Carrier of Words: Class 9 English Chapter 7 Hinglish mein

Aaj ek message ek second se bhi kam mein poora India paar kar sakta hai. Tum type karte ho, send par tap karte ho, aur Guwahati mein koi aunty ya Chennai mein koi cousin use turant padh leta hai. Lekin desh ke kai hisson mein mobile network raaste mein kahin jawaab de deta hai. Us point ke aage words aaj bhi purane tareeke se travel karte hain: kaagaz par, kapde ke thaile mein, kisi ke kandhe par.

7.1 Carrier of Words: padhne se pehle

Carrier of Words non-fiction hai: Thar Desert ke ek rural postman ka sachcha account, jo Pakistan border se kuch hi kilometre door rehta hai. Padhte samay socho ki yeh kaam usse kya leta hai aur jin logon ki woh seva karta hai, unhe kya deta hai.

7.1.1 Pehle jaanne layak chhe words

Yeh chhe words text mein jaldi aate hain. Inhe pehle seekh lo.

7.2 Part I: desert ki aakhri kadi

Text email se pehle ke zamaane se shuru hota hai, phir ek aisi jagah pahunchta hai jahan woh zamaana kabhi poori tarah khatam hi nahi hua. India ke zyaadatar hisson mein letters post box se sorting office aur phir postman tak bina hamare dhyaan diye chalte rehte hain. Lekin desh ke kinaaron par trains aur sadkein bas khatam ho jaati hain. Wahan Gramin Dak Sewaks (ग्रामीण डाक सेवक), yaani rural postal workers, aksar door ke parivaaron ko unke rishtedaaron se jodne wala akela dhaaga hote hain.

Khetaram aisa hi ek dhaaga hai. Pandrah saal se woh western Rajasthan ke Somarad branch post office ka akela postman hai. Bhaari bag ne uska left kandha hamesha ke liye jhuka diya hai. Uski beat desert ke bikhre hue hamlets hain, jinhe dhaanis (ढाणी) kehte hain, aur jo India–Pakistan border se sirf 2.5 km door hain. Unke letters lagbhag 330 km door Jodhpur se chalte hain aur 24 ghante ke andar pahunch jaate hain (Fig. 7.1). Woh train se Barmer jaate hain, jo aakhri railway station hai, aur uske baad bus se. Aakhri hisse mein, jahan sadak itni naram ret mein ghul jaati hai ki cycle bhi nahi chal sakti, woh Khetaram ki peeth par safar karte hain.

Desert usse kya maangta hai? Chaar cheezein saaf dikhti hain.

• Load: 28 kg tak ka mailbag, jo official limit hai, ek hi delivery ke liye 20 km tak paidal uthaya jaata hai.
• Garmi: ret itni garam ki uske mojris (Rajasthani leather ke joote) ke andar bhi pair jal jaate hain. Jab hawa 50 °C se upar jaati hai, tab bhi record mein 49.9 °C likha jaata hai, kyunki 50 °C par state holiday dena padega. Sabse bure dinon mein woh sirf sooraj dhalne ke baad deliver karta hai.
• Aandhiyan: jalaati garam hawaayein aur ghoomti ret, aur bachaav ke liye sirf khaki uniform aur pagdi. Shaam tak woh itna ret se dhak jaata hai ki lagta hai ret ka hi bana ho.
• Paani: itna kam ki nahaane-dhone ke liye bach nahi sakta, isliye ret bas pochh di jaati hai.

Khetaram ek bahut badi workforce ka hissa hai. 2001 se, jin logon ko pehle delivery agents kaha jaata tha, unka official title Gramin Dak Sewak hai. Inki sankhya teen lakh se zyada hai, yaani India Post ke poore staff ke aadhe se bhi zyada. Rajasthan ke ek bade postal officer inhe invaluable kehte hain, kyunki yeh un jagahon tak pahunchte hain jahan koi gaadi nahi pahunch sakti: Ladakh ki barfili oonchaiyan, Lakshadweep ke islands aur north-east ke nadi kinaare ke gaon.

India ko itne saare GDS ki zaroorat kyun hai? Jawaab maqsad ke badalne mein hai. British rule mein post mainly administrative centres ke beech official mail le jaane ke liye thi. 1947 ke baad India Post ne ek kahin bada kaam liya, har citizen ki seva karna, aur post offices kai guna badh gaye. GDS gaon tak banking bhi laate hain: families apni monthly savings local post office mein jama karti hain, aur aise accounts ki bhaari sankhya unke trust ka naap hai.

