Treasure Chest

Class 10

1.Haunted Houses
Summary
The poem starts by saying that every house where people have lived is haunted.
Here, “houses” is our physical existence, and being “haunted” means we’re left
with permanent impressions from the people we’ve known. These influences
hover quietly like ghosts, often going unnoticed but still leaving their mark.

Longfellow suggests that these impressions are always present, appearing at

various stages and transitions in life – in doorways, on stairs, and through
passages. He is saying that at any given time, we are only conscious of a
fraction of these influences. However, beneath the surface, our minds are
crammed with memories, imprints, and echoes of past bonds, similar to a hall
filled with polite, harmless spectres.

The experiences and recollections of our interactions are deeply personal. An

outsider might only see someone’s present self, but that person feels acutely
their whole backstory and the many forces shaping their current views and
emotions.

While we may feel ownership over our experiences and memories, Longfellow
claims true ownership is hard to grasp. People from our past, even those
forgotten, keep swaying our choices, perceptions, and sense of self.

The poem then zooms out to a bigger metaphysical perspective – that an

ethereal realm of memories and old impacts envelops our tangible existence.
This realm profoundly enriches our daily lives, giving depth and dimension to
our present understanding.

Our lives are depicted as a delicate balance of past influences, some tugging us
towards base desires, others lifting us towards higher aims. This balance is
maintained by unseen or subtle influences, which Longfellow poetically
compares to undiscovered stars or planets.

Using the moon as a metaphor, the poet stresses how past influences can light
our path, guiding us through the vast expanse of life’s journey even as we head
into the unknown.

Line-by-line explanation of the poem

All houses wherein men have lived and died
Are haunted houses.
Here, the term “houses” is a metaphor for our bodies or lives, and being
“haunted” indicates the indelible mark or influence left by the people we
encounter. Just as every house has its history, every person carries the memories
and impacts of past relationships and interactions.

Through the open doors

The harmless phantoms on their errands glide,
With feet that make no sound upon the floors.
Open doors signify moments of vulnerability or openness in our lives. The
“harmless phantoms” symbolise individuals who’ve passed through our lives,
sometimes unnoticed or unacknowledged, leaving subtle but meaningful
imprints. Their silent movements suggest that often, the full depth of their
influence isn’t immediately evident.

We meet them at the door-way, on the stair,

Along the passages they come and go,
Impalpable impressions on the air,
The various places mentioned (door-way, stair, passages) allude to the different
phases and transitional moments in our lives. These people affect us at varying
intensities and at different times, but their impact remains, even if it’s as elusive
as “impressions on the air.”

There are more guests at table than the hosts

Invited; the illuminated hall
Is thronged with quiet, inoffensive ghosts,
Our conscious mind (the “table”) often only acknowledges a fraction of the
influences and memories we carry. However, our subconscious (the
“illuminated hall”) is filled with countless past interactions, represented here by
the “quiet, inoffensive ghosts”.
The stranger at my fireside cannot see
The forms I see, nor hear the sounds I hear;
He but perceives what is; while unto me
All that has been is visible and clear.
Our experiences, memories, and the impact of past relationships are deeply
personal. Others might only see our current state, but we are vividly aware of
our history and the multitude of influences that shape our present perception and
feelings.

We have no title-deeds to house or lands;

Owners and occupants of earlier dates
From graves forgotten stretch their dusty hands,
And hold in mortmain still their old estates.
This suggests that while we may feel ownership over our bodies and lives, we
don’t truly own the influences and memories within us. People from our past,
even those long forgotten, continue to impact our choices and perceptions.

The spirit-world around this world of sense

Floats like an atmosphere, and everywhere
Wafts through these earthly mists and vapours dense
A vital breath of more ethereal air.
The “spirit-world” signifies the realm of memories and past influences that
envelope our tangible existence. This ethereal realm breathes life into our daily
experiences, enriching our understanding and perspective.

Our little lives are kept in equipoise

By opposite attractions and desires;
The struggle of the instinct that enjoys,
And the more noble instinct that aspires.
Our lives are in a constant state of balance, shaped by both our baser instincts
and higher aspirations. These instincts are influenced by the varied people we
encounter, some pulling us toward momentary pleasures and others elevating us
toward greater goals.

These perturbations, this perpetual jar

Of earthly wants and aspirations high,
Come from the influence of an unseen star
An undiscovered planet in our sky.
Our internal conflicts, the battle between our desires and aspirations, often arise
from hidden or unacknowledged influences. This “unseen star” or
“undiscovered planet” symbolises those powerful yet unrecognised people or
moments that guide our inner compass.
And as the moon from some dark gate of cloud
Throws o’er the sea a floating bridge of light,
Across whose trembling planks our fancies crowd
Into the realm of mystery and night,
This picturesque imagery depicts how past influences can serve as guiding
lights, much like how the moon illuminates a path across the sea. It emphasises
the idea that our past shapes and influences our journey, even into the unknown.

So from the world of spirits there descends

A bridge of light, connecting it with this,
O’er whose unsteady floor, that sways and bends,
Wander our thoughts above the dark abyss.
Building on the previous imagery, this concludes the poem by suggesting that
the world of past influences (or spirits) provides a connection to our present. As
we navigate our lives, our decisions and feelings are continually shaped by
those who’ve left their mark on us.

Word meanings
Haunted: In this context, it means deeply influenced or pervaded by memories
or impressions of people from the past.
Houses: Representing the lives or bodies of individuals. A metaphor for the
container of one’s experiences, memories, and the imprints of people they’ve
met.
Phantoms: Ghostly figures, representing lingering memories, influences, or
impressions of individuals who’ve passed through our lives.
Errands: Their purposes or reasons for influencing our lives.
Glide: Move smoothly and continuously, indicating the subtle and often
unnoticed manner in which these influences manifest.
Door-way, Stair, Passages: Different phases, moments, or transitions in life.
These are the points where we often encounter new people and experiences.
Impalpable: Difficult to feel or grasp, highlighting the elusive nature of some
influences or memories.
Guests: The various people, memories, or influences present in our lives.
Hosts: Represents us or the individual’s conscious acknowledgment of these
memories or people.
Illuminated hall: A space representing one’s conscious awareness or present
state of mind.
Fireside: A personal, intimate space within oneself; one’s comfort zone or inner
sanctum.
Forms: The clear memories or impressions of past interactions or individuals.
Title-deeds: Claims or rights to ownership.
Lands: Tangible assets or the physical aspects of life.
Mortmain: A term meaning ‘dead hand.’ Here, it signifies the unyielding grip
or influence of past memories or individuals over one’s present life.
Estates: Represents assets, experiences, or memories one ‘owns’ in their life.
Spirit-world: The realm of memories, past influences, and impressions that
surround our tangible reality.
Sense: Our current, tangible reality or conscious understanding.
Atmosphere: The enveloping space filled with past memories and influences.
Equipoise: Balance or equilibrium.
Attractions: Desires or tendencies influenced by past experiences or
individuals.
Aspirations: Higher goals or ambitions, also influenced by our past.
Perturbations: Disturbances or conflicts within oneself.
Star, Planet: Unseen or unacknowledged influences guiding our inner decisions
and feelings.
Moon: A guiding light or influence.
Gate of cloud: Obstacles or moments of obscurity in life.
Sea: The vast expanse of one’s life or experiences.
Bridge of light: The connection between past influences and the present.
Abyss: Deep, uncharted territory or the unknown aspects of one’s life.
About the author
The beloved 19th century American poet Henry Wadsworth Longfellow often
turned to history and legend to remind his readers of their shared heritage.
Works like “The Song of Hiawatha,” based on Native American oral traditions,
and “Paul Revere’s Ride,” celebrating a pivotal moment in the Revolutionary
War, cemented Longfellow’s status as a chronicler of the American experience.

In “Haunted Houses,” the “phantoms” are not vengeful spirits or mischievous

poltergeists; they are the lingering memories and influences of people now
gone. Longfellow suggests these spectral impressions quietly share our spaces
and activities, observing our daily lives. Though we may not actively notice
them, the ghosts of loved ones remain connected to us, floating through our
consciousness.

The gentle, singsong rhythm and rhyme scheme, along with Longfellow’s
peaceful tone, evoke solace rather than fear. His assertion that all houses are
“haunted” is a reassuring acknowledgement that those we’ve lost can still
inhabit our lives and thoughts, as long as we hold them in our memories. Rather
than a frightening concept, Longfellow presents a vision of haunting that is
comforting – our departed loved ones never truly leave us, but remain imprinted
on our hearts and woven into the fabric of our lives.
Workbook answers/solutions
Coming soon

