Class 12 Lesson 1 NCERT English Short Stories Kalidoscope Question and answer.
Understanding the text
1. Did the author believe in the prophetic ability of Frau Fried?
2. Why did he think that Frau Frida’s dreams were a stratagem for surviving?
3. Why does the author compare Neruda to a Renaissance pepe?
Answer:
1. Did the author believe in the prophetic ability of Frau Frieda? The author’s belief in Frau Frieda’s prophetic ability is ambiguous and evolves throughout the story.
Initially, he seems to have been influenced by her prediction in Vienna, as he left immediately and considered himself a “survivor of some catastrophe I never experienced.” This suggests a degree of belief at that time.
Later, when speaking with her in Barcelona, he explicitly states, “I had always thought her dreams were no more than a stratagem for surviving.” This indicates a more skeptical view, seeing her dream interpretation as a way to earn a living.
His continued intrigue with the snake ring and his desire to know which finger the deceased woman wore it on suggest that a part of him still considers the possibility that the housekeeper was Frau Frieda, and therefore potentially connected to her past “prophecies” or at least her unique character.
Ultimately, the text doesn’t provide a definitive answer. The author seems to oscillate between acknowledging the impact of her predictions on his life and viewing her “talent” with a degree of cynicism.
2. Why did he think that Frau Frieda’s dreams were a stratagem for surviving? The author thought Frau Frieda’s dreams were a stratagem for surviving because:
Her Circumstances in Vienna: He notes that she came to Austria as a child between the wars and lived in a city rife with black marketeering and espionage, suggesting a challenging environment where one might need to be resourceful to survive.
Her Employment: She secured a position with a wealthy family solely based on her ability to interpret their dreams. This implies that she found a unique way to provide a service (whether genuinely prophetic or not) that ensured her food, shelter, and eventually, a part of their estate.
Her Financial Success: The fact that she later owned properties in Austria and retired comfortably to Portugal suggests that her “dream selling” was financially successful, leading the author to believe it was a calculated way to improve her life rather than a genuine mystical gift.
Her Own Words: While not explicitly stated by Frau Frieda, her initial “devastating” answer, “I sell my dreams,” when asked about her presence in Vienna, could be interpreted by the author as a pragmatic acknowledgment of her unusual means of survival.
3. Why does the author compare Neruda to a Renaissance pope? The author compares Neruda to a Renaissance pope because of several shared characteristics:
Gluttony and Refinement: Like Renaissance popes who were known for their lavish lifestyles and appreciation of fine things, Neruda is described as “gluttonous and refined.” His enjoyment of the elaborate seafood meal and his knowledge of culinary delicacies highlight his refined tastes, while the sheer quantity he consumes points to his gluttony.
Presiding at the Table: The author notes that even against his will, Neruda “always presided at the table.” This echoes the powerful and central position of Renaissance popes, who often held court and were the focal point of gatherings.
Childlike Curiosity: The author mentions Neruda’s “child’s curiosity in the inner workings of each thing he saw,” contrasting with the image of a powerful figure but aligning with the Renaissance ideal of intellectual exploration and wonder.
Immense Personality: Renaissance popes were often larger-than-life figures with strong personalities. Neruda’s presence and the way people are drawn to him, even his peculiar dining habits, suggest a similarly imposing and memorable personality.
In essence, the comparison highlights Neruda’s powerful presence, his enjoyment of worldly pleasures, and a certain grandness of character that the author associates with the figures of the Renaissance papacy.
Talking about the Text
Discuss in groups
1. In spite of all the rationality that human beings are capable of, most of us are suggestible and yield to archaic superstitions.
2. Dreams and chair Dreams and clairvoyance are as much an element of the poetic vision as religious superstition.
Answer:
1. In spite of all the rationality that human beings are capable of, most of us are suggestible and yield to archaic superstitions.