7.3 Part II: har darwaaze par bharosa

Part II system ke peeche ke anokhe rules se shuru hota hai. Ek Sewak se umeed ki jaati hai ki uski koi doosri income bhi ho, jaise kheti, aur woh din ka sirf ek hissa, lagbhag paanch ghante, kaam karta hai. Badle mein post office ek chhoti lekin pakki payment ka vaada kar sakta hai aur Sewaks ko 65 saal tak kaam par rakh sakta hai. Iske ulat, regular postmen ko doosre government staff ki tarah pay milti hai. Ek postmaster ke hisaab se, sirf in flexible terms ki wajah se hi itne saare workers ko door-daraz ke outposts mein rakhna mumkin hai.

Khud Khetaram ke liye is kaam ka kya matlab hai? Seedhi baat, isse uske paanch logon ke parivaar ka pet bharta hai. Is zameen par famine, yaani akaal (अकाल), itni baar aata hai ki log ise normal maante hain, aur achchhe saal mein bhi bajra (pearl millet) ki sirf ek fasal hoti hai. Jin families ke paas aisi naukri nahi hai, woh doosri jagah kaam karne wale rishtedaaron ke bheje money orders par nirbhar rehti hain.

Yeh nirbharta bahut gehri hai. Novelist Mulk Raj Anand ne Indian post office ka ek history likha. Usmein unhone kaha ki Indian gaon ke log chhoti rakam ke liye post par duniya mein kahin aur ke logon se zyada nirbhar hain, jo us par unke poore vishwas ki nishaani hai. Thar ke logon ne yeh baat tab saabit ki jab GDS ko khatam karke unka kaam patwaris (village record keepers) ko dene ka plan jaldi hi reject kar diya gaya. Buzurg Budh Singh kehte hain ki kisi ko yakeen nahi tha ki patwari yeh sambhal paayenge.

Khetaram jahan bhi jaata hai, uska swagat hota hai. Gaon ke log khushi se apne letters use dete hain, aur woh unke darwaaze par baith kar letters zor se padhta hai aur jawaab likhta hai. Badle mein use bhi apnapan milta hai. Border Security Force (BSF) ke soldiers, jinka camp ek saal pehle paas mein bana, jab woh unki post laata hai to use gaadi mein le jaate hain aur chai pilaate hain. Jo family kisi naye bachche ya shaadi ki khabar sunti hai, woh use gud ki ek dali dekar shukriya kehti hai, jo aksar woh bas itna hi de sakti hai.

Har delivery khushi wali nahi hoti. Khetaram ek nazar mein jaan leta hai ki kaun sa letter maut ki khabar laaya hai: uske envelope ka right-hand corner gayab hota hai (Fig. 7.2). Aisi khabar, ashubh samachar (अशुभ समाचार), ko kabhi ghar ke andar nahi aane diya jaata. Isliye woh use dehleez par hi do baar padh kar sunata hai, aur phir letter phaad deta hai. Uski explanation shaant aur seedhi hai: “Bad news must be destroyed.”

Text aage dekhte hue khatam hota hai. Phone lines Somarad se 50 km tak pahunch chuki hain. Jab woh aayengi, Khetaram ek Gramin Sanchar Sewak ban sakta hai, jo post ke saath ek mobile phone bhi ghar-ghar le jaayega taaki gaon ke log calls kar sakein. Use koi chinta nahi hai. Pandrah se zyada saal ke baad bhi uski peeth mazboot hai, aur woh shukrguzaar hai ki use 60 ke baad bhi kaam karne diya ja raha hai. Badlaav par uska jawaab hai Main tayyar hoon (मैं तैयार हूँ): I am ready. Yeh kehkar woh apna bora kandhe par uthata hai aur sooraj dhalne se pehle ek aur delivery, Panna Devi naam ki ek aurat ke liye, poori karne nikal padta hai. Writer use aur uske jaise un sab logon ko salute karke khatam karta hai jo chupchaap hamare samaaj ko jode rakhte hain.