Additional/Extra questions and answers

1. How does Longfellow describe all houses where men have lived and
died?
Answer: Longfellow poetically refers to all houses where men have lived and
died as “haunted houses.” In this context, the term “haunted” doesn’t refer to
ghostly apparitions in the traditional spooky sense. Instead, it evokes the idea
that memories, emotions, and experiences of the past inhabitants still linger,
making their presence felt in subtle and profound ways.
2. What do the “harmless phantoms” in the poem represent?
Answer: The “harmless phantoms” are emblematic of memories, past
experiences, and perhaps the spirits or essences of those who once occupied the
houses. These phantoms are memories that are ever-present but intangible,
exerting a silent influence on the living.
3. How do these phantoms move through the houses?
Answer: These phantoms are depicted as moving silently, gliding through open
doors “with feet that make no sound upon the floors.” This quiet, unobtrusive
movement emphasises the subtlety with which memories and past experiences
can permeate our present consciousness.
4. How does the poem address the concept of memory and its impact on an
individual’s perception of reality?
Answer: The poem places a strong emphasis on memory as a living entity,
suggesting that the past is not dormant but actively engages with and influences
the present. Through lines like “All that has been is visible and clear,”
Longfellow posits that memory offers clarity and understanding. These
memories, whether personal or inherited from previous generations, become a
part of our lived reality, even if they remain unseen to others. In this way,
Longfellow underscores the idea that our perception of reality is deeply
interwoven with our memories and the legacies left behind by those who came
before us.
5. What does “Impalpable impressions on the air” suggest about the nature
of these phantoms?
Answer: This phrase suggests that the phantoms, or memories, leave behind a
feeling or essence that’s almost intangible, yet undeniable. They’re not
physically present, but their ethereal nature affects the atmosphere, changing
how one perceives and feels about a space.
6. How does the poem describe the presence of these spirits during
gatherings or dinners?
Answer: The poem paints a poignant picture of social gatherings, where there
seem to be more guests (in the form of spirits or memories) than those
physically present. It’s a reminder that our past, our memories, and those who
came before us always accompany us, even in our most communal moments.
7. How do the spirits in the “illuminated hall” behave?
Answer: The spirits in the “illuminated hall” are characterised as being
peaceful and passive, existing as “quiet, inoffensive ghosts.” They are likened to
the silent images in paintings, suggesting a passive observance rather than an
active presence.
8. What distinction does the poem make between the perceptions of the
speaker and a stranger by his fireside?
Answer: The poem elucidates a personal, intimate connection between the
speaker and his surroundings. While a stranger might only perceive the current,
tangible reality, the speaker is deeply connected to the past, seeing and hearing
memories and experiences that are invisible to others.
9. How does Longfellow address the concept of ownership and the passage
of time in the stanza about title-deeds?
Answer: Longfellow delves into the fleeting nature of ownership and
possession. By stating that no one holds eternal title-deeds to land or houses, he
emphasises that life is transitory. Previous owners, though long gone, continue
to exert influence, highlighting the cyclical and interconnected nature of
existence.
10. What does the term “mortmain” imply in the context of the poem?
Answer: “Mortmain” literally translates to “dead hand.” In the poem, it’s used
to depict the enduring, unyielding grip of the past and those who’ve passed on.
It conveys the idea that the influence of the dead remains, particularly in
relation to possessions and legacies.
11. How does the poet describe the relationship between the world of sense
and the spirit-world?
Answer: Longfellow crafts an ethereal imagery where the spirit-world envelops
the world of sense like an all-encompassing atmosphere. It’s not separate but
coexists with our tangible world, interweaving with it. This suggests that
memories, spirits, and past experiences are ever-present, subtly shaping our
perceptions and feelings, blending the tangible with the intangible.
12. What does “a vital breath of more ethereal air” symbolise?
Answer: This poetic phrase encapsulates the essence of memories and spiritual
presence that vivifies our surroundings. It emphasises the life-giving and
influential nature of past experiences and memories, which, though intangible,
breathe vitality into our present, making the past ever-present.
13. How are our lives described in terms of opposing forces?
Answer: Longfellow captures the delicate balance of life, held in check by
contrasting forces. Our lives swing like a pendulum between hedonistic desires
and loftier aspirations. This juxtaposition elucidates the human condition, torn
between immediate gratification and the quest for higher purpose or meaning.
14. What are the two opposing instincts mentioned in the poem?
Answer: Longfellow distinguishes between the primal, earthly instinct that
seeks pleasure and enjoyment and the more elevated, noble instinct that strives
for higher goals, ideals, and aspirations. This duality reflects the complexities of
human nature, our simultaneous pull towards both the material and the spiritual.
15. How do “earthly wants and aspirations high” affect our lives, according
to the poem?
Answer: They introduce a state of continuous tension and flux in our existence.
This constant tug-of-war between base desires and loftier ambitions is a central
theme of human existence. It’s this interplay, driven by unseen influences, that
shapes our actions, decisions, and feelings, making life a complex dance of
contrasting desires.
16. What might the “unseen star” and “undiscovered planet”
metaphorically represent?
Answer: These celestial bodies symbolise unknown forces, influences, or
factors that unconsciously drive our desires and actions. Just as these heavenly
bodies exert unseen gravitational forces, the poem suggests there are intangible
elements in our lives that shape our earthly wants and higher aspirations.
17. How does the moon play a role in illustrating a connection to the
mysterious?
Answer: Longfellow employs the moon, a luminescent beacon in the night, as a
metaphorical bridge between the known and the enigmatic. Its radiant path over
the sea serves as a conduit for our imaginations, beckoning us to explore the
realm of mystery, the unknown, and the depths of our own psyche.
18. What does the “floating bridge of light” symbolise?
Answer: The “floating bridge of light” epitomises the transient and fragile
connections between our present reality and the vast expanse of the unknown or
the past. It’s a bridge of understanding, memory, and imagination, allowing us
to traverse the chasm between the tangible and the ethereal.
19. How is the bridge described, and what might its characteristics suggest
about the nature of connecting with the unknown?
Answer: The bridge’s described instability — swaying and bending —
underscores the precarious nature of our connection with the unknown.
Venturing into the realms of memories, past experiences, or the spiritual
involves uncertainty, vulnerability, and a leap of faith.
20. How do our thoughts wander according to the last stanza?
Answer: Our thoughts, guided by imagination and curiosity, meander over the
ethereal bridge, exploring the mysteries of the spirit realm, the past, and the
profound depths of human experience. This wandering signifies our innate
desire to understand, connect with, and perhaps find solace in the intangible.
21. What is the overall tone of the poem towards these “ghosts” or
memories?
Answer: The poem radiates a contemplative, introspective, and even reverential
tone towards these “ghosts” or memories. Longfellow doesn’t view them as
eerie or ominous but rather as silent witnesses to our lives, ever-present
reminders of our rich tapestry of experiences, connections, and legacies.
22. How does the poem suggest the simultaneous presence of the past and
the present?
Answer: Through the omnipresent phantoms or memories that glide through
homes, linger in gatherings, and influence our daily experiences, the poem
beautifully intertwines the past with the present. It’s a poignant reminder that
our past is not a distant, disconnected realm but is alive, influencing, and
interwoven with our present.
23. What might the “dark gate of cloud” represent in our lives?
Answer: This evocative imagery can signify challenges, uncertainties, or
obscured memories that momentarily eclipse our clarity. Yet, just as the moon’s
brilliance emerges from this dark gate, moments of enlightenment,
understanding, and revelation emerge from our trials and tribulations.
24. Why might Longfellow have chosen to describe these spirits or
memories as “quiet” and “inoffensive”?
Answer: By characterising these spirits or memories as “quiet” and
“inoffensive,” Longfellow underscores the subtle, gentle influence of the past.
These memories don’t intrude or disrupt but rather exist harmoniously alongside
our present, whispering insights, evoking emotions, and shaping our
perceptions.
25. How does the poem address the idea of memory and recollection?
Answer: Longfellow paints memories and recollections as tangible, ever-
present entities, much like spirits or phantoms. They are not mere abstract
notions but actively influence our present, reminding us of people we’ve met,
places we’ve been, and experiences we’ve had. These memories, though
intangible, give depth to our present, making our lives richer and more layered.
26. How does the poet perceive the distinction between the visible and the
invisible?
Answer: The poet sees a thin veil separating the visible from the invisible.
While a stranger might only recognize the tangible present, the poet perceives a
deeper layer of existence, where memories, past experiences, and perhaps spirits
from bygone eras coexist with the present, subtly influencing and shaping it.
27. What does the poem convey about the nature of existence and our
connection to the past?
Answer: The poem suggests that existence is a rich tapestry interwoven with
memories, past experiences, and the legacies of those who came before us. Our
connection to the past isn’t just historical or genealogical; it’s emotional,
spiritual, and deeply personal. The past isn’t truly “past”; it constantly informs
and enriches our present.
28. How does Longfellow view the passage of time and its impact on spaces
we inhabit?
Answer: For Longfellow, time doesn’t merely pass; it accumulates, leaving
behind layers of memories, emotions, and experiences. The spaces we inhabit,
like homes, bear silent witness to this passage of time, becoming repositories of
countless stories, echoes of laughter, whispers of secrets, and traces of lives
lived.
29. How does the imagery of the “floating bridge of light” help in
understanding our connection with the mysterious or the unknown?
Answer: The “floating bridge of light” stands as a delicate, ethereal link
between the known and the mysterious. Its transient and fragile nature mirrors
our tentative grasp on the intangible aspects of existence, like memories or the
spiritual realm. It symbolises our innate desire and effort to connect with,
understand, and explore the profound depths beyond our immediate perception.
30. In the context of the poem, how does Longfellow perceive the influence
of those who came before us on our lives?
Answer: Longfellow reverently acknowledges the indelible mark left by
predecessors. Their legacies aren’t just material but are deeply emotional and
spiritual. They linger in the spaces we inhabit, in the air we breathe, and in the
very fabric of our existence. They silently guide, influence, and shape our lives
in ways both subtle and profound.
31. How does Longfellow personify houses in the beginning of the poem?
Answer: In the poem, Longfellow personifies houses by suggesting that they
have memories and histories, and are thus “haunted.” When he writes “All
houses wherein men have lived and died / Are haunted houses,” he is not
referring to the traditional idea of ghosts but to the lingering memories,
experiences, and influences of those who once occupied these spaces. The
houses “remember” the lives of their former inhabitants, making them
repositories of personal and collective histories.
32. What significance do the “open doors” hold in the context of the poem?
Answer: The “open doors” in the poem symbolize accessibility and openness to
the past. They indicate that the memories and influences of those who lived
before are not shut away but can freely move, impacting and interacting with
the present. The doors also suggest a permeability between the past and the
present, emphasizing the idea that our history is always with us, influencing our
current lives.
33. What does the poet mean when he says, “Impalpable impressions on the
air”?
Answer: “Impalpable impressions on the air” conveys the idea of subtle,
intangible influences that are felt but not seen. These are the fleeting feelings,
memories, or presences of past inhabitants that, while they may not manifest
physically, leave a mark or influence on one’s perception or emotions. It’s akin
to feeling someone’s presence or their legacy even if they aren’t physically
there.
34. How does Longfellow differentiate between the perception of the
stranger at the fireside and his own?
Answer: Longfellow notes that while the stranger perceives only the present
moment – what is immediately visible and tangible – he himself can see and
feel all that has transpired in that space before. The line “He but perceives what
is; while unto me / All that has been is visible and clear” suggests that the poet
has a deeper connection or sensitivity to the histories and memories contained
within the space, while the stranger remains unaware of such influences.
35. What does the line “All that has been is visible and clear” suggest about
the narrator’s understanding of the past?
Answer: The line “All that has been is visible and clear” suggests that the
narrator has a profound connection to and understanding of the past. He can
vividly perceive and recognize the influences, memories, and legacies of those
who have come before him. This clarity indicates that, for the narrator, the past
is not a distant or faded memory but a living influence that continually interacts
with the present.
36. How does Longfellow use the imagery of “dusty hands” stretching from
“graves forgotten” to convey the idea of legacy and influence?
Answer: The imagery of “dusty hands” stretching from “graves forgotten”
evokes a powerful sense of the past reaching out to the present. Even though the
people from the past have been buried and perhaps forgotten by the world, their
influence remains, like hands trying to connect with the living. This vivid
imagery underscores the idea that legacies, memories, and histories continue to
play a role in the present, even if they originate from individuals long forgotten.
37. What does the poet mean by “a vital breath of more ethereal air” in
relation to the spirit-world and the world of sense?
Answer: The phrase “a vital breath of more ethereal air” alludes to a purer,
more refined essence that comes from the spirit-world. In contrast to the
“earthly mists and vapours dense” of the physical world, this ethereal air
represents the intangible, spiritual influences that are ever-present around us. It
suggests that there is a continuous interaction between the tangible, sensory
world and the intangible, spiritual realm.
38. How does the poem explore the tension between earthly desires and
higher aspirations?
Answer: Longfellow addresses the dual nature of human beings, who are torn
between their base instincts or “earthly wants” and their nobler desires or
“aspirations high.” This duality is captured in the lines “Our little lives are kept
in equipoise / By opposite attractions and desires.” The poem contemplates how
these conflicting forces keep our lives in balance, suggesting that both our
earthly desires and higher aspirations shape our experiences and actions.
39. How is the “undiscovered planet in our sky” a metaphor for unseen
influences in our lives?
Answer: The “undiscovered planet in our sky” represents the unknown or
unacknowledged forces that impact our lives. Just as an undiscovered planet
might exert gravitational forces that influence other celestial bodies without
being directly observed, the unseen influences from our past or from those
we’ve encountered exert a pull on our thoughts, feelings, and actions. This
metaphor underscores the idea that there are always underlying factors shaping
our experiences, whether or not we’re aware of them.
40. In what ways does the imagery of the moon’s “floating bridge of light”
parallel the bridge of light from the world of spirits?
Answer: Both the moon’s “floating bridge of light” and the bridge of light from
the spirit world serve as connectors between two realms. The moon’s bridge
connects the earth to the mysteries of the night, while the spirit bridge connects
the living with the influences of the past. These bridges symbolise the thin
boundaries between the known and the unknown, the tangible and the
intangible, and the present and the past. They illustrate the idea that our reality
is continuously intertwined with mysteries and influences beyond our
immediate perception.
41. What do the “trembling planks” of the bridge represent in terms of
human understanding and emotions?
Answer: The “trembling planks” of the bridge suggest the fragile and uncertain
nature of our understanding and connection to the intangible influences of the
past. This instability reflects the human emotions of doubt, fear, and awe when
confronted with the unknown or the profound. The trembling planks signify our
tentative efforts to grasp and understand the deeper mysteries of existence and
the influences that shape our lives.
42. How does the poem convey the idea of the interconnectedness between
the past, present, and future?
Answer: The poem paints a vivid picture of how the memories, legacies, and
influences of the past are ever-present, shaping our current experiences and, by
extension, our future. By emphasizing the presence of “harmless phantoms” and
“quiet, inoffensive ghosts” in our daily lives, Longfellow suggests that our
present reality is continuously intertwined with the past. The interconnectedness
is further highlighted by the bridges of light, which serve as pathways linking
different realms of time and existence.
43. What might be the significance of the “unsteady floor” of the bridge
that connects the world of spirits with the present world?
Answer: The “unsteady floor” of the bridge symbolizes the uncertainty and
volatility of our understanding of and connection to the past and the spiritual
realm. It reflects the inherent instability and unpredictability of life, where our
perceptions and beliefs are constantly challenged and reshaped by new
experiences and insights. This unsteady foundation reminds us of the delicate
balance between our tangible reality and the intangible influences that surround
us.
44. In what ways does Longfellow challenge traditional notions of the
supernatural in this poem?
Answer: Instead of presenting the supernatural as something fearful or
malevolent, Longfellow depicts it as a benign and ever-present influence. The
“harmless phantoms” and “quiet, inoffensive ghosts” stand in contrast to
traditional ghostly figures that haunt and terrorize. Longfellow’s ghosts are
simply remnants of the past, memories and influences that permeate our lives.
By doing so, he reframes the supernatural not as distant and eerie entities, but as
familiar, omnipresent echoes of previous lives and times that silently shape our
present.
Additional/Extra MCQs
1. How does Longfellow describe the houses wherein men have lived and
died?
A. As beautiful monuments B. As haunted houses C. As empty shells D. As
remnants of history

Answer: B. As haunted houses

2. What do the “open doors” in the poem symbolize?
A. Mystery B. Isolation C. Death D. Accessibility to the past

Answer: D. Accessibility to the past

3. Which line indicates that the narrator perceives more than the stranger?
A. “We meet them at the door-way, on the stair” B. “The stranger at my fireside
cannot see” C. “Impalpable impressions on the air” D. “Owners and occupants
of earlier dates”

Answer: B. “The stranger at my fireside cannot see”

4. What do “dusty hands” stretching from “graves forgotten” represent?
A. The aging process B. Lost memories C. Legacy and influence D. Decaying
past

Answer: C. Legacy and influence

5. What do the “harmless phantoms” in the poem represent?
A. Scary entities B. Memories and past influences C. Traditional ghosts D.
Unknown future events

Answer: B. Memories and past influences

6. Which element serves as a connector between two realms in the poem?
A. Sunlight B. Moon’s bridge of light C. Trees D. Shadows

Answer: B. Moon’s bridge of light

7. What keeps our “little lives” in balance according to the poem?
A. Wealth and poverty B. Love and hate C. Opposite attractions and desires D.
Day and night

Answer: C. Opposite attractions and desires

8. How does the poet depict ghosts in the poem?
A. Threatening B. Mischievous C. Quiet and inoffensive D. Noisy

Answer: C. Quiet and inoffensive

9. What does the “undiscovered planet in our sky” metaphorically signify?
A. Unknown mysteries of the universe B. Unseen influences in our lives C.
New possibilities D. Future explorations

Answer: B. Unseen influences in our lives

10. What does “a vital breath of more ethereal air” allude to?
A. Fresh start B. Nature’s beauty C. Purer essence from the spirit-world D.
Need for ventilation

Answer: C. Purer essence from the spirit-world

11. How does the poem represent the struggle between earthly desires and
higher aspirations?
A. As a balance of good and evil B. As a continuous conflict C. As a dance
between light and dark D. As opposite attractions keeping lives in equipoise

Answer: D. As opposite attractions keeping lives in equipoise

12. What significance does the “unsteady floor” of the bridge hold in the
poem?
A. Robust connection between realms B. Fragility of human understanding C.
Steadfast beliefs D. Risky endeavors

Answer: B. Fragility of human understanding

13. What does the imagery of “dusty hands” from “graves forgotten”
imply?
A. The burden of the past B. Forgotten heroes C. Influence of past individuals,
even if forgotten D. Abandoned places

Answer: C. Influence of past individuals, even if forgotten

14. How does Longfellow’s portrayal of the supernatural differ from
traditional depictions?
A. He presents it as harmful B. He sees it as familiar and ever-present
influences C. He doesn’t acknowledge the supernatural D. He sees it as a
temporary phase
Answer: B. He sees it as familiar and ever-present influences
15. Which line from the poem suggests a permeability between past and
present?
A. “All houses wherein men have lived and died” B. “The stranger at my
fireside cannot see” C. “Through the open doors” D. “Our little lives are kept in
equipoise”

Answer: C. “Through the open doors”

16. How are the ghosts described in relation to the dinner table?
A. As unexpected guests B. As the main hosts C. As distant observers D. As
uninvited guests

Answer: A. As unexpected guests

17. How does Longfellow view memory in the poem?
A. As a burden B. As a fleeting moment C. As a living entity D. As a distant
past

Answer: C. As a living entity

18. What does the “ethereal air” contrast with in the poem?
A. The spirit-world B. Earthly mists and vapours C. The open doors D. The
undiscovered planet

Answer: B. Earthly mists and vapours

19. The “floating bridge of light” thrown by the moon is compared to what
in the poem?
A. A pathway to the future B. A bridge connecting the spirit world and the
present C. A reflection of human desires D. A bridge to the unknown realms of
the universe

