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GNDU Question Paper-2024
BBA 1
st
Semester
Appreciating English Literature-I
Time Allowed: Three Hours Max. Marks: 100
Note: Attempt Five questions in all, selecting at least One question from each section. The Fifth
question may be attempted from any section. All questions carry equal marks.
SECTION-A
1. Attempt all the following:
Put the words in brackets in the correct order to frame a question :
(1) (how many/speak/can/language/you?)
In this situation you are asking for information, asking people to do things etc.:
(2) You want to borrow a Tennis racket. Perhaps Helen has one. Ask her.
Helen, ________________
Put the verb the correct form, to... or ing:
(3) David is very quiet. He tends not ________________ much. (say)
(4) I'm not in a hurry. I don't mind ___________ (wait).
Put in a/an or the:
(5) What's ___________ name of that man we met yesterday?
(6) 'Are you going away next week?' 'No, ______________ week after next.'
Complete the sentence. Choose at/in/to + work/university/school:
(7) There is a lot of traffic in the morning when people are going ______________
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(8) When Sophie leaves school, she wants to study ____________
Which is right?
(9) Which Newspaper do you want?" "Morning News/ The Morning News.
(10) I'd like go to the China and see Great Wall/The Great Wall.
2. Attempt all the following problems:
Complete the second sentence so that the meaning is similar to the first sentence:
(1) Tom looks older when he wears glasses.
Tom's glasses make ______________
(2) My lawyer said I shouldn't say anything to the police.
My lawyer advised _______________
Which of the underlined part is correct?
(3) These clothes are dirty. They all need washing / to wash.
(4) That shirt looks fine. It doesn't need ironing / to iron.
For each situation, write a sentence with I'm (not) looking forward to:
(5) A good friend of yours is coming to visit you soon. It will be good to see her again. How
do you feel ?
I'm________________
(6) Joe and Helen are moving to a new apartment soon. It's muchnicer than where they live
now.
How do they feel? ____________________
Make one sentence from two, using so that:
(7) I gave Mark my phone number. I wanted him to be able to contact me.
I gave Mark my phone number __________________
(8) I slowed down. I wanted the car behind me to be able to overtake.
I slowed down ___________________
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Write sentences using would to have (done). Use the word in bracket:
(9) I'm glad I didn't lose my watch. (hate) ____________
(10) I'm glad I wasn't alone. (not/like) _________________
SECTION-B
3. (a) Write a letter to your landlord to advise him to take up some essential repair work
in the apartment you are residing.
(b) Attempt the following:
Complete the sentences with ourselves/themselves or each other:
(1) Some people are very selfish. They only think of _____________
(2) Tracy and I don't see ___________ very often these days.
Use the information of the first sentence to complete the second one. Use all of/most of
etc.:
(3) None of the ten people who applied for the job was suitable.
Ten people applied for the job. __________________
(4) Both of Julia's sisters are lawyers.
Julia has two sisters. _______________
Read the information and complete the sentences. Put commas where necessary:
(5) I was looking for a book this morning. (I've found it now.)
I've found _______________
(6) Amy showed me a picture of her son. (Her son is a police officer.)
Amy showed me ____________
Put that or what where necessary:
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(7) She gives her children everything ___________ they want.
(8) I won't be able to do much, but I'll do the best _________ I can.
Complete these sentences with some-or any-+-body/-thing/-where:
(9) Let's go away. Let's go ____________ warm and sunny.
(10) There was hardly ____________ on the beach. It was almost deserted.
4. (a) Write a letter to your friend who met with a serious accident advising him to take
care of his health.
(b) Attempt the following:
Put in some or any:
(1) I'd like __________ information about what there is to see in this town.
(2) If there are ___________ words you don't understand, look them up in a dictionary.
Which is right?
(3) It was a terrible fire. Whole building / The whole building was destroyed.
(4) It's a very sad song. All the time/Every time I hear it, it makes me cry.
What do you say in these situations? Complete each sentence with a relative clause:
(5) You invited people to your party. Some of them couldn't come. You tell someone:
Some of the people ____________
(6) You rented a car. It broke down after a few miles. You tell a friend Unfortunately the car
______________
Complete the sentence with both/neither/either + of us / of them:
(7) I was invited to two parties last week, but I couldn't go to ____________
(8) I tried two bookshops for the book I wanted to buy. But ____________ had it.
Put in much/many/little/few (one word only):
(9) This is a modern city. There are _____________ old buildings.
(10) The two cars are similar. There is _________ difference between them.
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SECTION-C
5. (1) Draw the character sketch of Madame Orielle in your words.
(2) The Story Teller' touches a very specific aspect of child psychology vs. society.
Elaborate.
6. (1) Bring out the humour in "The Luncheon."
(2) Throw light on the characters of Madhav and Gheesu in 'The Shroud.
SECTION-D
7. (1) A Strand of Cotton' deals with the process of transformation in the personality of
Prabhat. Elaborate.
(2) Eveline' is a psycho-analysis of a girl caught in dilemma. Analyse the character of
Eveline in this light.
8. (1) Draw a character sketch of Odarka in 'The Taboo.
(2) The portrayal of the society by Mansfield in 'The Doll's House' is very realistic, Explain.
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GNDU Answer Paper-2024
BBA 1
st
Semester
Appreciating English Literature-I
Time Allowed: Three Hours Max. Marks: 100
Note: Attempt Five questions in all, selecting at least One question from each section. The Fifth
question may be attempted from any section. All questions carry equal marks.
SECTION-A
1. Attempt all the following:
Put the words in brackets in the correct order to frame a question :
(1) (how many/speak/can/language/you?)
In this situation you are asking for information, asking people to do things etc.:
Ans: How many languages can you speak?
(2) You want to borrow a Tennis racket. Perhaps Helen has one. Ask her.
Helen, ________________
Ans: Helen, can I borrow your tennis racket?
Put the verb the correct form, to... or ing:
(3) David is very quiet. He tends not ________________ much. (say)
(4) I'm not in a hurry. I don't mind ___________ (wait).
Ans: (3). David is very quiet. He tends not to say much.
(4). I'm not in a hurry. I don't mind waiting.
Put in a/an or the:
(5) What's ___________ name of that man we met yesterday?
(6) 'Are you going away next week?' 'No, ______________ week after next.'
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Ans: (5) What's the name of that man we met yesterday?
(6) "Are you going away next week?" "No, the week after next."
Complete the sentence. Choose at/in/to + work/university/school:
(7) There is a lot of traffic in the morning when people are going ______________
(8) When Sophie leaves school, she wants to study ____________
Which is right?
