Class 12 NCERT English Kaleidoscope Non Fiction Lesson 4 Why the Novel Matters Question and Answers.
Question And Answer:
1. What are the things that mark animals things from the inanimate?
2. What is the simple truth that eludes the philosopher or the scientist?
3. How does Lawrence reconcile inconsistency of behaviour with integrity?
Answer:
1. What are the things that mark animals things from the inanimate?
According to the author, the defining characteristic that marks animate things (including animals) from the inanimate is life. He emphasizes this repeatedly:
- He says, “Whatever is me alive is me.” This implies that being alive is the fundamental distinction.
- He contrasts his living hand with his inanimate pen: “Whereas, of course, as far as I am concerned, my pen isn’t alive at all. My pen isn’t me alive. Me alive ends at my fingertips.”
- He states, “Only my finger-nails, those ten little weapons between me and an inanimate universe, they cross the mysterious Rubicon between me alive and things like my pen, which are not alive, in my own sense.”
- He concludes, “Nothing is important but life. And for myself, I can absolutely see life nowhere but in the living. Life with a capital L is only man alive. Even a cabbage in the rain is cabbage alive. All things that are alive are amazing. And all things that are dead are subsidiary to the living.”
Therefore, the primary marker distinguishing animate from inanimate things, in the author’s view, is the presence of life itself.
2. What is the simple truth that eludes the philosopher or the scientist?
The “simple truth” that the author believes eludes the philosopher and the scientist is the primacy and fundamental importance of being alive – of “man alive” and all living things – over abstract concepts or reductionist analyses.
- He criticizes philosophers for focusing on “infinity” and “pure spirit,” which he sees as detached from the immediate, vital experience of being alive in a body that feels and knows. He believes they get lost in abstract thought, missing the fundamental reality of their own living existence.
- He criticizes scientists for dissecting the living into dead parts and identifying those parts as the self, thereby losing sight of the integrated, living whole. They analyze the components rather than appreciating the amazing phenomenon of life itself.
The simple truth, according to the author, is to recognize and value the immediate, sensory experience of being alive as the most fundamental and significant reality, a truth that he feels these intellectual disciplines often overlook in their pursuit of abstract concepts or mechanistic explanations.
The author, in discussing the inconsistency of human behavior (“My yea! of today is oddly different from my yea! of yesterday”), argues that this very changeability is part of our living integrity. He suggests that:
- Integrity is not about rigid consistency: Trying to maintain a fixed identity (“If I say of myself, I am this, I am that—then, if I stick to it, I turn into a stupid fixed thing like a lamp-post”) leads to a kind of living death.
- True integrity lies in embracing change and the flow of life: Just as love thrives on the constant change and surprise between individuals, so too does our sense of self. Our integrity is maintained within this process of flux.
- Trying to define or fix our integrity is futile: “I shall never know wherein lies my integrity, my individuality, my me. I can never know it.” The essence of who we are is dynamic and cannot be captured in a static definition.
In essence, the author of this passage reconciles inconsistency of behavior with integrity by suggesting that integrity is not about a static adherence to a set of traits, but rather the inherent wholeness and continuity of a living being that is constantly changing and adapting. To be truly alive is to be inconsistent in some ways, and this very inconsistency is part of our authentic existence.
To understand D.H. Lawrence’s specific views on this, you would need to refer to his own writings. However, the author of this text presents a compelling argument for seeing inconsistency not as a flaw in integrity, but as a fundamental aspect of being fully alive.
Understanding about the Text
Discuss in pairs
1. The interest in a novel springs from the reactions of characters to circumstances. It is more important for characters to be true to themselves (integrity) than to what is expected of them (consistency). (A foolish consistency is the hobgoblin of little minds-Emerson.)
2. The novel is the one bright book of life.’ Books are not life’. Discuss the distinction of ‘What is a Good Book?” in Woven Words Class XI.
