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127 |Ruskin Bond(1934-) : is a widely read writer of Indian origin who writes in English. The setting for most of his stories are the hills of the Himalayas. Among his most notable works are The Room on the Roof, The Angry River, Rain in the Mountains.
In this story Bond exploits the situational irony that originates between two people who meet by chance in railway compartment. The young man and the girl are unaware of their individual blindness and converse with each other from the conviction that both of them can see.
I had the train compartment to myself up to Rohana, then a girl got in. The couple who saw her off were probably her parents; they seemed very anxious about her comfort, and the woman gave the girl detailed instructions as to where to keep her things, when not to lean out of windows, and how to avoid speaking to strangers.
They called their goodbyes and the train pulled out of the station. As I was totally blind at the time, my eyes sensitive only to light and darkness, I was unable to tell what the girl looked like; but I knew she wore slippers from the way they slapped against her heels.
It would take me some time to discover something about her looks, and perhaps I never would. But I liked the sound of her voice, and even the sound of her slippers.
"Are you going all the way to Dehra?" I asked.
must have been sitting in a dark corner, because my voice startled her. She I gave a little exclamation and said, "I didn't know anyone else was here."
Well, it often happens that people with good eyesight fail to see what is right in front of them. They have too much to take in, I suppose. Whereas people who cannot see (or see very little) have to take in only the essentials, whatever registers most tellingly on their remaining senses.
"I didn't see you either," I said. "But I heard you come in."
I wondered if I would be able to prevent her from discovering that I was blind. Provided I keep to my seat, I thought, it shouldn't be too difficult.
The girl said, "I'm getting off at Saharanpur. My aunt is meeting me there."
"Then I had better not get too familiar," I replied. "Aunts are usually formidable creatures."
"Where are you going?" she asked.
"To Dehra, and then to Mussoorie."
"Oh, how lucky you are. I wish I were going to Mussoorie.I love the hills. Especially in October."
"Yes, this is the best time," I said, calling on my memories. "The hills are covered with wild dahlias, the sun is delicious, and at night you can sit in front of a logfire and drink a little brandy. Most of the tourists have gone, and the roads are quiet and almost deserted. Yes, October is the best time."
She was silent. I wondered if my words had touched her, or whether she thought me a romantic fool. Then I made a mistake.
"What is it like outside?" I asked.
She seemed to find nothing strange in the question. Had she noticed already that I could not see? But her next question removed my doubts.
"Why don't you look out of the window?" she asked.
I moved easily along the berth and felt for the window ledge. The window was open, and I faced it, making a pretence of studying the landscape. I heard the panting of the engine, the rumble of the wheels, and, in my mind's eye, I could see telegraph posts flashing by.
"Have you noticed," I ventured, "that the trees seem to be moving while we seem to be standing still?"
"That always happens," she said. "Do you see any animals?"
"No,"I answered quite confidently. I knew that there were hardly any animals left in the forests near Dehra.
I turned from the window and faced the girl, and for a while we sat in silence.
"You have an interesting face," I remarked. I was becoming quite daring, but it was a safe remark. Few girls can resist flattery. She laughed pleasantly-a clear, ringing laugh.
"It's nice to be told I have an interesting face. I'm tired of people telling me I have a pretty face."
Oh, so you do have a pretty face, thought I-and aloud I said: "Well, an interesting face can also be pretty."
"You are a very gallant young man," she said, "but why are you so serious?" I thought, then, I would try to laugh for her, but the thought of laughter only made me feel troubled and lonely.
"We'll soon be at your station," I said.
"Thank goodness it's a short journey. I can't bear to sit in a train for more than two-or-three hours."
Yet I was prepared to sit there for almost any length of time,just to listen to her talking. Her voice had the sparkle of a mountain stream. As soon as she left the train, she would forget our brief encounter; but it would stay with me for the rest of the journey, and for some time after.
The engine's whistle shrieked, the carriage wheels changed their sound and rhythm, the girl got up and began to collect her things. I wondered if she wore her hair in bun, or if it was plaited; perhaps it was hanging loose over her shoulders, or was it cut very short?
The train drew slowly into the station. Outside, there was the shouting of porters and vendors and a high-pitched female voice near the carriage door; that voice must have belonged to the girl's aunt.