(9) Which Newspaper do you want?" "Morning News/ The Morning News.
(10) I'd like go to the China and see Great Wall/The Great Wall.
Ans: (7) There is a lot of traffic in the morning when people are going to work.
(8) When Sophie leaves school, she wants to study at university.
Which is right?
(9) "Which newspaper do you want?" — The Morning News.
(10) I'd like to go to China and see The Great Wall.
2. Attempt all the following problems:
Complete the second sentence so that the meaning is similar to the first sentence:
(1) Tom looks older when he wears glasses.
Tom's glasses make ______________
Ans: Tom’s glasses make him look older.
(2) My lawyer said I shouldn't say anything to the police.
My lawyer advised _______________
Ans: My lawyer advised me not to say anything to the police.
Which of the underlined part is correct?
(3) These clothes are dirty. They all need washing / to wash.
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(4) That shirt looks fine. It doesn't need ironing / to iron.
Ans: They all need washing.
(4) It doesn’t need ironing.
For each situation, write a sentence with I'm (not) looking forward to:
(5) A good friend of yours is coming to visit you soon. It will be good to see her again. How
do you feel ?
I'm________________
(6) Joe and Helen are moving to a new apartment soon. It's muchnicer than where they live
now.
How do they feel? ____________________
Ans: I’m looking forward to seeing her again.
They're looking forward to moving into their new apartment.
Make one sentence from two, using so that:
(7) I gave Mark my phone number. I wanted him to be able to contact me.
I gave Mark my phone number __________________
(8) I slowed down. I wanted the car behind me to be able to overtake.
I slowed down ___________________
Ans: (7) I gave Mark my phone number so that he could contact me.
(8) I slowed down so that the car behind me could overtake.
Write sentences using would to have (done). Use the word in bracket:
(9) I'm glad I didn't lose my watch. (hate) ____________
(10) I'm glad I wasn't alone. (not/like) _________________
Ans: I would have hated losing my watch.
I wouldn't have liked being alone.
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SECTION-B
3. (a) Write a letter to your landlord to advise him to take up some essential repair work
in the apartment you are residing.
Ans: [Your Address]
Flat No. 203, Green Valley Apartments,
Sector 8, Chandigarh – 160009
Date: October 5, 2025
To
The Landlord,
Mr. Ramesh Gupta,
H.No. 45, Sector 9, Chandigarh.
Subject: Request for essential repair work in the apartment
Dear Mr. Gupta,
I hope you are doing well. I am writing this letter to bring to your attention the urgent repair
work required in the apartment that I am currently residing in—Flat No. 203, Green Valley
Apartments, which I have rented from you since March 2023.
For the past few weeks, I have noticed several issues in the flat that need immediate
attention. Firstly, there is a persistent leakage in the bathroom ceiling which has worsened
due to the recent rains. The dampness has started affecting the wall paint and is also
causing an unpleasant odor. Secondly, the water supply in the kitchen tap is very irregular,
and sometimes the pressure is so low that it becomes difficult to use it properly.
Additionally, one of the window frames in the bedroom has become loose, which makes it
unsafe during windy weather.
I have tried to manage these issues temporarily, but they now require professional repair to
prevent further damage. Since these problems concern the structural condition of the
apartment, I kindly request you to arrange for the necessary repair work at the earliest
possible convenience.
Please let me know when the maintenance team can visit so that I can be available to give
them access to the apartment. I hope these repairs can be done soon to ensure comfortable
living conditions.
Thank you very much for your attention and understanding. I look forward to your positive
response.
Yours sincerely,
[Your Name]
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Tenant, Flat No. 203
Green Valley Apartments, Chandigarh.
(b) Attempt the following:
Complete the sentences with ourselves/themselves or each other:
(1) Some people are very selfish. They only think of _____________
(2) Tracy and I don't see ___________ very often these days.
Ans: (1) Some people are very selfish. They only think of themselves.
(2). Tracy and I don't see each other very often these days.
Use the information of the first sentence to complete the second one. Use all of/most of
etc.:
(3) None of the ten people who applied for the job was suitable.
Ten people applied for the job. __________________
(4) Both of Julia's sisters are lawyers.
Julia has two sisters. _______________
Ans: (3). None of them was suitable.
(4) Both of them are lawyers.
Read the information and complete the sentences. Put commas where necessary:
(5) I was looking for a book this morning. (I've found it now.)
I've found _______________
(6) Amy showed me a picture of her son. (Her son is a police officer.)
Amy showed me ____________
Ans: the book I was looking for this morning.
(6). a picture of her son, who is a police officer.
Put that or what where necessary:
(7) She gives her children everything ___________ they want.
(8) I won't be able to do much, but I'll do the best _________ I can.
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Ans: (7). She gives her children everything that they want.
(8). I won't be able to do much, but I'll do the best that I can.
Complete these sentences with some-or any-+-body/-thing/-where:
(9) Let's go away. Let's go ____________ warm and sunny.
(10) There was hardly ____________ on the beach. It was almost deserted.
Ans: (9). Let's go away. Let's go somewhere warm and sunny.
(10). There was hardly anybody on the beach. It was almost deserted.
4. (a) Write a letter to your friend who met with a serious accident advising him to take
care of his health.
Ans: Your Address:
42, Green Park Colony,
Amritsar, Punjab – 143001
Date: 5th October, 2025
Dear Rahul,
I was deeply shocked and saddened to hear about your recent accident. When I got the
news from Rohan, I couldn’t believe it at first. It must have been a very painful and
frightening experience for you. I can only imagine the difficulties you might be going
through right now. I sincerely hope that you are recovering well and that the worst is
already behind you.
Rahul, I know you have always been strong and full of energy, but at this time, your body
needs complete rest and proper care. Do not be in a hurry to get back to your usual routine.
Health is the most precious gift we have, and once it is affected, everything else—work,
studies, and ambitions—has to take a back seat. Please listen carefully to what your doctor
says and follow every instruction. Take your medicines on time, eat nutritious food, and
avoid anything that can slow down your healing.
I also want to remind you that mental peace plays a big role in recovery. Don’t let this
incident discourage you. Think of it as a phase that will pass. Spend time doing light reading,
listening to music, or talking to friends. Surround yourself with positive people who make
you laugh and help you stay optimistic. Remember, a calm mind helps the body heal faster.
You have always been brave, determined, and cheerful. I am confident that you will come
out of this situation even stronger than before. Sometimes life gives us such moments to
remind us of what truly matters — our well-being, our family, and the love of friends who
care for us deeply.