Answer: B. A bridge connecting the spirit world and the present

20. How does Longfellow describe the nature of our understanding of the
intangible influences of the past?
A. Robust and concrete B. Doubtful and questionable C. Fragile and uncertain
D. Ignored and dismissed

Answer: C. Fragile and uncertain

21. In the poem, what does the “vital breath of more ethereal air”
represent?
A. Fresh beginnings B. Tangible experiences C. Spiritual influences D. Earthly
connections

Answer: C. Spiritual influences

22. How are the pictures on the wall described in relation to the ghosts?
A. As dynamic and lively B. As noisy and disruptive C. As silent and static D.
As colorful and vibrant

Answer: C. As silent and static

23. What does “mortmain” metaphorically represent in the poem?
A. Death and decay B. A binding legal document C. The enduring grip of the
past D. An unknown realm

Answer: C. The enduring grip of the past

24. How does Longfellow describe the guests at the table compared to the
hosts?
A. Fewer in number B. More in number C. Equally present D. Absent altogether

Answer: B. More in number

25. The “bridge of light” mentioned in the poem connects which two
realms?
A. Earth and sky B. Past and future C. World of spirits and the present world D.
Happiness and sorrow

Answer: C. World of spirits and the present world

26. What is the primary theme of Longfellow’s “Haunted Houses”?
A. The terror of haunted places B. The nostalgia of past memories C. The
influence and presence of the past in our present lives D. The excitement of
discovering unknown realms

Answer: C. The influence and presence of the past in our present lives
27. What kind of impression do the phantoms leave in the poem?
A. Destructive B. Impalpable C. Visible and tangible D. Loud and disturbing

Answer: B. Impalpable
28. Which element in the poem indicates the unseen influence shaping our
desires?
A. The harmless phantoms B. The illuminated hall C. The undiscovered planet
D. The dusty hands

Answer: C. The undiscovered planet

29. How does the poem convey the presence of unseen forces in our lives?
A. Through eerie and spooky descriptions B. By highlighting tangible effects on
our daily activities C. Through subtle, omnipresent influences D. By
emphasizing the power of dreams
Answer: C. Through subtle, omnipresent influences
30. What does Longfellow suggest about the connection between the past
and the present?
A. The past is always haunting the present B. The past and present are
completely disconnected C. The past has a silent and profound influence on the
present D. The present is always overshadowed by the past

Answer: C. The past has a silent and profound influence on the present.
 2.The Glove and the Lions
Summary
The poem opens with a description of King Francis, who is watching his lions
fighting in an arena for sport. The king sits above the arena, surrounded by
nobles and elegant ladies. Among the nobles is Count de Lorge, who longingly
signs for one particular lady there.

The narrator describes the scene as a gallant spectacle, with the brave king
presiding over the fierce lions battling below. The lions rampage and roar,
viciously biting and clawing at one another in a frenzied fight. Bloody foam
flies from their mouths over the barricades enclosing the pit. Amused by the
violence, King Francis comments that the spectators are better off watching
from their seats than down in the pit.

The lady whom Count de Lorge desires overhears the king’s remark. She is
described as strikingly beautiful, with an unchanging smile and bright,
intelligent eyes. Confidently believing her lover De Lorge to be the bravest
man, she decides to test his love and win glory for herself. With the king,
nobles, and ladies looking on, she drops her glove into the lion’s pit,
challenging De Lorge to retrieve it.

De Lorge bows to the lady, then jumps into the midst of the raging lions.
Quickly and nimbly he leaps back out, glove in hand. But rather than gently
return the glove to prove his love, he angrily throws it right in the lady’s face.
King Francis approves of De Lorge’s reaction, declaring that it was not true
love, but the lady’s vanity and pride that led her to set such a dangerous
challenge. The poem ends with the king’s pronouncement on the situation.

In summary, the poem tells the story of a lady who arrogantly tests her lover’s
bravery by throwing her glove into a lion pit. But when he succeeds in the
challenge and angrily throws the glove back at her, the king praises the lover
and condemns the lady’s pride and vanity. The vivid imagery and surprising
twist reveal the flaws underlying the spectacle of chivalry and romance.

Line-by-line explanation of the poem

King Francis was a hearty king, and loved a royal sport,
This first line introduces us right away to King Francis, describing him vividly
as a lively, vigorous, and energetic king who took delight in royal sporting
events and games. The word “hearty” paints a picture of a king full of vitality
and enthusiasm.
And one day as his lions fought, sat looking on the court;
One day, as part of his enjoyment of royal entertainments, King Francis was
observing his own lions fighting fiercely and ferociously in an arena or enclosed
court. The line reveals that the king kept lions for violent sport and spectacle,
sitting safely above the action as the powerful beasts battled below.

The nobles filled the benches, and the ladies in their pride,
The arena was filled with nobles and aristocrats sitting in raised benches above
the fighting pit, and elegant ladies dressed in their finest, most ornate gowns and
jewels, exhibiting their status and pride.

And ‘mongst them sat the Count de Lorge, with one for whom he sighed:
Among the assembled nobles was the Count de Lorge, who had eyes only for
one particular lady there, sighing longingly for the woman he desired.

And truly ’twas a gallant thing to see that crowning show,

It was truly a noble and magnificent spectacle, the height of royal entertainment,
to witness the king presiding over this thrilling animal combat.

Valour and love, and a king above, and the royal beasts below.
The scene embodied ideals of chivalry and romance – bravery and love, with
the king holding court above while the fierce royal beasts battled below.

Ramped and roared the lions, with horrid laughing jaws;

The lions prowled and roared aggressively, their terrible, gaping mouths
stretched wide as if laughing horribly and maliciously.

They bit, they glared, gave blows like beams, a wind went with their paws;
Savagely the lions bit and locked their jaws, glaring fiercely, striking mighty
blows with their paws that swiped as powerfully and swiftly as beams of wind.

With wallowing might and stifled roar they rolled on one another;
With immense, crushing power and muffled, choked roars, the lions wrestled,
grappled, and forcefully rolled over each other.

Till all the pit with sand and mane was in a thunderous smother;
Until the fighting pit was filled with flying sand and tangled manes in a
deafening, chaotic turmoil.

The bloody foam above the bars came whisking through the air;
The bloody foam from the lions’ mouths sprayed through the air over the pit’s
barricades.

Said Francis then, “Faith, gentlemen, we’re better here than there.”
Seeing the violent spectacle, King Francis remarked humorously to his noble
audience that they were safer observing from their seats than down in the pit
with the ferocious beasts.

De Lorge’s love o’erheard the King, a beauteous lively dame

The lady whom De Lorge pined for, a strikingly beautiful and spirited woman,
overheard the king’s wry comment.

With smiling lips and sharp bright eyes, which always seemed the same;
She had smiling, inviting lips and piercing, intelligent eyes which always
appeared unchanged, constantly sparkling and alluring.

She thought, the Count my lover is brave as brave can be;

She thought assuredly that her lover, the Count de Lorge, was as courageous
and daring as any man could possibly be.

He surely would do wondrous things to show his love of me;

She was confident he would carry out remarkable, incredible deeds to
demonstrate the depth of his devotion and adoration for her.

King, ladies, lovers, all look on; the occasion is divine;

With the king, ladies of the court, and admirers all observing intently, she
realised the perfect, almost providential opportunity before her.

I’ll drop my glove, to prove his love; great glory will be mine.
She decided she would drop her glove into the lion’s den as a challenge to the
Count, to prove the strength of his chivalric love for her – and in doing so, she
would gain enormous honour and renown.

She dropped her glove, to prove his love, then looked at him and smiled;
So she daringly dropped her glove into the pit, turning to the Count with a
confident, anticipatory smile, having set out to test the depths of his devotion.

He bowed, and in a moment leaped among the lions wild:

The Count bowed gracefully to the lady, then instantly, unhesitatingly jumped
down into the pit, recklessly casting himself into the midst of the wild, vicious
lions.
The leap was quick, return was quick, he has regained his place,
Just as rapidly as he had leapt in, the Count leapt back out of the pit, with
extraordinary deftness and agility returning to stand again before the noble
crowd.

Then threw the glove, but not with love, right in the lady’s face.
But rather than tenderly returning her glove as a token of his love, he spitefully,
violently threw it right in her face in front of all.

“By God!” said Francis, “rightly done!” and he rose from where he sat:
“By God!” exclaimed King Francis, approving of the Count’s shocking action,
“That was the right thing to do!” And he stood up dramatically from his royal
seat.

“No love,” quoth he, “but vanity, sets love a task like that.”
“It was not true love,” declared the king, “but vanity and pride that set a
challenge like that, when love itself was at stake.”

Word meanings
hearty: lively, vigorous, energetic
court: enclosed arena for sports and spectacles
nobles: aristocrats, members of the highest social class
benches: raised, tiered seats around an arena
pride: vanity, haughtiness, satisfaction in status
sighed: longed, pined, yearned
gallant: noble, chivalrous, dignified
crowning: ultimate, preeminent
show: spectacle, display, entertainment
valour: courage, bravery, boldness in battle
ramped: prowled, stalked aggressively
roared: yelled ferociously at high volume
horrid: terrifying, dreadful, causing horror
jaws: mouths, snouts, openings of mouth
glared: stared angrily and intensely
beams: rays, shafts of light
paws: animal feet with claws
wallowing: rolling, thrashing around
might: power, immense strength
stifled: muffled, choked, suppressed
smother: chaotic mix, turmoil
bars: barricades, railings
whisking: spraying, scattering rapidly
quoth: said, spoke
vanity: excessive pride, self-importance
About the author
Leigh Hunt (1784-1859) was a prominent Romantic-era writer, poet, essayist,
critic and journalist who lived during the same time period as the famous
Romantic poets Keats, Byron and Shelley. Hunt is known for his evocative
descriptions, lyrical verse, appreciation of nature, and mastery of atmosphere
and mood in his writing.

As an influential journalist, Hunt was also one of the most outspoken defenders
of liberties during the age of the French Revolution.

The poem “The Glove and the Lions” by Hunt is a humorous narrative set in
mediaeval times when concepts of valour and chivalry were idealised. Through
the story, Hunt gently pokes fun at the notion of men feeling they must
perpetually “prove” their masculine courage to the women they admire.

With its playful tone and lyrical language, the poem is meant to be enjoyed for
its poetic beauty and gentle humour, rather than interpreted as conveying a
serious moral lesson or message. Hunt invites readers to delight in the world
and characters he brings to life through vivid details, rather than looking for
deeper meaning or instruction underneath the charming mediaeval tale.

