D.A.

V PUBLIC
SCHOOL,URIMARI

ENGLISH
ALS
PROJECT
TOPIC : LOST SPRING
Under the guidance of: Mr. Rahul
Kumar Singh
PGT(ENGLISH)
Submitted by: Ananya & Sakshi
Kaushik
18 , 11
XII ‘SCI’
 CERTIFICATE
This is to certify that the project work entitled
“LOST SPRING” has been carried out by
ANANYA & SAKSHI KAUSHIK, Roll no. 18
& 11, of class-XII “Sci”, Session:2024-25. To
the best of our knowledge the contents of thus
project did not form a basic of the award of any
previous degree to him/her, or to anybody else,
and that the project has not been submitted by
the candidate.

In habit and character and candidate is a fit

and proper person for the
award of the ALS in English.

I wish him/her all success in life.

RAHUL KUMAR SINGH

(SUPERVISOR)
 ACKNOWLEDGEMENT
We would like to express our heartfelt gratitude to all those
who have supported and guided us throughout the completion
of this English project. First and foremost, I thank God for His
blessings, grace, and guidance in every step of this journey.
Without His support, this project would not have been possible.
We are sincerely grateful to DAV Public School Urimari for
providing a nurturing and inspiring environment that
encouraged us to explore and excel in our academic pursuits.
We would like to extend our deepest thanks to my teacher, Mr.
Rahul Kumar Singh, whose guidance, encouragement, and
valuable insights made this project a learning experience to
remember. His constant support and patience have been a
source of motivation throughout this endeavor. We are also
thankful to all the English teachers of DAV Public School
Urimari, whose dedication, teachings, and inspiration have
shaped our understanding of the subject and inspired us to
achieve my best.
Finally, we extend our warmest thanks to our family and
friends, for their love, support, and constant encouragement.
Their belief in us gave us the strength to complete this project
with confidence.
Thank you to all who contributed to the successful completion
of this project. Your support has meant a lot to us.
STUDENT’S NAME:
ANANYA & SAKSHI KAUSHIK
TABLE OF CONTENTS

S.NO TOPIC PAGE NO

I INTODUCTION 1
II ABOUT THE AUTHOR 2
III CHARACTER SKETCH 3
OF “SAHEB-E-ALAM”
IV LIFE OF RAGPICKERS 4
V CHARACTER SKETCH OF 5
“MUKESH”.
VI LIFE OF BANGLE 6
MAKERS
VII SUMMARY 7
VIII CONCLUSION 8
 INTRODUCTION