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Please do not hesitate to let me know if you need any help — whether it’s running errands,
bringing you books, or just keeping you company. I’ll be more than happy to help in any way
I can. I really miss our evening walks and long conversations, and I’m looking forward to
seeing you fully recovered and smiling again.
Take good care of yourself, my friend. Get plenty of rest, follow the doctor’s advice, and
don’t stress about anything. Wishing you a speedy and complete recovery!
With warm regards and best wishes,
Your loving friend,
Amit
(b) Attempt the following:
Put in some or any:
(1) I'd like __________ information about what there is to see in this town.
(2) If there are ___________ words you don't understand, look them up in a dictionary.
Which is right?
(3) It was a terrible fire. Whole building / The whole building was destroyed.
(4) It's a very sad song. All the time/Every time I hear it, it makes me cry.
What do you say in these situations? Complete each sentence with a relative clause:
(5) You invited people to your party. Some of them couldn't come. You tell someone:
Some of the people ____________
(6) You rented a car. It broke down after a few miles. You tell a friend Unfortunately the car
______________
Ans: (b) Put in some or any:
1. I'd like some information about what there is to see in this town.
2. If there are any words you don't understand, look them up in a dictionary.
Which is right?
3. The whole building was destroyed.
4. Every time I hear it, it makes me cry.
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Complete each sentence with a relative clause:
5. Some of the people who you invited couldn't come.
6. Unfortunately the car that I rented broke down after a few miles.
Complete the sentence with both/neither/either + of us / of them:
(7) I was invited to two parties last week, but I couldn't go to ____________
(8) I tried two bookshops for the book I wanted to buy. But ____________ had it.
Ans: 7. I was invited to two parties last week, but I couldn't go to either.
8. I tried two bookshops for the book I wanted to buy. But neither had it.
Put in much/many/little/few (one word only):
(9) This is a modern city. There are _____________ old buildings.
(10) The two cars are similar. There is _________ difference between them.
Ans: 9. This is a modern city. There are few old buildings.
10. The two cars are similar. There is little difference between them.
SECTION-C
5. (1) Draw the character sketch of Madame Orielle in your words.
(2) The Story Teller' touches a very specific aspect of child psychology vs. society.
Elaborate.
Ans: (1). Madame Orielle is a memorable character who stands out for her unique
personality, her distinct lifestyle, and the way she interacts with others. She belongs to a
society that values sophistication, elegance, and social appearances, and in many ways, she
embodies these qualities. However, what makes her truly interesting is the way she
balances her personal quirks with her social obligations.
Physically, Madame Orielle is described as a woman of remarkable grace and charm. She
carries herself with elegance, paying attention to her attire, her hairstyle, and her overall
appearance. She has a refined sense of style that reflects her position in society and her
desire to maintain a polished image. Even in casual settings, she cannot help but present
herself with a certain air of dignity and sophistication, which makes her instantly noticeable
among a crowd. Her gestures, expressions, and movements convey a confidence that comes
from a lifetime of social training and experience.
On the mental and emotional level, Madame Orielle is intelligent, perceptive, and
independent-minded. She is not someone who blindly follows conventions; instead, she
observes social norms but interprets them in her own way. Her intelligence allows her to
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engage in meaningful conversations, express her opinions clearly, and sometimes influence
those around her. Despite her refined exterior, she is not rigid or cold; she has warmth and
sensitivity, particularly toward those she cares about or respects. She possesses a natural
curiosity and a love for culture, whether it is literature, music, or art, which shows her
sophisticated taste and open-minded nature.
Madame Orielle’s social behavior is particularly striking. She is polite, courteous, and
charming, knowing exactly how to navigate complex social situations. Her manners are
impeccable, and she is skilled at making others feel comfortable in her presence. At the
same time, she is selective about the company she keeps, preferring to surround herself
with people of refinement and intellect. She is also aware of social hierarchies and
expectations, which she respects without allowing them to restrict her personal freedom.
This balance between social grace and personal independence makes her a nuanced and
admirable character.
Despite her charm and sophistication, Madame Orielle has her flaws, which make her more
realistic and relatable. She can be somewhat proud and self-conscious, particularly about
how she is perceived by others. Her attention to appearances sometimes borders on vanity,
and she can be overly cautious in her judgments of people who do not meet her high
standards. However, these traits do not dominate her personality; rather, they coexist with
her warmth, intelligence, and sense of humor, making her a well-rounded character rather
than a one-dimensional figure.
Another notable feature of Madame Orielle’s character is her ability to maintain her
individuality in a society that often pressures people to conform. She is independent,
thoughtful, and capable of making her own decisions. She does not blindly follow trends or
allow others to dictate her choices. This sense of autonomy, combined with her charm and
grace, makes her both respected and admired by those around her.
In conclusion, Madame Orielle is a sophisticated, intelligent, and graceful woman who
combines social elegance with personal independence. She is perceptive and cultured, yet
she possesses human vulnerabilities that make her relatable. Her charm, poise, and
individuality create a compelling character who leaves a lasting impression. Whether
admired for her social skills or appreciated for her wit and insight, Madame Orielle is a
character who embodies refinement and intelligence, while remaining distinctly human in
her thoughts, emotions, and interactions.
(2) The Story Teller' touches a very specific aspect of child psychology vs. society.
Elaborate.
Ans: Imagine a scene from a quiet railway compartment in India, where a little boy, full of
curiosity and mischief, is sitting beside his mother. He’s the kind of child whose eyes sparkle
with wonder at everything around him. In comes a young postgraduate storyteller, a man
with books in his hand and a gentle smile on his face, ready to narrate stories to the children
traveling in the train. This is the setting of R.K. Narayan’s “The Story Teller.”
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At first glance, the story appears to be a simple narrative about a storyteller entertaining
children. But beneath this simplicity lies a profound exploration of child psychology and its
clash with society’s expectations. The story captures how children perceive the world, how
they respond to storytelling, and, most importantly, how societal norms shape or
sometimes suppress their natural curiosity.
The Child’s World: Innocence and Curiosity
Children, by nature, are like sponges—they absorb the world around them, interpret it with
their imagination, and react spontaneously. In the story, the little boy is restless and playful.
He is not interested in conventional learning or moralistic tales. His mind is alive with
curiosity but also with a desire for excitement and adventure. This represents a critical
aspect of child psychology: children are not miniature adults; their understanding of the
world is colored by imagination, spontaneity, and a sense of play.
The storyteller notices this and adapts. Instead of telling a moralistic story, he narrates a tale
of Narrator’s choice that combines curiosity, suspense, and a moral undertone in a subtle
way. The children are drawn in not by the lecture-like tone of society but by the story’s
connection to their interests. Here, Narayan beautifully portrays how children’s minds are
more receptive to indirect teaching—learning through engagement rather than through
preaching.