Workbook answers/solutions
Coming soon

Additional/Extra questions and answers

1. Who was watching the lions fight?
Answer: King Francis was watching the lions fight. He is described as a “hearty
king” who loved these kinds of royal sporting events and spectacles. As the
lions battled in the arena below, King Francis sat above observing the violent
entertainment, surrounded by his assembled nobles and elegant ladies.
2. What was the atmosphere like in the arena where the lion fight took
place?
Answer: The arena was filled with nobles and aristocrats sitting elevated on
benches above the fighting pit, and elegant ladies dressed ornately to exhibit
their pride and status. There was likely a sense of anticipation and thrill in the
crowd as they waited for the spectacle of violence to unfold before them, with
King Francis grandly presiding over the event. The nobles and ladies probably
chattered excitedly as the lion pit filled with the sounds of aggressive roars and
smothered growls, building a tense, dramatic atmosphere.
3. How did the lady react after seeing her lover retrieve her glove from the
lion pit?
Answer: Rather than expressing love or appreciation when her lover Count de
Lorge successfully retrieved her glove from the lion pit, the lady reacted with
shocked outrage when he angrily threw the glove back in her face. This reaction
revealed her arrogance and selfish motives in setting such a dangerous
challenge, as she cared more about glory for herself than the safety of her
purported beloved. Her indignance at his response exposed her vain priorities.
4. In what ways does the poet create a vivid sense of drama and tension
throughout the poem?
Answer: The poet uses powerful imagery and vivid language to create a
dramatic, tense atmosphere. Phrases like “horrid laughing jaws”, “bloody
foam”, and “thunderous smother” paint a scene of animalistic violence and
chaos. The sounds of “ramped and roared” lions convey the aural sensations of
the fight. Active, aggressive verbs like “bit”, “glared”, “rolling” animate the
vicious lion battle. Short lines and caesura create a choppy, tense rhythm. The
stakes heighten as the lady throws her glove into the pit, testing her lover’s
courage. The surprise twist at the end provides dramatic irony revealing the
lady’s arrogance.
5. How does the poem explore contrasts between appearances and reality in
relation to courage, love, nobility and pride?
Answer: On the surface, the story portrays ideals of courage, love and nobility
through aristocratic spectacle. But subtler ironies and darker notes critique
hollow appearances. The lavish setting masks selfish motivations, as both lady
and lover manipulate romance for pride. De Lorge’s dignified retrieval of the
glove proves a superficial gesture when he petulantly tosses it back. The king’s
approval of that spite reveals faulty assumptions behind chivalry. The lion
fight’s brutality contrasts with its gallant staging. So while honouring nobility
outwardly, the deeper reality exposes vain, reckless, violent traits contradicting
virtuous appearances.
6. Who was Count de Lorge longing for?
Answer: Count de Lorge was longing for and sighing over a particular lady
who was present in the audience observing the lion fight spectacle.
7. What was King Francis’ reaction when De Lorge threw the glove back at
the lady?
Answer: When De Lorge spitefully threw the lady’s glove back in her face,
King Francis approved of his action, standing up and declaring “By God!
rightly done!”. The king praised De Lorge’s indignant response, agreeing that
the lady’s vain challenge warranted such retaliation.
8. What does the depiction of the nobles observing the violent lion fight
suggest about their character?
Answer: The detached, entertained manner in which the elegantly dressed
nobles watched the gory lion combat implies a kind of ethical emptiness and
dehumanisation among the privileged upper class. Their fascination with the
brutal spectacle and King Francis’ casual attitude about danger reveal a bored,
reckless decadence and thirst for petty thrills among the elite.
9. Discuss how the ironic twist conclusion of the poem serves as a critique
of superficial values around courage, honour and love.
Answer: The ironic reveal that the lady’s challenge was meant to test love
rather than courage highlights the superficiality of her gesture, and the hollow
chivalry it was based on. The king’s approval of De Lorge’s indignant reaction
further implies flawed assumptions around honour. Ultimately the irony exposes
the falsity and selfish pride underlying acts meant to embody higher ideals. The
characters’ focus on appearances, reputation and glory over mutual
understanding reveals the problematic values underlying aristocratic chivalric
society.
10. What aspect of the lady’s appearance does the poet draw attention to?
Answer: The poet places emphasis on the lady’s constant, alluring smile and
her sharp, bright eyes, highlighting her confident beauty and captivating gaze.
11. How does the poem’s rhythmic structure contribute to its dramatic
impact?
Answer: The poem’s use of abrupt caesura, short compressed lines, and
staccato phrases creates tension when depicting the lions’ vicious battle. This
halting rhythm evokes the unpredictable, erratic movements of the thrashing
lions. The pace slows and punctuation chops up the verse, mirroring the
animals’ fierce clashes. This rhythmic disruption adds drama and uncertainty,
amplifying the fierce, chaotic brutality.
12. What motivated the lady to throw her glove into the lion pit?
Answer: The lady was motivated by arrogance and selfish pride to throw her
glove into the lion pit. She wanted to prove the depth of her lover’s devotion to
her by making him face mortal danger to retrieve her glove. Her aim was to win
glory and honour for herself through this gesture, rather than out of concern for
her lover’s safety. She used the spectacle to gratify her own ego.
13. How does the poem critique empty displays of nobility, courage, and
honour amongst the aristocratic class?
Answer: Although the story outwardly depicts noble courage and honour, the
irony exposes this as an empty facade. The king’s detached oversight of gory
combat highlights the elite’s numbness to violence. The lover’s dignified
retrieval of the glove is undercut by his cruel reaction, underscoring the falsity
of chivalric love. The lady’s arrogant motives reveal the vainglory behind her
challenge. Together these ironies critique the superficial expectations of valour
and etiquette that override empathy and ethics in aristocratic society.
14. Who decided to drop her glove in the lion pit?
Answer: The lady whom Count de Lorge desired decided she would drop her
glove into the lion pit.
15. Why did the lady think her lover Count de Lorge was brave?
Answer: The lady thought Count de Lorge was incredibly brave because of her
absolute faith and confidence in his courage, which she believed was as great as
any man could possibly be.
16. What do the reactions of De Lorge and King Francis reveal about
them?
Answer: De Lorge’s petulant, vengeful reaction in throwing the glove in the
lady’s face reveals his bitterness and wounded masculinity and pride. King
Francis’ approval of this act shows his own superficial sense of manly bravado,
caring more about a bold show or display rather than deeper virtue. Their
reactions ultimately reveal the flaws and hollowness underlying their chivalric
ideals.
17. How does the poem build up dramatic tension leading to the lady’s
challenge?
Answer: The elaborately described setting and characters establish an
atmosphere rife with underlying drama before the challenge. Details about the
opulent nobles, De Lorge’s longing, and the lions’ violence all subtly
foreground the lady’s imminent risky action. The lavish staging depicts a scene
steeped in reckless thrill-seeking and ego, heightening the tension around the
challenge.
18. Discuss how irony and reversals in the conclusion critique the values of
chivalry and courtly love.
Answer: The twist reveals the lady’s arrogant motives, ironically undermining
conventions of courtly romance. Her pridefulness is punished rather than
honoured through love, subverting chivalric ideals. De Lorge’s dignified
retrieval of the glove is nullified by his spiteful reaction, satirising hollow male
valour. The king’s approval of De Lorge’s petulance further highlights the
flawed masculine pride behind chivalry. Through these ironic reversals, the
poem ultimately critiques the vain selfishness and brutality that lie beneath
chivalric facades.
19. Who bowed before leaping into the lion pit?
Answer: Count de Lorge bowed gracefully before the lady before leaping into
the lion pit to retrieve her glove.
20. How did Count de Lorge react after he returned from the lion pit?
Answer: Instead of gently returning the lady’s glove as a token of love, Count
de Lorge reacted spitefully by hurling the glove violently in her face, full of
indignant bitterness.
21. What critique of the nobility does the poem suggest through its
depiction of the lavish, violent spectacle?
Answer: The nobles’ glamorous attire contrasted with their detached
observation of gory combat suggests an ethical emptiness and dehumanisation
among the elite class. Their thirst for such thrills implies a reckless decadence,
using their privileges irresponsibly without compassion. Overall, it critiques the
nobles’ superficiality and trivial pursuits, contrasting their elegant appearance
with underlying ethical flaws.
22. How does the use of vivid imagery and figurative language add to the
impact and atmosphere of the poem?
Answer: Vivid imagery like “bloody foam” and figurative language like “blows
like beams” create visceral, dramatic sensations to transport the reader. The
metaphors make the lion’s deadly force palpable. Visual details like tangled
manes convey chaotic thrashing. These powerful images allow the reader to
visualise and feel the scene, drawing them into the atmosphere of violence and
tension at the heart of the poem. The vividness makes the action gripping and
emotionally affecting.
23. In what ways does the poem combine elements of the chivalric code
with subtle ironies and critiques of courtly society?
Answer: On the surface, the story of the lady’s challenge draws on conventions
of mediaeval chivalry and courtly romance. Yet subtle ironies undermine these
ideals, as when the lover spurns decorum by throwing back the glove, revealing
the flawed masculine pride behind courtly gestures. The lady’s arrogant motives
for her challenge uncover the empty vanity of courtly games of romance. So
while using chivalric tropes, the poet ultimately critiques the brutality,
superficiality and hollowness of aristocratic society through layered ironies and
reversals.
24. What was the atmosphere like watching the lions fight?
Answer: The nobles and ladies watched the lion fight intently, likely chatting
excitedly as the roars built tension. King Francis presided over this thrilling
spectacle, where the audience expected entertainment from the violent combat
below.
25. Why did the lady drop her glove in the pit?
Answer: The lady arrogantly dropped her glove to test her lover’s devotion.
She wanted him to prove his courage by facing the lions, so she could gain
status through his bravery.
26. How did the lady react to getting her glove thrown back?
Answer: The lady reacted with shocked outrage when her lover spitefully threw
her glove back instead of gently returning it. This exposed her selfish motives in
her challenge.
27. What does the lover throwing back the glove reveal about his
character?
Answer: The lover throwing back the glove spitefully rather than with love
reveals his bitterness and wounded masculine pride. His reaction exposes
flawed chivalric assumptions.
28. How does the poem critique superficial values of the upper class?
Answer: The poem critiques the upper class through details like the king’s
casual view of violence and the lady’s arrogant challenge. Their focus on
reputation over empathy reveals ethical emptiness beneath elegant appearances.
29. How did the lions behave in the fighting pit?
Answer: The lions rampaged and roared aggressively in the fighting pit,
viciously biting and clawing at one another. They wrestled forcefully, filling the
arena with flying sand and tangled manes in a deafening, chaotic frenzy.
Additional/Extra MCQs
1. What is King Francis described as at the start of the poem?
A. A serious king B. A friendly king C. A hearty king D. A weary king

Answer: C. A hearty king

2. What were the lions doing in the arena?
A. Sleeping B. Playing C. Fighting D. Feeding

Answer: C. Fighting
3. Who was sitting amongst the nobles assembled?
A. Count de Lorge B. The lady C. King Francis D. The lion keeper

Answer: A. Count de Lorge

4. What did the lady decide to do to prove her lover’s devotion?
A. Sing him a song B. Bake him a cake C. Drop her glove into the pit D. Blow
him a kiss

Answer: C. Drop her glove into the pit

5. How did Count de Lorge initially react when the lady dropped her
glove?
A. He bowed to her B. He scolded her C. He ran away D. He blew her a kiss

Answer: A. He bowed to her

6. What did Count de Lorge do after emerging from the lion pit?
A. Returned the glove gently B. Threw the glove at the lady C. Kissed the
lady’s hand D. Curtsied to the lady

Answer: B. Threw the glove at the lady

7. How did King Francis respond when De Lorge threw the glove back?
A. He condemned De Lorge B. He challenged De Lorge to a duel C. He
approved of De Lorge’s action D. He reprimanded the lady

Answer: C. He approved of De Lorge’s action

8. What motivated the lady to throw her glove in the lion pit?
A. Anger at De Lorge B. A desire to clean her glove C. Vanity and pride D.
Love for De Lorge
Answer: C. Vanity and pride
9. How does the poet create dramatic tension in the poem?
A. With humor B. With serene imagery C. With vivid language D. With
optimistic tone

Answer: C. With vivid language

10. What happened when the lions fought in the pit?
A. They purred and napped B. They wagged their tails C. They rampaged in a
frenzy D. They nibbled delicately

Answer: C. They rampaged in a frenzy

11. Why were the nobles and ladies assembled to watch the fight?
A. For ethical observation B. For educational purposes C. For thrilling
entertainment D. For lion conservation awareness

Answer: C. For thrilling entertainment

12. What aspect of the lady is emphasised by the poet?
A. Her intellect B. Her grace C. Her smile D. Her attire

Answer: C. Her smile

13. What is Count de Lorge’s motivation revealed to be?
A. Love B. Bravery C. Duty D. Wounded pride

Answer: D. Wounded pride

14. How does the poem critique superficial values?
A. By praising compassion B. By promoting patience C. Through ironic twists
D. Through optimistic tones

Answer: C. Through ironic twists

15. What was the atmosphere like in the arena?
A. Sleepy B. Graceful C. Dramatic tension D. Relaxing

Answer: C. Dramatic tension

16. Why were the ladies dressed ornately?
A. To attract suitors B. To show status C. For warmth D. For fashion

Answer: B. To show status

17. What does King Francis’ reaction reveal?
A. His wisdom B. His apathy C. His courage D. His cruelty

Answer: B. His apathy

18. How does the poem explore appearances vs reality?
A. By praising truth B. Through subtle ironies C. Through obvious metaphors
D. Through optimistic language

Answer: B. Through subtle ironies

19. What imagery conveys the violence of the lion fight?
A. Blood and gore B. Garlands and flowers C. Light and rainbows D. Perfumes
and doves

Answer: A. Blood and gore

20. What aspect of rhythm builds dramatic tension?
A. Sonorous melodies B. Smooth, flowing lines C. Abrupt caesura D. Rhyming
couplets

Answer: C. Abrupt caesura

21. What does the lady’s arrogant challenge critique?
A. Timidity B. Recklessness C. Compassion D. Honor

Answer: B. Recklessness
22. Why does the lover throw back the glove angrily?
A. For revenge B. For love C. For duty D. For vanity

Answer: A. For revenge

23. What is ironic about the lady’s motive for her challenge?
A. It was about pride rather than love B. It was to humiliate her lover C. It was
to test the king D. It was to anger the lions

Answer: A. It was about pride rather than love

24. What do the caesura and short lines evoke about the lion fight?
A. Calmness B. Frailty C. Unpredictability D. Harbor

Answer: C. Unpredictability
25. How does the king’s approval of De Lorge reveal flawed assumptions?
A. By critiquing cowardice B. By praising courage C. By valuing bravado over
empathy D. By condemning deception

Answer: C. By valuing bravado over empathy

26. What does the ornate imagery of the nobles contrast with?
A. Poverty B. Wisdom C. Brutality D. Honor

Answer: C. Brutality
27. What poetic device is used in “ramped and roared”?
A. Rhythm B. Alliteration C. Consonance D. Assonance

Answer: B. Alliteration
28. What does the lady’s vanity lead her to overlook?
A. Her lover’s feelings B. Her gloves size C. Her hair D. Her purse

Answer: A. Her lover’s feelings

29. What theme does the poem critique?
A. Isolation B. Technology C. Superficiality D. Change

Answer: C. Superficiality
30. Why does the poet describe the lions’ “horrid laughing jaws”?
A. For comedy B. For horror C. For cuteness D. For clarity

Answer: B. For horror

 3.When Great Trees Fall
Summary
The poem begins with a metaphor, comparing the death of a great soul to a giant
tree falling in the forest. The speaker describes the immense impact, saying
even distant rocks shudder and lions and elephants flee for safety when ancient
trees come crashing down. Similarly, the passing of a beloved great soul sends
shockwaves through the world.

As the poem continues, the speaker turns to directly addressing the actual death
of admirable, influential people. Their death leaves small creatures stunned into
mournful silence, overwhelmed beyond fear. The atmosphere feels lighter and
drained of spirit, sterilised by the loss. Those left behind struggle to breathe and
see, agonised by shredded memories of missed opportunities and unsaid words
that now can never be taken back.

The speaker articulates the all-consuming pain and disorientation of the loss,
saying reality itself disappears for those who remained tethered to the deceased.
Our souls shrink and wither without their nurturing light, our minds lose
inspiration and fall away, reduced to an ignorant, cave-like darkness.

Yet slowly, through nonlinear healing, a sense of peace blooms as their spirit
fills the void. Our restored senses become even more receptive, whispering that
they existed and thus so can we, honouring their memory through continued
life. Their lasting impact spurs us to live better.

Overall, the poem grapples with the grief, nostalgia, regret, and search for
greater meaning after the death of impactful, beloved figures. Through extended
metaphors and vivid imagery, Angelou captures the seismic significance and yet
intimacies of loss. The poem ultimately argues loss can connect us more
profoundly to life. Its cyclical nature implies while death may fell great trees,
new growth inevitably follows.

Line-by-line explanation of the poem

When great trees fall,
rocks on distant hills shudder,
The speaker uses an evocative extended metaphor here, comparing the
monumental impact of a great person’s death to the immense shaking of the
earth when massive, ancient trees come crashing down in a forest. The imagery
suggests the death sends shockwaves that reverberate through the natural world,
with even solid bedrock on distant hills shuddering in response.
lions hunker down
in tall grasses,
The speaker vividly envisions powerful lions instinctively hunkering down and
concealing themselves in tall grasses out of primal unease and fear, reacting
viscerally to the great tree falling. This continues the extended metaphor,
emphasising how the death of an influential figure shakes the very foundations
of the world around them. The lions’ instinctive terror reveals the true
magnitude of the loss.

and even elephants

lumber after safety.
Even elephants, known for their size and stability, are imagined lumbering
urgently to safety when the great tree falls. This develops the extended
metaphor, showing just how momentous and impactful the death of a great soul
is by depicting its ripple effects across the natural world. The elephants’
reaction further highlights the monumental significance of the loss.

