The Proposal: Class 10 English Chapter 9 Hinglish mein

9.1 Padhne se pehle

Punjab ke ek gaon mein do kisaan families socho jinke khet ek hi boundary share karte hain. Unke bachche saath bade hue, aur ab ek family shaadi ka proposal lekar aati hai. Sab chai, mithai aur muskaanon ki ummeed karte hain. Lekin kya ho agar visit ke beech mein koi zameen ki ek patti ka zikr kar de jise dono families apni maanti hain? Anton Chekhov ne isi sawaal par poora play bana diya, aur jawaab bahut mazedaar hai.

• Vykup, yaani ‘ransom’. Groom ko bride tak pahunchne ke liye jeetna padta hai. Bride ki saheliyan puzzles aur silly tasks se uska raasta rokti hain, aur har galat jawaab par use ‘fine’ dena padta hai.
• Register sign karna. Shaadi tab legal hoti hai jab couple government registry office mein sign karta hai, jise aksar ZAGS kehte hain.
• Photo tour. Signing ke baad couple aur unke dost shehar mein ghoomte hain aur famous monuments aur bridges par pose karte hain.
• Toasts aur gorko! Reception mein guests gorko (‘kadwa’) chillaate hain, aur drink ko phir se ‘meetha’ karne ke liye couple ko kiss karna padta hai.
• Pranks. Dost bride ko ‘kidnap’ kar sakte hain ya uska ek joota chhupa sakte hain, aur groom unhe wapas paane ke liye paise deta hai.

Inmein se kai cheezein jaani-pehchaani lagengi. Kai North Indian shaadiyon mein baraat music ke saath aati hai aur bride ki behnein darwaaza tab tak rokti hain jab tak groom ‘pay’ na kare. Joota chupai mein woh uske joote chhupa deti hain aur wapas karne se pehle khoob mol-bhaav karti hain. Kuch customs sirf hamare hain, jaise pavitra agni ke saat phere, mehendi aur varmala ka exchange.

Play ke baare mein. The Proposal, jiska pehla naam A Marriage Proposal tha, ek one-act comedy hai jo Chekhov ne 1888–89 mein likhi. Yeh ek farce hai. Iska nishana Russian zameendar class ki ek aadat hai: pati ya patni ko lagbhag waise hi chunna jaise koi bagal wala khet khareedta hai. Padhte waqt teen cheezon par dhyaan do: love ke baare mein koi kitna kam bolta hai, bina baat ke gussa kitni jaldi bhadakta hai, aur self-interest couple ko baar-baar kaise wapas jod deta hai.

9.2 Play aur uske log

One-act play apni poori kahani ek hi act mein sunaata hai, aksar ek hi jagah aur time mein bina jump ke. The Proposal kabhi ek kamre se bahar nahi jaata: unneesvi sadi ke aakhir mein rural Russia mein Chubukov ke country house ka drawing-room. Iske log zameendar gentry ke hain, jinki daulat aur ghamand unki estates se aata tha. Russia ne 1861 mein apne serfs ko azaad kar diya tha, lekin yeh zameendar ab bhi kisi family ki keemat khet, jangal aur meadows se naapte hain. Isiliye ghaas ki ek patli patti bhi jung shuru kar sakti hai.

Russian naam padhna. Lambe naam kai readers ko confuse karte hain, lekin unka ek pattern hai. Ek Russian ka first name, father ke first name se bana ek patronymic, aur surname hota hai. Chubukov Stepan Stepanovitch hain: Stepan, Stepan ka beta. Unki beti Natalya Stepanovna hai: Natalya, Stepan ki beti. Lomov Ivan Vassilevitch hai: Ivan, Vassili ka beta. Tameez se baat karne wale first name aur patronymic saath mein use karte hain, isiliye Lomov baar-baar ‘Natalya Stepanovna’ kehta hai. Yeh kuch-kuch Sachin Ramesh Tendulkar ke middle name jaisa hai, jo unke father ka naam hai.