Society’s Perspective: Discipline and Morality
Contrast this with the mother, who represents society and adult authority. Her
expectations are typical of the broader societal mindset. She wants the child to sit quietly,
behave properly, and, most importantly, learn something useful from the storytelling
session. This mirrors the societal tendency to prioritize discipline, order, and moral
instruction over spontaneity, curiosity, or fun. Adults often view children’s playfulness as
trivial or even troublesome, whereas the child experiences it as an essential part of learning
and understanding the world.
Society, in Narayan’s story, tends to measure a child’s engagement with rigid rules and
moral frameworks rather than appreciating their imagination. The mother scolds her son
for interrupting or showing impatience, while the storyteller understands the child’s
psychology and adapts. This sets up the central tension of the story: the natural, playful
curiosity of children versus the structured, moralistic expectations of society.
The Storyteller as a Bridge
The storyteller himself acts as a bridge between these two worlds. He respects the child’s
curiosity and spontaneity while subtly introducing societal values through storytelling. For
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instance, he tells a story about a prince and a clever girl, which ends with a subtle lesson in
morality—but it is the way the story is told that engages the children first, and the moral
becomes almost secondary.
This demonstrates an essential point about effective child-centered communication:
children are more likely to absorb societal values when they are presented in a way that
respects their natural inclinations. Instead of direct moral instruction, the storyteller uses
narrative and imagination, which aligns with children’s cognitive and emotional
development.
Child Psychology vs. Societal Conformity: A Deeper Conflict
Narayan’s story highlights that child psychology and societal expectations often exist in
tension. Children are naturally curious, imaginative, and explorative. Society, however,
tends to impose conformity, discipline, and moral lessons, often at the cost of suppressing a
child’s individuality.
1. Child psychology emphasizes play, exploration, emotional expression, and moral
development through indirect experiences. Children need stories that capture their
interest and imagination.
2. Societal norms emphasize obedience, punctuality, formal education, and clear moral
lessons. Adults often measure a child’s worth by how well they conform to rules.
Through “The Story Teller,” Narayan argues that children can be taught life lessons without
stifling their creativity or spontaneity. The story exemplifies how patience, understanding,
and adaptability in adults—embodied by the storyteller—can harmonize the world of child
psychology with the demands of society.
Real-World Implications
In modern education and parenting, this balance is still relevant. Children thrive in
environments where their natural curiosity is respected. Overemphasis on rote learning or
strict moral instruction may dampen creativity and emotional growth. Narayan’s story
reminds us that understanding a child’s psychology is crucial—not just for entertainment,
but for shaping responsible, imaginative, and emotionally healthy adults.
Conclusion: Harmony Through Understanding
R.K. Narayan’s “The Story Teller” is not merely a tale of a train journey. It is a profound
commentary on the delicate interplay between child psychology and societal expectations.
It shows that when adults respect children’s curiosity and communicate creatively, learning
and moral development can happen naturally and joyfully.
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The story tells us that children are not blank slates to be molded forcibly. Instead, they are
imaginative beings who need guidance rather than dictation, storytelling rather than
lecturing, and empathy rather than reprimand. In essence, the story is a timeless lesson for
parents, educators, and society: the best way to educate a child is to engage with their
mind and heart, rather than impose rigid norms.
6. (1) Bring out the humour in "The Luncheon."
(2) Throw light on the characters of Madhav and Gheesu in 'The Shroud.
Ans: Part 1: Humour in “The Luncheon”
Imagine a scene: a young writer, full of enthusiasm and hope, meets a celebrated woman he
admires. He looks forward to a simple, polite lunch, maybe a little chit-chat, perhaps a
handshake and a smile. But, as life often does, the situation turns unexpectedly comic. This
is the essence of Somerset Maugham’s short story, “The Luncheon”. On the surface, it is a
simple narrative of a lunch meeting, but beneath, it hides layers of humour that spring from
human nature, social pretensions, and situational irony.
The story begins with the writer recalling a memorable lunch he had many years ago. He
frames the story in a personal and informal tone, immediately making readers feel like they
are being told a secret, a slightly mischievous anecdote from life. This narrative style itself
adds a humorous edge because it is conversational and relatable, rather than solemn or
serious.
The first source of humour is situational irony. The young writer expects a modest meal; the
lady has invited him to lunch, presumably as a gesture of friendship or appreciation.
However, from the very beginning, she orders extravagantly. While the young writer wants
to keep within his modest budget, she selects the most expensive items on the menu,
entirely oblivious to his financial constraints. The story humorously highlights the contrast
between the writer’s anxiety about money and the lady’s carefree indulgence.
Then comes the comedic exaggeration. Maugham exaggerates the situation to make the
humour tangible. For example, the lady orders a whole lobster, caviar, and champagne—all
luxuries that a young writer could hardly dream of affording. The reader is led to visualize
the awkwardness: a man nervously trying to appear dignified, sipping modestly, while a lady
eats sumptuously. The laughter arises from this visual exaggeration and the subtle
embarrassment of the protagonist.
Next is the humour in character contrast and social satire. The lady is portrayed as
charming, witty, and somewhat oblivious to social conventions. She enjoys flaunting her
tastes and testing the young man’s patience, while the writer struggles to appear polite and
sophisticated despite his growing anxiety about the bill. The subtle humour here reflects
social satire—Maugham gently mocks human pretensions and social etiquette, showing how
the desire to impress or maintain politeness can lead to comic situations.
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Another key aspect is dramatic irony, which makes the story funnier. As readers, we know
the writer’s financial dilemma, while the lady remains blissfully unaware. Each order she
makes increases the tension and the comedic effect, making us anticipate the eventual
“climax”—the bill. The humour reaches its peak when, after an extravagant meal, the writer
confesses, almost mockingly, that he had spent “half his monthly allowance” on a single
lunch! The punchline is delightful, unexpected, and timelessly funny.
Finally, Maugham’s humour is self-deprecating and reflective. The writer pokes gentle fun
at himself for being naïve and overly polite, which adds charm and relatability. We laugh not
just at the lady’s extravagance, but also at the writer’s awkward predicament and human
vulnerability.
In short, the humour in “The Luncheon” arises from:
1. Situational irony – expectation versus reality.
2. Exaggeration – the absurdity of the expensive orders versus the writer’s modest
means.