When great trees fall

in forests,
By repeating the opening line, the speaker connects back to the extended
metaphor introduced earlier before transitioning to directly discussing the actual
death of great people, moving beyond the poetic metaphor.

small things recoil into silence,

The speaker describes small forest creatures becoming utterly silent and still in
the wake of the fallen tree, overwhelmed beyond fear or calls. This powerfully
conveys the absoluteness of the loss, showing how it stuns even the natural
world into shocked, mournful silence.

their senses
eroded beyond fear.
The small creatures are imagined so profoundly shaken and disturbed that their
very senses are dulled and eroded by the enormity of what has happened,
overwhelmed beyond even the ability to feel fear anymore. This emphasises the
totality of the loss.

When great souls die,

The speaker now directly addresses the death of great people and beloved
leaders, transitioning beyond the extended metaphor used earlier to state the
focus openly.
the air around us becomes
light, rare, sterile.
In a striking image, the speaker describes the feeling that the very air around us
suddenly seems lighter, but in a negative way – no longer rich and vibrant but
rare and sterile, drained of spirit. This evokes the sense of isolation in grief.

We breathe, briefly. Our eyes, briefly,

see with
a hurtful clarity.
The diction “briefly” suggests the difficulty getting through each moment in the
crushing immediate aftermath of loss. Breathing feels laboured and vision
painfully clarified yet obscured by tears, capturing the feeling of barely being
able to function initially.

Our memory, suddenly sharpened,

examines,
gnaws on kind words
unsaid,
promised walks
never taken.
With vivid language, the speaker reveals how grief can sharpen recollection and
lead to agonizing nostalgia. Our memories are suddenly intensified, fixating on
missed opportunities – kind words never uttered or walks never taken together.
The pain of “what-ifs” and regrets gnaws at us.

Great souls die and

our reality, bound to
them, takes leave of us.
The speaker articulates how when these central figures die, our very sense of
reality that was tethered to them disappears, unmooring us and leaving us
untethered in their absence. We feel cast adrift.

Our souls,
dependent upon their
nurture,
now shrink, wizened.
The speaker describes the feeling of our very souls becoming diminished and
drained without the spiritual nourishment and care of the beloved we’ve lost.
There is a sense of withering within, of shrinking down into weaker, more
wizened versions of ourselves.
Our minds, formed
and informed by their
radiance,
fall away.
Without their presence and inspiration, our ways of thinking that were shaped
and developed under their radiant influence now feel diminished, unable to be
sustained. Our minds lose their light.

We are not so much maddened

as reduced to the unutterable ignorance
of dark, cold
caves.
More than simply driving us mad, the enormity of the loss leaves us reduced to
a state of inexpressible, primordial ignorance, like creatures suddenly
condemned to the darkness of caves. This powerfully conveys disorientation.

And when great souls die,

after a period peace blooms,
slowly and always
irregularly.
With the beautiful phrase “peace blooms,” the speaker indicates that in time,
peace and healing can gradually emerge after the initial anguish. But the process
is always slow and nonlinear.

Spaces fill
with a kind of
soothing electric vibration.
There is a sense of the void left behind beginning to fill with an uplifting spirit,
a comforting electricity and vibration, as if the person’s enduring energy still
resonates.

Our senses, restored, never

to be the same, whisper to us.
Our senses are imagined restored but forever changed, now more alert and
sensitive as they whisper to us, made more receptive by the loss.

They existed. They existed.

We can be. Be and be
better. For they existed.
The simple repetition of “they existed” powerfully overcomes the finality of
loss, asserting the enduring evidence of their life. Their existence reminds us to
live fuller, with purpose and meaning, better for having known them.
Word meanings
shudder: tremble, quiver
hunker: crouch or squat down
lumber: move in a slow, heavy, awkward way
recoil: draw back in fear or pain
eroded: gradually destroyed or worn away
sterile: unable to produce or incapable of sustaining life; barren
briefly: for a short time
clarity: clearness, lucidity
sharpened: intensified, heightened
examines: inspects closely, scrutinises
gnaws: bites or chews persistently
unsaid: not spoken aloud
wizened: shrivelled, withered
radiance: brilliance, luminosity
maddened: driven insane
unutterable: inexpressible, unspeakable
ignorance: lack of knowledge or education
blooms: flourishes, thrives
irregularly: sporadically, inconsistently
vibration: quiver, oscillation
restored: renewed, rejuvenated
whisper: speak very softly
existed: lived, was real
About the author
Maya Angelou was one of the most influential literary figures and civil rights
activists of our time. She was born in St. Louis in 1928 and lived through a
traumatic childhood of abuse and displacement, which influenced her profound
writing later in life.

Angelou rose to prominence after the publication of her seminal memoir I

Know Why the Caged Bird Sings in 1969. The book was a brutally honest
account of her upbringing as a young black girl growing up in the Deep South.
It struck a chord with readers, bringing Angelou critical acclaim. She went on to
write six more autobiographies about her illustrious career as a singer, actress,
activist, and professor. Angelou’s works focused on family, identity, racism,
and overcoming adversity.

Angelou established herself as a poet as well, publishing collections such as Just

Give Me a Cool Drink of Water ‘fore I Diiie, which was nominated for a
Pulitzer Prize. Her poem “On the Pulse of Morning” was even chosen for
President Bill Clinton’s inauguration in 1993, a significant milestone.
Aside from the arts, Angelou was an outspoken civil rights activist. She
collaborated closely with Martin Luther King Jr. and Malcolm X, contributing
her skills to the movement. President Barack Obama awarded her the
Presidential Medal of Freedom in 2011 for her artistic contributions and
advocacy for justice.

Angelou’s spirit continues to burn brightly decades after her death in 2014.

Workbook answers/solutions
Coming soon

Additional/Extra questions and answers

1. What is the poem ‘When Great Trees Fall’ about?
Answer: The poem is about grieving the loss of inspirational figures.
2. What does the poet compare the death of great souls to?
Answer: She compares it to the falling of huge, old trees in a forest. This
highlights the monumental impact of the death of inspirational personalities on
society.
3. What is the central idea of the poem ‘When Great Trees Fall’ written by
Maya Angelou?
Answer: The central idea of the poem ‘When Great Trees Fall’ is about the
deep sense of loss and grief that is felt when someone great passes away or dies.
It talks about how the death of important and inspiring people leaves a void in
the lives of those left behind.
4. What does the poet compare the death of great souls to in the poem
‘When Great Trees Fall’? Why has she chosen this comparison?
Answer: In the poem, the poet compares the death of great souls to the falling
of huge, old trees in a forest. When massive trees fall, it impacts all the
creatures living in the forest. Similarly, when influential personalities who have
nurtured society pass away, it affects people deeply. The poet uses this
comparison to highlight the monumental impact of the death of inspirational
figures on society.
5. Explain the meaning of the line – “When great souls die, the air around
us becomes light, rare, sterile.”
Answer: This line symbolises how the world feels different after inspirational
figures pass away. The air lacks their presence which energised and enriched
the lives of others. There is a void left behind which makes the atmosphere feel
empty and meaningless. The inspirational qualities dissipate from the
environment when enlightened souls leave.
6. How does the death of inspirational figures impact human senses as per
the poem?
Answer: As per the poem, when influential personalities die, people’s senses
are impacted. Their vision becomes sharpened and their memory starts
examining all the unsaid words. This happens because people start reminiscing
about the great individuals and wishing that they had spent more time with them
or expressed themselves better. There is an increased sensitivity and sharper
perception of loss.
7. What happens to the human soul after the death of inspirational
personalities?
Answer: The poem suggests that the human soul becomes very dependent on
enlightened personalities for nourishment. When such great souls die, the souls
of those left behind feel weakened and experience a sense of shrinking. Their
guiding light is gone, so their souls also feel lost and lack purpose. The demise
of inspirational figures leaves the souls of others unnurtured.
8. How does the poet describe the state of the human mind after the death
of great souls?
Answer: The poet says that the human mind is deeply impacted by the death of
inspirational personalities who enlightened it. The radiance of such great souls
informed and formed the minds of others. When these enlightened figures die,
the minds of people left behind feel like they are falling away into darkness and
ignorance. There is a reduction of knowledge and awareness.
9. How does the poem transition from despair to hope?
Answer: In the first few stanzas, the tone is melancholic as the poet describes
the deep sense of loss and ignorance that is felt after the death of great souls.
However, the tone shifts in the last stanza to reflect slight hope and optimism.
The poet conveys that after a period of grief, peace blooms and there is a sense
of soothing vibration. The message is that while the inspirational figures are
gone, their memories can still enrich our lives.
10. What does the poet mean when she says “spaces fill with a kind of
soothing electric vibration”?
Answer: This line signifies that after the initial grieving period, there is a sense
of acceptance and peace. While the void left by the great souls cannot be filled
entirely, there is a comforting energy that replaces the sadness and turmoil. The
poet hints that the inspiring personalities continue to impact us positively in an
intangible way even after death. Their aura and vibrations remain.
11. How can human beings change for the better after the death of great
souls?
Answer: In the last lines, the poet says “We can be. Be and be better. For they
existed.” This conveys that while death takes away inspirational figures, their
lives and examples remain to enlighten us. We can honour them by striving to
be better – to develop ourselves, help others and contribute meaningfully. Their
existence itself motivates us to elevate ourselves.
12. Identify and explain the literary device used in the following line from
the poem – “Our memory, suddenly sharpened, examines.”
Answer: The literary device used in this line is personification. The poet
personifies memory as if it is a living thing that can be sharpened and can
examine things. Giving the abstract concept of memory these animate abilities
allows the poet to convey effectively how people start reminiscing and
evaluating their interactions with the deceased. Personification makes memory
seem more alive.
13. What is the impact of inspirational personalities on the environment?
Answer: The poem suggests that the presence of inspirational personalities
enriches the very environment around them. They make the air nourishing and
meaningful. When they die, the atmosphere feels devoid of their spirit. There is
a void in the environment which feels sterile without their vibrant energy.
Inspirational figures uplift the ambience during their lifetime.
14. How does the poet highlight the dependence of human souls on great
personalities for nourishment?
Answer: The poet uses words like “dependent”, “nurture” and “shrink” when
talking about the impact on the human soul after the death of great figures. This
highlights that our souls draw sustenance and nourishment from inspirational
personalities when they are alive. We depend on their teachings and wisdom to
uplift our souls. When they depart, our souls feel weak and undernourished as
the source of enrichment is gone.
15. Explain the phrase – “maddened as reduced to the unutterable
ignorance of dark, cold caves.”
Answer: This phrase describes the state of helplessness and lack of awareness
that is felt after the death of inspirational figures who enlightened our minds.
There is a sense of darkness enveloping our consciousness as their illuminating
presence is gone. Just as there is no light or warmth in cold caves, our minds
also feel devoid of the life-giving energy from the great souls. We are unable to
even express this loss properly.
16. How does the tone shift in the last stanza of the poem ‘When Great
Trees Fall’?
Answer: The first few stanzas have a melancholy and grief-filled tone as the
poet reflects on the monumental loss of inspirational personalities. Phrases like
“air sterile”, “maddened” and “unutterable ignorance” create a gloomy
atmosphere. However, the tone becomes more optimistic in the last stanza with
words like “peace blooms”, “soothing” and “better”. There is a shift from
despair to hope as the poet conveys that we can still be uplifted by the memories
of the great souls.
17. Comment on the structure of the poem ‘When Great Trees Fall’.
Answer: The poem is structured into five uneven stanzas without a specific
rhyme scheme. The irregular stanza lengths and lack of rhyme contribute to the
raw, free-flowing emotions being expressed. The first three stanzas focus on the
sense of loss while the last two offer some solace and hope. The transition in
tone is mirrored by the structure. The enjambment also allows the sentences to
run on, reflecting the stream of consciousness. The lack of rhyme scheme makes
it read like heartfelt prose rather than constrained poetry.
18. How does the death of great souls impact the human senses ‘When
Great Trees Fall’?
Answer: The poem suggests that the five senses of human beings are deeply
affected by the death of inspirational personalities. The vision becomes
temporarily more discerning as people reminisce about the great souls. The
sense of hearing picks up a strange vibration in the atmosphere. There is a
sterile silence that engulfs the environment. The sense of smell finds the air
lacking the enriching presence of the great souls. The senses become more alert
and aware of the void left behind. There is heightened sensitivity.
19. Why does the poet make animal comparisons in the first stanza of
‘When Great Trees Fall’? What effect does it have?
Answer: By comparing the death of great souls to the falling of huge trees in a
forest, the poet draws parallels to the reactions of animals who feel the loss too.
This highlights the magnitude of the impact – that when inspirational figures
die, it affects not just humans but the entire fabric of the world around them.
The animal imagery also reminds us that grief is universal. The comparisons
enable the reader to connect with the message and feel the profundity of the
loss.
20. How does the poem progress from the feeling of loss towards healing?
Answer: In the initial stanzas, the poet evokes a great sense of grief, confusion
and despair at the death of inspirational figures through images like “air sterile”,
“dark caves” and so on. However, the tone gradually moves from complete
anguish towards some hope in the last lines – “Spaces fill…Our senses
restored…We can be. Be and be better.” There is a shift from the pain of loss
towards some acceptance and healing, however slow. The poem mirrors the
natural human process of grieving.
21. What is the symbolic significance of the “great trees” in the poem?
Answer: The great trees symbolise towering, influential personalities who
nourish and shelter society with their work. When these strong, deeply-rooted
figures fall, it represents the death of great souls. The poem’s opening lines use
this as a metaphor to establish the magnitude of the loss’s impact. Just as forests
are damaged when giant trees are uprooted, the world feels the disappearance of
inspirational figures who shaped minds.
22. How does the poem convey the intensity of grief experienced at the loss
of inspirational personalities?
Answer: Vivid sensory imagery evokes the depth of the grief. Phrases like “air
sterile”, “senses eroded beyond fear”, “minds fall away” and “unutterable
ignorance” convey utter devastation and incomprehension at the loss. The poem
expresses that the pain runs so deep that there is even a loss of vocabulary to
articulate the grief. Words fail to capture the intensity. The immense void left
behind is successfully conveyed through impactful words and grief-filled tone.
23. Comment on the poet’s use of figures of speech in ‘When Great Trees
Fall’.
Answer: Maya Angelou uses several figures of speech effectively in the poem.
The central metaphor compares deaths of great souls to falling trees.
Personification is used to give human attributes to abstract concepts like
memory and air. Repetition of “when great trees/souls fall” reinforces the core
idea. Alliteration like “sterile silence” stresses the desolation. These devices
allow the poet to creatively communicate deep emotions and complex ideas
related to grief and bereavement through artistic language.
24. How does the poet portray the dependence of human souls on
inspirational personalities?
Answer: Words like “dependent”, “nurture” and “shrink” paint human souls as
drawing sustenance from great figures when they live. Souls “shrink” and feel
“wizened” when the enlightened beings die, like plants deprived of
nourishment. The lyrical language highlights the profound spiritual connection.
Souls don’t just admire great personalities, but actually depend on them for
direction. Their demise leaves souls unanchored and undernourished due to
severed attachment.
25. What picture of the human mind does the poet paint after the passing
of inspirational figures?
Answer: The poem depicts the human mind as being enveloped by darkness
and ignorance after inspirational luminaries meet their demise. There is a vivid
image of minds “falling away” from the enlightened state that great souls
inspired, into a void of unawareness. The reference to “unutterable ignorance”
conveys the magnitude of the knowledge lost, suggesting minds regress and lose
their spirit of enquiry without the illuminating presence. It paints a grim view of
stunned, disoriented minds unable to cope.
26. How does the poem reflect on unrealized regrets about inspirational
figures after they die?
Answer: Lines like “memory gnaws on kind words unsaid” and “promised
walks never taken” capture the remorse people feel about failing to fully express
appreciation when inspirational figures were alive. There is regret about lost
chances to connect. The sharpened memory highlights unresolved emotions.
The poignant focus on unfulfilled intent reflects how people are left grappling
for closure about relationships cut short by death.
27. Critically analyse the significance of the title ‘When Great Trees Fall’
based on the poem.
Answer: The title ‘When Great Trees Fall’ is deeply significant as it
encapsulates the core motif of the poem – uprooting of towering personalities
who nourished the landscape of ideas. It foregrounds the enormous impact of
the death of inspirational figures, while the poetic device of personification adds
gravitas. The visual imagery of falling trees evokes loss of lives that provided
stability, meaning and enrichment. The title effectively foregrounds the grief
while also highlighting continuity of legacy, as fallen trees become
nourishment.
28. How does the poem reflect on the permanence of loss against the
temporariness of life?
Answer: By mourning the acute pain of bereavement, the poem examines the
permanence of loss against the fleetingness of life. Evocative phrases like
“spaces fill”, “air becomes sterile”, “minds fall away” highlight the enduring
void left by the departed. Their inspirational aura dissipates permanently. The
poem reflects on how even legendary lives are temporary, but the sorrow of
their loss stays permanently etched in collective consciousness. It muses
philosophically about impermanence in a poignant manner.
29. Comment on the significance of the visual imagery used in the poem
‘When Great Trees Fall’.
Answer: Visual imagery in the poem powerfully conveys the emotions around
losing inspirational figures. The central motif of falling trees paints a dramatic
scene that stirs the imagination. Phrases like “dark, cold caves” evoke
desolation, while “soothing electric vibration” hints at solace. The vivid
portrayal of animals hunkering down captures the wider impact. The visuals
allow the reader to vividly picture and empathise with the loss. They make the
sentiments more accessible through relatable scenes.
30. How does the poem reflect on the dependence of human souls and
minds on inspirational figures?
Answer: The poem explores the deep reliance of the human soul and mind on
enlightened personalities for meaning and direction. Souls are depicted as
drawing “nurture” from them, while minds are “informed and formed” by their
“radiance”. Their demise leaves souls “wizened” and minds in “unutterable
ignorance”, like plants suddenly deprived of sunlight. This conceptualization
reflects how inspirational figures profoundly shape psyche and worldview.
Their loss leaves us unanchored.
31. What is the central message about the human experience conveyed in
‘When Great Trees Fall’?
Answer: The poem conveys that loss of meaningful relationships is an
inevitable part of the human experience that causes deep grief. However, it also
reflects on the impermanence of life itself. The central message is that while the
death of inspirational figures leaves an enduring void, their legacy and life
lessons can continue nourishing our lives if we honour them appropriately. We
experience the permanence of loss but their temporary lives can still enlighten
us eternally.
Additional/Extra MCQs
1. What happens when great trees fall?
A. Birds start chirping louder B. Lions start feeling scared C. Rocks on distant
hills shudder D. Elephants start running faster
Answer: C. Rocks on distant hills shudder
2. What happens after great souls die, as per the poem?
A. The air becomes heavier B. The air becomes sterile C. The air becomes toxic
D. The air becomes humid