Play kaise padhein. Play perform karne ke liye likha jaata hai, isliye text mein zyada tar dialogue hota hai. Har speech se pehle wala naam batata hai ki kaun bol raha hai. Square brackets mein likhe words stage directions hain: actors ke liye actions, tone aur movement ke notes, jaise gatagat paani peena ya dil pakadna. Aside word par nazar rakho. Aside aisi baat hai jo audience sunti hai lekin stage par baaki characters nahi sunte. Chekhov bilkul pehle kuch minutes mein hi ek aside use karta hai, jab Chubukov mann hi mann andaaza lagata hai ki Lomov kyun aaya hai.

Zor se Chubukov poori mithaas hai: my angel, my treasure. Dheemi awaaz mein woh ek hoshiyaar budha kanjoos hai. Yeh ek aside humein uski saari meethi baaton se zyada uske baare mein batata hai, aur textbook ke exercises ka pehla question bhi yahi se banta hai.

9.3 Kahani, scene by scene

Play ek hi lagaataar act hai, lekin yeh apne aap paanch hisson mein bant jaata hai. Inmein se do jhagde hain, aur doosra jhagda pehle se bhi zyada zor ka hai. Fig. 9.4 kamre ka temperature track karta hai, pehli nervous greeting se lekar aakhri chillam-chilli tak. Neeche har hissa apni NCERT book mein play kholkar padho.

9.3.1 Evening dress mein mehmaan

Kya hota hai. Lomov formal evening clothes aur safed gloves mein aata hai, padosi ke ghar visit ke liye bahut zyada sajdhaj ke. Chubukov use pyaar bhare naamon ki jhadi se welcome karta hai aur uske kapdon par mazaak udaata hai. Lomov poori tarah nervous hai: woh gatagat paani peeta hai, host ka naam gadbad kar deta hai aur apni request ke aas-paas ghoomta rehta hai. Chubukov mann hi mann tay kar leta hai ki ladka udhaar maangne aaya hai. Jab aakhir mein Lomov Natalya se shaadi ki baat karta hai, to budhe ka mood shak se seedha khushi mein badal jaata hai. Woh Lomov ko gale lagata hai, aansu bahaata hai, kehta hai ki woh saalon se yahi chahta tha, vaada karta hai ki Natalya pyaar mein hai, aur use bulaane bhaagta hai.

Stage par akela. Lomov ki khud se ki gayi speech uske mann ki khidki hai. Woh exam hall ke bahar khade student jitna ghabraaya hua hai. Uska logic ulta hai: sochna khatarnaak hai, isliye use jaldi faisla karna hoga, isse pehle ki ideals ya sachche pyaar ke baare mein koi shak use rok de. Uski list mein Natalya ke plus points practical hain: woh ghar achhe se chalaati hai, uska roop theek-thaak hai, aur woh padhi-likhi hai. Phir aate hain uske asli reasons. Woh paintees saal ka hai, aur uske jaise nervous aadmi ko shaant, orderly zindagi chahiye. Woh apni shikaayatein ginata hai: tez dhadakta dil, phadakte hont aur bhauh, aur side mein achaanak ‘khinchaav’ se kharaab hoti raatein.

9.3.2 Pehla jhagda: Oxen Meadows

Kya hota hai. Natalya apron pehne andar aati hai; uske father ne use sirf itna bataya hai ki ek merchant kuch saamaan lene aaya hai. Woh mausam, ghaas aur khet ki baatein karti hai, aur sochti hai ki Lomov itna saj-dhaj ke kyun aaya hai. Woh peedhiyon se dono families ki dosti ke baare mein ek lambi, formal speech shuru karta hai. Uski zameen, jo use apni aunt se mili, unki zameen ke bilkul bagal mein hai, jahan uske Oxen Meadows unke birchwoods se milte hain. Bas yahin tak pahunch paata hai. Natalya beech mein tok deti hai: Meadows uske nahi hain, woh Chubukovs ke hain.

Dono ke daave. Lomov ka version ek uljhi hui family history hai. Bahut pehle, uski aunt ki grandmother ne Natalya ke great-grandfather ke peasants ko bricks banaane ke badle Meadows muft mein use karne diye the. Chaalees saal use karne ke baad, un peasants ne zameen ko apna samajhna shuru kar diya. Natalya in saari aunts aur grandfathers ki kahani sunne se mana kar deti hai. Uski family hamesha se maanti aayi hai ki unki zameen Burnt Marsh tak jaati hai, aur uske liye baat wahin khatam. Fig. 9.5 woh patti dikhaata hai jis par woh lad rahe hain.

