ETS Official

11
CBSE
English
CORE
(Supplementary Material)
(As per the CBSE Syllabus 2018-19)
(Progressive Educational Publishers)
Full Marks Pvt Ltd

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SYLLABUS
SECTION-A
READING COMPREHENSION 20 Marks45 Periods
There shall be two unseen passages (including poems) with a variety
of questions like Very Short Answer Questions, Short Answer Questions
and Multiple Choice Questions, including 04 marks for vocabulary such
as word formation and inferring meaning.
• Multiple Choice Questions (1 × 6 = 6 marks)
• Very Short Answer Questions (1 × 6 = 6 marks)
• 01 Short Answer Questions (1 × 3 = 3 marks)
• 01 Long Answer Question (1 × 5 = 5 marks)
The total range of the 2 passages including a poem or a stanza, should
be around 900-1000 words.
1. The passage of 550-600 words in length will be used for note-making
and summarising.
2. The passage of 350-400 words in length will be used to test
comprehension, interpretation and inference.
3. An unseen poem of about 28-35 lines.
The passages as given above could be of any one of the following types:
• Factual passages, e.g., illustrations, description, reports.
• Discursive passages involving opinion, e.g., argumentative, persuasive.
• Literary passages e.g., extracts from fiction, biography, autobiography,
travelogue, etc. In the case of a poem, the text may be shorter than the
prescribed word limit.
SECTION-B
WRITING SKILLS AND GRAMMAR 30 Marks 60 Periods
Writing
• Short Answer Questions: Based on notice/poster/advertisement.
(04 marks)
• Long Answer Questions: Letters based on verbal/visual input.
(06 marks)
It would cover all types of letters. Letter types may include:
(a) business or official letters (for making enquiries, registering complaints,
asking for and giving information, placing orders and sending replies).
(ii)
(b) letters to the editor (giving suggestions/opinions on an issue).
(c) application for a job with a bio-data or resumé.
(d) letter to the school or college authorities, regarding admissions, school
issues, requirements / suitability of courses, etc.
• Very Long Answer Question: Composition in the form of article,
speech, report writing or a narrative. (10 marks)
Grammar
Different grammatical structures in meaningful contexts will be tested.
Item types will include gap filling, sentence re-ordering, dialogue
completion and sentence transformation. The grammar syllabus will
include determiners, tenses, clauses, modals and Change of Voice.
These grammar areas will be tested through 10 Very short answer type
questions on the following:
A. Error Correction, editing tasks
B. Re-ordering of Sentences
C. Transformation of sentences
SECTION-C
LITERATURE 30 Marks 70 Periods
Questions from the following texts to test comprehension at different
levels, like literal, inferential and evaluative:
1. Hornbill: Textbook published by NCERT, New Delhi.
2. Snapshots: Supplementary Reader published by NCERT, New Delhi.
The following have been re-included:
Textbooks Name of the lessons
Hornbill 1. Landscape of the Soul
2. The Adventure
3. Silk Road
4. The Laburnum Top (Poetry)
Snapshots 5. The Ghat of the only World
• 3 Very Short Answer Questions out of four (2 questions should be
from Hornbill) - Based on an extract from poetry to test reference to
context comprehension and appreciation. (1 × 3 = 3 marks)
• 3 Short Answer Questions out of four (2 questions should be from
Hornbill ) - Based on prose, poetry and plays from both the texts. (3
× 3 = 9 marks)
(iii)
• One Long Answer Question out of two from Hornbill (to be
answered in120-150 words) Based on prescribed texts to test global
comprehension and extrapolation beyond the texts. (6 marks)
• One Long Answer Questions out of two from Snapshots (to be
answered in120-150 words) -Based on theme, plot, incidents or events
to test global comprehension and extrapolation beyond the texts.
(6 marks)
• One Long Answer Question out of two from Hornbill (to be answered
in120-150 words) - Based on understanding appreciation, analysis
and interpretation of the characters/events/episodes/incidents.
(6 marks)
Assessment of Listening and Speaking Skills 45 Periods
Assessment of Listening and Speaking Skills will be for 20 marks. It
is recommended that listening and speaking skills should be regularly
practiced in the class.
(iv)
QUESTION PAPER DESIGN
(Code No. – 301) Time: 3 Hours
Marks: 80+20=100
Typology Typology of questions/ MCQ Very Short Short Long Long Very Total Over
Learning Outcomes 1 Mark Short Answer Answer Answer-1 Answer-2 Long Marks all %
Answer Question Question 80-100 120-150 Answer
Question 3 Marks 4 Marks Words Words 150-200
1 Mark 5 Marks 6 Marks Words
(HOTS)
10 Marks
Reading Conceptual understanding,
Skills decoding, analysing,
inferring, interpreting,
appreciating, literary 6 6 1 — 1 — — 20 20
conventions and vocabulary,
summarising and using
appropriate format/s.
Writing Reasoning, appropriacy
(v)
Skills and of style and tone, using
Grammar appropriate format and
fluency inference, analysis,
evaluation and creativity,
— 10 — 1 — 1 1 30 30
appreciation, applying of
languages conventions,
comprehension using
structures integratively,
accuracy and fluency
Literary Recalling, reasoning,
Textbooks appreciating a literary
& Supple- conventions, inference — 3 3 — — 3 — 30 30
mentary analysis’ evaluation,
Reader creativity with fluency.
Assessment Interaction, reasoning,
of Speaking diction, articulation, clarity,
& Listening pronunciation and overall
— — — — 4 — — 20 20
and fluency.
Speaking
Skills
TOTAL 6×1=6 19×1=19 4×3=12 1×4=4 5×5=25 4×6=24 1×10=10 100 100
Contents
(As Per the CBSE Syllabus 2018-19 the following chapters
have been newly Included)
LITERATURE READER
Prose
1. Landscape of the Soul.............................................................................. 7
2. The Adventure........................................................................................ 18
3. Silk Road................................................................................................. 35
Poetry
4. The Laburnum Top................................................................................ 51
SUPPLEMENTARY READER
5. The Ghat Of The Only World................................................................ 57
(vi)
LITERATURE TEXTBOOK: HORNBILL (PROSE)
1 Landscape of the Soul

Nathalie Trouveroy
SUMMARY IN ENGLISH
Eighth century painter Wu Daozi was asked by the Tang Emperor Xuanzong to paint a landscape
to decorate a palace wall. The master hid his work behind a screen. Only the Emperor could see
it. The Emperor admired the wonderful scene. He discovered forests, high mountains, waterfalls,
clouds floating in the enormous sky, men on hilly paths and birds in flight. Then the painter
asked the king respectfully to look in a cave at the foot of the mountain. He said a spirit lived
there. The painter clapped his hands. The entrance to the cave opened. The painter remarked
that the cave was very splendid from inside. He offered to show the way to His Majesty. The
painter entered the cave, but the entrance closed behind him. The Emperor was astonished.
Before he could move or speak a word, the painting had vanished from the wall. Not a sign of
Wu Daozi’s brush was left. The artist was never seen again. This was his last painting.
Take another famous Chinese story about a painter. He would not draw the eye of a dragon
he had painted. He feared that it would fly out of the painting. Such stories played an important
part in China’s traditional education. The books of Confucius and Zhuangzi are full of them. They
helped the master to guide his disciple in the right direction. These stories reveal the spirit in
which art was considered. The writer then compares these stories to an old story from his own
country Flanders. He finds this story most representative of Western painting.
In 15th century Antwerp, a skilled blacksmith named Quinten Metsys fell in love with a
painter’s daughter. The father of the girl would not accept a son-in-law in such a profession.
One day Quinten went into the painter’s studio secretly. He painted a fly on the master’s latest
painting. It was painted with delicate realism. The painter took it for a real one. He tried to hit
it away. Then he realised the matter. He took Quinten as an apprentice. Then Quinten married
his beloved. He went on to become one of the most famous painters of his age.
The above stories from China and Flanders illustrate what each form of art is trying to
achieve. In Europe the aim is a perfect illusionistic likeness. In Asia the stress is on the essence
of inner life and spirit.
The Chinese Emperor gets a painting painted. He appreciates its outer appearance. The
artist reveals to him the true meaning of his work. The emperor may rule over the region he has
conquered but only the artist knows the way. The painting is gone but the artist has reached
his goal. He is now beyond any material appearance.
A western painting reproduces an actual view. The European painter wants the beholders
to look at a particular landscape from a specific angle, i.e. exactly as he saw it. The Chinese
painter does not choose a single viewpoint. His landscape is not a ‘real’ one. One can enter it
from any point and travel in it in a leisurely movement. This is more true in the case of horizontal
scroll. Here one slowly opens one section of the painting, then rolls it up and moves on to the
other. This adds a dimension of time. It also requires the active participation of the viewer—a
participation which is physical as well as mental. The European painter wants the viewer to
borrow his eyes. The Chinese painter does not want him to do so. He wants the viewer to enter
his mind. The landscape is an inner one, a spiritual and conceptual space.
This concept is expressed as ‘shanshui’ which literally means ‘mountain-water’. Used
together they represent the word ‘Landscape’. The mountain is ‘yang’, while the water is ‘yin’.
The interaction of yin and yang is a fundamental notion of Daoism. There is a third essential
7
element also—the middle void, where their interaction takes place. This can be compared with
the yogic practice of pranayam breathe in, retain, breathe out. The suspension of breath is the
void where meditation occurs. The middle void is essential. Nothing can happen without it.
Hence the white unpainted space is very important in Chinese landscape.
Man finds a fundamental role in this space—between Heaven and Earth. He becomes the
medium of communication between both poles of the universe. His presence is essential. He is
the eye of the landscape.
French painter Jean Dubuffet first created the concept of ‘art brut’ or ‘raw art’ in the 1940s.
Then the art of the untrained visionary was of minority interest. The ‘outsider art’ has gradually
become the fastest growing area of interest in international modern art. This particular type of
work is the creation of those who have ‘no right’ to be artists, as they have received no formal
training, yet they show talent and artistic insight.
The work of 80 year old Nek Chand is India’s biggest contribution to ‘outsider art’. He has
made a garden sculpted with stone and recycled material. It is known to the world today as the
Rock Garden, at Chandigarh. The recently released 50th scene (spring 2005) of Raw Vision,
a UK-based magazine pioneer in outsider art publication, features Nek Chand, and his Rock
Garden sculpture ‘Women by the waterfall’ on its anniversary issue’s cover. His art has been
recognised as an outstanding testimony of the difference a single man can make when he lives
his dream. The Swiss Commission for UNESCO will be honouring him by way of a five month
interactive show of his works. Nek Chand says that walking through the garden and watching
people enjoy his creation is the biggest reward for him.
SUMMARY IN HINDI
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8 n English-Core–XI (Hornbill)
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‚Á∑˝§ÿ ÷ÊªËŒÊ⁄hU ÷Ë ‡ÊÊÁ◊‹ „UÊ ¡ÊÃË „ÒU, ∞‚Ë ÷ÊªËŒÊ⁄UË ¡Ê ‡ÊÊ⁄UËÁ⁄U∑§ „ÒU ÃÕÊ ◊ÊŸÁ‚∑§ ÷Ë– ÿÍ⁄UÊÁ¬ÿŸ ÁøòÊ∑§Ê⁄U øÊ„UÃ „ÒU¢ Á∑§ ŒπŸ
flÊ‹ ©UŸ∑§Ë ŸïÊ⁄U ‚ Œπ¥– øËŸË ÁøòÊ∑§Ê⁄U ©U‚‚ ∞‚Ê Ÿ„UË¥ ∑§⁄UÊŸÊ øÊ„UÃ– fl„U øÊ„UÃÊ „ÒU Á∑§ ŒπŸ flÊ‹Ê ©U‚∑§ ◊Ÿ (◊ÁSÃc∑§) ◊¥
¬˝fl‡Ê ∑§⁄¥U– ŒÎ‡ÿÊflÁ‹ ,d ÷ËÃ⁄UË •ÊäÿÊÁà◊∑§ ÃÕÊ œÊ⁄UáÊÊà◊∑§ Á⁄UQ§ SÕÊŸ◊ÿ gSA
ß‚ ÁfløÊ⁄U (œÊ⁄UáÊÊ) ∑§Ê “‡ÊŸ‡ÊÈß¸” ∑§ M§¬ ◊¥ √ÿÄÃ Á∑§ÿÊ ªÿÊ „ÒU Á¡‚∑§Ê ‡ÊÊÁéŒ∑§ •Õ¸ „ÒU “¬fl¸Ã-¡‹”– ŒÊŸÊ¥ ∑§Ê ‚ÊÕ ¬˝ÿÈÄÃ
∑§jŸ ‚ fl “ŒÎ‡ÿÊflÁ‹” ‡ÊéŒ ∑§Ê ¬˝ÁÃÁŸÁœàfl ∑§⁄UÃ „Ò¢U– ¬fl¸Ã “ÿ¢ª” „ÒU ¡’Á∑§ ¡‹ “ÁÿŸ” „ÒU– “ÿ¥ª” ÃÕÊ “ÁÿŸ” ∑§ ¬⁄US¬⁄U ‚ê’ãœ ∑§Ê
∑§Êÿ¸ «UÊ•ÊflÊŒ ∑§Ê •ÊœÊ⁄U÷ÍÃ ÁfløÊ⁄U „ÒU– ∞∑§ ÃË‚⁄UÊ •ÁÃ •Êfl‡ÿ∑§ Ãûfl ÷Ë „ÒUó◊äÿ ∑§Ê Á⁄UÄÃ SÕ‹, ¡„UÊ° ©UŸ∑§Ê ¬⁄US¬⁄U ‚ê’ãœ
„UÊÃÊ „ÒU– ß‚∑§Ë ÃÈ‹ŸÊ „U◊ “¬˝ÊáÊÊÿÊ◊” ∑§Ë ÿÊª ∑§Ë Á∑˝§ÿÊ ‚ ∑§⁄U ‚∑§Ã „Ò¥U — ‚Ê°‚ ÷ËÃ⁄U ‹Ê, ‚È⁄UÁˇÊÃ ⁄UπÊ, ‚Ê°‚ ’Ê„U⁄U ¿UÊ«∏U ŒÊ– ‚Ê°‚
∑§Ê ⁄UÊ∑§ ⁄UπŸÊ „UË fl„U Á⁄UÄÃ SÕ‹ „ÒU ¡„UÊ° äÿÊŸ ‹ªÃÊ „ÒU– ◊äÿ ∑§Ê Á⁄UÄÃ SÕ‹ •ÁÃ •Êfl‡ÿ∑§ „ÒU– ß‚∑§ Á’ŸÊ ∑È§¿U ÷Ë Ÿ„UË¥ „UÊ
‚∑§ÃÊ– •Ã— ‚»§Œ, •ÁøÁòÊÃ Á⁄UÄÃ SÕÊŸ øËŸË ŒÎ‡ÿÊflÁ‹ÿÊ¥ ◊¥ •ÁÃ ◊„Uûfl¬ÍáÊ¸ „Ò¥U–
¬ÎâflË ÃÕÊ Sflª¸ ∑§ ◊äÿ ß‚ Á⁄UÄÃ SÕÊŸ ◊¥ ◊ŸÈcÿ ∞∑§ ◊Í‹÷ÍÃ ÷ÍÁ◊∑§Ê ¬ÊÃÊ „ÒU– fl„U ’˝rÊÊá«U ∑§ ŒÊŸÊ¥ œ˝ÈflÊ¥ ∑§ ◊äÿ ‚¢øÊ⁄U ∑§Ê
◊Êäÿ◊ ’Ÿ ¡ÊÃÊ „ÒU– ©U‚∑§Ë ©U¬ÁSÕÃ •ÁÃ •Êfl‡ÿ∑§ „ÒU– fl„U „UË ŒÎ‡ÿÊflÁ‹ ∑§Ë •Ê°π „ÒU–
»˝§Ê¢‚Ë‚Ë ÁøòÊ∑§Ê⁄U ¡ËŸ Œ˜ÿÈ’È»§ Ÿ ‚’‚ ¬„U‹ “•Ê≈¸U ’˝Í≈U” •ÕflÊ “∑§ëøË ∑§‹Ê” ∑§Ë v~yÆ ∑§ ‡ÊÃ∑§ ◊¥ œÊ⁄UáÊÊ ©Uà¬ãŸ ∑§Ë– Ã’
•¬˝Á‡ÊÁˇÊÃ ŒÎc≈UÊ ∑§Ë ∑§‹Ê •À¬‚¢Åÿ∑§ L§Áø ∑§Ë ÕË– “’Ê„U⁄UË ‹ÊªÊ¥ ∑§Ë ∑§‹Ê” ‡ÊŸÒ— ‡ÊŸÒ— •ÊœÈÁŸ∑§ •ãÃ⁄UÊ¸c≈˛UËÿ ∑§‹Ê ◊¥ Áfl∑§Á‚Ã
L§Áø ∑§Ê ˇÊòÊ ’Ÿ ªÿÊ „ÒU– ÿ„U Áfl‡Ê· ¬˝∑§Ê⁄U ∑§Ê ∑§Êÿ¸ ©UŸ ‹ÊªÊ¥ ∑§Ê ‚Î¡Ÿ „ÒU Á¡ã„¥U ∑§‹Ê∑§Ê⁄U „UÊŸ ∑§Ê ∑§Êß¸ •Áœ∑§Ê⁄U Ÿ„UË¥ „ÒU, ÄÿÊ¢Á∑§
©Uã„UÊ¥Ÿ ∑§Êß¸ •ÊÒ¬øÊÁ⁄U∑§ ¬˝Á‡ÊˇÊáÊ ¬˝ÊåÃ Ÿ„UË¥ Á∑§ÿÊ „ÒU, Á»§⁄U ÷Ë fl Áfl‡Ê· ¬˝ÁÃ÷Ê ÃÕÊ ∑§‹Ê∑§Ê⁄UÊ¥ ∑§Ë •ãÃ—ŒÎÁc≈U ÁŒπÊÃ „ÒU¢–
}Æ flcÊË¸ÿ Ÿ∑§ øãŒ ∑§Ê ∑§Êÿ¸ “’Ê„U⁄UË ‹ÊªÊ¥ ∑§Ë ∑§‹Ê” ◊¥ ÷Ê⁄UÃ ∑§Ê ‚’‚ ’«∏UÊ ÿÊªŒÊŸ „ÒU– ©U‚Ÿ ¬àÕ⁄U ÃÕÊ ¬ÈŸ— ¬˝ÿÊª Á∑§ÿÊ
¡Ê ‚∑§Ÿ ÿÊÇÿ ¬È⁄UÊŸ ‚Ê◊ÊŸ ∑§Ê ¬˝ÿÊª ∑§⁄U∑§ ∞∑§ Á‡ÊÀ¬ ©UlÊŸ ∑§Ë ⁄UøŸÊ ∑§Ë „ÒU– blsU •Ê¡ ø¢«UËª…∏U ÁSÕÃ “⁄UÊÚ∑§ ªÊ«¸UŸ” ∑§ ŸÊ◊ ‚
yksx tkurs gSaA ß¢Ç‹Ò¥«U ◊¥ ÁSÕÃ “⁄UÊÚ ÁflïÊŸ” ŸÊ◊∑§ ’Ê„U⁄UË ‹ÊªÊ¥ ∑§Ë ∑§‹Ê ¬˝∑§Ê‡ÊŸ ◊¢ •ª˝áÊË ¬ÁòÊ∑§Ê Ÿ •¬Ÿ Á¬¿U‹ ÁŒŸÊ¥ ¬˝∑§ÊÁ‡ÊÃ
¬øÊ‚fl¥ •¢∑§ (fl‚ãÃ wÆÆz) ◊¥ Ÿ∑§øãŒ ÃÕÊ ©U‚∑§ “⁄UÊÚ∑§ ªÊ«¸UŸ” ∑§ Á‡ÊÀ¬ “¤Ê⁄UŸ ∑§ ¬Ê‚ ÁSòÊÿÊ°” ∑§Ê •¬Ÿ flÊÁ·¸∑§ •¢∑§ ∑§ ◊Èπ
¬Îc∆U ¬⁄U ¿UÊ¬Ê „ÒU– ©U‚∑§Ë ∑§‹Ê ∑§Ê ß‚ ∑§Ê‹ ∑§Ë ©Uà∑Î§c≈U ‚ÊˇÊË ◊ÊŸÊ ªÿÊ „ÒU Á∑§ ¡’ ∑§Êß¸ √ÿÁÄÃ •¬ŸÊ SflåŸ ‚Ê∑§Ê⁄U ∑§⁄U ‹ÃÊ „ÒU ÃÊ
fl„U Á∑§ÃŸÊ •ãÃ⁄U ©Uà¬ãŸ ∑§⁄U ‚∑§ÃÊ „ÒU– ÿÍŸS∑§Ê ∑§ ÁSfl≈˜U¡⁄U‹Ò¥«U ∑§Ê ∑§◊Ë‡ÊŸ ©U‚∑§Ë ∑§‹Ê ∑§Ê ¬Ê°ø ◊„UËŸ ∑§Ê flÊÃÊ¸‹Ê¬Ëÿ ¬˝Œ‡Ê¸Ÿ
‹ªÊ∑§⁄U ©U‚∑§Ê ‚ê◊ÊŸ ∑§⁄UªÊ– Ÿ∑§ øãŒ ∑§„UÃÊ „ÒU Á∑§ •¬Ÿ ©UlÊŸ ◊¥ ÉÊÍ◊ŸÊ ÃÕÊ ‹ÊªÊ¥ ∑§Ê •¬Ÿ ‚Î¡Ÿ ‚ •ÊŸãŒ ¬ÊÃ „ÈU∞ ŒπŸÊ
„UË ©U‚∑§ Á‹∞ ‚’‚ ’«∏UÊ ¬ÊÁ⁄UÃÊÁ·∑§ „ÒU–
ENRICH YOUR VOCABULARY

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Tale—an imaginative story; ∑§ÊÀ¬ÁŸ∑§ ∑§ÕÊ– Landscape—a painting of the countryside; ª˝Ê◊ËáÊ
ŒÎ‡ÿÊflÁ‹ ∑§Ê ÁøòÊ– Commissioned—officially asked to create something; ‚⁄U∑§Ê⁄UË M§¬ ‚ ∑È§¿U ’ŸÊŸ ∑§Ê
•ÊŒ‡Ê ÁŒÿÊ ªÿÊ– Decorate—adorn; ‚È‚ÁÖ¡Ã ∑§⁄UŸÊ– Immense—enormous, extremely large or great;
Áfl‡ÊÊ‹– Flight—act of flying; ©U«∏UÊŸ ÷⁄UÃ „ÈU∞– Sire—(here) word used to address a king; ◊„ÊU⁄UÊ¡ÊÁœ⁄UÊ¡,
⁄UÊ¡Ÿ– Dwells—inhabits, lives; ÁŸflÊ‚ ∑§⁄UÃÊ „ÒU– Spirit—(here) imaginary creature with magic powers;
¡ÊŒÈß¸ ‡ÊÁÄÃÿÊ¥ flÊ‹Ê ∑§ÊÀ¬ÁŸ∑§ ¡Ëfl; •Êà◊Ê– Splendid—very good, beautiful; ‡ÊÊŸŒÊ⁄U– Convey—communicate;
express; ‚ÍÁøÃ ∑§⁄UŸÊ, √ÿÄÃ ∑§⁄UŸÊU– Utter—speak, say; ’Ê‹ŸÊ, ∑§„UŸÊ– Vanished—disappeared; ªÊÿ’ „UÊ ªÿÊ–
Trace—sign; fpUg– Classical—traditional; ¬È⁄UÊÃŸ; ¬Ê⁄Uê¬Á⁄U∑§– Master—(here) teacher; ªÈL§– Disciple—
learner, student; Á‡Êcÿ– Anecdote—a short amusing story; ©U¬ÊÅÿÊŸ, ◊ŸÊ⁄U¢¡∑§ ∑§ÕÊ– Revealing—(here)
giving important information; ◊„Uûfl¬ÍáÊ¸ ‚ÍøŸÊ ŒŸÊ– Spirit—(here) attitude; ŒÎÁc≈U∑§ÊáÊ–
Landscape of the Soul n 9

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Draw—(here) to make picture; ÁøòÊ ’ŸÊŸÊ– Dragon—(here) a large fierce animal with wings and
long tail, that can breathe out fire; •Êª ©Uª‹Ÿ flÊ‹Ê, ©U«∏UŸ flÊ‹Ê •¡ª⁄U– Master—(here) skilled person;
ŒˇÊ, ÁŸ¬ÈáÊ– Sneaked—went in secretly; øÊ⁄UË ‚ ÷ËÃ⁄U ÉÊÈ‚Ê– Panel—(here) painting; ÁøòÊ– Delicate
realism—careful (sensitive) treatment producing something very like real life; ∑§Ê◊‹ ÿÕÊÕ¸flÊŒË–
To swat—to hit using hand or a flat object; „UÊÕ •ÕflÊ ø¬≈UË flSÃÈ ‚ øÊ≈U ◊Ê⁄UŸÊ– Apprentice; novice,
learner; ŸÊÒÁ‚ÁπÿÊ; ¬˝Á‡ÊˇÊÈ– Illustrate—to make clear by example; ŒÎc≈UÊãÃ Œ∑§⁄U S¬c≈U ∑§⁄UŸÊ– Illusionistic
likeness—sensitive treatment producing something very like real life; ÿÕÊÕ¸flÊŒË– Essence—
(here) Intrinsic nature; ‚Ê⁄U– Appreciates—estimates; praises; iz'kalk djuk– Reveals—(here)
discloses; ¬˝∑§≈U ∑§⁄UÃÊ „ÒU– Territory—large area of land, region; ÷Íπá«U, ˇÊòÊ– Dao—(here) path or
method; ◊Êª¸ •ÕflÊ ÁflÁœ (…¢Uª)– Mysterious—full of mystery; ⁄U„USÿ◊ÿ– Figurative painting—
painting showing people, animals and objects as they really look; ÿÕÊÕ¸flÊŒË ÁøòÊ∑§Ê⁄UË– Specific—
definite; Áfl‡Ê·– Horizontal—parallel to the horizon; ÁˇÊÁÃ¡ ∑§ ‚◊ÊŸÊãÃ⁄U– Scroll—a roll of parchment
or paper; Á‹¬≈U „ÈU∞ ∑§Êª¡ ∑§Ê ◊È≈U˜∆UÊ– Dimension—magnitude; •ÊÿÊ◊– Participation—taking active
part; ‚Á∑˝§ÿ ÷ÊªËŒÊ⁄UË– Pace—speed; ªÁÃ– Conceptual—related to or based on ideas; ÁfløÊ⁄UÊ¥ ¬⁄U
•ÊœÊÁ⁄UÃ– Space—empty area; Á⁄UÄÃ SÕÊŸ–
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Shanshui—mountain-water; ¬fl¸Ã-¡‹– Image—(here) a picture; ÁøòÊ– Represent—symbolize;
¬˝ÃË∑§ „UÊŸÊ– Complementary—different but attractive combination;¬Í⁄U∑§ ÿÊª– Yang—(in Chinese
philosophy) the bright active male principle of universe; ’˝„U˜◊Êá«U ∑§Ê ø◊∑§Ë‹Ê, ‚Á∑˝§ÿ Ÿ⁄U Á‚fÊãÃ–
Yin—(in Chinese philosophy) the dark, not active, female principle of universe; •ãœ⁄UÊ, ÁŸÁc∑˝§ÿ,
’˝„U˜◊Êá«U ∑§Ê ŸÊ⁄UË Á‚fÊãÃ– Interaction—reciprocal action; ¬⁄US¬⁄U ‚ê’ãœ ∑§Ê ∑§Êÿ¸– Receptive—willing
to receive or accept; ¬˝ÊåàÊ ∑§⁄UŸ flÊ‹Ê– Counterpart—complementary part; ‚„UÊÿ∑§ •¢ª– Void—
empty or vacant space; ‡ÊÍãÿ ÿÊ Á⁄UÄàÊ SÕÊŸ– Retain—to keep something; ⁄UπŸÊ– Suspension—(here)
the act of hidding something for a period of time; ∑È§¿U ‚◊ÿ ∑§ Á‹ÿ ⁄UÊ∑s§ ⁄UπŸÊ– Meditation—the
practice of thinking deeply in silence; äÿÊŸ– Fundamental—basic; •ÊœÊ⁄U÷ÍÃ– Conduit—medium;
◊Êäÿ◊– Communication—process of expressing ideas and feelings giving information; ‚¢øÊ⁄U–
Essential—extremely imporatant; •ÁÃ •Êfl‡ÿ∑§– Oppressed—treated in a cruel or unfair
way; ‚ÃÊÿÊ ÿÊ Œ’ÊÿÊ ¡ÊŸÊ– Lofty—very high; •ÁÃ ©UëëÊ– Peak—top; Á‡Êπ⁄U– Originated—(here)
created; ‚ÎÁ¡Ã@©Uà¬ããÊ Á∑§ÿÊ– Concept—idea/principle; ÁfløÊ⁄/UÁ‚fÊãÃ– ‘Art brut’—(here) raw art;
◊ÊÒÁ‹∑§ ÁSÕÁÃ ◊¥ ∑§‹Ê– Untrained—not given any formal training; •¬˝Á‡ÊÁˇÊÃ– Visionary—(here) a
person who has the ability to think about or plan the future in an intelligent, imaginative way;
èÊÁflcÿŒ˝c≈UÊ– Veiled—not expressed clearly or directly; •S¬c≈– Contemporary—(here) modern;
•ÊœÈÁŸ∑§– Genre—particular type; Áfl‡Ê· ¬˝∑§Ê⁄U/‡ÊÒ‹Ë ∑§Ê– Insight—understanding; ‚◊¤Ê, •ãÃŒÎZÁc≈–
Stimulating—encouraging; ¬˝Êà‚ÊÁ„UÃ ∑§⁄UŸ flÊ‹Ê– Mainstream—normal because shared by most
people; ‚Ê◊Êãÿ, ◊ÈÅÿœÊ⁄UÊ– Offerings—produced to enjoy; ©Uà¬ÊŒ/ ÷¥≈U– UPropounding—suggesting/
proposing; ‚È¤ÊÊfl ŒŸÊ– Untutored—not having been formally taught about something; •ÊÒ¬øÊÁ⁄U∑§
Á‡ÊˇÊÊÁfl„UËŸ– Genius—(here) a person who has a very high level of skill especially in one area; Á∑§‚Ë
∞∑§ ˇÊòÊ esa •àÿãÃ ©UëëÊ SÃ⁄U ∑§Ë ŒˇÊÃÊ flÊ‹Ê– Sculpted—made figures by shaping; •Ê∑Î§ÁÃÿÊ¥ ∑§Ê •Ê∑§Ê⁄U ŒŸÊ–
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Recycled—treating objects already used; ¬ÈŸ— ¬˝ÿÊª ◊¥ ‹Êÿ ¡Ê ‚∑§Ÿ ÿÊÇÿ– Material—objects;
flSÃÈ∞¢/¬ŒÊÕ¸– Hailed—described as very good or special; ¬È∑§Ê⁄UÊ/ ∑§„UÊ ªÿÊ– Pioneer—person who is the
first to study and develop a particular area of knowledge, culture; •ª˝áÊË– Sculpture—object made
by shaping wood, stone, clay, metal; Á‡ÊÀ¬, ◊ÍÁÃ¸∑§‹Ê– Anniversary—yearly celebration; flÊÁ·¸∑§Êà‚fl,
fl·¸ªÊ¢∆U– Dizzying—making you feel dizzy/extremely; Á‚⁄U ø∑§⁄UÊŸ flÊ‹Ë/•àÿÁœ∑§– Testimony—proof,
evidence; ¬˝◊ÊáÊ– Exposition—(here) an event at which goods are shown or sold, a trade fair; √ÿÊ¬Ê⁄U
◊‹Ê– Interactive—based on interaction; flÊÃÊ¸‹Ê¬/’ÊÃøËÃ ¬⁄U •ÊœÊÁ⁄UÃ–
NCERT TEXTBOOK QUESTIONS SOLVED

A. UNDERSTANDING THE TEXT (PAGE 18) (Word limit: 40 words)
1. (i) Contrast the Chinese view of art with the European view with examples.
Ans. The Chinese paintings are based on an imaginative, inner or spiritual approach whereas
the European paintings reproduce an actual view, of an external or real object. The
paintings of Wu Daozi and master painters of Europe illustrate the difference.
(ii) Explain the concept of ‘shanshui’.
Ans. ‘Shanshui’ represents two complementary poles of the universe: ‘yang’ and ‘yin’. Literally
‘shansui’ means ‘mountain-water’. Mountain is ‘yang’—the vertical stable, warm and dry
element. Water is ‘yin’ horizon resting on earth, fluid and cool. The interaction of yin i.e.
the receptive female aspect of universal energy and ‘yang’—the active and masculine
energy creates the images.
2. (i) What do you understand by the terms ‘outsider art’ & ‘art brut’ or ‘raw art’?
Ans. ‘Outsider art’ refers to the art of those who have no right to be artists as they have received
no formal training yet show talent and artistic insight. ‘Art brut’ or ‘raw art’ are the works
of art in their raw state as regards cultural and artistic influences.
(ii) Who was the ‘untutored genius who created a paradise’ and what is the nature
of his contribution to art?
Ans. The ‘untutored genius who created a paradise’ is Sh. Nek Chand who created Rock Garden
at Chandigarh. He has sculpted a garden with stone and recycled material. His art is
recognised as India’s biggest contribution to ‘outsider art’.
B. TALKING ABOUT THE TEXT (PAGE 38) (Answer in 100-125 words)
Discuss the following statements in groups of four:
[For Group discussions at class level. One specimen each of discussions regarding spiritual
experiences is given below.]
1. ‘‘The Emperor may rule over the territory he has conquered, but only the artist
knows the way within.’’
Ans. The Emperor is a symbol of authority and power. His will prevails in the land under his
rule. His word is law for the people spread over the territory he rules. The emperor may
get the services of talented persons and master artists. The acquisition of power, pelf and
physical objects does not make him superior to the artists. The artists has a spiritual
insight into the nature of things. He understands the workings of the mysterious ways
of the universe. His spiritual enlightenment and vision can help the emperor to attain
the goal of life i.e., the liberation of the soul from the framework of body. It is only the
artist who knows the way within the territory the emperor has conquered. The way here
means both the path and the method. His approach, is purely spiritual which persons,
burderned with materialistic approach’ fail to acquire and appreciate.
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2. ‘‘The landscape is an inner one, a spiritual and conceptual space.’’
Ans. A classical Chinese landscape is not meant to reproduce an actual view as would a Western
figurative painting. The European painter aims to create illusionary likeness whereas the
Asian artists try to capture the essence of inner life and spirit. For the Chinese painter, the
landscape is not a ‘real’ one. He does not choose a single viewpoint. Hence his landscape
can be viewed from different angles. One can enter it from any point and then travel in
it. The Chinese artist creates a path for our eyes to travel up and down and then back
again, in a leisurely movement. These paintings require the active participation of the
viewer. This participation is physical as well as mental. We must try not only to see the
painting but enter the mind of the painter as well. It is only by understanding the ideals
that motivate the painter, that we can understand the true import or the essence. It is
because his landscape is an inner one, a spiritual and conceptual space.
∞∑§ ¬⁄Uê¬⁄UÊªÃ øËŸË ŒÎ‡ÿÊflÁ‹ ∑§Ê ÃÊà¬ÿ¸ Á∑§‚Ë flÊSÃÁfl∑§ ŒÎ‡ÿ (ŸïÊÊ⁄U) ∑§Ê ¬ÈŸ— ÁŸ◊Ê¸áÊ ∑§⁄UŸÊ Ÿ„UË¥ „ÒU ¡Ò‚Ê Á∑§ ¬Á‡ëÊ◊Ë
ÿÕÊÕ¸flÊŒË ÁøòÊ∑§Ê⁄UË ∑§⁄UÃË „ÒU– ÿÍ⁄UÊÁ¬ÿŸ ÁøòÊ∑§Ê⁄U ∑§Ê ‹ˇÿ „UÊÃÊ Á∑§ fl„U ‚◊M§¬ÃÊ ∑§Ê ÷˝◊ ©Uà¬ããÊ ∑§⁄UŸ flÊ‹Ë, ÿÕÊÕ¸
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¬˝ÿÊ‚ ∑§⁄UÃ „Ò¥U– øËŸË ÁøòÊ∑§Ê⁄U ∑§ Á‹ÿ ŒÎ‡ÿÊflÁ‹ “flÊSÃÁfl∑§” Ÿ„UË¥ „ÒU– fl„U Á∑§‚Ë ∞∑§ ŒÎÁc≈∑§ÊáÊ ∑§Ê øÈŸÊfl Ÿ„UË¥ ∑§⁄UÃÊ–
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C. THINKING ABOUT LANGUAGE (PAGE 38) (Answer in 30 words)
1. Find out the correlates of Yin and Yang in other cultures.
Ans. The Indian culture lays stress on Nature and God. Nature is the ‘Yin’ or female part
whereas God, the creator, is the male or active part. This concept is also known as ‘Maya’
and ‘Brahma’. The combination of the two creates the world and all its objects as well as
inhabitants.
2. What is the language spoken in Flanders?
Ans. The language spoken in Flanders is French.
D. WORKING WITH WORDS
I. The following common words are used in more than one sense:
panel studio brush essence material
Examine the following sets of sentences to find out what the words mean in
different contexts: (Pages 38-39)
1. (i) The masks from Bawa village in Mali, look like long panels of decorated wood.
(ii) Judge H. Hobart Grooms told the jury panel he had heard the reports.
(iii) The panel is laying the groundwork for an international treaty.
(iv) The glass panels of the window were broken.
(v) Through the many round tables, workshops or panel discussions, a consensus was
reached.
(vi) The sink in the hinged panel above the bunk drains into the head.
Ans. (i) square or rectangular pieces of wood.
(ii) The members of jury who offer their opinion to the judge.
(iii) a group of specialists who give their advice or opinion.
(iv) square or rectangular pieces of glass fitted in the window.
(v) discussions among a group of people.
(vi) a flat board attached with a hinge.
2. (i) Their repetitive structure must have taught the people around the great composer the
essence of music.
(ii) Part of the answer is in the proposition; but the essence is in the meaning.
(iii) The implications of these schools of thoughts are of practical essence for the teacher.
(iv) They had added vanilla essence to the pudding.
Ans. (i) the most important quality or feature of something that makes it what it is.
(ii) the main part.
(iii) practical importance
(iv) liquid taken from vanilla that contains its smell and taste in a very strong form.
II. Now collect 5 sentences each for the rest of the words to show the different
senses in which each of them is used. (Pages 39)
Ans. Studio
(i) Quinten sneaked into the painter’s studio and painted a fly on his latest panel.
(ii) Noida has a television studio which has latest amenities and equipment.
(iii) Many famous films were shot at Mehboob studio Mumbai.
(iv) She works for a major Bollywood studio.
(v) Sapna runs a dance studio.
(vi) Even a studio flat in this area is quite costly.
Material
(i) What material is this shirt made of?
(ii) Oil is the raw material for plastic.
(iii) I am collecting material for my new project.
(iv) Our Principal insists an extensive use of teaching materials.
(v) The band played all new material at the ball last night.
Brush
(i) Not a trace of Wu Daozi’s brush was left there.
(ii) Give your teeth a good brush.
(iii) She blushed at the brush of his lips on her cheek.
(iv) Mohit had a nasty brush with his boss this morning.
(v) He brushed aside my fears.
III. Notice these expressions in the text. Guess the meaning from the context:
(Page 34)
 anecdote  illusionistic likeness  delicate realism
 conceptual space  figurative painting
Ans.  Anecdote : a short interesting or amusing story
 Delicate realism : careful treatment producing life-like object
 Figurative painting : painting showing people, animals and objects as they really
look.
 Illusionistic likeness : false idea about likeness.
 Conceptual space : space based on ideas.
E. NOTICING FORM (Page 39)
1. A classical Chinese landscape is not meant to reproduce an actual view, as would
a Western figurative painting.
2. Whereas the European painter wants you to borrow his eyes and look at a particular
landscape exactly as he saw it, from a specific angle, the Chinese painter does not choose
a single viewpoint.
The above two examples are ways in which contrast may be expressed.
Combine the following sets of ideas to show the contrast between them.
1. (i) European art tries to achieve a perfect, illusionistic likeness.
(ii) Asian art tries to capture the essence of inner life and spirit.
2. (i) The Emperor commissions a painting and appreciates its outer appearance.
(ii) The artist reveals to him the true meaning of his work.
3. (i) The Emperor may rule over the territory he conquered.
(ii) The artist knows the way within.
Ans. (i) Whereas European art tries to achieve a perfect, illusionistic likeness, Asian art tries
to capture the essence of inner life and spirit.
(ii) The Emperor may commission a painting and appreciate its outer appearance
while/ whereas the artist reveals to him the true meaning of his work.
(iii) While/Whereas the Emperor may rule over the territory he conquered,the artist knows
the way within.
F. THINGS TO DO (PAGE 39)
1. Find out about as many Indian schools of painting as you can.
Write a short note on the distinctive features of each school.
2. Find out about other experiments in recycling that help in environmental conservation.
Ans. Try yourself.
ADDITIONAL QUESTIONS SOLVED