7.4 Text ko samajhna

7.4.1 Setting aur log

Text Thar Desert ke bilkul western kinaare par set hai, jahan railway, sadak aur phone network sab border se pehle hi ruk jaate hain. Garmiyon mein temperature 50 °C se upar chala jaata hai, sandstorms aam hain, baarish ka bharosa nahi aur fasal aksar fail ho jaati hai. Log bikhre hue dhaanis mein rehte hain, schools aur health centres se door. Aisi jagah par postman koi suvidha nahi hai. Woh ek lifeline hai.

• Khetaram: text ke centre mein Gramin Dak Sewak, Somarad ka akela postman.
• The Postmaster-General, Rajasthan Western Region: ek senior officer jo GDS ki taareef karte hain.
• Ek postmaster: samjhate hain ki GDS ke rules alag kyun hain.
• Mulk Raj Anand: woh novelist jinki Indian post office par likhi book quote ki gayi hai.
• Budh Singh: gaon ke ek buzurg jo GDS ka saath dete hain.
• BSF soldiers aur Panna Devi jaise gaon ke log: woh log jinki Khetaram seva karta hai.

Khetaram kisi adventure ka hero nahi hai. Uski himmat shaant hai aur har din dohrayi jaati hai. Woh wahan chalta hai jahan buses nahi jaa sakti, aisi garmi mein kaam karta hai jismein doosri jagah offices band ho jaate, aur kabhi shikaayat karta nahi dikhta. Woh naram dil bhi hai. Jo gaon wale padh-likh nahi sakte, unke liye woh padhta aur likhta hai, aur dukh se judi unki reeton ko izzat ke saath maanta hai. Sabse khaas baat, use future se dar nahi lagta: jab phones aayenge, woh unhe bhi le jaane ka plan rakhta hai.

7.4.2 Themes aur message

• Duty aur service: mausam kaisa bhi ho, mail pahunchti hai, kyunki ek aadmi logon ko niraash karne se inkaar karta hai.
• Trust: gaon wale use apni savings, apne raaz aur apne dukh saunpte hain; yahi trust India Post ki asli taakat hai.
• Hardship aur endurance: desert shareer ki pareeksha leta hai, aur Khetaram ka jhuka kandha aur ret bhare pair iski keemat dikhate hain.
• Change aur continuity: letters ki jagah phones aa sakte hain, lekin ek bharosemand insaani kadi ki zaroorat bani rehti hai.
• Ordinary kaam ki dignity: writer ka aakhri salute humse kehta hai ki un logon ka samman karein jinke kaam par hum shayad hi dhyaan dete hain.

7.4.3 Khaas moments samjhe

• 49.9 °C wali reading: official record jhuk jaata hai taaki kaam kabhi na ruke. Isse pata chalta hai ki system Khetaram jaise logon par kitna tika hai.
• Sandman wali image: ek metaphor ki sandstorms use kitni poori tarah dhak dete hain. Woh ret ka bana hua lagta hai.
• Phata corner: ek family ke dukh ko dhyaan se sambhala jaata hai. Khetaram reet ke mutaabik buri khabar ko ghar ke bahar hi rakhta hai.
• “Main tayyar hoon”: teen words jo uski spirit ka saar hain. Saalon se seva karta ek aadmi ab bhi kuch naya seekhne ko utsuk hai.

7.5 Vocabulary aur structures

7.5.1 Text ke phrases

Text mein kuch vivid phrases use hue hain. Yahan har ek ka matlab hai, hamare apne ek sentence ke saath.

• crumbles into sand: aisi sadak jo toot kar desert mein gayab ho jaati hai. After the last village, the track crumbled into sand and we had to walk.
• a new lease of life: achchhe se jeene ya aage chalte rehne ka ek naya mauka. The new roof gave the old library a new lease of life.
• turn into a trickle before drying out: dheere-dheere kam hona aur phir poori tarah ruk jaana. By May the hill stream turns into a trickle before drying out.
• bearing words across a lonely land: ek khaali, door ke ilaake mein messages le jaana, postman ke kaam ko describe karne ka writer ka poetic tareeka. For decades, boatmen in the Sundarbans went on bearing words across lonely waterways.

7.5.2 Alliteration aur metaphor

Alliteration paas-paas ke words mein ek hi pehli sound ka dohraav hai, jaise Priya packed plump purple plums. Isse phrase musical aur yaad rakhne mein aasaan ho jaata hai. Metaphor ek cheez ko aise describe karta hai jaise woh koi doosri cheez ho, like ya as ke bina: The exam hall was an oven.