- Examples of Suggestibility:
- Think of common superstitions people follow (knocking on wood, avoiding black cats, lucky numbers). Do you or people you know adhere to any? Why?
- Consider the power of rumors and misinformation. How easily can people be swayed by unverified information, even in the age of information?
- Discuss the influence of advertising and marketing. How do they tap into our desires and anxieties to make us buy things, sometimes irrationally?
- Explore the phenomenon of placebo effect. How can belief in a treatment, even if inert, lead to real physical changes?
- Think about social conformity. How often do we go along with group beliefs or behaviors, even if we have doubts?
- Reasons for Yielding to Superstition:
- Comfort in Uncertainty: Superstitions can offer a sense of control or explanation in unpredictable situations.
- Cultural Transmission: Many superstitions are passed down through generations and become ingrained in our cultural fabric.
- Psychological Needs: They can provide a sense of hope, ward off anxiety, or create a feeling of connection to the past.
- Emotional Reasoning: Fear, hope, and other emotions can override logical thinking.
- Cognitive Biases: Confirmation bias (seeking information that confirms existing beliefs) can reinforce superstitious thinking.
- Simplicity: Superstitious explanations can be simpler and more appealing than complex rational explanations.
- The Paradox of Rationality and Superstition:
- Why do highly intelligent and educated people sometimes hold superstitious beliefs?
- Is there a fundamental human need for narrative and meaning-making that goes beyond pure logic?
- Can rationality and superstition coexist in different areas of life?
- Has the prevalence of superstition changed in modern, technologically advanced societies?
2. Dreams and clairvoyance are as much an element of the poetic vision as religious superstition.
- Dreams as Poetic Inspiration:
- Discuss how dreams, with their surreal logic, vivid imagery, and emotional intensity, can be a rich source of inspiration for poets and artists.
- Think of examples in literature or art where dreams have played a significant role.
- How do dreams tap into the subconscious and offer unique perspectives on reality?
- Clairvoyance and Intuition in Poetry:
- Explore the idea of poetic intuition – a sudden flash of insight or understanding that can feel almost clairvoyant.
- How do poets often express truths or emotions that resonate deeply without necessarily following a purely logical path?
- Is there a sense in which poetry can “see” or articulate things that are not immediately obvious?
- Religious Superstition as a Source of Poetic Imagery and Themes:
- Consider how religious beliefs, even those considered superstitious, have historically provided powerful symbols, narratives, and themes for poetry.
- Think of examples of religious imagery and mythology in poetry.
- How do these superstitions reflect fundamental human concerns about life, death, morality, and the supernatural?
- The Common Ground:
- What connects dreams, clairvoyance (or poetic intuition), and religious superstition in the context of the “poetic vision”?
- Do they all involve a departure from strict rationality and an exploration of the subjective, the mysterious, or the unseen?
- Do they all tap into the human desire for meaning, wonder, and transcendence?
- Is there a sense in which poetry, like dreams and superstition, operates on a symbolic and metaphorical level?
By discussing these points within your groups, you can explore the complex relationship between human rationality, belief, and the creative impulse. Remember to share personal experiences and diverse perspectives to enrich the discussion.
Appreciation
1. The story hinges on a gold ring shaped like a serpent with emerald eyes. Comment on the response that this image evokes n the reader.
2. Th craft of a master story-teller lies in the ability to interweave imagination and reality. Do you think that this story illustrates this?
3. Bring out the contradiction in the last exchange between the author and the Portuguese ambassador
‘In concrete terms. ‘I asked at last, ‘what did she do?’ ,’Nothing’. he said, with a certain disenchantment. ‘She dreamed.’
4. Comment on the ironical element in the story.
Answer:
The story hinges on a gold ring shaped like a serpent with emerald eyes. Comment on the response that this image evokes in the reader.
The image of the gold ring shaped like a serpent with emerald eyes evokes a powerful sense of mystery, intrigue, and a potential link to the past. Serpents are often symbolic, carrying connotations of wisdom, transformation, danger, or even temptation. The addition of emerald eyes, with their vibrant green color, adds a touch of the exotic and precious, making the ring a distinctive and memorable object.
