Tag: Paper Writing

Juvenlles Don’t Deserve LIfe Sentences By Gail Garinger New York Times March 15, 2012
In the late 1980s, a small but influential group of criminologists predicted a coming wave of violent juvenile crime: “superpredators,” as young as 11, committing crimes in “wolf packs.” Politicians soon responded to those fears, and to concerns about the perceived inadequacies of state juvenile justice systems, by lowering the age at which children could be transferred to adult courts. The concern was that offenders prosecuted as juveniles would have to be released at age 18 or 21.
At the same time, “tough on crime” rhetoric led some states to enact laws making it easier to impose life without parole sentences on adults. The unintended consequence of these laws was that children as young as 13 and 14 who were charged as adults became subject to life without parole sentences.
Nationwide, 79 young adolescents have been sentenced to die in prison — a sentence not imposed on children anywhere else in the world. These children were told that they could never change and that no one cared what became of them. They were denied access to education and rehabilitation programs and left without help or hope.
But the prediction of a generation of superpredators never came to pass. Beginning in the mid-1990s, violent juvenile crime declined, and it has continued to decline through the present day. The laws that were passed to deal with them, however, continue to exist. This month, the United States Supreme Court will hear oral arguments in two cases, Jackson v. Hobbs and Miller v. Alabama, which will decide whether children can be sentenced to life without parole after being convicted of homicide.
The court has already struck down the death penalty for juveniles and life without parole for young offenders convicted in non-homicide cases. The rationale for these earlier decisions is simple and equally applicable to the cases to be heard: Young people are biologically different from adults. Brain imaging studies reveal that the regions of the adolescent brain responsible for controlling thoughts, actions and emotions are not fully developed. They cannot be held to the same standards when they commit terrible wrongs.
Homicide is the worst crime, but in striking down the juvenile death penalty in 2005, the Supreme Court recognized that even in the most serious murder cases, “juvenile offenders cannot with reliability be classified among the worst offenders”: they are less mature, more vulnerable to peer pressure, cannot escape from dangerous environments, and their characters are still in formation. And because they remain unformed, it is impossible to assume that they will always present an unacceptable risk to public safety.
The most disturbing part of the superpredator myth is that it presupposed that certain children were hopelessly defective, perhaps genetically so. Today, few believe that criminal genes are inherited, except in the sense that parental abuse and negative home lives can leave children with little hope and limited choices.
As a former juvenile court judge, I have seen firsthand the enormous capacity of children to change and turn themselves around. The same malleability that makes them vulnerable to peer pressure also makes them promising candidates for rehabilitation.
An overwhelming majority of young offenders grow out of crime. But it is impossible at the time of sentencing for mental health professionals to predict which youngsters will fall within that majority and grow up to be productive, law-abiding citizens and which will fall into the small minority that continue to that children should not be condemned to die in prison without being given a “meaningful opportunity to obtain release based on demonstrated maturity and rehabilitation.”
The criminologists who promoted the superpredator theory have acknowledged that their prediction never came to pass, repudiated the theory and expressed regret. They have joined several dozen other criminologists in an amicus brief to the court asking it to strike down life without parole sentences for children convicted of murder. I urge the justices to apply the logic and the wisdom of their earlier decisions and affirm that the best time to decide whether someone should spend his entire life in prison is when he has grown to be an adult, not when he is still a child. Gail Garinger, a juvenile court judge in Massachusetts from 1995 to 2008, is the state’s child advocate, appointed by the governor. A version of this op-ed appeared in print on March 15, 2012, on page A35 of the New York edition with the headline: Juveniles Don’t Deserve Life Sentences.
Activity 17 Thinking Critically Answer the following questions about the traditional rhetorical appeals that Garinger makes in “Juveniles Don’t Deserve Life Sentences.”
Questions about Logic (Logos)
What are Garinger’s major claims and assertions? Do you agree with her claims?
What evidence does she use to support her claims? How relevant and valid do you think the evidence is? How sound is the reasoning? Is there any claim that appears to be weak or unsupported? Which one, and why do you think so? Can you think of counterarguments that Garinger does not consider?
Do you think Garinger has left something out on purpose? Why?
Questions about the Writer (Ethos)
What can you infer about Garinger from the text? Does she have the appropriate background to speak with authority on the subject? Is she knowledgeable?
What does Garinger’s style and language tell you about her? Can you trust her?
Questions about Emotions (Pathos)
Does “Juveniles Don’t Deserve Life Sentences” affect you emotionally? What parts?
Do you think Garinger is trying to manipulate your emotions? In what ways? At what point?
Answer the following questions about the traditional rhetorical appeals that Jenkins makes in “On Punishment and Teen Killers.”
Questions about Logic (Logos)
What are the writer’s major claims and assertions? Do you agree with her claims?
What evidence does she use to support her claims? How relevant and valid do you think the evidence is? How sound is the reasoning? Is there any claim that appears to be weak or unsupported? Which one, and why do you think so?
Can you think of counterarguments that Jenkins does not consider?
Do you think Jenkins has left something out on purpose? Why?
Questions about the Writer (Ethos)
What can you infer about Jenkins from the text? Does she have the appropriate background to speak with authority on the subject? Is she knowledgeable?
What does the writer’s style and language tell you about her? Can you trust her?
Questions about Emotions (Pathos)
Does “On Punishment and Teen Killers” affect you emotionally? What parts?
Do you think Jenkins is trying to manipulate your emotions? In what ways? At what point?

Watch: https://youtu.be/htmeP3R7Eaw
?      From your point of view, compare the similarities and differences in this video to real-world incidents.
?      Explain how this video has or hasn’t influenced your future outlook as a career nurse?

Collections
Grade 12 Guiding Questions
Collection 5
“The Mosquito Solution” by Michael Specter
Text:  “The Mosquito Solution” – Pages 453 – 470
Lines 384-430: Restate Specter’s central idea in one sentence. How does Specter support this idea?
Lines 410-415: Infer Specter’s purpose in writing this article. Give reasons for your answer.
Lines 440-454: Briefly restate the two different positions presented in the passage.
Lines 455-462: Why does Specter say “The biggest question raised by the creation of OX513A is who will regulate it and how”?
Lines 466-478: What terms in these lines seem to have strong connotations? Why are the terms a source of contention between Oxitec and its opponents? Evaluate each side’s position on this use of language.

Subway Station by Gilbert Highet Standing in a subway station, I began to appreciate the place—almost to enjoy it. First of all, I looked at the lighting: a row of meager electric bulbs, unscreened, yellow coated with filth, stretched toward the black mouth of the tunnel, as though it were a bolt hole in an abandoned coal mine. Then I lingered, with zest, on the walls and ceiling: lavatory tiles which had been white about fifty years ago, and were now encrusted with soot, coated with the remains of a dirty liquid which might be either atmospheric humidity mingled smog or the result of a perfunctory attempt to clean them with cold water; and, above them, gloomy vaulting from dingy paint was peeling off like scabs from an old wound, sick black paint leaving a leprous white undersurface. Beneath my feet, the floor was a nauseating dark brown with black stains upon it, which might be stale oil or dry chewing gum or some worse defilement; it looked like the hallway of a condemned slum building. Then my eye traveled to the tracks, where lines of glittering steel—the only positively clean objects in the whole place—ran out of darkness into darkness above an unspeakable mass of congealed oil, puddles of dubious liquid, and a mishmash of old cigarette packets, mutilated and filthy newspapers, and the debris that filtered down from the street above through a barred grating in the roof. As I looked up toward sunlight, I could see more debris sifting slowly downward, making an abominable pattern in the slanting beam of dirt laden sunlight. I was going on to relish more features of this unique scene: such as the advertisement posters on the walls—here a text from the Bible, there a half-naked girl, here a woman wearing a hat consisting of a hen sitting on a nest full of eggs, and there a pair of girl’s legs walking up the keys of a cash register—all scribbled over with unknown names and well-known obscenities in black crayon and red lipstick; but then my train came in at last, I boarded it, and began to read. The experience was over for the time. SUBWAY STATION:         Questions for study and discussion What dominant impression of the subway station does Highet create in his description? ( see Imagery) To present a clearly focused dominant impression, a writer must be selective in the use of details.  Make a list of those details that help create Highet’s dominant impression. What similes and metaphors can you find in Highet’s description? How do they help to make the description vivid? (see Figures of Speech) Highet uses a spatial organization in his essay.  List the order in which he describes the various elements of the subway station. Is this a first-time experience for Highet, or do you think he is a regular subway traveler?  What in the essay leads you to your conclusion? Vocabulary Define the following words in the context that they are used in this text.  Then use each word in a sentence of your own creation. meager                           congealed                          zest dubious                      defilement                          unique

Describe an instance where the context significantly shifted the meaning of a phrase.
Include the following: what was communicated (said, written, or shown) and your perspective on what was meant to be communicated and what actually was communicated.