A. SHORT ANSWER TYPE QUESTIONS (Word limit: 40 words)
1. Which parts of the landscape, painted by Wu Daozi, did the Emperor admire
and how long?
Ans. The Emperor watched the painting for a long while. He admired the wonderful scene
painted by Wu Daozi. He discovered forests, high mountains, waterfalls, clouds floating
in the vast sky, men on hilly paths and birds in flight.
2. What did the painter (Wu Daozi) tell the Emperor about the cave?
Ans. The painter told the Emperor that a spirit lived in the cave which was at the foot of the
mountain. As he clapped his hands, the entrance to the cave opened. He told the Emperor
that the inside of the cave was splendid and offered to show His Majesty the way.
3. What happened to the painter as he entered the cave?
Ans. As the painter entered the cave, the entrance to the cave closed behind him. The Emperor
was surprised. Before he could move or speak a word, the painting had disappeared from
the wall. There was not even a brush mark left there. The artist (Wu Daozi) was never
seen again in the world.
4. Why, do you think, China’s classical education included stories having deep
spiritual significance?
Ans. Stories having deep spiritual significance helped the master to guide his disciple in the
right direction. The books of great men like Confucious and Zhuangzi are full of them.
These stories narrate tales and reveal the spirit in which art was considered at that time.
5. Why did the painter not draw the eye of the dragon he had painted? How far do
you agree with him?
Ans. The painter feared that if he drew the eye of the dragon he had painted, the picture would
be complete and the dragon might come alive. Then it might fly out of the painting. Since
the vision of the artist is spiritual, we agree with him.
6. Why does Nathalie Trouveroy mention Quinten’s trick?
Ans. The writer mentions Quinten’s trick to highlight the aim of art in Europe. The European
painters try to achieve a perfect, illusionistic likeness. Quinten had painted a fly with
such delicate realism that even the master took it for a real one.
7. How does the Chinese story present the powers and limitations of Emperor and
the painter?
Ans. The Emperor may commission a painting and appreciate its outer appearance, but only
the artist reveals to him the true meaning of his work. Secondly, the Emperor may rule
over the region he has conquered, but only the artist knows the way within.
8. ‘‘Let me show the way’’, said Wu Daozi. Explain how the author interprets the
word ‘way’.
Ans. The word ‘way’ according to the author has two meanings, (i) path or the method, and (ii)
the mysterious works of the universe. The painter tells the king the path to the cave or
the method to reach the cave. By entering the cave and disappearing from the world, he
explains the mysterious works of the universe.
9. Give three points of contrast between a classical Chinese landscape and a
Western One.
Ans. A Western landscape, reproduces an actual view whereas a classical Chinese landscape
does not. The European painter wants the viewer to look at a particular landscape exactly
as he saw it, from a specific angle, the Chinese painter does not choose a single viewpoint.
The Chinese landscape is not real one like the western one, but an inner one, a spiritual
and conceptual space.
10. What do you learn about Daoist view of the universe from this chapter?
Ans. Daoism recognises two contrasting but complementary elements in the universe
namely ‘Yang’ and ‘Yin’. ‘Yang’ is active, masculine, stable, warm and dry whereas
‘yin’ is receptive, feminine, fluid, moist and cool. The interaction of ‘Yang’ and ‘Yin’ is a
fundamental notion of Daoism.
11. Which element is often overlooked? How is it essential?
Ans. The Middle void is the third element which is often overlooked. This is essential because
the interaction between ‘Yang’ and ‘Yin’ takes place there. Nothing can happen without
the middle void. It is as important as the suspension of breath in ‘pranayama’. Meditation
occurs only in the void, when we retain breath.
12. How does Nathalie Trouveroy define the role of Man?
Ans. The writer assigns a fundamental role to Man. In the space between Heaven and Earth,
he becomes the medium of communication between poles of the Universe. His presence
is essential as he is ‘‘the eye of the landscape’’. He occupies an important position in the
universe. He is not lost or oppressed by the lofty peaks.
13. How would you classify ‘art’ on the basis of your reading the chapter ‘Landscape
of the Soul’?
Ans. We may classify art, i.e. paintings and sculpture broadly as ‘mainstream’ offerings and
‘outsider art’. Whereas the former are products of trained artists, the latter are the works
of those who have received no formal training, yet show talent and artistic insight. It is
the art of the untrained visionary.
14. ‘How has the worth of Nek Chand’s work been recognised abroad?
Ans. Nek Chand’s work is now recognised as India’s biggest contribution to ‘outsider art’.
Rawvision, a UK-based magazine which is pioneer in outsider art publication has Nek
Chand and his Rock Garden sculpture ‘Women by the waterfall’ on the cover of its 50th
issue. UNESCO is organising a five month interactive show of his works.
15. How has Nek Chand followed the notions of ‘art brut’ or ‘raw art’ in his works?
Ans. The ‘art brut’ or ‘raw art’ are the works of art in their raw state as regards cultural and
artistic influences. Anything and everything from a tin to sink to a broken down car could
be material for a work of art. Nek Chand has sculpted a garden with stone and recycled
material.
B. LONG ANSWER TYPE QUESTIONS (Answer in 100-125 words)
1. How does the Chinese view of art differ from The European view? Illustrate
your answer with examples.
Ans. A western figurative painting is meant to reproduce an actual view of the scene whereas
a classical Chinese landscape is based on an imaginative, inner or spiritual approach.
The Chinese art aims at achieving the essence of inner life and spirit while the European

form of art is trying to achieve a perfect illusionistic likeness.
The European painter wants the viewer to borrow his eyes and look at a particular
landscape exactly as he saw it, from a specific angle. On the other hand, the Chinese
painter does not choose a single viewpoint. His landscape is not a real one. He does not
want the viewer to borrow his eyes. He wants the beholder to enter his mind. One can
enter a Chinese landscape from any point and move across leisurely and come back. The
Chinese view of art also requires an active participation of the viewer. This participation
is both physical and mental.
The stories about the paintings of Wu Daozi and an old story from Flanders amply
illustrate the difference.
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¬˝∑§Ê⁄U ∑§Ë „ÒU–
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2. Explain the concept of Shanshui and the fundamental notions of Daoism.
Ans. ‘Shanshui’ is a Chinese word. It literally means ‘mountain-water’. The two elements
used together represent the word ‘landscape’. Mountain and water are two elements
of an image. They also reflect the Daoist view of the universe. The mountain is ‘Yang’
whereas water is ‘Yin’. The mountain rises vertically towards Heaven. Mountain is stable,
warm and dry in the sun. Water is horizontal and rests on the Earth. Water is fluid,
moist and cool. ‘Yin’ is the receptive and feminine aspect of universal energy. ‘Yang’ is its
complementary part. ‘Yang’ is active and masculine. The interaction of ‘Yin’ and ‘Yang’
is a fundamental notion of Daoism.
There is an essential third element also. It is the Middle Void where the interaction takes
place. This Middle Void is essential. Nothing can happen without it. The concept of the
Middle Void can be made clear by comparison to the yogic practice of pranayama. We
breathe in, retain breath and breathe out. The suspension of breath is the Void where
meditation occurs. Hence the white, unpainted space has a special importance in Chinese
landscape.
“‡ÊÒŸ‡ÊÈß¸” ∞∑§ øËŸË ‡ÊéŒ „ÒU– ß‚∑§Ê ‡ÊÊÁéŒ∑§ •Õ¸ „ÒU “¬fl¸Ã-¡‹”– ÿ ŒÊ Ãûfl ∞∑§ ‚ÊÕ ¬˝ÿÊª Á∑§∞ ¡ÊŸ ‚ ‡ÊéŒ “¬ÎâflË ∑§Ê
ŒÎ‡ÿ” ∑§Ê ¬˝ÁÃÁŸÁœàfl ∑§⁄UÃ „Ò¥U– ¬fl¸Ã ÃÕÊ ¡‹ Á∑§‚Ë (•Ê∑Î§ÁÃ) ÁøòÊ ∑§ ŒÊ Ãûfl „Ò¥U– ÿ «UÊ•Ê ∑§Ê ’˝„˜◊Êá«U ∑§Ê ŒÎÁc≈∑§ÊáÊ
÷Ë Œ‡ÊÊ¸Ã „Ò¥U– ¬fl¸ÃU “ÿÒ¥ª” „ÒU ¡’Á∑§ ¡‹ “ÁÿŸ” „ÒU– ¬fl¸Ã ‚ËœÊ Sflª¸ ∑§Ë •Ê⁄U ™§¬⁄U ©U∆UÃÊ „ÒU– ¬fl¸Ã ÁSÕ⁄U ©UcáÊ ÃÕÊ œÍ¬
◊¥ ‡ÊÈc∑§ (‚ÍπÊ)„ÒU– ¡‹ ÁˇÊÁÃ¡ ∑§ ‚◊ÊŸÊãÃ⁄U (‹≈UflÊ°) „ÒU ÃÕÊ ¬ÎâflË ¬⁄U Á≈U∑§Ê „ÈU•Ê „ÒU– ¡‹ º˝√ÿ „ÒU, ªË‹Ê ÃÕÊ ‡ÊËÃ‹
(∆¢U«UÊ) „ÒU– “ÁÿŸ” ’˝„U˜◊Êá«U ∑§Ë ™§¡Ê¸ ∑§Ê ¬˝ÊåàÊ ∑§⁄UŸ flÊ‹Ê ÃÕÊ ŸÊ⁄UË M§¬ „ÒU– “ÿÒ¥ª” ß‚∑§Ê ¬Í⁄U∑§ ÷Êª „ÒU– “ÿÒ¥ª” ‚Á∑˝§ÿ ÃÕÊ
Ÿ⁄U M§¬ „Ò– “ÁÿŸ” ÃÕÊ “ÿÒ¥ª” ∑§Ë ¬⁄US¬⁄U Á∑˝§ÿÊ «UÊ•ÊflÊŒ ∑§Ê •ÊœÊ⁄U÷ÍÃ ÁfløÊ⁄U „ÒU–
∞∑§ •Êfl‡ÿ∑§ ÃË‚⁄UÊ Ãûfl ÷Ë „ÒU– ÿ„U „ÒU ◊äÿ ∑§Ê Á⁄UÄàÊSÕÊŸ ¡„UÊ° ¬⁄US¬⁄U Á∑˝§ÿÊ ÉÊÁ≈UÃ „UÊÃË „ÒU– ◊äÿ ∑§ Á⁄ÄàÊ SÕÊŸ ∑§Ë
œÊ⁄UáÊÊ ∑§Ê ¬˝ÊáÊÊÿÊ◊ ∑§Ë ÿÊª Á∑˝§ÿÊ ‚ ÃÈ‹ŸÊ ∑§⁄U∑§ S¬c≈ Á∑§ÿÊ ¡Ê ‚∑§ÃÊ „Ò– „U◊ ‚Ê°‚ ÷ËÃ⁄U πË¥øÃ „Ò¥U, ‚Ê¢‚ ∑§Ê ⁄UÊ∑§∑§⁄U
⁄UπÃ „Ò¥U ÃÕÊ ‚Ê°‚ ’Ê„U⁄U ÁŸ∑§Ê‹ ŒÃ „Ò¥U– ‚Ê¢‚ ∑§Ê ⁄UÊ∑§ ⁄UπŸÊ „UË fl„U Á⁄UÄÃSÕÊŸ „ÒU ¡„UÊ° äÿÊŸ ÉÊÁ≈UÃ „UÊÃÊ „ÒU– ÿ„U ◊äÿ ∑§Ê
Á⁄UÄàÊSÕÊŸ •ÁÃ •Êfl‡ÿ∑§ „ÒU– ß‚∑§ Á’ŸÊ ∑È§¿U ÷Ë ÉÊÁ≈UÃ Ÿ„UË¥ „UÊÃÊ– ß‚Á‹∞ øËŸË ŒÎ‡ÿÊflÁ‹ÿÊ¥ ◊¥ ‡flÃ, •ÁøÁòÊÃ SÕÊŸ
∑§Ê ∞U∑§ Áfl‡Ê· ◊„Uûfl „ÒU–
3. Man is ‘‘the eye of the landscape’’ says Francois Cheng. Discuss this concept on
the basis of reading ‘Landscape of the soul’.
Ans. The role of man in this universe can be explained with the help of the Daoist view of the
universe. Daoism recognises two contrasting but complementary elements in the universe.
These are called ‘Yang’ and ‘Yin’. ‘Yang’ is active, masculine, stable, warm and dry whereas
‘yin’ is receptive, feminine, moist and cool. The interaction of ‘Yang’ and ‘Yin’ occurs in
the Middle Void. Hence this Middle Void is essential as nothing can happen without it.
The importance of man and his fundamental role in the universe can be explained in the
light of Daoism. Man exists in the space between Heaven and Earth. He is the medium
of communication between both poles of the universe, even if it is only suggested. He
occupies an important position in the universe. He is not lost or oppressed by the lofty
peaks. Man’s presence is essential as he is the most important feature or the ‘eye’ of the
landscape. We cannot see without eye. Similarly the universe is incomplete without man.
«UÊ•Ê¥ ∑§ ’˝„U˜◊Êá«U ∑§ ŒÎÁc≈U∑§ÊáÊ ∑§Ë ‚„UÊÿÃÊ ‚ ◊ÊŸfl ∑§Ë ’˝„U˜◊Êá«U ◊¥ ÷ÍÁ◊∑§Ê ∑§Ë √ÿÊÅÿÊ ∑§Ë ¡Ê ‚∑§ÃË „ÒU– «UÊ•ÊflÊŒ ŒÊ
¬⁄US¬⁄U Áfl¬⁄UËÃ Á∑§ãÃÈ ¬Í⁄U∑§ ÃûflÊ¥ ∑§Ê ’˝„U˜◊Êá«U ◊¥ SflË∑§Ê⁄U ∑§⁄UÃÊ „ÒU– ßã„¥U “ÿÒ¢ª” ÃÕÊ “ÁÿŸ” ∑§„UÊ ªÿÊ „ÒU– “ÿÒ¢ª” ‚Á∑˝§ÿ, Ÿ⁄U,
ÁSÕ⁄U, ©UcáÊ ÃÕÊ ‡ÊÈc∑§ „ÒU ¡’Á∑§ “ÁÿŸ” ¬˝ÊåÃ∑§ÃÊ¸, ŸÊ⁄UË, •ÊŒ˝¸ ÃÕÊ ‡ÊËÃ‹ „ÒU– “ÿÒ¢ª” ÃÕÊ “ÁÿŸ” ∑§ ’Ëø ¬⁄US¬⁄U Á∑˝§ÿÊ ◊äÿ
Á⁄UÄÃ SÕÊŸ ◊¥ „UÊÃË „ÒU– •Ã— ÿ„U ◊äÿ Á⁄UÄÃ SÕÊŸ •ÁÃ •Êfl‡ÿ∑§ „ÒU ÄÿÊ¢Á∑§ ß‚∑§ Á’ŸÊ ∑È§¿U ÷Ë ÉÊÁ≈UÃ Ÿ„UË¥ „UÊ ‚∑§ÃÊ–
◊ÊŸfl ∑§Ê ◊„Uûfl ÃÕÊ ©U‚∑§Ë ’˝„U˜◊Êá«U ◊¥ •ÊœÊ⁄U÷ÍÃ ÷ÍÁ◊∑§Ê dh O;k[;k «UÊ•ÊflÊŒ ∑§ ¬˝∑§Ê‡Ê ◊¥ ∑§Ë ¡Ê ‚∑§ÃË „ÒU– ◊ÊŸfl
Sflª¸ ÃÕÊ ¬ÎâflË ∑§ ◊äÿ Á⁄UÄÃ SÕÊŸ ◊¥ Áfll◊ÊŸ „ÒU– fl„U ’˝„˜◊Êá«U ∑§ ŒÊŸÊ¥ œ˝ÈflÊ¢ ∑§ ’Ëø ‚¢øÊ⁄U ∑§Ê ◊Êäÿ◊ „ÒU, ÿlÁ¬ ß‚∑§Ê
∑§fl‹ ‚È¤ÊÊfl ÁŒÿÊ ªÿÊ „ÒU– fl„U ß‚ ’˝„˜◊Êá« ◊¥ ∞∑§ ◊„Uûfl¬ÍáÊ¸ SÕÊŸ ⁄UπÃÊ „Ò¥U– fl„U ™°§øË øÊÁ≈UÿÊ¥ mÊ⁄UÊ Ÿ ÃÊ ª◊¸ Á∑§ÿÊ
¡ÊÃÊ „ÒU ÃÕÊ Ÿ „UË Œ’ÊÿÊ ¡Ê ‚∑§ÃÊ „ÒU– ◊ÊŸfl ∑§Ë ©U¬ÁSÕÁÃ •ÁÃ •Êfl‡ÿ∑§ „ÒU ÄÿÊ¥Á∑§ fl„U ¬ÎâflË ∑§ ŒÎ‡ÿÊ¥ ∑§Ê ‚flÊ¸Áœ∑§
◊„Uûfl¬ÍáÊ¸ •¢ª •ÕflÊ •Ê°π „ÒU– „U◊ •Ê°π ∑§ Á’ŸÊ Œπ Ÿ„UË¥ ‚∑§Ã– ß‚Ë ¬˝∑§Ê⁄U ’˝„˜◊Êá« ÷Ë ◊ŸÈcÿ ∑§ Á’ŸÊ •¬ÍáÊ¸ „ÒU–
4. What do you understand by ‘outsider art’? Write a note on world wide recognition
of Nek Chand’s contribution to outsider art.
Ans. ‘Outsider art’ refers to the art of those who have no right to be artists as they have received
no formal training, yet show talent and artistic insight. Sh. Nek Chand has won world-
wide recognition for his unique contribution to outside art. Using stone and recycled
material he has created many sculptures at Rock Garden, Chandigarh. Nek Chand’s work
is now recognised as India’s biggest contribution to outside art. ‘Raw Vision’ a U.K. based
magazine, a pioneer in outsider art publication has featured Nek Chand and his Rock
Garden sculpture ‘Women by the Waterfall’ on the title cover of its 50th issue (Spring
2005). His art has been acclaimed as ‘‘an outstanding testimony of the difference a single
man can make when he lives his dream’’. The Swiss Commissioner for UNESCO has
honoured him by organising a five month interactive show called. ‘Realm of Nek Chand’.
In short, Nek Chand has taken outsider art to dizzying heights and richly deserves the
world wide acclaim.
“’Ê„U⁄UË ∑§‹Ê” ©UŸ ‹ÊªÊ¥ ∑§Ë ∑§‹Ê ∑§Ë •Ê⁄U ‚¢∑§Ã ∑§⁄UÃË „ÒU Á¡ã„¥U ∑§‹Ê∑§Ê⁄U „UÊŸ ∑§Ê ∑§Êß¸ „U∑§ Ÿ„UË¥ „ÒU ÄÿÊ¥Á∑§ ©Uã„UÊ¥Ÿ ∑§Êß¸
•ÊÒ¬øÊÁ⁄U∑§ ¬˝Á‡ÊˇÊáÊ ¬˝Ê# Ÿ„UË¥ Á∑§ÿÊ „ÒU Á»§⁄U ÷Ë fl ¬˝ÁÃHkÊ ÃÕÊ ∑§‹Êà◊∑§ •ãÃŒÎ¸Ác≈U ⁄UπÃ „Ò¢U– üÊË Ÿ∑§øãŒ Ÿ “’Ê„U⁄UË ∑§‹Ê”
◊¥ •¬Ÿ •ŸÈ¬◊ ÿÊªŒÊŸ ∑§ Á‹∞ ¬Í⁄U ‚¢‚Ê⁄U ◊¥ ÅÿÊÁÃ ¬˝ÊåÃ ∑§Ë „ÒU– ¬àÕ⁄U ÃÕÊ ¬ÈŸ— ©U¬ÿÊª ÿÊÇÿ ’ŸÊ∞ ª∞ ¬ŒÊÕÊZ ∑§Ê
¬˝ÿÊª ∑§⁄U∑§ ©U‚Ÿ ø¢«UËª…∏U ∑§ ⁄UÊÚ∑§ ªÊ«¸UŸ ◊¥ ∑§ß¸ ◊ÍÁÃ¸ÿÊ° ’ŸÊß¸ „ÒU¢– Ÿ∑§øãŒ ∑§Ë ∑Î§ÁÃÿÊ¥ ∑§Ê •’ ’Ê„U⁄UË ∑§‹Ê ◊¥ ÷Ê⁄UÃ ∑§Ê
‚’‚ ’«∏UÊ ÿÊªŒÊŸ ◊ÊŸÊ ¡ÊÃÊ „ÒU– ’Ê„U⁄UË ∑§‹Ê ‚¢’¢ÁœÃ ¬˝∑§Ê‡Ê∑§Ê¥ ◊¥ •ª˝áÊË ‚◊¤ÊË ¡ÊŸ flÊ‹Ë “⁄UÊÚ ÁflïÊŸ” ŸÊ◊∑§ ß¢Ç‹Òá«U
∑§Ë ¬ÁòÊ∑§Ê Ÿ Ÿ∑§øãŒ ÃÕÊ ©U‚∑§ ⁄UÊÚ∑§ ªÊ«¸UŸ ∑§ Á‡ÊÀ¬ ^¤Ê⁄UŸ ∑§ ¬Ê‚ ÁSòÊÿÊ°* ∑§Ê •¬Ÿ ¬øÊ‚fl¥U •¢∑§ (cl¢Ã wÆÆz) ∑§
◊ÈÅÿ ¬Îc∆U ¬⁄U ¿UÊ¬Ê „ÒU– ©U‚∑§Ë ∑§‹Ê ∑§Ë ÿ„U ∑§„U∑§⁄U ¬˝‡Ê¢‚Ê ∑§Ë ªß¸ „ÒU Á∑§ ÿ„U ∞∑§ •‚ÊœÊ⁄UáÊ ©UŒÊ„U⁄UáÊ „ÒU Á∑§ ∞∑§ •∑§‹Ê
√ÿÁÄÃ ÷Ë •¬Ÿ SflåŸ ∑§Ê ‚Ê∑§Ê⁄U ∑§⁄U∑§ Á∑§ÃŸÊ •¢Ã⁄U ’ŸÊ ‚∑§ÃÊ „ÒU– ÿÍŸS∑§Ê ∑§ ÁSfl≈U˜¡⁄U‹Òá«U ∑§ ∑§Á◊‡Ÿ⁄U Ÿ “Ÿ∑§øãŒ ∑§Ê
ˇÊòÊ” ŸÊ◊∑§ flÊàÊÊ¸‹Ê¬Ëÿ ¬˝Œ‡Ê¸Ÿ ∑§Ê ‚¢øÊ‹Ÿ ∑§⁄U∑§ ©U‚∑§Ê •ÊŒ⁄U Á∑§ÿÊ „ÒU– ‚¢ˇÊ¬ ◊¥, Ÿ∑§øãŒ Ÿ ’Ê„U⁄UË ∑§‹Ê ∑§Ê cqyafn;ksa
ij igq¡pk ÁŒÿÊ rFkk fl„U ¬Í⁄U ‚¢‚Ê⁄U ‚ ¬˝‡Ê¥‚Ê ∑§ ÿÊÇÿ „ÒU–

2 The Adventure
Jayant Narlikar
SUMMARY IN ENGLISH
It is a science fiction. Gangadharpant was a historian. He was also known as Professor Gaitonde.
He was travelling by the Jijamata Express. His mind was moving fast. He had arrived at a plan
of action. In Bombay, he would go to a big library and look through history books. He will try
to find out how the present state of affairs was reached. He had also planned to return to Pune
and have a long talk with Rajendra Deshpande. He hoped that Rajendra would surely help him
understand what had happened.
At Sarhad station, an anglo-Indian in uniform went through the train, checking their permit.
This indicated the border of the British Raj. The tiny Union Jack painted on each blue carriage
of the Greater Bombay Metropolitan Railway reminded them that they were in British territory.
The imposing building outside Bombay V.T. (Victoria Terminus) announced its identity as ‘East
India House, Headquarters of the East India Company’. Professor Gaitonde was prepared for
many shocks. But he had not expected this. The East India Company had been wound up shortly
after the events of 1857. Yet, here it was not only alive but flourishing. So history had taken a
different turn, perhaps before 1857. He had to find out how and when it had happened.
Ashe walked along Hornby Road, he found a different set of shops and office buildings.
These were as in a typical high street of a town in England. He turned right along Home
Street and entered Forbes building. He told the English receptionist that he wanted to meet
Mr Vinay Gaitonde. She consulted telephone list, the staff list and directory of employees of all
the branches of the firm. She politely replied that she couldn’t find anyone of the name there
or in any other branch. He thanked the girl politely and came out. Taking a quick lunch at a
restaurant, he went to the library of the Asiatic Society to solve the riddle.
The Town Hall housed the library. He asked for a list of history books including his own.
While reading the fifth volume of history, Gangadharpant finally came to the moment where
history had taken a different turn. That page in the book described the Battle of Panipat. It
mentioned that the Marathas won it handsomely. Abdali was defeated and pursued back to
Kabul by the Maratha army. This victory was a great morale booster to the Marathas. It also
established their supremacy in northern India. East India Company suspended its expansionist
programme. The company’s influence was reduced to small areas of Bombay, Calcutta and
Madras. Vishwasrao and his brother Madhavrao combined political sharpness with bravery and
expanded their influence all over India. They kept the puppet Mughal regime alive in Delhi.
They were clever enough to recognise the importance of science and technology. The East India
Company offered aid and experts.
The twentieth century brought further changes. Inspired by the West, India moved towards
a democracy. The Peshwas were gradually replaced by democratically elected bodies. The
Shahenshah of Delhi survived this change as he exercised no real influence. He okayed the
recommendations made by the central parliament. Gaitonde read on and began to appreciate
the India he had seen. It had never been slave to the British. Gangadharpant could not help
comparing the country he knew with what he was witnessing around him.
He felt his investigations were incomplete. He wanted to know how the Marathas won the
battle. He looked for the accounts of the battle itself. He came across ‘Bhaushebanchi Bakhar’.
He knew that Bakhars contained detailed but falsified account. He hoped to see the germ of
truth. He read the three line account of how close Vishwasrao had come to being killed. As the
18
professor left the table, he shoved some notes into his right pocket. Absent-mindedly, he also
shoved the ‘Bakhar’ in his pocket.
He found a guest house to stay in, took his meals and set out for a stroll to the Azad
Maidan. A lecture was in progress there. He found the presidential chair unoccupied. He swiftly
moved towards the chair. The audience asked him to vacate the chair and leave the platform.
Gangadharpant kept talking to the audience. He had the experience of speaking at 999 meetings.
He became a target for a shower of tomatoes, eggs and other objects. Finally the audience
swarmed to the stage to eject him. Gandgadharpant could not be seen anywhere in the crowd.
Two days later Gangadharpant narrated everything to Rajendra Deshpande. He was back in
the world he was familiar with. He did not know exactly where he had spent two days. Rajendra
asked him what he had been doing just before his collision with the truck. Professor Gaitonde
replied that he was thinking of the catastrophe theory and its implications for history. Then
he produced a page torn out of a book. It was a page from the Bakhar. The book was lost in the
melee at Azad Maidan. Rajendra read the page which described how Vishwas Rao narrowly
missed that bullet and how that event turned the tide in their favour.
Then Gangadharpant produced his own copy of ‘Bhausahebanchi Bakhar’. The relevant
page described how Vishwasrao was hit by a bullet. Rajendra tried to rationalise his experience
on the basis of two scientific theories known till that day. One was the catastrophe theory. The
juncture at which Vishwasrao, the son of the Peshwa and heir, was killed proved to be the turning
point. History says that his uncle, Bhausaheb, rushed into the melee and was never seen again.
The blow of losing their leaders was crucial for the troops. They lost their morale and fighting
spirit. An utter rout followed. The torn page showed the crucial event gone the other way.
Rajendra said that reality may not be unique. It has been found from experiments on very
small systems of atoms and their particles. There is lack of determinism in quantum theory. So
there may be many world pictures. All the alternative worlds could exist just the same, though
we know the world which are talking about. Catastrophic situations offer radically different
alternatives for the world to proceed. So far as reality is concerned all alternatives are viable,
but the observer can experience only one of them at a time.
By making a transition, Prof. Gaitonde was able to experience two worlds although one
at a time—one he lived in then and the one where he spent two days. He was experiencing
a different world though he was in the present. Gangadharpant asked why he had made the
transition. Rajendra replied that one needed some interaction to cause a transition. Perhaps
he was thinking about the catastrophic theory and its role in war, or he was wondering about
the Battle of Panipat. Perhaps the neurons in his brain acted as trigger. Professor Gaitonde
admitted that he had been wondering what course history would have taken if the result of the
battle had gone the other way.
SUMMARY IN HINDI
ÿ„U ÁflôÊÊŸ ¬⁄U •ÊœÊÁ⁄UÃ ∞∑§ ∑§ÊÀ¬ÁŸ∑§ ∑§ÕÊ „ÒU– ª¢ªÊœ⁄U¬ãÃ ∞∑§ ßÁÃ„UÊ‚∑§Ê⁄U ÕÊ– ©U‚ ¬˝Ê»§‚⁄U ªÊßÃÊã«U ∑§ ŸÊ◊ ‚ ¡ÊŸÊ ¡ÊÃÊ
ÕÊ– fl„U ¡Ë¡Ê◊ÊÃÊ ∞Ä‚¬˝‚ mÊ⁄UÊ ÿÊòÊÊ ∑§⁄U ⁄U„U ÕÊ– ©U‚∑§Ê ◊ÁSÃc∑§ ÃïÊ ªÁÃ ls ŒÊÒ«∏U ⁄U„UÊ ÕÊ– fl„U ∑§Êÿ¸ ∑§Ë ∞∑§ ÿÊ¡ŸÊ ¬⁄U ¬„È°Uø
øÈ∑§Ê ÕÊ– ’ê’ß¸ (◊Èê’ß¸) ◊¥ fl„U ∞∑§ ’«∏U ¬ÈSÃ∑§Ê‹ÿ ◊a ¡ÊÿªÊ ÃÕÊ ßÁÃ„UÊ‚ ∑§Ë ¬ÈSÃ∑¥§ ¬…∏UªÊ– fl„U ÿ„U ¡ÊŸŸ ∑§Ë øc≈UÊ ∑§⁄UªÊ fd
flÃ¸◊ÊŸ Œ‡ÊÊ Ã∑§ ∑Ò§‚ ¬„È°UøÊ ªÿÊ– ©U‚Ÿ ¬ÈáÊ ‹ÊÒ≈UŸ ÃÕÊ ⁄UÊ¡ãº˝ Œ‡Ê¬Êã«U ∑§ ‚ÊÕ ‹ê’Ë flÊÃÊ¸ ∑§⁄UŸ ∑§Ë ÷Ë ÿÊ¡ŸÊ ’ŸÊ ‹Ë ÕË– fl„U
•Ê‡ÊÊ ∑§⁄UÃÊ ÕÊ Á∑§ ⁄UÊ¡ãº˝ •fl‡ÿ „UË ©U‚ ÿ„U ‚◊¤ÊŸ ◊¥ ‚„UÊÿÃÊ ∑§⁄UªÊ Á∑§ ©U‚∑§ ‚ÊÕ ÄÿÊ ÉÊÁ≈Ã „ÈU•Ê ÕÊ–
“‚⁄U„UŒ” ⁄U‹fl S≈U‡ÊŸ ¬⁄U ∞∑§ flŒË¸œÊ⁄UË ∞¥Ç‹Ê-ßÁá«UÿŸ ©UŸ∑§ •ÊôÊÊ-¬òÊ ¡Ê°øÃÊ „ÈU•Ê ¬Í⁄UË ªÊ«∏UË ◊¥ ªÿÊ– ÿ„U Á’˝Á≈U‡Ê ⁄UÊ¡ ∑§Ë
‚Ë◊Ê ∑§Ë ‚ÍøŸÊ ŒÃÊ ÕÊ– flÎ„UÃ ’ê’ß¸ ◊≈˛UÊ¬ÊÁ‹ÿŸ ⁄U‹fl ∑§ ¬˝àÿ∑§ ŸË‹ Á«Ué’ ¬⁄U ÁøÁòÊÃ ¿UÊ≈UÊ ‚Ê ÿÍÁŸÿŸ ¡Ò∑§ ©Uã„¥U ÿ„U S◊⁄UáÊ
∑§⁄UÊÃÊ ÕÊ Á∑§ •’ o Á’˝Á≈U‡Ê •Áœ∑§Ê⁄U ˇÊòÊ ◊¥ Õ– ’ê’ß¸ ∑§ ÁflÄ≈UÊÁ⁄UÿÊ ≈UÁ◊¸Ÿ‹ ∑§ ’Ê„U⁄U ¬˝÷Êfl‡ÊÊ‹Ë ÷flŸ •¬ŸË ¬„UøÊŸ ∑§Ë
ÉÊÊ·áÊÊ “ß¸S≈U ßÁá«UÿÊ „UÊ©U‚, ß¸S≈U ßÁã«UÿÊ ∑§ê¬ŸË ∑§Ê ◊ÈÅÿÊ‹ÿ” ∑§ M§¬ ◊¥ ∑§⁄UÃÊ ÕÊ– ¬˝Ê»§‚⁄U ªÊßÃÊã«U ∑§ß¸ •ÊÉÊÊÃÊ¥ ∑§ Á‹ÿ ÃÒÿÊ⁄U
ÕÊ– Á∑§ãÃÈ ©U‚Ÿ ß‚∑§Ë •Ê‡ÊÊ Ÿ„UË¥ ∑§Ë ÕË– v}z| ∑§Ë ÉÊ≈UŸÊ•Ê¥ ∑§ ∑È§¿U ‚◊ÿ ¬‡ëÊÊÃ „UË ß¸S≈U ßÁã«UÿÊ ∑§ê¬ŸË ∑§Ê ∑§Ê⁄UÊ’Ê⁄U ‚◊ÊåàÊ
„UÊ ªÿÊ ÕÊ, Á∑§ãÃÈ ÿ„UÊ° ÃÊ o„U ÕË, Ÿ ∑§fl‹ ¡ËÁflÃ, •Á¬ÃÈ »§‹ÃË-»Í§‹ÃË– •Ã— ßÁÃ„UÊ‚ Ÿ ∑§Êß¸ •‹ª ◊Ê«∏U ‹ Á‹ÿÊ ÕÊ, ‡ÊÊÿŒ
The Adventure n 19
v}z| ‚ ¬„U‹– ©U‚ ôÊÊÃ ∑§⁄UŸÊ ÕÊ Á∑§ ÿ„U ∑§’ ÃÕÊ ∑Ò§‚ ÉÊÁ≈UÃ „ÈU•Ê–
¡’ fl„U „UÊŸ¸’Ë ⁄UÊ« ¬⁄U ø‹ ⁄U„UÊ ÕÊ, ÃÊ ©U‚ Á÷ããÊ ¬˝∑§Ê⁄U ∑§Ë ŒÈ∑§ÊŸ¥ ÃÕÊ ∑§ÊÿÊ¸‹ÿÊ¥ ∑§ ÷flŸ Á◊‹– ÿ ∞‚ „UË Õ ¡Ò‚ Á∑§
ß¢ª‹Òã«U ∑§ Á∑§‚Ë Ÿª⁄U ∑§ Áfl‡Ê· πÈ‹Ë ª‹Ë ◊¥ „UÊ¥– fl„U „UÊ◊ S≈˛UË≈U ¬⁄U ŒÊÁ„UŸË •Ê⁄U ◊È«∏UÊ ÃÕÊ ©U‚Ÿ »§ÊÚ’¸‚ ÷flŸ ◊¥ ¬˝fl‡Ê Á∑§ÿÊ– ©U‚Ÿ
•¢ª˝¡ SflÊªÃ∑§òÊË ∑§Ê ’ÃÊÿÊ Á∑§ fl„U Á◊0 ÁflŸÿ ªÊÿÃÊã«U ‚ Á◊‹ŸÊ øÊ„UÃÊ ÕÊ– ©U‚Ÿ ŒÍ⁄U÷Ê· ‚ÍøË, S≈UÊ»§ ‚ÍøË ÃÕÊ ©U‚ »§◊¸ ∑§Ë
‚÷Ë ‡ÊÊπÊ•Ê¥ ◊¥ ∑§Ê◊ ∑§⁄UŸ flÊ‹ ∑§◊¸øÊÁ⁄UÿÊ¥ ∑§Ë ¬ÈÁSÃ∑§Ê ŒπË– ©U‚Ÿ Ÿ◊˝ÃÊ ‚ ©UûÊ⁄U ÁŒÿÊ Á∑§ fl„U ©U‚ ŸÊ◊ ∑§ √ÿÁÄàÊ ∑§Ê fl„UÊ° ÿÊ
Á∑§‚Ë •ãÿ ‡ÊÊπÊ ◊¥ Ÿ„UË¢ …Í°…U ¬Êß¸– ©U‚Ÿ Á‡Êc≈UÃÊ (Ÿ◊˝ÃÊ) ‚ ©U‚ ‹«∏U∑§Ë ∑§Ê äÊãÿflÊŒ Á∑§ÿÊ •ÊÒ⁄U ’Ê„U⁄U ÁŸ∑§‹ •ÊÿÊ– ∞∑§ ¡‹¬ÊŸ
ªÎ„U ◊¥ ‡ÊËÉÊ˝ÃÊ¬Ífl¸∑§ ◊äÿÊ„˜ŸU-÷Ê¡ ‹∑§⁄U, fl„U ß‚ ¬„U‹Ë ∑§Ê ‚È‹¤ÊÊŸ ∑§ Á‹ÿ ∞Á‡ÊÿÊÁ≈U∑§ ‚Ê‚Êÿ≈UË ∑§ ¬ÈSÃ∑§Ê‹ÿ ∑§Ë •Ê⁄U ªÿÊ–
¬ÈSÃ∑§Ê‹ÿ ≈UÊ©UŸ „UÊ‹ ◊¥ ÁSÕÃ ÕÊ– ©U‚Ÿ •¬Ÿ mÊ⁄UÊ Á‹ÁπÃ ‚◊Ã ßÁÃ„UÊ‚ ∑§Ë ¬ÈSÃ∑§Ê¥ ∑§Ë ‚ÍøË ◊Ê¢ªË– ßÁÃ„UÊ‚ ∑§ ¬Ê°øfl¢
πá«U ∑§Ê ¬…∏UÃ ‚◊ÿ, ª¢ªÊœ⁄U ¬ãÃ •ãÃÃ— ©U‚ ˇÊáÊ ¬⁄U ¬„È°UøÊ ¡„UÊ° ßÁÃ„UÊ‚ Ÿ ∞∑§ Á÷ããÊ ◊Ê«∏U ‹ Á‹ÿÊ ÕÊ– ¬ÈSÃ∑§ ∑§Ê ÿ„U ¬Îc∆U
¬ÊŸË¬Ã ∑§ ÿÈf ∑§Ê fláÊ¸Ÿ ∑§⁄UÃÊ ÕÊ– ß‚◊¥ Á¡∑˝§ ÕÊ Á∑§ ◊⁄UÊ∆UÊ¥ Ÿ ß‚ •àÿãÃ ÷‹Ë ¬˝∑§Ê⁄U ‚ ¡ËÃÊ– •éŒÊ‹Ë ¬⁄UÊÁ¡Ã „ÈU•Ê ÃÕÊ
◊⁄UÊ∆UÊ ‚ŸÊ mÊ⁄UÊ (©U‚∑§Ê πŒ«∏UŸ ∑§ Á‹ÿ) ∑§Ê’È‹ Ã∑§ ¬Ë¿UÊ Á∑§ÿÊ ªÿÊ– ÿ„U Áfl¡ÿ ◊⁄UÊ∆UÊ¥ ∑§ Á‹ÿ •àÿÁœ∑§ ŸÒÁÃ∑§ ©Uà‚Ê„flœ¸∑§
ÕË– ß‚Ÿ ©UûÊ⁄UË ÷Ê⁄UÃ ◊¥ ©UŸ∑§Ë ‚flÊ¸ëëÊÃÊ ÷Ë SÕÊÁ¬Ã ∑§⁄U ŒË– ß¸S≈U ßÁã«UÿÊ ∑§ê¬ŸË Ÿ •¬ŸÊ ÁflSÃÊ⁄UflÊŒ ∑§Ê ∑§Êÿ¸∑˝§◊ SÕÁªÃ ∑§⁄U
ÁŒÿÊ– ∑§ê¬ŸË ∑§Ê ¬˝÷Êfl, ’ê’ß¸, ∑§‹∑§ûÊÊ ÃÕÊ ◊º˝Ê‚ ∑§ ¿UÊ≈U-¿UÊ≈U ˇÊòÊÊ¥ Ã∑§ „UË ‚ËÁ◊Ã ⁄U„U ªÿÊ– Áfl‡√ÊÊ‚⁄UÊfl ÃÕÊ ©U‚∑§ ÷Êß¸
◊ÊÉÊfl⁄UÊfl ◊¥ ⁄UÊ¡ŸËÁÃ∑§ ÃËˇáÊÃÊ ∑§ ‚ÊÕ-‚ÊÕ flË⁄UÃÊ ÷Ë ÕË ÃÕÊ ©Uã„UÊ¥Ÿ •¬Ÿ ¬˝÷Êfl ∑§Ê ¬Í⁄U ÷Ê⁄UÃ ◊¥ »Ò§‹Ê ÁŒÿÊ– ©Uã„UÊ¥Ÿ Œ„U‹Ë ◊¥
∑§∆U¬ÈÃ‹Ë ‚⁄U∑§Ê⁄U ∑§Ê ¡ËÁflÃ ⁄UπÊ– fl ÁflôÊÊŸ ÃÕÊ ¬˝ÊÒlÊÁª∑§Ë ∑§Ê ◊„Uûfl ‚◊¤ÊŸ ◊¥ ¬ÿÊ¸åàÊ øÃÈ⁄U Õ– ß¸S≈U ßÁã«UÿÊ ∑§ê¬ŸË Ÿ ‚„UÊÿÃÊ
ÃÕÊ Áfl‡Ê·ôÊ ŒŸ ∑§Ë ¬‡Ê∑§‡Ê ∑§Ë–
’Ë‚flË¥ ‡ÊÃÊéŒË •ÊÒ⁄U •Áœ∑§ ¬Á⁄UflÃ¸Ÿ ‹Êß¸– ¬Á‡ëÊ◊ ‚ ¬˝Á⁄UÃ „UÊ∑§⁄U, ÷Ê⁄UÃ ¬˝¡ÊÃãòÊ ∑§Ë •Ê⁄U ’…∏UÊ– œË⁄U-œË⁄U ¬‡ÊflÊ•Ê¥ ∑§Ê
SÕÊŸ ¬˝¡ÊÃãòÊËÿ …¢Uª ‚ øÈŸË „ÈUß¸ ‚¢SÕÊ•Ê¥ Ÿ ‹ Á‹ÿÊ– ÁŒÀ‹Ë ∑§Ê ‡Ê„U¢‡ÊÊ„U ßŸ ¬Á⁄UflÃ¸ŸÊ¥ ∑§ ¬‡ëÊÊÃ ÷Ë ’øÊ ⁄U„UÊ ÄÿÊ¥Á∑§ ©U‚∑§Ê
∑§Êß¸ flÊSÃÁfl∑§ ¬˝÷Êfl ÕÊ „UË Ÿ„UË¥– fl„U ∑§ãº˝Ëÿ ‚¢‚Œ mÊ⁄UÊ ∑§Ë ªß¸ Á‚»§ÊÁ⁄U‡ÊÊ¥ ∑§Ê ∆UË∑§-∆UÊ∑§ ∑§„U ŒÃÊ ÕÊ– ªÊÿÃÊã«U ¬…∏UÃÊ ªÿÊ
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ÕÊ ©U‚∑§Ë ÃÈ‹ŸÊ ©U‚ Œ‡Ê ‚ Á∑§ÿ Á’ŸÊ Ÿ„UË¥ ⁄U„U ‚∑§Ê ¡Ê fl„U •¬Ÿ øÊ⁄UÊ¥ •Ê⁄U Œπ ⁄U„UÊ ÕÊ–
©U‚Ÿ ◊„‚Í‚ Á∑§ÿÊ Á∑§ ©U‚∑§Ë πÊ¡-’ËŸ •œÍ⁄UË ÕË– fl„U ¡ÊŸŸÊ øÊ„UÃÊ ÕÊ Á∑§ ◊⁄UÊ∆U ß‚ ÿÈf ∑§Ê Á∑§‚ ¬˝∑§Ê⁄U ¡ËÃ– ©U‚Ÿ ÿÈf
∑§ Áflfl⁄UáÊÊ¥ ∑§Ê „UË Ã‹Ê‡Ê ∑§⁄UŸÊ •Ê⁄Uê÷ ∑§⁄U ÁŒÿÊ– ©U‚ “÷Ê™§‚Ê„U’ÊãŒË ’Êπ⁄U” ŸÊ◊∑§ ¬ÈSÃ∑§ Á◊‹Ë– fl„U ¡ÊŸÃÊ ÕÊ Á∑§ “’Êπ⁄UÊ¥”U
◊¥ ÁflSÃÎÃ Á∑§ãÃÈ Á◊âÿÊ Áflfl⁄UáÊ „UÊÃ Õ– fl„U ‚àÿ ∑§Ê ∑§áÊ ŒπŸ ∑§Ë •Ê‡ÊÊ ∑§⁄UÃÊ ÕÊ– ©U‚Ÿ ÃËŸ ¬¢ÁÄàÊÿÊ¥ ∑§Ê fl„U Áflfl⁄UáÊ ¬…U∏Ê
Á∑§ Áfl‡√ÊÊ‚⁄UÊfl ◊Ê⁄U ¡ÊŸ ∑§ Á∑§ÃŸ ‚◊Ë¬ ¬„°Uø ªÿÊ ÕÊ– ¡’ ¬˝Ê»§‚⁄U ◊¡ ‚ ©U∆UÊ, ÃÊ ©U‚Ÿ •¬ŸË ŒÊÿË¢ ¡’ ◊¥ ∑È§¿U ∑§Êª¡ ∆Í°U‚
Á‹ÿ– vO;flÁSÕÃ M§¬ ‚, ©U‚Ÿ “’Êπ⁄U” ∑§Ê ÷Ë •¬ŸË ¡’ ◊¥ «UÊ‹ Á‹ÿÊ–
©U‚Ÿ ∆U„U⁄UŸ ∑§ Á‹∞ ∞∑§ •ÁÃÁÕ ªÎ„U …Í°U…UÊ, ÷Ê¡Ÿ Á∑§ÿÊ ÃÕÊ •ÊïÊÊŒ ◊ÒŒÊŸ ∑§Ë •Ê⁄U ≈U„U‹Ÿ ø‹ ÁŒÿÊ– fl„UÊ° ÷Ê·áÊ ø‹ ⁄U„UÊ
ÕÊ– ©U‚Ÿ •äÿˇÊËÿ •Ê‚Ÿ Á⁄UÄàÊ ŒπÊ– fl„U ‡ÊËÉÊ˝ÃÊ ‚ ©U‚ ∑È§‚Ë¸ ∑§Ë •Ê⁄U ’…∏UÊ– üÊÊÃÊ•Ê¥ Ÿ ©U‚ ∑È§SÊË¸ πÊ‹Ë ∑§⁄UŸ ∑§Ê ÃÕÊ ◊¢ø ‚
ø‹ ¡ÊŸ ∑§Ê ∑§„UÊ– ª¢ªÊœ⁄iUr üÊÊÃÊ•Ê¥ ‚ ’ÊÃ¥ ∑§⁄UÃÊ ⁄U„UÊ– ©U‚ ~~~ ‚÷Ê•Ê¥ ◊¥ ’Ê‹Ÿ ∑§Ê •ŸÈ÷fl ÕÊ– fl„U ≈U◊Ê≈U⁄UÊ¥, •á«UÊ¥ ÃÕÊ
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∑§„UË¥ ÷Ë ÁŒπÊß¸ Ÿ„UË¥ ÁŒÿÊ–
ŒÊ ÁŒŸ ¬‡ëÊÊÃ ª¢ªÊœ⁄¬ãàÊ Ÿ ¬˝àÿ∑§ ’ÊÃ ∑§Ê ÁflSÃÊ⁄U ‚ ⁄UÊ¡ãº˝ Œ‡Ê¬Êã«U ∑§ ‚Ê◊Ÿ fláÊ¸Ÿ Á∑§ÿÊ– fl„U flÊÁ¬‚ ©U‚Ë ‚¢‚Ê⁄U ◊¥
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≈˛U∑§ ‚ ≈U∑§⁄UÊŸ ‚ ∞Ÿ ¬„U‹ fl„U ÄÿÊ ∑§⁄U ⁄U„UÊ ÕÊ– ¬˝Ê»§‚⁄U ªÊÿÃÊã«U Ÿ ©UûÊ⁄U ÁŒÿÊ Á∑§ fl„U Áfl¬ÁûÊ Á‚fÊãÃ ÃÕÊ ß‚∑§Ê ßÁÃ„UÊ‚ ¬⁄U
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ÕÊ– ¬ÈSÃ∑§ ÃÊ •Ê¡ÊŒ ◊ÒŒÊŸ ∑§Ë ÷Ë«∏U ∑§Ë œÄ∑§Ê-◊ÈÄ∑§Ë ◊¢ ∑§„UË¥ πÊ ªß¸ ÕË– ⁄UÊ¡ãº˝ Ÿ fl„U ¬Îc∆U ¬…∏UÊ Á¡‚◊¥ fláÊ¸Ÿ ÕÊ Á∑§ Á∑§‚
¬˝∑§Ê⁄U ©U‚ ªÊ‹Ë ‚ Áfl‡√ÊÊ‚⁄UÊfl ∑§Á∆UŸÊß¸ ‚ „UË ’øÊ ÃÕÊ Á∑§‚ ¬˝∑§Ê⁄U ß‚ ÉÊ≈UŸÊ Ÿ ‚ÊÒ÷ÊÇÿ ∑§Ê ©UŸ∑§ ¬ˇÊ ◊¥ ∑§⁄U ÁŒÿÊ–
Á»§⁄U ª¢ªÊœ⁄U¬ãàÊ Ÿ “÷Ê©U‚Ê„U’Ê¢øË ’Êπ⁄U” ∑§Ë •¬ŸË ¬˝ÁÃ ÁŸ∑§Ê‹Ë– ‚ê’ãœ ¬Îc∆U ¬⁄U fláÊ¸Ÿ ÕÊ Á∑§ Á∑§‚ ¬˝∑§Ê⁄U Áfl‡√ÊÊ‚⁄UÊfl ∑§Ê
ªÊ‹Ë ‹ªË– ⁄UÊ¡ãº˝ Ÿ ©U‚∑§ •ŸÈ÷fl ∑§Ê •’ Ã∑§ ôÊÊÃ ŒÊ flÒôÊÊÁŸ∑§ Á‚fÊãÃÊ¥ ∑§ •ÊœÊ⁄U ¬⁄U Ã∑¸§‚¢ªÃ ’ŸÊŸ ∑§Ê ¬˝ÿÊ‚ Á∑§ÿÊ– ∞∑§
ÕÊ Áfl¬ÁûÊ Á‚fÊãàÊµfl„U ◊Ê«U∏ Á¡‚ ¬⁄U ¬‡ÊflÊ ∑§Ê ¬ÈòÊ ÃÕÊ ©ûÊ⁄UÊÁœ∑§Ê⁄UË, Áfl‡√ÊÊ‚⁄UÊfl, ◊Ê⁄UÊ ªÿÊ ÁŸáÊÊ¸ÿ∑§ Á‚f „ÈU•Ê– ßÁÃ„UÊ‚ ’ÃÊÃÊ
„ÒU Á∑§ ©U‚∑§Ê øÊøÊ, ÷Ê™§‚Ê„U’, ÿÊfÊ•Ê¥ ∑§Ë ÷Ë«∏U ◊¥ ÉÊÈ‚ ªÿÊ ÃÕÊ Á»§⁄U ∑§÷Ë ÁŒπÊß¸ Ÿ„UË¥ ÁŒÿÊ– •¬Ÿ ŸÃÊ•Ê¥ ∑§Ê ª¢flÊ ŒŸÊ ‚ŸÊ
∑§ Á‹ÿ fu.kkZ;d ÕÊ– ©UŸ∑§Ê ‚Ê„U‚ ÃÕÊ ÿÈf ‹«∏UŸ ∑§Ê ¡Ê‡Ê ‚◊ÊåàÊ „UÊ ªÿÊ– ß‚∑§ ’ÊŒ ¬ÍáÊ¸ ¬⁄UÊ¡ÿ „UÈß¸– »§≈UÊ „ÈU•Ê ¬Îc∆U ß‚
◊„Uûfl¬ÍáÊ¸ ÉÊ≈UŸÊ ∑§Ê ŒÍ‚⁄U …¢ª ‚ ¡ÊÃÊ „ÈU•Ê ÁŒπÊ ⁄U„UÊ ÕÊ–
⁄UÊ¡ãº˝ Ÿ ∑§„UÊ Á∑§ flÊSÃÁfl∑§ÃÊ •ŸÈ¬◊ „UË Ÿ„UË¥ „UÊ ‚∑§ÃË– ∞‚Ê ¬⁄U◊ÊáÊÈ ÃÕÊ ©UŸ∑§ ∑§áÊÊ¥ ∑§ ¿UÊ≈U-¿UÊ≈U ¬˝áÊÊÁ‹ÿÊ¥ ¬⁄U ¬˝ÿÊªÊ¥
mÊ⁄UÊ Á‚f „ÈU•Ê „ÒU– •Áfl÷ÊÖÿ ÿÍÁŸ≈U ◊¥ ™§¡Ê¸ ∑§Ë ©Uà¬ÁûÊ ∑§ Á‚fÊãàÊ ◊¥ ÁŸÁ‡ëÊÃÃÊ ∑§Ê •÷Êfl „ÒU– •Ã— ∑§ß¸ ‚¢Ê‚ÊÁ⁄U∑§ ÁøòÊ „UÊŸ
‚ê÷ÊÁflÃ „Ò¥U– ‚Ê⁄U flÒ∑§ÁÀ¬∑§ ‚¢‚Ê⁄U ©U‚Ë ¬˝∑§Ê⁄U ‚ Áfll◊ÊŸ „UÊ ‚∑§Ã âÊ, ÿlÁ¬ „U◊ ©U‚Ë ‚¢‚Ê⁄U ∑§Ê ¡ÊŸÃ „Ò¥U Á¡‚∑§ Áfl·ÿ ◊¥ ’ÊÃ¥
∑§⁄U ⁄U„U „Ò¥U– Áfl¬ÁûÊ¬ÍáÊ¸ ÁSÕÁÃÿÊ° ‚¢‚Ê⁄U ∑§Ê •Êª ’…∏UŸ ∑§ Á‹ÿ ÁŸÃÊãÃ Á÷ãŸ Áfl∑§À¬ ¬‡Ê ∑§⁄ÃË „ÒU– ¡„UÊ° Ã∑§ flÊSÃÁfl∑§ÃÊ ∑§Ê ‚¢’¢œ
„ÒU ‚Ê⁄U Áfl∑§À¬ ‚ê÷fl „Òa, Á∑§ãÃÈ ŒπŸ flÊ‹Ê Á∑§‚Ë ÷Ë ‚◊ÿ ©UŸ◊¥ ‚ ∞∑§ ∑§Ê „UË •ŸÈ÷fl ∑§⁄U ‚∑§ÃÊ „ÒU–
‚¢∑˝§◊áÊ (ÁSÕÁÃ ¬Á⁄UflÃ¸Ÿ) ∑§⁄UŸ ‚, ¬˝Ê»§‚⁄U ªÊÿÃÈã«U ŒÊ ‚¢‚Ê⁄UÊ¥ ∑§Ê •ŸÈ÷fl ∑§⁄U ¬ÊÿÊ, ÿlÁ¬ ∞∑§ ‚◊ÿ ∞∑§ ∑§Ê „UË Á∑§ÿÊ-∞∑§
fl„U Á¡‚◊¥ fl„U ©U‚ ‚◊ÿ ÁŸflÊ‚ ∑§⁄UÃÊ ÕÊ ÃÕÊ ŒÍ‚⁄UÊ fl„U ¡„UÊ° ©U‚Ÿ ŒÊ ÁŒŸ √ÿÃËÃ Á∑§∞ Õ– ÿlÁ¬ fl„U flÃ¸◊ÊŸ ∑§Ê‹ ◊¥ ÕÊ Ã’
÷Ë fl„U ∞∑§ ¬ÎâÊ∑§ ‚¢‚Ê⁄U ∑§Ê •ŸÈ÷fl ∑§⁄U ⁄U„UÊ ÕÊ– ª¢ªÊœ⁄U¬ãàÊ Ÿ ¬Í¿UÊ Á∑§ ©U‚Ÿ ‚¢∑˝§◊áÊ (ÁSÕÁÃ ¬Á⁄UflÃ¸Ÿ) ÄÿÊ¥ Á∑§ÿÊ– ⁄UÊ¡ãº˝ Ÿ
©UûÊ⁄U ÁŒÿÊ Á∑§ √ÿÁÄàÊ ∑§Ê ‚¢∑˝§◊áÊ ∑§ Á‹ÿ Á∑§‚Ë ‚¢øÊ⁄U (flÊÃÊ¸‹Ê¬) ∑§Ë •Êfl‡ÿ∑§ÃÊ ÕË– ‚ê÷flÃÿÊ fl„U Áfl¬ÁûÊ Á‚fÊãÃ ∞fl¢ ÿÈf
¬⁄U ß‚∑§Ë ÷ÍÁ◊∑§Ê ∑§ Áfl·ÿ ◊¥ ‚Êø ⁄U„UÊ ÕÊ •ÕflÊ ¬ÊŸË¬Ã ∑§ ÿÈf ∑§ Áfl·ÿ ◊¥ •Ê‡ëÊÿ¸ ∑§⁄U ⁄U„UÊ ÕÊ– ‚ê÷flÃ— ©U‚∑§ ◊ÁSÃc∑§
◊¥ ŸÊ«∏UËU ∑§ÊUÁ‡Ê∑§Ê•Ê¥ (ãÿÍ⁄UÊŸÊ) Ÿ ¬˝ÁÃÁ∑˝§ÿÊ ∑§Ê ÃËfl˝ Á∑§ÿÊ– ¬˝Ê»§‚⁄U ªÊÿÃÊã«U Ÿ SflË∑§Ê⁄U Á∑§ÿÊ Á∑§ fl„U •Ê‡ëÊÿ¸ ∑§⁄U ⁄U„UÊ ÕÊ Á∑§
ßÁÃ„UÊ‚ Ÿ ∑§ÊÒŸ ‚Ê ¬Õ (◊Êª¸) Á‹ÿÊ „UÊÃÊ ÿÁŒ ÿÈf ∑§Ê ¬Á⁄UáÊÊ◊ ŒÍ‚⁄UË •Ê⁄U ªÿÊ „UÊÃÊ–