Answer: B. The air becomes sterile

3. How does the poem say great souls impact our reality?
A. They tie us down to ideals B. They make our reality joyful C. Our reality is
bound to them D. They help us transcend reality

Answer: C. Our reality is bound to them

4. What does the poet say happens to our memory after the death of great
souls?
A. It becomes weaker B. It starts decaying C. It examines unsaid words D. It
becomes short-term

Answer: C. It examines unsaid words

5. How does the poem describe the human soul after the death of
inspirational figures?
A. As strengthened and uplifted B. As withered and dependent C. As nourished
and satiated D. As tiny and insignificant

Answer: B. As withered and dependent

6. What does the poet compare the death of great souls to?
A. An earthquake B. A raging fire C. A blooming flower D. Falling trees

Answer: D. Falling trees

7. How does the poem convey the intensity of grief after the loss of
inspirational personalities?
A. Through descriptions of loud wailing B. Through silence and numbness C.
Through foreign, dramatic vocabulary D. Through vivid sensory imagery

Answer: D. Through vivid sensory imagery

8. What feeling about inspirational figures does the poem capture after
their demise?
A. Annoyance about their preaching B. Relief at their absence C. Remorse
about failing to appreciate them enough D. Happiness for their achievements

Answer: C. Remorse about failing to appreciate them enough

9. How does the poem progress from grief to hope?
A. Through phrases related to light and dark B. Through references to cold and
heat C. Through metaphors about trees and flowers D. Through symbols of
vibration and silence

Answer: A. Through phrases related to light and dark

10. What does the poet say about the impact of great souls on the
environment around them?
A. They make the air toxic B. They create a lot of noise C. They make the air
enriching D. They cause a lot of pollution

Answer: C. They make the air enriching

11. What happens after great souls pass away?
A. People feel energized B. People feel suicidal C. People feel relieved D.
People feel unmoored

Answer: D. People feel unmoored

12. How does the poem describe the human mind after the death of
inspirational figures?
A. As sharpened and uplifted B. As enlightened and hopeful C. As terrified and
paranoid D. As darkened and ignorant

Answer: D. As darkened and ignorant

13. What does the poet compare the death of great souls to?
A. An earthquake B. A wildfire C. A blooming flower D. Falling trees

Answer: D. Falling trees

14. How does the poem capture regret about great souls after they pass
away?
A. Through criticism of their works B. Through excitement to move on C.
Through references to unsaid words D. Through eagerness to forget them

Answer: C. Through references to unsaid words

15. What happens after the initial period of grieving great souls?
A. People feel energized B. People feel suicidal C. People feel relieved D.
People find some peace

Answer: D. People find some peace

16. How does the poet say we can honor great souls who have passed away?
A. By celebrating their life annually B. By critiquing their bad deeds C. By
striving to be better D. By reminiscing about them forever
Answer: C. By striving to be better
17. What does the poet say about the aura of inspirational figures after they
die?
A. It becomes stronger B. It fades away slowly C. It disappears rapidly D. It
lingers resonantly

Answer: D. It lingers resonantly

18. What aspect of humanity does the poem mainly explore?
A. Jealousy about fame B. Grief over mortality C. Celebrity culture D. Quest
for innovation

Answer: B. Grief over mortality

19. How does the poem progress through its stanzas?
A. From joy to sorrow B. From denial to anger C. From questions to answers D.
From loss to healing

Answer: D. From loss to healing

20. What is the central message of the poem ‘When Great Trees Fall’?
A. Appreciate nature’s beauty B. Make the most of opportunities C. Stay rooted
in one place D. Cherish inspirational souls

Answer: D. Cherish inspirational souls

 4.A Considerable Speck
Summary
The speaker describes a tiny speck he notices moving across a sheet of paper he
is writing on. At first, he thinks it is just a dust speck blown by his breath. On
closer inspection, he realises it is actually a living mite, moving with its own
inclinations. The mite pauses suspiciously at the speaker’s pen, then races
wildly towards the still wet ink on the page. It pauses again, seeming to drink or
smell the ink, before turning to flee in apparent disgust.

The speaker remarks on how the mite seems too tiny to have a full set of feet,
yet it clearly does since it can walk and express a desire to live. The mite runs in
terror and creeps cunningly across the page. It hesitates, as if trying to decide
what to do.

It then cowers down in the middle of the sheet, accepting its fate at the hands of
the speaker. The speaker reflects that he does not have the “tenderer-than-thou”
collectivist mentality of the modern world that loves to destroy en masse. Since
the mite has done no harm, he decides to let it be, hoping it will fall asleep on
the page.

The speaker concludes by affirming that he recognises and appreciates the

presence of “mind” wherever he encounters it, however humble the guise. He is
glad for even the smallest display of mind.

Line-by-line explanation of the poem

A speck that would have been beneath my sight / On any but a paper sheet
so white
The poet notices an extremely tiny speck on the bright white paper he is writing
on. It is so tiny and diminutive in size that under normal circumstances, it would
be invisible to him and completely beneath his ability to detect. The only reason
he is able to discern the minuscule speck at all is because the paper providing
the backdrop is such a stark, brilliant white. This high contrast between the
bright white paper and the tiny dark speck is what allows it to barely be
perceptible to him.

Set off across what I had written there. / And I had idly poised my pen in
air / To stop it with a period of ink
As the poet is writing on this sheet of paper, he suddenly notices the tiny speck
moving across the page, crawling over the words he had previously written
down. At this moment, the poet’s pen was casually hovering in the air over the
paper, as he had paused his writing briefly and left the pen temporarily
suspended mid-air. He was just about to finish the sentence he had been writing
by putting down a final period mark of ink as the terminating punctuation.

When something strange about it made me think, / This was no dust speck
by my breathing blown, / But unmistakably a living mite
Just as the poet is about to set his pen back to paper, the movement of the tiny
speck catches his attention. Some quality seems curious and strange about the
way it is crawling across the page. This makes the poet stop and consider the
speck more intentionally, sparking his thoughts about it. Upon closer
observation and contemplation, the poet realizes this little speck is not just a
random bit of dust that had wafted across the page carried by his own breathing
as he wrote. Rather, he discerns that the speck is definitively a living mite
traversing the page.

With inclinations it could call its own. / It paused as with suspicion of my

pen, / And then came racing wildly on again
Moreover, as the poet watches the mite creep across the page, he perceives that
it is not simply blowing aimlessly but moving with self-directed purpose,
following its own inclinations. The tiny mite pauses momentarily in what seems
like an apprehensive cessation to examine the poet’s pen still poised above.
After this brief hesitation, the mite resumes scurrying rapidly, wildy racing
across the page once more.

To where my manuscript was not yet dry; / Then paused again and either
drank or smelt– / With loathing, for again it turned to fly.
The energetic mite scampers over to the part of the manuscript where the poet
had recently written, and the ink remains damp and not yet dried. Reaching this
moist ink, the mite pauses briefly again. During this second hesitation, it seems
to either drink some of the liquid ink or smell and investigate its scent.
However, the mite appears to despise and recoil from the ink’s flavor or odor.
After examining the wet ink, it quickly whirls around once more to retreat away
from the noxious substance.

Plainly with an intelligence I dealt. / It seemed too tiny to have room for
feet, / Yet must have had a set of them complete
Through observing the mite’s self-motivated movements and interactions, the
poet concludes he is clearly witnessing an intelligent creature acting
intentionally, not just a mindlessly drifting speck. The mite is so unimaginably
minute that it doesn’t seem possible it could contain space for a full set of feet
within its microscopic form. Yet somehow within its diminutive body, the mite
does indeed possess an entire functioning set of feet needed to traverse the page.
To express how much it didn’t want to die. / It ran with terror and with
cunning crept. / It faltered: I could see it hesitate;
The way the mite actively darts about reveals a strong inborn will to survive and
evade death. It runs with an urgency suggesting fear, but also moves with the
careful cunning of an instinctual hunter. The poet sees the mite falter, hesitating
in an uncertain, wavering manner, as if internally deliberating what to do next.

Then in the middle of the open sheet / Cower down in desperation to accept
/ Whatever I accorded it of fate.
After exhibiting that moment of hesitant indecision, the mite ends up frozen in
the very center of the blank open page. It seems to crouch down low against the
paper in desperate surrender, willing to accept whatever fate the poet now
chooses to deal out.

I have none of the tenderer-than-thou / Collectivistic regimenting love /

With which the modern world is being swept.
At this climactic moment, the poet declares he does not personally possess a
sentimental, excessively gentle nature, nor any oppressive variety of
“collectivist” love that tries to control everything according to specific
regulations. He criticizes this totalitarian kind of “love” which he sees as
currently overtaking the modern world.

But this poor microscopic item now! / Since it was nothing I knew evil of / I
let it lie there till I hope it slept.
However, observing this particular helpless, tiny mite pitiably poised before
him, and given that it has done no evident harm, the poet decides not to interfere
with it. He chooses to leave the mite alone on the page undisturbed, hoping it
will fall asleep there in peace.

I have a mind myself and recognize / Mind when I meet with it in any guise
/ No one can know how glad I am to find / On any sheet the least display of
mind.
In conclusion, the poet declares that he himself possesses intelligence and
imagination. He is able to perceive those same faculties of intellect and
creativity when he encounters them manifesting through any living being. No
one else can fully understand the happiness the poet feels when he discovers
even the smallest exhibition of imagination or inventive thought on a written
page.