How far does Priestley present male characters as irresponsible in the play? say about: • one or more of the male character(s) • how far Priestley presents one or more of the male character(s) as irresponsible. [30 marks] AO4 [4 marks] https://filestore.aqa.org.uk/resources/english/AQA-87022-SMS.PDF Can you please mark this for me and give me feedback i have attached the mark scheme which is the link and go to Section A: Modern texts Questions it’s the first one there (: and refer to. The criteria In the play of inspector goole Priestley conveys the irresponsibility of male characters throughout the story, to highlight how corrupt society was. Mr Birling is being presented as irresponsible in the play as he doesnt care about his own workers that work for him as he states that ‘Well, it’s my duty to keep labour costs down”. This argument suggest that he can’t focus on his workers as he needs to succeed in business Mr Birling is used to show the capitalist viewpoint throughout the play. His primary aim is to succeed in business, and so he cares about money more so than people. He argues with Inspector Goole that he could not have raised Eva Smith and the others’ wages, as he needs to run his business effectively – he needs to earn all the money that he can, which he cannot do if he pays the workers more. This highlights the selfishness of capitalism. Capitalism was designed to reward the business owners, not those actually doing the work. This type of behaviour in the Elizabethan era was common as the poorer were getting poor and the rich were getting richer. This makes the audience feel angry towards him as it shows that he is selfish. He is also presented to be irresponsible as his main focus is to make money, for example he states thatI’ve got to cover this up as soon as I can’. Mr Birling, as is consistent (stays the same) with his character throughout the play, only cares about covering up this story so it doesn’t affect their reputations, social status, or his chance at receiving a knighthood. He consistently shows a selfish, self-centred attitude. He obsesses over his reputation. He is not very concerned with the consequences of his actions. This makes the audience feel annoyed as he didn’t learn anything when the inspector arrived. During his interrogation we learn that Eric irresponsibly fathers a child with Eva Smith, who he had no intention of marrying. He states, “I threatened to make a row,” which shows an aggressive side to Eric as he abuses his power and authority to show dominance over Eva. In 1912, women were seen as inferior and submissive towards men and were used for sexual purposes. “She was pretty and a good sport” demonstrates how inconsiderate he was and how similar he was to the men at that time. He is portrayed as irresponsible and reckless as he did not think of the consequences he would eventually face. However, we see a more considering side to Eric as he starts realising the mistakes he has made and feels guilt and remorse for what he has done. “That’s the hellish thing” he realises the mistake of drinking so much to cause troubles for another person. This makes the audience think of him as a person who doesn’t have social responsibility and makes the audience feel ashamed of Eric. In conclusion Pr…. i dont know what to write): What could i write for a conclusion and how can i improve these answers or can you show me a improved better answer

1. What does your grit score mean?
2. Is perseverance a trait? Why?
3. What is grit and perseverance?
4. How do you train grit?
5. Is taking down notes important to you as a student? How can note taking improve your academic performance? Cite examples showing its importance.

Question 10
Read the following passage carefully before you choose your answer.
This passage is taken from the concluding remarks of a speech given by President Ronald Reagan to the people of West Berlin in 1987.
(11)And now the Soviets themselves may, in a limited way, be coming to understand the importance of freedom. We hear much from Moscow about a new policy of reform and openness. Some political prisoners have been released. Certain foreign news broadcasts are no longer being jammed. Some economic enterprises have been permitted to operate with greater freedom from state control.
(12)Are these the beginnings of profound changes in the Soviet state? Or are they token gestures, intended to raise false hopes in the West, or to strengthen the Soviet system without changing it? We welcome change and openness; for we believe that freedom and security go together, that the advance of human liberty can only strengthen the cause of world peace. There is one sign the Soviets can make that would be unmistakable, that would advance dramatically the cause of freedom and peace.
(13)General Secretary Gorbachev, if you seek peace, if you seek prosperity for the Soviet Union and Eastern Europe, if you seek liberalization: Come here to this gate! Mr. Gorbachev, open this gate! Mr. Gorbachev, tear down this wall!
The intended result of these paragraphs is to encourage
A. restricted freedoms for Soviets
B. colonization of West Berlin
C. reduced tension among Berliners
D. removal of the Berlin Wall
E. reduction of economic aid to Berlin
Question 11
Read the following passage carefully before you choose your answer.
This passage is taken from a book that chronicles a man’s exploration of Alaska.
(1)It was now near dark, and I made haste to make up my flimsy little tent. The ground was desperately rocky. I made out, however, to level down a strip large enough to lie on, and by means of slim alder stems bent over it and tied together soon had a home. While thus busily engaged I was startled by a thundering roar across the lake. Running to the top of the moraine, I discovered that the tremendous noise was only the outcry of a newborn berg about fifty or sixty feet in diameter, rocking and wallowing in the waves it had raised as if enjoying its freedom after its long grinding work as part of the glacier. After this fine last lesson I managed to make a small fire out of wet twigs, got a cup of tea, stripped off my dripping clothing, wrapped myself in a blanket and lay brooding on the gains of the day and plans for the morrow, glad, rich, and almost comfortable.
(2)It was raining hard when I awoke, but I made up my mind to disregard the weather, put on my dripping clothing, glad to know it was fresh and clean; ate biscuits and a piece of dried salmon without attempting to make a tea fire; filled a bag with hardtack, slung it over my shoulder, and with my indispensable ice-axe plunged once more into the dripping jungle. I found my bridge holding bravely in place against the swollen torrent, crossed it and beat my way around pools and logs and through two hours of tangle back to the moraine on the north side of the outlet,—a wet, weary battle but not without enjoyment. The smell of the washed ground and vegetation made every breath a pleasure, and I found
Calypso borealis
, the first I had seen on this side of the continent, one of my darlings, worth any amount of hardship; and I saw one of my Douglas squirrels on the margin of the grassy pool. The drip of the rain on the various leaves was pleasant to hear. More especially marked were the flat low-toned bumps and splashes of large drops from the trees on the broad horizontal leaves of
Echinopanax horridum
, like the drumming of thundershower drops on veratrum and palm leaves, while the mosses were indescribably beautiful, so fresh, so bright, so cheerily green, and all so low and calm and silent, however heavy and wild the wind and the rain blowing and pouring above them. Surely never a particle of dust has touched leaf or crown of all these blessed mosses; and how bright were the red rims of the cladonia cups beside them, and the fruit of the dwarf cornel! And the wet berries, Nature’s precious jewelry, how beautiful they were!—huckleberries with pale bloom and a crystal drop on each; red and yellow salmon-berries, with clusters of smaller drops; and the glittering, berry-like raindrops adorning the interlacing arches of bent grasses and sedges around the edges of the pools, every drop a mirror with all the landscape in it. A’ that and a’ that and twice as muckle’s a’ that in this glorious Alaska day, recalling, however different, George Herbert’s “Sweet day, so cool, so calm, so bright.”
(3)In the gardens and forests of this wonderful moraine one might spend a whole joyful life.
1 A rare orchid found in northern, mountainous areas.
2Also called Devil’s Club, Echinopanax is a large-leafed shrub that grows in moist, dense forests mostly in the Pacific Northwest of the United States.
3 Reference to Scottish poet, Robert Burns’s poem that rejoices over the wide variety of positive traits in his wife.
4 Reference to a George Herbert poem that celebrates the glory found in nature and mourns the fact that it all must die.
The author’s attitude toward the
Calypso borealis
can best be described as one of
A. shock
B. reverence
C. indifference
D. curiosity
E. caution
Question 12
Read the following passage carefully before you choose your answer.
The following passage is an excerpt of an online article on teens and sleep.
(1) In October 2019, the state of California passed a new law that mandates a change to the starting times for the state’s public schools. (2) The law—which was supported by the California Medical Association, the California Psychiatric Association, the CDC, and the American Academy of Pediatrics—requires middle schools to start no earlier than 8:00 a.m. and high schools to start no earlier than 8:30 a.m.
(3) The law is a state-level solution to a problem that doctors, school administrators, and researchers have been justifiably lamenting for decades: adolescents need eight to ten hours of sleep per night, but more than two thirds of high schoolers get less than that. (4) Even more troubling, about forty percent of students get fewer than six hours. (5) Simply telling teenagers to go to bed earlier isn’t effective; teens build up sleep pressure—the regulatory force that builds up and allows a person to both fall and stay asleep—more slowly than adults or younger children. (6) For this reason, they are simply not equipped to fall asleep earlier on command; they are truly designed to go to bed later and sleep later into the morning.
(7) Sleep deprivation among adolescents has been proven to affect overall health, often resulting in weakened immune systems and other problems. (8) It also compromises memory consolidation, thus resulting in decreased overall academic performance as reflected in lower test scores. (9) If that’s not enough to support later start times, consider this: one school district that voluntarily implemented the time changes long before the California law reported a 70% reduction in student car crashes. (10) It’s tough to argue with data that shows an increase in student safety in addition to an increase in student performance.
(11) Despite this rather obvious data in support of later start times, many school administrators lament the challenges of bus schedules, lunch services, childcare, and even athletic practices, all of which have traditionally been built around much earlier start times than the 8:00 to 8:30 a.m. requirements. (12) But the experts are emphatic in reminding the public that the challenges are worth facing, and the adjusted start times will result in greater health and safety and increased student learning.
The writer wants to present an objective argument. Which of the following changes should the writer make?