Answer:
Discussion Point 1: Character Integrity vs. Consistency
Your Partner Might Say: “This point really resonates with the author’s ideas about ‘man alive.’ He seems to argue that characters in novels, and people in life, need to be authentic and true to their dynamic, ever-changing selves, even if it means their behavior isn’t always predictable or consistent.”
You Might Respond: “Absolutely. The Emerson quote fits perfectly. The author explicitly says that if characters in a novel ‘keep on being good, according to pattern, or bad, according to pattern, or even volatile, according to pattern, they cease to live, and the novel falls dead.’ It’s that inherent unpredictability and the sense of genuine reaction that makes them feel real.”
Your Partner Might Say: “So, integrity in a character, as the author sees it, isn’t about always doing what’s expected or sticking to a pre-defined set of traits. It’s more about their internal responses feeling authentic to their complex and evolving nature, even if those responses seem inconsistent on the surface.”
You Might Respond: “Exactly! Think about the author’s own description of himself: ‘My yea! of today is oddly different from my yea! of yesterday.’ He applies this same principle to characters. Their ‘integrity’ lies in the truthfulness of their present moment reactions, even if those reactions don’t perfectly align with their past behavior. It’s about the living, breathing quality of their being, not a static adherence to a role.”
Your Partner Might Say: “So, a character who always acts ‘good’ might feel flat and unbelievable, lacking the messy reality of human nature. A character who surprises us with seemingly inconsistent actions might actually feel more ‘true to themselves’ if those actions stem from a genuine emotional or psychological place in that moment.”
You Might Respond: “Precisely. The author values the ‘wild welter’ of life. Trying to force characters (or ourselves) into neat, consistent boxes makes them ‘dead man in life’ – inauthentic and unengaging. The novel, as the ‘bright book of life,’ thrives on the genuine, sometimes inconsistent, reactions of characters to the circumstances they face.”
Discussion Point 2: ‘The novel is the one bright book of life.’ ‘Books are not life.’ Discuss the distinction of ‘What is a Good Book?’ in Woven Words Class XI.
Your Partner Might Say: “The author makes a strong claim here, elevating the novel above other forms of writing. But then he immediately says ‘Books are not life.’ It seems contradictory at first.”
You Might Respond: “I see it as a distinction between the static object and the dynamic experience it can create. Books, as physical entities or ‘tremulations on the ether’ (his metaphor for communication), are not the vibrant reality of ‘man alive.’ However, the novel, at its best, can uniquely capture and convey that vibrancy.”
Your Partner Might Say: “So, the novel is ‘bright’ because it can illuminate the complexities of human life in a way other forms can’t. It can make the ‘whole man alive tremble’ by reflecting the multifaceted nature of our existence.”
You Might Respond: “Yes. Think about the ‘What is a Good Book?’ essay. It likely explores similar ideas about how a truly good book transcends mere information or entertainment. It probably delves into how a good book can offer profound insights into the human condition, evoke strong emotions, and perhaps even challenge our perspectives and help us understand ourselves and the world better – much like the author believes the novel does.”
Your Partner Might Say: “So, while books in general are just ‘tremulations,’ a good book, and especially the novel according to this author, has the power to connect with us on a deeper level, reflecting the messy, contradictory, and ultimately vibrant reality of being alive. It’s not life itself, but the closest and brightest reflection we have in literary form.”
You Might Respond: “Exactly. The author uses the Bible, Homer, and Shakespeare as examples of ‘supreme old novels’ because they have this enduring power to resonate with the ‘whole man alive.’ A good book, like a great novel, isn’t just words on a page; it’s a conduit to understanding and experiencing the richness of human existence.”
By discussing these points with a partner, you can explore the nuances of the author’s arguments and connect them to broader literary concepts like character development, authenticity, and the power of storytelling. Remember to listen to your partner’s interpretations and build upon each other’s ideas!