Word meanings
speck: a tiny spot or fleck
idly: lazily, not busily
poised: held suspended; balanced
mite: a very small insect or arachnid
inclinations: natural tendencies or preferences to act in certain ways
manuscript: a handwritten document or text
loathing: intense dislike or disgust
cunning: skillful aptitude; craftiness
crept: moved stealthily and carefully
faltered: hesitated; wavered
hesitate: pause due to uncertainty
open sheet: blank paper space
cower: crouch down in fear or submission
desperation: hopeless resignation; despair
accorded: allowed; granted
fate: destiny or outcome
tenderer-than-thou: excessively gentle or sentimental
collectivistic: focused on group control rather than individualism
regimenting: strictly controlling according to rules
microscopic: extremely tiny; visible only by microscope
guise: form; manifestation
About the author
Robert Frost (1874-1963) is considered one of the most prominent and
influential American poets of the 20th century. He was born in San Francisco
but moved to New Hampshire as a boy when his father died. He attended
Dartmouth College briefly before returning to work on farms and in factories.

Though he was initially unsuccessful at publishing his poems, Frost persevered

and eventually found acclaim with collections like A Boy’s Will (1913) and
North of Boston (1914).

He went on to win four Pulitzer Prizes for poetry over the course of his lifetime,
a record unsurpassed to this day. Frost was made Poet Laureate of Vermont in
1916 and served as a poetry consultant to the Library of Congress later in life.

His works such as “The Road Not Taken,” “Stopping by Woods on a Snowy
Evening,” and “Mending Wall” have become classics.

Workbook answers/solutions
Coming soon

Additional/Extra questions and answers

1. What does the poet first notice on the sheet of paper?
Answer: The poet first notices a tiny speck on the sheet of paper.
2. Why is the poet able to see the speck on the white sheet of paper?
Answer: The poet is able to see the tiny speck because of the high contrast
between the bright white paper and the small dark speck, which allows it to be
visible against the stark white background.
3. Describe the movements and actions of the speck as observed by the
poet.
Answer: The poet observes the speck moving back and forth across the page in
a purposeful, self-directed manner. It pauses warily near his pen, races wildly
across the page, pauses by the wet ink to smell or taste it, then recoils in
apparent disgust and resumes running across the page.
4. What realisation does the poet come to about the identity of the speck?
What in the speck’s behaviour led him to this conclusion?
Answer: The poet realises the speck is not just a random dust particle but rather
a living mite, based on its intentional, intelligent-seeming movements like
pausing to examine objects and recoiling from the ink. Things like its wariness
about the pen and expressed disgust at the ink led the poet to conclude he was
seeing a living creature.
5. Why does the poet remark, “Plainly with an intelligence I dealt” about
the mite? Explain.
Answer: The poet concludes he is clearly dealing with an intelligent creature,
not just an inanimate speck, because of observations like the mite cautiously
investigating objects like his pen, purposefully seeking out the wet ink,
recoiling after apparently not liking the taste or smell of the ink, and other
motions that seem intentional. All these actions suggest the mite has some
capacity for perception, reasoning, and decision-making, rather than just
moving randomly.
6. How does the mite express its desire to live, according to the poet?
Answer: The poet says the mite expresses its strong desire to live through the
way it actively darts about, suggesting an inborn drive to survive and evade
death.
7. What conflicting qualities does the poet see exhibited in the mite’s
movements?
Answer: The poet observes conflicting qualities like terror and cunning in the
mite’s movements. It runs with hurried fear, like it wants to escape, but also
creeps carefully as if hunting. It shows both hesitation and instinctual purpose.
8. Why do you think the poet anthropomorphizes the mite by describing it
in human emotional terms? What effect does this have? Explain.
Answer: By anthropomorphizing the mite using emotional terms like “terror”
and “desperation,” the poet creates a sense of empathy and universality – the
mite’s struggle becomes symbolic of mortal nature in general. Describing its
emotions creates a vivid drama and a sense that complex feelings can exist even
in a tiny creature.
9. How does the poet characterise his own temperament? What is he
critical of in the modern world? Explain.
Answer: The poet characterises himself as neither excessively
gentle/sentimental nor inclined towards oppressive collectivist control. He
criticises the totalitarian sort of “love” that tries to regulate everything,
suggesting he values individualism and freedom. His restraint towards the mite
reveals a libertarian respect for all life/mind.
10. Why does the poet ultimately choose to leave the mite alone?
Answer: The poet chooses not to interfere with the mite because it has done no
harm, and he does not wish to destroy a life meaninglessly.
11. What aspect of the mite does the poet particularly value? Why?
Answer: The poet values the spark of creativity/imagination he sees expressed
even in the mite. He is glad to find even a tiny display of “mind” and intellect in
any form, as he admires creativity.
12. In your view, what is the core message or theme of the poem?
Answer: The core theme is about appreciating imagination and intellect
wherever they are found, however small. The poet is moved by creativity and
thought even in a microscopic mite, revealing a reverence for life and mind in
all manifestations. The mite represents the capacity for consciousness.
13. With close reference to the poem, analyse the poet’s attitude towards
the mite. How does his attitude evolve over the course of the poem?
Explain.
Answer: At first, the poet is curious about the speck, then intrigued as he
realises it is a living creature. He becomes impressed by the signs of intelligence
in it and sympathetic to its struggle. Finally, he shows merciful restraint, letting
it be because he respects even its tiny spark of creativity. His attitude evolves
from curiosity to admiration to empathy.
14. What do you think the mite symbolises in the poem? Why?
Answer: The mite seems to symbolise the human imagination or capacity for
thought. Despite its microscopic size, the poet sees creativity, intellect, and will
in it just as in any conscious being. It represents the concept of “mind.”
15. How does the poet convey his appreciation for displays of creativity and
imagination in the concluding lines? Explain.
Answer: In the concluding lines, the poet strongly conveys his wonder and
“gladness” at finding even the smallest exhibition of “mind” in a living being or
a text. His intense joy at glimpsing imagination and intellect, symbolised by the
mite, underscores his supreme valuation of creativity.
16. What is distinctive about the poet’s writing style in this poem? Cite
examples from the poem in your response.
Answer: The poet’s writing style is very informal, candid, and accessible. He
uses everyday diction and syntax as if observing the mite naturally in real time.
The lack of overt poetic devices makes his appreciation of the mite seem
unmediated and sincere. Phrases like “made me think,” “didn’t want to die,”
and “cower down” have a colloquial immediacy.
17. What is the significance of the poet titling the poem “A Considerable
Speck” when it is about a tiny mite? Explain.
Answer: The irony and contradiction of calling the miniscule mite
“considerable” highlights the poet’s deeper meaning – that the mite’s exhibition
of consciousness makes it significant. Though physically small, its display of
“mind” has greater philosophical meaning for the poet.
Additional/Extra MCQs
1. What does the poet first notice moving across his paper?
A. An ant B. A dust speck C. A gnat D. A mite

Answer: D. A mite
2. Why is the poet able to notice the tiny speck?
A. The speck is actually quite large B. The paper is bright white C. He has
excellent vision D. The speck is moving slowly

Answer: B. The paper is bright white

3. What does the speck do when it reaches the poet’s wet ink?
A. Ignores it and keeps moving B. Rolls in it happily C. Eats some of it D.
Hesitates and pulls away

Answer: D. Hesitates and pulls away

4. Which line from the poem BEST summarizes the poet’s central message?
A. “This was no dust speck by my breathing blown” B. “It seemed too tiny to
have room for feet” C. “No one can know how glad I am to find” D. “With
loathing, for again it turned to fly”

Answer: C. “No one can know how glad I am to find”

5. Based on the poem, which trait does the poet NOT possess?
A. Sentimentality B. Individualism C. Compassion D. Controlling nature

Answer: D. Controlling nature

6. What eventually happens to the speck?
A. It runs off the page B. It gets swatted C. It is flicked away D. It is allowed to
remain

Answer: D. It is allowed to remain

7. What poetic device is used in the title “A Considerable Speck”?
A. Allegory B. Allusion C. Irony D. Onomatopoeia
Answer: C. Irony
8. Why does the poet allow the speck to remain on the page?
A. He fears killing it B. He wants to study it more C. He respects all life D. He
hopes it will leave on its own

Answer: C. He respects all life

9. What does the speck seem to symbolize?
A. Nature’s cruelty B. The insignificance of life C. The beauty of insects D. The
human capacity for thought

Answer: D. The human capacity for thought

10. What eventually causes the poet to realize the speck is alive?
A. Seeing it eat the ink B. Watching it crawl slowly C. Noticing its erratic
movements D. Feeling it tickle his hand

Answer: C. Noticing its erratic movements

11. Why does the poet anthropomorphize the speck?
A. For comic effect B. To make it easier to understand C. To create vivid
imagery D. To mock small creatures

Answer: C. To create vivid imagery

12. What does the poet’s “tenderer-than-thou” attitude refer to?
A. Sentimentality B. Aggressiveness C. Arrogance D. Curiosity

Answer: A. Sentimentality
13. What literary technique does the poet employ most when describing the
speck?
A. Rhyme B. Simile C. Personification D. Alliteration

Answer: C. Personification
14. Why does the poet capitalize words like “Mind” and “Speck”?
A. For emphasis B. For proper formatting C. To show respect D. To highlight
irony

Answer: A. For emphasis

15. Based on tone, what is the poet’s attitude toward the speck?
A. Bitterness B. Awe C. Indifference D. Disgust

Answer: B. Awe
16. Why does the poet mention “drinking” or “smelling” the ink?
A. To be humorous B. To suggest intelligence C. To offer clarity D. To
introduce a rhyme

Answer: B. To suggest intelligence

17. What deeper meaning does the speck represent?
A. The darkness in life B. The continuity of nature C. Humanity’s
insignificance D. The presence of consciousness

Answer: D. The presence of consciousness

18. Why does the poet mention feet in relation to the speck?
A. To emphasise its tiny size B. To show it is an insect, not dust C. To introduce
some verse rhythm D. To indicate the passage of time

Answer: B. To show it is an insect, not dust

19. What does the poet wish for the speck at the end?
A. Solitude B. Extermination C. Freedom D. Rest

Answer: D. Rest
20. What does the poet appreciate about the speck?
A. Its fragility B. Its perseverance C. Its brevity D. Its vitality

Answer: B. Its perseverance

 5.The Power of Music
Summary
The poem describes how the singer Bhisma Lochan Sharma’s voice spreads far
and wide during the summer, from Delhi to Burma. His singing is energetic and
intense, as if he has staked his life on it. The people who hear his singing are
left amazed and dazed.

Though they know his intentions are good, Bhisma Lochan’s powerful singing
causes chaos and havoc wherever he goes.

Bullock carts overturn on the roads, horses line the roadsides, and animals are
left confused and frightened by his booming voice. Even the fish dive to the
bottom of lakes and the trees shake violently, trying to get away from his
singing. The birds in the sky turn upside down in panic upon hearing him.
Everyone pleads for him to stop singing before he kills them.

But Bhisma Lochan is unconcerned and continues bellowing out his songs,
heedless of the pleas and cries around him. The heavens weep at his screeching
voice and mighty mansions collapse under its force.

Finally, a clever billy goat comes along and charges at Bhisma Lochan,
bellowing right back at him. This finally makes Bhisma Lochan stop singing,
granting the world silence once again.

Line-by-line explanation of the poem

When summer comes, we hear the hums/Bhisma Lochan Sharma.
These opening lines introduce us to Bhisma Lochan Sharma, who is a singer
with a very loud and powerful voice. In summer, his voice spreads all over and
people can hear him humming and singing loudly.

You catch his strain on hill and plain from Delhi down to Burma/He sings
as though he’s staked his life, he sings as though he’s hell-bent;
Bhisma Lochan’s voice carries very far – all the way from Delhi to Burma! This
shows us how loud and strong his singing is. The next lines say that he sings
with full energy and passion, as if his life depended on it. He is completely
obsessed with and lost in his singing.

The people, dazed, retire amazed although they know it’s well-
meant./They’re trampled in the panic rout or languish pale and sickly,
Now, though Bhisma Lochan means no harm, his intense singing confuses
people and leaves them astonished. In fact, his booming voice causes chaos –
people get trampled and injured in the panic and become unwell and pale.

And plead, ‘My friend, we’re near our end, oh stop your singing
quickly!’/The bullock-carts are overturned, and horses line the roadside;
People now desperately plead with Bhisma Lochan to stop singing soon, before
they meet their end. To show how disruptive his voice is, the poet says even
bullock carts overturn on the roads and horses stand frightened along the sides.

But Bhisma Lochan, unconcerned, goes booming out his broadside./The

wretched brutes resent the blare the hour they hear it sounded,
However, lost in his own world of song, Bhisma Lochan pays no attention to the
chaos and continues bellowing loudly. The animals strongly dislike and resent
his loud singing from the moment they hear it.

They whine and stare with feet in air or wonder quite confounded./The
fishes dived below the lake in frantic search for silence,
The animals are left totally confused by his voice – they whine, stand puzzled
with feet in the air, and wonder what is happening. Even the fish dive to the
bottom of lakes trying to escape his loud singing.

The very trees collapse and shake – you hear the crash a mile hence -/And
in the sky the feathered fly turn turtle while they’re winging,
Bhisma Lochan’s powerful voice makes trees collapse, violently shaking. You
can hear them crashing from a mile away! It even makes the birds in the sky flip
upside down in a panic.

Again we cry, ‘We’re going to die, oh won’t you stop your singing?/But
Bhisma’s soared beyond our reach, howe’er we plead and grumble;
People once more desperately plead with Bhisma Lochan to stop as they are
going to die. But he is lost in his own musical world, beyond anyone’s control,
ignoring all pleas and complaints.

The welkin weeps to hear his screech, and mighty mansions tumble./But
now there comes a billy goat, a most sagacious fellow,
His harsh, screeching singing makes even the sky weep, and mighty mansions
collapse! But then a clever billy goat comes along.

He downs his horns and charges straight, with bellow answering

bellow./The strains of song are tossed and whirled by blast of brutal
violence,
The goat aggressively charges at Bhisma Lochan, bleating just as loudly. The
goat’s loud bleats blast and toss around Bhisma’s singing strains violently.

And Bhisma Lochan grants the world the golden gift of silence.
Finally, Bhisma Lochan stops singing, giving the world the precious gift of
silence once again.