A. Add “according to studies conducted over the years” after “six hours” to sentence 4.
B. Change “not equipped” to “not able” in sentence 6.
C. Change “has been proven” to “has been shown” in sentence 7.
D. Delete “rather obvious” before “data” in sentence 11.
E. Revise “emphatic” to “unequivocal” in sentence 12.
Question 13
Read the following passage carefully before you choose your answer.
This passage is taken from a letter written by a father to his son.
DEAR BOY, Bath, October the 4th, O. S. 1746.
(1) Though I employ so much of my time in writing to you, I confess I have often my doubts whether it is to any purpose. (2) I know how unwelcome advice generally is; I know that those who want it most like it and follow it least; and I know, too, that the advice of parents, more particularly, is ascribed to the moroseness, the imperiousness, or the garrulity of old age. (3) But then, on the other hand, I flatter myself, that as your own reason (though too young as yet to suggest much to you of itself) is, however, strong enough to enable you both to judge of and receive plain truths: I flatter myself, I say, that your own reason, young as it is, must tell you, that I can have no interest but yours in the advice I give you; and that, consequently, you will at least weigh and consider it well: in which case, some of it will, I hope, have its effect. (4) Do not think that I mean to dictate as a parent; I only mean to advise as a friend, and an indulgent one too: and do not apprehend that I mean to check your pleasures; of which, on the contrary, I only desire to be the guide, not the censor. (5) Let my experience supply your want of it, and clear your way in the progress of your youth of those thorns and briers which scratched and disfigured me in the course of mine. (6) I do not, therefore, so much as hint to you how absolutely dependent you are upon me; that you neither have nor can have a shilling in the world but from me; and that, as I have no womanish weakness for your person, your merit must and will be the only measure of my kindness. (7) I say, I do not hint these things to you, because I am convinced that you will act right upon more noble and generous principles; I mean, for the sake of doing right, and out of affection and gratitude to me.
(8) I have so often recommended to you attention and application to whatever you learn, that I do not mention them now

link: https://www.commonlit.org/texts/shirley-chisholm-s-presidential-announcement-speech-transcript
Assignment:
After reading the passage, in a well-constructed essay, analyze the rhetorical elements that are being used.
?      Select and use evidence to support your line of reasoning.
?      Explain how the evidence supports your line of reasoning.
?      Demonstrate an understanding of the rhetorical situation.
?      Use appropriate grammar and punctuation in communicating your argument.

Read the poem.
The Pardah Nashin
by Sarojini Naidu
Sarojini Naidu was an Indian poet and activist. Known as the “Nightingale of India,” she advocated for India’s independence, social welfare, and equal rights. The Pardah is a religious and social practice of seclusion in some Hindu or Muslim communities of South Asia. Women are either physically separated from males using separate buildings, screens, walls, or curtains, or they may be concealed by loose clothing and veils.
Her life is a revolving dream
Of languid and sequestered ease;
Her girdles and her fillets gleam
Like changing fires on sunset seas;
Her raiment is like morning mist,
Shot opal, gold and amethyst.
From thieving light of eyes impure,
From coveting sun or wind’s caress,
Her days are guarded and secure
Behind her carven lattices,
Like jewels in a turbaned crest,
Like secrets in a lover’s breast.
But though no hand unsanctioned dares
Unveil the mysteries of her grace,
Time lifts the curtain unawares,
And Sorrow looks into her face . . .
Who shall prevent the subtle years,
Or shield a woman’s eyes from tears?
What is the central idea of this poem?
?
A woman’s life is filled with secrets that can never be discovered.
?
Legally and culturally, women must be treated with respect and should have equal opportunities.
?
While walls and veils may appear to protect women, they deny women freedom and happiness.
?
Women are mysterious creatures that must be protected from harm.
Read the poem.
The Pardah Nashin
by Sarojini Naidu
Sarojini Naidu was an Indian poet and activist. Known as the “Nightingale of India,” she advocated for India’s independence, social welfare, and equal rights. The Pardah is a religious and social practice of seclusion in some Hindu or Muslim communities of South Asia. Women are either physically separated from males using separate buildings, screens, walls, or curtains, or they may be concealed by loose clothing and veils.
Her life is a revolving dream
Of languid and sequestered ease;
Her girdles and her fillets gleam
Like changing fires on sunset seas;
Her raiment is like morning mist,
Shot opal, gold and amethyst.
From thieving light of eyes impure,
From coveting sun or wind’s caress,
Her days are guarded and secure
Behind her carven lattices,
Like jewels in a turbaned crest,
Like secrets in a lover’s breast.
But though no hand unsanctioned dares
Unveil the mysteries of her grace,
Time lifts the curtain unawares,
And Sorrow looks into her face . . .
Who shall prevent the subtle years,
Or shield a woman’s eyes from tears?
How does the personification in the lines “Time lifts the curtain unawares, / And Sorrow looks into her face…” affect meaning?
?
Sorrow contrasts with the joy in the first stanza, which shows readers that maintaining pardah protects women from sadness.
?
When time lifts the curtain, the woman is shamed that she has been exposed.
?
Sorrow can see the woman’s tears, and that forces readers to question whether pardah protects women or oppresses them.
?
By making time a character, it illustrates how aging causes sorrow and suffering.
Read the poem.
The Pardah Nashin
by Sarojini Naidu
Sarojini Naidu was an Indian poet and activist. Known as the “Nightingale of India,” she advocated for India’s independence, social welfare, and equal rights. The Pardah is a religious and social practice of seclusion in some Hindu or Muslim communities of South Asia. Women are either physically separated from males using separate buildings, screens, walls, or curtains, or they may be concealed by loose clothing and veils.
Her life is a revolving dream
Of languid and sequestered ease;
Her girdles and her fillets gleam
Like changing fires on sunset seas;
Her raiment is like morning mist,
Shot opal, gold and amethyst.
From thieving light of eyes impure,
From coveting sun or wind’s caress,
Her days are guarded and secure
Behind her carven lattices,
Like jewels in a turbaned crest,
Like secrets in a lover’s breast.
But though no hand unsanctioned dares
Unveil the mysteries of her grace,
Time lifts the curtain unawares,
And Sorrow looks into her face . . .
Who shall prevent the subtle years,
Or shield a woman’s eyes from tears?
How does the speaker’s society view women?
?
Women are fundamentally equal to men even when they are hidden behind veils.
?
Women must be secluded from men since they are manipulative and strange.
?
Women must be hidden and protected to ensure their safety and purity.
?
Women are powerful and have the ability to influence men with their beauty.
Read the poem.
The Pardah Nashin
by Sarojini Naidu
Sarojini Naidu was an Indian poet and activist. Known as theNightingale of India she advocated for India’s independence, social welfare, and equal rights. The Pardah is a religious and social practice of seclusion in some Hindu or Muslim communities of South Asia. Women are either physically separated from males using separate buildings, screens, walls, or curtains, or they may be concealed by loose clothing and veils.
Her life is a revolving dream
Of languid and sequestered ease;
Her girdles and her fillets gleam
Like changing fires on sunset seas;
Her raiment is like morning mist,
Shot opal, gold and amethyst.
From thieving light of eyes impure,
From coveting sun or wind’s caress,
Her days are guarded and secure
Behind her carven lattices,
Like jewels in a turbaned crest,
Like secrets in a lover’s breast.
But though no hand unsanctioned dares
Unveil the mysteries of her grace,
Time lifts the curtain unawares,
And Sorrow looks into her face . . .
Who shall prevent the subtle years,
Or shield a woman’s eyes from tears?
According to the poet’s description of the woman, how does the religious and social practice of seclusion affect women?
?
It protects women from “thieving” and “impure” eyes.
?
It celebrates female beauty and mystery and ensures female empowerment.
?
It separates women, creating isolation and unhappiness.
?
It is a testament to an ancient culture and system of belief.
Read the poem.
The Pardah Nashin
by Sarojini Naidu
Sarojini Naidu was an Indian poet and activist. Known as the “Nightingale of India,” she advocated for India’s independence, social welfare, and equal rights. The Pardah is a religious and social practice of seclusion in some Hindu or Muslim communities of South Asia. Women are either physically separated from males using separate buildings, screens, walls, or curtains, or they may be concealed by loose clothing and veils.
Her life is a revolving dream
Of languid and sequestered ease;
Her girdles and her fillets gleam
Like changing fires on sunset seas;
Her raiment is like morning mist,
Shot opal, gold and amethyst.
From thieving light of eyes impure,
From coveting sun or wind’s caress,
Her days are guarded and secure
Behind her carven lattices,
Like jewels in a turbaned crest,
Like secrets in a lover’s breast.
But though no hand unsanctioned dares
Unveil the mysteries of her grace,
Time lifts the curtain unawares,
And Sorrow looks into her face . . .
Who shall prevent the subtle years,
Sarojini Naidu was politically active during India’s struggle to gain independence from British rule. She was also dedicated to bringing equal rights to women who were treated as a second class in Indian society.
How does the poet’s political work and the historical events that took place in India influence meaning in “The Pardah Nashin”?
?
The poet is working to become a political leader; this poem expresses her sorrow at being cut off from the political process in India.
?
“The Pardah Nashin” expresses the pride that the poet feels toward her country as it fights for independence; the subject in the poem rises to power just as the poet does.
?
The speaker of the poem argues against oppression and for freedom; this aligns with the poet’s political work to win freedom for India and to empower women.