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Route—a way or road; ◊Êª¸, ⁄UÊSÃÊ– Considerably—to a great extent; ∑§Ê»§Ë, •àÿ¢Ã •Áœ∑§– Section—
part; πá«U, ÷Êª– Roared—(here) moved very fast, making a lot of noise; Œ„UÊ«∏UÃË „ÈUß¸ ÃïÊË ‚ ÁŸ∑§‹Ë–
Racing—moving fast; ÃïÊ ªÁÃ ‚ ŒÊÒ«∏UÃÊ „ÈU•Ê– Browse through—to look through without reading
every thing; ‚⁄U‚⁄UË ÁŸªÊ„U ‚ ŒπŸÊ– Eventually—at last, finally; •ãÃÃ—, •ÊÁπ⁄U∑§Ê⁄U– Permits—official
documents giving somebody the right to do something for a short period of time; •ŸÈ◊ÁÃ-¬òÊ–
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Presume—suppose as true; ◊ÊŸŸÊ– Ventured—said in a careful way; ‚ÊflœÊŸË¬ÍáÊ¸ …¢Uª ‚ ∑§„UÊ–
Flavour—(here) an idea of what something is like, particular quality or atmosphere; Áfl‡Ê· ªÈáÊ
ÿÊ flÊÃÊfl⁄UáÊ– Suburban—connected with suburbs; ©U¬Ÿª⁄UËÿ– Tiny—very small in size; ‹ÉÊÈ •Ê∑§Ê⁄U ∑§Ê–
Territory—land/area under the control of a ruler; •Áœ∑§Ê⁄U ˇÊòÊ– Destination—a place to which
sb/sth is going or being sent; ªãÃ√ÿ SÕÊŸ, ◊¢Á¡‹– Emerged—came out; ’Ê„U⁄U ÁŸ∑§‹Ê– Proclaimed—
announced; ÉÊÊ·áÊÊ ∑§Ë– Identity—who or what sb/sth is; ¬Á⁄Uøÿ– Flourishing—thriving; »§‹ŸÊ-
»Í§‹ŸÊ– Peep above—(here) to be just visible; ÁŒπÊß¸ ŒŸÊ– Imposing—impressive to look at; ŒπŸ
◊¥ ¬˝÷Êfl‡ÊÊ‹Ë–
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Directory—a book containing list of information of name, addresses, telephone numbers; ŸÊ◊-
œÊ◊-‚Íø∑§ ¬ÈSÃ∑§– Guarantee—security, warranty; ¬˝ÁÃ÷ÍÁÃ, ¡◊ÊŸÃ– Politely—in a polite manner;
ÁflŸËÃ ÷Êfl ‚, Á‡Êc≈UÊøÊ⁄ ‚U– Characteristic—typical; ÁflÁ‡Êc≈ ªÈáÊU– Concern—worry; ÁøãÃÊ– Grabbing—
(here) having/taking; »§≈UÊ»§≈U πÊÿÊ– Including—having something as part of a group or set;
∑§ ‚Á„UÃ– Evidently—clearly; S¬c≈UÃÿÊ– Occurred—happened; ÉÊÁ≈Ã „ÈUß¸– Converged—moved
towards a point; ∞∑§ Á’ãŒÈ ∑§Ë •Ê⁄U Á‚◊≈UË– Precise—exact; ∆UË∑§, ‚„UË– Mentioned—(here) wrote about
something especially without giving much information; øøÊ¸ ∑§Ë, Á¡∑˝§ Á∑§ÿÊ– Routed—defeated
completely; ¬ÍáÊ¸ÃÿÊ ¬⁄UÊÁ¡Ã gksuk– Chased—pursued; ¬Ë¿UÊ Á∑§ÿÊ– Triumphant—victorious; Áfl¡ÿË–
Blow by blow account—a description of an event which gives you all the details in the order
in which they happen; ÁflSÃÊ⁄U¬Ífl¸∑§ Áflfl⁄UáÊ– Elaborated—described in a more detailed way; ‚ÁflSÃÊ⁄U
fláÊ¸Ÿ Á∑§ÿÊ– Detail—small facts or features, minute account; Áflfl⁄UáÊ– Consequences—results;
¬Á⁄UáÊÊ◊– Avidly—eagerly; ©Uà‚È∑§ÃÊ ‚–
The Adventure n 21
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Morale booster—encouraging/increasing confidence; Áfl‡√ÊÊ‚ ’…∏UÊŸ flÊ‹Ê– Established—set up;
SÕÊÁ¬Ã Á∑§ÿÊ– Supremacy—highest authority of power; ¬˝÷Èàfl, üÊc∆UUÃÊ– Sidelines—(here) far away;
ŒÍ⁄U ‚– Shelved—postponed; ≈UÊ‹ ÁŒÿÊ, SÕÁªÃ ∑§⁄U Á∑§ÿÊ– Expansionist—process of increasing size
and importance; ¬˝‚Ê⁄UflÊŒË / »Ò§‹ÊoflÊŒË– Eventfully—full of things that happen, especially exciting,
important or dangerous things; ⁄UÊ◊Ê¢ø∑§Ê⁄UË / ◊„Uûfl¬ÍáÊ¸ ÉÊ≈UŸÊ∑˝§◊ ‚ ÷⁄UÊ– Relegated to—pushed to,
given a lower or less important position; œ∑§‹ ŒŸÊ/ÁŸêŸ ¬Œ ŒŸÊ– Eventually—at last, finally; •ãÃ
◊¥– Dismay—worried, sad feeling; ÁøãÃÊ, ©UŒÊ‚Ë ∑§Ë ÷ÊflŸÊ– Met its match—met somebody who is
equal to or very similar; ◊È∑§Ê’‹ ∑§Ê– Political acumen—sharpness/ability to understand and
judge political things quickly and clearly; ⁄UÊ¡ŸËÁÃ∑§ ◊Ê◊‹Ê¥ ∑§Ê ‚◊¤ÊŸ ◊¥ ÃËˇáÊÃÊ– Valour—courage,
bravery; ‚Ê„U‚, flË⁄UÃÊ– Puppet—(here) person whose actions are controlled by another; ∑§∆U¬ÈÃ‹Ë–
Regime—(here) system of government; ⁄UÊÖÿ∑˝§◊, ‡ÊÊ‚Ÿ ¬fÁÃ– De facto—actual, infact, really;
ÿÕÊÕ¸ ◊¥, ‚p◊Èø, flSÃÈÃ—– Astute—shrewd, crafty; øÃÈ⁄U (ŒˇÊ), ∑§Ê°ß¸ÿÊ°– Recognize—(here) identify;
¬„UøÊŸŸÊ– Technological—pertaining to the science of industrial arts; ¬˝ÊÒlÊÁª∑§Ë– Dawning—(here)
beginning to appear; ¬˝Ê⁄Uê÷ „UÊŸÊ– Extent—spread; »Ò§‹ÊŸÊ– Inspired—animated; ¬̋Á⁄UÃ– Enterprise—
courage, readiness; ‚Ê„U‚, Ãà¬⁄ÃÊ– Survived—outlived; ¡ËÁflÃ ⁄U„UË– Transition—change; ‚¢∑˝§◊áÊ,
ÁSÕÁÃ-¬Á⁄UflÃ¸Ÿ– Wielded—exercised; ¬˝ÿÊª Á∑§ÿÊ– Figurehead—without real power or authority
‡ÊÁÄàÊ„UËŸ √ÿÁÄàÊ– Rubber-stamp—to give official approval to a law or plan without considering
it carefully; Á’ŸÊ äÿÊŸ ‚ ÁfløÊ⁄U Á∑§ÿ SflË∑Î§ÁÃ ¬˝ŒÊŸ ∑§⁄UŸÊ– Appreciate—estimate, recognise the good
qualities of; ªÈáÊ o.kZu djuÊ– Subjected to—under control; ∑§ ÁŸÿãòÊáÊ ◊¥– Retain—keep; ⁄UπŸÊ–
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Sole—only; ∞∑§◊ÊòÊ– Outpost—(here) a small town in a lonely part of a country; øÊÒ ∑ §Ë–
Subcontinent—a large landmass that forms part of a continent especially the part of Asia
that includes Pakistan, India and Bangladesh; ©U¬◊„UÊmË¬– Lease—legal agreement allowing use
of something; ¬^ÔUÊ– Treaty—a formal agreement between nations; ‚Áãœ– Investigations—(here)
research; Nkuchu– Clue—hint, information; ‚¢∑§Ã, ‚ÍøŸÊ– Relied on—depended on ; ÁŸ÷¸⁄U ∑§⁄UÃÊ
ÕÊ– Evidence—proof; ¬˝◊ÊáÊ– Entertaining—amusing; ◊ŸÊ⁄¢U¡∑§– Graphic—vividly descriptive;
S¬c≈U– Doctored accounts—falsified descriptions changed in order to deceive; ¤ÊÍ∆UÊ/œÊπ ÷⁄UÊ Áflfl⁄UáÊ–
Spot—see, notice; ŒπŸÊ– Close—(here) near; ÁŸ∑§≈U, ‚◊Ë¬– Melee—confused fight; ‚¢∑È§‹ ‚¢ª˝Ê◊,
Á÷«∏UãÃ ∑§Ë ‹«∏UÊß¸– Elite—best, selected; ‚flÊ¸ûÊ◊, øÈŸ „Èÿ– Merciful—compassionate; ŒÿÊ¬ÍáÊ¸– Brushed
past—touching lightly; „UÀ∑§ ‚ ¿ÍUÃÊ „ÈU•Ê– Emerged—came out of; ’Ê„U⁄U ÁŸ∑§‹Ê– Magnificent—
splendid; ‡ÊÊŸŒÊ⁄U, ÷√ÿ– Shoved—pushed in a rough way; ∆Í°U‚ Á‹ÿ– Frugal—small, plain; ‚¢ÁˇÊåàÊ,
‚ÊŒÊ– Stroll—slow relaxed walk; ≈U„U‹ŸÊ– Throng—crowd; èÊË«∏U–
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Mesmerized—in a trance; •øÃ •flSÕÊ / Ããº˝Ê ◊¥– Unoccupied—vacant; Á⁄UÄàÊ, πÊ‹Ë– Vacate—
Leave free; πÊ‹Ë ∑§⁄UÊ– Symbolic—used as a symbol; ¬˝ÃË∑§Êà◊∑§– Dignitary—a person who
has an important official position; ©UëëÊ ¬ŒÊÁœ∑§Ê⁄UË– Give vent to—express; √ÿÄàÊ ∑§⁄UŸÊ, ¬˝∑§≈U ∑§⁄UŸÊ–
Abolished—ended; ‚◊ÊåÃ Á∑§ÿÊ– Hostile—unfriently; ‡ÊòÊÈÃÊ ¬ÍáÊ¸– Target—(here) person attacked
at; •Ê∑˝§◊áÊ ∑§Ê fu'kkukA Valiantly—bravely; flË⁄UÃÊ¬Ífl¸∑§– Sacrilege—act of treating without respect;
•¬ÁflòÊ √ÿfl„UÊ⁄U– Swarmed—moved around in a large group; ¤ÊÈá«U ◊¥ •Êª •Êÿ– Eject—push with
force; œ∑§‹ŸÊ– Dumbfounded—unable to speak because of surprise; ◊Í∑§, SàÊéœ– Prior to—before;
‚ ¬„U‹– Collision—crash against sth/sb; ≈U∑§⁄UÊfl–
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Catastrophe—an event that causes personal sufferings; Áfl¬ÁûÊ, •Ê¬ÁûÊ– Implications—possible
effects or result; ‚ê÷ÊÁflÃ ¬˝÷Êfl ÿÊ ¬Á⁄UáÊÊ◊– Smugly—looking or feeling too pleased about something
you have done or achieved; ¬˝‚ããÊÃÊ¬Ífl∑¸ § …¢Uª ‚– Amok—suddenly becoming very angry or excited (and
start behaving violently); ©UûÊÁ¡Ã „UÊŸÊ– Triumphantly—showing great joy or satisfaction about
victory or success; ‚»§‹ÃÊ •ÕflÊ Áfl¡ÿ ¬⁄U ‚ãÃÈÁc≈ •ÕflÊ ¬˝‚ããÊÃÊ ¬˝ŒÁ‡Ê¸Ã ∑§⁄UŸÊU– Vital—very important; •ÁÃ
◊„Uûfl¬ÍáÊ¸– Evidence—proof; ¬˝◊ÊáÊ, ‚Êˇÿ– Grave—(here) sad; ªê÷Ë⁄U– Visibly—in a way that is easily
noticeable; S¬c≈ M§¬ ‚U– Moved—(here) caused somebody to have strong feelings of sympathy/
sadness; º˝ÁflÃ– Inadvertently—unintentionally; Á’ŸÊ ¡ÊŸ, Á’ŸÊ ß⁄UÊŒ ∑§– Intended—desired; ß⁄UÊŒÊ
ÕÊ/•Á÷¬˝Êÿ ÕÊ– Melee—(here) confused crowd of people rushing or pushing; œÄ∑§Ê◊ÈÄ∑§Ë ∑§⁄UÃË „ÈUß¸ ÷Ë«∏U–
Omen—sign of occurrence; ‡ÊÈ÷@•‡ÊÈ÷ ÉÊ≈UŸÊ lwpd ‹ˇÿ/Áø„˜ŸU, ‡Ê∑È§Ÿ– Turned the tide—changed the
luck; ÷ÊÇÿ ∑§Ê ’Œ‹ ÁŒÿÊ– Food for thought—an idea that makes you think seriously and carefully;
∞‚Ê ÁfløÊ⁄U ¡Ê •Ê¬∑§Ê ªê÷Ë⁄UÃÊ ÃÕÊ ‚ÊflœÊŸË ‚ ‚ÊøŸ ∑§Ê ’Êäÿ ∑§⁄U– Put-down—made a note of, written;
Á‹π Á‹ÿÊ ÕÊ– Fantasy—a product of imagination; ∑§À¬ŸÊ ∑§Ê ©Uà¬ÊŒŸ– Motioned—(here) made a
movement with hand; ‚¢∑§Ã Á∑§ÿÊ– Pacing—walking up and down; ø„U‹ ∑§Œ◊Ë ∑§⁄UŸÊ– Obviously—
clearly; S¬c≈UÃÿÊ– Strain—tension, stress; ÃŸÊfl– Rationalize—find a logical reason; Ã∑¸§¬ÍáÊ¸ ∑§Ê⁄UáÊ
…Í°U…UŸÊ– Convincing—persuading; making somebody believe of truth; ‚◊¤ÊÊŸÊ, ÿ∑§ËŸ/Áfl‡√ÊÊ‚ ÁŒ‹ÊŸÊ–
Fantastic—amazing, strange; •Œ˜÷ÈÃ– Catastrophic—disastrous; Áfl¬ÁûÊ∑§Ê⁄U∑§–
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Catastrophe—disaster; Áfl¬ÁûÊ– Disparity—difference; •ãÃ⁄U– Armour—(here) military vehicles
used in war; ÿÈf ◊¥ ¬˝ÿÄÈ àÊ ‡ÊSòÊÊ¥ ‚ ‚È‚ÁÖÖÊÃ flÊ„UŸ– Morale—mental or moral condition; „UÊ‚
Ò ‹Ê– Juncture—
(here) point of time; ‚◊ÿ ∑§Ê ÁŸÁ‡ëÊÃ Á’ãŒÈ– Survived—remained alive; ¡ËÁflÃ ’ø jguk– blow—(here)
shock; ‚Œ◊Ê, •ÊÉÊÊÃ– Crucial—extremely important; •ÁÃ ◊„Uûfl¬ÍáÊ¸– Utter rout—complete defeat; ¬ÍáÊ¸
¬⁄UÊ¡ÿ– Boosted—increased; ’…U∏ÊÿÊ– Impetus—stimulus; ¬˝Êà‚Ê„UŸ– Unique—only one of its kind;
•ŸÈ¬◊, •ÁmÃËÿ– Okay—all right; ∆UË∑§– Speculation—forming opinions without knowing all facts;
•ŸÈ◊ÊŸ– Take issue with—start disagreeing or arguing with; •‚„U◊Ã „UÊŸÊ, Ã∑¸§ ŒŸÊ– Expectantly—
hopefully; •Ê‡ÊÊ¬ÍáÊ¸ …¢Uª ‚– Reality—true situation; ÿÕÊÕ¸, flÊSÃÁfl∑§ÃÊ– Via—(here) by means of; ∑§
mÊ⁄UÊ– Manifestations—the act of appearing as a sign; ¬˝ÃË∑§ ∑§ M§¬ ◊¥ ¬˝∑§≈U „UÊŸ ∑§Ê ∑§Êÿ¸– Constituent—
one of the part that combine to make whole; ◊ÊÒÁ‹∑§ •¢‡Ê– Particles—smallest part; ¿UÊ≈U ‚ ¿UÊ≈UÊ
•¢‡Ê– Physicist—student of Physics; ¬ŒÊÕ¸ ÁflôÊÊŸË, ÷ÊÒÁÃ∑§Ë ∑§Ê ¿UÊòÊ– Startling—impressing with fear;
øÊÒ¥∑§ÊŸ flÊ‹Ë– Definitively—finally, unchangeably; •ÁãÃ◊ M§¬ ‚, Á’ŸÊ Á∑§‚Ë ¬Á⁄UflÃ¸Ÿ ∑§– Electron—a
very small piece of matter with a negative electric charge; •áÊÈ ∑§Ê ´§áÊÊà◊∑§ ™§¡Ê¸ flÊ‹Ê ÷Êª–
PAGE 68
Assertion—positive declaration; ‚∑§Ê⁄UÊà◊∑§ / ÁŸÁ‡ëÊÃ ÉÊÊ·áÊÊ– Quote odds—mention possibility;
‚ê÷ÊflŸÊ ’ÃÊŸÊ– Specified—specially designated; ÁŸÁ‡ëÊÃ– Location—a place where something
happens or exists, position of something; SÕÊŸ, •flSÕÊ– Determinism—the belief that people
are not free to choose what they are like or how they behave because these things are decided
by their background, surrounding and other things over which they have no control; ÁŸÁ‡øÃÃÊ–
Quantum theory—theory based on the idea that energy exists in units that cannot be
divided; •Áfl÷ÊÖÿ ÿÍÁŸ≈U ◊¥ ™§¡Ê¸ ∑§Ë ©U¬ÁSÕÁÃ ∑§Ê Á‚fÊãàÊ– Ignoramous—ignorant person; ◊Íπ¸ / •ôÊÊŸË √ÿÁÄàÊ–
Paused—stopped; L§∑§Ê– Marshall—to arrange; ∑˝§◊ ‚ ⁄UπŸÊ– Contact—close union/touching;
‚ê¬∑¸§– Orbiting—moving around in a orbit; ª˝„U¬Õ ◊¥ ÉÊÍ◊ŸÊ– Nucleus—the central part; ŸÊÁ÷∑§Ëÿ
∑§ãº˝– Interjected—said in between; ’Ëø ◊ ∑§„UÊ– Precise—exact; Á’À∑È§‹ ‚„UË– Trajectory—path
The Adventure n 23
described by a projectile; ¬˝ˇÊ¬ÊãÃ∑§ ∑§Ê ø∑˝§Ê∑§Ê⁄U ◊Êª¸– Pulse of radiation—single short increase in
powerful and very dangerous radio-active waves; ‡ÊÁÄàÊ‡ÊÊ‹Ë ÃÕÊ πÃ⁄UŸÊ∑§ ⁄UÁ«UÿÊœ◊Ë¸ Á∑§⁄UáÊÊ¥ ◊¥ ∞∑§ ¿UÊ≈UË
flÎÁf– Transition—process or period of change; ‚¢∑˝§◊áÊ ¬Á⁄UflÃ¸Ÿ ∑§h ¬˝Á∑˝§ÿÊ ÿÊ •flÁœ– Microscopic—
extremely small; •àÿÁœ∑§ ‹ÉÊÈ– Macroscopic—large enough; •ÁÃ ÁflSÃÎÃ– Fantastic—strange, odd;
ÁflÁøòÊ– Catastrophic situations—disastrous situations; Áfl¬ÁûÊ¬ÍáÊ¸ ÁSÕÁÃÿÊ°– Radically—(here)
quite; Á’À∑È§‹– Alternatives—choice between two things; Áfl∑§À¬– Proceed—move forward; •Êª
’…∏ŸÊ– Viable—that can be done or will be successful; ‚ê÷fl / ‚»§‹ „UÊŸ flÊ‹Ê– Bifurcation—division
into two parts; ŒÊ ÷ÊªÊ¥ (πá«UÊ¥) ◊¥ Áfl÷Ê¡Ÿ–
PAGE 69
Token—sign, symbol; Áø„˜ Ÿ U , ¬˝ Ã Ë∑§– Bother—annoy, upset; ¬⁄ U ‡ ÊÊŸ ∑§⁄U Ÿ Ê– Interaction—
communication; ‚¢øÊ⁄U, ’ÊÃøËÃ– Collision—crash; ≈U∑§⁄UÊfl– Neurons—cell that carry information
between the brain and the other parts of the body, nerve cells; ŸÊ«∏UË ∑§ÊÁ‡Ê∑§Êÿ¥, ‚ÍøŸÊ ÃãòÊËÿ ∑§ÊÁ‡Ê∑§Êÿ¥–
Trigger—cause of a particular reactions or development; Á∑§‚Ë Áfl‡Ê· ¬˝ÁÃÁ∑˝§ÿÊ •ÕflÊ Áfl∑§Ê‚ ∑§Ê ∑§Ê⁄UáÊ–
Recounting—telling what you have experienced; •¬Ÿ ÁŸ¡Ë •ŸÈ÷fl ∑§Ê fláÊ¸Ÿ ∑§⁄UŸÊ– Speculating—
forming an opinion without knowing all the details or facts; •ŸÈ◊ÊŸ ‹ªÊŸÊ– Grave—(here) sad or
serious; ªê÷Ë⁄U– Rudely—in a way that shows a lack of respect for other people and their feelings;
•Á‡Êc≈UÃÊ ‚– Interrupted—stopped in between; ’Ëø ◊¥ ⁄UÊ∑§ ÁŒÿÊ– Conveyed—communicated, made
known; ’ÃÊ ÁŒÿÊ– Regrets—(here) inability to attend; ©U¬ÁSÕÃ „UÊŸ ‚ •‚◊Õ¸ÃÊ– Organisers—those
who arrange; ‚¢øÊ‹∑§/√ÿflSÕÊ¬∑§–

I. Tick the statement that are true in the following: (Page 69)
1. The story is an account of real events. ( )
2. The story hinges on a particular historical event. ( )
3. Rajendra Deshpande was a historian. ( )
4. The places mentioned in the story are all imaginary. ( )
5. The story tries to relate history to science. ( )
Ans. 1. False, 2. True, 3. False, 4. False, 5. True.
II. Briefly explain the following statements from the text: (Page 69)
(Answer in upto 40 words)
1. ‘‘You neither travelled to the past nor the future. You were in the persent
experiencing a different world.’’
Ans. Gangadharpant, according to Rajendra Deshpande, had made a transition from one world
to another and back again. By making a transition, he was able to experience two worlds
although one at a time. He neither travelled to the past nor to the future. He was in the
present but experiencing a different world.
2. ‘‘You have passed through a fantastic experience: or more correctly, a
catastrophic experience.’’
Ans. Gangadharpant had passed through a strange experience. He had the experience of
living in two worlds–the one he lived in now and the other where he had spent two days.
This world had a different history. Rajendra explains his experience by terming it as a
catastrophic experience.
3. Gangadharpant could not help comparing the country he knew with that he
was witnessing around him.
Ans. Gangadharpant knew India which had seen the decline of the Peshwas and experienced
the slavery of the British. But the India he had seen in two days was entirely different.
It had not been subjected to slavery for the whitemen. It was self-dependant and enjoyed
self-respect. He compared the two countries–the one that he knew already and the other
that he was witnessing around him. Both had different histories.
4. ‘‘The lack of determinism in quantum theory!’’
Ans. The quantum theory is based on the idea that energy exists in units that cannot be divided.
This theory lacks the belief that people are not free to choose what they are like or how
they behave because these things are decided by their background, surroundings and
other things over which they have no control.
5. ‘‘You need some interaction to cause a transition.’’
Ans. Rajendra Deshpande explained to Gangadharpant that the latter was able to experience
two worlds by making a transition. Gangadharpant wanted to know why he made the
transition. Science does not provide a ready made answer to it. Rajendra observed that
one needs some interaction to cause a transition. He made a guess. Perhaps Professor
Gaitonde was then thinking about the catastrophe theory and its role in wars or he might
have been wondering about the Battle of Panipat.
1. Discuss the following in groups of two pairs, each taking opposite points of view:
(i) A single event may change the course of the history of a nation.
Ans. Sometimes a single event may prove so disastrous that it can change the course of the
history of a nation. For example, take the Battle of Panipat. Ahmad Shah Abdali had come
all the way from Kabul to attack Delhi. Since the Mughal Emperor at Delhi had no real
strength to fight his army, it was the Marathas who faced Abdali in the decisive battle at
Panipat. There was no difference between Abdali’s troops and the opposing forces. Their
armour was comparable. So, a lot depended on the leadership and morale of troops. At a
critical juncture, Vishwasrao was hit by a bullet. He was the son of the Peshawa and his
heir. His death proved to be the turning point. Bhausaheb rushed into the crowd and was
never seen again. The blow of losing their leaders was crucial for the troops. They lost
their morale and fighting spirit. The Marathas were completely defeated. The Britishers
were now free to start their expansionist programme. Gradually, they enslaved the whole
of India, except some states which had treaties with them.
∑§ß¸ ’Ê⁄U ∞∑§ •∑§‹Ë ÉÊ≈UŸÊ „UË ßÃŸË Áfl¬ÁûÊ∑§Ê⁄U∑§ „UÊÃË „ÒU Á∑§ ÿ„U ¬Í⁄U ⁄UÊc≈˛ ∑§Ê ßÁÃ„UÊ‚ ’Œ‹ ‚∑§ÃË „ÒU– ©UŒÊ„U⁄UáÊ ∑§ Á‹ÿ,
¬ÊŸË¬Ã ∑§ ÿÈf ∑§Ê „UË ‹ ‹ËÁ¡ÿ– •„U◊Œ‡ÊÊ„U •éŒÊ‹Ë ∑§Ê’È‹ ‚ ø‹∑§⁄U Œ„U‹Ë ¬⁄U •Ê∑˝§◊áÊ ∑§⁄UŸ •ÊÿÊ ÕÊ ÄÿÊ¥Á∑§
ÁŒÀÀÊË ∑§ ◊Èª‹ ‚◊˝Ê≈U ◊¥ ©U‚∑§Ë ‚ŸÊ ‚ ‹Ê„UÊ ‹Ÿ ∑§Ë ∑§Êß¸ flÊSÃÁfl∑§ ‡ÊÁÄàÊ Ÿ„UË¥ ÕË, ◊⁄UÊ∆Ê¥ Ÿ •éŒÊ‹Ë ∑§Ê ¬ÊŸË¬Ã ∑§Ë
ÁŸáÊÊ¸ÿ∑§ ‹«∏UÊß¸ ◊¢ ‚Ê◊ŸÊ Á∑§ÿÊ– •éŒÊ‹Ë ∑§Ë ‚ŸÊ ∑§Ë ≈ÈU∑§Á«∏UÿÊ¥ ÃÕÊ Áfl⁄UÊœË ‚ŸÊ ◊¥ ∑§Êß¸ •ãÃ⁄U Ÿ„UË¥ ÕÊ– ©UŸ∑§ ‡ÊSòÊÊ¥ ‚
‚È‚ÁÖÖÊÃ flÊ„UŸ ÷Ë ÃÈ‹ŸÊ ◊¥ ∞∑§ ¡Ò‚ Õ– •Ã— ∑§Ê»§Ë ∑È§¿U ŸÃÎàfl ∞fl¢ ‚ŸÊ ∑§ ŸÒÁÃ∑§ ©Uà‚Ê„U („UÊÒ‚‹) ¬⁄U ÁŸ÷¸⁄U ÕÊ– ∞∑§
ŸÊ¡È∑§ ◊Ê«∏U ¬⁄U Áfl‡√ÊÊ‚⁄UÊfl ∑§Ê ∞∑§ ªÊ‹h ‹ªË– fl„U ¬‡ÊflÊ ∑§Ê ¬ÈòÊ ∞fl¢ ©UûÊ⁄UÊÁœ∑§Ê⁄UË ÕÊ– ©U‚∑§Ë ◊ÎàÿÈ Ÿ ’Ê¡Ë ¬‹≈U ŒË–
÷Ê©U‚Ê„U’ ÷Ë«U∏ ◊¥ ÉÊÈ‚ ÃÕÊ Á»§⁄U ∑§÷Ë ÁŒπÊß¸ Ÿ„UË¥ ÁŒÿ– ŸÃÊ•Ê¥ ∑§Ê πÊŸ ∑§Ë øÊ≈U ‚ŸÊ ∑§Ë ≈ÈU∑§Á«∏UÿÊ¥ ∑§ Á‹ÿ ÁŸáÊÊ¸ÿ∑§
(◊„Uûfl¬ÍáÊ¸)U ⁄U„UË– fl •¬ŸË ŸÒÁÃ∑§ ©Uà‚Ê„U ÃÕÊ ¡È¤ÊÊM§¬Ÿ πÊ ’Ò∆U– ◊⁄UÊ∆U ¬ÍáÊ¸ M§¬ ‚ ¬⁄UÊÁ¡Ã „UÊ ªÿ– •’ •¢ª˝¡ •¬ŸÊ
ÁflSÃÊ⁄UflÊŒ ∑§Ê ∑§Êÿ¸∑˝§◊ •Ê⁄Uê÷ ∑§⁄UŸ ∑§ Á‹ÿ SflÃãòÊ Õ– œË⁄U-œË⁄U, ©Uã„UÊ¥Ÿ ∑È§¿U ©UŸ ⁄UÊÖÿÊ¥ ∑§ •ÁÃÁ⁄UÄàÊ Á¡Ÿ∑§Ë ©UŸ∑§
‚ÊÕ ‚ÁãœÿÊ° ÕËa] ¬Í⁄U ÷Ê⁄UÃ ∑§Ê ŒÊ‚ ’ŸÊ Á‹ÿÊ–
(ii) Reality is what is directly experienced through the senses.
Ans. What is reality? Some say that reality is what we experience directly through the senses.
Other are of the opinion that we may experience reality through instruments as well.
Then another question arises: Whether reality is limited to what we see or if it has other
forms to make itself known. Reality may not be unique. Experiments on atoms and their
particles have proved it. The bahaviour of these small systems is quite startling. It cannot
be predicted definitively, even if all the physical laws governing those systems are known.
An electron fired from a source may be found here, there, anywhere. So there may be
many world pictures. In one world the electron is found here, in another it is over there.
The Adventure n 25
In yet another it is in a still different location. Once the observer finds where it is, we
know which world we are talking about. But all those alternative worlds could exist just
the same. A transition is needed to reach the other worlds. Hence reality is always not
what is directly experienced through the senses.
ÿÕÊÕ¸ (flÊSÃÁfl∑§ÃÊ) ÄÿÊ „ÒU? ∑È§¿U ‹Êª ∑§„UÃ „Ò¥U Á∑§ ÿÕÊÕ¸ fl„U „UË „Ò Á¡‚ „U◊ •¬ŸË ôÊÊŸ ßÁãº˝ÿÊ¥ mÊ⁄UÊ ¬˝àÿˇÊ M§¬ ‚

