POETRY A COLLECTION OF POEMS 1, HAUNTED HOUSES All houses wherein men have lived and died ‘Are haunted houses. Through the open doors “The harmless phantoms on their errands glide, With feet that make no sound upon the floors. ‘We meet them at the door-way, on the stait, ‘Along the passages they come and go, Impalpable impressions on the air, ‘A sense of something moving to and fro. “There are more guests at table than the hosts Invited; the illuminated hall Is thronged with quiet, inoffensive ghosts, [Assilent as the pictures on the wall. “The stranger at my fireside cannot see The forms I see, nor hear the sounds I hears He but perceives what is; while unto me All chat has been is visible and clear. “We have no tile-deeds to house or lands; (Owners and occupants of earlier dates From graves forgotten stretch their dusty hanids, ‘And hold in mortmain still their old estates. ‘The spirit-world around this world of sense Floats like an atmosphere, and everywhere Wafts through these earthly mists and vapours dense ‘Avital breath of more ethereal air. Our litte lives are kept in equipoise By opposite attractions and desires; The struggle of the instinct that enjoys, ‘And the more noble instinct that aspires. perpetual jar ations hig Come from the influence of an unse ‘An undiscovered planet in our sky —H. W. Longfelloy ‘And as the moon from some dark gate of cloud “Throws o'er the sea a floating bridge of light, “Across whose trembling planks our fancies crowd Into the realm of mystery and night— So from the world of spirits there descends ‘A bridge of light, connecting it with chis, O’er whose unsteady floor, that sways and bends, Wander our thoughts above the dark abyss. Paraphrase “The poem talks about houses left behind after people di The poet calls all such houses, which have seen the lives and deaths of their occupants, haunted. However, these ghosts are not dangerous and merely move smoothly and silent. going about their work. Their feet make no sound upon the floors of the houses. “The living encounter these phantoms at doorways, ot staircases, along passages as they float around. They are ait forms that cannot be touched or felt, but the living get sense of something moving around. In the dining hall, around the table, these spirits at present adding co the number of physical guests the bess have ed. They crowd the brightly-lit hall ~ silent and hi a staying, as quict as the paintings hanging on “The speaker can sense, see, and hear these forms unlike & stranger warming hinself by the fire who cannot see 8 hear anything except what is physically visible, The speaks sees what is not physically visible but has passed, very leas The speaker says that spirits do noe possess the documen® 1 prove ownership of the house and the land aroun They are the long-dead occupants and owners from oi past who return fiom the graves, chei hands covered wilt dust, having ownership even in death on excates that © belonged toshe world of spirits makes its presence felt as a sense, crrounding and gently floating, like the atmosphere does, mists and thick fumes, It isa breath of important, heavenly ait. ‘he speaker believes lives are in a state of perfect balance ane of the contradictions and pulls of lowly instinetual Mare for pleasure and nobler aspirations for good. ker attributes these anxieties and the constant contest between physical, earthly, lowly wants and noble, eihed secking £0 a heavenly influence of a star that is, Fidden and a planet that i yet not discovered. ‘An image is created of a moon emerging from a cloud and throwing its light on the waters of the seas. Tes Tight is reflected in the waves. ‘The falling light tsa bridge with shaky planks, It isa metaphor for the bridge between two worlds. Due to this connection, mortal thoughts crowd in a dark. and mysterious space. In the same way, light fills from the world of spirits, connceting their world with the human world, ‘This mysterious, 5 connection is unsteady and unnamed, bbue with it mortal thoughts can rise above the ordinary material world, ‘The conclusion is a sense of an unknown delicate influence of the past on the present, & Vocabulary | phantoms: spirits of dead people, ghosts who visit the | ing, errands: short and quick trips for specific purposes and “ds, glide: move smoothly without noise and effort, impalpable: difficult to feel and understand, throngeds gathered in | large numbers, inoffensi usually by an organisation | t }or causing harm or trouble, hold in mortmains (legal term) holding of a land in perpetuity, the church or a trust, wafis: moves gently through the air, ethereal very ight and delicate ‘ot from the physical world, equipoise: perfect balance, aspires: wants something very much, perturbations: worries EXPECTED QUESTIONS WITH ANSWERS 'A. Choose the most appropriate option for the given question or statement: QU. Why are there more guests than the hosts invite (@) Guests bring additional people along. (b) Hosts are unaware of the actual number. (© Spirits of the dead are present at the table. (4) The pictures on the walls look down upon the diners. Aas. (¢) Spirits of the dead are present at the table. Q2. What is the difference between the speaker and the stranger? (2) The stranger sees only the obvious while the speaker sees the past clearly. (6) The stranger is oblivious to anything but the warm fire. (6) The stranger has forgotten the dead with their dusty hands. (4) The stranger has an inalienable right over the Property. Ans. (a) The stranger sees only the obvious while the speaker sees the past clea Q3. Whar allows a perfect balance in life? (a) Desires and struggles of the world (b) Struggles berween baser needs and nobler ambitions (c) Perturbations and astrological influences (A) The reflected moonlight on the sea and the light from the spirie world, Ans. (b) Struggles between baser needs and nobler ambitions B. Answer the questions that folloy QI. What kind of houses are haunted? What haunts in which people have lived and died years are haunted. Ans. All hou over th “They are haunted by the spirits of those whe have spenc their lives anal have dieu in those houses. 2. How does the poct show the phantoms move ound he houses ‘Ans ‘The speaker of the pocm lists the pare of the houses where these spirits silently mover che doorways the staies, the passages. these phantoms Some and go” and move “to and fio"Q3. How is the speaker different from the “stranger” at the fireside? ‘Ans. The “stranger” cannot see the forms the speaker sees, nor hear the sounds the speaker hears. He merely perceives what exists before him; however, the speaker can see and hear more than the stranger can, and he whatever has passed is also visible and clear to the speaker. Q4. What shows the dead still possess their old lands? ‘Ans. Though the dead no longer have physical, legal documents to show ownership, they reach out with dusty hands of those buried in graves to reclaim ownership because they continue to hold in mortmain the estates that once belonged to them. This is an allusion to a legal practice granting inalienable rights of ownership in perpetuity. Symbolically this shows the everlasting influence of history and memory on people’ lives affected by intangibles from