3. Character contrast – the oblivious lady and the anxious young man.
4. Dramatic irony – the audience knows more than the characters.
5. Social satire – poking fun at social pretensions.
6. Self-deprecation – the writer laughing at his own awkwardness.
What makes this story particularly enjoyable is Maugham’s style. His narrative feels like a
friendly conversation, making the humour natural rather than forced. By the end of the
story, we are left chuckling not only at the literal absurdity of the luncheon but also at the
timeless human quirks it reveals—our desire to please, our social anxieties, and our small,
personal tragedies.
Part 2: Characters of Madhav and Gheesu in “The Shroud”
Now, let’s move from humour to tragedy, from light-hearted storytelling to the sobering
tale of human resilience and grief in Munshi Premchand’s “The Shroud”. Here, the story
revolves around Madhav, a poor weaver, and his wife Gheesu. While the narrative is deeply
emotional, Premchand creates characters that are vivid, relatable, and symbolically rich. To
understand the story fully, one must examine the characters’ personalities, their struggles,
and the moral lessons they convey.
Madhav – The Embodiment of Poverty and Responsibility
Madhav is a man weighed down by poverty, familial duty, and societal expectations. From
the beginning, Premchand paints Madhav as a hardworking weaver, whose life revolves
around earning enough to sustain his family. His character is deeply human: he is not heroic
in a larger-than-life sense, but his heroism lies in his perseverance and ethical integrity.
One of Madhav’s defining traits is responsibility. When his young son dies, Madhav is
consumed by the need to perform the last rites properly. Despite his extreme poverty, he
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refuses to accept charity outright, even though it could ease his burden. This shows a man
torn between societal norms and his personal dignity. Madhav’s struggle highlights the
harsh realities of rural poverty in early 20th-century India, where social expectations about
funeral rites were rigid, and failing to meet them could bring shame.
Madhav also represents pragmatism and resourcefulness. He goes from house to house,
trying to borrow money or materials to weave a shroud for his son. His humility, patience,
and quiet determination reveal a character who faces adversity with dignity rather than
despair. Readers sympathize with him because his actions are relatable; they reflect real
human responses to grief, responsibility, and survival.
Importantly, Madhav’s character is also a vehicle for social critique. Premchand subtly
critiques a society that forces the poor to meet expensive customs and rituals, often at great
personal cost. Through Madhav, readers witness the cruelty of social norms that prioritize
appearances over compassion, which is both heart-wrenching and thought-provoking.
Gheesu – The Heart of Emotional Strength
Gheesu, Madhav’s wife, though less central than Madhav, plays a critical role in shaping the
emotional tone of the story. She is tender, compassionate, and resilient, embodying the
silent strength often seen in women of rural India. Gheesu’s reactions to the tragedy of her
son’s death are immediate and raw. She is devastated, yet she supports Madhav
emotionally, reinforcing his resolve to meet societal expectations despite their limited
means.
Gheesu represents emotional resilience and maternal love. Her character provides a
counterbalance to Madhav’s pragmatic approach. While Madhav focuses on fulfilling
obligations and practical matters, Gheesu’s grief is immediate, intimate, and humanizing.
She reminds the readers that behind every struggle lies emotional complexity. Gheesu’s
presence amplifies the pathos of the story, making the tragedy more poignant.
Together, Madhav and Gheesu form a complementary duo. Madhav embodies practical
endurance, while Gheesu reflects emotional depth. Premchand uses them to illustrate how
ordinary people navigate extraordinary grief. Their lives are small and simple, but their
struggles are universal, transcending time and geography.
Social and Moral Dimensions of Their Characters
Beyond personal traits, the characters of Madhav and Gheesu highlight broader social
themes:
1. Poverty and social inequality – Madhav’s financial struggle reflects systemic societal
neglect. His poverty dictates the choices he must make, even in moments of
personal tragedy.
2. Cultural obligations – The emphasis on traditional funeral rites shows the tension
between human suffering and societal expectations. Madhav’s struggle to uphold
these rites despite poverty critiques rigid social norms.
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3. Resilience in adversity – Both Madhav and Gheesu demonstrate endurance,
patience, and dignity. Their response to tragedy conveys a subtle lesson: that human
strength often lies in quiet perseverance rather than dramatic heroism.
4. Empathy and morality – Premchand encourages readers to empathize with the poor
and reflect on social injustice. Madhav and Gheesu are not mere characters; they are
mirrors of society, inviting readers to consider the moral implications of cultural
practices.
Character Interactions and Dynamics
The interaction between Madhav and Gheesu also contributes to the story’s depth. Their
dialogue is sparse, yet loaded with meaning. Gheesu’s emotional outpouring and Madhav’s
measured responses create a dynamic that is both realistic and compelling. Premchand’s
genius lies in showing how these ordinary conversations convey extraordinary emotional
truths—grief, love, duty, and resilience—all in the smallest gestures, like a shared silence or
a look of understanding.
Symbolism and Emotional Impact
Finally, the characters of Madhav and Gheesu are symbolic. Madhav’s weaving of the
shroud represents the intertwining of life, death, duty, and societal constraints. Gheesu
embodies the emotional threads that tie a family together, especially in times of crisis. The
tragedy of the story is amplified because these characters are not idealized—they are
human, fallible, and yet admirable. Readers leave with a lasting impression of their struggle,
their love, and the social realities that shape their lives.
Conclusion
If we look at both stories side by side, a fascinating contrast emerges. “The Luncheon” is
humorous, light, and observational. Its humour arises from exaggeration, irony, and human
folly, capturing everyday absurdities in social interactions. In contrast, “The Shroud” is tragic,
emotionally intense, and socially reflective. Its power lies in character depth, emotional
realism, and social commentary.
In “The Luncheon”, the humour is external and situational—it makes readers laugh at what
happens around the characters. In “The Shroud”, the emotional impact is internal and
empathetic—it makes readers feel the pain, struggle, and dignity of the characters. Yet, in
both cases, the brilliance of the author lies in humanizing the characters. Somerset
Maugham and Munshi Premchand, through very different techniques, invite readers to see
life through the eyes of others—one through laughter, the other through empathy.
• In “The Luncheon”, the young writer’s polite discomfort and the lady’s oblivious
extravagance teach us about social pretensions and human comedy.
• In “The Shroud”, Madhav and Gheesu teach us about human resilience, the dignity of
ordinary lives, and the harsh realities of poverty.
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Both stories, in their distinct ways, reflect universal truths: humour and tragedy coexist in
human life, and through careful observation, writers can illuminate both with remarkable
clarity and emotional resonance.
In conclusion, whether through laughter or tears, these stories leave readers with a lasting
impression of human nature, societal expectations, and the quiet complexities of life. They
remind us that literature’s power lies not only in storytelling but in its ability to reveal the
depths of humanity—sometimes with a smile, sometimes with a sigh, and always with
empathy.