Khetaram ki uniform wala passage dekho. scorching summer aur swirling sandstorms mein s sound ki sarsarahat alliteration hai, aur yeh hawa mein udti ret ki awaaz jaisi lagti hai. Use “a walking sandman” kehna metaphor hai. Woh ret ka bana nahi hai, lekin us par itni ret jami hai ki aisa lagta hai. Desert ki furies ki baat karna bhi figurative hai: mausam ko ek gusse wali taakat ki tarah dikhaya gaya hai.

7.5.3 Context mein words

• arid: bahut sookha, zyaadatar fasalon ke liye bahut kam baarish. Arid land near Jaisalmer grows little besides bajra and hardy grasses.
• concessional: usual price ya rate se kam, madad ke taur par diya gaya. Small farmers can borrow at a concessional rate of interest.
• gaunt: bahut patla aur haddiyon wala, aksar bhookh, chinta ya beemari se. After two failed monsoons, the farmer looked gaunt.
• remote: towns aur logon se door, aur jahan pahunchna mushkil ho. The remote hamlet gets a bus only twice a week.
• desolate: khaali, ujaad aur akela. The highway crossed a desolate stretch with no trees or houses.

7.5.4 The present perfect tense

Present perfect past ko present se jodta hai. Hum ise tab use karte hain jab koi action ab se pehle kisi time hua ho, bina yeh bataye ki theek kab, aur woh abhi bhi maayne rakhta ho. Iska form hai has/have + past participle (verb ki third form). he, she, it aur singular nouns ke saath has use karo; I, you, we, they aur plural nouns ke saath have use karo.

Present perfect ke saath aksar aane wale words hain just, already, yet, ever, never, so far, for aur since. Ise kabhi bhi yesterday, last week ya in 2019 jaise poore ho chuke time ke saath use mat karo. I posted it yesterday kaho, I have posted it yesterday nahi.

7.5.5 Active aur passive voice

Active voice mein subject action karta hai: The postman delivers the mail. Passive voice mein subject action ko receive karta hai: The mail is delivered by the postman. Hum passive tab chunte hain jab action karne wale se zyada maayne rakhta ho, ya jab karne wala pata na ho ya obvious ho.

1. Active sentence ke object ko naya subject banao.
2. be ka sahi form (is, are, was, were, has been, will be…) aur past participle jodo.
3. Karne wale ko by ke baad rakho, ya agar woh pata nahi hai ya obvious hai to use hata do.

Advice, rules aur instructions mein aksar modal verb ke saath passive use hota hai, kyunki karne wala bas you ya everyone hota hai: modal + be + past participle. You must carry an ID card ban jaata hai An ID card must be carried. We will need a lot of patience ban jaata hai A lot of patience will be needed.

7.6 Listening, speaking aur writing

7.6.1 Suno aur jawaab do

Kisi dost ya family member se kaho ki yeh chhoti si talk tumhe ek baar, normal speed par, padh kar sunaye. Bina dekhe suno, phir neeche ke questions ke jawaab do. Zaroorat ho to ek baar aur sun lo.

Dekho speaker kaise khatam karta hai. Suggestion ek idea deta hai jise sunne wala maane ya na maane (You could…, Why not…?). Request politely kuch maangti hai (Please…, I request you to…, Could you…?). Advice kisi ko batati hai ki uske liye kya achchha hai (You should…, It is better to…).

7.6.2 Speaking: kaun sa mail form sabse zyada maayne rakhta hai?

Imagine karo ki ek postcard, ek inland letter card, ek envelope aur ek money order form is baat par bahas kar rahe hain ki unmein se sabse useful kaun hai. Chaar-chaar ke groups mein, har koi ek ki taraf se bolega. Sirf feelings se nahi, facts se bahas karo: usefulness, cost, privacy, likhne ki jagah aur kya andar kuch bheja ja sakta hai, in sab ke baare mein socho.

• In my view, …
• Here is something to consider: …
• I see your point, but …
• Some people believe …; however, …
• I couldn't agree more with …
• Let me put it another way: …

Model (inland letter card bolta hai): Friends, I respect you all, but let me make my case. The postcard is cheap, I agree, yet anyone who handles it can read every word. The envelope is private, but it costs more, and families who write often must count every rupee. I offer both: privacy at a price close to a postcard's, and far more room to write. I see the money order's point, but money is spent in a day; a letter written on me is kept and read again for years.