Appreciation
1. Certain catch phrases are recurrently used as pegs to hang the author’s thoughts the essay. List these and discuss how they serve to achieve the argumentative force of the essay.
2. The language of argumental is intense and succeed in convincing the reader through rhetorical devices Identify the devices used by the author to achieve this force.
Answer:
1. Recurrent Catchphrases and Their Argumentative Force:
Several phrases are repeatedly used like anchors to the author’s central arguments. Here are a few key ones and how they contribute:
- “Man alive”: This is arguably the most crucial catchphrase. It serves as the author’s fundamental definition of the true self – the whole, living, breathing individual, encompassing body, mind, and spirit, rather than any single isolated component. Its repetition reinforces the central argument that the focus should be on the vibrant reality of being alive. Every criticism of philosophers, scientists, and even saints stems from their perceived detachment from this core reality of “man alive.” The novel’s superiority is also linked to its ability to capture the “whole man alive.”
- “Tremulations on the ether”: This phrase is used to diminish the status of books in general, including philosophical treatises, scientific texts, and even religious scriptures, in comparison to life itself. By characterizing them as mere vibrations, the author downplays their inherent value and positions them as secondary to the direct experience of being “man alive.” However, he then elevates the novel as a special kind of “tremulation” that can profoundly affect the “whole man alive.” This contrast strengthens his argument for the novel’s unique power.
- “The whole is greater than the part”: This maxim is directly applied to the author’s definition of self, arguing against the reductionist views of the self as merely a soul, body, or mind. Its recurrence reinforces the idea that the integrated, living being is more significant than any of its individual components. This underpins his criticism of those who focus on isolated aspects of human existence.
- “Nothing is important but life”: This emphatic statement serves as the ultimate conclusion and the driving force behind the entire essay. Its repetition underscores the author’s passionate belief in the primacy of living existence and his rejection of anything that detracts from or diminishes this fundamental truth. It provides a clear and forceful anchor for his arguments against those who prioritize abstract concepts or the afterlife.
How these catchphrases achieve argumentative force:
- Emphasis and Reinforcement: Repetition makes these phrases memorable and emphasizes the core tenets of the author’s argument. By returning to them throughout the essay, he constantly reminds the reader of his central points.
- Clarity and Cohesion: These phrases act as thematic threads, weaving through different parts of the essay and creating a sense of unity and coherence. They help the reader follow the author’s line of reasoning.
- Emotional Impact: Phrases like “man alive” and “nothing is important but life” carry an emotional weight that resonates with the reader’s own experience of being alive. This emotional connection strengthens the persuasive power of the argument.
- Establishing a Unique Lexicon: The consistent use of these specific terms creates a unique linguistic framework for the essay, allowing the author to express his complex ideas with precision and impact.
2. Rhetorical Devices Used to Achieve Argumentative Force:
The author employs several rhetorical devices to make his argument intense and convincing:
- Metaphor and Analogy: The “tremulations on the ether,” the body as a discarded bottle, paradise in the palm of the hand, infinity as a handle, and the rabbit making pills are vivid metaphors and analogies that make abstract ideas more concrete and often highlight the absurdity of opposing viewpoints.
- Direct and Passionate Tone: The author’s voice is assertive, opinionated, and filled with conviction. Phrases like “It is a funny sort of superstition,” “That’s the end of his man alive,” and “These damned philosophers” convey a strong sense of personal belief and urgency, drawing the reader into his perspective.
- Rhetorical Questions: Questions like “Why should I imagine that there is a me which is more me than my hand is?” engage the reader directly and challenge conventional thinking, prompting them to reconsider their own assumptions.
- Strong Declarative Statements: The essay is filled with forceful assertions presented as undeniable truths, such as “Nothing is important but life” and “The whole is greater than the part.” These statements are delivered with such conviction that they aim to leave little room for doubt.