?
During this time, India is caught between the past and the future; the poem expresses this struggle by showing how the subject of the poem moves from the joy of the past into the sorrow and uncertainty of the future.
Read the passage.
As Nagendra traveled downriver by boat, a fierce storm drove him from to shore. While looking for shelter from the lashing rain, he came upon a dilapidated house where he found a girl of thirteen, Kunda Nandini, and her dying father. Unable to locate Kunda’s aunt in Calcutta, Nagendra wrote to his wife Surja Mukhi for assistance.
excerpt from The Poison Tree: A Tale of Hindu Life in Bengal by Bankim Chandra Chatterjee
The Poison Tree documents the experiences of Nagendra, a wealthy landowner, his wife, Surjamukhi, and an orphan girl, Kunrda Nandini, who Nagendra brings home with him after a trip to Calcutta. Hindu life in Bengal in the late nineteenth century was grounded in the caste system, a social practice that placed every member of society into one of four castes. Each individual within a caste had a designated role in society.
Surja Mukhi’s reply to Nagendra’s letter came in a few days. It was after this manner:
“In picking up a little girl, have you forgotten me? Many unripe things are esteemed. People like green guavas, and green cucumbers; green cocoa-nuts are cooling. This low-born female is also, I think, very young, else in meeting with her why should you forget me? Joking apart, have you given up all right over this girl? If not, I beg her from you. It is my business to arrange for her. In whatever becomes yours I have the right to share, but in this case I see your sister has entire possession. Still, I shall not vex myself much if Kamal usurps my rights.
“Do you ask what do I want with the girl? I wish to give her in marriage with Tara Charan. You know how much I have sought for a suitable wife for him. If Providence has sent us a good girl, do not disappoint me. If Kamal will give her up, bring Kunda Nandini with you when you come. I have written to Kamal also recommending this. I am having ornaments fashioned, and am making other preparations for the marriage. Do not linger in Calcutta. Is it not true that if a man stays six months in that city he becomes quite stupid? If you design to marry Kunda, bring her with you, and I will give her to you. Only say that you propose to marry her, and I will arrange the marriage-basket.”
Who Tara Charan was will be explained later. Whoever he was, both Nagendra and Kamal Mani consented to Surja Mukhi’s proposal. Therefore it was resolved that when Nagendra went home Kunda Nandini should accompany him. Every one consented with delight, and Kamal also prepared some ornaments.
Surja Mukhi’s father’s house was in Konnagar. Her father was a Kaystha of good position. He was cashier in some house at Calcutta. Surja Mukhi was his only child. In her infancy a Kaystha widow named Srimati lived in her father’s house as a servant, and looked after Surja Mukhi. Srimati had one child named Tara Charan, of the same age as Surja Mukhi. With him Surja Mukhi had played, and on account of this childish association she felt towards him the affection of a sister.
Srimati was a beautiful woman, and therefore soon fell into trouble. A wealthy man of the village, of evil character, having cast his eyes upon her, she forsook the house of Surja Mukhi’s father. Whither she went no one exactly knew, but she did not return. Tara Charan, forsaken by his mother, remained in the house of Surja Mukhi’s father, who was a very kind-hearted man, and brought up this deserted boy as his own child; not keeping him in slavery as an unpaid servant, but having him taught to read and write. Tara Charan learned English at a free mission-school. Afterwards Surja Mukhi was married, and some years later her father died. By this time Tara Charan had learned English after a clumsy fashion, but he was not qualified for any business. Rendered homeless by the death of Surja Mukhi’s father, he went to her house. At her instigation Nagendra opened a school in the village, and Tara Charan was appointed master. Nowadays, by means of the grant-in-aid system in many villages, sleek-haired, song-singing, harmless Master Babus appear; but at that time such a being as a Master Babu was scarcely to be seen. Consequently, Tara Charan appeared as one of the village gods; especially as it was known in the bazaar that he had read the Citizen of the World, the Spectator, and three books of Euclid. On account of these gifts he was received into the Brahmo Samaj of Debendra Babu, the zemindar of Debipur, and reckoned as one of that Babu’s retinue.
Tara Charan wrote many essays on widow-marriage, on the education of women, and against idol-worship; read them weekly in the Samaj, and delivered many discourses beginning with “Oh, most merciful God!” Some of these he took from the Tattwa Bodhini, and some he caused to be written for him by the school pandit. He was forever preaching: “Abandon idol-worship, give choice in marriage, give women education; why do you keep them shut up in a cage? let women come out.” There was a special cause for this liberality on the subject of women, inasmuch as in his own house there was no woman. Up to this time he had not married. Surja Mukhi had made great efforts to get him married, but as his mother’s story was known in Govindpur, no respectable Kaystha consented to give him his daughter. Many a common, disreputable Kaystha girl he might have had; but Surja Mukhi, regarding Tara Charan as a brother, would not give her consent, since she did not choose to call such a girl sister-in-law. While she was seeking for a respectable Kaystha girl, Nagendra’s letter came, describing Kunda Nandini’s gifts and beauty. She resolved to give her to Tara Charan in marriage.
How does this excerpt best develop the theme that with help from others, life’s hardships can be overcome?
?
Nagendra assisted Kunda after her father’s death and allowed her to live with his family until he could locate her aunt.
?
Srimati found a home with Surja Mukhi’s father and later met a wealthy man who could support her.
?
Srimati taught Tara Charan to read and speak English, which enabled him to write publish his essays.
?
Surja Mukhi’s father raised Tara Charan as his own son, and Nagendra helped him establish his career.
Read the passage.
As Nagendra traveled downriver by boat, a fierce storm drove him to shore. While looking for shelter from the lashing rain, he came upon a dilapidated house where he found a girl of thirteen, Kunda Nandini, and her dying father. Unable to locate Kunda’s aunt in Calcutta, Nagendra wrote to his wife Surja Mukhi for assistance.
excerpt from The Poison Tree: A Tale of Hindu Life in Bengal by Bankim Chandra Chatterjee
The Poison Tree documents the experiences of Nagendra, a wealthy landowner, his wife, Surjamukhi, and an orphan girl, Kunrda Nandini, who Nagendra brings home with him after a trip to Calcutta. Hindu life in Bengal in the late nineteenth century was grounded in the caste system, a social practice that placed every member of society into one of four castes. Each individual within a caste had a designated role in society.
Surja Mukhi’s reply to Nagendra’s letter came in a few days. It was after this manner:
In picking up a little girl, have you forgotten me? Many unripe things are esteemed. People like green guavas, and green cucumbers; green cocoa-nuts are cooling. This low-born female is also, I think, very young, else in meeting with her why should you forget me? Joking apart, have you given up all right over this girl? If not, I beg her from you. It is my business to arrange for her. In whatever becomes yours I have the right to share, but in this case I see your sister has entire possession. Still, I shall not vex myself much if Kamal usurps my rights.Do you ask what do I want with the girl? I wish to give her in marriage with Tara Charan. You know how much I have sought for a suitable wife for him. If Providence has sent us a good girl, do not disappoint me. If Kamal will give her up, bring Kunda Nandini with you when you come. I have written to Kamal also recommending this. I am having ornaments fashioned, and am making other preparations for the marriage. Do not linger in Calcutta. Is it not true that if a man stays six months in that city he becomes quite stupid? If you design to marry Kunda, bring her with you, and I will give her to you. Only say that you propose to marry her, and I will arrange the marriage-basket.
Who Tara Charan was will be explained later. Whoever he was, both Nagendra and Kamal Mani consented to Surja Mukhi’s proposal. Therefore it was resolved that when Nagendra went home Kunda Nandini should accompany him. Every one consented with delight, and Kamal also prepared some ornaments.
Surja Mukhi’s father’s house was in Konnagar. Her father was a Kaystha of good position. He was cashier in some house at Calcutta. Surja Mukhi was his only child. In her infancy a Kaystha widow named Srimati lived in her father’s house as a servant, and looked after Surja Mukhi. Srimati had one child named Tara Charan, of the same age as Surja Mukhi. With him Surja Mukhi had played, and on account of this childish association she felt towards him the affection of a sister.
Srimati was a beautiful woman, and therefore soon fell into trouble. A wealthy man of the village, of evil character, having cast his eyes upon her, she forsook the house of Surja Mukhi’s father. Whither she went no one exactly knew, but she did not return. Tara Charan, forsaken by his mother, remained in the house of Surja Mukhi’s father, who was a very kind-hearted man, and brought up this deserted boy as his own child; not keeping him in slavery as an unpaid servant, but having him taught to read and write. Tara Charan learned English at a free mission-school. Afterwards Surja Mukhi was married, and some years later her father died. By this time Tara Charan had learned English after a clumsy fashion, but he was not qualified for any business. Rendered homeless by the death of Surja Mukhi’s father, he went to her house. At her instigation Nagendra opened a school in the village, and Tara Charan was appointed master. Nowadays, by means of the grant-in-aid system in many villages, sleek-haired, song-singing, harmless Master Babus appear; but at that time such a being as a Master Babu was scarcely to be seen. Consequently, Tara Charan appeared as one of the village gods; especially as it was known in the bazaar that he had read the Citizen of the World, the Spectator, and three books of Euclid. On account of these gifts he was received into the Brahmo Samaj of Debendra Babu, the zemindar of Debipur, and reckoned as one of that Babu’s retinue.