•ŸÈ÷fl ∑§⁄UÃ „Ò¥U– •ãÿ ‹ÊªÊ¥ ∑§Ê ÿ„U ◊Ã „ÒU Á∑§ „U◊ ÿÕÊÕ¸ ∑§Ê ©U¬∑§⁄UáÊÊ¥ mÊ⁄UÊ ÷Ë •ŸÈ÷fl ∑§⁄U ‚∑§Ã „Ò¥U– Á»§⁄U ∞∑§ ¬˝‡ãÊ •ÊÒ⁄U
©U∆UÃÊ „ÒU— ÄÿÊ ÿÕÊÕ¸ ©U‚Ë Ã∑§ ‚ËÁ◊Ã „ÒU ¡Ê „U◊ ŒπÃ „Ò¥U •ÕflÊ ß‚ Sflÿ¢ ∑§Ê ¬˝∑§≈U ∑§⁄UŸ ∑§ Á‹ÿ •ãÿ M§¬ ÷Ë „ÒU– ‚ê÷fl
„ÒU Á∑§ ÿÕÊÕ¸ (flÊSÃÁfl∑§ÃÊ) •ÁmÃËÿ (•ŸÈ¬◊) Ÿ „UÊ– ¬⁄U◊ÊáÊÈ ÃÕÊ ©UŸ∑§ ‚Íˇ◊ ∑§áÊÊ¥ ¬⁄U Á∑§ÿ ªÿ ¬˝ÿÊªÊ¥ Ÿ ÿ„U Á‚f
∑§⁄U ÁŒÿÊ „ÒU– ßŸ ¿UÊ≈UË-¿UÊ≈UË ¬˝áÊÊÁ‹ÿÊ¥ ∑§Ê √ÿfl„UÊ⁄U øÊÒ¥∑§ÊŸ flÊ‹Ê „ÒU– ß‚∑§Ë ¬ÍáÊ¸ ÁŸÁ‡ëÊÃ M§¬ ‚ ÷ÁflcÿflÊáÊË Ÿ„UË¢ ∑§Ë ¡Ê
‚∑§ÃË, øÊ„U ßŸ ¬˝áÊÊÁ‹ÿÊ¥ ∑§Ê ÁŸÿÁãòÊÃ ∑§⁄UŸ flÊ‹ ‚÷Ë ÷ÊÒÁÃ∑§ ÁŸÿ◊ ôÊÊÃ „UÊ¥–
∞∑§ ß‹ÒÄ≈˛UWÊŸ (•áÊÈ ∑§Ë ´§áÊÊà◊∑§ ‡ÊÁÄàÊ flÊ‹Ê ÷Êª) Á¡‚ •¬Ÿ dÊÃ ‚ ŒÊªÊ (¿UÊ«∏UÊ) ªÿÊ „ÒU, fl„U ÿ„UÊ°, fl„UÊ°, ∑§„UË¥ ÷Ë
¬ÊÿÊ ¡Ê ‚∑§ÃÊ „ÒU– •Ã— ‚¢‚Ê⁄U ∑§ ∑§ß¸ ÁøòÊ „UÊ ‚∑§Ã „Ò¥U– ∞∑§ ‚¢‚Ê⁄U ◊¥ ÿ„U ß‹ÒÄ≈˛UWÊŸ ÿ„UÊ° ¬ÊÿÊ ¡Êÿ, ŒÍ‚⁄U ◊¥ ÿ„U fl„UÊ°
„Ê ‚∑§ÃÊ „ÒU– Á∑§‚Ë •ãÿ ◊¥ ÿ„U •ÊÒ⁄U ÷Ë •‹ª (Á÷ããÊ) SÕÊŸ ¬⁄U „ÒU– ∞∑§ ’Ê⁄U ¬ÿ¸flˇÊ∑§ ÿ„U ¡ÊŸ ‹ Á∑§ ÿ„U ∑§„UÊ° „ÒU, ÃÊ
„U◊¥ ôÊÊÃ „UÊ ¡ÊÃÊ „ÒU Á∑§ „U◊ Á∑§‚ ‚¢‚Ê⁄U ∑§Ë ’ÊÃ¥ ∑§⁄U ⁄U„U „Ò¥U– Á∑§ãÃÈ ÿ ‚Ê⁄U flÒ∑§ÁÀ¬∑§ ‚¢‚Ê⁄U ÃÊ Á»§⁄U ÷Ë Áfll◊ÊŸ „Ò¥U– •ãÿ
‚¢‚Ê⁄UÊ¥ ◊¥ ¬„È°UøŸ ∑§ Á‹ÿ ‚¢∑˝§◊áÊ (¬Á⁄UflÃ¸Ÿ) ∑§Ë •Êfl‡ÿ∑§ÃÊ „UÊÃË „ÒU– •Ã— flÊSÃÁfl∑§ÃÊ „U◊‡ÊÊ ∑§fl‹ fl„U „UË Ÿ„UË¥ „UÊÃË
Á¡‚∑§Ê „U◊ •¬ŸË ôÊÊŸÁãº˝ÿÊ¥ mÊ⁄UÊ ¬˝àÿˇÊ •ŸÈ÷fl ∑§⁄rs gSa–
(iii) The method of inquiry of history, science and philosophy are similar.
Ans. History, science and philosophy—all depend on analysis of facts. History is a detailed
account of the events that occurred in a particular area—a state, nation or world
during a particular period. Science has its laws codified which are based on observation,
experiments and conclusion. Philosophy is the study of nature and meaning of the universe
and of human life. It deals with deeper questions.
However, the methods of inquiry in all these branches of knowledge, i.e. history, science and
philosophy are the same. We apply the methods of induction and deduction. Observation
and analysis are the tools of the researchers. Every finding is carefully analysed and
verified. A historian collects facts and tests their veracity (truthfullness) by comparing
them with contemporary accounts. Similarly, a scientist does not evolve a law on the basis
of a single experiment. A principle in Philosophy is an outcome of sustained observation,
analysis and comparison.
Today we find the methods of science being used to explain history.
ßÁÃ„Ê‚, ÁflôÊÊŸ ÃÕÊ Œ‡Ê¸Ÿ'kkL=kµ‚÷Ë ÃâÿÊ¥ ∑§ Áfl‡ÀÊ·áÊ ¬⁄U ÁŸ÷¸⁄U ∑§⁄UÃ „Ò¥U– ßÁÃ„UÊ‚ ©UŸ ÉÊ≈UŸÊ•Ê¥ ∑§Ê ÁflSÃÎÃ fláÊ¸Ÿ „ÒU
¡Ê Á∑§‚Ë ˇÊòÊ Áfl‡ÊcÊµ⁄UÊÖÿ, Œ‡Ê ÿÊ ‚¢‚Ê⁄U ◊¢ Á∑§‚Ë Áfl‡Ê· ∑§Ê‹ ◊¥ ÉÊÁ≈UÃ „ÈUß¸– ÁflôÊÊŸ ∑§ •¬Ÿ ÁŸÿ◊ „Ò¥U Á¡ã„¥U ¬ÿ¸flsˇÊáÊ]
¬˝ÿÊªÊ¥ ÃÕÊ ÁŸc∑§·ÊZ ∑§ •ÊœÊ⁄U ¬⁄U ‚ÍøË’f ∑§⁄U ÁŒÿÊ ¡ÊÃÊ „ÒU– Œ‡Ê¸Ÿ‡ÊÊSòÊ ¬˝∑Î§ÁÃ, ’˝„U˜◊Êá«U ∑§ •Õ¸ ÃÕÊ ◊ÊŸfl ¡ËflŸ ∑§Ê
•äÿÿŸ „ÒU– ÿ„U ª„U⁄U ¬˝‡ãÊÊ¥ ‚ ‚ê’ÁãœÃ „Ò¥U–
Á∑§ãÃÈ ôÊÊŸ ∑§Ë ßŸ ‚÷Ë ‡ÊÊπÊ•Ê¥ •ÕÊ¸Ã ßÁÃ„UÊ‚, ÁflôÊÊŸ ∞fl¢ Œ‡Ê¸Ÿ‡ÊÊSòÊ ◊¥ πÊ¡ ∑§⁄UŸ ∑§ …¢ª ∞∑§ ¡Ò‚ „Ò¥U– „U◊ ÁŸÿÊ¡Ÿ
(√ÿÊ¬∑§ ‚ √ÿÊåÿ ∑§Ê Ã∑¸§) ∞fl¢ ¬˝÷ÊflÊà¬ÊŒŸ (•Ÿ∑§ ©UŒÊ„U⁄UáÊÊ¥ mÊ⁄UÊ ‚Ê◊Êãÿ ÁŸÿ◊ ∑§Ê •ŸÈ◊ÊŸ ∑§⁄UŸÊ) ∑§ …¢Uª ‹ÊªÍ
∑§⁄UÃ „Ò¥U– ¬ÿ¸flˇÊáÊ ÃÕÊ Áfl‡ÀÊ·áÊ •ŸÈ‚¢œÊŸ∑§ÃÊ¸•Ê¥ ∑§ •ÊÒ¡Ê⁄U „Ò¥U– ¬˝àÿ∑§ •ŸÈ‚ãœÊŸ (πÊ¡) ∑§Ë ‚ÊflœÊŸË ‚ ¡Ê¢ø ÃÕÊ
Áfl‡ÀÊ·áÊ Á∑§ÿÊ ¡ÊÃÊ „ÒU– ∞∑§ ßÁÃ„UÊ‚∑§Ê⁄U Ãâÿ ∞∑§ÁòÊÃ ∑§⁄UÃÊ „ÒU ÃÕÊ ‚◊∑§Ê‹ËŸ Áflfl⁄áÊÊ¥ ‚ ÃÈ‹ŸÊ ∑§⁄U∑§ ©UŸ∑§ ‚àÿk¬Ÿ
∑§Ë ¡Ê¢ø ∑§⁄UÃÊ „ÒU– ßU‚Ë ¬˝∑§Ê⁄U, ∞∑§ flÒôÊÊÁŸ∑§ Á∑§‚Ë ∞∑§ ¬˝ÿÊª ∑§ •ÊœÊ⁄U ¬⁄U ÁŸÿ◊ Ÿ„UË¥ ÁŸ∑§Ê‹ ŒÃÊ– Œ‡Ê¸Ÿ ◊¥ ∑§Êß¸ ÷Ë
Á‚fÊãÃ ‹ªÊÃÊ⁄U äÿÊŸ ‚ ŒπŸ, Áfl‡ÀÊ·áÊ ÃÕÊ ÃÈ‹ŸÊ ∑§Ê ¬Á⁄UáÊÊ◊ „ÒU– •Ê¡ ∑§‹ „U◊ ßÁÃ„UÊ‚ ∑§Ë √ÿÊÅÿÊ ∑§⁄UŸ ∑§ Á‹ÿ
ÁflôÊÊŸ ∑§ …¢UªÊ¥ ∑§Ê ¬˝ÿÊª ◊¥ ‹ÊÃ „ÈUÿ ¬Ê ⁄U„U „Ò¥U–
2. (i) The story is called ‘‘Adventure’’. Compare it with the adventure described in
‘‘We’re not Afraid To Die.’’
Ans. The adventure described in ‘‘We’re not Afraid To Die’’ involves the experiences of six
characters namely the narrator, his wife Mary, son Jonathan, daughter Suzanne and
crew members Larry Vigil and Herb Seigler, whereas the story ‘Adventure’ recounts the
experiences of only one person—professor Gaitonde. Both stories present human beings
imbued with a spirit of adventure and inquiry. The ship ‘Wavewalker’ carries its passengers
around the world in a sea voyage where they come across disastrous sea waves in strange
seas. Professor Gaitonde’s railway journey in Jijamata Express carries him to the part of
country which he has seen for the first time. Both stories contain horrible circumstances
and dangerous events. The collision of the ship ‘Wavewalker’ with huge sea waves puts
the life of all the passengers in danger. Professor Gaitonde’s collision with a truck makes
him senseless. The captain and crew, caught in the web of huge sea waves, make efforts
to save the ship and reach a place of safety. Professor Gaitonde tries to persuade a hostile
audience and is manhandled. He seeks scientific explanation of his transition to another
world and return therefrom.
‘‘We’re not Afraid to Die’’ ◊¥ flÁá¸ÊÃ ‚Ê„UÁ‚∑§ •Á÷ÿÊŸ ◊¥ ¿U—U ¬ÊòÊÊ¥ ∑§Ê •ŸÈ÷fl ‚◊ÊÿÊ „ÈU•Ê „ÒU– ÿ „ÒU¥-fláÊ¸Ÿ∑§ÃÊ¸, ©U‚∑§Ë
¬àŸË ◊Ò⁄UË, ¬ÈòÊ ¡ÊŸÊÕŸ, ¬ÈòÊË ‚È¡ÒŸ ÃÕÊ ¬ÊÃ ∑§◊¸øÊ⁄UË, ‹Ò⁄UË ÁflÁ¡‹ ∞fl¢ „U’¸ ‚Ëª‹⁄U, ¡’Á∑§ ∑§„UÊŸË ‘Adventure’ ∑§fl‹
∞∑§ √ÿÁÄàÊ ¬˝Ê»§‚⁄U ªÊÿÃÊã«U ∑§ •ŸÈ÷flÊ¥ ∑§Ê fláÊ¸Ÿ ∑§⁄UÃË „ÒU– ŒÊŸÊ¥ ∑§„UÊÁŸÿÊ° ∞‚ ◊ÊŸflÊ¥ ∑§Ê ¬˝SÃÈÃ ∑§⁄UÃË „ÒU ¡Ê ‚Ê„U‚ ÃÕÊ
Á¡ôÊÊ‚Ê ∑§Ë ÷ÊflŸÊ ‚ •ÊÃ¬˝ÊÃ „Ò¥U ¬ÊÃ “flflflÊ∑§⁄U” •¬Ÿ ÿÊÁòÊÿÊ¥ ∑§Ês ‹ê’Ë ‚◊Èº˝Ë ÿÊòÊÊ ◊¥ ‚¢‚Ê⁄U ∑§ øÊ⁄UÊ¥ •Ê⁄U ‹ ¡ÊÃË „ÒU ¡„UÊ°
•Ÿ¡ÊŸ ‚◊Èº˝ ◊¥ ©UŸ∑§Ë ◊È∆U÷«∏U Áfl¬ÁûÊ ∑§Ê⁄U∑§ ‚◊Èº˝Ë ‹„U⁄UÊ¥ ‚ „UÊ ¡ÊÃË „ÒU– ¬˝Ê»§‚⁄U ªÊÿÃÊã«U ∑§Ë ¡Ë¡Ê◊ÊÃÊ ∞Ä‚¬̋‚ ◊¥ ÿÊòÊÊ
©U‚ Œ‡Ê ∑§ ∞‚ ÷Êª ◊¥ ‹ ¡ÊÃË „ÒU ¡Ê ©U‚Ÿ ¬„U‹Ë „UË ’Ê⁄U ŒπÊ „ÒU– ŒÊŸÊ¥ ∑§„UÊÁŸÿÊ¥ ◊¥ ÷ÿ¢∑§⁄U ¬Á⁄ÁSÕÁÃÿÊ¢ ∞fl¢ ÅÊ∏Ã⁄UŸÊ∑§ ÉÊ≈UŸÊÿ¥
„Ò¥U– ¬ÊÃ “flfl’Ê∑§⁄U” ∑§Ê Áfl‡ÊÊ‹ ‚◊Èº˝Ë ‹„U⁄UÊ¥ ‚ ≈U∑§⁄UÊfl ‚Ê⁄U ÿÊÁòÊÿÊ¥ ∑§ ¡ËflŸ ∑§Ê ‚¢∑§≈U ◊¥ «UÊ‹ ŒÃÊ „ÒU– ¬˝Ê»§‚⁄U ªÊÿÃÊã«U ∑§Ë
≈˛U∑§ ‚ ≈UÄ∑§⁄ ©U‚ ’„UÊ‡Ê ∑§⁄U ŒÃË „ÒU– Áfl‡ÊÊ‹ ‚◊Èº˝Ë ‹„U⁄Ê¥ ∑§ ¡Ê‹ ◊¥ ∑ åàÊÊŸ ÃÕÊ ∑§◊¸øÊ⁄UË ¡„UÊ¡ ∑§Ê ’øÊŸ ÃÕÊ ‚È⁄UÁˇÊÃ
SÕÊŸ ¬⁄U ¬„È°UøŸ ∑§Ê ¬˝ÿÊ‚ ∑§⁄UÃ „Ò¥U– ¬˝Ê»§‚⁄U ªÊÿÃÊã«U •◊ÒòÊË ¬ÍáÊ¸ üÊÊÃÊ•Ê¥ ∑§Ê ‚◊¤ÊÊŸ ∑§Ë øc≈Ê ∑§⁄UÃÊ „ÒU ÃÕÊ ©U‚ ‡ÊÊ⁄UËÁ⁄U∑§
M§¬ ‚ œ∑§‹Ê-¬Ë≈UÊ ¡ÊÃÊ „ÒU– fl„U •ãÿ ‚¢‚Ê⁄U ◊¥ •¬Ÿ ‚¢∑˝§◊áÊ ÃÕÊ fl„UÊ° ‚ ‹ÊÒ≈UŸ ∑§Ë flÒôÊÊÁŸ∑§ √ÿÊÅÿÊ Ã‹Ê‡Ê ∑§⁄UÃÊ „ÒU–U
(ii) Why do you think Professor Gaitonde decided never to preside over meetings
again?
Ans. Professor Gaitonde had the experience of speaking at 999 meetings and had faced the
Pune audience as being most hostile. During his visit to the other world, he found a lecture
going on at Azad Maidan. The presidential chair on the stage was unoccupied. Professor
Gaitonde who believed in propriety and decorum in social and public life, considered it
to be a sacrilege and wanted to correct the wrong act. He went to the mike to express his
views. But the unfriendly audience was in no mood to listen. They declared that they were
sick of remarks from the chair, of vote of thanks, of long introductions. They only wanted to
listen to the speaker. They had abolished the old customs long ago. The presidential chair
was just symbolic. The crowd interrupted Professor Gaitonde in his lecture and pushed
him with force bodily. This was a very harrowing experience for the eminent historian
and he decided never to preside over meetings again.
¬˝Ê»§‚⁄U ªÊÿÃÊã«U ∑§Ê ~~~ ‚÷Ê•Ê¥ ◊¥ ’Ê‹Ÿ ∑§Ê •ŸÈèÊfl ÃÕÊ ©U‚Ÿ ¬ÈáÊ ∑§ üÊÊÃÊ•Ê¥ ∑§Ê ©UŸ∑§ ‚flÊ¸Áœ∑§ ‡ÊòÊÈÃÊ¬ÍáÊ¸ …¢Uª ∑§ „UÊŸ
¬⁄U ÷Ë ‚Ê◊ŸÊ Á∑§ÿÊ ÕÊ– ŒÍ‚⁄U ‚¢‚Ê⁄U ◊¥ •¬Ÿ ÷˝◊áÊ ∑§ ŒÊÒ⁄UÊŸ ©U‚Ÿ •Ê¡ÊŒ ◊ÒŒÊŸ ◊¥ ∞∑§ ÷Ê·áÊ ¡Ê⁄UË ⁄U„UÃ „ÈUÿ ŒπÊ– ◊¢ø ¬⁄U
‚÷Ê •äÿˇÊËÿ ∑È§‚Ë¸ Á⁄UÄàÊ ÕË– ¬˝Ê»§‚⁄U ªÊÿÃÊã«U, ¡Ê ‚Ê◊ÊÁ¡∑§ ÃÕÊ ‚Êfl¸¡ÁŸ∑§ ¡ËflŸ ◊¥ ‚ŒÔ˜√ÿfl„UÊ⁄U ÃÕÊ ◊ÿÊ¸ÁŒÃ Á‡Êc≈UÊøÊ⁄U
◊¥ Áfl‡√ÊÊ‚ ∑§⁄UÃÊ ÕÊ, Ÿ ß‚ ∞∑§ •¬ÁflòÊ ∑§Êÿ¸ ◊ÊŸÊ ÃÕÊ ß‚ ª‹Ã ∑§Êÿ¸ ∑§Ê ∆UË∑§ ∑§⁄UŸÊ øÊ„UÊ– fl„U •¬Ÿ ÁfløÊ⁄U √ÿÄàÊ ∑§⁄UŸ
◊Êß∑˝§Ê»§ÊŸ Ã∑§ ªÿÊ– Á∑§ãÃÈ ÿ„U •◊ÒòÊË¬ÍáÊ¸ üÊÊÃÊ ◊á«U‹ ©U‚∑§Ë ∑§Êß¸ ÷Ë ’ÊÃ ‚ÈŸŸ ∑§Ë ◊ŸÊŒ‡ÊÊ ◊¥ Ÿ„UË¥ ÕÊ– ©Uã„UÊ¥Ÿ ÉÊÊ·áÊÊ ∑§Ë
Á∑§ fl •äÿˇÊ ∑§ ÷Ê·áÊÊ¥ ‚, äÊãÿflÊŒ ¬˝SÃÊflÊ¥ ‚ ÃÕÊ ‹ê’ ¬Á⁄UøÿÊ¥ ‚ Ã¢ª •Ê øÈ∑§ Õ– fl ∑§fl‹ üÊÊÃÊ ∑§Ê „UË ‚ÈŸŸÊ øÊ„UÃ
Õ– ©Uã„UÊ¥Ÿ ¬È⁄UÊŸ ⁄UËÁÃ-Á⁄UflÊïÊ ’„ÈUÃ ¬„U‹ „UË ‚◊ÊåàÊ ∑§⁄U ÁŒÿ Õ– •äÿˇÊËÿ •Ê‚Ÿ ÃÊ ¬˝ÃË∑§Êà◊∑§ ÕÊ– ÷Ë«∏U Ÿ ¬˝Ê»§‚⁄U ªÊÿÃÊã«U
∑§ ÷Ê·áÊ ◊¥ L§∑§Êfl≈U «UÊ‹Ë ÃÕÊ ©U‚ ‡ÊÊ⁄UËÁ⁄U∑§ M§¬ ‚ ’‹¬Ífl¸∑§ œ∑§‹ ÁŒÿÊ– ÿ„U ¬˝Á‚f ßÁÃ„Ê‚∑§Ê⁄U ∑§ Á‹ÿ •ãÿãÃ ◊◊¸÷ŒË
(¬Ë«∏UÊŒÊÿ∑§) •ŸÈ÷fl ÕÊ ÃÕÊ ©U‚Ÿ ÁŸ‡ëÊÿ ∑§⁄U Á‹ÿÊ Á∑§ Á»§⁄U ∑§÷Ë Á∑§‚Ë ‚÷Ê ∑§Ë •äÿˇÊÃÊ Ÿ„UË¥ ∑§⁄UªÊ–
C. THINKING ABOUT LANGUAGE (PAGE 70)
1. In which language do you think Gangadharpant and Khan Sahib talked to
each other? Which language did Gangadharpant use to talk to the English
receptionist?
Ans. Gangadharpant and Khan Sahib talked to each other in Urdu or Persian. Gangadharpant
used English while talking to the English receptionist.
The Adventure n 27
2. In which language do you think ‘Bhausahebanchi Bakhar’ was written?
Ans. ‘Bhansahebanchi Bakhar’ was written in Marathi.
3. There is mention of three communities in the story, the Marathas, the Mughals,
the Anglo-Indians. What language do you think they used within their
communities and while speaking to the other groups?
Ans. Within their communities, the Marathas used Marathi, the Mughals used Urdu and
the Anglo-Indians used English. While speaking to the other groups they used the
language which was intelligible to the listener and helped them to express their thoughts.
Sometimes it could be a mixture of two languages.
4. Do you think that the ruled always adopt the language of the rulers?
Ans. The masses do not always adopt the language of the rulers, but the classes always do so.
It is because in courts, offices, banks, educational institutions, etc. the language of the
rulers gets the place of pride. So, that section of the ruled who want to get any benefit
from the rulers do adopt the language of the rulers.
D. WORKING WITH WORDS (PAGES 70-71)
I. Tick the item that is closest in meaning to the given phrases:
1. to take issue with
(i) to accept (ii) to discuss (iii) to disagree (iv) to add
2. to give vent to
(i) to express (ii) to emphasise (iii) to suppress (iv) to dismiss
3. to stand on one’s feet
(i) to be physically strong (ii) to be independent
(iii) to stand erect (iv) to be successful
4. to be wound up
(i) to become active (ii) to stop operating
(iii) to be transformed (iv) to be destroyed
5. to meet one’s match
(i) to meet a partner who has similar tastes
(ii) to meet an opponent
(iii) to meet someone who is equally able as oneself
(iv) to meet defeat.
Answers
1. (iii) to disagree, 2. (i) to express, 3. (ii) to be independent, 4. (ii) to stop operating,
5. (iii) to meet someone who is eqully able as oneself.
II. Distinguish between the following pairs of sentences: (Page 71)
1. (i) He was visibly moved.
Ans. He was moved in a way that was easily noticeable.
(ii) He was visually impaired.
Ans. His sight was impaired.
2. (i) Green and black stripes were used alternately.
Ans. Green and black stripes were used one after the other.
(ii) Green stripes could be used to alternatively black ones.
Ans. Either green stripes or black ones could be used.
3. (i) The team played the two matches successfully.
Ans. The team achieved success in the two matches it played.
(ii) The team played two matches successively.
Ans. The team played two matches one after the other.
4. (i) The librarian spoke respectfully to the learned scholar.
Ans. The librarian spoke with respect to the learned scholar.
(ii) You will find the historian and the scientist in the archaeology and natural science
sections of the museum respectively.
Ans. You will find the historian and the scientist in the archaeology and natural science sections
of the museum in the same order as the people or thing already mentioned.
III. Notice these expressions in the text. Guess the meaning from the context:
(Page 60)
 blow by blow account  de facto
 morale booster  astute
 relegated to  doctored accounts
 political acumen  gave vent to
Ans.  blow by blow account: a description of an event which gives you all the details in
the order in which they happen
 morale booster: encouraging/increasing confidence
 relegated to: ignored/pushed to lower position
 political acumen: political sharpness
 de facto: real, actual, in fact
 astute: shrewd, crafty
 doctored accounts: manipulated (false) descriptions
 gave vent to: expressed.
E. NOTICING FORM (PAGE 72)
The story deals with unreal condition and hypothetical situations. Some of the
sentences used to express this notion are given below:
1. If I fire a bullet from a gun in a given direction at a given speed, I know where it will
be at a later time.
2. If I knew the answer I would solve a great problem.
3. If he himself were dead in this world, what guarantee had he that his son would be alive.
4. What course would history have taken if the battle had gone the other way?
Notice that in an unreal condition, it is clearly expected that the condition will not be
fulfilled.
I. Read the following passage on the Catastrophe Theory downloaded from the
Internet.
Originated by the French mathematician, Rene Thom, in the 1960s, catastrophe theory
is a special branch of dynamical systems theory. It studies and classifies phenomena
characterized by sudden shifts in behaviour arising from small changes in circumstances.
Catastrophes are bifurcations between different equilibria, or fixed point attractors. Due
to their restricted nature, catastrophes can be classified based on the basis of how many
control parameters are being simultaneously varied. For example, if there are two controls,
then one finds the most common type, called a ‘‘cusp’’ catastrophe. If, however, there are
more than five controls, there is no classification.
Catastrophe theory has been applied to a number of different phenomena, such as the
stability of ships at sea and their capsizing, bridge collapse, and, with some less convincing
success, the fight-or-flight behaviour of animals and prison riots.
II. Look up the internet or an encyclopedia for information on the following theories:
(i) Quantum theory (ii) Theory of relativity
(iii) Big Bang theory (iv) Theory of evolution.
Answers
(i) Quantum Theory. Quantum means a very small quantity of electromagnetic energy.
Quantum theory is based on the idea that energy exists in units that can’t be divided.
(ii) Theory of relativity. Einstein’s 1905 paper ‘‘On the Electro dynamics of Moving
Bodies’’ introduced the special theory of relativity. Special relativity considers that
observers in inertial reference frames, which are in uniform motion relative to one
another, cannot perform any experiment to determine which one of them is stationary.
This is known as the principle of relativity.
The Adventure n 29
Einstein’s theory of relativity is his theory of universe which states that all motion
is relative and treats time as a fourth dimension related to space.
(iii) Big Bang theory. The Big Bang theory is an effort to explain what happened at the very
beginning of our universe. Discoveries in astronomy and physics have shown beyond a
reasonable doubt that our universe did in fact have a beginning. Prior to that moment
there was nothing; during and after that moment there was something: our universe.
The big bang theory is an effort to explain what happened during and after that moment.
After its initial appearance, it (the ‘‘Big Bang’’), apparently inflated, expanded and
cooled, going from very, very small and very, very hot, to the size and temperature of
our current universe. It continues to expand and cool to this day and we are inside of it:
incredible creatures living on a unique planet, circling a beautiful star clustered together
with several hundred billion other stars in a galaxy soaring through the cosmos, all of
which is inside an expanding universe that began as an infinitesimal singularity which
appeared out of nowhere for reasons unknown. This is the Big Bang theory.
(iv) Theory of Evolution. Biological evolution is genetic change in a population from one
generation to another. The speed and direction of change is variable with different
species lines and at different times. Continuous evolution over many generations can
result in the develpment of new varieties and species. Likewise, failure to evolve in
response to environmental changes can, and often does, lead to extinction. Charles
Darwin modified his religious beliefs, as a result of the discovery of convincing proof of
evolution. In his famous book, ‘On the Origin of Species’, Darwin states his theory
of evolution. Simply put evolution is the process of gradual development of plants,
animals features over many years from simple to more complex forms.

1. What plan of action had Professor Gaitonde arrived at?
Ans. Professor Gaitonde had decided to go to a big library at Bombay and browse through
history books. Then he would find out how the present state of affairs was reached. On
his return to Pune, he would have a long talk with Rajendra Deshpande. He hoped that
Rajendra would help him understand what had happened.
2. Gangadhar Pant had not been to ‘this Bomabay before’. How was ‘the Bombay’
different?
Ans. This Bombay was under the British Raj. An Anglo-Indian in uniform checked permits.
Each of the blue carriages of GBMR had the tiny Union Jack painted on it. The Victoria
Terminus station looked very neat and clean. The staff was mostly of Anglo-Indians and
Parsis along with a handful of British officers.
3. What led Professor Gaitonde to believe that ‘history has taken a different turn,
perhaps before 1857?
Ans. Professor Gaitonde noticed an imposing building facing Bombay V.T. It was called East
India House, Headquarters of the East India Company. He knew that the East India
Company had been wound up shortly after the events of 1857. Yet here it was not only
alive but also flourishing. So he concluded that history had taken a different turn.
4. How did the shops and office buildings along Hornby Road differ from those he
knew well?
Ans. The Bombay he knew had a tower of OCS building. It peeped above the shorter victorian
buildings. There was Handloom House also. There were no such buildings along the Road.
Instead there were Boots and Woolworth department stores and offices of Lloyds, Barclays
and other British banks.
5. ‘‘This was a blow, not totally unexpected.’’ What was the blow and how was it
not totally unexpected?
Ans. At Forbes building, Professor Gaitonde made enquiries about his son Vinay Gaitonde. The
English receptionist searched through the telephone list, the staff list and directory of
employees of all the branches. She told him that she could not find his name there. This
was a blow, but not totally unexpected one. If he himself were dead in this world, his son
might not be alive or he might not even have been born.
6. Which according to Gangadharpant was the precise moment where history had
taken a different turn?
Ans. The victory of the Marathas in the Battle of Panipat was very important. Abdali was
defeated completely and pursued back to Kabul by the triumphant Maratha army led by
Sadashivrao Bhau and his nephew, the young Vishwasrao.
7. ‘‘Gangdharpant read through the account avidly.’’ Which account is referred to
here? Why did he read it avidly?
Ans. It was not blow by blow account of the battle itself, but its consequences for the power
struggle in India. The style of writing was unmistakably Gangadharpant’s own, yet he
was reading this account for the first time. So he read it eagerly.
8. How did the Victory in the Battle of Panipat affect the balance of power?
Ans. It was a great morale booster to the Marathas. It established their supremacy in northern
India. The influence of Bhausaheb and Vishwasrao increased. The East India Company
postponed its expansionist programme. Vishwasrao and his brother Madhavrao had
political sharpness and bravery. The Company’s influence was reduced to small areas
near Bombay, Calcutta and Madras.
9. How was the balance of power maintained in the nineteenth century?
Ans. The Peshwas kept the puppet regime alive in Delhi. There were political reasons for it.
The Peshwas were the real rulers from Pune. They recognised the importance of the
technological age beginning in Europe. They set up their centres for science and technology.
East India Company saw an opportunity to increase its influence. It offered aid and
experts. These were accepted only to make the local centres self-sufficient.
10. What was the state of India Gangadharpant had seen during the twentieth
century?
Ans. India moved towards a democracy. The Peshwas lost their enterprise. They were gradually
replaced by democratically elected bodies. The Sultanate at Delhi survived even this
change because it exercised no real influence. The Shahenshah of Delhi held a high
position but no real power. He simply gave official approval to the ‘recommendations’
made by the central parliament.
11. Why do you think Gangadharpant appreciated the India he had seen recently?
Ans. It was an independent and self-respecting country. It had never been enslaved by the
white men. It was self-sufficient. It has allowed the British to retain Bombay as their
sole outpost. This was due to purely commercial reasons. The treaty was signed in 1908.
That lease was to expire in the year 2001.
12. Where from did Gangadhar Pant get the clue for the question. ‘‘How did the
Marathas win the battle?’’ and what did he think about it?
Ans. He got the clue from a book called Bhausahebanchi Bakhar. He found the Bakhars
interesting to read, but he seldom relied on them for historical evidence. The detailed but
falsified accounts were quite vivid but truth lay hidden somewhere.
13. Which lines revealed that Vishwasrao had come quite close to being killed?
Ans. The lines read: Then Vishwasrao guided his horse to the melee. Elite troops were fighting
there. He attacked them. God was merciful. A shot passed by his ear touching it lightly.
Even the difference of a til (sesame) would have led to his death.
14. Why was Professor Gaitonde staring at the platform in Azad Maidan as if
mesmerized?
Ans. He found a lecture in progress there. He saw a table and a chair on the platform, but the
presidential chair was unoccupied. The sight stirred him to the depths. He could not approve
of the public lecture without a presiding dignitary. For him it was a sacrilege.
The Adventure n 31
15. How did the audience react to Professor Gaitonde’s remarks: ‘‘an unchaired
lecture is like Shakespeare’s ‘Hamlet’ without the Prince of Denmark’’?
Ans. The audience reacted sharply. They were sick of remarks from the chair, of vote of thanks
and of long introductions. They had abolished the old customs long ago. Hence that lecture
series had no chairperson. The chair was symbolic. They only wanted to listen to the
speaker. They asked him to vacate the chair and keep the platform empty.
16. What happened as Professor Gaitonde kept on trying valiantly to correct the
sacrilege?
Ans. Professor Gaitonde kept on talking and reminding the audience of the importance of
presiding dignitary. The hostile audience reacted sharply. First they showered tomatoes,
eggs and other objects on him. Then they rushed to the stage to eject him bodily. He was
lost in the crowd.
17. Why do you think Rajendra’s ‘smile’ was replaced by a ‘grave expression’?
Ans. Rajendra had smiled on hearing Professor Gaitonde’s strange narrative. Perhaps he
thought that Gaitonde’s mind was playing tricks and his imagination was over excited.
He became serious as he read a page torn out of a book. This page from Bakhar contained
vital evidence about the different turn history had taken.
18. What do you think made Rajendra realize that ‘‘facts can be stranger than
fantasies’’?
Ans. Professor Gaitonde presented two totally different written accounts of the Battle of Panipat
as contained in Bhausahebanchi Bakhar. The one he had come across in the other
world described how Vishwasrao narrowly missed the bullet. The other account which he
had in the familiar world, described that Vishwasrao was hit by the bullet.
19. How does Rajendra explain the disparity in the two accounts of the same crucial
event in the Battle of Panipat?
Ans. Rajendra applies catastrophe theory to the Battle of Panipat. The outcome of the battle
depended on the leadership and the morale of the troops at the critical juncture. In one
of them, the troops lost their morale and fighting spirit at the loss of their leaders. In the
other, the bullet missed Vishwasrao and this boosted the morale of troops and they won.
20. ‘‘We live in a unique world which has a unique history,’’ says Professor Gaitonde.
What prompts him to make this remark?
Ans. Rajendra tries to explain the outcome of the Battle of Panipat with the help of catastrophe
theory. The Marathas might have won it, but actually they lost it. Napoleon could also
have won the Battle of Waterloo, but he was defeated. The idea of ‘it might have been’ is
all right for the sake of speculation but not for reality.
21. What do you know about ‘reality’ on the basis of your study of Jayant Narlikar’s
‘The Advanture’?
Ans. We can experience reality directly with our senses and indirectly via instruments. Reality
is not limited to what we see. It may have other forms. Reality may not be unique. This has
been found from experiments on very small systems such as atoms and their smallest parts.
22. What do you understand by, ‘‘The lack of determinism in quantum theory’’?
Ans. Quantum theory is based on the idea that energy exists in units that can’t be divided.
Determinism is the doctrine that all events and actions are determined by external forces
acting on the will. The phrase thus means that the energy contained in electrons is not
determined by the external forces that fire it.
23. How, according to Rajendra, was Gangadharpant able to experience two worlds?
Ans. According to Rajendra, Gangadharpant made a transition from one world to another and
back again. By doing so, he was able to experience two worlds, although one at a time.
One has the history we know, the other a different history. The separation or bifurcation
took place in the Battle of Panipat.
24. ‘‘But why did I make the transition?’’ asks Gangadharpant. How does Rajendra
try to convince him with guess work?
Ans. Rajendra has no readymade answer or explanation for this query. He makes a guess. Some
interaction is needed to cause a transition. Perhaps Gangadharpant was then thinking
about the catastrophe theroy and its role in war. Or he may be wondering about the Battle
of Panipat. The neurons in his brain triggered the transition.
25. What had Professor Gaitonde been thinking at the time of collision?
Ans. At the time of his collision with the truck, Professor Gaitonde was thinking about the
Battle of Panipat. He was wondering what course history would have taken if the result
of the battle had gone the other way, i.e. if the Marathas had won the battle.
26. What do you learn about Professor Gaitonde’s thousandth presidential address?
Ans. His thousandth presidential address was made on the Azad Maidan. He was then rudely
interrupted. He wanted to tell the audience what might had happened if Marathas had
won the Battle of Panipat. Since people had misbehaved, he could not deliver this address.
1. ‘‘Gangadharpant could not help comparing the country he knew with what he
was witnessing around him.’’ Elucidate.
Ans. Gangadharpant was an eminent historian of Pune. He had written the History of India
in five volumes. During his train journey he was wondering what course history would
have taken if the result of the Battle of Panipat had gone the other way. This helped him
to make a transition to the other world. India was altogether different country in this world.
Unlike the India he knew so well, the India he was witnessing around him was self-
sufficient and self-respecting. It was independent. It had never been enslaved by the
whitemen. It had allowed the British to retain Bombay as their sole outpost. This was
done for purely commercial reasons. The buildings and offices in this British Bombay were
same as in typical high street of a town in England. East India House, the head quarters
of the East India Company was housed in an imposing building outside Bombay’s VT.
The station itself looked remarkably neat and clean. The staff mostly comprised of Anglo-
Indians and Parsees along with a handful of British officers.
The Bombay he knew was altogether different. The tower of OCS buildings peeped above
the shorter Victorian buildings. There was Handloom House as well.
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2. What, according to Gangadharpant, would have been the consequences if the
Marathas had won the Battle of Panipat?
Ans. The consequences of Maratha victory in the Battle of Panipat would have been far
reaching. It would have boosted their morale and established their supremacy in northern
India. The expansionist programme of the East India Company would have been shelved.
The political cleverness and bravery of Maratha rulers would have helped them to expand
their influence all over India. The East India Company would have been reduced to
The Adventure n 33
pockets of influence near Bombay, Calcutta and Madras, just like its European rivals, the
Portuguese and the French.