"Goodbye," the girl said.
She was standing very close to me, so close that the perfume from her hair was. I wanted to raise my hand and touch her hair, but she moved away. Only the scent of perfume still lingered where she had stood.
There was some confusion in the doorway. A man, getting into the compartment, stammered an apology. Then the door banged, and the world was shut out again. I returned to my berth. The guard blew his whistle and we moved off. Once again, I had a game to play and a new fellow-traveller.
The train gathered speed, the wheels took up their song, the carriage groaned and shook. I found the window and sat in front of it, staring into the daylight that was darkness for me.
So many things were happening outside the window: it could be a fascinating game, guessing what went on out there.
The man who had entered the compartment broke into my reverie.
You must be disappointed," he said. "I'm not nearly as attractive a travelling companion as the one who just left."
"She was an interesting girl," I said. "Can you tell me-did she keep her hair long or short?"
"I don't remember," he said, sounding puzzled. "It was her eyes I noticed, not her hair. She had beautiful eyes-but they were of no use to her. She was completely blind. Didn't you notice?"
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49 | John Keats (1795-1821) was a noted poet of the English Romantic Movement. He belonged to the second generation of Romantic poets who came after Coleridge and Wordsworth. He is known for his vivid imagery which are noted for their sensuous appeal. Some of his famous works are Ode to a Nightingale, Hyperion and Isabella.
56 |The argument put forward by Keats in this poem is that, the natural music of the earth never ceases to play through the cycle of seasons. The poem is a sonnet in which the song of the grasshopper is embodied in the octave and that of the cricket is portrayed in the sestet.
57 |The poetry of earth is never dead.
61 |When all the birds are faint with the hot sun,
62 |And hide in cooling trees, a voice will run
63 |From hedge to hedge about the new-mown mead;
64 |That is the Grasshopper'-he takes the lead
65 |In summer luxury, - he has never done
66 |With his delights; for when tired out with fun
67 |He rests at ease beneath some pleasant weed.
68 |The poetry of earth is ceasing never:
69 |On a lone winter evening, when the frost
70 |Has wrought a silence, from the stove there shrills
71 |The Cricket's song, in warmth increasing ever,
72 |And seems to one in drowsiness half lost,
73 |The Grasshopper's among some grassy hills.
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53 | William Shakespeare 61 | (1564-1616) was a famous English poet and dramatist sixteenth century. He wrote sonnets, tragedies, comedies and historical of his noted works are Macbeth, Midsummer Night's Dream, Venus and Adonis. 62 |
63 |Shakespeare wrote 154 sonnets. Shakespearean sonnet has fourteen lines, ending in a rhymed couplet. In this poem Shakespear enquires into the theme of the destruction brought by time and the eternal quality of art which transcends the ravages of time
64 |Shall hall I compare thee to a summer's day?
68 |Thou art more lovely and more temperate.
69 |Rough winds do shake the darling buds of May,
70 |And summer's lease hath all too short a date.
71 |Sometime too hot the eye of heaven shines,
72 |And often is his gold complexion dimmed;
73 |And every fair from fair sometime declines,
74 |By chance, or nature's changing course untrimmed.
75 |But thy eternal summer shall not fade
76 |Nor lose possession of that fair thou ow'st
77 |Nor shall death brag thou wand'rest in his shade,
78 |When in eternal lines to time thou grow'st,
79 |So long as men can breathe or eyes can see,
80 |So long lives this, and this gives life to thee.
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53 | Jean Nicolas Arthur Rimband 61 | (1854-1891) was a French poem from the nineteenth century. He started writing poetry even before he reached his teens. He stopped writing poetry at the age of nineteen. His major works include To Music, Evening prayer. The present poem, originally titled Le Dormeur le Val, was included in his collection of poetry called, Poesis (1872).
62 |This poem is written in the model of the Italian sonnet that has fourteen lines divided as octave and sestet. The poet explores the inherent futility of war. This theme is expressed in the contrasting images of a bountiful nature as background and the tragic death of a young soldier in the midst of nature's splendour.
63 |A small green valley where a slow stream flows
66 |And leaves long strands of silver on the bright
67 |Grass; from the mountain top stream the Sun's
68 |Rays; they fill the hollow full of light.