- Dismissive Language: The author frequently uses dismissive terms like “nonsense,” “bunk,” “stupid,” and “damned” when referring to opposing viewpoints (e.g., the “tin can business,” philosophical abstractions). This creates a strong contrast between his own “enlightened” perspective and what he considers misguided beliefs.
- Appeal to Common Sense and Experience: The author often grounds his arguments in relatable human experiences, such as the feeling of a hand being alive or the immediate knowledge of fire burning. This makes his points feel intuitive and persuasive.
- Elevated Diction Juxtaposed with Colloquialisms: The author blends sophisticated vocabulary with informal expressions (“whole hog”), creating a unique voice that is both intellectual and accessible, adding to the intensity and directness of his argument.
- Use of Vivid Imagery: Descriptions like the chameleon changing color and the pianist with mute keys create strong visual impressions that reinforce the author’s points about the dynamism of life and the tragedy of its absence.
Through the skillful deployment of these rhetorical devices, the author crafts a powerful and persuasive argument for the primacy of “man alive” and the unique ability of the novel to capture its essence. His intense and direct style compels the reader to engage with his ideas and reconsider their own understanding of self and life.
Language Work
A. Vocabulary
1. There are a few non-English expressions in the essay. Identify them and mention the language they belong to. Can you guess the meaning of the expressions from the context?
2. Give below are a few roots from Latin. Make a list of the words that can be derived from them
mens (mind)
corpus (body)
sanare (to heal)
B. Grammar: Some Verb Classes
a sentence consists of a noun phrase and a verb phrase. The verb phrase is built around a verb. There are different kinds of verbs. Some take only a subject. They are intransitive verbs.
Look at these examples from the text in this unit
(1a) The grass withers.
(1b) The chameleon creeps from a brown rock on to a green leaf.
Notice that an intransitive verbs can be followed by prepositional phrases that have an adverbial function, as in (1b). Such phrases that follow an intransitive verb are called its complement.
A kind of intransitive verb that links its subject to a complement is called a ‘linking verb’ or a copula. The most common copulas in English are be, become and seem.
The copula be occurs very often in the text in this unit. Its complement may be a noun phrase or an adjective phrase.
Here are a few examples
My hand is alive. (be + adjective)
The novel is supremely important. (be + adjective phrase)
You’re a novelist. (be + noun phrase)
The novel is the book of life. (be + noun phrase)
other examples of copulas from the text are given below
It seems important.
The world becomes more and more boring.
Can you say what the category of the complement is. in the example above?
Answer:
A. Vocabulary
1. Non-English Expressions:
- Mens sana in corpore sano: This is a Latin expression. From the context (“We think of ourselves as a body with a spirit in it, or a body with a soul in it, or a body with a mind in it. Mens sana in corpore sano.”), it seems to suggest the idea of “a healthy mind in a healthy body.” It implies a connection or balance between mental and physical well-being.
- C’est la vie!: This is a French expression. It appears at the end of a short paragraph discussing the preference for life, even in its varied forms (“Better a live dog than a dead lion. But better a live lion than a live dog. C’est la vie!”). In this context, it likely means “That’s life!” or “Such is life!” expressing a sense of acceptance or resignation to the way things are.
2. Words Derived from Latin Roots:
- mens (mind):
- mental
- mentality
- demented
- dementia
- comment (originally to bring to mind)
- remember (re-mind)
- corpus (body):
- corpse
- corporal (relating to the body)
- corporate (forming a body or corporation)
- corporation
- corpulent (large-bodied)
- corpuscle (small body, like a blood cell)
- incorporate (to form into a body)
- sanare (to heal):
- sane
- sanity
- insane
- insanity
- sanatorium (institution for the sick to regain health)
- sanitary (relating to health and cleanliness)
- sanitation (measures to protect public health)
B. Grammar: Some Verb Classes
In the examples you provided:
- It seems important.
- The complement is an adjective (“important”).
- The world becomes more and more boring.
- The complement is an adjective phrase (“more and more boring”).