Baat kaise bigadti hai. Natalya maanti hai ki Meadows chhote hain aur unki keemat bahut kam hai; woh kehti hai ki use bardaasht nahi hota to bas na-insaafi. Lomov use zameen tohfe mein dene ki offer karta hai, jo use aur bhi bura lagta hai: woh use woh cheez gift karne ki himmat kaise kar sakta hai jo pehle se uski hai? Woh use yaad dilaati hai ki uski family ne ek baar use apni threshing-machine udhaar di thi. Land-grabber kahe jaane par woh bhadak uthta hai. Woh usi din apne mowers ko Meadows bhejne ki dhamki deti hai, aur woh unse nipatne ki dhamki deta hai. Jaldi hi baatcheet sirf do words tak simat jaati hai jo dono ek doosre par chillaate hain: ‘Mine!’ ‘Ours!’

Chubukov maamla shaant karne aata hai lekin ulta apni beti ki side le leta hai. Woh yahan tak keh deta hai ki Lomov se pehle to peasants ko Meadows mil jaayenge. Dono aadmi court case ki dhamkiyan dete hain, phir ek doosre ki families ki beizzati karte hain. Saamne aate hain fraud ke ilzaam wala ek ancestor, family mein paagalpan, ek sharaabi grandfather, bhaag kar shaadi karne wali ek aunt aur kubdi peeth wali ek maa. Lomov ka dil zor se dhadakta hai, uska pair sunn ho jaata hai, aur woh ladkhadaata hua ghar se nikal jaata hai. Uske jaane ke baad bhi baap-beti use bura-bhala kehte rehte hain.

9.3.3 ‘Proposal?’

Mod. Abhi bhi gusse mein, Chubukov ke munh se nikal jaata hai ki Lomov saj-dhaj ke kyun aaya tha: woh proposal dene aaya tha. Natalya ka gussa ek second mein khatam ho jaata hai. Woh kursi par gir padti hai, rone-chillaane lagti hai aur maangti hai ki Lomov ko turant wapas laaya jaaye. Uske ghabraaye father apne aap ko lekar ajeeb dhamkiyan dete hain aur use bulaane bhaagte hain. Kamre mein wapas aakar woh suitor ko bhagaane ka ilzaam beti par lagaate hain, aur woh palat kar unhe hi doshi thehraati hai. Yeh play ka bada reversal hai: jo zameen ek minute pehle itni important thi, ab woh ek pati se kam important hai.

Jab thaka hua Lomov wapas aata hai, to Natalya poori mithaas ban jaati hai. Woh maafi maangti hai aur maan leti hai ki Meadows sach mein uske hain. Lomov, ab bhi seena pakde hue, samjhaata hai ki usne sirf ‘on principle’ bahas ki thi aur apna evidence dohraane lagta hai. Woh use taal deti hai aur ek aside mein sochti hai ki use wapas proposal tak kaise laaye. Baat badalne ke liye woh usse hunting season ke baare mein poochti hai.

9.3.4 Doosra jhagda: Guess aur Squeezer

Kya hota hai. Lomov batata hai ki woh harvest ke baad shikaar par jaane ka soch raha hai, aur uska sabse achha hunting dog, Guess, langda ho gaya hai. Yahi maasoom si baat round two shuru kar deti hai. Natalya ko lagta hai ki usne Guess ke liye bahut zyada paise diye; Lomov ko lagta hai ki kutta sasta pada. Woh kehti hai ki uski family ka kutta, Squeezer, kahin behtar hai. Lomov hansta hai: Squeezer overshot hai, uska neeche ka jabda upar wale se chhota hai, aur aisa kutta shikaar ko pakad nahi sakta. Natalya jawaab deti hai ki Squeezer ka pedigree badhiya hai, jabki Guess budha aur bhadda hai. Lomov taana maarta hai ki Squeezer jaise kutte to kaudiyon ke bhaav milte hain.