Tara Charan wrote many essays on widow-marriage, on the education of women, and against idol-worship; read them weekly in the Samaj, and delivered many discourses beginning with “Oh, most merciful God!” Some of these he took from the Tattwa Bodhini, and some he caused to be written for him by the school pandit. He was forever preaching: “Abandon idol-worship, give choice in marriage, give women education; why do you keep them shut up in a cage? let women come out.” There was a special cause for this liberality on the subject of women, inasmuch as in his own house there was no woman. Up to this time he had not married. Surja Mukhi had made great efforts to get him married, but as his mother’s story was known in Govindpur, no respectable Kaystha consented to give him his daughter. Many a common, disreputable Kaystha girl he might have had; but Surja Mukhi, regarding Tara Charan as a brother, would not give her consent, since she did not choose to call such a girl sister-in-law. While she was seeking for a respectable Kaystha girl, Nagendra’s letter came, describing Kunda Nandini’s gifts and beauty. She resolved to give her to Tara Charan in marriage.
How does the point of view affect this story?
?
The limited first-person perspective allows the narrator to tell his story, but leaves the reader with little information about the girl, her situation, or the wedding plans. This builds tension and suspense and keeps readers guessing.
?
The omniscient point of view describes the history of the characters and their thoughts and actions. This enables readers to understand the family unit and the complex factors that influence the characters’ choices.
?
The third-person limited point of view creates distance between readers and the characters, making it easier for readers to study their actions and judge their motivations while exposing the narrator’s inner conflict.
?
The first-person point of view creates intimacy as readers access the conflicting thoughts and emotions of the narrator. This helps readers to understand his struggle between what he feels is right and the expectations of his patriarchal culture.
Read the passage.
As Nagendra traveled downriver by boat, a fierce storm drove him to shore. While looking for shelter from the lashing rain, he came upon a dilapidated house where he found a girl of thirteen, Kunda Nandini, and her dying father. Unable to locate Kunda’s aunt in Calcutta, Nagendra wrote to his wife Surja Mukhi for assistance.
excerpt from The Poison Tree: A Tale of Hindu Life in Bengal by Bankim Chandra Chatterjee
The Poison Tree documents the experiences of Nagendra, a wealthy landowner, his wife, Surjamukhi, and an orphan girl, Kunrda Nandini, who Nagendra brings home with him after a trip to Calcutta. Hindu life in Bengal in the late nineteenth century was grounded in the caste system, a social practice that placed every member of society into one of four castes. Each individual within a caste had a designated role in society.
Surja Mukhi’s reply to Nagendra’s letter came in a few days. It was after this manner:
In picking up a little girl, have you forgotten me? Many unripe things are esteemed. People like green guavas, and green cucumbers; green cocoa-nuts are cooling. This low-born female is also, I think, very young, else in meeting with her why should you forget me? Joking apart, have you given up all right over this girl? If not, I beg her from you. It is my business to arrange for her. In whatever becomes yours I have the right to share, but in this case I see your sister has entire possession. Still, I shall not vex myself much if Kamal usurps my rights.
“Do you ask what do I want with the girl? I wish to give her in marriage with Tara Charan. You know how much I have sought for a suitable wife for him. If Providence has sent us a good girl, do not disappoint me. If Kamal will give her up, bring Kunda Nandini with you when you come. I have written to Kamal also recommending this. I am having ornaments fashioned, and am making other preparations for the marriage. Do not linger in Calcutta. Is it not true that if a man stays six months in that city he becomes quite stupid? If you design to marry Kunda, bring her with you, and I will give her to you. Only say that you propose to marry her, and I will arrange the marriage-basket.”
Who Tara Charan was will be explained later. Whoever he was, both Nagendra and Kamal Mani consented to Surja Mukhi’s proposal. Therefore it was resolved that when Nagendra went home Kunda Nandini should accompany him. Every one consented with delight, and Kamal also prepared some ornaments.
Surja Mukhi’s father’s house was in Konnagar. Her father was a Kaystha of good position. He was cashier in some house at Calcutta. Surja Mukhi was his only child. In her infancy a Kaystha widow named Srimati lived in her father’s house as a servant, and looked after Surja Mukhi. Srimati had one child named Tara Charan, of the same age as Surja Mukhi. With him Surja Mukhi had played, and on account of this childish association she felt towards him the affection of a sister.
Srimati was a beautiful woman, and therefore soon fell into trouble. A wealthy man of the village, of evil character, having cast his eyes upon her, she forsook the house of Surja Mukhi’s father. Whither she went no one exactly knew, but she did not return. Tara Charan, forsaken by his mother, remained in the house of Surja Mukhi’s father, who was a very kind-hearted man, and brought up this deserted boy as his own child; not keeping him in slavery as an unpaid servant, but having him taught to read and write. Tara Charan learned English at a free mission-school. Afterwards Surja Mukhi was married, and some years later her father died. By this time Tara Charan had learned English after a clumsy fashion, but he was not qualified for any business. Rendered homeless by the death of Surja Mukhi’s father, he went to her house. At her instigation Nagendra opened a school in the village, and Tara Charan was appointed master. Nowadays, by means of the grant-in-aid system in many villages, sleek-haired, song-singing, harmless Master Babus appear; but at that time such a being as a Master Babu was scarcely to be seen. Consequently, Tara Charan appeared as one of the village gods; especially as it was known in the bazaar that he had read the Citizen of the World, the Spectator, and three books of Euclid. On account of these gifts he was received into the Brahmo Samaj of Debendra Babu, the zemindar of Debipur, and reckoned as one of that Babu’s retinue.
Tara Charan wrote many essays on widow-marriage, on the education of women, and against idol-worship; read them weekly in the Samaj, and delivered many discourses beginning with “Oh, most merciful God!” Some of these he took from the Tattwa Bodhini, and some he caused to be written for him by the school pandit. He was forever preaching: “Abandon idol-worship, give choice in marriage, give women education; why do you keep them shut up in a cage? let women come out.” There was a special cause for this liberality on the subject of women, inasmuch as in his own house there was no woman. Up to this time he had not married. Surja Mukhi had made great efforts to get him married, but as his mother’s story was known in Govindpur, no respectable Kaystha consented to give him his daughter. Many a common, disreputable Kaystha girl he might have had; but Surja Mukhi, regarding Tara Charan as a brother, would not give her consent, since she did not choose to call such a girl sister-in-law. While she was seeking for a respectable Kaystha girl, Nagendra’s letter came, describing Kunda Nandini’s gifts and beauty. She resolved to give her to Tara Charan in marriage.
Which sentence best describes a theme of The Poison Tree?
?
Beauty without guidance and morality can bring ruin.
?
The desire to escape social constructs will result in one’s ruin.
?
The caste system is a trap from which no one can escape.
?
The destruction and denial of beauty is the ultimate evil.
Read the passage.
As Nagendra traveled downriver by boat, a fierce storm drove him from to shore. While looking for shelter from the lashing rain, he came upon a dilapidated house where he found a girl of thirteen, Kunda Nandini, and her dying father. Unable to locate Kunda’s aunt in Calcutta, Nagendra wrote to his wife Surja Mukhi for assistance.
excerpt from The Poison Tree: A Tale of Hindu Life in Bengal by Bankim Chandra Chatterjee
The Poison Tree documents the experiences of Nagendra, a wealthy landowner, his wife, Surjamukhi, and an orphan girl, Kunrda Nandini, who Nagendra brings home with him after a trip to Calcutta. Hindu life in Bengal in the late nineteenth century was grounded in the caste system, a social practice that placed every member of society into one of four castes. Each individual within a caste had a designated role in society.
Surja Mukhi’s reply to Nagendra’s letter came in a few days. It was after this manner:
“In picking up a little girl, have you forgotten me? Many unripe things are esteemed. People like green guavas, and green cucumbers; green cocoa-nuts are cooling. This low-born female is also, I think, very young, else in meeting with her why should you forget me? Joking apart, have you given up all right over this girl? If not, I beg her from you. It is my business to arrange for her. In whatever becomes yours I have the right to share, but in this case I see your sister has entire possession. Still, I shall not vex myself much if Kamal usurps my rights.
“Do you ask what do I want with the girl? I wish to give her in marriage with Tara Charan. You know how much I have sought for a suitable wife for him. If Providence has sent us a good girl, do not disappoint me. If Kamal will give her up, bring Kunda Nandini with you when you come. I have written to Kamal also recommending this. I am having ornaments fashioned, and am making other preparations for the marriage. Do not linger in Calcutta. Is it not true that if a man stays six months in that city he becomes quite stupid? If you design to marry Kunda, bring her with you, and I will give her to you. Only say that you propose to marry her, and I will arrange the marriage-basket.”
Who Tara Charan was will be explained later. Whoever he was, both Nagendra and Kamal Mani consented to Surja Mukhi’s proposal. Therefore it was resolved that when Nagendra went home Kunda Nandini should accompany him. Every one consented with delight, and Kamal also prepared some ornaments.