For the reader, the ring immediately becomes a crucial clue. It’s the catalyst that triggers the narrator’s vivid recollection of Frau Frieda. This single piece of jewelry acts as a bridge between the shocking present event in Havana and the narrator’s past in Vienna. It creates a suspenseful question: is the deceased woman the unforgettable Frau Frieda?
The ring also carries a hint of otherworldliness or the uncanny. The serpent motif, especially described as “Egyptian” in the flashback, suggests a connection to ancient and perhaps mystical traditions, aligning with Frau Frieda’s unusual talent for interpreting dreams. This can evoke a feeling that there’s more to the story than meets the eye, hinting at deeper connections and perhaps even something beyond the purely rational.
The craft of a master story-teller lies in the ability to interweave imagination and reality. Do you think that this story illustrates this?
Yes, this story strongly illustrates the craft of a master storyteller in its ability to interweave imagination and reality.
- The Grounded Reality: The story begins with a seemingly real and dramatic event – a massive wave hitting the Havana Riviera Hotel. The detailed description of the damage and the recovery efforts lends a sense of realism to the narrative. The setting in Havana and the mention of real figures like Pablo Neruda further ground the story in a recognizable reality.
- The Intrusion of the Unexplained: Into this realistic setting, the element of Frau Frieda and her “selling of dreams” introduces a distinctly imaginative and almost fantastical element. Her prophetic abilities, the strange coincidence of the shared dream with Neruda, and her overall enigmatic persona push the boundaries of conventional reality.
- The Blurring of Lines: The story masterfully blurs the line between what is real and what might be imagined or perceived through a different lens (like the interpretation of dreams). Is Frau Frieda truly prophetic, or is she a shrewd observer and manipulator? The story doesn’t offer a definitive answer, allowing the reader to ponder the possibilities.
- The Narrator’s Subjectivity: The story is told from a first-person perspective, and the narrator’s memories and interpretations shape the narrative. His fascination with Frau Frieda and his lingering questions highlight how personal experience and imagination can color our perception of reality.
- Thematic Exploration: The interplay between reality and imagination allows the story to explore themes of memory, the power of suggestion, the nature of belief, and the mysteries that lie beyond rational explanation.
By anchoring the fantastical elements in a recognizable world and presenting them through the lens of a believable narrator, the author creates a compelling and thought-provoking narrative that showcases the skillful weaving of imagination and reality.
Bring out the contradiction in the last exchange between the author and the Portuguese ambassador: ‘In concrete terms,’ I asked at last, ‘what did she do?’ ‘Nothing,’ he said, with a certain disenchantment. ‘She dreamed.’
The contradiction in this exchange lies in the disparity between the narrator’s expectation of a tangible profession or activity and the ambassador’s seemingly dismissive yet profound answer.
- Narrator’s Expectation: The narrator, after being intrigued by the woman and her connection to the mysterious Frau Frieda, seeks a “concrete” explanation of her role as the ambassador’s housekeeper. He likely expects to hear about typical domestic duties or some specific skills she possessed. His question implies a desire for a practical, understandable explanation of her existence.
- Ambassador’s Disenchantment: The ambassador’s response, “Nothing,” initially carries a tone of “disenchantment.” This suggests that perhaps, in conventional terms, the housekeeper didn’t perform significant practical tasks. It might even imply a slight disappointment from the ambassador’s perspective if he were judging her by typical standards of employment.
- Ambassador’s Profound Truth: However, the immediate follow-up, “She dreamed,” elevates her role beyond the mundane. For the ambassador, her “dreaming” was her significant activity, her defining characteristic, and perhaps even her most valuable contribution. This echoes Frau Frieda’s own self-description: “I sell my dreams.”