Lomov ka dil phir se protest karne lagta hai, lekin Natalya peeche hatne se mana kar deti hai. Jab Chubukov andar aata hai, to woh bhi Squeezer ki side leta hai, lekin zyada chaalaaki se. Woh maanta hai ki kutta shayad overshot ho, lekin zid karta hai ki woh district ka sabse achha kutta hai, aur Guess mein do kamiyan nikaalta hai. Lomov ek shikaar yaad karta hai jismein Guess ek count ke kutte ke saath barabar daudaa jabki Squeezer bahut peeche reh gaya. Chubukov iska doshi ek naukar ke chaabuk ko bataata hai, aur Lomov Squeezer ko doshi bataata hai ki woh fox ke bajaay ek bhed ke peeche bhaaga. Baap-beti uske kamzor dil ka mazaak udaate hain aur us par hanste hain ki woh aisa shikaari hai jo ghode par mushkil se tik paata hai, aur beizzati phir se personal ho jaati hai. Lomov ek armchair mein gir padta hai, aur Natalya cheekhti hai ki woh mar gaya.

9.3.5 Engaged, aur phir bhi bahas

Kya hota hai. Chubukov ghabra jaata hai, paani aur doctor ke liye chillaata hai, aur apni kismat par natakiya dhang se rota hai. Phir Lomov hilta hai. Mauka dekhkar Chubukov Lomov ka haath Natalya ke haath mein rakh deta hai, elaan karta hai ki woh maan gayi hai, aashirvaad deta hai aur gidgidaata hai ki use chain se rehne diya jaaye. Lomov, ab bhi bhaunchakka, ko samajhne mein ek pal lagta hai ki kya hua. Phir woh kehta hai ki woh khush hai, aur Natalya bhi yahi kehti hai.

Shaanti kuch seconds hi chalti hai. Natalya use maanne ko kehti hai ki Squeezer behtar kutta hai. Woh mana kar deta hai, aur purani bahas phir bhadak uthti hai. Jab parda girta hai, Chubukov poori awaaz mein champagne ke liye chillaa raha hai, couple ki chillam-chilli ko dabaane ki koshish mein. Yeh ek perfect comic ending hai: shaadi to tay ho gayi, lekin baaki kuch bhi nahi.

9.4 Characters, themes aur humour

Chekhov ke teeno characters jaan-boojhkar exaggerated hain, phir bhi har ek pehchaana hua lagta hai: hum sab kisi aise insaan ko jaante hain jo bahas chhod hi nahi sakta. Character sketches ke liye compare block use karo, aur yaad rakho ki har trait ke liye play se ek evidence chahiye.

Lomov shaadi se apne nerves ka ilaaj chahta hai, pyaar nahi. Woh ek hypochondriac hai, hamesha palpitations, sunn pairon aur phadakti bhauhon ki report deta rehta hai, phir bhi har kuch minute mein aisa jhagda shuru karta ya kheenchta hai jo inhe aur bigaad deta hai. Woh apni izzat ko lekar bahut touchy hai, aur zid karta hai ki woh sirf ‘on principle’ bahas karta hai aur Lomovs imaandaar log hain.

Natalya koi sharmeeli dulhan nahi hai. Woh khet ka kaam sambhalti hai, ghaas aur mowers ke baare mein confidence se baat karti hai, aur eent ka jawaab patthar se deti hai. Lekin jaise hi use proposal ka pata chalta hai, woh Meadows par apna daava chhod deti hai. Uska jaldi badalna dikhaata hai ki uske liye achhi shaadi zameen se zyada important hai. Kutton ke baare mein uski aakhri maang dikhaati hai ki uska ghamand bilkul nahi badla.

Chubukov ek saans mein Lomov ko my angel kehta hai aur agli mein pettifogger. Uska aside dikhaata hai ki woh Lomov ko loan dene se mana karne ko tayyar tha, aur proposal par uski khushi asal mein bagal mein ek ameer damaad milne ki khushi hai. Woh gusse wala, beizzati karne wala aur natakiya hai, phir bhi wahi engagement ko jaldi-jaldi pakki karta hai.