Surja Mukhi’s father’s house was in Konnagar. Her father was a Kaystha of good position. He was cashier in some house at Calcutta. Surja Mukhi was his only child. In her infancy a Kaystha widow named Srimati lived in her father’s house as a servant, and looked after Surja Mukhi. Srimati had one child named Tara Charan, of the same age as Surja Mukhi. With him Surja Mukhi had played, and on account of this childish association she felt towards him the affection of a sister.
Srimati was a beautiful woman, and therefore soon fell into trouble. A wealthy man of the village, of evil character, having cast his eyes upon her, she forsook the house of Surja Mukhi’s father. Whither she went no one exactly knew, but she did not return. Tara Charan, forsaken by his mother, remained in the house of Surja Mukhi’s father, who was a very kind-hearted man, and brought up this deserted boy as his own child; not keeping him in slavery as an unpaid servant, but having him taught to read and write. Tara Charan learned English at a free mission-school. Afterwards Surja Mukhi was married, and some years later her father died. By this time Tara Charan had learned English after a clumsy fashion, but he was not qualified for any business. Rendered homeless by the death of Surja Mukhi’s father, he went to her house. At her instigation Nagendra opened a school in the village, and Tara Charan was appointed master. Nowadays, by means of the grant-in-aid system in many villages, sleek-haired, song-singing, harmless Master Babus appear; but at that time such a being as a Master Babu was scarcely to be seen. Consequently, Tara Charan appeared as one of the village gods; especially as it was known in the bazaar that he had read the Citizen of the World, the Spectator, and three books of Euclid. On account of these gifts he was received into the Brahmo Samaj of Debendra Babu, the zemindar of Debipur, and reckoned as one of that Babu’s retinue.
Tara Charan wrote many essays on widow-marriage, on the education of women, and against idol-worship; read them weekly in the Samaj, and delivered many discourses beginning with “Oh, most merciful God!” Some of these he took from the Tattwa Bodhini, and some he caused to be written for him by the school pandit. He was forever preaching: “Abandon idol-worship, give choice in marriage, give women education; why do you keep them shut up in a cage? let women come out.” There was a special cause for this liberality on the subject of women, inasmuch as in his own house there was no woman. Up to this time he had not married. Surja Mukhi had made great efforts to get him married, but as his mother’s story was known in Govindpur, no respectable Kaystha consented to give him his daughter. Many a common, disreputable Kaystha girl he might have had; but Surja Mukhi, regarding Tara Charan as a brother, would not give her consent, since she did not choose to call such a girl sister-in-law. While she was seeking for a respectable Kaystha girl, Nagendra’s letter came, describing Kunda Nandini’s gifts and beauty. She resolved to give her to Tara Charan in marriage.
How do the past actions of Srimati affect Surja’s actions?
?
Srimati’s reckless and immoral behavior has tainted Surja Mukhi’s family name, which causes shame in the family. Throughout the story, Surja is actively searching for a way to regain her social status.
?
Srimati abandons her son who is then taken in by Surja’s father and later by Surja, who cares for him like a brother. This leads Surja to leap at the chance to marry Tara to a respectable young woman.
?
Because she is a beautiful but immoral woman Srimati poisoned the house of Surja Mukhi’s family and has caused struggle and despair to fall upon them.
?
Using wealth from her lover, Srimati gives Surja money to open a village school with Tara as the master so he will have an income.
Read the passage.
As Nagendra traveled downriver by boat, a fierce storm drove him to shore. While looking for shelter from the lashing rain, he came upon a dilapidated house where he found a girl of thirteen, Kunda Nandini, and her dying father. Unable to locate Kunda’s aunt in Calcutta, Nagendra wrote to his wife Surja Mukhi for assistance.
excerpt from The Poison Tree: A Tale of Hindu Life in Bengal by Bankim Chandra Chatterjee
The Poison Tree documents the experiences of Nagendra, a wealthy landowner, his wife, Surjamukhi, and an orphan girl, Kunrda Nandini, who Nagendra brings home with him after a trip to Calcutta. Hindu life in Bengal in the late nineteenth century was grounded in the caste system, a social practice that placed every member of society into one of four castes. Each individual within a caste had a designated role in society.
Surja Mukhi’s reply to Nagendra’s letter came in a few days. It was after this manner:
“In picking up a little girl, have you forgotten me? Many unripe things are esteemed. People like green guavas, and green cucumbers; green cocoa-nuts are cooling. This low-born female is also, I think, very young, else in meeting with her why should you forget me? Joking apart, have you given up all right over this girl? If not, I beg her from you. It is my business to arrange for her. In whatever becomes yours I have the right to share, but in this case I see your sister has entire possession. Still, I shall not vex myself much if Kamal usurps my rights.
“Do you ask what do I want with the girl? I wish to give her in marriage with Tara Charan. You know how much I have sought for a suitable wife for him. If Providence has sent us a good girl, do not disappoint me. If Kamal will give her up, bring Kunda Nandini with you when you come. I have written to Kamal also recommending this. I am having ornaments fashioned, and am making other preparations for the marriage. Do not linger in Calcutta. Is it not true that if a man stays six months in that city he becomes quite stupid? If you design to marry Kunda, bring her with you, and I will give her to you. Only say that you propose to marry her, and I will arrange the marriage-basket.”
Who Tara Charan was will be explained later. Whoever he was, both Nagendra and Kamal Mani consented to Surja Mukhi’s proposal. Therefore it was resolved that when Nagendra went home Kunda Nandini should accompany him. Every one consented with delight, and Kamal also prepared some ornaments.
Surja Mukhi’s father’s house was in Konnagar. Her father was a Kaystha of good position. He was cashier in some house at Calcutta. Surja Mukhi was his only child. In her infancy a Kaystha widow named Srimati lived in her father’s house as a servant, and looked after Surja Mukhi. Srimati had one child named Tara Charan, of the same age as Surja Mukhi. With him Surja Mukhi had played, and on account of this childish association she felt towards him the affection of a sister.
Srimati was a beautiful woman, and therefore soon fell into trouble. A wealthy man of the village, of evil character, having cast his eyes upon her, she forsook the house of Surja Mukhi’s father. Whither she went no one exactly knew, but she did not return. Tara Charan, forsaken by his mother, remained in the house of Surja Mukhi’s father, who was a very kind-hearted man, and brought up this deserted boy as his own child; not keeping him in slavery as an unpaid servant, but having him taught to read and write. Tara Charan learned English at a free mission-school. Afterwards Surja Mukhi was married, and some years later her father died. By this time Tara Charan had learned English after a clumsy fashion, but he was not qualified for any business. Rendered homeless by the death of Surja Mukhi’s father, he went to her house. At her instigation Nagendra opened a school in the village, and Tara Charan was appointed master. Nowadays, by means of the grant-in-aid system in many villages, sleek-haired, song-singing, harmless Master Babus appear; but at that time such a being as a Master Babu was scarcely to be seen. Consequently, Tara Charan appeared as one of the village gods; especially as it was known in the bazaar that he had read the Citizen of the World, the Spectator, and three books of Euclid. On account of these gifts he was received into the Brahmo Samaj of Debendra Babu, the zemindar of Debipur, and reckoned as one of that Babu’s retinue.
Tara Charan wrote many essays on widow-marriage, on the education of women, and against idol-worship; read them weekly in the Samaj, and delivered many discourses beginning with “Oh, most merciful God!” Some of these he took from the Tattwa Bodhini, and some he caused to be written for him by the school pandit. He was forever preaching: “Abandon idol-worship, give choice in marriage, give women education; why do you keep them shut up in a cage? let women come out.” There was a special cause for this liberality on the subject of women, inasmuch as in his own house there was no woman. Up to this time he had not married. Surja Mukhi had made great efforts to get him married, but as his mother’s story was known in Govindpur, no respectable Kaystha consented to give him his daughter. Many a common, disreputable Kaystha girl he might have had; but Surja Mukhi, regarding Tara Charan as a brother, would not give her consent, since she did not choose to call such a girl sister-in-law. While she was seeking for a respectable Kaystha girl, Nagendra’s letter came, describing Kunda Nandini’s gifts and beauty. She resolved to give her to Tara Charan in marriage.
How does Indian society view a woman like Srimati?
?
Srimati is seen as a sympathetic figure who was tricked by a dangerous outsider.
?
Srimati runs off with the man she loves, so she is seen as a poor mother; however, she is also respected for pursuing passion and romance above all else.
?
Srimati is viewed as a criminal for abandoning her duties and her employer.
?
Srimati is disgraced as a woman and a mother; while not welcome in the community, she is also seen as a victim of her beauty and of a man’s evil intentions.
Read the passage.
As Nagendra traveled downriver by boat, a fierce storm drove him to shore. While looking for shelter from the lashing rain, he came upon a dilapidated house where he found a girl of thirteen, Kunda Nandini, and her dying father. Unable to locate Kunda’s aunt in Calcutta, Nagendra wrote to his wife Surja Mukhi for assistance.
excerpt from The Poison Tree: A Tale of Hindu Life in Bengal by Bankim Chandra Chatterjee
The Poison Tree documents the experiences of Nagendra, a wealthy landowner, his wife, Surjamukhi, and an orphan girl, Kunrda Nandini, who Nagendra brings home with him after a trip to Calcutta. Hindu life in Bengal in the late nineteenth century was grounded in the caste system, a social practice that placed every member of society into one of four castes. Each individual within a caste had a designated role in society.