7.6.3 Condolence message likhna

Condolence message ek chhota note hota hai jo kisi ki maut ke baad kisi ko batata hai ki tum unke dukh mein shaamil ho. Yeh lambi kahaniyon ya advice ki jagah nahi hai. Jo maayne rakhta hai woh hai sachchai, apnapan aur madad ki ek seedhi peshkash. Ise chhota rakho: paanch ya chhe sentences kaafi hain.

7.6.4 Text se aage seekhna

Tumhari textbook Daakroom ka zikr karti hai, ek carnival jise Ministry of Culture aur India Post support karte hain, taaki letter-writing contests aur workshops ke zariye bachche phir se pen aur paper ki taraf laut sakein. Yeh is event ko ek tarah ka digital detox kehti hai: screens se ek break.

7.7 Words: poem

7.7.1 Padhne se pehle

7.7.2 Poet ke baare mein

Charles Swain (1801–1874) Manchester ke ek English poet the. Woh engraver ka kaam karke rozi kamate the aur kaam ke saath-saath poetry likhte the. Unhe sabse zyada unke chhote, musical lyrics ke liye yaad kiya jaata hai, aur unmein se kai ko music mein dhaala gaya, kuch ko khud Swain ne.

7.7.3 Poem ek nazar mein

Words mein chaar-chaar lines ke chhe chhote stanzas hain. Speaker kisi kahani ka character nahi, balki zindagi par sochne wali ek gehri awaaz hai. Iska sawaal seedha hai: kya words dil ko satisfy kar sakte hain? Poem ka jawaab zyaadatar no hai. Jo words bahut saare, sundar ya khokhle hote hain, woh tab saath chhod dete hain jab unki sabse zyada zaroorat hoti hai, jabki kuch sachche words, aur asli kaam, hi maayne rakhte hain.

7.7.4 Stanza by stanza

• Stanza 1, problem: Poem ek umeed se shuru hota hai aur use turant khaarij kar deta hai. Poet kehta hai ki words migrate karne wale birds jaise hain: jab tak rukte hain achchhe lagte hain, lekin dil ka koi lambi bhalaai karne se pehle hi chale jaate hain. Yeh stanza poem ka sawaal rakhta hai, kya words dil ko satisfy kar sakte hain, aur uska pehla jawaab deta hai: nahi.
• Stanza 2, khoj: Ab dil “a pilgrim upon earth” ban jaata hai, ek yaatri jo zindagi bhar kisi keemti cheez ki talaash mein hai. Kadwa mod timing ka hai. Theek jab dil ko sahaare ki zaroorat hoti hai, words weeds jitne sasta saabit hote hain, jo har jagah ug aate hain aur phenk diye jaate hain.
• Stanza 3, mod: Poem ki disha badalti hai: quantity se quality behtar hai. Sachche dil se kahi thodi si baat “hosts of words” se zyada khushi deti hai. Poet do targets ko alag karta hai: head, jise words ki bheed impress kar sakti hai, aur heart, jahan sirf sachche words pahunch sakte hain.
• Stanza 4, ek example: Apni baat saabit karne ke liye poet ek dayalu, dhoop jaisi awaaz ki tasveer banata hai jo ek akele ghar mein khushi laati hai. Aisi awaaz words kam use karti hai, aur isiliye har word keemti lagta hai. Stanza garmjoshi bhari taareef par khatam hota hai.
• Stanza 5, umeed laut-ti hai: Shuruaat wali khwaahish wapas aati hai, ab badha-chadha kar. Agar words sach mein chest, jahan dil rehta hai, ko bhar sakte, to poori duniya jashn mana rahi hoti. Lekin jab words ki asli pareeksha hoti hai, jab kisi ko unki zaroorat hoti hai, woh aksar fail ho jaate hain. Ant mein jhunjhlahat sunai deti hai.
• Stanza 6, aakhri image: Poem ek garden mein khatam hota hai. Kuch paudhe phoolon ka chamakdaar dikhawa karte hain lekin kabhi phal nahi dete. Khokhle words bilkul unke jaise hain: upar se sundar, andar se banjar. Aakhri exclamation poet ka mohbhang dikhata hai.

