FOR:
Learning a new language apart from our mother tongue is very important. It helps us communicate with more people and understand different cultures. In today’s global world, knowing multiple languages increases job opportunities and boosts confidence. It also improves brain skills like memory and problem-solving. Moreover, it allows us to travel easily and connect with people from different regions. Therefore, learning a new language is a valuable skill that benefits us in many ways.

AGAINST:

While learning a new language is useful, it is not always necessary. Our mother tongue is enough for communication in our daily lives. Learning another language takes time and effort, which can be used to develop other important skills. Also, not everyone has access to proper resources to learn new languages. In many cases, technology like translation apps can help us communicate without learning a new language. So, it is not essential for everyone to learn another language.

Topic 2: Learning can happen only when you are young

FOR:

Learning happens best when we are young because our minds are more active and flexible. Children can easily grasp new concepts, languages, and skills faster than adults. At a young age, we have fewer responsibilities and more time to focus on learning. Schools and teachers also guide us during this stage, making learning easier and structured. Therefore, youth is the most effective time for learning.

AGAINST:

Learning is a lifelong process and does not depend on age. People can learn new skills at any stage of life if they are determined. In fact, adults often learn better because they have experience, focus, and clear goals. Many successful people have achieved great things later in life by learning new skills. Age should not be a barrier to learning. Hence, learning can happen at any age.

Writing Task

I. Sample Letter to the Editor on Student Participation in Adult Literacy Camps

Rahul Sharma

Student, Class IX

Green Valley Public School

45, Sector 12, Chandigarh – 160012

18 March 2026

The Editor

The Tribune

Sector 29, Chandigarh

Subject: Student Participation in Adult Literacy Camps

Sir/Madam,

This is with reference to the article on adult illiteracy dated 15 March 2026 in your newspaper. As a concerned citizen, I would like to draw your attention towards the importance of student participation in adult literacy camps conducted by various organisations. A large number of adults in our country still lack basic education, which restricts their growth and limits opportunities.

The issue at hand affects a large section of society and hampers overall development. Illiteracy leads to unemployment, lack of awareness, and poor decision-making. It is imperative that students come forward and contribute to literacy drives. Such initiatives nurture a sense of responsibility and compassion among students. By engaging in these programmes, students develop communication skills, leadership qualities, and a deeper understanding of social realities, while helping others become self-reliant.

A possible solution to this issue could be making student participation in literacy programmes more structured and encouraged by educational institutions. Authorities could consider implementing awareness campaigns, workshops, and incentives like certificates to motivate students. I trust this matter will be considered seriously for the benefit of all. I hope this letter gets published in the columns of your esteemed daily.

Yours faithfully,

Rahul Sharma