the past rather than fally in control of individuals in the present. Q5. Why does the poet call the spirit-world “ethereal”? Ans. The phantoms symbolise the past memories and thoughts that influence those who are currently and alive and allow lives to be in “equipoise” because of the contradictory pull of inferior wants and noble aspirations. Just like the moonlight reflects on the ‘waves of the sea, a light connects the mortal world A. Choose the most appropriate option for the given question or statement: Q1. Whar, according to the poem, is NOT true of the phantoms? (@) They move soundlessly all around the house. (©) They are offensive and critical of the living. (©) They reclaim property from the grave. (4) They waft around going about their purposeful asks, Q2. Which literary device is seen in the reference 1 the pictures on che wall? (a) Simile (b) Metaphor (d) Alteration (€) Onomatopocia Q6. Ans, Q3. Qa. j and the spirit world, indicating the importane “ the past plays in shaping the present, “The spri- world is “ethereal” because iis lig, wwafts, floas, glides, and is not seen as a con, presence that can be touched oF fel. Te Beng feith mists and vapours and is like exhalation breath. This world is supernatural and Mystetiog, “The poem can be taken literally as a belief in gy existence of the supernatural and symbolically the influence the past has on the present in way that cannot be known or described. Describe the image the poem ends with. “The image uses a simile to compare the connection becween the mortal and the spirit worlds to the light that falls on the sea and looks like a bridge connecting the water to the sky. The moon emerges from behind the gateway formed by 4 cloud, shedding its light on the water below. The moonbeams look like a connecting bridge. In the same way, a light connects the world of spits with the human world. The moonbeam falling from the sky on to the waves is unclear and quivering; sooo is the bridge between the world of the living and the spiritual world. The concluding image brings out the theme that the past and the dead leave their imprint on the world and influence those who are living through a vague yet comforting effect. It enhances the mysterious nature of the spiritual world and ies effect, ASSIGNMENT Which suggests that the phantoms cannee be touched? (2) With fect that make no sound upon the Boos (b) Impalpable impressions on the ait (©) Is thronged with quiet, inoffensive ghosts (a) All hac hy When docs life achieve equilideiunn? been is visible and clear (a) When lives become little (b) When an unseen star casts influence (0) When a bridge of tighe descends from the heavens (1) Whea inferior stccactions struggle aguinst noblest wpicstions "tonsa rie nt= {gs Which theme stands out inthe poem? (2) Horror of haunting (h) Permanence of the spiritual (0) Beauty of nature at night (4) Darkness and warmth Read the extracts and answer the questions that follow: 11. We meet them at the door-way, on the sain, ‘Along the passages they come and go, Impalpable impressions on the ‘Assense of something moving to and fro. (2) Whom do we meet? Give any one clear example from the text that proves those we meet are just a “sense”, (b) State any two qualities, with a supporting example of each, that the speaker brings out of those “we meet”, (@) What image is created of the movement of these “impressions on the air"? What words in the poem hold particular significance to create this image of movement? (@) Explain the following in the context of the poem: errands, atmosphere, perturbations. (e) How is the stranger by the fireside different to the speaker of the poem? Q2. We have no title-deeds to houses or lands: Owners and occupants of earlier dates .. (a) Why do “We” have no title-deeds”? From where do these entities stretch for their property? How are their hands described and why? ‘Quatrains wich chyme scheme ABAB + Alliteration: haunted houses, impalpable impressions ‘world of spirits there descends + Allusion: hold in mortmain (‘dead hand’ ~ legal) Contrasts (juxtaposition): world of |__ and the past, palpable and impalpal | and one with heightened sensitivin | instincts chat aspire | + Simile: as silent as the pictures on the wall, loats like ana Q3. sphere, as the moon fram some dark (b) Explain the allusion that immediately, follows the extract above with reference to ownership. Who, according to your understanding of this allusion, actually owns the “house or lands"? (©) What does “ethereal” mean? With the help of any two clear examples from the text, show how the “ethereal” quality of those being described is brought out. (d) What keeps our lives in “equipoise”? What kind of an influence is described in this context? (©) Are those being spoken about in the poem menacing or comforting? Support your ‘opinion with three clear points the pocm makes about them. ‘And as the moon from some dark gate of cloud “Throws o'er the seaa floating bridge of light. (a) Describe in your own words the image the poet creates of the night in the stanza from which the extract is taken. (b) How is the metaphor “bridge of light” significant with reference to the theme of the poem? () Which two worlds does the poem talk about? State any two differences that strike you on reading the poem becween these wo worlds. (d) Are the houses of the title haunted by a single ghost each or many? Identify words or images in the pocm to support your opinion. {e) Comment on Longfellow’s choice of the title for this poem. Literary Context, Form and Devices so from the sense and world of spirits, world of the living and world of the dead, the present De, one with conventional perception who cannot »e¢ beyond the tangible present 'y vo whom what has passed is clsar, base desises thae mevely enjoy and aoble + Maaphor: impalpable impressions on the ait, sretshing handy from grave (attachment to bome even in death), | perpen jan gic of doud, bridge of light wish trembling planks, dark aby (material wor)+) Imagery: several invisible, harmless phan ing and sense movement; dusty hands reaching out feeling on (of the world of sense; inner struggle berween opposing i them symbolise living in be held and tous “ mee thoughts that come up in ad ‘dead hand’ suggests the perpetus ‘+ Symbolism: houses and ghosts within from the past, which are not concrete enough are the uninvited guests, that is, the unconscious and consciously think of, and the allusion to the through influence Themes belief in the existence of spirits, the mysterious and extraordi bali oe oes cemory values of oder generations exerting 2 subtle, past on the present (the history, memory, present) 2. THE GLOVE AND THE LIONS King Francis was a hearty king, and loved a royal sport, ‘And one day as his lions fought, sat looking on the cours; “The nobles filled the benches, and the ladies in their pride, ‘And ‘mongst them sat the Count de Lorge, with one for whom he sighed: ‘And rruly ‘owas a gallant thing to see that crowning show, ) ‘Valour and love, and a king above, and the royal beasts below. ‘Ramped and roared the lions, with horrid laughing jaws; They bit, they glared, gave blows like beams, a wind went swith their paws; ‘Wich wallowing might and stifled roar they rolled on one