Surja Mukhi’s reply to Nagendra’s letter came in a few days. It was after this manner:
“In picking up a little girl, have you forgotten me? Many unripe things are esteemed. People like green guavas, and green cucumbers; green cocoa-nuts are cooling. This low-born female is also, I think, very young, else in meeting with her why should you forget me? Joking apart, have you given up all right over this girl? If not, I beg her from you. It is my business to arrange for her. In whatever becomes yours I have the right to share, but in this case I see your sister has entire possession. Still, I shall not vex myself much if Kamal usurps my rights.
“Do you ask what do I want with the girl? I wish to give her in marriage with Tara Charan. You know how much I have sought for a suitable wife for him. If Providence has sent us a good girl, do not disappoint me. If Kamal will give her up, bring Kunda Nandini with you when you come. I have written to Kamal also recommending this. I am having ornaments fashioned, and am making other preparations for the marriage. Do not linger in Calcutta. Is it not true that if a man stays six months in that city he becomes quite stupid? If you design to marry Kunda, bring her with you, and I will give her to you. Only say that you propose to marry her, and I will arrange the marriage-basket.”
Who Tara Charan was will be explained later. Whoever he was, both Nagendra and Kamal Mani consented to Surja Mukhi’s proposal. Therefore it was resolved that when Nagendra went home Kunda Nandini should accompany him. Every one consented with delight, and Kamal also prepared some ornaments.
Surja Mukhi’s father’s house was in Konnagar. Her father was a Kaystha of good position. He was cashier in some house at Calcutta. Surja Mukhi was his only child. In her infancy a Kaystha widow named Srimati lived in her father’s house as a servant, and looked after Surja Mukhi. Srimati had one child named Tara Charan, of the same age as Surja Mukhi. With him Surja Mukhi had played, and on account of this childish association she felt towards him the affection of a sister.
Srimati was a beautiful woman, and therefore soon fell into trouble. A wealthy man of the village, of evil character, having cast his eyes upon her, she forsook the house of Surja Mukhi’s father. Whither she went no one exactly knew, but she did not return. Tara Charan, forsaken by his mother, remained in the house of Surja Mukhi’s father, who was a very kind-hearted man, and brought up this deserted boy as his own child; not keeping him in slavery as an unpaid servant, but having him taught to read and write. Tara Charan learned English at a free mission-school. Afterwards Surja Mukhi was married, and some years later her father died. By this time Tara Charan had learned English after a clumsy fashion, but he was not qualified for any business. Rendered homeless by the death of Surja Mukhi’s father, he went to her house. At her instigation Nagendra opened a school in the village, and Tara Charan was appointed master. Nowadays, by means of the grant-in-aid system in many villages, sleek-haired, song-singing, harmless Master Babus appear; but at that time such a being as a Master Babu was scarcely to be seen. Consequently, Tara Charan appeared as one of the village gods; especially as it was known in the bazaar that he had read the Citizen of the World, the Spectator, and three books of Euclid. On account of these gifts he was received into the Brahmo Samaj of Debendra Babu, the zemindar of Debipur, and reckoned as one of that Babu’s retinue.
Tara Charan wrote many essays on widow-marriage, on the education of women, and against idol-worship; read them weekly in the Samaj, and delivered many discourses beginning with “Oh, most merciful God!” Some of these he took from the Tattwa Bodhini, and some he caused to be written for him by the school pandit. He was forever preaching: “Abandon idol-worship, give choice in marriage, give women education; why do you keep them shut up in a cage? let women come out.” There was a special cause for this liberality on the subject of women, inasmuch as in his own house there was no woman. Up to this time he had not married. Surja Mukhi had made great efforts to get him married, but as his mother’s story was known in Govindpur, no respectable Kaystha consented to give him his daughter. Many a common, disreputable Kaystha girl he might have had; but Surja Mukhi, regarding Tara Charan as a brother, would not give her consent, since she did not choose to call such a girl sister-in-law. While she was seeking for a respectable Kaystha girl, Nagendra’s letter came, describing Kunda Nandini’s gifts and beauty. She resolved to give her to Tara Charan in marriage.
How does the information about the characters and their families reflect culture?
?
The explanation of family relationships makes clear each character’s role in society.
?
Surja’s letter to her husband provides an example of a typical relationship in an arranged marriage.
?
The focus on class emphasizes the importance of social hierarchy in Indian culture.
?
Nagendra’s kindness to the young girl demonstrates that charity toward strangers is expected.
Read the passage.
As Nagendra traveled downriver by boat, a fierce storm drove him to shore. While looking for shelter from the lashing rain, he came upon a dilapidated house where he found a girl of thirteen, Kunda Nandini, and her dying father. Unable to locate Kunda’s aunt in Calcutta, Nagendra wrote to his wife Surja Mukhi for assistance.
excerpt from The Poison Tree: A Tale of Hindu Life in Bengal by Bankim Chandra Chatterjee
The Poison Tree documents the experiences of Nagendra, a wealthy landowner, his wife, Surjamukhi, and an orphan girl, Kunrda Nandini, who Nagendra brings home with him after a trip to Calcutta. Hindu life in Bengal in the late nineteenth century was grounded in the caste system, a social practice that placed every member of society into one of four castes. Each individual within a caste had a designated role in society.
Surja Mukhi’s reply to Nagendra’s letter came in a few days. It was after this manner:
“In picking up a little girl, have you forgotten me? Many unripe things are esteemed. People like green guavas, and green cucumbers; green cocoa-nuts are cooling. This low-born female is also, I think, very young, else in meeting with her why should you forget me? Joking apart, have you given up all right over this girl? If not, I beg her from you. It is my business to arrange for her. In whatever becomes yours I have the right to share, but in this case I see your sister has entire possession. Still, I shall not vex myself much if Kamal usurps my rights.
“Do you ask what do I want with the girl? I wish to give her in marriage with Tara Charan. You know how much I have sought for a suitable wife for him. If Providence has sent us a good girl, do not disappoint me. If Kamal will give her up, bring Kunda Nandini with you when you come. I have written to Kamal also recommending this. I am having ornaments fashioned, and am making other preparations for the marriage. Do not linger in Calcutta. Is it not true that if a man stays six months in that city he becomes quite stupid? If you design to marry Kunda, bring her with you, and I will give her to you. Only say that you propose to marry her, and I will arrange the marriage-basket.”
Who Tara Charan was will be explained later. Whoever he was, both Nagendra and Kamal Mani consented to Surja Mukhi’s proposal. Therefore it was resolved that when Nagendra went home Kunda Nandini should accompany him. Every one consented with delight, and Kamal also prepared some ornaments.
Surja Mukhi’s father’s house was in Konnagar. Her father was a Kaystha of good position. He was cashier in some house at Calcutta. Surja Mukhi was his only child. In her infancy a Kaystha widow named Srimati lived in her father’s house as a servant, and looked after Surja Mukhi. Srimati had one child named Tara Charan, of the same age as Surja Mukhi. With him Surja Mukhi had played, and on account of this childish association she felt towards him the affection of a sister.
Srimati was a beautiful woman, and therefore soon fell into trouble. A wealthy man of the village, of evil character, having cast his eyes upon her, she forsook the house of Surja Mukhi’s father. Whither she went no one exactly knew, but she did not return. Tara Charan, forsaken by his mother, remained in the house of Surja Mukhi’s father, who was a very kind-hearted man, and brought up this deserted boy as his own child; not keeping him in slavery as an unpaid servant, but having him taught to read and write. Tara Charan learned English at a free mission-school. Afterwards Surja Mukhi was married, and some years later her father died. By this time Tara Charan had learned English after a clumsy fashion, but he was not qualified for any business. Rendered homeless by the death of Surja Mukhi’s father, he went to her house. At her instigation Nagendra opened a school in the village, and Tara Charan was appointed master. Nowadays, by means of the grant-in-aid system in many villages, sleek-haired, song-singing, harmless Master Babus appear; but at that time such a being as a Master Babu was scarcely to be seen. Consequently, Tara Charan appeared as one of the village gods; especially as it was known in the bazaar that he had read the Citizen of the World, the Spectator, and three books of Euclid. On account of these gifts he was received into the Brahmo Samaj of Debendra Babu, the zemindar of Debipur, and reckoned as one of that Babu’s retinue.
Tara Charan wrote many essays on widow-marriage, on the education of women, and against idol-worship; read them weekly in the Samaj, and delivered many discourses beginning with “Oh, most merciful God!” Some of these he took from the Tattwa Bodhini, and some he caused to be written for him by the school pandit. He was forever preaching: “Abandon idol-worship, give choice in marriage, give women education; why do you keep them shut up in a cage? let women come out.” There was a special cause for this liberality on the subject of women, inasmuch as in his own house there was no woman. Up to this time he had not married. Surja Mukhi had made great efforts to get him married, but as his mother’s story was known in Govindpur, no respectable Kaystha consented to give him his daughter. Many a common, disreputable Kaystha girl he might have had; but Surja Mukhi, regarding Tara Charan as a brother, would not give her consent, since she did not choose to call such a girl sister-in-law. While she was seeking for a respectable Kaystha girl, Nagendra’s letter came, describing Kunda Nandini’s gifts and beauty. She resolved to give her to Tara Charan in marriage.