69 |A soldier, very young, lies open-mouthed,
70 |A pillow made of fern beneath his head,
71 |Asleep; stretched in the heavy undergrowth,
72 |Pale in his warm, green, sun-soaked bed.
73 |His feet among the flowers, he sleeps.His smile
74 |Is like an infant's-gentle, without guile.
75 |Ah, Nature, keep him warm; he may catch cold.
76 |The humming insects don't disturb his rest;
77 |He sleeps in sunlight, one hand on his breast;
78 |At peace. In his side there are two red holes.
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53 | Gieve Patel (1940-) is a renowned Indian poet playwright and painter. In his poetry, Patel uses a syncopated rhythm. He brings the flavour of everyday's speech in his poetry. Some of his notable works are Mirrored, Mirroring (1991), How do you withstand, body (1976).
61 |The poem is about the harm done to the environment by human beings. In a voice of sarcasm and irony, the poet speaks of man's violence and impatience towards nature. The poem is written in free verse.
62 |It takes much time to kill a tree,
65 |Not a simple jab of the knife
66 |Will do it. It has grown
67 |Slowly consuming the earth,
68 |Rising out of it, feeding
69 |Upon its crust, absorbing
70 |Years of sunlight, air, water,
71 |And out of its leprous hide The phrase
72 |Sprouting leaves.
73 |So hack and chop
74 |But this alone won't do it.
75 |Not so much pain will do it.
76 |The bleeding bark will heal.
77 |And from close to the ground
78 |Will rise curled green twigs,
79 |Miniature boughs
80 |Which if unchecked will expand again
81 |To former size.
82 |No,
83 |The root is to be pulled out -
84 |Out of the anchoring earth;
85 |It is to be roped, tied,
86 |And pulled out-snapped out
87 |Or pulled out entirely,
88 |Out from the earth-cave,
89 |And the strength of the tree exposed,
90 |The source, white and wet,
91 |The most sensitive,hidden
92 |For years inside the earth.
93 |Then the matter
94 |Of scorching and choking
95 |In sun and air,
96 |Browning, hardening,
97 |Twisting, withering,
98 |And then it is done.
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26 | All chapters of class XII are available. By Abinash Karmakar & Dark Rose Software
28 | 29 | 
Read From where you left ?
37 | The Eyes have It
40 | 41 |The Eyes Have It, a Heart-beat skipping story by Ruskin Bond.
42 |
45 | 
53 | Strong Roots
56 | 57 |Strong Roots is an extract from Dr. Kalam's autobiography Wings of Fire.
58 |
61 | 
68 | Thank You Ma'am
71 | 72 |"Thank You, M'am" is a American short story written by Langston Hughes.
73 |
76 | 
83 | Three Questions
86 | 87 |What is the right time, who are the right people, and what is the most important thing to do? Revisit Tolstoy's classic short story.
88 |
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100 | On Killing A Tree
103 | 104 |“On Killing a Tree” is a sensitive poem. The poet persuades the reader not to destroy trees and equates it with “killing” a human being.
105 |
108 |
115 | Asleep In The Valley
118 | 119 |This particular poem, Asleep In The Valley.
120 |
123 |
130 | Shall I Compare Thee
133 | 134 |Like many of Shakespeare's sonnets, the poem wrestles with the nature of beauty and with the capacity of poetry to represent that beauty.
135 |
138 |
145 | The Poetry Of Earth
148 | 149 |The Poetry of Earth, a Petrarchan sonnet.
150 |
153 |
162 | The Proposal
165 | 166 |A one-act farce by Anton Chekhov.
167 |
170 | Developed by the Expert Committee on School Education (School Education Department Government of West Bengal) ©West Bengal Council Of Higher Secondary Education. ©Dark Rose.
177 |
184 | Dark Rose Software
187 | 188 |A software company by Abinash Karmakar.
189 |
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209 | Where you left?
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214 | System Default
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227 | Click to go to my facebook profile
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53 | Avul Pakir Jainulabdeen Abdul Kalam(1931-2015) was one of the pioneers of aerospace engineering in India. For a major part of his life he worked as a scientist in Indian space programmes. Some of his famous works are India 2020, Ignited Minds, Wings of Fire. He was the President of India from 2002 to 2007.