another; Till all the pit with sand and mane was in 2 thunderous smother; The bloody foam above the bars came whisking through the airs Said Francis then, “Faith, gentlemen, we're better here than there.” De Lorge’s love o'erheard the King, a beautcous lively dame With smiling lips and sharp bright eyes, which always seemed the same; She thought, the Count my lover is brave as brave can be; He surely would do wondrous things to show his love af me King, ladies, lovers, all look on; the occasion is divine jing around without instincts; moon ing scen or heard, hence an image of ME Sslending with che mists and vapyay ight on the waves rey within them memories nd valu, “vhich are subtle and felt from within; ee Idition to what the living deliberately al hold of the dead on the living dividuals who ca cure of the spirit world, the influence of the ae known influence on the living —Leigh Hun She dropped her glove, to prove his love, chen looked at him and smiled; He bowed, and ina moment leaped among the lions wild: The leap was quick, return was quick, he has regained his place, “Then threw the glove, but not with love, right in the lady's face. “By God!” said Francis, “rightly done!” and he rose from where he sat: “No love,” quoth he, “but vanity, sets love a task like that” Paraphrase King Francis was robust and fond of royal sport, one of them being lions pitted against each other. One day, while lions fought, he looked around at his court. Noblemen and their ladies sat watching, The ladies were vain. One of the noblemen was Count de Lorge and his lady love. The scene was a grand one fit for the best aristocrats. It had counge and love, the king, and the royal animals in the arena. ‘The lions fought ferociously, their wide jaws terrifying. They bit, glared, and attacked fiercely, swiping so strongly with their paws that it scemed the swipe was a wind blowing ‘They rolled around, roaring, charging into one another uaol their manes and the sand in the pit blended into ene load dense cloud, They were bleeding and froth of blood few above the barriers around the pit, the sight and sound being so terrifying that the king pronounced it was forwaat people were ouside the pit, away from the dust and blood of the lions’ fighta beloved overheard the ki i | oveth ing. She was beautiful 5 thas with emiling lips and always a bright look in the 2 {xc beiewed her lover, the Count, was brave and would stable things to prove his love for her. She decided to ee er glove into the lions’ arena for him to fetch so that oy os brave lover would be hers. ‘A. Choose the most appropriate option for the given question or statement: QU. What word best describes King Francis’s nature? (a) Jovial (b) Bloody (©) Proud (d) Wondrous Ans. (a) Jovial Q2. What is the effect of the alliteration used to describe the movement of the lions’ paws? (a) The gigantic size of the lions is brought out. (b) The echo of their stifled roar is reinforced. (0) The force and speed of the movement comes through. (@ The froth and the smother are given a reason. ‘Ans. (¢) The force and speed of the movement comes through. Q3. Why did the lady drop her glove into the arena? (a) To challenge and incite the lions to further fury (6) To prove the valour of her lover for her own glory (©) To ateract the king's attention (@) To distract the lions so that the Count could escape ‘Ans, (b) To prove the valour of her lover for her own glory B. Read the extracts and answer the questions that follow: QU. What could King Francis see from 1» where he was So, she dropped her glove, looked at the Count and smiled. He bowed, quickly jumped among the wild lions, and nimbly rettieved the glove. He returned to his place and threw the glove towards her, not with love but at her face. “The king praised his action because such an action was demanded not by love but vanity. Vocabulary sendhes: ated aoe for spectators around an arena, gallant: brave and spirited, crowning: ultimate, valour: , ramped: advanced menacingly, wallowing: rolling on the ground or in the mud, smother: dense cloud (of Js) smoke that stiles, glory ras, honour and distinction, quot sid (chi), vanity inated pride in oneself "EXPECTED QUESTIONS WITH ANSWERS ‘Ans. The king sat looking down at the pit where the royal sport of lions ferociously and powerfully fighting one another was taking place. His courtiers accompanied him. He could see nobles ‘on the benches, accompanied by their proud ladies, One of the aristocrats was Count de Lorges swith his beautiful lady who had atcracted the king's attention too. ‘The scene was grand, comprising valour and love, with the king on the highest tier and the royal court below. Q2. How docs Leigh Hunt create an image of che ferocity of the lions? Why is this image important? ‘Ans. Hunt uses alliteration, simile, onomatopoeia, and antithesis to create an image of fierce power and savagery. Lions with their terrifying wide jaws walked menacingly, roaring, away. They attacked, bit, glared, and seruck with the sound and feel of the wind as their paws struck. ‘They rolled on one another tll the sand of the pi and the entangled manes blended inte one thick, noisy cloud. They spewed bloody froth chat Hew above the barriers through the ait, Francis said his people were better off in the benches rather than in the pit, oxymoron, ‘This image of teraifying power and threat is created to show the eaten of Count de Lorge’s chivalry and courage in dating jump inc retrieve the glove of his Lady and his agility in escaping che smother and attack. It also shows how little the lady loveal the Count and how much she indulged in vanity by asking the man she was said co love to tisk his life for her glove.(Opinion - yes/no) ~ the lady showed no 8. a i King Fran og ofa of the Count. She wanted ro fan with him? Give reasons for your opinion. his bravery, not for his repuration but for her om the teat co substantiate it isa Spe used the ocean to Boa of Ans Kins Francis ee a ie: wondrous things” he could do out Of love fot hey is courage and chival > ear yas ercumstances and then own “great glory”- under the most dangerous circu slapping the glove on is ladys face. ASSIGNMENT (o Tam a great believer in luck, and T find te hoose the appropriate ion for the given ' ‘eanieear amen a harder I work the more I have of it (Stephen QI. Which aspects of medieval court life does the Leacock) ' poen NOT talk about? (4) Tes berer to be lion for a day than sheep a your life. (Elizabeth Kenny) (a) Rivalry for the king’ favour (b) Cruelty in sport B. Read the extracts and answer the questions that follow, (©) Gallantry and grandeur QI. And ‘mongst them sat the Count de Lorge, with (d) Patronage for promotion cone for whom he sighed: Q2. Which line has the same literary device as ‘a wind (a) Amongst whom did the Count de Lorge sit went with their paws’? Describe the “one for whom he sighed”. (a) Hope is the thing with feathers. (b) The fair breeze blew, The white foam flew (6) Why do you think che event at which the Count and his companion were present was craly “gallanc thing” and the “crowning show’? (0) Iwandered lonely as cloud (@) «.