The Peshwas would have been real rulers of India. They would have kept the puppet
Mughal government in office for political reasons. Recognising the importance of
technological age in Europe, they would have set up their own centres for science and
technology. The twentieth century would have moved India towards democracy. The
Peshwas would have been replaced by democratically elected bodies. The Shahenshah of
Delhi would then merely approve the recommendations made by the central parliament.
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3. How does Rajendra Deshpande try to rationalize the experience of Professor
Gaitonde about his transition to another world and back?
Ans. According to Rajendra, Professor Gaitonde had passed through a fantastic experience,
or more correctly, a catastrophic experience. He tried to rationalize it on the basis of two
scientific theories that were current then.
One was the catastrophe theory. The result of the battle would have been determined by
the acts of the leaders and the morale of troops at the critical juncture. The blow of losing
the leaders would have led to loss of morale and fighting spirit. An utter rout would have
followed. If the crucial event had gone the other way, its effect on the troops would also
have been the opposite. Their morale would have been boosted and they might have won.
The course of history would have been different.
The other explanation is through the lack of determinism in quantum theory. Catastrophic
situations offer radically different alternatives for the world to proceed. All alternatives
are viable so far as reality is concerned. However, the observer can experience only one
of them at a time. Professor Gaitonde made a transition from one world to the other as
he had been thinking about the catastrophe theory and Battle of Panipat. The neurons
in his brain acted as trigger.
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
3 Silk Road
Nick Middleton
SUMMARY IN ENGLISH
This article gives an account of a journey from gently rolling hills of Ravu to Mount Kailash.
The purpose of this journey was religious. The narrator wanted to complete the kora at Mount
Kailash. Lhamo gave him a long-sleaved sheep skin coat to keep him warmer.
The narrator and Tsetan took a short cut to get off the Changtang. This route would take
them south-west, almost directly towards Mount Kailash. It involved crossing fairly high
mountain passes. Tsetan said that there would be no problem if there was no snow. This short
cut took them across vast plains having arid pastures. They saw a few gazelles and a great
herd of wild asses. They noticed clouds of dust rising in the sky. As hills came once again, they
passed shepherds tending their flocks. These men or women were well-wrapped. They would
pause and stare at the car. Sometimes they would wave as the car passed near them. When
the track took the car close to the sheep, the animals would try to avoid the speeding vehicle
by dodging to one side.
After that, the narrator and Tsetan passed the dark tents of the nomads in lonely places.
A huge black dog, a Tibetan mastiff would stand to guard outside. These dogs raised their big
heads erect and watched the narrator’s car. As the car came closer they would start barking and
ran towards their car. The dogs were completely fearless of their vehicle. Tsetan had to apply
brake and turn aside. The dogs would stop barking only after chasing them off the property.
Then they entered a valley. The snow capped mountains were visible on the horizon. The
river in this valley was wide and mostly blocked with ice. The tract kept close to the river bank
and twisted with the curved banks. Gradually they gained height and the valley-sides closed
in. They were climbing up the hill. The turns became sharper and the ride bumpier. Tsetan
drove in third gear. The narrator felt the pressure building up in his ears. He held his nose,
snorted and cleaned them. They struggled round another tight bend. Tsetan stopped. He opened
his door and jumped. Daniel too left the vehicle. There was snow on the track. It stretched for
about fifteen metres. Then it became smaller and the dirt trail reappeared. There was no way
round the snow patch as there was snow on either side. Moreover, the bank was too steep for
their vehicle to scale. They were at 5,210 metres above sea level.
Tsetan grabbed handfuls of dirt. He flung them across the icy top layer. The narrator and
Daniel joined him and threw dirt. Then Tsetan drove the car slowly and carefully on the icy
surface. Daniel and the narrator stayed out of the vehicle to lighten Tsetan’s load. Ten minutes
later, they stopped at another blockage. This time Tsetan decided to try and drive round the
snow. The slope was steep and full of big rocks. Somehow Tsetan got past over the difficult
route. Once he cut a very sharp bend. They continued to climb in the bright sunshine. They
crept past 5,400 metres. The narrator’s head began to beat horribly. He took gulps from water
bottle. Finally, they reached the top of the pass at 5,515 metres. There was a large cairn of rocks.
It was decorated with white silk scarves and ragged prayer flags. They took a turn round the
cairn in clockwise direction. The lower atmospheric pressure was allowing the fuel to expand.
It could be dangerous. So, Tsetan advised them not to smoke.
As they moved down the other side of the pass, the narrator’s headache soon cleared. It was
two o’clock. They stopped for lunch. They ate hot noodles inside a long canvas tent. The plateau
was pockmarked with salt flats and brackish lakes. By late afternoon, they had reached the
small town of Hor. They were back on the main east-west highway. It followed the old trade
35
route from Lhasa to Kashmir. Daniel found a ride in a truck to return to Lhasa. Tsetan got the
punctured tyres repaired. The narrator found Hor a grim, miserable place with no vegetation.
They had tea in Hor’s only cafe. They left Hor after half an hour. They drove past rocks and
rubbish westwards towards Mount Kailash.
After 10.30 p.m. they drew up outside a guest house in Darchen. One of the narrator’s
nostrils was blocked again. He was tired, hungry and gasping for breath. He could feel better
when he sat up. Then he could breathe freely. He stayed awake all night. The following morning
Tsetan took him to the Darchen medical college. The doctor felt the narrator’s pulse, asked some
questions and gave him medicines for cold and exhaustion due to altitude. The narrator slept
soundly at night after first full day’s course of medicines. When he recovered, Tsetan left him
as he had to return to Lhasa.
Darchen had some simple general stores selling Chinese cigarettes, soap and supplies of
food. Men gathered for a game of pool in front of general store. Women washed their long hair
in the icy water of a narrow brook near the guest house. There were no pilgrims. Darchen had
only one cafe. It was small like, dark, cave and empty. He met Norbu there. He was a Tibetan
but worked in Beijing at the Chinese Academy of Social Science, in the Institute of Ethnic
Literature. He could speak English. He too, had come to do the Kora. Norbu was very fat. He
found it very hard and tiresome to walk or go up. He wasn’t really a practising Buddhist, but
he had enthusiasm, and he was Tibetan. The narrator decided to make the trek in the company
of Norbu, instead of waiting for the devout believers. They hired yaks to carry their luggage.
Norbu said that he had no intention of prostrating himself all round the mountain. It was not
possible for him as his tummy was too big. He laughed in a extremely funny way while saying so.
SUMMARY IN HINDI
ÿ„U ‹π ⁄UÊflÍ dUË „UÀ∑§Ë …U‹ÊŸ flÊ‹Ë ¬„UÊÁ«∏UÿÊ¥ ‚ ∑Ò§‹Ê‡Ê ¬fl¸Ã Ã∑§ ∑§Ë ÿÊòÊÊ ∑§Ê Áflfl⁄UáÊ ŒÃÊ „ÒU– ÿÊòÊÊ ∑§Ê ©Ug‡ÿ œÊÁ◊¸∑§ ÕÊ–
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÷«∏U ∑§Ë πÊ‹ ∑§Ê ∑§Ês≈U ÁŒÿÊ–
U©Uã„UÊ¥Ÿ øÒª¢≈UÊ¢ª ‚ ¬˝SÕÊŸ ∑§⁄UŸ ∑§ Á‹ÿ ∞∑§ ¿UÊ≈UÊ ◊Êª¸ •¬ŸÊÿÊ– ÿ„U ◊Êª¸ ©Uã„¥U ŒÁˇÊáÊ-¬Á‡ëÊ◊ ÁŒ‡ÊÊ ◊¥ ‹ ¡Ê∑§⁄U ‹ª÷ª
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‚ ’øŸ ∑§Ê ¬˝ÿÊ‚ ∑§⁄UÃ–
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¬‡øÊÃ˜ ©Uã„UÊ¥Ÿ „UÊ⁄U ‚ ¬˝SÕÊŸ Á∑§ÿÊ– fl ø^ÔUÊŸÊ¥ ÃÕÊ ∑Í§M+s-∑§∑¸§≈U ‚ ªÈ¡⁄Ã „ÈUÿ ¬Á‡ëÊ◊ ÁŒ‡ÊÊ ◊¥ ∑Ò§‹Ê‡Ê ¬fl¸Ã ∑§Ë •Ê⁄U ø‹ ÁŒÿ–
⁄UÊÃ vÆ.xÆ ’¡ ∑§ ’ÊŒ fl «UÊø¸Ÿ ◊¥ ∞∑§ •ÁÃÁÕ ªÎ„U ∑§ ’Ê„U⁄U L ∑§– fláÊ¸Ÿ∑§ÃÊ¸ ∑§Ë ∞∑§ ŸÊÁ‚∑§Ê ¬È≈U Á»§⁄U ‚ ’ãŒ „UÊ ªß¸ âÊË–
fl„U Õ∑§Ê „ÈU•Ê ÃÕÊ ÷ÍπÊ ÕÊ •ÊÒ⁄U ‚Ê¢‚ ∑§ Á‹ÿ „UÊ°»§ ⁄U„UÊ ÕÊ– ¡’ fl„U ’Ò∆U ¡ÊÃÊ ÃÊ •ë¿UÊ ◊„‚Í‚ ∑§⁄UÃÊ– Ã’ fl„U ◊ÈÄàÊ M§¬ ‚
‚Ê°‚ ‹ ‚∑§ÃÊ ÕÊ– fl„U ‚Ê⁄UË ⁄UÊÃ ¡ÊªÃÊ ⁄U„UÊ– •ª‹Ë ¬˝ÊÃ— lhrku ©U‚ «UÊø¸Ÿ ∑§ ◊Á«U∑§‹ ∑§ÊÁ‹¡ (•ÊÿÈÁfl¸ôÊÊŸ ◊„UÊÁfllÊ‹ÿ)
◊¥ ‹ ªÿÊ– ÁøÁ∑§à‚∑§ Ÿ fláÊ¸Ÿ∑§ÃÊ¸ dh Ÿé¡ ≈U≈UÊ‹Ë, ∑È§¿U ¬˝‡ãÊ ¬Í¿U ÃÕÊ ©U‚ ∆¢U«U ∞fl¢ ™°§øÊß¸ ∑§ ∑§Ê⁄UáÊ Õ∑§ÊŸ ∑§Ë ∑È§¿U •ÊÒ·ÁœÿÊ°
Œ ŒË– ¬„U‹ ÁŒŸ ∑§Ë •ÊÒ·ÁœÿÊ¥ ∑§Ê ∑˝§◊ ¬Í⁄UÊ ∑§⁄UŸ ‚ fláÊ¸Ÿ∑§ûÊÊ¸ ⁄UÊÃ ∑§Ê ª„U⁄UË ŸË¥Œ ‚ÊÿÊ– ¡’ fl„U ∆UË∑§ „UÊ ªÿÊ, ÃÊ lhrku ©U‚
¿UÊ«∏U ªÿÊ ÄÿÊ¥Á∑§ ©U‚ À„UÊ‚Ê ‹ÊÒ≈UŸÊ ÕÊ–
«UÊø¸Ÿ ◊¥ ∑È§¿U ‚ÊœÊ⁄UáÊ ‚Ê◊Êãÿ ŒÈ∑§ÊŸsa ÕËa ¡Ê øËŸ dË Á‚ª⁄U≈UÊ¥U, ‚Ê’ÈŸ ÃÕÊ ÷Ê¡Ÿ ‚Ê◊ª˝Ë ’øÃË ÕËa– ∞∑§ ‚Ê◊Êãÿ ÷á«UÊ⁄U ∑§
’Ê„U⁄U ‹Êª ¬Í‹ ∑§Ê π‹ π‹Ÿ ∑§ Á‹ÿ ∞∑§ÁòÊÃ Õ– •ÁÃÁÕ ªÎ„U ∑§ ‚◊Ë¬ ‚ ÁŸ∑§‹Ã „ÈUÿ ∞∑§ ‚¢∑§⁄UË ‚Á⁄UÃÊ ∑§ ’»¸§ ¡Ò‚ ‡ÊËÃ‹
¡‹ ‚ ÁSòÊÿÊ° •¬Ÿ ‹ê’ ∑§‡Ê (’Ê‹) œÊÃË ÕË– fl„UÊ° ∑§Êß¸ ÃËÕ¸ÿÊòÊh Ÿ„UË¥ Õ– «UÊø¸Ÿ ◊¥ ∑§fl‹ ∞∑§ ∑Ò§»§ ÕÊ– ÿ„U ¿UÊ≈UÊ, •¢œ⁄snkj,
ªÈ»§ÊŸÈ◊Ê ÃÕÊ πÊ‹Ë ÕÊ– fl„UÊ° ©U‚∑§Ë ŸÊ’Í¸ ‚ ÷¥≈U „ÈUß¸– fl„U ÁÃé’ÃË ÕÊ Á∑§ãÃÈ ’ËÁ¡¢ª ∑§ Œ‡ÊË ‚ÊÁ„Uàÿ ‚¢SÕÊŸ ∑§ øËŸË ‚Ê◊ÊÁ¡∑§
ÁflôÊÊŸ •∑§ÊŒ◊Ë ◊¥ ∑§Êÿ¸⁄UÃ ÕÊ– fl„U •¢ª˝¡Ë ’Ê‹ ‚∑§ÃÊ ÕÊ– fl„U ÷Ë “∑§Ê⁄UÊ” ∑§⁄UŸ •ÊÿÊ ÕÊ– ŸÊ’Í¸ ’„ÈUÃ ◊Ê≈UÊ ÕÊ– ©U‚ ø‹ŸÊ ÿÊ
™§¬⁄U ø…∏ŸÊ •àÿãÃ ∑§Á∆UŸ ∞fl¢ Õ∑§Ê ŒŸ flÊ‹Ê ‹ªÃÊ ÕÊ– fl„U ’Èf œ◊¸ ∑§Ê ¬Ê‹Ÿ ∑§⁄UŸ flÊ‹Ê Ÿ„UË¥ ÕÊ, Á∑§ãÃÈ ©U‚◊¥ ©Uà‚Ê„U ÕÊ
ÃÕÊ fl„U ÁÃééÊÃ ∑§Ê ÕÊ– fláÊ¸Ÿ∑§ûÊÊ¸ Ÿ üÊfÊ‹È Áfl‡√ÊÊ‚∑§ÃÊ¸•Ê¥ ∑§Ë ¬˝ÃËˇÊÊ ∑§⁄UŸ ∑§Ë ’¡Ê,, ŸÊ’Í¸ ∑§Ë ‚¢ªÁÃ ◊¥ „UË ÿÊòÊÊ ¬Í⁄UË ∑§⁄UŸ ∑§Ê
ÁŸ‡ëÊÿ Á∑§ÿÊ– ©Uã„UÊ¥Ÿ ‚Ê◊ÊŸ ‹ ¡ÊŸ ∑§ Á‹ÿ ÿÊ∑§ (¬‡ÊÈ) Á∑§⁄UÊÿ ¬⁄U ‹ Á‹ÿ– ŸÊ’Í¸ Ÿ ∑§„UÊ Á∑§ ©U‚∑§Ë ¬fl¸Ã ∑§ øÊ⁄UÊ¥ •Ê⁄U ‚Êc≈UÊ¢ª
(¬≈U ∑§ ’‹) ‹≈UŸ ∑§Ê ∑§Êß¸ ß⁄UÊŒÊ Ÿ„UË¥ ÕÊ– ©U‚∑§ Á‹ÿ ∞‚Ê ‚ê÷fl ÷Ë Ÿ„UË¥ ÕÊ ÄÿÊ¥Á∑§ ©U‚∑§Ë ÃÊ¥Œ ’„ÈUÃ ’«∏Ë ÕË– ∞‚k ∑§„UÃ
‚◊ÿ fl„U •àÿãàÊ ÁflŸÊŒ¬ÍáÊ¸ (◊”kÊÁ∑§ÿÊ) …¢ª ‚ „°U‚Ê–

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Flawless—perfect; without fault; òÊÈ Á ≈U „ U Ë Ÿ– Floated—(here) moved slowly; œË⁄ U - œË⁄ U ø‹ŸÊ–
Extended—longer than usual or expected; •Áœ∑§ ‹ê’– French loaves—Baguettes; loaves of
white bread in the shape of long thick stick; ‹ê’Ë ◊Ê≈UË ¿«∏UË ∑§ •Ê∑§Ê⁄U ∑§Ë ‚»§Œ «U’‹ ⁄UÊ≈UË– Glowed—(here)
looked; ¬˝ÃËÃ „UÊÃ Õ– Emerged—came out; ’Ê„U⁄U ÁŸ∑§‹Ê– Splash—(here) decorate something with
areas of bright colour; ø◊∑§ŒÊ⁄U ⁄¢UªÊ ∑§ ˇÊòÊÊ¥ ‚ ‚¡ÊŸÊ– Tinted—coloured; ⁄¢Uª ∑§Ë– Heading towards—
Silk Road n 37
moving toward; ∑§Ë •Ê⁄U ¡ÊŸÊ– Kora—religious journey; œÊÁ¸◊¸∑§ ÿÊòÊÊ– Ducking back—moving
back quickly; ‡ÊËÉÊ˝ÃÊ ‚ ¬Ë¿U ¡ÊÃ „ÈUÿ– Sized up—formed a judgment or opinion about somebody/
something; Á∑§‚Ë ∑§ Áfl·ÿ ◊¥ ÁŸáÊ¸ÿ/◊Ã ⁄UπŸÊ– Clambered—climbed with difficulty using hands and
feet; ø…∏Ê– Drokba—shepherd; ª«∏sUÁ⁄UÿÊ– Mountain passes—roads or ways through mountains;
¬flÃË¸ÿ Œ⁄¸U– Likelihood—possibility; ‚ê÷ÊflŸÊ– Vast—huge; very big; Áfl‡ÊÊ‹– Gazelles—small
beautiful antelopes; ¿UÊ≈U ‚ÈãŒ⁄U ’Ê⁄U„UÁ‚¢ÉÊ–
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Nibbling—biting in bits; ∑È§Ã⁄UÃ „ÈUÿ– Arid—dry, parched with heat; ‡ÊÈc∑§, ª◊Ë¸ ‚ ¤ÊÈ‹‚Ê „ÈU•Ê–
Pastures—lands for grazing in; ø⁄UÊªÊ„¥U– Frown—to knit brows in displeasure; ÷˝Í÷¢ª ∑§⁄UŸÊ, àÿÊ⁄UË
ø…∏UÊŸÊ– Bounding away—jumping away; ©U¿U‹Ã „ÈUÿ– Herd—a company of cattle assembled
together; ¬‡ÊÈ ‚◊Í„U, ¤ÊÈá«UU– Kyang—pall of dust, a thick dark cloud of dust; ⁄UÃ ∑§Ê ◊Ê≈UÊ ∑§Ê‹Ê ’ÊŒ‹–
En masse—in a body; ‚◊ÈŒÊÿ ◊¥, ‚Ê◊ÍÁ„U∑§ M§¬ ◊¥– Wheeling—moving in a circle; flÎûÊÊ∑§Ê⁄U …¢Uª ‚ ÉÊÍ◊ŸÊ–
Formation—pattern, arrangement; Ÿ◊ÍŸÊ (…¢Uª), ¬˝’ãœ– Manoeuvres—skilful movement; ∑È§‡Ê‹
ªÁÃÿÊ°– Predetermined—decided beforehand; ¬Ífl¸ÁŸÁ‡ëÊÃ– Plumes of dust—(here) clouds of dust
that rise and curve upward in the air; „UflÊ ◊¥ ™§¬⁄U ©U∆UÃ ÃÕÊ ◊È«U∏Ã „È, œÍ‹ ∑§ ’ÊŒ‹– Billowed—rose and
moved in a large mass; …U⁄U ◊¥ ©U÷⁄U ÃÕÊ ÉÊÍ◊Ÿ ‹ª– Crisp—pleasantly dry and cold; ‚È„UÊflŸË ‡ÊÈc∑§ ÃÕÊ
∆Uá«UË– Tending—attending, guarding; Œπ÷Ê‹ ÿÊ øÊÒ∑§‚Ë ∑§⁄UŸÊ– Evasive—trying to avoid; ’øŸ ∑§ ¬˝ÿÊ‚
∑§⁄UÃ „ÈUÿ– Veering away—swerving, dodging; ’øŸÊ ÿÊ ÁŒ‡ÊÊ ’Œ‹ŸÊ– Nomads—members of tribes
that move with their animals from place to place; ’¢¡Ê⁄U– Mastiff—a kind of large dog; ∞∑§ ¬˝∑§Ê⁄U
∑§Ê ’«∏UÊ ∑È§ûÊÊ– Cock—(here) to set erect; ‚Ëœ π«∏U ∑§⁄UŸÊ– Explode—blow up, burst; »§≈U ¬M+UŸÊ– Shaggy
monsters—rough–haired animals of huge size; L§π ’Ê‹Ê¥ flÊ‹ ’«∏U •Ê∑§Ê⁄U ∑§ ¬‡ÊÈ (∑È§ûÊ)– Massive—
heavy, bulky; ÷Ê⁄UË, ’«∏U •Ê∑§Ê⁄U ∑§Ê– Swerve—turning aside, changing direction; ◊È«∏UŸÊ, ÁŒ‡ÊÊ ’Œ‹ŸÊ–
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Easing off—(here) Becoming less unpleasant; ∑§◊ •Á¬˝ÿ „UÊŸÊ– Ferocious—very fierce, violent/
aggressive; πÍ¢πÊ⁄U, •Ê∑˝§Ê◊∑§– Imperial—royal; ⁄UÊ¡‚Ë, ‡ÊÊ„UË– Tribute—gift; ©U¬„UÊ⁄U– Clogged—blocked;
•flL§f, L§∑§Ë „ÈUß¸– Glinting—producing small bright flashes of light; ø◊∑§Ã „ÈUÿ– Trail—path through
countryside; ¬ª«á«Ë, ◊Êª¸– Hugged—(here) kept close for some distance; ∑È§¿U ŒÍ⁄UË Ã∑§ ‚◊Ë¬ ⁄U„UË–
Meanders—curved banks; ◊È«∏U „ÈUÿ Ã≈U– Turns—bends, corners; ◊Ê«∏U,ÉÊÈ◊Êfl– Bumpier—more sudden
unpleasant movements; •Áœ∑§ ¤Ê≈U∑§Ê¥ ÷⁄UË– Daubed with—spread over carelessly; •‚ÊflœÊŸË ‚ »Ò§‹ÊÿÊ
„ÈU•Ê– Lichen—very small grey or yellow plant that spreads over the surface of rocks, walls and
trees and does not have any flowers—a kind of fungus; •◊⁄U’‹, ∞∑§ ¬˝∑§Ê⁄U ∑§Ë flŸS¬ÁÃ– Hunks—clumsy
pieces; ÷g ≈ÈU∑§«∏U– Snorted—forced air through the nostrils making an explosive sound; ŸÊ∑§ ‚ ‡ÊéŒ
ÁŸ∑§Ê‹ŸÊ, ÉÊÉÊ¸⁄U ∑§⁄UŸÊ– Swathe—(here) a large strip or area; ‹ê’Ë ¬^ÔUË, ˇÊòÊ– Stretching—spreading over;
»Ò§‹ „ÈUÿ– Petered out—(here) gradually became smaller, quieter and then end; ∑˝§◊‡Ê— ¿UÊ≈UË, ‡ÊÊãÃ „UÊÃ
„ÈUÿ ‚◊ÊåàÊ „UÊŸÊ– Abrupt—(here) steep; ‚ËœË π«∏UË– Unslope—not sloping; ¡Ê …U‹ÈflÊ° Ÿ „UÊ– Steep—(here)
precipitous; ’„ÈUÃ π«U∏Ê– Scale—(here) to climb; ‹Ê°ÉÊŸÊ– Encrusted—covered with crust; ∑§«∏UË ¬¬«∏UË
‚ …∑§Ë „ÈUß¸– Slither—(here) move without much control; •ÁŸÿÁãòÊÃ …¢Uª ‚ ø‹– Slide—to glide over
(ice); ’»¸§ ¬⁄U Á»§‚‹ŸÊ– Stamping foot—(here) putting foot down heavily and noisily on the ground;
¬Ò⁄U ¬≈U∑§Ã „UÈÿ– Ascertain—to find out correct information; ¡Ê°øŸÊ– Sturdy—firm; ∑§∆UÊ⁄U– Pitched
in—(here) joined in and helped with an activity by doing some of the work; ‡ÊÊÁ◊‹ „UÊ∑§⁄U ‚ÊÕ ’¢≈UÊŸ
‹ª– Eased—moved slowly and carefully; œË⁄U ÃÕÊ ‚ÊflœÊŸË ‚ ø‹ÊÿÊ– Blockage—the state of being
blocked; •fl⁄UÊœ, L§∑§Êfl≈U– Survey—(here) to look carefully; äÿÊŸ ‚ ŒπŸÊ–
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Studded with—having a lot of; ‚ ÷⁄UÊ „ÈU•Ê– Negotiated—(here) successfully got past over a
difficult part on a route; ◊Êª¸ ∑§ ∑§Á∆UŸ ÷Êª ¬⁄U ‚»§‹ÃÊ ‚ ÁŸ∑§‹ŸÊ– Lurching—(here) making sudden,
unsteady movements forward or sideways; Á„Uø∑§Ê‹ πÊÃ „ÈUÿ– Obstacle—objects blocking the way;
L§∑§Êfl≈¥U, ’ÊœÊÿ¥– Hairpin bends—(here) very sharp bends; ÃËπ ◊Ê«U∏– Drifted—(here) blown into
large piles by the wind; …U⁄U ‹ªÊŸÊ– Throb—beat, palpitate; œ«∏U∑§ŸÊ– Gulps—(here) an amount of
something that you swallow or drink quickly; ÉÊ¢Í≈U– Rapid—done quickly; Ã¡– Ascent—the act
of climbing up, upward journey; ø…U∏Êß¸– Cairn of stones—a pile of stones which mark a special
place such as a place where somebody is buried; Á∑§‚Ë ∑§Ë ∑§’˝ ∑§Ë Œ‡ÊÊ¸Ÿ flÊ‹ ¬àÕ⁄UÊ¥ ∑§Ê …U⁄U– Festooned—
decorated with; ‚È‚ÁÖÖÊÃ– Scarves—long narrow pieces of cloth worn round the neck or shoulders;
ŒÈ¬^ÔUÊ, L§◊Ê‹, ªÈ‹ ’ãŒ– Ragged—old and torn; »§≈U-¬È⁄UÊŸ– Tradition—a long existing belief or custom;
¬⁄Uê¬⁄UÊ– Emitted—sent out; ’Ê„U⁄U ÁŸ∑§Ê‹ŸÊ– Careered down—(here) hurtled, moved down very
quickly, especially in an uncontrolled way; Ã¡ ªÁÃ ‚ ŸËø ©UÃ⁄UŸÊ– Noodles—long thin strips of pasta;
‚flßÿÊ¢– Erected—raised, built; ’ŸÊÿÊ ªÿÊ– Pockmarked with—covered with hollow marks or
holes ; ª«UÔ˜…UÊ¥ ‚ ÷⁄UË „ÈUß¸– Salt flats—areas of low flat land especially near water; ¡‹ ∑§ ‚◊Ë¬ ÁŸø‹,
ø¬≈U ÷ÍÁ◊ ∑§ ˇÊòÊ– Brackish—salty in an unpleasant way; •àÿãÃ πÊ⁄UË– Vestiges—small parts of
something that still exists after the rest of it has stopped existing; •fl‡ÊcÊ– Continental—of the
continent; ◊„UÊmË¬ ∑§Ê– Collision—crash, accident; ≈U∑§⁄UÊfl– Hive of activity—(here) a place full
of people who are busy; √ÿSÃ ‹ÊªÊ¥ ‚ ÷⁄UÊ SÕÊŸ– Pickaxes—a large heavy tool that has a curved
metal bar with sharpends fixed at the centre to a wooden handle. It is used for breaking rocks
or hard ground; ∑È§ŒÊ‹– Shovels—a tool with a long handle and a broad blade with curved edges
used for moving earth snow, sand, etc.; ’‹øÊ– Trudging—walking slowly or with heavy steps;
÷Ê⁄UË, ’ÊÁ¤Ê‹ ∑§Œ◊Ê¥ ‚ œË⁄U-œË⁄U ø‹ŸÊ– Salt encrusted—covered with a thin hard layer of salt; Ÿ◊∑§ ∑§Ë
¬Ã‹Ë Á∑§ãÃÈ ∑§∆UÊs⁄ ¬¬«∏UË ‚ …∑§Ê „ÈU•Ê– Grim—ugly, fierce; ∑È§M§¬ ÁŸŒÿË¸– Miserable—wretched, unhappy;
ŒÈ—πË– Liberally—(here) abundantly; ¬ÿÊ¸åàÊ ◊ÊòÊÊ ◊¥– Scattered with—thrown/dropped, things in
different directions so that they cover an area of ground; Á’π⁄U „ÈUÿ– Accumulated—built up;
∞∑§ÁòÊÃ, …U⁄U ‹ªÊ „ÈU•Ê– Refuse—rubbish, garbage; ∑Í§«∏UÊ-∑§⁄U∑§≈UU–
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Venerated—revered, respected; •ÊŒ⁄UÿÈÄàÊ– Cosmology—scientific study of universe; πªÊ‹‡ÊÊSòÊ–
Flanks—sides; Á∑§ŸÊ⁄U, ’Ê¡Í– Within striking distance—near enough to be reached or attacked
easily; ßÃŸÊ ÁŸ∑§≈U Á∑§ ‚Èª◊ÃÊ ‚ ¬„È°UøÊ ¡Ê ‚∑§ / •Ê∑˝§◊áÊ Á∑§ÿÊ ¡Ê ‚∑§– Forge ahead—move forward; •Êª
’…U∏ŸÊ– Concrete—(here) building material that is made by mixing together cement, sand, small
stones and water; ‚Ë◊ã≈U, ⁄UÊ«U∏Ë, ⁄UÃ •ÊÁŒ ∑§Ê Á◊üÊáÊ– Compensate for—(here) make up for; ˇÊÁÃ¬ÍÁÃ¸ ∑§⁄UŸÊ–
Draught—flow of cool air in a room or other enclosed space; ∆Uá«UË flÊÿÈ ∑§Ê ¤ÊÊ¥∑§Ê– Relieved—gave
relief; ◊ÈÄàÊ Á∑§ÿÊ– Solitary confinement—imprisonment in a separate cell in prison; ’ãŒË ªÎ„U
◊¥ •∑§‹ ’ãŒ ∑§⁄UªÊ– Stark—(here) total and complete; ¬ÍáÊ¸– Encounters—(here) meetings; ‚Ê◊ŸÊ–
Sanctity—(here) the state of being holy; ¬ÁflòÊÃÊ– Hallowed—respected and important; ‚ê◊ÊÁŸÃ
ÃÕÊ ◊„Uûfl¬ÍáÊ¸– Swede—of Sweden; SflË«UŸ ∑§Ê– Prone to—liable or likely to suffer from; ‚ ‚ê÷ÊÁflÃ
¬ËÁ«∏UÃ– Sentimental—connected with emotions; ÷ÊflŸÊà◊∑§– Outbursts—sudden strong expression
of an emotion; œ«∏UÊ∑§Ê, ÁflS»§Ê≈U– Dump—heap; …U⁄U– Gasping for—(here) wanting/needing very badly;
•àÿãÃ •Êfl‡ÿ∑§ÃÊ „UÊÃ „Èÿ– Grown accustomed to—become used to; •ÊŒË „UÊŸÊ– Nocturnal—relating
to night; ⁄UÊÁòÊ ∑§Ê– Disturbances—mind/body not functioning normally; ÁflÉãÊ, ’ÊœÊ– Scared—
Silk Road n 39
frightened; ÷ÿ÷ËÃ ∑§⁄UŸÊ– Drifting off—(here) to fall asleep; ‚Ê ¡ÊŸÊ– Abruptly—suddenly; •øÊŸ∑§–
PAGE 79
Curious—strange; ÁflÁøòÊ– Land of nod—(here) sleep; ŸË¥Œ– Impulses—sudden strong wishes;
¬˝flÎÁûÊ ¬˝Êà‚Ê„UŸ– Sinuses—hollow spaces in the bones of the head; Á‚⁄U ∑§Ë „UÁ«˜U«ÿÊ¥ ◊¥ πÊ‹Ë SÕÊŸ, Ã„UU–
Odd—strange; •¡Ë’, ÁflÁøòÊ– Propping—supporting; ‚„UÊ⁄UÊ ‹ŸÊ– Relax—to rest; •Ê⁄UÊ◊ ∑§⁄UŸÊ– Drop
off—(here) to fall into light sleep; ¤Ê¬∑§Ë •ÊŸÊ– Monastery—building in which monks live together
and pray; ◊∆U– Paraphernalia—large number of objects or personal possessions especially the
equipment that you need for a particular activity; ÃÊ◊-¤ÊÊ◊– Symptoms—signs that something
exists; ‹ˇÊáÊ– Aversion—a strong feeling of not liking; •L§Áø– Clutching—holding tightly; ∑§‚∑§⁄U
¬∑§«∏U „ÈUÿ– Stuffed with—filled with; ÷⁄UÊ „ÈU•Ê– Screws of paper—(here) twisted pieces of paper;
∑§Êª¡ ∑§Ë ¬ÈÁ«U∏ÿÊ– Cinnamon—aromatic; ŒÊ‹øËŸË– Obviously—evidently; S¬c≈ M§¬ ‚U– Identifiable—
that may be identified; ¬„UøÊŸŸ ÿÊÇÿ– Spherical—Globular; ªÊ‹Ê∑§Ê⁄U– Pellets—small pills; ¿UÊ≈UË
ªÊÁ‹ÿÊ°– Suspiciously—in a suspicious manner; ‚ãŒ„U/‡Ê¢∑§Ê ‚–
PAGE 80
Horrible—dreadful, unpleasant; ÷ÿÊŸ∑§– Derelict—(here) abandoned; àÿÊªÊ „ÈU•Ê– Punctuated—
(here) interrupted at intervals; ’Ëø-’Ëø ◊¥ ’ÊÁœÃ– Rubble—broken stones or bricks from a building
or wall; ßZ≈¥U, ⁄Ê«U∏Ë– Refuse—rubbish, garbage; ∑Í§«∏UÊ-∑§⁄U∑§≈U– Wisp—a long thin line of clouds; ’ÊŒ‹Ê¥
∑§Ë ‹ê’Ë ¬Ã‹Ë œÊ⁄UË– Suspended—(here) hanging; ‹≈U∑§Ã „ÈUÿ– Rudimentary—basic, simple; ‚ÊœÊ⁄UáÊ,
‚Ê◊Êãÿ– Provisions—(here) supplies of food and drink; ÷Ê¡Ÿ ‚Ê◊ª˝Ë– Pool—a game for two people
played with 16 coloured balls on a table; ¬Í‹ ∑§Ê π‹– Battered—old, used a lot; ¬È⁄UÊŸË, •Áœ∑§
¬˝ÿÈÄàÊ– Incongruous—strange and not suitable in a particular situation; ’◊‹, •‚¢ªÃ, •‚ê’f–
Unhurried—relaxed and calm, not done too quickly; ‡ÊÊãÃ ÃÕÊ •Ê⁄UÊ◊¬Ífl¸∑§– Significant—large
or important enough to be noticed; äÿÊŸ ◊¥ •ÊŸ ÿÊÇÿ ’«∏UÊ ÿÊ ◊„Uûfl¬ÍáÊ¸– Draw back—disadvantage;
•‚ÈÁflœÊ– Accommodation—a place to live; ⁄U„UŸ ∑§Ê SÕÊŸ– Spilled down—(here) spread out;
»Ò§‹ÊŸÊ– Pondering—considering; ÁfløÊ⁄U ∑§⁄UŸÊ– Consideration—careful thinking; ‚ÊflœÊŸË ¬Ífl¸∑§
ÁfløÊ⁄U– Severely—badly, seriously; ’È⁄UË Ã⁄U„U ‚, ªê÷Ë⁄UÃÊ ‚– Trail—(here) a route that is followed
for a particular purpose; ◊Êª¸– Well-trodden—much used; ∑§Ê»§Ë ¬˝ÿÈÄàÊ– Fancy—want to do; ∑§⁄UŸÊ
øÊ„UŸÊ– Seasonal—happening during a particular season; Áfl‡Ê· ´§ÃÈ ◊¥ „ÊŸ flÊ‹Ë– Liable to—prone
to, likely to be affected; ¬˝÷ÊÁflÃ „UÊŸ ∑§Ë ‚ê÷ÊflŸÊ– Blockage—a thing that blocks flow or movement;
•fl⁄UÊœ∑§– Chunks—thick solid pieces; ◊Ê≈U ∆UÊ‚ ≈ÈU∑§«∏U– Cavernous—very large, empty and dark;
Áfl‡ÊÊ‹, πÊ‹Ë ÃÕÊ •ãœ⁄UË– Wreathed in—surrounded, covered; …U∑§Ë „ÈUß¸–
PAGE 81
Voluminous—very large; •ÁÃ Áfl‡ÊÊ‹– Gesture—movements with hands, head and face; ◊Èº˝Ê,
÷Êfl-÷¢Áª◊Ê– Rickety—not strong or well made, likely to break; ‚ÈŒÎ…∏U ÿÊ ÷‹Ë-÷Ê°ÁÃ ugha ’ŸË „ÈUß¸, ≈ÍU≈U ‚∑§Ÿ
flÊ‹Ë– Struck up—(here) began; •Ê⁄Uê÷ ∑§Ë– Tibetan—of Tibet; ÁÃé’ÃË– Assumed—supposed to
be true; •ŸÈ◊ÊŸ ‹ªÊÿÊ– Field work—research or study; ‡ÊÊœ ÿÊ •äÿÿŸ– Academics—a person who
teaches and / or does reasearch at a university or college; Á∑§‚Ë Áfl‡√ÊÁfllÊ‹ÿ ;k ◊„UÊÁfllÊ‹ÿ ◊¥ •äÿÊ¬Ÿ
∞fl¢ ‡ÊÊœ∑§ÃÊ¸– Strategy—plan; ÿÊ¡ŸÊ– Initial—happening at the beginning; ¬˝Ê⁄UÁê÷∑§– Tempered
by—made less severe; ∑§◊ ∑§∆UÊ⁄U ’ŸÊÿÊ– Realization—the process of becoming aware of something;
◊„U‚‚Í ∑§⁄ŸÊ] ‚◊¤ÊŸÊ– Pilgrimage—journey to a holy place for religions reasons; œÊÁ◊¸∑§ ∑§Ê⁄UáÊÊ¥ ‚ ¬ÁflòÊ SÕ‹
∑§Ë ÿÊòÊÊ– Tiresome—making you feel tired/annoyed; Õ∑§Ê ŒŸ flÊ‹Ê, ŸÊ⁄UÊ¡ ∑§⁄U ŒŸ flÊ‹Ê– Transpired—
happened; ÉÊÁ≈UÃ „ÈU•Ê– Enthusiasm—strong feelings of excitement and interest; ©UûÊ¡ŸÊ ∞fl¢ L§Áø
∑§Ë ‚ÈŒÎ…∏U ÷ÊflŸÊÿ¥– Envisaged—imagined; ∑§À¬ŸÊ ∑§Ë– Devout—believing strongly in particular
religion and obeying its laws and practices; üÊfÊ‹È] •ŸÈÿÊÿË– Reflection—careful thought; ‚ÊflœÊŸË¬ÍáÊ¸
ÁfløÊ⁄U– Yaks—animals of cow family with long horns and long hair; ÿÊ∑§ (¬‡ÊÈ)– Interpreted—
explained the meaning; •Õ¸ ‹ªÊÿÊ– Intention—plan, aim; ÿÊ¡ŸÊ, ‹ˇÿ, ß⁄UÊŒÊ– Prostrating—lying
flat on front with face looking downwards; •ÊÒ¥œ ‚¬Ê≈U ‹≈UÃ „ÈU∞, ‚Êc≈UÊ¢ª Œá«UflÃ ◊¥– Collapsing—(here)
lying down and relaxing; ‹≈UÃ ÃÕÊ •Ê⁄UÊ◊ ∑§⁄UÃ „ÈUÿ– Hysterical—extremely funny; •ÁÃ ÁflŸÊŒ¬ÍáÊ¸, ◊¡Ê
Á∑§ÿÊ– Tummy—stomach; ÃÊ¥Œ, ¬≈U–