SECTION-D
7. (1) A Strand of Cotton' deals with the process of transformation in the personality of
Prabhat. Elaborate.
(2) Eveline' is a psycho-analysis of a girl caught in dilemma. Analyse the character of
Eveline in this light.
Ans: 7. (1) A Strand of Cotton – Transformation in Prabhat’s Personality
Imagine Prabhat as a young man standing on the threshold of life, full of ideas, dreams, and
innocence, but also somewhat fragile, like a delicate strand of cotton, easily swayed by
circumstances. This story, “A Strand of Cotton,” is not just about his life; it is about the
subtle and deep transformation of a human personality in the face of reality, expectations,
and personal awakening.
At the beginning of the story, Prabhat is depicted as sensitive, intelligent, and idealistic. He
is a young boy with a tender heart, whose thoughts are often philosophical and
introspective. He has been raised with certain values and ideals, and these form a protective
cocoon around his personality. Prabhat is aware of the world outside, yet he is not yet
hardened by it. Like a strand of cotton, soft and pliable, he can bend with external
pressures, yet he also possesses the potential to grow stronger, to mature.
Prabhat’s journey in the story begins in an environment where social expectations, familial
responsibilities, and cultural pressures subtly influence his personality. Initially, he is
innocent and somewhat naive. He looks at life with curiosity but also with fear—a fear of
failure, of disappointing others, and of confronting the harsh realities of life. His inner self is
fragile, almost like a soft strand of cotton that can easily unravel under tension.
The first major element in his transformation is education and exposure to different
perspectives. As Prabhat encounters new ideas and challenges, his mind begins to stretch
beyond the familiar. He is introduced to situations that demand critical thinking, ethical
reasoning, and emotional resilience. These experiences start acting as the friction necessary
to transform the softness of cotton into a thread that can hold tension—a metaphor for the
strengthening of his personality.
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Prabhat also undergoes a profound emotional transformation. The story captures his
sensitivity toward others, especially in moments where he recognizes suffering, injustice, or
emotional pain. Through empathy, he begins to connect deeply with people around him.
This connection is pivotal, for it acts as a mirror reflecting his own vulnerabilities and
strengths. His personality starts showing layers: innocence remains, but it is now
complemented by understanding, patience, and emotional intelligence.
The internal conflicts that Prabhat faces are crucial in understanding his transformation.
Like every sensitive young man, he struggles between his personal desires and societal
expectations. These dilemmas force him to make choices, often difficult ones, and every
decision shapes his personality. For example, when he faces situations that test his moral
integrity, he cannot remain a passive observer. The story vividly portrays his moments of
doubt, hesitation, and anxiety. Yet, through these experiences, he gradually cultivates
confidence and resilience, learning that growth is inseparable from struggle.
Another important aspect is the role of external influences—family, friends, mentors, and
even adversaries. Prabhat’s interactions with these characters challenge his assumptions
and stimulate self-reflection. These social interactions serve as catalysts, pushing him to
examine his principles, motivations, and emotional responses. Through dialogues,
confrontations, and shared experiences, Prabhat discovers nuances in human behavior,
learning to balance idealism with realism.
Prabhat’s transformation is not abrupt; it is gradual and layered. At the story’s outset, he is
a delicate strand of cotton—soft, impressionable, and tender. By the end, he emerges as
someone who has absorbed the lessons of life, much like cotton being spun into a strong
thread—resilient, coherent, and capable of bearing the weight of experience. His sensitivity
is no longer a weakness but a refined strength. He understands the importance of self-
awareness, empathy, and moral responsibility. The story, therefore, is a vivid illustration of
the psychological growth of a young man, capturing the delicate interplay of innocence,
experience, and moral awakening.
In essence, A Strand of Cotton is a story about personal evolution. Prabhat’s journey mirrors
the universal human experience: the transformation from fragility to resilience, from
innocence to wisdom, and from passivity to moral and emotional maturity. It shows that
true growth comes not from avoiding challenges but from facing them, reflecting upon
them, and emerging stronger, like cotton spun into thread—soft at heart, yet capable of
strength and endurance.
7. (2) Eveline – A Psychoanalytic Perspective on Character Dilemma
Let us shift now from Prabhat’s external transformation to Eveline, a character from James
Joyce’s Eveline, whose story provides a rich field for psychoanalytic exploration. If Prabhat’s
tale is about growth and resilience, Eveline’s story is about inner conflict, hesitation, and the
paralysis of the human psyche.
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Eveline is a young woman caught in a web of emotional, familial, and societal obligations. At
first glance, her life may appear simple, yet a deeper analysis reveals profound psychological
tensions. She is torn between the familiar world of home and duty and the unknown world
of freedom and love. This internal struggle forms the essence of the story and makes Eveline
a fascinating subject for character analysis.
To understand Eveline psychologically, one must first consider her family environment. Her
father is depicted as authoritarian and harsh, which has instilled in her a sense of fear and
submission. She is psychologically conditioned to prioritize familial duty over personal
happiness. Her mother’s early death adds another layer: Eveline feels a moral responsibility
to uphold the promises she made to her mother—to keep the family together and maintain
domestic stability. These deep-seated obligations create a powerful internal conflict: her id
desires escape and love, but her superego binds her to duty and morality.
Eveline’s dilemma can be analyzed through psychoanalytic theory, particularly Freud’s
model of the mind—the id, ego, and superego. The id in Eveline desires liberation,
adventure, and a chance at personal fulfillment with her lover, Frank. This represents her
instinctual drive for pleasure, love, and self-expression. The ego negotiates between this
desire and the real-world limitations—financial, social, and cultural pressures. However, the
superego exerts overwhelming influence, enforcing rules, moral obligations, and the fear of
guilt. Eveline’s eventual paralysis reflects the superego’s dominance: her fear of
transgressing moral boundaries and abandoning duty prevents her from acting on her
desires.
The story also highlights Eveline’s psychological attachment to the past. She clings to
memories of her childhood, her mother, and her home, viewing them as anchors in a world
filled with uncertainty. Psychoanalytically, this can be interpreted as fixation—a defense
mechanism where a person remains emotionally stuck in earlier stages of life. Eveline’s
home, despite its hardships, represents safety, familiarity, and continuity. Leaving it would
mean confronting the unknown, which her psyche resists. This attachment is compounded
by fear: fear of the unfamiliar, fear of loneliness, and fear of failure in a new life.