- in the boom of tingling strings (c) What did the king say that was overheard by 3. Why did the lady wane the king, ladies and lovers the “one for whom he sighed”? Whar thought 10 look on? centered her mind just after the king said chat (a) To applaud the agility of Count de Lorge (@) Did the subsequent course of events go (b) To gasp at the ferocity of the animals in the pit according to the lady’s hopes? Why or why (©) To envy her ability to get her lover to do pe wondrous things (c) Whats your opinion of the Count’ lady love (4) To gape at her audacity in provoking the lions Support your opinion with evidence from the farther Q4. What poetic device conveys the nimble speed with which the Count retrieved the glove? (a) Refrain (b) Repetition (c) Irony (4) Ancithesis and roared the lions, with horrid laughing + were they thee (a) Where were the lions? ‘Whom were they being watched by? (b) Who succeeded in ougwivting the lions? How did he or she do so? (co) What qualities of this individual (in impress you and why do they do so? (a) How vicious was the fight among the lions? Use the description given abour them 1% Q5. Which option comes closest to the theme of the poem? (a) There is nothing which vanity docs not desecrate. (Henry Ward Beecher) (b) The greatness of a nation can be judged by the way its animals are treated, (Mahat Gandhi) poem for your response. (b)) auton sank nwa nenia a oie" sree place vould we thoughts prompted the lady to drop her She dropped her glove. to prove his love, then it think of King Francis, one of Tsien ead seeds . Ee oe Peatched the lady drop her glove? {) In what way docs “her glove” play a significant Refer to the poem to develop your assessment role in the pocm? of the king. (by) Narrate what happed after she “looked at him (c) Briefly comment on the title Leigh Hunt has and smiled”. chosen for this poem. | Literary Context, Form and Devices + Humorous narrative written in four sestets (six-line stanzas) with rhyme scheme AABBCC + Tone light, humorous, good-natured throughout ‘And (stanza 1) (addition of components of grand show) 1+ Antithesis: ‘Valour and love, and a king above, and the royal beasts below’; ‘We're better here than there’ ‘ith, gentlemen’ “quoth’ - sexting and context is medieval to show valour, gallantry, chivalry «Pun: play on the word ‘pride’ (the vanity of the ladies and the collective noun for lions); ‘beasts’ (the lions and the nobles who fight for the king’s favour) + Alliteration: ‘ramped and roared’, ‘wind wene with? + Oxymoron: ‘horrid laughing’ + Simile; ‘blows like beams’ + Onomatopoeia: ‘roar’ + Repetition Themes: courtly life and its underlying tensions, vanity as an undesirable quality, courage and chivalry “The leap was quick, return was quick? 3, WHEN GREAT TREES FALL When great res fall, When great souls die, rocks on distant hills shudder, the air around us becomes eta light, rare, sterile eel ps, We breathe, briely Our eyes, briefly, Lee see with ia a hurefal clarity ‘When grea res fall ‘Our memory, suddenly sharpened, inforess, examines, gnaws on kind words ‘all things recoil into silence, : thei senses ‘ed beyond fear unsaid, promised walks never taken. SSE CE —_ |(Greet souls die and reality. bound to them, takes leave of us. ‘Our souls, dependent upon their nurture, now shrink, wizened. Our minds, formed and informed by their radiance, fall away, We are not so much maddened as reduced to the unutterable ignorance of dark, cold caves. ‘And when great souls die, after a period peace blooms, slowly and always irregularly. Spaces fill with a kind of soothing electric vibration. Our senses, restored, never to be the same, whisper to us. “They existed. They existed. ‘We can be. Be and be better. For they existed. fares se ] ‘The poct describes what happens when mighty tees Rocks on distant hills tremble, lions crouch in tall gras, and elephancs move heavily away 0 safety and shee, Rocks, lions, elephants are strong, steady, powerful creat, and the fill affects even them though some are distant, “When great trees fallin forests, the smaller things withdsy quietly, too shocked and despairing to feel scared, 'A similar effect is felt on the passing of great people. The air becomes insubstantial, thin, barren. We quickly, briefy | take in our breaths and our eyes fleecingly see with painfy lucidity. The moment makes our memories sharper, troubled at lost opportunities caused by not saying nice words too, rot going on promised walks with those now gone. “The death of great people blurs out reality because our lives were intertwined with theirs. Our souls once relied on ther care, and now they shrivel and dry up. Our minds, shaped and moulded by their existence now wear away. Though ve do not turn insane, our minds regress to the unspeakable roughness of the stone ages, stuck in utter dark despair After a period, peace returns, slowly and in parts. The void left by the people gone fills up with a calming humming. The numb feeling passes and our senses return for us to perceive the world though not in the same way as they did before the passing, Our senses tell us the great people lived and so can we, our lives better because they lived. Vocabulary | hunker: crouch, cower, lumber: move slowly, heavily and awkwardly, recoil: withdraw, shrink, sterile: barren and emp __gnawst bites or chews, (metaphorically) troubles, wizened: wrinkled and dried up, radiance: sparkle, glow, unutterable: indescribable, restored: reinstated, returned | EXPECTED QUESTIONS WITH ANSWERS ‘A. Choose the most appropriate option for the given question or statement: QL. Where do the great tres fall? (2) Among the all grasses (b) In the forest (6) In the distant hill (a) In the walkways Ans. (b) In the forest Q2. Why do small things recoil into sile (a) Because they are scared (b) Because they are in the path of lumbering clephants (0) Because their senses are too shaken to feel feat (a) Because the air has turned tlimsy and stele Ans. (6) Because theit senses are too shaken to feel feathappens to our eouis on the death of great | They recoil into silence. They fall away. (6) They shrink and wrinkle. Ans. (d) They shrink and wrinkle. Q4. Which option says the same thing as the poem? (2) There's a bit of magic in everything, and some Joss to even things out. (Lou Reed) sadness flic i cir (b) Se “a oe on the wings of time. (Jean (0) A forest of these trees is a spectacle too much for one man to see. (David Douglas) (4) ‘The soul has been given its own ears to hear things the mind does not understand. (Rumi) Ans (8) Sadness es avay ‘on the wings of time. (Jean B, Read the extracts and answer the questions that follow: QI. What happens when great trees fall in the forest? ‘Ans, Rocks on faraway hills shudder, ions crouch in tall grasses, elephants lumber to shelter themselves, and small things withdraw into themselves and silence, too shocked to feel fear. Q2. How does the poet use anaphora to emphasise the effect of the death of grear souls on us? ‘Ans. The anaphora uses the word “Our” to lista series of things deeply affected by the loss of great souls. Ie seems as if every part of us is devastated. Our ‘eyes briefly get clarity, enough to realise whar has been lost. The memory suddenly becomes acute and remembers troubling thoughts of words left unsaid and promised walks never taken. Our souls, which relied on the