I. Give reasons for the following statements. (Answer in upto 40 words)
1. The article has been titled ‘‘Silk Road’’.
A
ns. This article gives an account of a travel from the hills of Ravu across some of the mountain
passes to Mount Kailash. The narrator with his companions reach the main east west
highway at Hor. It followed the old trade route from Lhasa to Kashmir. It was known as
‘Silk Road’. Hence the article has been titled ‘Silk Road’.
2. Tibetan mastiffs were popular in China’s imperial courts.
Ans. The Tibetan mastiffs were large dogs with big heads. They had massive jaws and barked
furiously. They were completely fearless of vehicles. They would chase persons or animals
at great speed. Hence these ferocious Tibetan mastiffs became popular in China’s imperial
courts as hunting dogs.
3. The author’s experience at Hor was in stark contrast to earlier accounts of the
place.
Ans. The author found Hor a grim, miserable place with no vegetation but a lot of refuse,
dust and rocks. His experience in Hor came as a stark contrast to earlier accounts of the
place. Ekai Kawaguchi, a Japanese monk, arrived there in 1900. He was so moved by the
sanctity of the lake that he burst into tears. The hallowed water had a similar effect on
Sven Hedin, a few years later.
4. The author was disappointed with Darchen.
Ans. The author was disappointed with Darchen as he found it a horrible place. It was dusty,
partially derelict and interrupted at intervals by heaps of broken stone or bricks from a
building or wall and rubbish or garbage. The town had a couple of simple general stores.
Men played pool outside one of them. The town had only one cafe. It had a medical college
where Tibetan medicines were prescribed.
5. The author thought that his positive thinking strategy worked well after all.
Ans. The author had timed his arrival for the beginning of the pilgrimage season, but it seemed
he was too early. Daniel and Tsetan had returned to Lhasa. He was alone. He thought he
had not made much progress with his self-help programme on positive-thinking. He didn’t
come across any one in Darchen who knew English. Then he met Norbu and decided to go
in his company to the Kailash Kora. Then he thought that his positive thinking strategy
worked well after all.
II. Briefly comment on (Answer in upto 40 words)
1. The purpose of the author’s journey to Mount Kailash.
Ans. The purpose of the author’s journey to Mount Kailash, was a religious one. He had to
perform pilgrimage of ‘Kora’ to Mount Kailash. Devout Buddhists visited Mount Kailashh
for this purpose.
2. The author’s physical condition in Darchen.
Ans. The author’s physical condition in Darchen was quite bad. One of his nostrils was blocked
again. He was tired and hungry. He started breathing through his mouth. Then he
Silk Road n 41
switched to single-nostril power. He was inhaling enough oxygen, but he was about to
fall asleep, he woke up instantly. Sitting up made him feel better. He stayed awake all
night.
3. The author’s meeting with Norbu.
Ans. The author was staying in a guest house at Darchen. He was alone as Tsetan had left
him and the pilgrims had not arrived. One afternoon he was sipping tea in Darchen’s
only cafe, looking at his notebook. Norbu came in, saw his novel and asked if he could sit
opposite him. Norbu asked him if he knew English. Then they began talking in English.
Soon they formed a team.
4. Tsetan’s support to the author during the journey.
Ans. During the journey, Tsetan was the source of great support to the author. He not only
drove them safe from Ravu to Darchen, but also provided him valuable information. Tsetan
took him to the Darchen medical college. These medicines helped him to sleep peacefully
at night after so many sleepless nights.
5. ‘‘As a Buddhist, he told me, he knew that it didn’t really matter if I passed away,
but he thought it would be bad for business.’’
Ans. Tsetan was a devout Buddhist. He knew the purpose of the author’s journey–to do the
‘Kora’ at Mount Kailash. During the journey at high altitude, the author suffered from
cold, headache and loss of sleep due to high altitude. Tsetan left him only when he had
recovered after taking the Tibetan medicines prescribed by the doctor at Darchen. Since
the author was on a religious pilgrimage, Tsetan thought that death was immaterial.
However he did not approve of it as guide, since it would be bad for his business.
Discuss in groups of four:
1. The sensitive behaviour of hill-folk.
Ans. The hill-folk live a hard life compared to the people who live in urban areas. They are more
sensitive to nature and fellow human beings than the urban people. This travelogue is full
of examples indicating the sensitive behaviour of hill-folk. A few instances would suffice.
Lhamo wanted to give the author a farewell present. She realised his need for something
to keep him warmer. So, she presented him a long-sleeved sheepskin coat. His guide-
cum driver Tsetan advises him to take a route that would take them south-west, almost
directly towards Mount Kailash. He covered this route successfully. When the author fell
ill, Tsetan took him to the Darchen medical college. He had to return to Lhasa, but he left
the author only when he recovered from his illness, i.e., when he saw the symptoms that
the author was going to live. On the other hand, the insensitive behaviour of the city folk
who visit these hilly areas is evident from the heaps of rubbish they litter on the hills.
‡Ê„U⁄UË ˇÊòÊÊ¥ ∑§ ÁŸflÊÁ‚ÿÊ¥ ∑§Ë ÃÈ‹ŸÊ ◊¥ ¬fl¸ÃËÿ ‹Êª ∑§Á∆UŸ ¡ËflŸ ¡ËÃ „Ò¥U– fl ‡Ê„U⁄UË ‹ÊªÊ¥ ∑§Ë •¬ˇÊÊ ¬˝∑Î§ÁÃ ÃÕÊ ‚ÊÕË ◊ÊŸflÊ¥
∑§ ¬˝ÁÃ •Áœ∑§ ‚¢flŒUŸ‡ÊË‹ „Ò¥U– ÿ„U ÿÊòÊÊ-flÎÃÊãÃ ∞‚ ©UŒÊ„U⁄UáÊÊ¥ ‚ ÷⁄U¬Í⁄U „ÒU ¡Ê ¬„UÊ«∏UË ‹ÊªÊ¥ ∑§Ë ‚¢flŒUŸ‡ÊË‹ÃÊ ∑§Ê ß¢ÁªÃ
∑§⁄UÃÊ „ÒU– ∑È§¿U ©UŒÊ„U⁄UáÊ „UË ¬ÿÊ¸åàÊ „UÊ¢ª– À„UÊ◊Ê¥ ‹π∑§ ∑§Ê ÁflŒÊß¸ ∑§ ‚◊ÿ ©U¬„UÊ⁄U ŒŸÊ øÊ„UÃË ÕË– ©U‚Ÿ ‹π∑§ ∑§Ë ß‚
•Êfl‡ÿ∑§ÃÊ ∑§Ê ◊„‚Í‚ ∑§⁄U Á‹ÿÊ Á∑§ ©‚ ∞‚Ë Á∑§‚Ë flSÃÈ ∑§Ë •Êfl‡ÿ∑§ÃÊ „ÒU ¡Ê ©U‚ •Áœ∑§ ª◊¸ ⁄Uπ ‚∑§– •Ã— ©U‚Ÿ
©U‚ ‹ê’Ë ’Ê„UÊ¥ flÊ‹Ê ÷«∏U ∑§Ë πÊ‹ ∑§Ê ∑§Ê≈U ÷¥≈U Á∑§ÿÊ– ©U‚∑§ ªÊß«U ∞fl¢ øÊ‹∑§, lhrku Ÿ ©U‚ ∞∑§ ∞‚Ê ◊Êª¸ •¬ŸÊŸ
∑§Ê ¬⁄UÊ◊‡Ê¸ ÁŒÿÊ ¡Ê ©U‚ ŒÁˇÊáÊ-¬Á‡ëÊ◊ ∑§Ë •Ê⁄U ‚ËäÊÊ ‹ ¡Êÿ– ©U‚Ÿ ß‚ ◊Êª¸ ∑§Ê ‚»§‹ÃÊ¬Ífl¸∑§ ¬Í⁄UÊ Á∑§ÿÊ– ¡’ ‹π∑§
’Ë◊Ê⁄U ¬«∏UÊ, ÃÊ lhrku ©U‚ «UÊø¸Ÿ ∑§ ◊Á«U∑§‹ ∑§ÊÚ‹¡ ‹ ªÿÊ– ©U‚ À„UÊ‚Ê ‹ÊÒ≈UŸÊ ÕÊ, Á∑§ãÃÈ fl„U ‹π∑§ ∑§Ê Ã’ „UË ¿UÊ«U∏
∑§⁄U ªÿÊ ¡’ ‹π∑§ •¬ŸË ’Ë◊Ê⁄UË ‚ ∆UË∑§ „UÊ ªÿÊ •ÕÊ¸Ã˜ ¡’ ©U‚Ÿ ÿ ‹ˇÊáÊ Œπ Á‹ÿ Á∑§ ‹π∑§ ¡ËÁflÃ ⁄U„UªÊ– ß‚∑§
Áfl¬⁄UËÃ ©UŸ ‡Ê„U⁄UË ‹ÊªÊ¥ ∑§Ë •‚¢flŒŸ‡ÊË‹ÃÊ ¡Ê Á∑§ ¬fl¸ÃËÿ ˇÊòÊÊ¥ ◊¥ ÷˝◊áÊ ∑§⁄UŸ •ÊÃ „Ò¥U, ∑Í§«U∏-∑§⁄U∑§≈UU ∑§ ©UŸ …⁄UÊ¥ ‚ S¬c≈
„UÊ ¡ÊÃË „ÒU ¡Ê fl ¬„UÊÁ«∏UÿÊ¥ ¬⁄U ßœ⁄U-©Uœ⁄U Á’π⁄U ŒÃ „Ò¥U–U
2. The reasons why people willingly undergo the travails of difficult journeys.
Ans. Life does not mean simply eating, drinking or breathing. It is more than mere existing.
The love of adventure is hidden in human heart. The pioneers are ever eager to experience
the thrill of facing the unexpected and unknown.Those who do not want to vegetate are
never afraid of the travails of difficult journeys. It is well said: ‘‘nothing ventured, nothing
gained.’’ We have to take risks if we want to achieve things and be successful. The famous
explorers of continents and travellers to unknown lands were never afraid of the hard work,
difficulties and sufferings that their expedition involved. Their courage and indomitable
will-power inspired their companions to face the unpleasant situations and take risks. In
modern times, we find astronauts orbiting the Moon, Mars and Jupiter to discover their
hidden secrets. The spirit of adventure always excites man to undertake risks.
¡ËflŸ ∑§Ê •Õ¸ ◊ÊòÊ πÊŸÊ ¬ËŸÊ •ÕflÊ ‚Ê¢‚ ‹ŸÊ „UË Ÿ„UË¥ „ÒU– ÿ„U ◊ÊòÊ Áfll◊ÊŸ ⁄U„UŸ ‚ ∑È§¿U •Áœ∑§ „ÒU– ‚Ê„UÁ‚∑§ •Á÷ÿÊŸ

∑§ ¬˝ÁÃ ¬˝◊ ◊ÊŸfl ◊Ÿ ◊¥ Á¿U¬Ê „ÈU•Ê „ÒU– •ª˝áÊË ‹Êª ‚ŒÊ •Ÿ¬ÁˇÊÃ ÃÕÊ •ôÊÊÃ ∑§Ê ‚Ê◊ŸÊ ∑§⁄UŸ ∑§ ⁄UÊ◊Êãø ∑§Ê •ŸÈ÷fl
∑§⁄UŸ ∑§ Á‹ÿ ©Uà‚È∑§ ⁄U„UÃ „Ò¥U– ¡Ê ‹Êª ∑§fl‹ ∞∑§ „UË SÕÊŸ ¬⁄U •∑§◊¸áÿÃÊª˝SÃ ⁄U„U∑§⁄U ™§’Ê™§ ¡ËflŸ Ÿ„UË¥ Á’ÃÊŸÊ øÊ„UÃ,
fl ∑§÷Ë ÷Ë ∑§Á∆UŸ ÿÊòÊÊ•Ê¥¢ ∑§Ë ŒÈc∑§⁄U ¬Ë«∏UÊ ÿÊ •L§Áø∑§⁄U •ŸÈ÷flÊ¥ ‚ ÷ÿ÷ËÃ Ÿ„UË¥ „UÊÃ– ÿ„U ∆UË∑§ „UË ∑§„UÊ ªÿÊ „ÒU “∑§Êß¸
¡ÊÁπ◊ Ÿ„UË¥, ∑È§¿U ¬˝ÊÁåàÊ Ÿ„UË¥–” ÿÁŒ „U◊ ∑È§¿U ¬˝ÊåàÊ ∑§⁄UŸÊ ÃÕÊ ‚»§‹ „UÊŸÊ øÊ„UÃ „Ò¥U ÃÊ „U◊¥ πÃ⁄U ©U∆UÊŸ ¬«¥U∏ª– ◊„UÊmË¬Ê¥
∑§ ¬˝Á‚f πÊ¡∑§ÃÊ¸ ÃÕÊ •ôÊÊÃ Œ‡ÊÊ¥ ∑§Ë ÿÊòÊÊ ∑§⁄UŸ flÊ‹ ‹Êª ©UŸ ∑§Á∆UŸÊßÿÊ¥, ¬Á⁄UüÊ◊ ÃÕÊ ∑§c≈UÊ¥ ‚ ∑§÷Ë ÷Ë ÷ÿ÷ËÃ Ÿ„UË¥
⁄U„U ¡Ê Á∑§ ©UŸ∑§ ‚Ê„UÁ‚∑§ •Á÷ÿÊŸ ◊¥ „UÊŸË „UË ÕË– ©UŸ∑§ ‚Ê„U‚ ÃÕÊ •Œêÿ ßë¿UÊ ‡ÊÁÄàÊ Ÿ ©UŸ∑§ ‚ÊÁÕÿÊ¥ ∑§Ê ÷Ë •Á¬˝ÿ
ÁSÕÁÃÿÊ¥ ∑§Ê ‚Ê◊ŸÊ ∑§⁄UŸ ÃÕÊ πÃ⁄U ©U∆UÊŸ ∑§ Á‹ÿ ¬˝Á⁄UÃ Á∑§ÿÊ– •ÊœÈÁŸ∑§ ÿÈª ◊¥ „U◊ •ãÃÁ⁄UˇÊ ÿÊÁòÊÿÊ¥ ∑§Ê øãº˝◊Ê, ◊¢ª‹
ÃÕÊ ’Î„US¬ÁÃ ∑§ ªÈåÃ ⁄U„USÿÊ¥ ∑§Ê πÊ¡Ÿ ∑§ Á‹ÿ ßŸ∑§ øÄ∑§⁄U ∑§Ê≈UÃ ¬ÊÃ „Ò¥U– ‚Ê„U‚ ∑§Ë ÷ÊflŸÊ ◊ÊŸfl ∑§Ê ¡ÊÁπ◊ ©U∆UÊŸ
∑§ Á‹ÿ ‚ŒÊ ¬˝Á⁄UÃ ∑§⁄UÃË ⁄U„UÃË „ÒU–
3. The accounts of exotic places in legends and book, and the reality.
Ans. The accounts of exotic places in legends and books may sometimes appear in stark contrast
to reality. The human tendency to weave a halo around places in far flung areas or at
high altitudes involving numerous difficulties in reaching there, is largely responsible
for it. It aims at increasing the appeal of the charms of these unusual and exciting spots
to foreign tourists. The author felt thrilled to read the accounts of the first encounters
of earlier travellers with Lake Manasarovar. A Japanese monk named Ekai Kawaguchi
arrived there in 1900. He was so moved with the sanctity of the lake that he burst into
tears. His reaction was perhaps dictated by religious fervour. The second account seems
more charming. A couple of years later Sven Hedin, a Swede visited the holy water. He
was not prone to sentimental outbursts. But the water of the holy lake had similar effect
on him. The reality was altogether different. The town ‘Hor’ was on the shore of the Lake.
It was a grim, miserable place with no vegetation but heaps of accumulated garbage. Thus
reality was quite harsh.
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C. THINKING ABOUT LANGUAGE (PAGE 82)
1. Notice the kind of English Tsetan uses while talking to the author. How do you
think he picked it up?
Ans. Tsetan uses simple English interspersed with local words. His sentences are quite short
and punctuated with ‘sir’. Only some of his utterings are quoted in direct narration. Other
are reported by the author. He might have picked up the words and style of speaking by
constant interaction with the tourists.
Silk Road n 43
2. What do the following utterances indicate:
“I told her, through Daniel ...”
“It’s is cold,” he said finally through Tsetan.
Ans. The use of ‘through’ in the two sentences shows that the two persons conversing with each
other are not familiar with each other’s language. They have to take the help of a third
person, who acts as an interpreter.
3. Guess the meaning of the following words:
Kora drokba kyang
In which language are these words found?
Ans. Kora means pilgrimage
Drokba means a shepherd
Kyang means a pall of dust
These words are found in Tibetan language.
D. WORKING WITH WORDS (PAGE 83)
1. The narrative has many phrases to describe the scenic beauty of the
mountainside like:
A flawless half-moon floated in a perfect blue sky.
Scan the text to locate other such picturesque phrases.
Ans. (i) Extended banks of cloud like long French loaves glowed pink as the sun emerged to
splash the distant mountain tops with a rose-tinted blush.
(ii) A swathe of the white stuff lay across the track in front of us.
(iii) The slope was steep and studded with major rocks.
(iv) It was marked by a large cairn of rocks festooned with white silk scarves and ragged
prayer flags.
(v) ...the sun shone brilliantly in a clear blue sky and the outlook across the plain to the
south gave me a vision of the Himalayas, commanded by a huge, snow capped mountain,
Gurla Mandhata, with just a wisp of cloud suspended over its summit.
2. Explain the use of the adjectives in the following phrases:
(i) shaggy monsters (iv) hairpin bend
(ii) brackish lakes (v) rudimentary general stores
(iii) rickety table
Ans. These adjectives are descriptive in nature and help to establish the special quality of the
noun following them, e.g.,
(i) ‘Shaggy monster’ refers to rough haired Tibetan mastiffs (dogs) of huge size.
(ii) ‘brackish lakes’ refers to the ‘extremely salty water’ of the lakes
(iii) ‘rickety table’ suggests a table that is likely to break easily.
(iv) ‘hairpin bend’ means a ‘very sharp’ bend.
(v) ‘rudimentary generl stores’ stands for general stores dealing in only basic requirements
of human life.
III. Notice these expressions in the text. Infer their meaning from the context.
(Page 74)
 ducking back  swathe  careered down
 manoeuvre  cairn of rocks  salt flats
 billowed
Ans.  ducking back: moving back quickly
 manoeuvre: skillful movements
 billowed: rose and moved in a large mass
 swathe: a large strip or area
 cairn of rocks: a pile of stones which mark a special place
 careered down: moved down
 salt flats: areas of low flat land near sea-water/salty lake.
E. NOTICING FORM (PAGE 83)
1. The account has only a few passive voice sentences. Locate them. In what way
does the use of active voice contribute to the style of the narrative.
Ans. Examples of ‘passive voice sentences:
(i) The slope was... studded with major rocks.
(ii) It was marked by a large cairn of rocks.
(iii) The plateau is pockmarked with salt flats and brackish lakes.
(iv) Hor’s only cafe’... was constructed from badly painted concrete.
(v) I was served by a Chinese youth in military uniform.
(vi) Ekai Kawaguchi...was (so) moved by the sanctity of the lake.....
(vii) One of my nostrils was blocked again.
(viii) I wasn’t convinced that the other would provide me sufficient oxygen.
(ix) The pilgrimage trail was well-trodden.
(x) My initial relief...was tempered by the realization...
The use of active voice makes the style of the narrative more forceful, assertive and
dominant.
2. Notice this construction: ‘Tsetan was eager to have them fixed’.
Write five sentences with a similar structure. (Page 83)
Ans. (i) I wanted to have the house painted.
(ii) She was anxious to have her watch repaired.
(iii) He was eager to have the losses made up.
(iv) She wanted to have her stolen bag recovered.
(v) I want to have my shoes polished and suit brushed.
‘‘The plateau is pockmarked with salt flats and brackish lakes, vestiges of the Tethys
Ocean which bordered Tibet before the continental collision that lifted it skyward.’’ Given
below is an extract from an account of the Tethys Ocean downloaded from the Internet.
Go on line, key in Tethys Ocean in Google search and you will find exhaustive information
on this geological event. You can also consult an encyclopedia.
Today, India, Indonesia and the Indian Ocean cover the area once occupied by the Tethys
Ocean. Turkey, Iraq, and Tibet sit on the land once known as Cimmeria. Most of the floor
of the Tethys Ocean disappeared under Cimmeria and Laurasia. We only know that Tethys
existed because geologists like Suess have found fossils of ocean creatures in rocks in the
Himalayas. So, we know those rocks were underwater, before the Indian continental shelf
began pushing upward as it smashed into Cimmeria. We can see similar geologic evidence
in Europe, where the movement of Africa raised the Alps.
Ans. For self-attempt.

1. Why did the author take the short-cut inspite of high mountain passes?
Ans. The short–cut would take them south-west, almost directly towards Mount Kailash.
Crossing high mountain passes posed breathing problems. Absence of snow meant a fairly
good ride.
2. What did the author notice in the vast open plains after leaving Ravu?
Ans. These vast open plains had only dry pastures. A few gazelles could be seen nibbling the
grass. When the plains grew more stony than grass, he saw a great herd of wild asses.
3. What sights did they encounter in the rocky wilderness?
Ans. They passed shepherds tending their flocks. These well-wrapped men or women would
pause and stare at their car. They sometimes waved. When the track came close to the
sheep, the animals would change direction.
Silk Road n 45
4. How did the author react to the Tibetan mastiff?
Ans. The Tibetan mastiff was a huge black dog. It stood guard outside the dark tents of nomads.
These dogs set their heads erect and watched the car. They barked and ran fast towards
their car. They did not fear the car. They calmed down only after chasing them off their territory.
5. Why did Tsetan stop the car and jump out of it?
Ans. There was snow on about fifteen metres of road ahead. Then there was dirt trail. There
was snow on either side of the road. The bank was too steep for the vehicle to pass. The
icy layer could prove slippery. Tsetan threw handfuls of dirt on the ice. Others followed suit.
6. Why did the author complain of headache? How did he get relief?
Ans. The author was not used to high altitude climbing. He complained of headache when they
had crept past 5,400 metres. He took gulps from his water bottle. This helped some what.
His headache cleared as they moved down the other side of the pass.
7. Give, according to the author, a description of the top of the pass.
Ans. They reached the top of the pass at 5,515 metres. The top was marked by a pile of stones.
These were decorated with white silk scarves and ragged prayer flags. The author and
his companions took a turn round the cairn, in a clockwise direction as it was a tradition
among the Buddhists.
8. Why, do you think was the author perturbed at the loud hiss emitted by the car?
Ans. Tsetan partially unscrewed the top of the car. It emitted a loud hiss. The lower atmospheric
pressure was allowing the fuel to expand. The author was perturbed. He considered it
dangerous.
9. What do you learn about the salt lake on the other side of the pass?
Ans. The salt lake was dry. It was on the other side of the pass. The plateau was covered with
hollow areas of low flat lands near water and brackish lakes. These were the remnants of
the Tethys Ocean. This ocean bordered Tibet before the great continental collision lifted
it skyward.
10. What activities were going on at the dry salt lake?
Ans. The shining white lake was dry. It had lot of layers of salt. Workers were busy loading
trucks with piles of salt. They carried pickaxes and shovels. They had put on long
sheepskin coats and salt-covered boots. They wore sunglasses to avoid the glare caused
by a steady stream of trucks.
11. Which incident does the author remember as they reached a small town, Hor?
Ans. They had suffered two punctures in quick succession on the drive from the salt lake.
Tsetan was eager to have them fixed as they left him with no spares. So they stopped
outside a tyre-repair shop. Daniel was returning to Lhasa. He found a ride in a truck. So
the author and Tsetan bade Daniel farewell at the tyre-repair shop.
12. What is the importance of Hor? How did the author feel there?
Ans. Hor was a small town on the main east-west highway that followed the old trade route
from Lhasa to Kashmir. The town was on the shore of Lake Manasarovar. But the author
does not feel impressed by it. He found Hor a grim, miserable place. It had no vegetation
but only dust and rocks. There were heaps of garbage too.
13. Why is lake Manasarovar Tibet’s most venerated stretch of water?
Ans. Lake Manasarovar is considered to be the source of four great Indian rivers. These are the
Indus, the Ganges, the Sutlej and the Brahmaputra. Actually only the Sutlej flows from
the lake. The headwaters of the others all rise nearby on the flanks of Mount Kailash.
Being the source of great rivers, lake Manasarovar is considered Tibet’s most respected
stretch of water.
14. What sort of experience did the author have at Hor?
Ans. The author had to wait for some time as Tsetan was getting the punctures repaired. He
went to Hor’s only cafe to take tea. It had three broken windows which let in draught. The
Chinese youth who served him tea, spread the grease around on the table with a filthy
rag. The author felt that this half an hour was like solitary confinement.
15. Why did the night at the guest house in Darchen turn out to be another troubled
one?
Ans. The author had to kill time at Hor. It was an open-air rubbish dump. He went from one
place to another without any particular purpose. This set off his cold once again. One
of his nostrils was blocked again as he laid down to sleep in Darchen. He could not get
enough oxygen to breathe. He had to pass a sleepless night.
16. How does the author recount his experience at the Darchen medical college?
Ans. The Tibetan doctor had no white coat or other apparatus. He looked like any other Tibetan
in his thick pullover and woolly hat. He felt the veins in the author’s wrist and asked
him a few questions. He diagnosed his malady as ‘‘a cold and the effects of altitude.’’ He
prescribed a five day course of Tibetan medicines. The author had a sound sleep after his
first full day’s course.
17. What opinion did the author form about Darchen?
Ans. At first he found Darchen horrible. It was dusty, partially abandoned with heaps of rubble
and rubbish lying here and there. It had some simple general stores. A brook babbled
down past his guest house. After a good night’s sleep he felt Darchen was relaxed and
unhurried. The only drawback was that there were no pilgrims.
18. The author says, ‘‘I’d timed my arrival for the beginning of the season, but
it seemed I was too early.’’ How does Darchen appear at the height of the
pilgrimage season?
Ans. The author did not have a personal experience of it. He was told that the town was bustling
with visitors in the pilgrimage season. Many brought their own accommodation. They
would set up their tents at the boundary of Darchen. These tents spread out to the plains.
19. What options did the author have after Tsetan left him?
Ans. His only option was to wait for some other pilgrims. The route of pilgrimage was well-
trodden. But he did not want to go alone. Parts of the route were liable to blockage by
snow. He had no idea whether the snow had cleared or not. He hadn’t come across any
English speaking person to answer this basic question.
20. ‘‘The author gives a picturesque description of Darchen’s only cafe.’’ How far
do you agree with this statement?
Ans. Thes cafe was small, dark and cavernous. It had a long metal stove that ran down the
middle. The walls and ceiling were covered in striped, multicoloured plastic. This cafe
had a single window and a rickety table.
21. What did the author learn about Norbu? How did he feel?
Ans. Norbu was a Tibetan. He worked in Beijing at the Chinese Academy of Social Sciences.
He had come to do the ‘Kora’. He had been writing academic papers about the Kailash
Kora and its importance in various works of Buddhist literature. He had never actually
done Kora himself. The author felt happy. They could do Kora together.
22. Why did the author’s initial relief at meeting Norbu become diluted later on?
Ans. Norbu could talk in English. He was going to Mount Kailash to do Kora. But he was
almost as ill-equipped for the pilgrimage as the author was. He was very fat and found
walking on high attitude tiresome. Moreover, he wan’t really a practising Buddhist. All
these factors diluted the author’s initial relief.
23. Did the author stick to his original plan to make the trek? Give a reason for
your answer.
Ans. No, the author did not stick to his original plan. He had originally imagined to make the
trek in the company of devout believers. Norbu wasn’t a practising Buddhist, but he was
enthusiastic. The author thought carefully. He decided that Norbu would prove to be an
ideal companion.
24. What qualities of Norbu do you think made him an ideal companion to the
author?
Ans. Norbu was an educated person, an academic–who could converse in English. He was a
Silk Road n 47
Tibetan and very enthusiastic. He knew about the importance of Kailash Kora. He was
practical. He suggested hiring yaks to carry their luggage. He had a fine sense of humour.
He could laugh at his own shortcomings.
1. What dificulties did the author encounter while crossing the mountain passes
that led to the Silk Road?
Ans. The first difficulty they faced was during the ascent through the valley. The turns became
sharper and the ride bumpier. The author felt the pressure building up in his ears.
Suddenly Tsetan stopped the car and jumped out. A large strip of white stuff lay across
the track for about fifteen metres. The bank was too steep for their vehicle to scale. They
grabbed handfuls of dust and flung them over the snow. When the snow was spread with
soil, Tsetan slowly drove the vehicle over it. Ten minutes later, they had another blockage.
This time Tsetan drove round the snow. The steep slope was studded with major rocks.
His vehicle was lurching from one obstacle to another. Once he cut off a hairpin bend.
Tsetan negotiated the obstacles and they reached the top of the pass. The author took
gulps from his water bottle to ease his headache caused by rapid ascent. His headache
cleared as they moved down the other side of the pass. Apart from two punctures in quick
succession, they faced no difficulty till they reached Hor, a small town on the main east-
west highway.
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2. How was the author’s experience at Hor in stark contrast to earlier accounts of
the place?
Ans. Hor is a small town on the main east-west highway. The highway followed the old trade
route from Lhasa to Kashmir. The town is located on the shore of Lake Manasarovar.
This lake is Tibet’s most venerated stretch of water. The Sutlej flows from the lake. The
head waters of the Indus, the Ganges and the Brahmaputra, rise nearby on the flanks of
Mount Kailash. Ancient Hindu and Buddhist books regard Manasarovar as the source of
four great Indian rivers.
Earlier travellers had spoken in superlatives about their experience on first glimpse of
Lake Manasarovar. Ekai Kawaguchi was Japanese monk. He had arrived there in 1900.
He was so moved by the sanctity of the lake that he burst into tears. A few years later,
the holy water of the lake had similar effect on Sven Hedin. He was a Swede. Moreover,
he was not sentimental. Hence his reaction was quite noteworthy.
The author found Hor a grim, miserable place with no vegetation. It was just dust and rocks.
He was disappointed to notice heaps of rubbish lying dumped here and there. He calls Hor
an open-air rubbish dump. Thus there was vast difference between legend and reality.
„UÊ⁄U ¬Ífl¸-¬Á‡ëÊ◊ flÊ‹ ◊ÈÅÿ ◊Êª¸ ¬⁄U ∞∑§ ¿UÊ≈UÊ ‚Ê Ÿª⁄U „ÒU– ÿ„U ◊ÈÅÿ ◊Êª¸ À„UÊ‚Ê ‚ ∑§‡◊Ë⁄U ¡ÊŸ flÊ‹ ¬È⁄UÊŸ √ÿÊ¬ÊÁ⁄U∑§
◊Êª¸ ∑§Ê •ŸÈ‚⁄UáÊ ∑§⁄UÃÊ ÕÊ– Ÿª⁄U ◊ÊŸ‚⁄UÊfl⁄U ¤ÊË‹ ∑§ Ã≈U ¬⁄U ÁSÕÃ „ÒU– ÿ„U ¤ÊË‹ ÁÃééÊÃ ∑§Ê ‚flÊ¸Áœ∑§ ‚ê◊ÊÁŸÃ ¡‹-‚¢ª˝„U
„ÒU– ‚Ã‹È¡ ŸŒË ß‚ ¤ÊË‹ ‚ ÁŸ∑§‹ÃË „ÒU– Á‚¢œÈ, ª¢ªÊ ÃÕÊ ’˝„U˜◊¬ÈòÊ ŸÁŒÿÊ¥ ∑§ ©UŒ˜ª◊ SÕÊŸ ÷Ë ÁŸ∑§≈UflÃË¸ „ÒU ∑Ò§‹Ê‡Ê ¬fl¸Ã
¬⁄U „Ò¥U– ¬È⁄UÊŸ Á„UãŒÍ ÃÕÊ ’ÊÒf ª˝ãÕ ß‚ ¤ÊË‹ ∑§Ê øÊ⁄UÊ¥ ◊„UÊŸ ÷Ê⁄UÃËÿ ŸÁŒÿÊ¥ ∑§Ê ©UŒÔ˜ª◊ ◊ÊŸÃ „Ò¥U–
¬Ífl¸flÃË¸ ÿÊÁòÊÿÊ¥ Ÿ ◊ÊŸ‚⁄UÊfl⁄U ¤ÊË‹ ∑§ ¬˝Õ◊ ¤Ê‹∑§ ¬⁄U „ÈUÿ •¬Ÿ •ŸÈ÷flÊ¥ ∑§ Áfl·ÿ ◊¥ •ÁÃ üÊc∆U ‡ÊéŒÊ¥ ◊¥ ∑§„UÊ „ÒU– ∞∑§Êß¸
∑§ÊflÊªÈøË ∞∑§ ¡Ê¬ÊŸË Á÷ˇÊÈ ÕÊ– fl„U fl„UÊ° v~ÆÆ ◊¥ ¬„È°UøÊ– fl„U ¤ÊË‹ ∑§Ë ¬ÁflòÊÃÊ ‚ ßÃŸÊ º˝ÁflÃ „ÈU•Ê Á∑§ »Í§≈U-»Í§≈U ∑§⁄U ⁄UÊŸ
‹ªÊ– ∑È§¿U fl·¸ ©U¬⁄UÊãÃ, ¤ÊË‹ ∑§ ¬ÁflòÊ ¡‹ ∑§Ê Sflu „Á«UŸ ¬⁄U ß‚Ë ¬˝∑§Ê⁄U ∑§Ê ¬˝÷Êfl „ÈU•Ê– fl„U SflË«UŸ flÊ‚Ë ÕÊ– ß‚∑§
•ÁÃÁ⁄UÄàÊ fl„U ÷ÊflÈ∑§ÃÊflÊŒË Ÿ„UË¥ ÕÊ– •Ã— ©U‚∑§Ë ¬˝ÁÃÁ∑˝§ÿÊ äÿÊŸ ŒŸ ÿÊÇÿ ÕË–
‹π∑§ Ÿ „UÊ⁄U ∑§Ê ∞∑§ ∑È§M§¬, ŒÿŸËÿ SÕÊŸ ¬ÊÿÊ Á¡‚◊¥ Á∑§‚Ë flŸS¬ÁÃ ∑§Ë flÎÁf Ÿ„UË¥ ÕË– ÿ„U ◊Ê=k œÍ‹ (Á◊^ÔUË) ÃÕÊ
ø^ÔUÊŸÊ¥ ÷⁄UË ÕË– ©U‚ ÿ„UÊ° fl„UÊ° ∑Í§«∏U-∑§⁄U∑§≈U ∑§ …⁄U Œπ ∑§⁄U ÁŸ⁄UÊ‡ÊÊ „ÈUß¸– fl„U „UÊ⁄U ∑§Ê ∞∑§ ÅÊÈ‹Ê „È•Ê ∑Í§«U∏-∑§⁄U∑§≈U ∑§Ê
÷á«UÊ⁄UáÊ-SÕ‹ ∑§„UÃÊ „ÒU– ß‚ ¬˝∑§Ê⁄U ŒãÃ ∑§ÕÊ•Ê¥ ÃÕÊ flÊSÃÁfl∑§ÃÊ ◊¥ ’„ÈUÃ •Áœ∑§ •ãÃ⁄U ÕÊ–
3. Give a brief account of the author’s experience at Darchen before he got
treatment at Darchen medical college?
Ans. It was 10.30 p.m. when the author and Tsetan reached a guest house in Darchen. The
author was tired and hungry. The drive in dusty Hor had started his cold again. The
herbal tea did not help. One of his nostrils was blocked again. He was not sure that the
other would provide him sufficient oxygen. He lay down to sleep. He started breathing
through his mouth. Then he switched to single-nostril power. He got enough oxygen. He
was about to sleep when he woke up abruptly. His chest felt heavy. He cleared his nasal
passages. He felt relief in his chest.
He lay down and tried to sleep. He was about to fall asleep when something told him not
to. He sat up once again and felt better. But as soon as he lay down again his sinuses
filled up and his chest was strange. He supported himself upright against the wall. He
could not sleep at all. He had another troubled night due to his breathing problems. He
could not give any single reason for the lack of sleep. A little voice inside him kept saying
that if he slept, he might never wake up again. So, he stayed awake all night.
⁄UÊÃ ∑§ vÆ.xÆ ’¡ o.kZudrkZ vkSj lhrku «UÊø¸Ÿ ∑§ ∞∑§ •ÁÃÁÕ ªÎ„U ◊¥ ¬„¢ÈUø– fl.kZudrkZU Õ∑§Ê „È•Ê ÃÕÊ ÷ÍπÊ ÕÊ– œÍ‹
÷⁄U „UÊ⁄U ‚ Ã¡ ªÁÃ osQ flÊ„UŸ ◊¥ •ÊŸ ‚ mls ∆¢U«U Á»§⁄U ‚ ‹ªŸ ‹ªË ÕË– „U’¸‹ øÊÿ Ÿ ∑§Êß¸ ‚„UÊÿÃÊ Ÿ„UË¥ ∑§Ë– ©U‚∑§Ê ∞∑§
ŸÕÈŸÊ Á»§⁄U ’ãŒ „UÊ ªÿÊ– ©U‚ ÿ∑§ËŸ Ÿ„UË¥ ÕÊ ÄÿÊ ŒÍ‚⁄UÊ ÷Ë ¬ÿÊ¸åàÊ •ÊÄ‚Ë¡Ÿ Œ ¬ÊÿªÊ– fl„U ‚ÊŸ ∑§ Á‹ÿ ‹≈U ªÿÊ– ©U‚Ÿ
◊È°„U ‚ ‚Ê°‚ ‹ŸË •Ê⁄Uê÷ ∑§⁄U ŒË– Á»§⁄U ©U‚Ÿ ∞∑§Ê∑§Ë-ŸÕÈŸ ∑§Ë ‡ÊÁÄàÊ ∑§Ê ‚„UÊ⁄UÊ Á‹ÿÊ– ©U‚ ¬ÿÊ¸åàÊ •ÊÄ‚Ë¡Ÿ ©U¬‹éœ
(¬˝ÊåàÊ) „UÊ ªß¸– fl„U ‚ÊŸ „UË flÊ‹Ê ÕÊ ¡’ fl„U •øÊŸ∑§ ©U∆U ’Ò∆UÊ– ©U‚∑§Ë ¿UÊÃË ∑È§¿U ÷Ê⁄UË ◊„U‚Í‚ „UÊ ⁄U„UË ÕË– ©U‚Ÿ •¬Ÿ
ŸÊ∑§ ∑§ ◊Êª¸ ‚Ê»§ Á∑§ÿ– ©U‚ ¿UÊÃË ◊¥ •Ê⁄UÊ◊ ◊„‚Í‚ „ÈU•Ê–
fl„U ‹≈U ªÿÊ ÃÕÊ ‚ÊŸ ∑§Ê ¬˝ÿÊ‚ ∑§⁄UŸ ‹ªÊ– fl„U ‚ÊŸ „UË flÊ‹Ê ÕÊ ¡’ Á∑§‚Ë øË¡ Ÿ ©U‚ Ÿ ‚ÊŸ ∑§Ê ∑§„UÊ– fl„U Á»§⁄U ‚
’Ò∆U ªÿÊ ÃÕÊ ’„UÃ⁄U ◊„U‚Í‚ ∑§⁄UŸ ‹ªÊ Á∑§ãÃÈ ¡Ò‚ „UË Á»§⁄U ‚ ‹≈UÊ ©U‚∑§ Á‚⁄U ∑§Ë „UÁaÔUÿÊ¥ ∑§Ë Ã„¥U ∆U‚Ê-∆UU‚ ÷⁄U ªß¸ ÃÕÊ
¿UÊÃË •¡Ë’ „UÊ ªß¸– ©U‚Ÿ ŒËflÊ⁄U ∑§ ‚ÊÕ ’Ò∆UŸ ∑§Ê ‚„UÊ⁄UÊ Á‹ÿÊ– fl„U Á’À∑È§‹ Ÿ„UË¥ ‚Ê ¬ÊÿÊ– ‚Ê¢‚ ‹Ÿ ∑§Ë ‚◊SÿÊ ∑§
∑§Ê⁄UáÊ ©U‚ ∞∑§ •ÊÒ⁄U ∑§c≈◊ÿ ⁄UÊÃ Á’ÃÊŸË ¬«∏UË– ŸË¥Œ ∑§Ë ∑§◊Ë ∑§Ê fl„U ∑§Êß¸ ∞∑§ ∑§Ê⁄UáÊ Ÿ„UË¥ Œ ‚∑§Ê– ©U‚∑§ ÷ËÃ⁄U ∑§Êß¸ ¿UÊ≈ UË
‚Ë •ÊflÊ¡ ’Ê⁄U-’Ê⁄U ∑§„UÃË ⁄U„UË Á∑§ ÿÁŒ fl„U ‚ÊÿÊ ÃÊ ‡ÊÊÿŒ Á»§⁄U ∑§÷Ë Ÿ„UË¥ ¡Êª ¬ÊÿªÊ– •Ã— fl„U ‚Ê⁄UË ⁄UÊÃ ¡ÊªÃÊ ⁄U„UÊ–U
4. Give a brief account of the author’s visit to the medical college at Darchen and
the effect of the Tibetan medicines on him.
Or
What do you learn about Tibetan doctors and medicines from reading the
travelogue ‘Silk Road’?
Ans. At first the author was impressed neither by the building of the medical college nor the
Tibetan doctor. The building looked liked a monastery. The consulting room was dark and
cold. It lacked the paraphernalia of a doctor. The doctor himself appeared like any other
Tibetan in a thick pullover and a woolly hat. He had no white coat on him. The author
explained his sleepless symptoms and sudden aversion to laying down.
While feeling his pulse, the Tibetan doctor asked the author some questions. He diagnosed
his illness as a cold and effects of the altitude. By now the author had developed some
Silk Road n 49
confidence in the doctor. He asked if he would recover enough to be able to do the kora.
The doctor assured him that he would be fine.