9.4.1 Themes aur message

• Shaadi ek property deal ke roop mein. Play mein koi bhi pyaar ki baat nahi karta. Rishta isliye theek lagta hai kyunki yeh do padosi estates ko jodta hai. Chekhov us class par hansta hai jo shaadi ko business samajhti thi.
• Chhoti baaton par jhagda. Kam keemat wala ek meadow aur ek kutte ka jabda proposal ko lagbhag bigaad dete hain. Har ladaai ke peeche ghamand hai, asli mudda nahi.
• Hypocrisy. Meethe words ke peeche matlabi iraade chhupe hain. Chubukov ka pita jaisa pyaar aur Natalya ka achaanak maan jaana unke fayde ke saath badalte hain.
• Gussa aur sehat. Lomov ka gussa aur uska sharir jude hue hain: har outburst palpitations aur sunnpan laata hai, jab tak woh gir nahi padta.
• Insaan ka nature aasaani se nahi badalta. Ending ishaara karti hai ki couple poori shaadi-shuda zindagi jhagadta rahega.

Message. Ghamand aur laalach logon ko ridiculous bana dete hain. Property aur ego par bani shaadi, jismein sabr ya izzat na ho, toofaani future ka vaada karti hai. Chekhov yeh baat lecture se nahi, hansi se samjhaata hai.

9.4.2 Ise farce kya banata hai

Inmein se do terms board questions mein aksar aate hain. Dramatic irony woh gap hai jo hamari jaankaari aur character ki jaankaari ke beech hota hai; isse Natalya ka Meadows ke liye gusse se ladna aur bhi mazedaar ho jaata hai. Anticlimax build-up ke baad aane wali niraasha hai: jis engagement ka itna intezaar tha, uske kuch hi seconds baad kutton par jhagda shuru ho jaata hai.

9.4.3 Play ke baare mein sochna

Kya Chubukov sachcha hai? Apne aside mein uska pehla khayal yeh hai ki Lomov ko paise chahiye aur use mana kar dena chahiye. Kuch minute baad woh bhaavuk hokar kehta hai ki usne Lomov ko hamesha ‘as if you were my own son’ pyaar kiya hai. Badlaav ki speed hi uski pol khol deti hai. Jhagda shuru hote hi woh Lomov aur uski poori family ki beizzati karta hai, aur engagement ke baad bas chain se rehna chahta hai. Uski garmjoshi tabhi tak hai jab tak Lomov kaam ka hai: ek ameer padosi jo uski beti se shaadi karega.

Kya Natalya ‘like a lovesick cat’ hai, jaisa uske father kehte hain? Us tarah nahi jaisa unka matlab hai. Lomov ke aane ki wajah jaanne se pehle woh usse zor-shor se ladti hai, aur kuch bhi nahi dikhaata ki woh uske liye tadap rahi hai. Phir bhi jaise hi woh proposal word sunti hai, woh use wapas laane ke liye bechain ho jaati hai aur Meadows chhod deti hai. Isse pata chalta hai ki woh Lomov se pyaar karne se zyada shaadi karna chahti hai, shayad security aur status ke liye. Tum kisi bhi side argue kar sakte ho, bas yeh evidence use karo.

Textbook ke aakhri question ke liye, agle jhagde ki kalpana karo. Achhe guesses characters ki sanak se aate hain: couple kahan rahega, shaadi par kitna kharcha ho, ya kis family ke ghode behtar hain. Chekhov ka point yeh hai ki mudda kya hai isse zyada fark nahi padta; ladaai ko uske peeche ka ghamand hi hawa deta hai.

9.5 Language ke baare mein sochna

The Proposal Russian mein likha gaya tha aur hum tak English translation mein pahuncha hai. Language work tumse yeh notice karne ko kehta hai ki translated speech kaisi lagti hai, English words par stress kaise padta hai, aur play ke teen roz ke phrases kaise use hote hain.

9.5.1 Translated aur purane zamaane ke expressions

Kuch lines English mein ajeeb lagti hain kyunki unmein Russian aadatein bachi hain. Chekhov ke Russia mein ek bada aadmi kisi chhote ko my angel ya my precious keh sakta tha, garmjoshi bhari, thodi zyada hi tameez ke roop mein. Aaj koi English bolne wala kisi bade aadmi ko aise greet nahi karega. Kuch aur phrases bas translator ke chune hue purane English words hain, jabki kuch lines utni hi seedhi hain jitna tum aaj sun sakte ho.