The contradiction highlights the different ways of valuing a person and their contributions. The narrator seeks a concrete, practical role, while the ambassador emphasizes the intangible, perhaps even extraordinary, aspect of her being – her ability to dream and, implicitly, the impact those dreams had. It suggests that her significance lay not in conventional actions but in something more mysterious and perhaps even influential, as hinted at in Frau Frieda’s past.
Comment on the ironical element in the story.
The story contains several layers of irony:
- The Mundane Triggering the Extraordinary: The utterly mundane act of reading a newspaper report about a tragic accident triggers a deep and personal journey into the narrator’s past and the enigmatic figure of Frau Frieda. The extraordinary and mysterious unfold from a very ordinary event.
- The Power of the Impalpable: Frau Frieda’s “profession” is dreaming, something intangible and often dismissed as unreal. Yet, her dreams have tangible consequences: they seemingly save the narrator’s life, bring her wealth, and deeply influence the Viennese family. The irony lies in the real-world impact of something so seemingly unreal.
- The Ambassador’s “Nothing”: As discussed above, the ambassador’s description of the housekeeper doing “nothing” ironically underscores the profound importance he attributed to her dreaming. Her lack of conventional action is precisely what made her extraordinary in his eyes.
- The Narrator’s Skepticism vs. His Fascination: The narrator often expresses skepticism about Frau Frieda’s prophetic abilities, viewing her dreams as a “stratagem for surviving.” Yet, he remains deeply intrigued by her and spends considerable time recounting his experiences with her. This internal contradiction and the lingering possibility that her dreams held some truth create an ironic tension.
- The Predictable Unpredictability of Dreams: The story touches on the idea of dreams predicting the future, a concept often viewed with skepticism in a rational world. The irony lies in the possibility that these fleeting, often nonsensical subconscious experiences could hold real-world significance.
- The “Fake Castle”: Frau Frieda retiring to a “fake castle” is also subtly ironic. Having potentially amassed a fortune through her unconventional “trade,” she chooses to live in an imitation of grandeur, perhaps highlighting the artificiality or the fantastical nature of her success.
These ironical elements contribute to the story’s complexity, prompting the reader to question the nature of reality, belief, and the often-unforeseen ways in which the seemingly unreal can impact our lives.
Language Work
A. Vocabulary
Look up the meanings of the following phrases under ‘dream’ and ‘sell’ in the dictionary.
| dream | sell |
| dream on | sell-by date |
| dream something away | selling-point |
| (not) dream of doing something | sell-out |
| dream something up | selling price |
| look like a dream | seller’s market |
B. Grammar: Emphasis
Read this sentence carefully
One morning at nine o’clock, while we were having breakfast on the terrace of the Havana Riviera Hotel under a bright sun, a huge wave picked up several cars that were driving down the avenue along the seawall or parked on the pavement. and embedder one of them in the side of the hotel.
The position of a word, phrase or an idea within a sentence usually indicates the emphasis it receives. Generally, the most emphatic place in the sentences is its end; the next most emphatic place is its beginning; and the least emphatic, its middle. In the sentence above the most important fact is that the huge wave embedded one of the cars in one side of the hotel.
The other details of time and place are given at the beginning, The general statement of the ‘huge wave picking up several car’s precedes the particular car which is pertinent to the theme of the story.
Let us rewrite the statements of the place are given at the beginning with ‘a huge wave’ and the first part following ‘hotel and notice the difference in the effect.
A huge wave picked up seawall or parked on the pavement. and embedded one of them in the side of the hotel. one morning at nine o’clock, while we were having breakfast on the terrace of the Havana Riviera Hotel under a bright sun.
Answer:
A. Vocabulary
Here are the meanings of the phrases under ‘dream’ and ‘sell’ as you might find them in a dictionary:
Dream:
- dream on: (informal) used to tell someone that what they hope for is unlikely to happen; to be unrealistic. Example: “He thinks he’ll win the lottery.” “Dream on!”