"The Lost Spring" is an evocative story by Anees Jung

that sheds light on the plight of underprivileged children,
who, due to harsh circumstances, lose their childhood,
dreams, and education. Through the lens of two young
boys—Saheb-e-Alam and Mukesh—the story paints a
poignant picture of poverty, exploitation, and the
hopelessness that stems from it. The chapter focuses on
the lives of ragpickers in Seemapuri, a place on the
periphery of Delhi, and bangle makers in Firozabad. The
author critiques the system of social inequality that traps
children in cycles of poverty and deprives them of their
rights to education and a future filled with possibilities.
The narrative takes us through the grim realities of these
children's lives, offering a sharp commentary on the
broader socio-economic conditions that make such lives a
painful, if not inevitable, norm. Jung not only brings to
light the struggles of these children but also reflects on
their resilient spirits that continue to shine despite
overwhelming adversity.
ABOUT THE AUTHOUR
Anees Jung is a renowned Indian author and
journalist, well-known for her writings that
explore human lives and experiences in both
rural and urban settings. Her work often
highlights social issues, particularly those
related to children, women, and marginalized
communities. "The Lost Spring" is one of her
most notable works, showcasing her empathy
and deep understanding of the socio-economic
issues that shape the lives of the
underprivileged. Through her writing, she
captures the emotional and physical toll of
poverty on human beings, especially the young
and innocent.
Jung’s literary approach is both descriptive and
reflective, often painting vivid images of the
social conditions of the characters. She uses
simple yet powerful language that resonates
deeply with readers, evoking a sense of
compassion and responsibility. In her stories,
she often focuses on the struggles of children
and their dreams, emphasizing how
circumstances can either break or shape them.
 CHARACTER SKETCH
OF: SAHEB-E-ALAM
Saheb-e-Alam, the central figure in the first part of "The Lost
Spring," is a ragpicker boy living in the slums of Seemapuri, a
place on the outskirts of Delhi. Saheb is introduced as a young
boy who wears a torn shirt and is often barefoot. Despite his
difficult circumstances, he carries with him a sense of hope and
optimism, at least in the beginning. The name "Saheb-e-Alam,"
meaning "The Lord of the World," is ironically symbolic of the
lost potential and dreams that the boy has, as his world is far
from grand or luxurious.
Saheb’s life is emblematic of millions of children in India and
across the world who are forced to work for a living. He spends
his days scavenging through garbage heaps, looking for
anything of value that could be sold. The garbage heaps, which
once symbolized hope and possibilities for Saheb, eventually
turn into symbols of despair and futility. The transformation in
Saheb’s spirit, from an enthusiastic boy to a resigned one, is
one of the most heart-wrenching parts of the story. He even
expresses, after a time, that he no longer dreams of the world
being his own; instead, he is resigned to his fate.
Saheb’s initial joy, when he first begins ragpicking, is
overshadowed by the realization that this task will be his life’s
work. His dream of going back to Dhaka, where his family
originally came from, is crushed as he is slowly sucked into the
life of a ragpicker, a life that offers no escape. His poverty, and
the system that exploits him, do not allow him to break free.
Ultimately, Saheb becomes a tragic symbol of lost potential,
illustrating how children, trapped in poverty, are denied the
right to grow, to dream, and to aspire.
 LIFE OF RAGPICKERS
IN SEEMAPURI
Seemapuri, as described in the story, is a place on the
edge of the city, a place that is not quite part of the
world yet not entirely removed from it. This area is
home to ragpickers, people who scavenge for a living by
collecting rags, plastic, glass, and other recyclable
materials. For many families, it is the only way to
survive.
The lives of ragpickers like Saheb are grim, filled with
struggle and deprivation. The work itself is menial and
physically exhausting, yet it is the only means of
survival. Children like Saheb are pushed into this work
from an early age, often as early as six or seven. Despite
this harsh reality, the children of Seemapuri, especially
Saheb, once dreamed of a better life. Saheb dreams of
returning to his village in Dhaka, where he could go to
school, as he had heard that children there play and
study without the burden of labor. However, these
dreams soon turn into a mere mirage, as his family, like
others, has no means to change their fate.
The condition of the ragpickers in Seemapuri is symbolic
of a larger social problem in India: the deep-rooted
poverty that traps children into manual labor, denying
them an education and the right to play, a basic human
need for healthy development. The vicious cycle of
poverty continues as the generations pass down this
form of survival, and there seems to be no way out.
 CHARACTER SKETCH
OF: MUKESH
Mukesh, the protagonist in the second part of "The Lost
Spring," comes from a family of bangle makers in
Firozabad, a place known for its centuries-old tradition
of bangle making. Unlike Saheb, Mukesh is determined
to change his fate. He dreams of becoming a car
mechanic, a profession he believes will bring him out of
the clutches of poverty and the bangle industry that has
trapped generations before him.
Mukesh’s character is one of resilience and
determination. Despite the constraints of his family and
the oppressive system around him, Mukesh holds onto
his dream. He faces the grim reality of the bangle
industry, where children, including him, are forced to
work in hazardous conditions. Yet, he refuses to accept
this as his fate. When asked about his desire to become
a car mechanic, Mukesh shows remarkable clarity and
conviction, something rarely seen in children of his age
in such circumstances.
Mukesh’s story contrasts sharply with Saheb’s. While
Saheb is resigned to his life of ragpicking, Mukesh
believes that he can change his future. His character is
symbolic of hope and the desire to break free from
societal limitations. However, the story ends on a tragic
note, as we realize that even Mukesh's dreams may be
crushed by the forces of tradition and poverty.
LIFE OF BANGLE MAKERS
IN FIROZABAD
Firozabad, the second focal point of the story, is a
small town in Uttar Pradesh famous for its
bangle-making industry. The bangle industry,
though a significant part of India’s craft heritage,
has also become a place of exploitation for
children like Mukesh. Mukesh’s family, along with
many others, works in inhuman conditions,
making glass bangles in small, unventilated rooms
that cause immense health problems. The
children are forced to work long hours under the
supervision of unscrupulous contractors who
profit off their labor.
The bangle makers, despite their contribution to
the industry, live in poverty, and their lives are
marked by drudgery. They are caught in a vicious
cycle of exploitation, where they are forced to
work in the industry for generations without ever
having the chance to dream of a different life.
Their hands, stained with the dust of glass and
sweat, make beautiful bangles, but these
creations can never be their escape from poverty.
The lives of the bangle makers are constrained by
social norms and legal loopholes, and they
remain trapped in a system that discourages
change and progress.
 SUMMARY
The Lost Spring explores the stories of two children—
Saheb-e-Alam, a ragpicker from Seemapuri, and
Mukesh, a bangle maker from Firozabad—whose
lives are shaped by poverty, exploitation, and the
harsh realities of their environments. The chapter
highlights the stark contrast between their dreams
and the crushing weight of their circumstances.
Saheb’s life revolves around the never-ending task of
ragpicking, a job that he undertakes with enthusiasm
at first, but which later drains him of his spirit. His
hopes of returning to Dhaka to pursue an education
and a better life gradually diminish as he becomes
increasingly immersed in the world of ragpicking.
Mukesh, on the other hand, represents a spark of
hope. Although his family has been involved in
bangle making for generations, Mukesh dares to
dream of becoming a car mechanic. However, both
children are trapped by systems that seem to have no
place for their dreams.
The chapter portrays how systemic poverty robs
children of their childhood, their potential, and their
future. The juxtaposition of Saheb’s fading dreams
and Mukesh’s resilient aspirations underscores the
impact of socio-economic conditions on children.
 CONCLUSION
In conclusion, The Lost Spring is a
powerful critique of the exploitative
systems that perpetuate poverty and
deny children the right to education,
play, and a brighter future. Through
the characters of Saheb and Mukesh,
Anees Jung brings to the forefront
the lives of the poor and
marginalized, urging readers to
reflect on the inequalities that persist
in society. The story challenges the
belief that children are mere laborers
and calls for a society that nurtures
their potential, rather than crushing
it under the weight of poverty and
exploitation.
The chapter leaves readers with a
sense of urgency—demanding not
only awareness but action to address
the issues of child labor and the
systemic inequalities that hinder the
development of millions of children
across India and the world.