Eveline’s inner conflict also reflects the tension between autonomy and dependency. Her
lover Frank represents opportunity and autonomy—a chance to break free from oppressive
domestic life. Yet, the psychological imprint of her father’s authority and her mother’s
expectations keeps her dependent, emotionally and morally, on her family. This tension
manifests in her indecision and eventual inability to act. In psychoanalytic terms, she
experiences regression: instead of moving forward, she retreats into familiar patterns of
obedience and passivity.
Joyce’s narrative technique in Eveline further emphasizes her psychological state. The
stream-of-consciousness style mirrors Eveline’s thought process, revealing the chaotic,
repetitive, and circular nature of her internal debate. She vacillates between hope and fear,
desire and duty, freedom and restraint. The reader experiences her paralysis firsthand,
understanding that Eveline’s dilemma is not just situational but deeply psychological. Her
inability to leave is not mere cowardice; it is a manifestation of the complex interplay
between desire, obligation, and fear, which psychoanalysis helps us decode.
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Interestingly, Eveline’s dilemma also has a symbolic dimension. The train that could carry
her away to a new life symbolizes liberation and potential happiness. Yet the train is never
boarded. This unfulfilled journey is a metaphor for the psychological blockage that keeps
her from acting on her wishes. The story suggests that human psychology can sometimes be
more binding than physical constraints: even when opportunity knocks, deep-seated fears,
habits, and obligations can prevent movement.
From a humanized perspective, Eveline is deeply relatable. She embodies the universal
human tension between duty and desire, between security and adventure, between the
known past and the uncertain future. Many readers recognize in her hesitation a mirror of
their own fears and doubts, making her both a personal and symbolic figure. Through
psychoanalysis, we can see that Eveline is not simply indecisive; she is profoundly human,
navigating the intricate network of emotions, memories, and moral codes that shape every
individual’s life.
Eveline’s story also teaches a subtle lesson about psychological growth and constraint.
Unlike Prabhat, who gradually transforms through experience, Eveline is trapped by her
psyche. Her paralysis reminds us that transformation requires both awareness and courage.
In psychoanalytic terms, Eveline’s narrative demonstrates how unconscious fears,
internalized authority, and unresolved emotional attachments can inhibit personal growth.
Her story is a poignant reminder that psychological freedom demands confronting internal
obstacles, not just external ones.
Comparative Reflection
When we juxtapose Prabhat and Eveline, fascinating contrasts emerge. Prabhat’s story is
one of active transformation, where experiences, reflection, and moral reasoning gradually
shape him into a stronger, more mature individual. Eveline’s story, on the other hand, is one
of paralysis and internal conflict, where psychological pressures and emotional
attachments prevent her from making transformative choices.
Both characters are highly sensitive and introspective. Both confront dilemmas shaped by
social and familial expectations. Yet, Prabhat’s sensitivity becomes a source of strength,
while Eveline’s becomes a source of hesitation and fear. The difference lies in the
interaction between their internal resources (resilience, self-awareness, courage) and
external circumstances (opportunities, support, and threats). This contrast provides a rich
field for understanding human psychology, personal growth, and the delicate balance
between duty and desire, experience and fear.
Conclusion
In conclusion, A Strand of Cotton and Eveline offer compelling studies of human personality
through two distinct lenses. Prabhat’s journey is a story of transformation, of emerging
from fragility into strength, guided by experience, empathy, and moral awakening. Eveline’s
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narrative is a story of internal conflict, illustrating how fear, duty, and psychological
attachment can inhibit action, even in the face of opportunity.
Both stories are ultimately reflections on human nature. Prabhat teaches us that growth is
possible when one confronts life’s challenges with courage and introspection. Eveline warns
us that psychological constraints—whether fear, habit, or internalized authority—can bind
us more tightly than any external circumstance. Together, these characters illuminate the
spectrum of human experience, showing that personality is both shaped by internal forces
and molded by the world around us.
By examining these characters closely, students not only gain insight into literature but also
into psychology, human behavior, and the universal struggle between desire, duty, fear, and
growth. Both stories, in their different ways, invite readers to reflect on their own lives: to
recognize the strands of cotton in their own personalities, to face internal conflicts, and to
strive toward growth, understanding, and self-realization.
8. (1) Draw a character sketch of Odarka in 'The Taboo.
(2) The portrayal of the society by Mansfield in 'The Doll's House' is very realistic, Explain.
Ans: 1. Character Sketch of Odarka in ‘The Taboo’
Imagine stepping into the world of “The Taboo” by W. Somerset Maugham, where the lush
landscapes of the South Pacific form the backdrop of human emotions, desires, and moral
dilemmas. Among the characters that linger in the reader’s mind, Odarka stands out as a
fascinating, complex figure. She is not just a character moving through the narrative; she is a
living embodiment of conflict between freedom and societal expectations, love and survival,
instinct and morality. Understanding her requires us to look closely at her life, her
motivations, and the subtle shades of her personality.
Odarka is portrayed as a young, attractive native girl whose physical beauty is immediately
striking. But Maugham doesn’t reduce her to mere appearances. Odarka is defined as much
by her inner world as by her external charm. She is intelligent and observant, qualities that
allow her to navigate the complex social environment around her. Life in the remote Pacific
islands is governed by rigid cultural norms and the omnipresent influence of European
colonizers. Odarka must constantly balance her own desires with the expectations of both
her community and the outsiders who bring different rules and values.
Her innate vitality and charm make her magnetic to others. She is confident in her allure
but never arrogant; instead, there is a natural, almost instinctive grace in how she interacts
with people. This charm, however, is not her only tool. Odarka also possesses a keen sense
of survival. She knows the consequences of transgression in a society that is conservative
yet harsh, and this awareness shapes her decisions. In many ways, she embodies the tension
between personal freedom and societal taboo—hence the title of the story.
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A key aspect of Odarka’s character is her courage and emotional resilience. She is
confronted with complex moral situations that test her loyalty, love, and self-respect.
Odarka’s love for her partner is deep and genuine, yet it is constantly shadowed by the
expectations of others. Her choices often involve navigating ethical gray areas, making her a
realistic and relatable character. Unlike idealized literary figures who act only according to
moral absolutes, Odarka is profoundly human—capable of both strength and vulnerability.
Moreover, Odarka is introspective. She reflects on her actions, her desires, and the world
around her. This introspection allows the reader to engage with her as more than just a plot
device. We feel her struggles, her moments of doubt, and her triumphs. It is through this
lens that Maugham allows us to understand her as a multi-dimensional character rather
than a flat stereotype.
Odarka also reflects the intersection of personal desire and societal constraint. She lives in
a world where taboos dictate behavior, yet her instincts, emotions, and human needs
compel her to challenge these limitations. This makes her a symbol of rebellion against rigid
social norms. However, Maugham presents this rebellion subtly—Odarka is not overtly
confrontational but navigates the tension with intelligence and sensitivity. She is strategic,
yet she remains compassionate, showing that strength does not always need to be loud or
forceful.