- dream something away: to spend time idly or wastefully on fantasies or daydreams. Example: He dreamed his afternoon away, staring out the window.
- (not) dream of doing something: to not even consider doing something because it is unpleasant, unlikely, or morally wrong. Example: I wouldn’t dream of betraying your trust.
- dream something up: to invent or create something imaginative or fanciful. Example: She dreamed up a fantastic story for the children.
- look like a dream: to be very beautiful or perfect. Example: The wedding dress looked like a dream.
Sell:
- sell-by date: a date printed on food products indicating the last date recommended for sale before quality deteriorates.
- selling-point: a feature of a product or service that is emphasized in advertising because it makes it attractive to customers. Example: The car’s fuel efficiency is a major selling-point.
- sell-out:
- the selling of all the tickets for an event or all the stock of a product. Example: The concert was a complete sell-out.
- (pejorative) an act of betraying one’s principles or allegiances for personal gain. Example: Some fans felt the band’s new commercial sound was a sell-out.
- selling price: the price at which something is offered or sold.
- seller’s market: an economic condition in which demand exceeds supply, giving sellers a strong negotiating position.
B. Grammar: Emphasis
You are correct in your understanding of emphasis in sentence structure. Let’s analyze the original sentence and the rewritten version:
Original Sentence:
One morning at nine o’clock, while we were having breakfast on the terrace of the Havana Riviera Hotel under a bright sun, a huge wave picked up several cars that were driving down the avenue along the seawall or parked on the pavement, and embedded one of them in the side of the hotel.
As you pointed out, the end of the sentence carries the most emphasis: “…and embedded one of them in the side of the hotel.” This is the most impactful piece of information, directly related to the story’s central event.
The beginning of the sentence, “One morning at nine o’clock, while we were having breakfast on the terrace of the Havana Riviera Hotel under a bright sun,” provides the setting and time. While important for context, it receives secondary emphasis compared to the dramatic conclusion.
The middle part, “a huge wave picked up several cars that were driving down the avenue along the seawall or parked on the pavement,” provides the action leading to the main event but is the least emphatic part of the original sentence.
Rewritten Sentence:
A huge wave picked up seawall or parked on the pavement. and embedded one of them in the side of the hotel. one morning at nine o’clock, while we were having breakfast on the terrace of the Havana Riviera Hotel under a bright sun.
In this rewritten sentence, the emphasis shifts:
- The phrase “and embedded one of them in the side of the hotel” still retains some emphasis due to its position near the end of the first part.
- However, the time and place details (“one morning at nine o’clock, while we were having breakfast on the terrace of the Havana Riviera Hotel under a bright sun”) are now placed at the very end, making them more emphatic than they were in the original sentence.
- The middle part, “A huge wave picked up seawall or parked on the pavement,” remains the least emphatic.
Difference in Effect:
The rewritten sentence has a different effect:
- It feels slightly disjointed and less natural in its flow.
- By placing the time and setting at the end, it creates a sense of afterthought or less immediate importance of when and where this happened compared to what happened.
- The impact of the huge wave and the embedded car is somewhat lessened because the sentence doesn’t build towards it as directly. The reader receives the core action earlier without the contextual build-up at the beginning.
In essence, the original sentence effectively builds towards the shocking event, placing the most crucial information in the most emphatic position. The rewritten sentence sacrifices this natural flow and emphasis, making the time and place details surprisingly prominent at the end.
Task
Study the following sentences and underline the part which receives emphasis
I never saw her again or even wondered about her until I heard about the snake ring on the women who died in the Havana Riviera disaster.
That did not surprise me, however, because I had always thought her dreams were no more than a stratagem for surviving.
Three tables away sat an intrepid women in an old-fashioned felt hat and a purple scarf, eating without haste and starting at him.
I styed in Vienna for more than a month. sharing the straitened circumsatances of the other students while I waited for money that never arrived.