Word meanings
hums: low, continuous sounds
strain: a particular style, sound or melody of music
Delhi: capital city of India
Burma: present-day Myanmar
staked his life: risked his life
hell-bent: determined to do something no matter what
dazed: stunned, confused
retire: withdraw, move away
well-meant: good intentioned
trampled: crushed underfoot
panic: sudden uncontrollable fear
rout: disorderly retreat
languish: lose strength and health
pale: lacking color or brightness
sickly: unhealthy, weak
plead: beg, appeal urgently
bullock-carts: carts pulled by bullocks/oxen
overturned: turned upside down
booming: loud, resounding
broadside: strong verbal attack
wretched: unhappy, troubled
brutes: animals/beasts
resent: feel bitter/indignant about something
blare: loud, harsh noise
sounded: produced a noise
whine: make a long, high-pitched complaining cry
stare: look fixedly with eyes wide open
confounded: confused, perplexed
fishes: fish
dived: plunged into water head first
frantic: desperate, wild with fear
silence: complete absence of noise
turn turtle: turn upside down
winging: flying with wings
welkin: sky, heavens
weeps: cries
screech: unpleasantly loud, shrill noise
mansions: large houses
tumble: fall suddenly and helplessly
billy goat: male goat
sagacious: wise, discerning
downed: lowered, bent down
horns: hard pointed growths on a goat’s head
charges: rushes forward quickly to attack
straight: directly, without deviating
bellow: loud deep cry of an animal like ox, cow etc.
strains: melodies, refrains
tossed: thrown about violently
whirled: spun round rapidly
blast: explosive noise
brutal: savage, cruel
golden: extremely valuable and precious
About the author
Sukumar Ray (1887-1923) was a pioneering Bengali humorous poet, story
writer and playwright who is often considered the father of Bengali nonsense
verse.

Born in Kolkata into a family of writers and artists, Sukumar started writing
humorous poems, short stories and plays from an early age, drawing inspiration
from Lewis Carroll’s ‘Alice in Wonderland’.

His best known works include “Abol Tabol”, “Pagla Dashu” and
“HaJaBaRaLa” which showcase his unique sense of humor, whimsy and
imaginative wordplay. Sukumar masterfully used the rhythms and sounds of
Bengali language to create new words and impossible situations that made
people laugh.

Though he died young at age 36, Sukumar’s legacy and influence on Bengali
literature has been immense. He is celebrated for taking Bengali poetry to a new
dimension of absurd, nonsense verse that was unexplored before him.

With his wit, humor and linguistic exuberance, Sukumar Ray remains one of the
most beloved icons of Bengali literature.
Workbook answers/solutions
Coming soon

Additional/Extra questions and answers

1. Who is the poet trying to highlight in the opening line of the poem?
Answer: The poet is highlighting Bhisma Lochan Sharma in the opening line.
Bhisma Lochan Sharma is being introduced as the main subject of the poem
whose powerful singing will be described.
2. Where does the poet say Bhisma Lochan Sharma’s singing can be heard
from?
Answer: The poet says Bhisma Lochan Sharma’s singing can be heard across a
vast distance, all the way from Delhi to Burma. This tells us his voice is capable
of travelling very far and wide, highlighting its strength and intensity.
3. What does the line “He sings as though he’s staked his life” tell us about
Bhisma Lochan Sharma’s singing?
Answer: This line conveys that Bhisma Lochan sings with tremendous passion,
dedication and abandon, as if his entire life depended solely on his singing. It
underscores how intensely he immerses himself in his singing.
4. Why does the poet say Bhisma Lochan Sharma sings “as though he’s
hell-bent”?
Answer: By using the phrase “hell-bent”, the poet wants to stress that Bhisma
Lochan is absolutely focused, driven and fixated on singing loudly and
powerfully, to the exclusion of everything else around him. He seems almost
possessed by the act of unrestrained singing.
5. How does the singing affect the people who hear it?
Answer: His powerful singing leaves the people feeling dazed, stunned and
overwhelmed. They feel amazed and astonished by the intensity of Bhisma
Lochan’s voice. So his singing strongly disorients and confuses those who hear
it.
6. Even though the people know Bhisma Lochan’s intentions are good, why
does his singing bewilder them?
Answer: While the people realize Bhisma Lochan means no harm, his
uncontrolled, booming singing in public creates chaos and disruption all around
him. The unrestrained volume and force of his voice confuses and disorientates
people, even though they know he has good intentions overall.
7. How does the panic caused by the singing affect the people?
Answer: In the panic triggered by Bhisma Lochan’s forceful singing, people get
crushed and trampled underfoot in the commotion. Many are left injured, lying
sickly, pale and lifeless due to the chaos and confusion caused by the loud,
frenzied singing.
8. Why do the people plead with Bhisma Lochan Sharma to stop singing?
Answer: The people desperately plead and beg Bhisma Lochan to stop his loud
singing quickly because it is wreaking havoc everywhere and harming them to
the extent that they feel they will lose their lives if he continues singing in this
uncontrolled manner.
9. What happens to the bullock-carts due to his loud voice?
Answer: His extraordinarily loud and powerful singing voice causes such
intense vibrations that bullock carts passing on the road overturn and topple
over, highlighting the sheer volume and impact of Bhisma Lochan’s singing.
10. How do the horses lining the roadside react to his singing?
Answer: Terrorized by Bhisma Lochan’s intense and thunderous singing voice,
horses are seen standing frightened along the roadsides, wanting to flee far
away from the overwhelming and disturbing sound.
11. Why does the poet say “Bhisma Lochan, unconcerned, goes booming
out his broadside”?
Answer: This line emphasizes that Bhisma Lochan is so focused on and lost in
his own singing that he is completely oblivious and insensitive to the havoc and
disruption his unrestrained singing is causing around him. He continues
bellowing loudly, unaware of the chaos.
12. What metaphor does the poet use for Bhisma Lochan Sharma’s
singing?
Answer: The poet describes Bhisma Lochan’s singing as a “broadside” which
is a metaphor implying it is like a severe verbal onslaught. This stresses how
overwhelming and assaulting his loud singing feels to everyone forced to hear
it.
13. How do the animals respond when they first hear Bhisma Lochan’s
singing?
Answer: The animals are immediately distressed and pained when they first
hear the jarring, earsplitting singing of Bhisma Lochan. They resent the abrasive
quality of the unbearably loud singing right from the start.
14. What actions of the animals highlight their confusion at his loud voice?
Answer: The poet describes the animals whining in discomfort, standing in
utter bewilderment with their feet in the air, and looking absolutely confounded
and perplexed. Their disoriented actions and distress highlights the confounding
effects of Bhisma Lochan’s maddeningly loud singing.
15. Where do the fish escape to avoid Bhisma Lochan’s loud singing?
Answer: To get away from the painfully loud cacophony of Bhisma Lochan’s
singing voice, fish are seen diving frantically to the very bottom of lakes,
desperately seeking refuge in the depths where his piercing voice doesn’t travel.
16. What happens to the trees when they hear his powerful voice?
Answer: When exposed to the full force of Bhisma Lochan’s thundering
singing, trees come crashing down as they collapse and break apart. Even sturdy
trees shake violently, unable to withstand the tremors from his ear-splitting
voice.
17. How far can the sound of the crashing trees be heard?
Answer: This highlights the sheer volume of his singing – the trees are shaken
so intensely that the sound of them cracking and crashing under the force can be
heard from as far away as a mile.
18. How does Bhisma Lochan’s singing affect the birds flying in the sky?
Answer: His devastating singing completely disorients the birds flying
peacefully in the sky – they frantically flip upside down and lose control of their
flight upon being assaulted by the earth-shaking sound waves emanating from
Bhisma Lochan below.
19. What does the repeated pleading of the people tell us about his singing?
Answer: The people repeatedly and desperately pleading with Bhisma Lochan
to stop singing shows that they are utterly helpless against the onslaught of his
deafening voice. Their continuous appeals highlight how his maddening singing
is far beyond their control and tolerance levels.
20. Why does the poet say “the welkin weeps to hear his screech”?
Answer: This imaginative line suggests that even the heavens/sky seem to cry
and mourn in distress upon hearing Bhisma Lochan’s earsplitting, screeching
singing rending the air. The sky seems to weep in pain and lament the horrible
sound he unleashes.
21. Whose arrival finally puts an end to Bhisma Lochan’s loud singing?
Answer: It is the sudden and dramatic arrival of a sturdy billy goat that finally
ends Bhisma Lochan’s marathon singing session that had tortured all living
beings.
22. How does the billy goat respond to Bhisma Lochan’s singing?
Answer: Undeterred by Bhisma Lochan’s deafening voice, the billy goat
retaliates and fights back by charging aggressively at him, all the while
matching his volume with bellows and bleats as loud as Bhisma Lochan’s
singing.
23. What metaphor does the poet use to describe the billy goat’s bleating?
Answer: The poet describes the billy goat’s equally loud and forceful bleating
as “bellow answering bellow”. This metaphor paints the vivid image of the goat
matching Bhisma Lochan’s song bellow for bellow, scream for scream.
24. How does the billy goat’s bleating affect Bhisma Lochan’s strains of
song?
Answer: The billy goat’s earsplitting and piercing bleats violently toss Bhisma
Lochan’s melodious strains of song in the air, mangling and disrupting his
singing with its brute force. It overpowers and shreds his music.
25. What “golden gift” does Bhisma Lochan finally grant the world?
Answer: When defeated by the billy goat, Bhisma Lochan finally stops his
marathon session of torturous loud singing. This is described as his granting the
world the “golden gift” of restoring peace and quietude, indicating how valuable
and precious the silence is after his destruction.
26. What is the general theme of the poem?
Answer: The main theme of the poem is the chaos and disruption unleashed by
loud, uncontrolled singing to highlight that music must be modulated
responsibly, not bellowed out wildly.
27. What literary device does the poet rely heavily on in his descriptions?
Answer: The poet uses hyperbolic or exaggerated descriptions of the effects of
Bhisma Lochan’s singing to create a comically outrageous impact on the
people, animals, trees, buildings etc.
28. What kind of imagery has been used to describe Bhisma Lochan
Sharma’s singing?
Answer: The poem uses very violent and discordant imagery to describe his
singing. It is portrayed as destructive enough to shake trees, terrify animals,
injure people and make buildings collapse, highlighting its sheer uncontrolled
force.
29. How is the disruption caused by his singing shown through the animals’
reactions?
Answer: The animals seem frantic, desperate and helpless in trying to escape
the chaos caused by his singing. Their pained confusion and unsuccessful
attempts to find refuge underline the extreme disruption triggered by Bhisma
Lochan’s unrestrained singing.
30. What message do you think the poet wants to convey through this
humorous poem?
Answer: Using humour and exaggeration, the poet seems to advocate that
music and singing must be done responsibly in moderation. Unrestrained loud
singing can be disruptive and harmful even if well-intentioned. The poem
conveys a message of using musical talents wisely.
Additional/Extra MCQs
1. Where does the poet say Bhisma Lochan Sharma’s singing spreads in
summer?
A. Across villages B. From Lanka to China C. From Delhi to Burma D. Across
all of India

Answer: C. From Delhi to Burma

2. Why does the poet say Bhisma Lochan Sharma sings as if “hell-bent”?
A. He wants to spread chaos B. He sings angrily C. He is obsessed with singing
loudly D. He is forced to sing

Answer: C. He is obsessed with singing loudly

3. What happens to bullock-carts because of Bhisma Lochan’s loud
singing?
A. They speed up B. They overturn on the road C. The bullocks run away D.
The carts break down
Answer: B. They overturn on the road
4. How do the horses lined up by the roadside react to Bhisma Lochan’s
singing?
A. They seem happy B. They gallop away C. They seem confused D. They
seem frightened

Answer: D. They seem frightened

5. Why does the poet describe Bhisma Lochan’s singing as a “broadside”?
A. It spreads widely B. It attacks strongly C. It motivates people D. It sounds
beautiful

Answer: B. It attacks strongly

6. What do the fish do on hearing Bhisma Lochan’s loud singing?
A. Leap out of water B. Gather at the surface C. Dive deep into the lake D.
Swim to the shores

Answer: C. Dive deep into the lake

7. How far can the sound of the crashing trees be heard?
A. Across the forest B. From a mile away C. Across the country D. Only near
the trees

Answer: B. From a mile away

8. How does the loud singing affect the birds flying in the sky?
A. They stop mid-air B. They fly higher C. They turn upside down D. They fly
away

Answer: C. They turn upside down

9. Why do people plead for Bhisma Lochan to stop singing?
A. They don’t enjoy it B. It is too loud C. They feel it will kill them D. To test
him

Answer: C. They feel it will kill them

10. What does the poet mean when he says “the welkin weeps”?
A. Clouds cry B. People lament C. The sky seems to cry D. Birds scream

Answer: C. The sky seems to cry

11. Who finally makes Bhisma Lochan stop singing?
A. A sage B. A billy goat C. The police D. His friends

Answer: B. A billy goat

12. How does the billy goat respond to Bhisma Lochan’s singing?
A. It sings louder B. It falls silent C. It bleats equally loudly D. It runs away

Answer: C. It bleats equally loudly

13. What does the poet compare the billy goat’s bleating to?
A. Sweet music B. Howling wind C. Answer to Bhisma’s song D. Clap of
thunder

Answer: C. Answer to Bhisma’s song

14. What happens to Bhisma Lochan’s strains of song due to the goat’s
bleating?
A. Get louder B. Become steady C. Get violently tossed D. Become melodious

Answer: C. Get violently tossed

15. What does Bhisma Lochan finally grant the world?
A. His last song B. Food for all C. The gift of silence D. His autograph

Answer: C. The gift of silence

16. What literary device does the poet rely heavily on?
A. Rhyme B. Repetition C. Hyperbole D. Alliteration

Answer: C. Hyperbole
17. The poem uses images of _______ to highlight the chaos caused by
Bhisma Lochan’s singing.
A. Nature B. Water C. Violent destruction D. Joy

Answer: C. Violent destruction

18. How do the animals react to Bhisma Lochan’s loud singing?
A. They enjoy it B. They dance happily C. They seem distressed D. They sing
along

Answer: C. They seem distressed

19. The core message of the poem is that _______.
A. Loud singing is good B. Music must be modulated C. Chaos is fun D.
Singing relieves stress

Answer: B. Music must be modulated

20. The tone of the poem can best be described as _______.
A. Angry B. Sad C. Humorous D. Boring

Answer: C. Humorous