7.7.5 Theme, mood aur tone

Central theme words aur sachchi feeling ke beech ka faasla hai. Words ki koi keemat nahi lagti, isliye unhe bahana aasaan hai, lekin quantity quality nahi hoti. Doosri theme akelapan hai. Dil ek akela pilgrim hai, khushi laane wali awaaz ek akele ghar mein aati hai, aur zaroorat wale dil ke paas sirf khaali hawa bachti hai. Mood reflective aur thoda udaas hai, stanza 4 mein ek garm pal ke saath. Tone soch-samajh wala hai aur khokhli baaton ki halki aalochana karta hai. Message: kam bolo, zyada matlab rakho, aur apne kaamon ko phal dene do.

7.8 Poem ko appreciate karna

7.8.1 Rhyme aur rhyme scheme

Words tab rhyme karte hain jab unki aakhri sounds milti hain, jaise heart aur depart. Rhyme scheme letters se dikhata hai ki kaun si line-endings rhyme karti hain. Words ke har stanza mein line 1 line 3 se rhyme karti hai aur line 2 line 4 se, isliye har stanza abab pattern follow karta hai (har stanza ke liye naye letters ke saath: abab, cdcd, efef aur aage bhi).

• Stanza 1: heart / depart; care / air
• Stanza 2: earth / worth; needs / weeds
• Stanza 3: said / head; impart / heart
• Stanza 4: way / say; cheer / dear
• Stanza 5: chest / test; feast / least
• Stanza 6: show / grow; root / fruit

7.8.2 Poetic devices

Repetition. Words baar-baar aata hai, aur heart aur satisfy bhi. Yeh goonj hamara dhyaan poem ke ek hi sawaal par rakhti hai aur use ek gaane jaisa feel deti hai. Stanza 5 to shuruaat wala If words could… pattern bhi dohrata hai, aur aakhri jawaab se theek pehle hume pehli khwaahish par wapas le aata hai.

Exclamation marks. Stanzas 4, 5 aur 6 har ek ek exclamation mark par khatam hota hai, lekin har baar feeling badal jaati hai. Stanza 4 ek dayalu awaaz ke kuch keemti words ki taareef karta hai. Stanza 5 jhunjhlaata hai ki words test mein fail ho jaate hain. Stanza 6 mohbhang se bhara hai: jis paudhe ne itna vaada kiya, woh bilkul phal nahi deta.

7.8.3 Hyperbole

Hyperbole jaan-boojh kar ki gayi badha-chadhi hai, jo effect ke liye use hoti hai aur literally nahi li jaati. Jab poet kehta hai ki agar words hume satisfy kar paate to poori duniya feast karti, to woh badha-chadha kar dikhata hai ki sachcha santosh kitna kam milta hai. Hum roz hyperbole use karte hain: I've told you a million times, My little sister cried a river, This homework will take me a hundred years.

7.8.4 Rhythm aur metre

Rhythm ek line ki beat hai. Har word syllables se bana hota hai, yaani aawaaz ki single beats: post-man mein do hain, de-li-ver mein teen. Jab hum bolte hain, kuch syllables stressed hote hain (zyada zor se bole jaate hain) aur baaki nahi. Stresses ke ek regular pattern ko metre kehte hain.

English poetry ka sabse common pattern iamb hai: ek unstressed syllable ke baad ek stressed syllable, da-DUM, jaise a-WAY ya to-DAY mein. Words mein lambi lines mein aath syllables, yaani chaar iambs (iambic tetrameter), hote hain, aur chhoti lines mein chhe syllables, yaani teen iambs (iambic trimeter). Is 8–6–8–6 pattern ko common metre kehte hain, jo kai hymns aur ballads ki steady beat hai (Fig. 7.8).

7.9 Context mein vocabulary

7.9.1 Figurative phrases

Poem apna matlab kuch figurative phrases se banata hai. Yahan har ek ka matlab hai, hamare apne ek sentence ke saath.

• satisfy the heart: kisi ko sach mein santusht karna. Her thank-you note satisfied my heart more than any prize.
• depart and leave empty air: bina kisi result ke gayab ho jaana. His promises departed and left only empty air.
• hosts of words: bahut saare words. The speech had hosts of words but no clear idea.
• never touch the heart: hamari feelings ko na chhoo paana. The advertisement was clever, but it never touched my heart.
• wins its sunny way: logon ki zindagi mein jagah banana aur unhe khush karna. Grandpa's laughter wins its sunny way into every room.
• plants that bear no fruit: aisi koshishein ya words jo kuch haasil nahi karte. Without action, our plans were plants that bore no fruit.