nurturing of the now- dead people, shrink and wrinkle while our minds, shaped and given knowledge by the brightness of the great souls, just wear away. Without actually runing mad, the minds return to the crudeness of the primitive stone ages. Q3. What happens after a period of mourning? ‘Ans. Peace slowly and irregularly blooms, emptiness fills up with a kind of a soothing humming, our senses get restored. Although senses can never regain their former equilibrium, they cell us thac the great people once existed and so can those left behind. Using the departed souls as inspiration, we can live more meaningful and accomplished lives. Q4. Why do you think there is such a sense of loss when some souls die? ‘Ans. The loss may be personal. Maya Angelou read this poem out at the funeral of her friend and fellow activist, James Baldwin. The loss can also be for larger groups of people and society, near and far away. This is because the great souls, compared to great trees falling in forests, were a part of the reality for many people. They nurtured others, shaped minds, and imparted knowledge; without them, the minds’ sharpness is gone and the mind regresses to the crudeness of primitive eras of evolution. ‘The radiance of these great souls was inspirational and nourishing. ASSIGNMENT ‘A. Choose the most appropriate option for the given question or statement: Q1. How can you tell che impact of the fall of trees is felt far and wide? (2) Mighty elephants lumber to safety. (b) Small things recoil, too despairing to feel fear. (©) Rocks on distant hills shudder. (d) Minds regress co the dark, cold caves. [Posty “When Great Trees Fall : Q.2. What does the poem NOT talk about? (2) Loss (©) Grief Q3. What word best des affected by the « (b) Acceptance (d) Obligation bes the state of those at people? (a) Devastated, (b) Insane (a) EtodedQ4, Which literary device is evident in the poem? (b) Irony (a) Simile 2) Onomatopocia (c) Symbol B. Read the extracts and answer the questions that follow: QI. When great trees fall in forests, sinall things recoil into silence, (a) Why do “small things recoil into silence”? How would you describe the state of these “small things” at this point? (b) How do larger things react “When great trees fall in forests”? (c) How does the situation described in the first two stanzas apply to human society? What figure of speech has been used to bring out Qa. (a) Why do we breathe only “brief (») Why do you think the “clarity” of the both brief and “hurtful”? (c) What does the memory do, immeding, following the eyes? | (4) Why does the poet allude t0 the datknesg primitive ages in this context? (c) “Grief changes shape, bur it never ends (Keanu Reeves) To what extent do you fel he poem ralks aboue such grief? ey And when great souls die, after a period peace blooms, In what way does peace bloom? What do this mean when applied to life after loss? (b) To what has the death of great people bee a) this parallel co human society? (d) Whiat happens to the air around us when great souls die? (c) With three clear references to the text of the poem, show how loss can be considered a theme of the poem. Q2. We breathe, briefly. Our eyes, briefly, see with a hureful clarity. compared? Briefly explain this comparison, (©) Before the “peace blooms’, what is the condition of our memory and our soul? (a) Explain the following with reference to this poem: hunker, sterile, examines and gnaws (c) Maya Angelou also brings out healing and acceptance. Do you agree with this? Suppor your opinion with clear reference to the tex. Literary Context, Form and Devices + Free verse: five stanzas of varying lengths, no rhyme scheme + Tone: conversational, flowing + Voice: unknown speaker, who could be anyone speaking for a collective ‘we’ or Maya Angelou herself ralking about the impact of loss on the world around + Context: poem written after the death of Maya Angelou’ friend and fellow writer and activist, James Baldwin, aad read out at his funeral + Metaphor: che forest that is affected by the fall of great trees is society that is affected by the death of great people “The metaphor extends to compare the terrifying effect of great tees falling on all lie in the forest ro the soxtow devastation experienced by society when great people dic. ‘peace blooms’ is also a metaphor. + Symbols: che great trees are the great people who have nurtured and affected lives of those around; the rocks, ions. clephants represent steady, strong, mighty individuals who, despite being powerful, are deeply affected «Anaphora: When ... (the first three stanzas); Our eyes ., Our memory ... Our souls... Our atinds « «Refrain / Repetition: "When great trees fall’, ‘briefly’ ~ for emphasis ¢Enjambment: sentences move down without pausing at the end of the printed line (og, lians hunker down in ell gas) «Allusion: ‘dark, cold caves’ regression to the crude, primitive stone age (or dark slespais) ‘Themes: death and loss, grief; gradual acceptance; and exemplars ndividual greatness and the impact of great souls on lives as aureus? a4. 4 CONSIDERABLE SPECK speck Oe ony bet 2 paper sheet s0 white se A across what I had written there, And I had idly poised my pen in air To cop it with a period of ink rr been beneath my sight When something strange abou it made me think, This was no dust speck by my breathing blown, Bot unmistakably 2 living mite With inclinations it could call its own. Ik paused as with suspicion of my pen, And then came racing wildly on again To where my manuscript was not yet dry; ‘Then paused again and either drank or smele-- With loathing, for again ic turned to fly Plainly with an intelligence I dealt. Ieseemed too tiny to have room for fect, Yer must have had a set of them complete To express how much it didn't want to dic. Iran with terrorand with cunning crept Iefaltered: I could sce i hesitate; ‘Then in the middle of the open sheet Cower down in desperation to accept Whatever I accorded it of fate, Ihave none of the tenderer-than-thou Collectivistic regimenting love With which the modern world is being swept. But this poor microscopic item now! Since it was nothing I knew evil of etic lie there ell [ hope it slep. Eee —Robert Frost Thavea mind myself and recognize Mind when I meet with it in any guise ‘No one can know how glad Iam to find (On any sheet the least display of mind. Paraphrase ‘The writer notices a small spot on the sheet of paper. It ‘would not have been so clear had the paper not been stark white. The spot moves across what he has written there. He had stopped writing, casually holding his pen up, just about to end a sentence with a full stop. He notices the tiny spot moving and wonders at it, knowing it is no speck of dust blown by his own breath. It is tiny creature with a definite Purpose in its movement. The mite pauses, miscrustful of the pen, and then scurries wildly across the page again, reaching the point where the ink is not yet fully dry. At the moist ink, the mite seems to drink or smell the ink and hate it, for it turns again to whirl away from the hateful substance. The writer acknowledges it is a creature of intelligence. ‘The mite seems too diminutive to have any feet, yet the ‘writer is sure ic must have them to use to communicate so