The doctor gave him a five-day course of Tibetan medicine in fifteen screws of paper. The
after breakfast package contained a brown powder. The author took it with hot water.
The lunch time and bed time packages contained small spherical brown small pills. They
looked like sheep dung, but the author took them. He found the medicines quite effective.
After his first full day’s course, he slept soundly at night.
¬„U‹-¬„U‹ ‹π∑§ Ÿ ÃÊ ◊Á«U∑§‹ ∑§ÊÚÁ‹¡ ∑§ ÷flŸ ‚ ÃÕÊ Ÿ „UË ÁÃééÊÃË ÁøÁ∑§à‚∑§ ‚ ¬˝÷ÊÁflÃ „È•Ê– ÷flŸ ◊∆U ¡Ò‚Ê
‹ªÃÊ ÕÊ– ¬⁄UÊ◊‡Ê¸ ∑§ˇÊ •¢œ⁄UÊ ÃÕÊ ∆Uá«UÊ ÕÊ– ß‚◊¥ ÁøÁ∑§à‚∑§ Sflÿ¢ ÷Ë Á∑§‚Ë •ãÿ ÁÃééÊÃË ¡Ò‚Ê ¬˝ÃËÃ „UÊÃÊ ÕÊ– ©U‚Ÿ
‚»§Œ ∑§Ê≈U Ÿ„UË¥ ¬„UŸ ⁄UπÊ ÕÊ– ‹π∑§ Ÿ •¬Ÿ ŸË¥Œ Ÿ •ÊŸ ∑§ ‹ˇÊáÊ ÃÕÊ ‹≈UŸ ‚ •øÊŸ∑§ •L§Áø ∑§Ê ÁflSÃÊ⁄U ‚ S¬c≈ Á∑§ÿÊ–
©U‚∑§Ë Ÿé¡ ≈U≈UÊ‹Ã „ÈUÿ, ÁÃé’ÃË ÁøÁ∑§à‚∑§ Ÿ ‹π∑§ ‚ ∑È§¿U ¬˝‡ãÊ ¬Í¿U– ©U‚Ÿ ©U‚∑§ ⁄UÊª ∑§Ê ÁŸŒÊŸ ∆¢U«U ÃÕÊ •Áœ∑§
™°§øÊß¸ ∑§k ¬˝÷Êfl ’ÃÊÿÊ– •’ Ã∑§ ‹π∑§ Ÿ ÁøÁ∑§à‚∑§ ◊¥ ∑È§¿U Áfl‡√ÊÊ‚ Áfl∑§Á‚Ã ∑§⁄U Á‹ÿÊ ÕÊ– ©U‚Ÿ ¬Í¿UÊ Á∑§ ÄÿÊ fl„U
ßÃŸÊ ∆UË∑§ „UÊ ¡ÊÿªÊ Á∑§ œÊÁ◊¸∑§ ÿÊòÊÊ ¬Í⁄UË ∑§⁄U ¬ÊÿsªÊ– ÁøÁ∑§à‚∑§ Ÿ Áfl‡√ÊÊ‚ ÁŒ‹ÊÿÊ Á∑§ fl„U ∆UË∑§ ⁄„UªÊ–
ÁøÁ∑§à‚∑§ Ÿ ©U‚ ¬ãº˝„U ∑§Êª¡ ∑§Ë ¬ÈÁ«∏UÿÊ¥ ◊¥ z ÁŒŸ ∑§Ë ¬Í⁄UË •ÊÒ·Áœ ŒË– ŸÊ‡Ã (•À¬Ê„UÊ⁄U) ∑§ ’ÊŒ flÊ‹Ë ¬ÈÁ«∏UÿÊ ◊¥
∞∑§ ÷Í⁄UÊ (’˝Ê©UŸ) øÍ⁄UÊ ÕÊ– ‹π∑§ Ÿ ß‚ ª◊¸ ¬ÊŸË ‚ Á‹ÿÊ– ◊äÿÊã„U ÃÕÊ ‡ÊÿŸ ∑§Ê‹ ∑§Ë ¬ÈÁ«U∏ÿÊ ◊¥ ªÊ‹-ªÊ‹ ÷Í⁄U ⁄¢Uª
∑§Ë ¿UÊ≈UË-¿UÊ≈UË ªÊÁ‹ÿÊ° ÕË– fl ÷«∏U ∑§ ◊¥ªŸÊ¥ ¡Ò‚Ë ‹ªÃË ÕË, Á∑§ãÃÈ ‹π∑§ Ÿs ©Uã„¥U Á‹ÿÊ– ©U‚Ÿ •ÊÒ·ÁœÿÊ¥ ∑§Ê •ãÿãÃU
¬˝÷Êfl‡ÊÊ‹Ë ¬ÊÿÊ– ¬„U‹ ÁŒŸ ∑§Ë ŒflÊßÿÊ° ¬Í⁄UË ‹Ÿ ∑§ ’ÊŒ fl„U ⁄UÊÃ ∑§Ê ª„U⁄UË ŸË¥Œ ‚ÊÿÊ–
Q5. What impression do you form of the author, Nick Middleton, on the basis of
reading ‘Silk Road’?
Ans. The author was a bald headed English knowing gentleman. He was keen on performing
Kailash Kora. He undertook the hazardous journey to Mount Kailash for this purpose.
He hired Tsetan’s car and took Daniel as companion for escorting him upto Darchen. He
seems a lover of adventure who is not at all afraid of taking risks. This is evident from
his ascent to undertake a short cut through high mountain passes involving the risk of
slipping on snowy roads.
He is a keen observer of men and manners. He has a sharp eye for details. He describes the
hilly people quite sensitively. He gives a graphic account of difficulties faced during ascent.
His headache and loss of sleep are caused by cold and high altitude. His observations
about Lake Manasarovar and Hor reveal the difference between legend and reality. He
dislikes dirt and shabbiness.
He faces communication problem after Tsetan leaves and before he meets Norbu. However,
he waits and takes correct decisions. He approves of Norbu’s practical suggestion to hire
yaks to carry luggage. In short, he is a sensitive and likable fellow.
‹π∑§ ∞∑§ ª¢¡ Á‚⁄ flÊ‹Ê •¢ª˝¡Ë ¡ÊŸŸ flÊ‹Ê ÷º˝ ¬ÈL§· „ÒU– fl„U ∑Ò§‹Ê‡Ê ¬fl¸Ã ∑§Ë œÊÁ¸¸◊¸∑§ ÿÊòÊÊ ∑§⁄UŸ ∑§Ê ©Uà‚È∑§ ÕÊ– ©U‚Ÿ
∑Ò§‹Ê‡Ê ¬fl¸Ã ∑§Ë π∏Ã⁄UÊa ‚ ÷⁄UË ÿÊòÊÊ ß‚Ë ©Ug‡ÿ ∑§ Á‹ÿ ∑§Ë– ©U‚Ÿ lhrku ∑§Ë ∑§Ê⁄U Á∑§⁄UÊÿ ¬⁄U ‹Ë ÃÕÊ «ÒUÁŸÿ‹ ∑§Ê ‚ÊÕË
∑§ M§¬ ◊¥ Á‹ÿÊ ÃÊÁ∑§ fl ©U‚∑§ ‚ÊÕ «UÊø¸Ÿ Ã∑§ ¡Ê ‚∑¥§– fl„U ‚Ê„UÁ‚∑§ •Á÷ÿÊŸ ∑§Ê ¬˝◊Ë ‹ªÃÊ „ÒU ¡Ê Á∑§ πÃ⁄U ©U∆UÊŸ ‚
Ÿ„UË¥ «U⁄UÃÊ– ÿ„U ©U‚∑§Ë ©UŸ ™°§ø Œ⁄UÊZ ‚ ªÈ¡⁄UŸ flÊ‹ ¿UÊ≈U ⁄UÊSÃ ∑§Ê •¬ŸÊŸ ∑§Ë SflË∑Î§ÁÃ ‚ S¬c≈ „ÒU Á¡Ÿ◊¥ ’»¸§ ÷⁄Uh ‚«∏U∑§Ê¥
‚ Á»§‚‹Ÿ ∑§Ê πÃ⁄UÊ ‡ÊÊÁ◊‹ ÕÊ–
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∑§⁄UÃÊ „SU– ©U‚∑§Ê Á‚⁄U ŒŒ¸ ÃÕÊ ŸË¥ŒU ∑§Ë ∑§◊Ë ∆¢U«U vkSj •Áœ∑§ ™°§øÊß¸ ∑§ ∑§Ê⁄UáÊ „ÈUÿ „Ò¥U– ◊ÊŸ‚⁄UÊfl⁄U ¤ÊË‹ ÃÕÊ Ÿª⁄U „UÊ⁄U ∑§
Áfl·ÿ ◊¥ ©U‚∑§ ∑§ÕŸ ŒãÃ∑§ÕÊ•Ê¥ ∞fl¢ flÊSÃÁfl∑§ÃÊ ∑§ ◊äÿ •ãÃ⁄U ∑§Ê S¬c≈ ∑§⁄UÃ „Ò¥U–
SÊËÃÊŸ ∑§ ¡ÊŸ ÃÕÊ ŸÊ’Í¸ ∑§ ‚ÊÕ ÷¥≈U „UÊŸ ‚ ¬„U‹ ©U‚ ’ÊÃ-øËÃ ∑§⁄UŸ ◊¥ ∑§Á∆UŸÊß¸ •ÊÃË „ÒU– Á∑§ãÃÈ fl„U ¬˝ÃËˇÊÊ ∑§⁄UÃÊ „ÒU
ÃÕÊ ‚„UË ÁŸáÊ¸ÿ ‹ÃÊ „ÒU– fl„U ‚Ê◊ÊŸ …UÊŸ ∑§ Á‹ÿ ÿÊ∑§ Á∑§⁄UÊÿ ¬⁄U ‹Ÿ ∑§ ŸÊ’Í¸ ∑§ √ÿÊfl„UÊÁ⁄U∑§ ÁŸáÊ¸ÿ ∑§Ê ©UÁøÃ ∆U„U⁄UÊÃÊ
„ÒU– ‚¢ˇÊ¬ ◊¥ fl„U ∞∑§ ‚¢flŒŸ‡ÊË‹ ÃÕÊ ¬‚ãŒ ∑§⁄UŸ ÿÊÇÿ √ÿÁÄàÊ „ÒU–

LITERATURE TEXTBOOK: HORNBILL (POETRY)
(i) The Laburnum Top

Ted Hughes
SUMMARY IN ENGLISH
During the afternoon of an autumnal September sunlight, the highest part of the Laburnum
tree is silent, calm and quiet. A few of its leaves are turning yellow but all its seeds have fallen.
Suddenly a goldfinch comes at a branch end. Its sudden chirping sounds break the silence.
Then quite watchfully and smoothly like a lizard, she suddenly enters the middle part of the
tree. Then the tree is filled up with a series of short, quick high pitched chattering sounds,
shaking movement of wings and repeated short sounds. It seems as if a whole machine has
started working. The whole tree shakes slightly and feels excited. Perhaps the goldfinch has
made her nest there and she feeds her young ones. This engine of her family responds to her
call and after stoking it, she moves out in a short time and goes to the branch end where her
face remains partly visible—the bars on her face serve as mask for her identity.
Then with mysterious and frightening, light pleasant soft sound of whistling and chirping
she shoots forward towards endless heaven. Once she rises towards God’s abode (the infinite)
the laburnum tree becomes calmer or quieter and it seems to be empty.
SUMMARY IN HINDI
¬Ã¤Ê«∏U ∑§ Á‚Ãê’⁄U ◊„UËŸ ∑§ •¬⁄UÊ„˜Ÿ ∑§ ‚Íÿ¸ ∑§ ¬˝∑§Ê‡Ê ◊¥ veyrkl flÎˇÊ ∑§Ë øÊ≈UË ‡ÊÊãÃ, ŸË⁄Ufl ∞fl¢ øÈ¬øÊ¬ „ÒU– ß‚ flÎˇÊ ∑§ ∑È§¿U
¬ûÊ ¬Ë‹ „UÊÃ ¡Ê ⁄U„U „Ò¥U Á∑§ãÃÈ ‚÷Ë ’Ë¡ Áª⁄U øÈ∑§ „Ò¥–
•øÊŸ∑§ ∞∑§ ‚ÊŸÁø«∏UË ‡ÊÊπÊ ∑§ Á‚⁄U ¬⁄U •Ê ’Ò∆UàÊË „ÒU– ß‚∑§Ë •øÊŸ∑§ ø„Uø„UÊŸ ∑§Ë •ÊflÊ¡¥ ŸË⁄UflÃÊ ∑§Ê ÷¢ª ∑§⁄UÃË „Ò¥U– Á»§⁄U
Á¿U¬∑§‹Ë ∑§Ë ÷Ê°ÁÃ •àÿãÃ ‚ÊflœÊŸË ∞fl¢ Áø∑§Ÿ¬Ÿ ‚ fl„U •øÊŸ∑§ flÎˇÊ ∑§ ◊äÿ ÷Êª (‚’‚ ª„U⁄U ÷Êª) ◊¥ ÉÊÈ‚ ¡ÊÃË „ÒU– Ã’
flÎˇÊ øÍ°-øÍ° ÃÕÊ ø„Uø„UÊ≈U ∑§Ë äflÁŸÿÊ¥ ‚ ¬¢πÊ ∑§ Á„U‹Ÿ ∑§ ∑§ê¬Ÿ ÃÕÊ ’Ê⁄U-’Ê⁄U ÁŸ∑§‹ ∑§Ê°¬Ã Sfl⁄UÊ¥ ∑§Ë ¿UÊ≈UË äflÁŸÿÊ¥ ‚ ÷⁄U
¡ÊÃÊ „ÒU– ∞‚Ê ¬˝ÃËÃ „UÊÃÊ „ÒU Á∑§ ¡Ò‚ Á∑§‚Ë ◊‡ÊËŸ Ÿ ø‹ŸÊ (∑§Ê◊ ∑§⁄UŸÊ) izÊ⁄Uê÷ ∑§⁄U ÁŒÿÊ „ÒU– ¬Í⁄UÊ flÎˇÊ „UÀ∑§Ê ‚Ê Á„U‹ÃÊ „ÈU•Ê
‚Ê ¬˝ÃËÃ „UÊÃÊ „ÒU ÃÕÊ ©UûÊÁ¡Ã ◊„U‚Í‚ ∑§⁄UÃÊ „ÒU– ‡ÊÊÿŒ ‚ÊŸÁø«∏UË Ÿ fl„UÊ° •¬ŸÊ ÉÊÊ¥‚‹Ê ’ŸÊ ⁄UπÊ „ÒU ÃÕÊ •¬Ÿ ¿UÊ≈U-¿UÊ≈U ’ëëÊÊ¥
∑§Ê ÷Ê¡Ÿ ŒÃË „ÒU– ©U‚∑§Ê ¬Á⁄UflÊ⁄U M§¬Ë ÿ„U ßZœŸ m‚∑§Ë ¬È∑§Ê⁄U (•ÊflÊïÊ) ∑§Ê ¬˝RÿÈûÊ⁄U ŒÃÊ „ÒU ÃÕÊ ß‚◊¥ ÷Ê¡Ÿ M§¬Ë ßZœŸ «UÊ‹Ÿ
∑§ ©U¬⁄UÊãÃ fl„U •À¬∑§Ê‹ ◊¥ „UË ’Ê„U⁄U ÁŸ∑§‹ ¡ÊÃË „ÒU ÃÕÊ ‡ÊÊπÊ ∑§ ¿UÊ⁄U ¬⁄U ¡Ê ’Ò∆UÃË „ÒU ¡„UÊ° ©U‚∑§Ê ø„U⁄UÊ ÕÊ«∏UÊ ÁŒπÃÊ ⁄U„UÃÊ
„ÒU– ©U‚∑§ ø„U⁄U ¬⁄U •Êß¸ ≈U„UÁŸÿÊ° (‚‹Êπ¥) ©U‚∑§Ë ¬„UøÊŸ ∑§ Á‹∞ ◊ÈπÊÒ≈UÊ ’Ÿ ¡ÊÃË „Ò¥U •ÕÊ¸Ã˜ ©U‚∑§Ë ¬„UøÊŸ ∑§Ê Á¿U¬Ê ‹ÃË „Ò¥U–
Á»§⁄U ⁄U„USÿ◊ÿ ÃÕÊ ÷ÿÊfl„U, ø„Uø„UÊŸ ÃÕÊ ‚Ë≈UË ∑§Ë „UÀ∑§Ë, ‚È„UÊflŸË, ∑§Ê◊‹ äflÁŸ ‚ fl„U •ŸãÃ •Ê∑§Ê‡Ê ∑§Ë •Ê⁄U ™§¬⁄U ∑§Ê
©U«∏U ¡ÊÃË „ÒU– ∞∑§ ’Ê⁄U ¡’ fl„U ¬˝÷È ∑§ ÁŸflÊ‚ (•ŸãÃ) ∑§Ë •Ê⁄U ©U«∏U ¡ÊÃË „ÒU ÃÊ veyrkl flÎˇÊ Á»§⁄U ‚ ‡ÊÊãÃ ∞fl¢ ŸË⁄Ufl „UÊ ¡ÊÃÊ
„ÒU ÃÕÊ ÿ„U πÊ‹Ë ¬˝ÃËÃ „UÊÃÊ „ÒU–

PAGE 31
Top—(here) highest part; øÊ≈UË– Silent—quiet; øÈ¬– Still—not moving, calm and quiet; ªÁÃ„UËŸ,
‡ÊÊãÃ– Yellow—colour of lemons; ¬Ë‹Ê ⁄¢ª– Twitching—making sudden quick movements; ¤Ê≈U∑§
‚– Chirrup—chirp, make short high sounds; ø„Uø„ÊŸÊ, øÍ°-ø°Í ∑§⁄UŸÊ– Suddenness—quickness and
unexpectedness; ¡ÀŒË¬Ÿ ÃÕÊ •øÊŸ∑§– Startlement—sudden surprise; •øÊŸ∑§ øÊÒ¥∑§ŸÊ– Sleek—glossy,
51
smooth; Áø∑§ŸÊ– Alert—(here) watchful; øÊÒ∑§‚, ‚ÊflœÊŸ– Abrupt—sudden, unexpected; •øÊŸ∑§,
•Ê∑§ÁS◊∑§– Thickness—(here) the middle part; ◊äÿ ÷Êª– Chittering—twittering or chatterings;
ø„Uø„UÊŸÊ– Tremor—a slight shaking movement in a part of body; ∑§ê¬Ÿ– Trillings—repeated short
sounds quavering sounds; ∑§Ê°¬ÃÊ „ÈU•Ê Sfl⁄U– Trembles—shakes slightly; „UÀ∑§Ê ‚Ê ∑§Ê°¬ÃÊ „ÒU– Thrills—
excites; ©UûÊÁ¡Ã ∑§⁄UŸÊ („UÊŸÊ)– Stokes—adds fuel; ßZœŸ ¤ÊÊ¥∑§ŸÊ– Flirts out—moves out quickly; ‡ÊËÉÊ˝ÃÊ
‚ ’Ê„U⁄U ÁŸ∑§‹ŸÊ– Mask—a covering for concealing the face; Ÿ∑§Ê’, ◊ÈπÊÒ≈UÊ– Eerie—mysterious and
frightening; ⁄U„USÿ◊ÿ ÃÕÊ ÷ÿÊfl„U– Delicate—light, pleasant; „UÀ∑§Ë, ‚È„UÊflŸË– Whisperings—(here) soft
sounds; ∑§Ê◊‹ äflÁŸÿÊ°– Launches away—jumps forward with a lot of force; Ã¡Ë ‚ ©U¿U‹ŸÊ– Infinite—
something that has no end; God; •ŸãÃ, ß¸‡√Ê⁄U– Subsides—becomes calmer or quieter; ‡ÊÊãÃ „UÊŸÊ–
MCQ TYPE QUESTIONS FROM

EXTRACTS FOR COMPREHENSION
A. Read the extract given below and answer the questions that follow by choosing
the correct option. Write the answers in the answers sheet against the correct
question number.
1. The Laburnum top is silent, quite still
In the afternoon yellow September sunlight,
A few leaves yellowing, all its seeds fallen. (Page 31)
(a) The poet who has composed this poem is ......................... .
(i) Shirley Toulson (ii) Walt Whitman
(iii) Markus Natten (iv) Ted Hughes
(b) The leaves of the laburnum tree are turning yellow because ....................... .
(i) it is silent and motionless (ii) it is weak sunlight in the afternoon
(iii) it is the autumn season (iv) it has lost all its seeds
(c) The device used to reinforce the dominant colour is ......................... .
(i) alliteration (ii) repetition (iii) simile (iv) metaphor
(d) The word ‘still’ in line 1 means ......................... .
(i) not moving (ii) till now (iii) alert (iv) tremble
Answers
(a) (iv) Ted Hughes (b) (iii) it is the autumn season
(c) (ii) repetition (d) (i) not moving
2. Till the goldfinch comes, with a twitching chirrup
A suddenness, a startlement, at a branch end.
Then sleek as a lizard, and alert, and abrupt,
She enters the thickness, and a machine starts up
Of chitterings, and a tremor of wings, and trillings— (Page 31)
(a) The goldfinch came to a branch end of the laburnum tree ......................... .
(i) briskly (ii) silently (iii) expectedly (iv) suddenly
(b) The poetic device used in line 3 is ......................... .
(i) alliteration (ii) irony (iii) simile (iv) metaphor
(c) The words ‘a machine starts up’ convey ......................... .
(i) presence of a machine (ii) noise and movement
(iii) alertness and quickness (iv) lot of activity
(d) The chitterings, trillings and tremor of wings are caused by ......................... .
(i) the young ones of the goldfinch
(ii) the mate of the goldfinch
(iii) other birds in the middle part of the tree
(iv) the goldfinch itself
Answers
(a) (iv) suddenly (b) (iii) simile
(c) (ii) noise and movement (d) (i) the young ones of the goldfinch
3. The whole tree trembles and thrills.
It is the engine of her family
She stokes it full, then flirts out to a branch-end
Showing her barred face identity mask (Page 31)
(a) The poetic device used in the first line is ......................... .
(i) alliteration (ii) simile (iii) comparison (iv) metaphor
(b) The laburnum tree seems to tremble because of ......................... .
(i) the arrival of the goldfinch
(ii) the twitching chirrups of the goldfinch
(iii) the shaking movements of the wings of the young ones
(iv) twittering of the young ones
(c) The image ‘stokes it full’ conveys that the goldfinch ......................... .
(i) adds energy to the machine (ii) supplies fodder to the birds
(iii) gives love and affection to the birds (iv) feeds all her young ones on the tree
(d) The mask for her identity is provided by ......................... .
(i) the yellow flowers of the laburnum tree
(ii) the bars on her face
(iii) the yellow leaves of the laburnum tree
(iv) the twigs across her body
Answers
(a) (i) alliteration
(b) (iii) the shaking movements of the wings of the young ones
(c) (iv) feeds all her young ones on the tree
(d) (ii) the bars on her face
4. Then with eerie delicate whistle-chirrup whisperings
She launches away, towards the infinite
And the laburnum subsides to empty. (Page 31)
(a) The goldfinch leaves the laburnum with ......................... .
(i) twitching chirrup (ii) a lot of chitterings
(iii) quavering sounds (iv) whistle-chirrup whisperings
(b) The destination of the goldfinch seems to be ......................... .
(i) another laburnum tree (ii) a field with ripe corn
(iii) the limitless sky (iv) a valley beyond the hills
(c) After the goldfinch flies away, the tree becomes ......................... .
(i) unpleasant (ii) calm and quiet
(iii) lovely (iv) empty
(d) The word ‘eerie’ in line 1 means ......................... .
(i) mysterious and frightening (ii) familiar and lovely
(iii) cheerful and encouraging (iv) dark and dangerous
Answers
(a) (iv) whistle-chirrup whisperings (b) (iii) the limitless sky
(c) (ii) calm and quiet (d) (i) mysterious and frightening

A. FIND OUT (PAGE 32) (Answer in a word/phrase)
(i) What laburnum is called in your language?
(ii) What local bird is like the goldfinch?
The Laburnum Top n 53

Ans. (i) The laburnum tree is called amaltass (veyrkl) in our language.
(ii) The local bird ‘sonchiriya’ is like the goldfinch.
B. THINK IT OUT (PAGE 32) (Answer in 30 words)
1. What do you notice about the beginning and the ending of the poem?
Ans. The beginning and the ending of the poem highlight the silence and stillness around the
empty Laburnum tree.
2. To what is the bird’s movement compared? What is the basis for the comparison?
Ans. The bird’s movement is compared to that of a lizard. The glossy smoothness between
their movements is the basis for the comparison. Moreover, the movement is abrupt and
marked by alertness.
3. Why is the image of the engine evoked by the poet?
Ans. The middle part of the Laburnum tree produces a lot of noise and initiates much movement
also. There are a lot of sounds caused by twitterings, shaking of wings and trillings. It
seems as if a machine had started working. The poet calls it the engine of her family. The
goldfinch feeds the young ones in the same way as a worker stokes fuel (coal) in a railway
engine.
4. What do you like most about the poem?
Ans. The poem gives a fine description of the sounds and movements of a goldfinch in a
Laburnum tree in autumn season. The sensuousness of the poem has a deep appeal for
a sensitive reader.
5. What does the phrase ‘her barred face identity mask’ mean?
Ans. The face of the goldfinch is only partly visible. The bars on her face serve as marks for
her identity. They hide more than they reveal.
C. NOTE DOWN (PAGE 32)
1. The sound words
Ans. The sound words are: chirrup, chitterings, trillings, whisperings, whistle.
2. The movement words
Ans. The movement words are: comes, enters, starts, trembles, thrills, stokes, flirts out,
launches away.
3. The dominant colour in the poem
Ans. The dominant colour in the poem is yellow. The laburnum tree has yellow flowers. A few
of its leaves are turning yellow. The sunlight on a September afternoon is yellow and so
are the yellow feathers on the wings of the goldfinch.
D. LIST THE FOLLOWING (PAGE 32)
1. Words which describe ‘sleek’, ‘alert’ and ‘abrupt’.
Ans. The words are listed against the given word:
(a) sleek: smooth, gloosy
(b) alert: vigilant, watchful, nimble, brisk, lively
(c) abrupt: sudden, steep, unexpected, precipitous
2. Words with the sound ‘ch’ as in ‘chart’ and ‘tr’ as in ‘trembles’ in the poem.
Ans. (a) Words with the sound ‘ch’ as in ‘chart’ are: chittering, branch, launches.
(b) Words with the sound ‘tr’ as in ‘trembles’ are: tree, tremor, trillings.
3. Other sounds that occur frequently in the poem.
Ans. Other sounds that are frequent in the poem are:
(a) sound of ‘s’ as in september, sunlight, seeds, suddenness, sleek, starts, silent, still
startlement, stokes, subsides.
(b) sound of ‘sh’ as is she, showing
(c) sound of ‘l’ as in laburnum, leaves, launches
(d) sound of ‘a’ as in alert, abrupt, away
(e) sound of ‘wh’ as in whistle, whisperings.
E. THINKING ABOUT LANGUAGE (PAGE 32)
Look for some other poem on a bird or a tree in English or any other language.
Ans. A poem on a bird:
Flight of the Wild Bird
I glide through the clouds with my wings so strong...
Watch out for me, please, as I hover on high,
As I swoop, as I dive, as I wheel through the sky.
I’m free as the air and my heart’s full of song,
As I glide through the clouds with my wings so strong!
The breezes, so fresh, chase me gently in play
And brightly the sunbeams come dancing my way,
As I swoop, as I dive, as I soar on the wing-
Wheel about; turn about; whistle and sing.
Hey-ho for my wings and the right to be free,
On high in the sky-that’s the best life for me!
Or
A poem on a tree:
Breath
by J. Daniel Beaudry
Tree, gather up my thoughts
like the clouds in your branches.
Draw up my soul
like the waters in your root.
In the arteries of your trunk
bring me together.
Through your leaves
breathe out the sky.
F. TRY THIS OUT (PAGE 32)
Write four lines on any tree that you see around you.
Ans. For self-attempt.

1. How does the Laburnum tree appear in September?
Ans. In the afternoon of an autumnal September sunlight, the laburnum top appears silent
and quite still. A few leaves of the tree are turning yellow. All the seeds of the tree have
fallen.
2. How does the poet, Ted Hughes, portray the arrival of the goldfinch on the end
of branch of laburnum tree?
Ans. The goldfinch chirps making sudden quick movements. She settles down at a branch end.
Her arrival is marked with quickness, unexpectedness and sudden surprise.
3. Describe the movement of the goldfinch in the laburnum tree.
Ans. At first the goldfinch settles at a branch end. Then it watches and suddenly she enters
the middle part of the tree. Its movement is as smooth as that of a lizard.
4. What happens when the goldfinch enters the thickness?
Ans. As the goldfinch enters the thickness, a confusion of sounds is stirred up as if a machine
had started working. Slight shaking of wings and quavering sounds make the tree tremble
and full of excitement.
The Laburnum Top n 55

5. What do you think the goldfinch does in the thickness of the laburnum tree?
Ans. As the goldfinch enters the thickness of the laburnum tree there is a spontaneous outbreak
of twittering, quavering sounds and tremor of wings. The whole tree seems to shake
slightly and is excited.
6. How does the goldfinch depart from the laburnum tree?
Ans. The goldfinch whistles and chirps in mysterious, frightening and delicate manner. Then
she jumps forward with a lot of force from the branch and soars up to the sky.
1. Give a brief account of the sounds and movement of the goldfinch on the
laburnum top.
Ans. The goldfinch chirps and suddenly settles on the end of a branch on the top of the laburnum
tree. Then quite suddenly and watchfully she enters the middle part of the tree. She moves
smoothly like a lizard. Then the tree is filled up with a series of short, quick, high pitched
chattering sounds, shaking of wings and quavering sound. The whole tree shakes slightly
and is excited. It seems as if a whole machine has started working. This thickness of the
tree houses the family of goldfinch and she stokes the engine of her family before leaving
the tree and flying off to the infinite. The laburnum top regains its silence and stillness.
‚ÊŸÁøÁ«∏UÿÊ ø„Uø„UÊÃË „ÒU ÃÕÊ •øÊŸ∑§ veyrkl flÎˇÊ ∑§Ë øÊ≈UË ¬⁄U ∞∑§ ‡ÊÊπÊ ¬⁄U ’Ò∆U ¡ÊÃË „ÒU– Á»§⁄U Á’À∑È§‹ •øÊŸ∑§
Á∑§ãÃÈ øÊÒ∑§‚Ë ‚ fl„U flÎˇÊ ∑§ ÷ËÃ⁄UË ÷Êª ◊¥ ¬˝fl‡Ê ∑§⁄UÃË „ÒU– fl„U ∞∑§ Á¿U¬∑§‹Ë ∑§Ë ÷Ê°ÁÃ Áø∑§ŸÊ„U≈U ‚ Á„U‹ÃË „ÒU– flÎˇÊ
ø„Uø„UÊŸ ∑§Ë ¿UÊ≈UË, ‡ÊËÉÊ˝ ÃÕÊ ™°§øË •ÊflÊ¡Ê¥, ¬¢πÊ¥ ∑§ ∑§ê¬Ÿ ÃÕÊ ∑§Ê°¬ÃË •ÊflÊ¡Ê¥ ‚ ÷⁄U ¡ÊÃÊ „ÒU– ¬Í⁄UÊ flÎˇÊ ÕÊ«∏UÊ ‚Ê
Á„U‹ÃÊ „ÒU ÃÕÊ ©ûÊÁ¡Ã „UÊÃÊ „ÒU– ∞‚Ê ¬˝ÃËÃ „UÊÃÊ „ÒU ◊ÊŸÊ Á∑§ ∞∑§ ¬Í⁄UË ◊‡ÊËŸ Ÿ ∑§Ê◊ ∑§⁄UŸÊ •Ê⁄Uê÷ ∑§⁄U ÁŒÿÊ „UÊ– flÎˇÊ ∑§Ê
ÿ„U ÷ËÃ⁄UË ÷Êª ‚ÊŸÁøÁ«∏UÿÊ ∑§ ¬Á⁄UflÊ⁄U ∑§Ê •ÊüÊÿ ŒÃÊ „ÒU ÃÕÊ fl„U •¬Ÿ ¬Á⁄UflÊ⁄U M§¬Ë ß¸¡Ÿ ◊¥ ßZœŸ ¤ÊÊ¥∑§ÃË „ÒU ß‚‚ ¬„U‹
Á∑§ fl„U flÎˇÊ ∑§Ê ¿UÊ«∏U ÃÕÊ •ŸãÃ ∑§Ë •Ê⁄U ©U«∏UÊŸ ÷⁄U– veyrkl flÎˇÊ •¬ŸË ‡ÊÊÁãÃ ÃÕÊ ŸË⁄UflÃÊ ¬ÈŸ— ¬˝ÊåàÊ ∑§⁄U ‹ÃÊ „Ò–

SUPPLEMENTARY READER: SNAPSHOTS
5 The Ghat Of The Only World

Amitav Ghosh
SUMMARY IN ENGLISH
In this write-up, Amitav Ghosh pays glowing tribute to Agha Shahid Ali, a teacher and poet.
Shahid was an expatriate from Kashmir. He moved to Pennysylvania in 1975 and after that
he lived mainly in America. His brother was already there and they were later joined by their
two sisters. Shahid’s parents continued to live in Srinagar and it was his custom to spend the
summer months with them every year. He was an intermittent but first hand witness to the
mounting violence that seized the region from the late 1980s onwards.
Shahid regarded his time at Pennysylvania state as the happiest time of his life. He grew as
a reader, a poet and a lover. Later Shahid moved to Arizona to take a degree in creative writing.
This, in turn, was followed by a series of jobs in colleges and universities: Hamilton College, the
University of Massachusetts at Amherst, and finally, the University of Utah in Salt Lake City,
where he was appointed as a professor in 1999. He was on leave from Utah, for a brief stint at
New York University, when he had his first blackout in February 2000.
The writer, Amitav Ghosh had known Shahid’s work long before he met him. They had
several conversations on the phone during 1998 and 1999 and even met a couple of times.
He became intimate with Shahid when he moved to Brooklyn in 2000. By this time, Shahid’s
condition was already serious, yet his illness did not hamper their friendship or Shahid’s
interest—love for music, poetry, good conversation and friends. They had many common friends
as well as common likings. Both loved rogan josh, Roshanara Begum and Kishore Kumar. He
took great pleasure in the music of Begum Akhtar, the great ghazal singer. They were indifferent
to cricket but attached to Bombay films.
Shahid was gregarious by nature. There was never an evening when there wasn’t a party
in his living room. Shahid had a sorcerer’s ability to transmute the mundane into the magical.
He was a poet who had achieved greatness. He knew himself that he was dying. Even the most
trivial exchanges with him had a special charge and urgency. Shahid was a lover of good food.
He would issue directions to the person in the kitchen regarding the ingredients to be added to
rogan josh at various stages. He had a special passion for the food of his region, one variant of
it in particular: ‘Kashmiri food in the Pandit Style’. He also loved Bengali food though he had
never been to Calcutta.
Shahid loved repartee. The author recalls his witty exchanges with a security guard at
Barcelona airport. Shahid worked poetry into his answer. Later he composed the poem ‘Barcelona
Airport’ recalling this incident. The author had quoted from his collection ‘The Country Without
a Post Office’ in 1998 in an article that touched briefly on Kashmir. Shahid had a prophetic
vision. He had a recurrent dream that all the Pandits had vanished from the valley of Kashmir
and their food had became extinct. This was a nightmare that haunted him.
Shahid spoke to the author about his approaching death for the first time on 25 April 2001.
Shahid wanted the author to write something about him after his death. The author recalls an
incident of 21 May when he went along with his brother Iqbal and sister Hena to fetch him from
the hospital. By that time he had been through several unsuccessful operations. But he had
not lost his glee. On 7 May 2000, the author was with Shahid when he taught his last class at
Manhattan’s Baruch College. On 5 May, 2001 Shahid had an important scan. The doctors gave
57
him a year or less. They had stopped all medicines and even chemotherapy. Shahid wanted
to go back to Kashmir to die, but had to change his mind. He was contented to be laid to rest
in Northampton, in Amherst town. The author saw Shahid for the last time on 27 October at
his brother’s house in Amherst. He died peacefully, in his sleep, at 2 a.m. on 8 December. The
author feels his presence even in his own living room. He feels amazed that so brief a friendship
has resulted in so vast a void.
SUMMARY IN HINDI
bl ys[k esa vferko ?kks"k vkx+k 'kkfgn vyh] tks ,d f'k{kd ,oa dfo Fks] dks 'kkunkj Jn~èkkatfy le£ir djrk gSA
'kkfgn d'ehjh izoklh FkkA og 1975 esa isuhflyosfu;k x;k rFkk mlosQ i'pkr~ og eq[;r% vesfjdk esa gh fuokl djrk
jgkA mldk HkkbZ igys gh ogk¡ Fkk rFkk ckn esa mudh nks cgusa Hkh ogha igq¡p xb±A 'kkfgn osQ ekrk&firk Jhuxj esa gh
jgrs jgs rFkk ;g mlosQ fy;s fjok”k cu x;k Fkk fd izR;sd o"kZ x£e;ksa osQ eghus muosQ lkFk fcrk;sA ml {ks=k esa 1980
osQ n'kd rFkk vkxs tks ¯glk c<+rh xbZ mldk og lfojke ¯drq izFke n`"Vk izR;{kn'khZ FkkA
isfuflyosfu;k LVsV esa vius le; dks 'kkfgn thou dk lokZf/d izlUurk dk le; ekurk FkkA og ,d ikBd]
dfo ,oa izseh osQ :i esa fodflr gqvkA blosQ ckn 'kkfgn jpukRed ys[ku esa mikf/ ysus osQ fy, ,jh”kksuk pyk x;kA
blosQ ckn ckjh vkbZ fofHkUu egkfo|ky;ksa ,oa fo'ofo|ky;ksa esa ukSdfj;ksa dh ,d Ükà[kyk dh% gSfeYVu dkWyst] ,egLVZ
esa eSlkP;wlsV~l ;wfuo£lVh rFkk vUr esa lkYV ysd flVh esa mVkg dh ;wfuo£lVh] tgk¡ mls 1999 esa izksisQlj fu;qDr
fd;k x;k FkkA iQjojh 2000 esa tc mls igyh ckj n`f"Vghurk dk vkHkkl gqvk rks og mVkg ls vodk'k ysdj laf{kIr
le; osQ fy, dk;Zjr FkkA
ys[kd] vferko ?kks"k] mls feyus ls dkiQh le; igys ls mlosQ ys[ku ls voxr FkkA 1998 rFkk 1999 esa mudh
dbZ ckj nwjHkk"k ij ckrphr gqbZ rFkk os oqQN ckj feys HkhA tc 'kkfgn 2000 esa czqdfyu pyk x;k rks vferko mldk
vUrjax (?kfu"V) fe=k cu x;kA bl le; rd 'kkfgn dh fLFkfr dkiQh xaHkhj gks pqdh Fkh] ¯drq mldh chekjh us
mldh fe=krk vFkok 'kkfgn dh #fp;ksaµlaxhr] dfork] vPNk okrkZyki ,oa fe=kksaµesa dksbZ ck/k ugha igq¡pkbZA muosQ
dbZ lk¡>s fe=k rFkk lk¡>h #fp;k¡ FkhaA nksuksa gh jksxutks'k] jks'kukjk csx+e rFkk fd'kksj oqQekj dks I;kj djrs FksA og egku
x”ky xkf;dk csx+e v[rj osQ laxhr esa vR;fèkd izlUurk vuqHko djrk FkkA os nksuksa fØosQV osQ izfr mnklhu Fks ¯drq
mUgsa cacbZ dh fiQYeksa ls yxko FkkA
'kkfgn LoHkko ls gh leqnk;&izseh FkkA ,slh 'kk;n gh dksbZ 'kke gks tc mldh cSBd esa dksbZ ikVhZ u gqbZ gksA
v#fpdj oLrqvksa dks tknw esa cnyus dh mlesa ,sUætkfyd (tknwxj tSlh) ;ksX;rk FkhA og ,d ,slk dfo Fkk ftlus
egkurk izkIr dj yh FkhA og Lo;a tkurk Fkk fd og ej jgk FkkA mlosQ lkFk gq, vfr&rqPN vknku&iznku esa fo'ks"k
HkkokRed rst ,oa vkxzg FkkA 'kkfgn vPNs Hkkstu ls izse djrk FkkA og jlksbZ esa dke djusokys O;fDr dks funsZ'k nsrk
jgrk fd fofHkUu voLFkkvksa ij jksxutks'k esa D;k&D;k lkexzh MkysA vius {ks=k osQ Hkkstu osQ fy;s mlosQ eu esa ,d
fo'ks"k rhoz bPNk Fkh] bldk fo'ks"k :i ls ,d :i Fkk% îafMrksa dh 'kSyh esa d'ehjh Hkkstu*A ;|fi og dHkh dydÙkk
ugha x;k Fkk fiQj Hkh mls caxkyh Hkkstu ilan FkkA
'kkfgn oko~QiVqrkiw.kZ æqr mÙkj ls isze djrk FkkA ys[kd dks ckjlhyksuk ok;qiÙku ij mldk ,d lqj{kkdehZ osQ lkFk
okrkZyki ;kn vkrk gSA 'kkfgn vius mÙkjksa esa dfork dk lekos'k dj nsrk FkkA ckn esa blh ?kVuk dks Lej.k djosQ mlus
^ckjlhyksuk ,;jiksVZ* uked dfork fy[khA ys[kd us 1998 esa d'ehj laca/h laf{kIr fVIi.khokys ,d ys[k eas mlosQ
laxzg ^n~ oaQVªh fonkmV v iksLV vkWfiQl* ls m¼j.k fn;kA 'kkfgn dh ,d iSxEcj tSlh n`f"V FkhA mls ckj&ckj ,d
LoIu vkrk Fkk fd d'ehj dh ?kkVh ls lkjs iafMr xk;c gks x;s gSa rFkk mudk Hkkstu Hkh vc yqIr gks x;k gSA ;g og
nq%LoIu Fkk tks mls ckj&ckj vkrk FkkA
'kkfgn us ys[kd dks igyh ckj 25 vizSy 2001 dks viuh fudV vkrh gqbZ e`R;q osQ fo"k; esa crk;kA 'kkfgn pkgrk
Fkk fd ys[kd mldh e`R;q osQ mijkar mlosQ fo"k; esa oqQN fy[ksA ys[kd 21 ebZ dh ,d ?kVuk ;kn djrk gS tc
og ml ('kkfgn) osQ HkkbZ bdcky rFkk cgu fguk osQ lkFk mls vLirky ls fyokus x;kA ml le; rd mldh dbZ
vliQy 'kY;&fØ;k,a gks pqdh FkhaA ¯drq mlus viuh izlUurk ugha xaokbZ FkhA 7 ebZ 2000 dks tc 'kkfgn us eSugV~Vu
osQ ck#p dkyst esa viuh vfUre d{kk i<+kbZ rks ys[kd mlosQ lkFk FkkA 5 ebZ 2001 dks 'kkfgn dh ,d egRoiw.
58 n English-Core–XI (Snapshots)
kZ l?ku tk¡p gqbZA fpfdRldksa us mls ,d o"kZ ;k blls de le; (dk thou) crk;kA mUgksaus lHkh vkS"kf/;ksa rFkk
jklk;fud vkS"kf/;ksa n~okjk oSaQlj osQ bykt dks Hkh jksd fn;kA 'kkfgn ejus osQ fy, d'ehj tkuk pkgrk Fkk] fdUrq mls
bjknk cnyuk iM+kA og larq"V Fkk fd mls ukFkZEiVu osQ ,egLVZ dLcs esa ni+Quk;k tk;sxkA ys[kd 'kkfgn ls vfUre ckj
27 vDVwcj dks ,egLVZ esa mlosQ HkkbZ osQ ?kj ij feykA 8 fnlEcj dks izkr% 2 cts] uhan esa mldk 'kkfUriwoZd fu/u
gks x;kA ys[kd mldh mifLFkfr viuh cSBd esa Hkh vuqHko djrk gSA mls vk'p;Z gS fd bruh laf{kIr fe=krk dh ifj.
kfr brus fo'kky fjDr LFkku esa gqbZ gSA