Modern lagne wali lines bhi dhoondho. Jab Chubukov Lomov se kehta hai ki gol-gol ghoomna band karo aur saaf-saaf bolo, ya jab characters ‘Shut up!’ chillaate hain, to English kisi bhi film dialogue jitni aaj ki lagti hai. Purane aur naye ka yeh mix translation ko thoda comic, thoda videshi flavour deta hai.

9.5.2 Syllables aur word stress

Syllable awaaz ki ek beat hai jiske centre mein ek vowel sound hota hai: peas mein ek hai, mea-dows mein do, ar-gu-ment mein teen. Do ya zyada syllables wale English word mein ek syllable par word stress padta hai: use thoda zor se, lamba aur oonchi awaaz mein bola jaata hai. Dictionaries stressed syllable se pehle ek chhota utha hua stroke (ˈ) lagaakar ise mark karti hain. Galat jagah stress dene se word pehchaanna mushkil ho sakta hai.

Table words ko pattern ke hisaab se group karti hai: pehle aath mein stress pehle syllable par hai, agle chhe mein doosre par, aur aakhri do mein teesre par. Dhyaan do ki principle bilkul principal jaisa sunaai deta hai, aur palpitations mein -ate- wali awaaz par stress padta hai, jaise education aur examination mein.

9.5.3 Teen kaam ke phrases

• You may take it that… ka matlab hai ‘you can be sure that’ ya ‘accept this as a fact’, yaani ‘pakka maan lo ki’. You may take it that the results will be out by Friday; the notice is already on the board.
• (He) seems to be coming round ka matlab hai ‘he appears to be waking up after fainting’, yaani behoshi ke baad woh hosh mein aata lag raha hai. The goalkeeper was knocked out by the ball, but after a splash of water he seems to be coming round. (Come round ka matlab ‘apni raay badalna’ ya ‘kisi ke ghar jaana’ bhi ho sakta hai.)
• My foot's gone to sleep ka matlab hai ‘my foot has gone numb’, yaani bahut der tak ek jagah baithe rehne se pair sunn ho gaya hai, aksar chubhti hui jhunjhunaahat ke saath. After the long puja on the floor, my foot had gone to sleep and I hobbled to the door.

9.6 Reported speech

Jab hum kisi ke exact words quotation marks ke andar dohraate hain, to hum direct speech use karte hain. Jab hum message ko apne sentence mein, bina quotation marks ke, aage pahunchaate hain, to hum reported speech use karte hain, jise indirect speech bhi kehte hain. Reported sentence ke do parts hote hain: reporting clause, jismein said, asked ya told jaisa reporting verb hota hai, aur reported clause, jo message le kar chalta hai.

• Direct: Arjun said, “I am packing my bag now.”
• Reported: Arjun said that he was packing his bag then.

Kyunki hum words ko baad mein, ek alag point of view se report karte hain, isliye kai cheezein shift hoti hain. Fig. 9.9 main changes ek-ek karke dikhaata hai.

• Statements: said ya told (+ sunne wala) use karo aur aksar that bhi: Riya told me that she had won.
• Yes/no questions: asked + if ya whether use karo, normal word order ke saath: “Are you coming?” → He asked if I was coming.
• Wh- questions: question word rakho aur statement wala order use karo, bina question mark ke: “Where do you live?” → She asked where I lived.
• Commands aur requests: told, ordered ya requested + to use karo: “Please sit down.” → He requested me to sit down.
• Exclamations aur strong statements: aisa verb chuno jo feeling dikhaaye, jaise exclaimed, declared, insisted ya shouted.
• Tone: agar bolne wala izzat (‘Sir’, ‘honoured…’) ya emotion dikhaata hai, to ek adverb jodo: asked respectfully, said angrily.
• Backshift nahi hota jab reporting verb present mein ho (She says she is tired) ya statement hamesha sach ho (The teacher said that the Earth goes round the Sun).