strongly that it does not want to die. It will to survive makes ie run with fear and crawl with shrewdness. It slows down, and pauses, seeming to stop to accept out of desperation whatever fate the writer wants to mete out to it. ‘The writer confesses he does not subscribe to the belief prevailing in the contemporary world of togetherness that organises according to regulation in order to control. He does not have the tenderness for every living ereacure this belief professes. However, he feels pity for the wee creature who shows no sign of wickedness. So, he lets it ie on the sheet, hoping it will sleep. “The writer has a mind and astuteness of his own and can recognise them in any form and appearance. He feels happy to find a show of intelligence, imagination, and sensiciviey in any form, no matter how small in sie, on a written page, Vocabulary | specks a very small mark, piece, or amount, idly: without any particular purpose, polsed: helt completely still bus seady “to move at any moment, period: full stop, miter a very small animal like a spider, loathings a song feeling of hace, faltered: lose strength or purpose, almost stopped, cowess move backwant ot pull bach in fea, calleediistig related co | the theory that believes in joint ownership of assets by the people fo | BOups, guises external appearance, likeness he people, regimenting: forming into organisedQ2. What did he writer chink the speck was a fig What made him change ‘Ans. At first, the writer mistook it fora dust specy blown by his own breath. However, something strange about it made him think again. A. Choose the most appropriate option for the given question or statement: QI. What enabled the writer to sce the speck? (a) “The size of the speck (b) The focus of the writer (©) The whiteness of the paper (d) The idle poising of the pen Ans. (¢) The whiteness of the paper mind? Q3. What did the writer observe about the behavioy, of the mite? ‘Ans. The mite first hesitated, suspicious of the pen, and then raced wildly again co where the ink was sil Q2. What was the first quality the mite showed? damp. There, it paused again, either drinking op (a) Suspicion (b) Terror smelling the ink, and seemed to loathe it. It turned (6) Acceptance (A) Fakering again to fy. It was determined t0 preserve itself and ran with terror and crept with cunning, |p Ans. (a) Suspicion faltered, hesitated, and in the middle of the sheet A ee Oitk orete cowered down in utter desperation. It seemed 9 (@) The pen (b) Fate have accepted whatever the writer dispensed as is (0) The ink (@) The manuscript aS ee ae Q4, What does the writer claim he does not possess? Q4. Whats the tone of "Ihave none of the tenderer A. rhe writer claims he does not poses the extremely than-thou ...” has ; _ soft and tender feelings those who suppor: the (@) Ironic (©) Reconetliory ideology of rogetherness have. He does not have (© Baffled (A) Admizing the “love” such collectivistic controlling and regimenting kinds profess as part of the belief that Ans. (@) Ironic (QS. What is he wider glad shou? was then prevailing in the modern world, (2) The mite without evil QS. What does the writer appreciate? (6) The show of intelligence and sensitivity ‘Ans. The writer, considering himself intelligent and imaginative, appreciates another mind in whichever form he sees it, He admires the smallest “display of mind”. This is a reference not (©) The collecrvistic regimentation (4) The poor microscopic item Ans. (b) The show of intelligence and sensitivity only to the mite who showed thought, cunning, B. Read the extracts and answer the questions that and self-preservation but also to those who do oe not permit themselves to get regimented and QI. What was che writer doing when the mite began controlled through ideology: that actually destroys traversing the sheet of paper? individualism, ‘The poem is Frost's satire against ‘Ans. The writer had paused with his pen poised in the such stifling beliefs; he admites the human ability air to put a full stop on the sheet of paper. to imagine, create, and be sensitive, Question Bank Literature infthe most appropriate option ; ‘ acolo option for the given Qh Teste makes we of (a) a thetorical question (b) a superlative (c) an oxymoron (4) analliteration 2. Whar does the mite have that proves i i ving cxeature? (a) Something strange (b) Inclination (0) Suspicions (d) Wildness Q3. Why did the writer think the mite was without feet? (a) Ie was too tiny to accommodate feet. (b) Iewas racing too smoothly to be running. (0) Iewas merely creeping. (4) Tewas cowering, unable to escape, Q4. What kind of language is the poem written in? (@) Conversational (6) Ornamented (9) Archaic (d) Complex Q5. What does the writer disapprove and approve of respectively? (@) Mind and collectivistic regimentation (b) Regimentation and being tenderer-than-thou (© Collectivistic organisation and mind (@) Evil and inclinations 3. Read the extracts and answer the questions that follow: QI. And then came racing wildly on again To where my manuscript was not yer dry: (@) Why was the manuscript “not yet dry”? What did the creature do at that point? Whar was its reaction? Q2 Q3. (b) What made the writer think the tiny creature had feet? (©) State any three things the writer observed about the ereature. (d) What did the writer eventually do to the creature? Why? (©) Briefly discuss why the mite was both a “speck” and “considerable”. Thave none of the tenderer-than-thou Collectivistic regimenting love With which the modern world is being swept. (a) Explain in your own words what the poet means by these lines. (b) What does the writer believe he has? What docs that help him to recognise? (©) Why do you think the writer repeats the word “mind” thrice in the concluding lines of the poem? (a) Cite any three points of evidence from the poem that prove that the mite running across the sheet was diminutive. (©) Using three clear references from the poem, show how the poem shows ‘a reverence for life’. No one can know how glad I am to find ‘On any sheet the least display of mind. (2) In what form did the writer find this “display of mind” on that day? Give any two reasons he mig consider what he found a “display of (b) At what point in his writing did the writer notice the speck? What made him notice it? (©) What did the mite do in the middle of the ‘open sheet? What fate did the writer decide for iv (d) How ean the writer make out the mite has the instinct foe survival? (6) Desetibe what the weiter observed abour the mite setting off across the sheet of paper.Literary Context, Form and Devices Iromy: sarcastic criticiem of prevailing political belief in collectivism that controls, regiments, and destroys whi. appearing to be tender and caring + Satire: ridiculing modern society that does not possess i love ‘+ Oxymoron: ‘considerable speck’ + Alliteration: ‘poised my per’. ‘breathing blown, something strange’, ‘cunning crept .. open sheet Cower down .. fvidual thought and creativigy and destroys in the name of + Enjambment: eg. ... my sight On any burt... + Anaphora: I et itlie there .... ,Thave a mind ... * Wit and word play: ‘tenderer-than-thou' (holier-than-thou) Themes: the importance of the human ability of imagination and thought, individual