PAGE 54
Expatriate—a person living in a country that is not his own; izoklhA Approaching—(here)
coming nearer; fudV vkusokyhA Routinely—normally; lkekU; :i lsA Apartment—a set of
rented rooms; fdjk;s ij fy;s x;s d{kA Lucid—(here) able to think clearly; Li"V :i ls lkspus
;ksX;A Occasional—happening sometimes; ;nk&dnk (dHkh&dHkh)A Lapses—mistakes caused by
forgetting; foLe`fr osQ dkj.k gqbZ =kqfV;k¡A Thumbing through—turning the pages of a book quickly;
'kh?kzrk ls iUus iyVrs gq,A Respond—react; izfrfØ;k djukA At odds with—to disagree, not to match;
esy u [kkukA Content—subject matter; lkexzhA Light (here)—cheerful; izlUufpÙkA Jocularity—
humour; gkL;A Mumbled—muttered; cqncqnk;kA Innocuous—not harmful or dangerous; tks
gkfudkjd ;k [+krjukd u gksA Quizzical—showing surprise; vk'p;Z O;Dr djrs gq;sA
PAGE 55
Occasion—particular time when something happens; voljA Blackout—(here) a temporary
loss of sight; vLFkk;h n`f"V {k;A Revealed—showed; izdV fd;kA Malignant—that cannot be
controlled and is likely to cause death; vfu;fU=kr ,oa ?kkrdA Tumour—a mass of cells growing in
or on a part of body where they should not; xk¡B] fxyVhA Reassurances—something said to take
away a person’s fears; Hkjkslk ;k fo'okl fnykus osQ fy, dgs 'kCnA Entrusting—making responsible
for doing something; lkSaiukA Specific—precise, exact; lqfuf'prA Charge—(here) responsibility;
mÙkjnkf;RoA Recitatives—singing of passages; vuqPNsnksa dk xkuA Resistance—opposition; fojksèkA
Inbuilt—essential part; vfr vko';d HkkxA Instincts—natural tendencies; LokHkkfod izo`fÙk;k¡A
Recent—began only a short time ago; FkksM+s le; igys dhA Imperative—(here) very important
thing; vfr egÙoiw.kZ ckrA Pledge—a serious promise; opu] iz.kA Fiercely—very strongly; vR;f/d
n`<+rk lsA Engaged—busy; O;LrA
PAGE 56
Contemporary—belonging to the same time; ledkyhuA Bardic register—a poetic style;
dkO;kRed 'kSyhA Conceive—think; lkspukA Overlapped—started before another; ,d&nwljs ls igysA
Several—many; dbZA Acquaintances—slight friendship; ifjfprA Occasional—sometimes;
dHkh&dHkhA Impede—hinder; ck/k igq¡pkukA Roster—a list of names of people; yksxksa osQ uke dh lwphA
Mutual—(here) common; lk¡>kA Indifference—lack of interest; v#fpA Attachment—strong
feeling of affection; yxkoA Trivial—insignificant; rqPNA Exchanges—(here) conversation; okrkZykiA
Charge—(here) strong feeling; n`<+ Hkkouk] HkkokRed rstA Urgency—to be dealt immediately; rr~dky
djus ;ksX;] vkxzgA Inescapable—which cannot be escaped; ftlls cpk u tk losQA Poignance—
strong feeling, moving; æfor djusokyk] n`<+ HkkoukA Conviviality—cheerfulness and friendliness;
izlUu ,oa eS=khiw.kZA Enthusiastic—full of strong feeling; tks'khykA Put on—(here) troubled; d"V gksukA
Sorcerer—magician; tknwxjA Transmute—change; cnyukA Mundane—earthy, not interesting
or exciting; ekewyh] v#fpdjA
The Ghat Of The Only World n 59
PAGE 57
Procedure—(here) a medical operation; 'kY; fpfdRlkA Intended—meant; rkRi;Z FkkA Scalp—skin
that covers the part of the head where hair grows; [kksiM+hA Sutures—stitches; Vk¡osQA Groggier—
quite weak and unable to move; vf/d de”kksj rFkk <ax ls u py ikus ;ksX;A Buckled—became weak;
de”kksj gks x;sA Corridor—covered verandah; <dk gqvk xfy;kjkA Rapture—ecstasy; Hkko foHkksjrkA
Descended—came down; Nk xbZA Orderly—(here) servant; vnZyhA Beaming smile—big happy
smile; izlUurk Hkjh pkSM+h eqLdkuA Gleefully—happily; izlUurkiwoZdA Gregariousness—sociability;
feyulkfjrkA Festivity—(here) happiness and enjoyment; izlUurk rFkk vkuUnA Depressed—feeling
sad; mnkl gksukA Apartment—set of rented rooms; fdjk, ij fy, dejsA Spacious—large, with
plenty of space; fo'kky] dkiQh [kqykA Split-level—having parts at different levels; vyx&vyx Lrjksa
ij fLFkr HkkxA Cavernous—dark like a cave; xqiQk dh Hkk¡fr vaèksjkA Terrace—a flat hard area; [kqyk
{ks=kA Magnificent—extremely attractive and impressive; vR;f/d vkd"kZd rFkk izHkko'kkyh] 'kkunkjA
Waterfront—an area next to water; ty osQ lehi {ks=kA Foyer—lobby; ykWchA Voyage—journey;
;k=kkA Fragrance—sweet smell; lqxa/A Dour—not pleasant; vlqgkoukA Interior—inner part; Hkhrjh
HkkxA Elevator—(here) lift; fyÝVA Heeng—a spice giving smell; ghaxA
PAGE 58
Consumed—(here) destroyed; u"V gksukA Perpetual—continuous; yxkrkj] lrr~A Carnival—
(here) fair or fete; esykA Distracted—unable to pay attention to; è;ku u ns ikukA Interrupt—to
stop the continuous progress for sometime; oqQN le; osQ fy, ckf/r djukA Legendary—very
famous; vR;Ur izfl¼A Prowess—great skill; n{krk] fuiq.krk] dkS'kyA Encounter—meeting; HksaVA
Explicitly—clearly and openly; Li"V :i ls rFkk [kqys <ax lsA Prefigured—suggested; lq>ko
nsukA Authenticity—genuineness; [kjkiuA Exactitude—accurate and exact; lVhdA Tolerate—
bear; lgu djukA Deviation—act of moving away from normal; HkVdko] ifjorZuA Traditional—
conventional; ikjEifjdA Variant—slightly different; FkksM+k lk i`Fko~ QA Recurrent—occurring
frequently; izk;% gksusokykA Nightmare—very frightening or unpleasant dream; Hk;kud vFkok
vlq[kn LoIuA Haunted—kept coming to mind; ckj&ckj fnekx esa vkrk jgkA
PAGE 59
Protested—expressed disagreement or disapproval; vlgefr trkbZA Cuisines—styles of cooking;
idkus dh fofèk;k¡A Paused—stopped for a short time; FkksM+h nsj osQ fy, #dkA Repartee—clever and
amusing comments and replies that are made quickly; rhoz izR;qÙkjA Practitioner—a person who
regularly does a particular activity; O;olk;h] drkZA Exasperated—annoyed or irritated very
much; vfr Øksf/rA
PAGE 60
Brilliance—(here) impressiveness; izHkko {kerkA Evident—clear; Li"VA Adored—worshipped,
loved very much; vR;f/d izse djrs FksA Subdued—quietened, saddened; pqi] mnklA Sparkling—
shining; pednkjA Diva—a famous woman singer; izfl¼ xkf;dkA Incarnate—in human form;
vorkjA Brimming with—full to capacity; yckyc Hkjk gqvkA Clasping—holding firmly; dldj
idM+s gq,A Feigned—pretended; cgkuk fd;kA Swoon—faint; ewNkZA Unmitigated—complete; iw.kZA
Vibrant—exciting; mÙkstuk iw.kZA Stint—a period of time that you spent working somewhere;
vYidky osQ fy, dgha dke djukA Blackout—(here) a temporary loss of memory; Le`fr dh vLFkk;h
{kfrA Intermittent—sporadic; #d&#d dj oqQN le; pyusokyhA Mounting—increasing; c<+rh gqbZA
Violence—physical or emotional force or energy; ¯glkA Seized—(here) took control; fu;U=k.k
dj fy;kA Region—area; {ks=kA Steady—growing gradually; yxkrkj c<+rk gqvkA Deterioration—
becoming worse; voufr] fxjkoVA
PAGE 61
Irony—the amusing or strange aspect of a situation that is very different from what you
expect; foMEcukA Inclination—tendency; izo`fÙkA Anguished—pained; ihfM+rA Destiny—fate;
HkkX;A Resolutely—firmly; n`<+rkiwoZdA Embrace—(here) accept; Lohdkj djukA Victim—a person
who has been attacked, injured or killed as a result of a crime; ihfM+r O;fDr] f'kdkjA Fixture—
fixed item; fuf'pr en (oLrq)A Schooled—trained; izf'kf{krA Fierce—very strong; vR;fèkd lqn`<+A
Unforgiving—unwilling to forgive; tks {kek u djsA Gaze—view; n`f"VA Vision—an idea or a
picture in imagination; dYiuk esa fp=kA Tended—inclined; izo`fÙk FkhA Inclusive—including a
wide range; foLr`r lhek dks 'kkfey fd,A Ecumenical—involving or uniting members of different
religions; fofHkUu èkeks± osQ lnL;ksa dks ,df=kr ;k 'kkfey fd, gq,A Outlook—point of view; n`f"Vdks.kA
Credited—gave the credit; ;'k nsukA Upbringing—bringing up; ikyu iks"k.kA Seized—(here)
grabbed, caught firmly; dl dj idM+uk] Nk tkukA Initially—in the beginning; vkjEHk esaA Hesitant—
uncertain; fgpfdpkgV ls Hkjk] vfu'p;hA Responded—reacted; izfrfØ;k dhA Enthusiasm—zeal;
tks'kA Accourtrements—other things that were needed for the activity; iks'kkd vkfn vU; vko';d
oLrq,¡A Assiduous—taking great care that everything is done as well as it can be; iw.kZ lko/kuh
cjrrs gq,A Fanaticism—extreme religious beliefs; /k£ed dV~VjrkA Vanished—disappeared; xk;cA
PAGE 62
Archive—a collection of documents; laxzgky;A Longings—strong desires; ykylk,aA Figuring—
portrait; fp=kA Witness—person who sees something; izR;{kn'khZ] xokgA Martyr—a person who
suffers very much or is killed because of his religious or political beliefs; 'kghnA Inextricably—
impossible to separate; vi`Fkduh;A Linked—joined, connected; tqM+h gqbZA Prefigured—suggested
or showed something that would happen in future; Hkfo"; esa ?kfVr gksusokyh ckr dk lq>koA Scan—
medical examination; fpfdRlh; ijh{k.kA Reveal—show; Li"V djukA Chemotherapy—the
treatment of cancer with the use of chemical substances; jlk;uksa ls oSaQlj dk byktA Therapy—the
treatment of an illness; byktA Response—(here) reply; mÙkjA Preamble—(here) an introduction
to something you say; izLrkoukA Radiation—(here) treatment of cancer using heat rays; xehZ dh
fdj.kksa }kjk oSaQlj dk byktA Dazed—unable to think clearly because of a shock; LrC/A Feudal—
connected with feudal system; tehankjh izFkk ls lacaf/rA Siblings—brothers and sisters; HkkbZ&cguA
Logistical—related to practical organization; O;kogkfjd laxBu laca/hA Vicinity—area around a
particular place; fdlh LFkku osQ ikl dk {ks=kA Sacred—holy; ifo=kA
PAGE 63
Overlaid—added to something else; fdlh vU; oLrq ls tqM+h gqbZA Inseparable—not able to
be separated; vfoHkkT;A Crimson—dark red; flUnwjhA Saffron—(here) crocus flowers; osQlj osQ
iwQyA Beloved—dear; fiz;A Couplet—two rhyming lines; nksgkA Intermittently—sporadically;
#d&#d dj oqQN le; pyrs gq,A Anguish—mental/physical pain; osnuk] ihM+kA Conflict—struggle;
la?k"kZA Contented—satisfied; larq"VA Supreme—highest; loksZPpA Consolation—comfort; lkaRoukA
Void—a large empty space; fo'kky fjDr LFkkuA

A. READING WITH INSIGHT
1. What impressions of Shahid do you gather from the piece?
Ans. Agha Shahid Ali appears to be a sensitive soul. Though a Kashmiri expatriate in America,
he always thought of Kashmir and was hurt by the mounting violence in the valley.

Though he was not a political poet, his finest work relates to writings about Kashmir.
Shahid’s outlook was ecumenical. He did not believe in mixing up politics with religions.
Shahid was born in Srinagar and had studied in Delhi. Later, he migrated to America
and served in various colleges and universities. Shahid was a fine scholar and brilliant
teacher. His students loved and respected him. He taught his last class on 7 May 2000 at
Manhattan’s Baruch College.
Shahid loved many good things in life such as music, clothes and cuisines. He loved the
music of Begum Akhtar, Kishore Kumar and Bombay films. Shahid was witty and loved
repartee. When asked if he was carrying anything dangerous to other passengers, he
replied: “Only my heart”.
Shahid suffered from cancer and knew well about his approaching death. This did not
diminish his joy, love for life and friends. He enjoyed the company of friends. He bore
his sufferings patiently and died peacefully. He requested the author to write something
about him after his demise.
vkx+k 'kkfgn vyh ,d laosnu'khy O;fDr izrhr gksrk gSA ;|fi og vesfjdk esa clk ,d izlkoh d'ehjh Fkk]
og lnk d'ehj osQ fo"k; esa lksprk jgrk Fkk rFkk ?kkVh esa c<+rh gqbZ ¯glk ls nq%[kh FkkA ;|fi og jktuhfrd
dfo ugha Fkk] mldk loZJs"B dke d'ehj ls lacaf/r jpuk,a gSA 'kkfgn dk n`f"Vdks.k loZèkeZ O;kih FkkA og
/eZ rFkk jktuhfr osQ feJ.k esa fo'okl ugha djrk FkkA
'kkfgn dk tUe Jhuxj esa rFkk f'k{kk fnYyh esa gqbZA ckn esa og vesfjdk pyk x;k rFkk mlus fofHkUu egkfo|ky;ksa
,oa fo'ofo|ky;ksa esa lsok dhA 'kkfgn ,d vPNk fon~oku ,oa 'kkunkj f'k{kd FkkA mlosQ fo|kFkhZ mlls izse ,oa
vknj djrs FksA 7 ebZ 2000 dks eSugVu osQ c#p dkWyst esa mlus vafre d{kk i<+kbZA
'kkfgn dks thou dh dbZ vPNh oLrqvksa ls I;kj Fkk tSls laxhr] oL=k] vPNs O;atuA og csx+e v[rj] fd'kksj
oqQekj rFkk cacb;k fiQYeksa osQ laxhr dks ilan djrk FkkA 'kkfgn oko~QiVq Fkk rFkk rhoz izR;qÙkj esa fln~èkgLr FkkA
tc mlls iwNk x;k fd D;k og dksbZ ,slh oLrq ys tk jgk Fkk tks nwljs ;kf=k;ksa osQ fy, [+krjukd gks rks mlus
mÙkj fn;k% ôsQoy esjk ân;*A
'kkfgn oSaQlj ls ihfM+r Fkk rFkk vius lehi vkrh gqbZ e`R;q dks Hkyh&Hkk¡fr tkurk FkkA blus mldh izlUurk ,oa
thou rFkk fe=kksa osQ izfr izse dks de ugha fd;kA og fe=kksa dh laxfr dk vkuUn ysrk FkkA mlus viuh ihM+k
dks /S;ZiwoZd lgu fd;k rFkk mldk 'kkfUriwoZd fu/u gqvkA mlus ys[kd ls izkFkZuk dh fd mlosQ fu/u osQ
mijkar mlosQ fo"k; esa oqQN fy[ksA
2. How do Shahid and the writer react to the knowledge that Shahid is going to
die?
Ans. Shahid and the writer react differently to the knowledge that Shahid is going to die. Shahid
had a sudden blackout in February 2000. Tests revealed that he had a malignant brain
tumour. It was on 25 April 2001 that Shahid spoke to the writer about his approaching
death. He had been under treatment of cancer for some fourteen months. Shahid was
still on his feet and perfectly lucid. The writer was shocked into silence. Then he tried
to offer reassurances. Shahid ignored them and began to laugh. In spite of physical
weakness, Shahid would smile and laugh gleefully. He would entertain his friends at his
apartment. Even when his eyesight was failing, he could tell from the smell alone, which
stage the rogan josh had reached and issued instructions. Shahid accepted his inevitable
death boldly. The writer felt dazed and stared blankly as Shahid disclosed to him what
the doctors had said. Shahid had made his peace with the approaching end. There was
no trace of anguish or conflict on his face. The writer felt shocked and overawed by the
gradual decay and ultimate end of his dear friend, Shahid.
bl Kku osQ izfr fd 'kkfgn ejus okyk gS] ys[kd rFkk 'kkfgn fHkUu&fHkUu izdkj ls izfrfØ;k djrs gSaA iQjojh
2000 esa vpkud 'kkfgn dks {kf.kd Le`fr uk'k gqvkA tk¡p us Li"V fd;k fd mlosQ fnekx esa ,d vfu;fU=kr
,oa ?kkrd xkaB FkhA 25 vizSy 2001 dks 'kkfgn us ys[kd dks viuh fudV vkrh e`R;q osQ fo"k; esa crk;kA mldk
fiNys 14 eghuksa ls oSaQlj dk bykt py jgk FkkA 'kkfgn vHkh Hkh vius iSjksa ij Fkk rFkk Li"V ckrsa djrk FkkA
ys[kd vk?kkr osQ dkj.k pqi gks x;kA fiQj mls lkaRouk (fnyklk) nsus dh ps"Vk dhA 'kkfgn us mUgsa vuns[kk
fd;k rFkk g¡lus yxkA 'kkjhfjd de”kksjh osQ ckotwn 'kkfgn eqLdjkrk rFkk izlUurk ls g¡l nsrkA og vius d{k
esa fe=kksa dk euksjatu djrkA tc mldh n`f"V ean gksrh tk jgh Fkh] rks Hkh og osQoy lqxU/ ls gh crk nsrk
fd jksxu tks'k fdl voLFkk esa igq¡p x;k gS rFkk funsZ'k nsrkA 'kkfgn us vius vo';aHkkoh e`R;q dks lkgliwoZd
Lohdkj dj fy;k FkkA tc 'kkfgn us ys[kd dks crk;k fd fpfdRldksa us D;k dgk rks ys[kd LrC/ jg x;k
vkSj likV psgjs ls ?kwjus yxkA 'kkfgn us vius fudV vkrs vUr ls le>kSrk dj fy;k FkkA mlosQ psgjs ij osnuk
vFkok la?k"kZ dk dksbZ fpg~u ugha FkkA vius fiz; fe=k 'kkfgn osQ Øfed iru rFkk vUrr% e`R;q ij ys[kd us
vk?kkr rFkk Hk; eglwl fd;kA
3. Look up the dictionary for the meaning of the word ‘diaspora’. What do you
understand by the Indian diaspora from this piece?
Ans. The dictionary defines ‘diaspora’ as the movement of people from any nation or group
away from their country to live and work in other countries. This movement may be for
a short period or may extend to permanent abode in the foreign country. Many Indians
migrate to advanced countries for education, research and jobs.
This piece gives us a brief glimpse of the Indian diaspora in America. It mentions only a
few members: Shahid, his brother Iqbal, his sister Hena and Sameetah, writers Suketu
Mehta and Amitav Ghosh. The other members are not mentioned by name.
The Indian diaspora retain their love and attachment for everything from their
motherland—be it food, film, music or poetry. They do feel concerned about the
sociopolitical affairs prevailing back at home. They visit their motherland occasionally
and have a desire to be laid to rest there. In short, they love their country though living
abroad.
'kCndks"k esa izoklh (Diaspora) dh ifjHkk"kk fdlh jk"Vª ;k lewg osQ yksxksa osQ vius ns'k ls fdlh nwljs ns'kksa
esa jgus rFkk dke djus osQ fy, tkus dh pky (xfr) osQ :i esa fd;k x;k gSA ;g xfr FkksM+h vof/ osQ fy,
gks ldrh gS vFkok fons'k esa LFkk;h fuokl osQ :i esa c<+ ldrh gSA cgqr ls Hkkjrh; f'k{kk] vuqla/ku rFkk
ukSdfj;ksa osQ fy, fons'k tkrs gSaA ;g ys[k gesa vesfjdk fLFkr Hkkjrh; izokfl;ksa dh laf{kIr >yd nsrk gSA ;g
osQoy oqQN yksxksa osQ uke nsrk gS% 'kkfgn] mldk HkkbZ bdcky] mldh cgusa lehrk rFkk fguk] ys[kd lqosQrq
esgrk ,oa vferko ?kks"kA vU; yksxksa osQ uke ugha fn, x, gSaA
Hkkjrh; izoklh viuh ekr`Hkwfe dh izR;sd oLrq ls I;kj rFkk yxko lqjf{kr j[ks gq, gSaµpkgs ;g Hkkstu] fiQYesa]
laxhr vFkok dfork gksA os vius ns'k esa ml le; ij py jgs lkekftd&jktuSfrd ekeyksa osQ fo"k; esa Hkh
fpfUrr jgrs gSaA os dHkh&dHkh viuh ekr`Hkwfe esa HksaV djus vkrs gSa rFkk mudh bPNk gksrh gS fd ;gha mUgsa
niQuk;k tk,A la{ksi esa] ;|fi os fons'kksa esa fuokl djrs gSa] fiQj Hkh os Lons'k ls izse djrs gSaA

1. When and how did Shahid tell the writer about his approaching death?
Ans. Shahid told the writer on phone about his approaching death on 25 April 2001. He was
turning the pages of his engagement book and then suddenly remarked that he couldn’t
see anything. After a brief pause he said that he hoped it did not mean that he was dying.
2. How did the writer (Amitav Ghosh) react to Shahid’s mention of his approaching
death?
Ans. At first, Amitav was non-plussed. He did not know how to respond. He muttered something
which was not harmful: “No Shahid—of course not. You’ll be fine”.
3. What did Shahid ask the writer to do after his death?
Ans. Shahid asked the writer to write something about him after his death. He was giving
Amitav Ghosh a specific responsibility. He wanted the writer to remember him not through
spoken recitatives of memory and friendship, but through the written word.
4. What reasons could Amitav Ghosh have searched to avoid writing about Shahid’s
death?
Ans. Amitav Ghosh might have told himself that he was not a poet. Secondly, their friendship
was not very old, it was of a recent date. Thirdly, there were many others who knew him
much better and would be writing with greater understanding and knowledge.
5. “You must write about me.” What was the impact of these words on the writer?
Ans. The writer took it as a very important thing which would have to be obeyed. He could not
think of anything to say. He had to search the words to convey his promise. Finally, he
said, “Shahid, I will. I’ll do the best I can”.
6. What helped the writer to fulfil the pledge he made to Shahid?
Ans. The writer picked up his pen and noted the date. He wrote down everything he remembered
of that conversation. He continued to do so for the next few months. This record made it
possible to fulfil his pledge.
7. What does Amitav Ghosh say about Shahid’s voice?
Ans. Shahid’s voice was at once lyrical and very strongly disciplined. It was engaged and yet
deeply inward. He did not adopt the mock-casual almost-prose of contemporary poetry.
He was not ashamed to speak in a poetic style. In short, his voice was unique. He had
never heard anything like it before.
8. What did the writer know about Shahid before meeting him?
Ans. The writer knew Shahid’s work long before meeting him. He was deeply impressed by
his 1997 collection The Country Without a Post Office and had quoted from it in an article
about Kashmir. Shahid was from Srinagar and had studied at Delhi University.
9. “We had a great deal in common.” Point out some of the common bonds between
Shahid and the writer.
Ans. Both had studied at Delhi University and were now in the States. They had common
friends. They loved rogan josh, Begum Akhtar and Kishore Kumar’s song. Both had an
equal attachment to old Bombay films and were indifferent to cricket.
10. What instance does the writer narrate to show that Shahid had a sorcerer’s
ability to transmute the mundane into the magical?
Ans. Shahid had grown quite weak after several unsuccessful operations. The writer and others
held him upright in the hospital’s corridor. The hospital orderly came with a wheel chair.
Shahid gave him a smile and asked him where he was from. On hearing “Ecuador”, Shahid
clapped his hands joyfully and shouted that he had always wanted to learn Spanish just
to read Garcia Lorca.
11. How does the writer praise Shahid’s gregariousness?
Ans. Shahid loved company. His gregariousness had no limit. There was never an evening when
there wasn’t a party in his living room. He loved the spirit of festivity. He loved people to
come there. They included poets, students, writers and relatives.
12. What was the impact of James Merrill on Shahid’s poetry?
Ans. James Merrill had a great influence on Shahid’s poetry. He was the poet who radically
altered the direction of Shahid’s poetry. After meeting Merrill, Shahid began to experiment
with strict metrical patterns and verse forms. Shahid remembers Merrill as the envoy of
Death in the poem “I Dream I Am At the Ghat of the Only World”.
13. How can you say that Shahid loved delicious cuisines?
Ans. Shahid loved dished cooked from traditional methods and recipes. He loved rogan josh.
He had a special passion for the food of his region. He liked ‘Kashmiri food in the Pandit
style.’ He also loved Bengali food though he had never been to Calcutta.
14. What nightmare haunted Shahid? How did it affect him?
Ans. Shahid had a recurrent dream in which all the Pandits had vanished from the valley of
Kashmir. Their food had become extinct. This nightmare haunted him. He returned to it
again and again in his converstion and his poetry.
15. What was the impact of Begum Akhtar on Shahid’s life?
Ans. Shahid took great pleasure in Begum Akhtar’s music. It was very dear to him. He had
met her in his teens. She had become an abiding presence and influence in his life. Shahid
related many stories about her sharpness in repartee.
16. “Shahid was himself no mean practitioner of repartee.” Quote an instance to
prove this point.
Ans. Once Shahid was stopped by a security guard at Barcelona airport just as he was about to
board a plane and asked what he did. Shahid said he was a poet. To the question. “What
were you doing in Spain?” Shahid said, “Writing poetry.” When the guard asked if he
was carrying anything that could be dangerous to the other passengers, Shahid promptly
replied, “Only my heart”.
17. Which anecdote throws light on Shahid’s teaching?
Ans. Shahid’s last class at Manhattan’s Baruch college on 7 May was a short one but quite
exciting. The students adored him. They had printed a magazine and dedicated the issue
to him. Shahid did not feel sad. He was brimming with laughter. He welcomed a late
comer with a feigned swoon.
18. How did Shahid respond to the steady deterioration of the political situation
in Kashmir?
Ans. The violence and counter violence in Kashmir had a powerful effect on him. In time it
became one of the central subject of his work. Shahid was not a political poet yet he created
his finest work in writing of Kashmir.
19. What was Shahid’s outlook on politics and religion? Which factors were
responsible for it?
Ans. Shahid respected religion but he believed in the separation of politics and religious
practice. His outlook was inclusive and ecumenical. The credit for it goes to his up-
bringing. Shahid’s mother helped him make a Hindu temple in his room.
20. Shahid was “an intermittent but first hand witness to the mounting violence” in
Kashmir. How did it influence his poetry and personality?
Ans. Shahid was not political in the sense of being framed in terms of policy and solutions. He
was anguished about Kashmir’s destiny, yet he did not adopt the role of victim. There
was a dark point of stillness in Kashmir. His own destiny was linked with it. He wished
to die in Kashmir though it was stained with blood.
21. What helped Shahid to face his inevitable end?
Ans. Shahid had long been aware of his approaching end and he had made his peace with it.
The love of his family and friends gave him support. He showed no signs of anguish or
conflict. He was calm, contented and at peace. His hope to meet his mother in after-life
was his supreme consolation. He died peacefully in his sleep.
B. LONG ANSWER TYPE QUESTIONS (Answer in about 100 words)
1. Trace the development of the bond of affinity between Shahid and the writer.
Ans. The writer, Amitav Ghosh, had known Shahid’s work long before he met the man. One of
their common friends put him in touch with Shahid. In 1998 and 1999 they had several
conversations on the phone and even met a couple of times. But they were no more than
acquaintances until Shahid moved to Brooklyn in 2000, when he had a sudden blackout
in February. Tests revealed that he had a malignant brain tumour.
The building in which Shahid lived in Brooklyn was some eight blocks away from the
writer’s apartment. Since they were in the same neighbourhood, they began to meet for
occasional meals. They quickly discovered that they had many things in common. Although
Shahid’s condition was already serious by that time, it did not hamper their friendship.
The writer was always present at the gatherings in Shahid’s house. He accompanied
Shahid to the hospital whenever he went there. Even in a brief period they grew so
intimate that Shahid asked the author to write something about him after his death.
'kkfgn ls feyus ls dkiQh le; igys ls gh ys[kd] vferko ?kks"k] 'kkfgn osQ dke ls ifjfpr FkkA muosQ ,d
lk>s fe=k us mldk 'kkfgn ls ifjp; djk;kA 1998 rFkk 1999 esa mu nksuksa esa nwjHkk"k ij dbZ okrkZyki gq, rFkk
os nks&pkj ckj feys HkhA fdUrq os rc rd ek=k ifjfpr gh jgs tc rd 2000 esa 'kkfgn czqdfyu esa fuokl djus
u vk;k] tc iQjojh esa mls n`f"V Le`fr dh vLFkk;h {kfr gqbZ FkhA ijh{k.kksa ls Kkr gqvk fd mlosQ fnekx esa
,d vfu;fU=kr ,oa ?kkrd xkaB gSA
og Hkou ftlesa 'kkfgn cqzdfyu esa jgrk Fkk ys[kd osQ fuokl ls oqQN vkB Cykd nwj FkkA D;ksafd os iM+ksl
esa gh Fks] os dHkh&dHkh Hkkstu ij feyus yxsA mUgkasus 'kh?kz gh ik;k fd mu nksuksa esas dkiQh ckrsa ,d tSlh FkhaA
;|fi ml le; rd 'kkfgn dh voLFkk igys gh xaHkhj gks pqdh Fkh] blus mudh fe=krk esa ck/k ugha MkyhA
ys[kd 'kkfgn osQ ?kj cSBdksa esa lnk mifLFkr jgrk FkkA tc 'kkfgn vLirky tkrk rks og mlosQ lkFk tkrk FkkA
laf{kIr vof/ esa Hkh os brus ?kfu"V gks x;s fd 'kkfgn us ys[kd dks dgk fd og mldh e`R;q osQ mijkar mlosQ
fo"k; esa oqQN fy[ksA
2. Give a brief description of Shahid’s apartment and point out the impact of his
lifestyle on others.
Ans. Shahid’s apartment was a spacious and airy split-level, on the seventh floor of a newly
renovated building. There was a cavernous study on the top floor and a wide terrace that
provided a magnificent view of the Manhattan skyline across the East River. Shahid loved
this view of the Brooklyn water front slipping, like a ghat, into the East River, under the
glittering lights of Manhattan.
The journey from the foyer of Shahid’s building to his door was a voyage between the
continents. The rich fragrance of rogan josh invaded even the dour, grey interior of the
elevator. Even the ringing of the doorbell had an oddly musical sound. There was never
an evening when there wasn’t a party in his living room. Songs and voices were always
echoing out of his apartment. There would be some half a dozen or more people gathered
inside—talking, laughing and reciting poetry. It seemed in his company that life was an
endless fun. His hospitality and love for good food impressed all his friends and visitors.
'kkfgn dk fuokl LFky gky gh esa ejEer ,oa lqlfTtr fd;s x;s ,d Hkou osQ lkrosa ry ij dkiQh [kqys rFkk
fofHkUu Lrjksa ij fLFkr d{kksaokyk FkkA bldh Åijh eafty ij xqiQk dh Hkk¡fr va/sjk ,d vè;;u d{k Fkk rFkk
,d fo'kky [kqyk {ks=k ftlls bZLV unh osQ ikj eSugVu osQ vkdk'k osQ lkFk mHkjrs Hkouksa] o`{kksa vkfn dk 'kkunkj
n`'; fn[krk FkkA 'kkfgn dks eSugVu dh pednkj jks'kfu;ksa osQ izdk'k esa czd q fyu osQ ty osQ lehi osQ {ks=k dk
?kkVh dh Hkk¡fr iwohZ unh eas fiQlyuk cgqr I;kjk yxrk FkkA
'kkfgn osQ Hkou dh ykWch ls mlosQ }kj rd dh ;k=kk egk}hiksa osQ chp dk liQj FkkA jksxu ”kks'k dh egd
fyÝV osQ Hkwjs vlqgkous Hkhrjh Hkkx ij Hkh Nk tkrh FkhA }kj dh ?kaVh dh Hkh ,d vthc gh laxhre; èofu FkhA
dksbZ 'kke ,slh ugha gksrh Fkh tc mldh cSBd esa dksbZ nkor u py jgh gksA mlosQ dejksa ls xkus rFkk vkok”ksa
xw¡trh jgrh FkhA ogk¡ igys gh vkèkk ntZu ;k blls vf/d ,d=k yksx ckrsa djrs] g¡lrs rFkk dfork xku djrs
gksrs FksA mldh laxfr esa ,slk izrhr gksrk Fkk fd thou ,d vuUr vkuUn gSA mlosQ vkfrF;&lRdkj rFkk vPNs
Hkkstu osQ izfr izse us mlosQ lHkh fe=kksa ,oa feyus vkusokys yksxksa dks izHkkfor fd;kA
3. In spite of malignant brain tumour and awareness of approaching death, Shahid
was “the centre of a perpetual carnival”. Elucidate.
Ans. Shahid suffered from cancer. A malignant brain tumour had been detected after he had
a sudden blackout in February 2000. The doctors gave him a year or less. In spite of the
malignant brain tumour and awareness of his approaching end, Shahid retained his zest
for life. His gregarious instinct and love for music, poetry and good food helped him to
retain his cheerfulness. The spirit of festivity didn’t leave time for him to feel depressed.
His living room was always full of people—poets, students, writers and relatives. Songs,
music and recitation of poetry enlivened the meetings at his apartment. He loved
entertaining guests with good food. His hospitality and personal attention to the details
of food were well known. Although his life was being consumed by the disease, he was
always, the centre of a perpetual carnival—an endless fair of talk, laughter, food and
poetry.
'kkfgn
oSaQlj ls ihfM+r FkkA iQjojh 2000 esa vpkud n`f"V] Le`fr osQ {kf.kd yqIr gksus osQ i'pkr ;g ik;k x;k
fd mlosQ fnekx esa ,d vfu;fU=kr ,oa ?kkrd xkaB FkhA fpfdRldksa us mls ,d o"kZ ;k de dh (thou dh)
vof/ crkbZA bl vfu;fU=kr ,oa ?kkrd fnekxh fxYVh rFkk fudV vkusokys var osQ laKku osQ ckotwn] 'kkfgn us
thou osQ izfr mRlkg dks lqjf{kr cpk, j[kkA mldh feyulkj izo`fÙk] laxhrk] dfork ,oa lqLoknq Hkkstu osQ izfr
izse us mls viuh izlUurk cpk, j[kus esa lgk;rk dhA mRlo tSlh vkuUn dh Hkkouk us mls dHkh mnkl gksus
osQ fy, le; gh ugha NksM+kA mldh cSBd lnk yksxksa ls Hkjh jgrh Fkhµdfo] fo|kFkhZ] ys[kd rFkk lxs&laca/hA
xhr] laxhr ,oa lLoj dfork ikB mlosQ d{k esa xksf"B;ksa dks thoUr cuk nsrk FkkA mldk vfrfFk&lRdkj rFkk
Hkkstu dh NksVh ls NksVh oLrq dh vksj O;fDrxr è;ku izfl¼ FksA ;|fi mldk thou chekjh }kjk u"V fd;k
tk jgk Fkk] rc Hkh og lnk ,d lrr~ esys dk osaQæ Fkk&,d ,slk vuUr esyk ftlesa ckrphr] g¡lh] Hkkstu ,oa
dfork FkhA
4. What responsibility did Shahid entrust to the author (Amitav Ghosh)? How did
the latter discharge it?
Ans. Shahid asked the author (Amitav Ghosh) to write something about him after his demise.
He was giving the author a specific responsibility. He wanted the writer to remember him
not through recitatives of memory and friendship, but through the written word. “You
must write about me,” said Shahid.
The author promised to fulfil Shahid’s desire. From that day onwards, the author jotted
down every important point in their conversation. Because of Shahid’s condition even
the most trivial exchanges had a special charge and urgency. There was an inescapable
poignance when he talked about food and half forgotten figures from the past. The author
continued to make notes of all exchanges, between Shahid and other during parties and
visits to other places such as hospital and airports. The record of all these bit of information
helped the author to write this article about Shahid which gives an intimate account of
the great poet who knew too well about his approaching death.
'kkfgn us ys[kd] vferko ?kks"k] dks dgk Fkk fd mldh e`R;q osQ mijkar mlosQ fo"k; esa oqQN fy[ksA og ys[kd
dks ,d lqfuf'pr mÙkjnkf;Ro ns jgk FkkA og pkgrk Fkk fd ys[kd mls fyf[kr 'kCn osQ ekè;e ls ;kn j[ks u
fd fe=krk }kjk Le`fr esa vafdr oqQN inksa osQ lLoj xku }kjkA ¶rqEgsa esjs fo"k; esa fy[kuk gksxk¸] 'kkfgn us dgk
FkkA
ys[kd us 'kkfgn dh bPNk iwjh djus dk iz.k fd;k FkkA ml fnu ls og 'kkfgn osQ lkFk gq, okrkZyki osQ egRoiw.kZ
fcUnqvksa dks fyfic¼ djrk x;kA 'kkfgn dh voLFkk osQ dkj.k rqPNre ckrphr Hkh HkkokRed rst ,oa vkxzg fy,
gq, FkhA tc og Hkkstu rFkk vrhr dh v/Z foLe`r vkÑfr;ksa osQ fo"k; esa ckrsa djrk rks ,slh æfor djusokyh
Hkkouk Nk tkrh ftlls cpk ugha tk ldrk FkkA ys[kd 'kkfgn rFkk vU; yksxksa osQ chp lekjksgksa rFkk fofHkUu
LFkkuksa tSls dh vLirky ;k foekuiÙku ij HksaV osQ nkSjku gq;s okrkZyki osQ va'k fy[krk jgkA bl izdkj dh lwpuk
osQ NksVs&NksVs d.kksa osQ laxzg us gh ys[kd dks 'kkfgn osQ fo"k; esa ;g ys[k fy[kus esa lgk;rk dh tks ,d ,sls
egku dfo dk vUrjax fooj.k nsrk gS tks viuh fudV vkusokyh e`R;q osQ fo"k; esa cgqr vPNh rjg ls tkurk
FkkA
5. “In his poetic imagery, Death, Kashmir and Sháhid/Shahid had become so closely
overlaid as to be inseparable.” Comment on Shahid—the poet, in the light of this
remark.
Ans. Shahid was a sensitive poet. He (Shahid) was a first hand witness to the mounting violence
that seized Kashmir valley from the late 1980s onwards. The steady deterioraton of the
political situation in Kashmir—the violence and counter-violence had a powerful effect
on him. In time it became one of the central subject of his work. The finest poems that he
wrote deal with Kashmir. The collection “The Country Without a Post Office” (1997) contains
many such poems. In the title poem of the aforesaid collecton, a poet returns to Kashmir
to find the keeper of a fallen minaret saying, “Nothing will remain, everything’s finished”.
Death, destruction and violence seemed inseparable. His own destiny was inextricably linked

with Kashmir.
“I will die, in autumn, in Kashmir.”
The exodus of the Pandits from Kashmir finds a place in his poems. His mind turned to
Kashmir in speakng death. We may conclude that in his poetic imagery, Death, Kashmir
and Sháhid/Shahid (the witness/the victim) had become so closely overlaid as to be
inseparable.
'kkfgn ,d laosnu'khy dfo FkkA 1980 osQ n'kd osQ i'pkr~ d'ehj esa c<+rh gqbZ ¯glk dk og lk{kh FkkA d'ehj
esa jktuSfrd fLFkfr esa yxkrkj iru&¯glk ,oa izfr¯glk us ml ij tcjnLr izHkko MkykA chrrs le; osQ lkFk ;g
mldh jpukvksa esa eq[; fo"k;ksa esa ls ,d cu xbZA tks lqUnjre dfork,a mlus fy[kh gSa os d'ehj ls lacaf/r gSaA
laxzg ^n~ dUVªh fonkvkmV v iksLV vkWfiQl* (1997) esa dbZ ,slh dfork,a gSA mijksDr laxzg dh 'kh"kZd dfork
esa ,d ys[kd d'ehj ykSVrk gS rks ,d fxjh gqbZ ehukj osQ j[kokys ls feyrk gSA tks dgrk gS] ôqQN 'ks"k ugha
jgsxk] lc oqQN lekIr gks pqdk gS*A e`R;q] fouk'k ,oa ¯glk vfHkUu yxrs FksA mldk viuk HkkX; d'ehj osQ
lkFk bl izdkj tqM+ x;k Fkk fd mls i`Fko~Q ugha dj ldrs FksA
êSa ir>M+ esa e:¡xk] d'ehj esa*A
iafMrksa dk d'ehj ls iyk;u mldh dfork esa LFkku ikrk gSA e`R;q dh ckr djrs le; og d'ehj dh vksj
eqM+rk gSA ge bl fu"d"kZ ij igq¡prs gSa fd mlosQ dkO;kRed ¯ccksa esa e`R;q] d'ehj] 'kkfgn@'kghn (nz"Vk@f'kdkj)
brus vf/d tqM+ (xqaFk) x;s Fks fd os vfoHkkT; cu x;s FksA


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11

(Progressive Educational Publishers)

Full Marks Pvt Ltd

1 Landscape of the Soul

ENRICH YOUR VOCABULARY

Landscape of the Soul n 9

NCERT TEXTBOOK QUESTIONS SOLVED

ADDITIONAL QUESTIONS SOLVED

Landscape of the Soul n 15

ENRICH YOUR VOCABULARY

NCERT TEXTBOOK QUESTIONS SOLVED

ADDITIONAL QUESTIONS SOLVED

ENRICH YOUR VOCABULARY

NCERT TEXTBOOK QUESTIONS SOLVED

ADDITIONAL QUESTIONS SOLVED

(i) The Laburnum Top

ENRICH YOUR VOCABULARY

MCQ TYPE QUESTIONS FROM

NCERT TEXTBOOK QUESTIONS SOLVED

The Laburnum Top n 53

ADDITIONAL QUESTIONS SOLVED

The Laburnum Top n 55

5 The Ghat Of The Only World

ENRICH YOUR VOCABULARY

NCERT TEXTBOOK QUESTIONS SOLVED

The Ghat Of The Only World n 61

ADDITIONAL QUESTIONS SOLVED

The Ghat Of The Only World n 67

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