Textbook tumse apne examples se rules ki ek list poori karne ko kehti hai. Yeh rahe short mein answers:

• Question ko asked se report karte hain; statement ko said se.
• Here ban jaata hai there.
• Present tense ka verb past tense mein chala jaata hai.
• Present continuous ban jaata hai past continuous: am getting ban jaata hai was getting.
• Izzat se bulaane ka tareeka reporting clause mein adverb respectfully ban jaata hai.
• First-person pronouns he, she, him, her, his ya their mein badal jaate hain, jo bhi bolne wale par fit ho.

9.7 Speaking aur writing

9.7.1 Speaking: gussa sambhalna

Task. Group mein gusse par discuss karo: teen nuksaan, apna temper control rakhne ke tareeke, aur kya gussa kabhi kuch achha bhi karta hai. Play ek perfect case study hai: gussa shaadi ke proposal ko lagbhag bigaad deta hai aur Lomov ki jaan lagbhag le leta hai.

9.7.2 Writing: ek play script

Task. Pairs mein, ek chhote prose passage ko lagbhag paanch exchanges wale scene mein badlo, aur movement aur tone ke liye stage directions jodo. Textbook ka passage Rabindranath Tagore ke novel The Home and the World se hai. Ismein ek patni apne pati, jo ek zameendar hai, se kehti hai ki uske market se videshi saamaan hata de, aur woh traders par zabardasti karne se mana kar deta hai.

9.7.3 Discussion: life partner mein kaun si qualities

Task. Groups mein discuss karo ki shaadi ke partner mein kaun si qualities sabse zyada maayne rakhti hain: personal qualities, values, aur education ya kaam. Lomov ne Natalya ko housekeeping aur zameen wali checklist se chuna tha; tumhara group isse behtar kar sakta hai.

9.7.4 Films ki baat: jhagdaalu couple

Task. Kya play ke kuch hisse tumhe romantic comedies ki yaad dilaate hain? Films ka ek favourite pattern hai woh couple jo har mulaqaat mein jhagadta hai aur phir bhi aakhir mein saath ho jaata hai. Yeh pattern purana hai: Shakespeare ke Much Ado About Nothing mein Beatrice aur Benedick apna pyaar maanne se pehle words ki ‘merry war’ mein ek doosre ko taane maarte hain. Jab tum class ko koi film scene sunaao, to batao ki characters kaun hain, jhagda kis baat se bhadakta hai, kaise badhta hai aur kaise khatam hota hai. Phir use Lomov aur Natalya se compare karo: kya film wala couple pyaar mein hai, ya Chekhov ki jodi ki tarah bas ziddi hai?

9.8 Homographs, aur ek guessing game

Textbook ek box ke saath khatam hoti hai jo aise words ke baare mein hai jo dikhte ek jaise hain lekin awaaz ya matlab mein alag hain. Jo words sunne mein same hain lekin spelling alag hai, woh homophones hain (peace, piece). Jo words spelling mein same hain lekin matlab mein, aur kabhi awaaz mein bhi, alag hain, woh homographs hain. Kai do-syllable homographs ka stress badalta hai: noun ya adjective ke roop mein pehle syllable par stress hota hai; verb ke roop mein doosre par.

• close: /s/ awaaz ke saath iska matlab ‘paas’ hai (a close friend); /z/ awaaz ke saath iska matlab ‘band karna’ hai (close the gate).
• minute: MIN-ute matlab saath seconds; my-NUTE matlab bahut chhota.
• tear: tear (ear ke saath rhyme) aankh se girta aansu hai; paper ko tear (air ke saath rhyme) karna matlab use phaadna.
• lead: team ko lead (need ke saath rhyme) karna; lead (bed ke saath rhyme) ek bhaari metal hai.
• wind: wind (chhota i) chalti hai; tum ghadi ya rassi ko wind (kind ke saath rhyme) karte ho.

9.9 Revision aur board practice

Character sketches likhna, aur unhe check karna, tab sabse aasaan hota hai jab har trait ek hi chaar steps follow kare. Fig. 9.12 inhe Lomov ke ek trait ke saath dikhaata hai; do ya teen traits ke liye yahi steps dohraao aur ek line ke conclusion se khatam karo.