7.9.2 Word map banana

Word map ek word ke baare mein har kaam ki cheez ikattha karta hai: tumhare apne words mein uska matlab, synonyms (milte-julte matlab wale words), antonyms (ulte matlab wale words), use karne wala ek sentence, aur ek chhota sketch ya symbol. Figure pilgrim ke liye ek word map banata hai.

Yahan poem ke aur words ke chhote word maps hain: matlab, phir synonym / antonym, phir ek sentence.

• depart: kisi jagah ko chhod kar jaana · leave / arrive · The flight departs at dawn.
• word: language ki ek unit; vaada bhi · promise / silence · Dadi always keeps her word.
• sunny: dhoop se roshan; khushmizaaj · cheerful / gloomy · His sunny nature makes friends easily.
• satisfy: koi zaroorat ya khwaahish poori karna · fulfil / disappoint · The reply did not satisfy the judges.
• heart: khoon pump karne wala organ; hamari feelings bhi · feelings / head (reason) · She spoke from the heart.

7.10 Listening, speaking aur writing

7.10.1 Suno aur jawaab do

Do logon se yeh conversation zor se padhne ko kaho, aur tum bina dekhe suno. Phir tay karo ki kaun se statements true hain.

7.10.2 Speaking: ek quotation samjhao

Tumhari textbook aath famous logon ke words, soch aur khamoshi ke baare mein quotations deti hai. Jo tumhe sabse achchha lage use chuno, samjhao ki uska matlab kya hai, aur batao ki woh tumhe kyun chhoota hai. Koi personal experience tumhari talk mein jaan daal deta hai. Yahan unke ideas, short mein:

• Gautama Buddha: apne words soch-samajh kar chuno, kyunki woh sunne walon ko achchhe ya bure ke liye shape karte hain.
• Swami Vivekananda: hamari soch hi hume woh banati hai jo hum hain, isliye dhyaan rakho ki tum kya sochte ho.
• Mahatma Gandhi: prayer mein words se zyada sachcha dil maayne rakhta hai.
• Kalpana Chawla: vision, himmat aur lagan se sapnon tak pahuncha ja sakta hai.
• Walt Whitman: kisi book ki spirit uske exact words se zyada maayne rakhti hai.
• Emily Dickinson: kabhi-kabhi khamoshi sabse zyada keh deti hai.
• Homer: khokhle words na kahe jaayein, wahi behtar hai.
• Martin Luther King Jr.: aakhir mein dushmanon ke words se zyada doston ki khamoshi chubhti hai.

Apna reason dene ke liye inmein se koi opener try karo: My choice is … because …; What drew me to … was …; … speaks to me since …; I went with … as ….

7.10.3 Quotation par essay likhna

Quotation par essay idea ko samjhata hai, examples se use support karta hai, ek objection ka saamna karta hai aur yaadgaar tareeke se khatam hota hai. Paanch paragraphs plan karo (Fig. 7.10). Har body paragraph ko ek topic sentence se shuru karo jo uska main point bataye, aur paragraphs ko In addition, For instance, However, As a result aur Finally jaise transition words se jodo.

Model essay: Words that shape us

Gautama Buddha taught that we should pick our words with great care, because whatever we say is heard and changes the listener, for better or for worse. I chose this idea because I have seen one sentence lift a friend and another crush him. In this essay I explain why careful speech matters.

First, words shape how people see themselves. A teacher who tells a struggling student that she is improving may light a spark that lasts for years. For instance, my cousin took the tabla seriously only after his music teacher praised his sense of rhythm.

In addition, careless words travel further than we think. A joke typed into a class group reaches dozens of phones in seconds and can hurt someone long after the sender has forgotten it. As a result, pausing before we speak or post is itself a kindness.

Some may argue that weighing every word makes us dull or dishonest. However, care is not the same as flattery. We can still tell the truth; we simply choose the moment and the manner, as a good doctor does when giving hard news.

Finally, words build or break. If we speak with the Buddha's care, our words, like the few true ones in Swain's poem, will bring joy rather than pain.

7.10.4 Text se aage seekhna