How does Surja’s culture affect the way she approaches Tara’s marriage?
Select each correct answer.
?
Since social class is important, Surja is determined to find Tara a respectable wife of the same class.
?
Since compatibility is important, Surja decides it is important that Tara marry someone who speaks English and shares his ideas.
?
Tara’s liberal beliefs make him an undesirable husband; Surja knows she will have to look outside of their town for a bride.
?
Surja’s responsibility for arranging a good marriage for Tara is something she takes very seriously; she will not give consent until she makes a good match.
Read the passage.
This story is set in the late 1800s on an island off the coast of Australia. The narrator is a trader who recently settled on the island.
excerpt from “In a Native Village” from Ridan the Devil and Other Stories by Louis Becke
Pigs were the next trouble—my own pigs and the pigs of the general public. When I landed on the island I had brought with me from Sydney a lady and gentleman pig of exceedingly high lineage. They were now the proud and happy parents of seven beautiful little black-and-white piglets, and at any hour of the day one might see numbers of natives looking over my wall at the graceful little creatures as they chased one another over the grass, charged at nothing, and came to a dead stop with astonishing rapidity and a look of intense amazement.
One fatal day I let them out, thinking they would come to no harm, as their parents were with them. As they did not return at dusk I sent E’eu, the under-nurse, to search for them. She came back and told me in a whisper that the father and mother pig were rooting up a sweet-potato patch belonging to the local chief. The piglets she had failed to discover. Enjoining secrecy, I sent E’eu and Harry to chase the parents home. This was effected after considerable trouble, but the owner of the potato patch claimed two dollars damages. I paid it, feeling his claim was just.
Next morning the seven piglets were returned one by one by various native children. Each piglet had, according to their accounts, been in a separate garden, and done considerable damage; and ‘because they’ (the piglets) ‘were the property of a good and just man, the owners of the gardens would not hurt nor even chase them,’ etc. Glad to recover the squealing little wanderers at any cost, I gave each lying child a quarter-dollar.
Next day I had a piece of ground walled in with lumps of coral and placed the porcine family inside. Then I wrote to the councillors, asking them to notify the people that if any of the village pigs came inside my fence and rooted abyssmal holes in my ground, as had been their habit hitherto, I should demand compensation. His Honour the Chief Justice stated in court that this was only fair and right; the white man had paid for the damage done by his pigs, and therefore he was entitled to claim damages if the village pigs caused him trouble. (I had previously squared his Honour with the promise of a male sucker.)
One day the seven young pigs escaped from their mother and went out for a run on the village green. They were at once assailed as detestable foreign devils by about two hundred and forty-three gaunt, razorbacked village sows, and were only rescued from a cruel death after every one had lost its tail. Why is it that pigs of different breeds always bite off each other’s tails? I claimed fifty cents per tail, and was awarded $3.50 damages, to be paid by the community generally. The community refused to pay. His Honour then notified by the town crier that I was at liberty to shoot any pig that broke into the station grounds. I put a cartridge into a Snider rifle and told my servants to call me if they heard a grunt in the night.
Three days after this, as I was discussing theology and baked fowl one night with the local teacher in his own house, a boy burst in and said that there was a strange pig in my garden devouring my crop of French beans. In two minutes I was back in my house, snatched up the Snider, and ran to the garden wall. There was the brute, a great black-and white beast, the biggest native pig I ever saw. His back was turned, but hearing my steps he ‘went about’ and faced me. ‘Twas a bright moonlight night, and the bullet plugged him fair between the eyes. Over he rolled without a kick. Then I heard a shriek or laughter, and saw half a dozen girls scuttling away among the coco-palms. A horrible suspicion nearly made me faint. Jumping over the wall I examined the defunct, and could scarce forbear to shed a tear.
‘Twas mine own prized black Australian boar, daubed over with splashes of coral lime whitewash. And the whitewash came from a tub full of it, with which the natives had that morning been whitening the walls of the newly-built village church. The one-eyed old scoundrel of a deacon told me next day it was a judgment on me.
How do the narrator’s actions set the plot in motion?
?
By sectioning off his pigs and declaring that the villagers must repay any damage done to them, the narrator creates tension.
?
By speaking directly to the chief, the narrator violates the trust of the villagers, which leads the villagers to plot against him.
?
Paying cash to the villagers for any damage his pigs may have committed triggers a greedy response in the villagers; this causes them to trick him again and again.
?
The narrator’s flashy appearance and blatant displays of wealth cause the villagers to despise him; they look for ways to force him off their land.
Read the passage.
This story is set in the late 1800s on an island off the coast of Australia. The narrator is a trader who recently settled on the island.
excerpt from “In a Native Village” from Ridan the Devil and Other Stories by Louis Becke
Pigs were the next trouble—my own pigs and the pigs of the general public. When I landed on the island I had brought with me from Sydney a lady and gentleman pig of exceedingly high lineage. They were now the proud and happy parents of seven beautiful little black-and-white piglets, and at any hour of the day one might see numbers of natives looking over my wall at the graceful little creatures as they chased one another over the grass, charged at nothing, and came to a dead stop with astonishing rapidity and a look of intense amazement.
One fatal day I let them out, thinking they would come to no harm, as their parents were with them. As they did not return at dusk I sent E’eu, the under-nurse, to search for them. She came back and told me in a whisper that the father and mother pig were rooting up a sweet-potato patch belonging to the local chief. The piglets she had failed to discover. Enjoining secrecy, I sent E’eu and Harry to chase the parents home. This was effected after considerable trouble, but the owner of the potato patch claimed two dollars damages. I paid it, feeling his claim was just.
Next morning the seven piglets were returned one by one by various native children. Each piglet had, according to their accounts, been in a separate garden, and done considerable damage; and ‘because they’ (the piglets) ‘were the property of a good and just man, the owners of the gardens would not hurt nor even chase them,’ etc. Glad to recover the squealing little wanderers at any cost, I gave each lying child a quarter-dollar.
Next day I had a piece of ground walled in with lumps of coral and placed the porcine family inside. Then I wrote to the councillors, asking them to notify the people that if any of the village pigs came inside my fence and rooted abyssmal holes in my ground, as had been their habit hitherto, I should demand compensation. His Honour the Chief Justice stated in court that this was only fair and right; the white man had paid for the damage done by his pigs, and therefore he was entitled to claim damages if the village pigs caused him trouble. (I had previously squared his Honour with the promise of a male sucker.)
One day the seven young pigs escaped from their mother and went out for a run on the village green. They were at once assailed as detestable foreign devils by about two hundred and forty-three gaunt, razorbacked village sows, and were only rescued from a cruel death after every one had lost its tail. Why is it that pigs of different breeds always bite off each other’s tails? I claimed fifty cents per tail, and was awarded $3.50 damages, to be paid by the community generally. The community refused to pay. His Honour then notified by the town crier that I was at liberty to shoot any pig that broke into the station grounds. I put a cartridge into a Snider rifle and told my servants to call me if they heard a grunt in the night.
Three days after this, as I was discussing theology and baked fowl one night with the local teacher in his own house, a boy burst in and said that there was a strange pig in my garden devouring my crop of French beans. In two minutes I was back in my house, snatched up the Snider, and ran to the garden wall. There was the brute, a great black-and white beast, the biggest native pig I ever saw. His back was turned, but hearing my steps he ‘went about’ and faced me. ‘Twas a bright moonlight night, and the bullet plugged him fair between the eyes. Over he rolled without a kick. Then I heard a shriek or laughter, and saw half a dozen girls scuttling away among the coco-palms. A horrible suspicion nearly made me faint. Jumping over the wall I examined the defunct, and could scarce forbear to shed a tear.
‘Twas mine own prized black Australian boar, daubed over with splashes of coral lime whitewash. And the whitewash came from a tub full of it, with which the natives had that morning been whitening the walls of the newly-built village church. The one-eyed old scoundrel of a deacon told me next day it was a judgment on me.
How does the first-person viewpoint influence meaning in this story?
?
It allows readers to see the flaws and prejudices of both the narrator and the villagers.
?
It causes readers to sympathize with the narrator and view the villagers as manipulative and dishonest just as the narrator does.
?
It ensures that the story remains objective and portrays both the narrator and the native villagers as complete characters.
?
It enables readers to better understand the difficulties of moving to a new place and trying to assimilate into a new culture.
Read the passage.
This story is set in the late 1800s on an island off the coast of Australia. The narrator is a trader who recently settled on the island.
excerpt from “In a Native Village” from Ridan the Devil and Other Stories by Louis Becke
Pigs were the next trouble—my own pigs and the pigs of the general public. When I landed on the island I had brought with me from Sydney a lady and gentleman pig of exceedingly high lineage. They were now the proud and happy parents of seven beautiful little black-and-white piglets, and at any hour of the day one might see numbers of natives looking over my wall at the graceful little creatures as they chased one another over the grass, charged at nothing, and came to a dead stop with astonishing rapidity and a look of intense amazement.
One fatal day I let them out, thinking they would come to no harm, as their parents were with them. As they did not ret