merit and intelligence; there is a subtle criticism of collectivistic thought that accepts everyone as equal without thought to particular ability and mind, “The poem is an appreciation of creative thought and individuality, wherever it is seen, and advice on what true writing should therefore be. 5. THE POWER OF MUSIC When summer comes, we hear the hums ) Bhisma Lochan Sharma, You catch his strain on hill and plain from Delhi down to Burma He sings as though he’s staked his life, he sings as though he’s hell-bent; ‘The people, dazed, retire amazed although they know it’s well-meant. ‘They're trampled in the panic rout or languish pale and sickly, And plead, ‘My friend, we're near our end, oh stop your singing quickly! * The bullock-carts are overturned, and horses line the roadside; Bur Bhisma Lochan, unconcerned, goes booming out his broadside. ‘The wretched brutes resent the blare the hour they hear it sounded, ‘They whine and stare with feet in air or wonder quite confounded. ‘The fishes dived below the lake in frantic search for silence, The very trees collapse and shake - you hear the crash a mile hence - —Sukumar Ray And in the sky the feathered fly turn turtle while they're winging, Again we cry going to dic, oh won't you stop your singing?” Bur Bhisma soared beyond our reach, howe'er * we plead and grumble; ‘The welkin weeps to hear his screech, and mighty mansions tumble. Buc now there comes a billy goat, a most sagacious fellow, He downs his horns and charges straight, with bellow answting bellow, ‘The strains of song are tossed and whirled by blas¢ of brutal violence, And Bhisma Lochan grants the world the golden gilt of silence. Paraphrase ‘of Bhisma Lochan Sharma cat be heard on hills and plains from Dethi to Burma, He sings as iC is life depends on icand with comaplere determination. His singing baflles people although they know he meats well; however, there is a stampede in the panic of the sound of his song or lethargy as people lose colour an feel ill. They centteat Bhisma to stop singing, During summer, the sony Question Bank Literature in English-X g earierals a affecred. Bullock carts overrun and horses halt {rt med though none ofthis can sop the fervent sinner ‘he miserable animals hate the sound the moment they tat &. They whine, gare, even life ther feet to protest ig fasion. Fishes dive deeper to seck silence, rece trenible and fall with a loud enough noise to be heard Birds overhead turn on their backs while Ayin cut they will dic and beg Bhisma stop singing. a mile away. 1g People ery sarain: the sound of music Bhismas voice rises beyond anyone’ call, however much people complain and plead. ‘The sky sheds tears at his igh-pitched call and «all, imposing houses collapse. Then emerges a goat, a wise creature, that lowers its heads and charges, bellowing a response to Bhismas loud notes. He butts the singer and the singer and his notes ae tossed about until che singing stops and Bhisma Lochan is silenced, a gift to the world around. Vocabulary Played or performed or a song being sung, staked his life: taken the risk of losing bis life (f something does not happen), hell-bent: extremely determined, trampled: stepped heavily or causing injury cor damage, rout: wild state of confusion, languish: become weak, broadside: strong attack, wretched: unhappy and miserable, resent: feel bitter about, blare: unpleasant loud noise, whine: make a long, high, sad sound, confounded: astonished, dumbfounded, turn turtle: capsize, curn upside down, welkin: sky, screech: unpleasant, loud, high noise, |sagicious wise, bellows a shout ora deep sound, whites ued around in circles EXPECTED QUESTIONS WITH ANSWERS A, Choose the most appropriate option for the given question or statement: QU. When does Bhisma stare singing? (a) When summer arrives (b) When people travel from Delhi to Burma (©) When horses line the roadside (€) When trees shed leaves Ans. (a) When summer arrives Q2. Which line shows Bhisma’s determination co sing? (a)... they know it is well-meant (b) He sings as though he has staked his life (©) she sings as though he's hell-bent (2) ... goes booming out his broadside ‘Ans. (6) ...he sings as though he’s hell-bent Q3. Why are the “brutes” referred to as “wretched”? (2) Because Bhisma attacks them with a br (b) Because the trees collapse on them (0) Because they are almost trampled in the rout (d) Because they are disturbed by the loud sound Ans, (d) Because they are disturbed by the lo sound try ~The Power of Music Q4. Why is the billy goat “sagacious"? (a) He knows how to end the bellow. (b) He bellows more tunefully. (c) He bellows brutal violence. (d) He bellows louder to ensure silence. Ans. (a) He knows how to end the bellow. B. Read the extracts and answer the questions that follow: Q1.How is Bhisma Lochan Sharma's fervour communicated in the poem? Ans. Bhisma sings as though he has staked his life on the song, thae is, as if he stands to lose his life if he does not sing. He is “hell-bent” or absolutely resolved to sing, Despite being appealed to and causing great misery all around, his voice soars beyond reach and he continues. Q2. What is the effect on people around when Bhisma sings? ‘Ans. People are stunned. ‘They withdraw in amazement although they know the singe means wel Sometimes there is a stampede to gee aveay in which people are trampled, and at other times they turn weak and lethargic, pale and sickly. They plead with Bhisma to stop singing as his singing will cause theiQ5. What causes the “golden gift of silence”? Ans. Bhisma sings unconcerned at the devastation ji, lack of melody is causing among people, animal houses, and the skies. Ie isa billy goat, wise anj strong, who is provoked by such discordant not, to lower his horns and charge, bellowing back fg, Q 5. Who are che “wretched brutes"? Whar do they reese? Ans The “ererched brutes” are the animals ~ horses and bullocks ~ around. They resent the “blare” or the loud cacophony of Bhisma’s singing from the moment it starts. every bellow of the singer. The goat butts Bhising Q4. Whar happens to trees and mansions? teses and whidls him around with great suenp ‘Ans. Trees tremble and collapse with such a noise purting an end to his singing. Thus, the worl that the sound can be heard a mile away. Mighty is given the “golden gift” or the precious gift of mansions fall quickly, wichout control. silence, which everyone has been yearning for, ASSIGNMENT — | (@ The goatherd carefully counted how many A. Choose the most appropriate option for the given ‘goats had returned from grazing. | question or statement: QL. Which is NOT true of Bhisma’s singing? B. Read the extracts and answer the questions that follow: (@) Dissonance (b) Jai QL. When summer comes, we hear the hums ... (©) Racket (d) Melodious (a) Whose “hums” can be heard? Where can this Q2. How can we tell the songs of Bhisma are harsh person’ song be heard? and painful? (b) What is the effect of these “hums” on people (@) They are well-meant but hell-bent. around? (b) They are like a broadside. (0) What do these people entreat? (©) They are trampled and routed. (€) Where does the singing soar to? What does that make the sky do? (4) They weep and tumble. Q3. Why do fishes dive deeper? (2) They