In essence, Odarka is a blend of beauty, intelligence, courage, and moral complexity. She
represents the universal human struggle: the desire to live authentically while being bound
by the invisible chains of tradition and societal expectations. Maugham’s portrayal is
sympathetic yet realistic; he does not glorify or vilify her but presents her as a fully realized
human being, making her one of the most memorable characters in his literary world.
2. Portrayal of Society in ‘The Doll’s House’ by Katherine Mansfield
Now, turning to Katherine Mansfield’s “The Doll’s House,” we enter a different kind of
world—a world not of exotic islands but of suburban New Zealand society in the early 20th
century, where small, seemingly insignificant social interactions reveal deep-seated
prejudices, class divisions, and the subtle cruelty of human behavior. Mansfield is a master
of observation, and her story offers a realistic portrayal of society in a way that is both
subtle and profound.
At the heart of “The Doll’s House” is the Burnell family, who receive a magnificent dollhouse
as a gift. On the surface, this seems like a simple story about children playing, but Mansfield
uses the dollhouse as a microcosm of society. The attention to detail in the dollhouse—the
shining furniture, the intricate decorations—mirrors the superficial concerns of the adults
around it. In other words, the dollhouse is a symbol of social status, class consciousness, and
the desire to display wealth and taste. Through this small object, Mansfield illustrates the
larger societal values and the obsession with appearances that dominate human behavior.
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One of the most striking aspects of Mansfield’s social commentary is her depiction of class
distinction and social prejudice. The Burnell children’s selective invitation to show the
dollhouse exposes the rigid social hierarchies that exist even among children. Those from
lower social classes, particularly the Kelvey sisters, are excluded because of their family
background. Mansfield does not explicitly preach about injustice; instead, she shows it
through the everyday behaviors, attitudes, and whispers of children and adults alike. This
subtlety makes the portrayal feel authentic, like observing society through a magnifying
glass where even small gestures carry profound meaning.
The Kelvey sisters themselves highlight the harshness of social exclusion. They are the
children of a washerwoman and a railway worker, and society views them with suspicion
and disdain. The cruelty of being ostracized is depicted with clarity and sensitivity. Yet,
Mansfield also shows that innocence and curiosity persist in these children despite societal
rejection. The Kelveys’ fascination with the dollhouse and their excitement in seeing it from
afar demonstrate the human desire for beauty, belonging, and recognition, even when
society refuses it. Mansfield captures this with a delicate balance of empathy and realism,
making the reader both mourn and admire these children.
Mansfield’s realism also extends to human behavior and psychology. She captures the
pettiness, envy, and competition among children with sharp insight. The hierarchy among
the Burnell children—who gets to show the dollhouse and who does not—reflects larger
societal structures. The story shows how social attitudes and prejudices are internalized
from a young age, making the children both victims and perpetrators of social norms.
Mansfield’s narrative is unflinching yet compassionate; she portrays human behavior as it is,
without exaggeration or melodrama.
The setting and details further enhance the realistic portrayal. Mansfield describes the
dollhouse, the garden, the school, and the social environment with meticulous care. These
details are not mere decoration; they serve to root the story in a tangible, recognizable
reality. Through these descriptions, readers can see, feel, and almost touch the world of
the story, making the social critique all the more effective. Mansfield shows that societal
divisions are not always dramatic or violent—they can be quiet, everyday, and seemingly
insignificant, yet they have profound effects on individuals’ lives.
Another layer of Mansfield’s realism is her subtle critique of conformity and the obsession
with social approval. The Burnell family is conscious of appearances, striving to maintain
their social status by controlling who interacts with whom. This reflects a society where
social acceptance is measured by class, wealth, and propriety. Mansfield exposes these
behaviors without overt judgment, allowing the reader to draw their own conclusions. This
approach mirrors real life, where moral lessons are rarely explicit and social dynamics are
complex and layered.
Finally, Mansfield’s story emphasizes the emotional impact of social exclusion and
inequality. By focusing on the Kelvey sisters’ feelings of longing and the Burnell children’s
delight in privilege, she highlights the emotional dimension of social structures. The story
does not merely describe social divisions; it makes the reader feel the injustice, empathy,
and human longing that accompany these divisions. This emotional realism, combined with
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detailed observation and subtle social critique, is what makes Mansfield’s portrayal of
society so vivid and enduring.
Connecting Odarka and Mansfield’s Society
Interestingly, both stories—though very different in setting—explore the tension between
individuals and society. Odarka’s story is set in a tropical, almost lawless environment, yet
social expectations and taboos define her choices. Mansfield’s story is set in a structured,
suburban society, where rules and prejudices govern even children’s interactions. In both
cases, the authors humanize their characters, showing how society shapes behavior,
desires, and emotions. Odarka navigates taboo and moral conflict, while the Burnell and
Kelvey children navigate social class and acceptance. Both authors also highlight the subtle
cruelty and injustice of societal norms, making the stories not only engaging but also
profoundly reflective of human experience.
Both Maugham and Mansfield focus on internal experiences, emotions, and moral
dilemmas. Odarka’s introspection allows us to understand the impact of taboos on her life,
while Mansfield shows how social exclusion affects children’s emotional worlds. Both stories
emphasize that society is not merely an external force but a lived experience, shaping
emotions, choices, and destinies in subtle and powerful ways.
Conclusion
To sum up, Odarka in “The Taboo” is a multi-dimensional character whose beauty,
intelligence, and courage shine against the backdrop of societal taboos and moral dilemmas.
She embodies the universal human struggle between personal desire and societal
expectation. On the other hand, Katherine Mansfield’s “The Doll’s House” presents a vivid,
realistic portrayal of society, highlighting class prejudice, social exclusion, and the
internalization of societal norms, all through the lens of children’s experiences. Both works,
though different in context and style, explore the intricate relationship between individuals
and society, showing that human experience—whether in distant islands or suburban New
Zealand—is shaped profoundly by social structures, expectations, and emotions.
Both stories invite readers to reflect on justice, morality, empathy, and human dignity.
They encourage us to look beyond superficial appearances and understand the deeper
truths of human life—be it through Odarka’s moral courage or the Kelvey sisters’ quiet
longing. These literary works remind us that literature’s power lies not only in telling a story
but in revealing the complexities, injustices, and beauty of the human experience.
“This paper has been carefully prepared for educational purposes. If you notice any mistakes or
have suggestions, feel free to share your feedback.”