69 |Strong Roots is an extract from Dr. Kalam's autobiography Wings of Fire. In this extract, he talks about his childhood in his hometown. The piece presents a delightful sketch of the author's early life and the development of his spiritual growth.
70 | 71 | 72 |I was born into a middle-class Tamil family in the island town of Rameswaram in the erstwhile Madras state. My father, Jainulabdeen, had neither much great innate wisdom and a true generosity of spirit. He had an ideal helpmate in y mother, Ashiamma. I do not recall the exact number of people she fed every my day, but I am quite certain that far more outsiders ate with us than all the members of our own family put together.
88 |My parents were widely regarded as an ideal couple. My mother's lineage was the more distinguished, one of her forebears having been bestowed the title of 'Bahadur' by the British.
89 |I was one of many children- a short boy with rather undistinguished looks, born to tall and handsome parents. We lived in our ancestral house, which was built in the middle of the 19th century. It was a fairly large pucca house, made of limestone and brick, on the Mosque Street in Rameswaram. My austere father used to avoid all inessential comforts and luxuries. However, all necessities were provided for, in terms of food, medicine or clothing. In fact, I would say mine was a very secure childhood, materially and emotionally.
90 |I normally ate with my mother, sitting on the floor of the kitchen. She would place a banana leaf before me, on which she then ladled rice and aromatic sambar,a variety of sharp, home-made pickle and a dollop of fresh coconut chutney.
91 |The Shiva temple, which made Rameswaram so famous to pilgrims, was about a ten-minute walk from our house. Our locality was predominantly Muslim, but there were quite a lot of Hindu families too, living amicably with their Muslim neighbours. There was a very old mosque in our locality where my father would take me for evening prayers. I had not the faintest idea of the meaning of the Arabic prayers chanted, but I was totally convinced that they reached God. When my father came out of the mosque after the prayers, people of different religions would be sitting outside, waiting for him. Many of them offered bowls of water to my father, who would dip his fingertips in them and say a prayer. This water was then carried home for invalids. I also remember people visiting our home to offer thanks after being cured. Father always smiled and asked them to thank Allah, the merciful.
92 |The high priest of Rameswaram temple, Pakshi Lakshmana Sastry, was verydlose friend of my father's. One of the most vivid memories of my early childhood is of the two men, each in traditional attire, discussing spiritual matters. When I was old enough to ask questions, I asked my father about the relevance of prayer. My father told me there was nothing mysterious about prayer. Rather, prayer made possible a communion of the spirit between people. "When you pray," he said, "you transcend your, body and become a part of the cosmos, which knows no division of wealth, age, caste, or creed."
93 |My father could convey complex spiritual concepts in very simple, down to-earth Tamil. He once told me, "In his own time, in his own place, in what he really is, and in the stage he has reached-good or bad-every human being is a specific element within the whole of the manifest divine Being. So why be afraid of difficulties, sufferings and problems? When troubles come, try to understand the relevance of your sufferings. Adversity always presents opportunities for introspection."
94 |"Why don't you say this to the people who come to you for help and advice?" I asked my father. He put his hands on my shoulders and looked straight into my eyes. For quite some time he said nothing, as if he was judging my capacity to comprehend his words. Then he answered in a low, deep voice. His answer filled me with a strange energy and enthusiasm: "Whenever human beings find themselves alone, as a natural reaction, they start looking for company. Whenever they are in trouble, they look for someone to help them. Whenever they reach an impasse, they look to someone to show them the way out. Every recurrent anguish, longing, and desire finds its own special helper. For the people who come to me in distress, I am but a go-between in their effort to propitiate demonic forces with prayers and offerings. This is not a correct approach at all and should never be followed. One must understand the difference between a fear-ridden vision of destiny and the vision that enables us to seek the enemy of fulfilment within ourselves."
95 |I remember my father starting his day at 4 am by reading the namaz before dawn. After the namaz, he used to walk down to a small coconut grove we owned, about four miles from our home. He would return with about a dozen coconuts tied together thrown over his shoulder, and only then would he have his breakfast. This remained his routine even when he was in his late sixties.