are escaping larger predatory animals. (b) They are frightened by the whining. (©) Who succeeds in putting an end to this singing? How? Q2. Bur Bhisma Lochan, unconcerned, goes booming out his broadside. (©) They are seeking silence. fa) W i a red” (d) They have heard the crash of trees. @ — is Bhisma Lochan “unconcern Q4. How many times are the pleas of people written in Se the poem? extract? Explain them with reference to their (@) Once (b) Twice contribution to the poem. (©) Thrice (d) No specific mention () How are birds and animals affected by the “broadside”? (dl) With reference to trees, the sky, and mansions, show how the poet exaggerates for a humerous Q5. Which option uses the meaning of the word “sagacious” as used in the poem? (a) The wise village elder gave sound advice to villagers. (b) The tablecloth was a calming sage green that went well with the décor. (c) The Aeeing criminal ruthlessly shoved the elderly man out of his way. elect, Do you think the billy goars attack woul have provided elie Support your opinio® with at least pvo examples from the text. WhY ( issilenve “the golden gilt"?Themes: : While music is rejuven: Literary Context, Form and Devices + Hmorous account written in shyming couplets (eabb...) Hyperbole: exaggeration (the account of what happens to people, animals, sky, ‘Onomatopocia: ‘booming’ trees, and mansions) Mezaphor: broadside (the song as an attack on senses), gift of silence (silence 28a gift to everyone) Personification: sky as weeping, goat as wise Alteration: he’s hell-bent, booming out his broadside, might mansions, bellow answering bellow, blast of brutal feathered fly, curn turtle, stop your singing, welkin weeps, I violence, golden gift Metonymy: ‘strains of song’ being tossed (Bhisma Lochan being tossed by the goat's horns) ineless song on people. 'g and soul-stirring, cacophony is not. The poem is a humorous account of the effect Sree cece eee e cence eee n erent enc cee De ASSESS YOURSELF Practice Questions Read the extracts and answer the questions that follow: q. @ All houses wherein men have lived and died Are haunted houses. Through the open doors “The harmless phantoms ... (@) What do the “harmless phantoms” do through the open doors? 8) (b) What other word does the poet use later in the poem that says the same thing as “harmless’? ‘Where in the houses do we “meet” these “phantoms”? 8) (© Why are there more guests at the meal tables than the hosts invite? Comment on why the poet says these guests ‘throng’ the hall. [3] (@) How can we tell from the poem that these phantoms make no sound? BI (©) Explain how human lives are kept i “equipoise” by the presence of unseen and undiscovered beings. 4) The spiri-world around this world of sense Floats like an atmosphere, and everywhere ‘Wafts through the earthly mists and vapours dense A vital breath of more ethereal air. (@) Give any three illustrations from the poem substantiate thar this “spirit-world” is a Qs. (b) Who owns the “old estates"? In what way do they claim ownership? GI (© What is the difference berween the speaker in the poem and the “stranger at my fireside”? Whar does this tell you about the speaker? [3] (@) With whar image does the poet bring out the connection that descends from the world of spirits to the world of mortals? 3] (©) Analyse how the spirits play a “vital” role in the lives of living humans. Keeping this in mind, what isthe tone of the poem? 4] King Francis was a hearty king, and loved a royal sport, And one day as his lions fought, sat looking on the court, (a) Why do you think the poet describes what King Francis sat looking a as a truly “gallant thing”? BI (b) What made King Francis announce that they were better off “here” than “there”? fe} (6) Who was the "beautcous lively dame" who heard comment? What did she do and (a) (a) Whar was Count de Large’ response co what that Lady dil? What does this tell you about the Count 31King Francis said, “Rightly done!” to the Count’s sczion. Do you agree with the king’ words? Why ot why not? 14] Q4. When great trees fall in Forests, small things recoil into silence, their censes eroded beyond fear. (a) Explain what the poet means by her description of the “small things” above. (3) (b) What is the effect of the fall of “great trees” on other things and creatures in the forest? (3) (©) What happens to our memory when “great trees fall”? (3) (4) What is the impact on our souls and our minds of this fall of trees that proves that such “great souls” played a significant role in our lives? (8) (c) How does the poet use the trees and the forest as metaphors in the poem? What is the effect of the anaphora in the pocm? 4) Q5. And when great souls die, afier a period peace blooms, slowly and always irregularly. (a) What happens in the period before “peace blooms” to the ait, our eyes, and our minds? [3] (b) In what way does the poem refer to rocks, lions, and elephants? Comment on the choice of these things and animals in that context. (3) (©) How does the poem, in the lines that follow the above extract, convey acceptance after loss? (3) (d) With suitable reference to the poem, show how the poet brings out the following: regret for ‘opportunities missed, and a void from where knowledge and wisdom once came. (3) (©) Based on your reading of the poem, why do you think the “great souls” who die are greatly missed? (4) Q6. And I had idly poised my pen in air To stop it with a period of ink When... (a) What happened as the poet “idly poised” his pen in air? What made him notice what he would have otherwise missed? 13) QB. Whar did the poet conclude what he ee What quality did he credit it with nd (6) Who, in the poem. became ins icon and what? Ac what point docs “loathing” come inp 3) (a) How does the poet conclude that there exist the will ro survive? 13) (o) Eventually, why did whar the poct obserey cower"? What does “cower” mean? Whar dig the poet do and why? a) No one can know how glad [ am to find On any sheet the least display of mind, (a) Identify any ehree qualities of the “speck” tha displayed “mind” that emerge in the poem, Substantiate each quality with reference to the text. 63 (b) To what does the poet refer when he says “mind”? What helps him recognise “mind” when he secs it? 6) () To which point did this speck come racing wildly? When did it falter and hesitate? [3] (d) Explain the following in context of the poem: inclinations, microscopic, guise 8) (c) ‘The tone of the poem is witty and ironic. Comment. 4 ‘When summer comes, we hear the hums Bhisma Lochan Sharma. (a) How has Bhisma Lochan Sharma's fervour in singing been described? Does he intend to hurt his listeners? 8) (b)_ Explain the hyperbole used ro describe the effect of the singing on people that makes them plead for Bhisma to stop his singing quickly because they are near their end, 61 (6) What is the response of animals to Bhisms “broadside”? GB (d) What eventually leads to the “golden gift of silence"? Bl (c) The poem is a humorous account of the pai of bad music, Give any four examples fiom the poem that proves the truth of this statemeat AL least one of the examples you choose should incorporate a literary device, whose significance Oh} must be made clear, Question Bank Literature in English sg