96 |I have, throughout my life, tried to emulate my father in my own world of science and technology. I have endeavoured to understand the fundamental truths revealed to me by my father, and feel convinced that there exists a divine power that can lift one up from confusion, misery, melancholy and failure, and guide one to one's true place. And once an individual severs his emotional and physical bond, he is on the road to freedom, happiness and peace of mind.
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53 | Ruskin Bond(1934-) : is a widely read writer of Indian origin who writes in English. The setting for most of his stories are the hills of the Himalayas. Among his most notable works are The Room on the Roof, The Angry River, Rain in the Mountains.
69 |In this story Bond exploits the situational irony that originates between two people who meet by chance in railway compartment. The young man and the girl are unaware of their individual blindness and converse with each other from the conviction that both of them can see.
70 | 71 |I had the train compartment to myself up to Rohana, then a girl got in. The couple who saw her off were probably her parents; they seemed very anxious about her comfort, and the woman gave the girl detailed instructions as to where to keep her things, when not to lean out of windows, and how to avoid speaking to strangers. 75 |
They called their goodbyes and the train pulled out of the station. As I was totally blind at the time, my eyes sensitive only to light and darkness, I was unable to tell what the girl looked like; but I knew she wore slippers from the way they slapped against her heels.
76 |It would take me some time to discover something about her looks, and perhaps I never would. But I liked the sound of her voice, and even the sound of her slippers.
77 |"Are you going all the way to Dehra?" I asked.
78 |must have been sitting in a dark corner, because my voice startled her. She I gave a little exclamation and said, "I didn't know anyone else was here."
79 |Well, it often happens that people with good eyesight fail to see what is right in front of them. They have too much to take in, I suppose. Whereas people who cannot see (or see very little) have to take in only the essentials, whatever registers most tellingly on their remaining senses.
80 | 81 |"I didn't see you either," I said. "But I heard you come in."
82 |I wondered if I would be able to prevent her from discovering that I was blind. Provided I keep to my seat, I thought, it shouldn't be too difficult.
83 |The girl said, "I'm getting off at Saharanpur. My aunt is meeting me there."
84 |"Then I had better not get too familiar," I replied. "Aunts are usually formidable creatures."
85 |"Where are you going?" she asked.
86 |"To Dehra, and then to Mussoorie."
87 |"Oh, how lucky you are. I wish I were going to Mussoorie.I love the hills. Especially in October."
88 |"Yes, this is the best time," I said, calling on my memories. "The hills are covered with wild dahlias, the sun is delicious, and at night you can sit in front of a logfire and drink a little brandy. Most of the tourists have gone, and the roads are quiet and almost deserted. Yes, October is the best time."
89 |She was silent. I wondered if my words had touched her, or whether she thought me a romantic fool. Then I made a mistake.
90 | 91 |"What is it like outside?" I asked.
92 |She seemed to find nothing strange in the question. Had she noticed already that I could not see? But her next question removed my doubts.
93 |"Why don't you look out of the window?" she asked.
94 |I moved easily along the berth and felt for the window ledge. The window was open, and I faced it, making a pretence of studying the landscape. I heard the panting of the engine, the rumble of the wheels, and, in my mind's eye, I could see telegraph posts flashing by.
95 |"Have you noticed," I ventured, "that the trees seem to be moving while we seem to be standing still?"
96 |"That always happens," she said. "Do you see any animals?"
97 | 98 |"No,"I answered quite confidently. I knew that there were hardly any animals left in the forests near Dehra.
99 |I turned from the window and faced the girl, and for a while we sat in silence.
100 |"You have an interesting face," I remarked. I was becoming quite daring, but it was a safe remark. Few girls can resist flattery. She laughed pleasantly-a clear, ringing laugh.
101 |"It's nice to be told I have an interesting face. I'm tired of people telling me I have a pretty face."
102 |Oh, so you do have a pretty face, thought I-and aloud I said: "Well, an interesting face can also be pretty."
103 |"You are a very gallant young man," she said, "but why are you so serious?" I thought, then, I would try to laugh for her, but the thought of laughter only made me feel troubled and lonely.
104 |"We'll soon be at your station," I said.
105 | 106 |"Thank goodness it's a short journey. I can't bear to sit in a train for more than two-or-three hours."
107 |Yet I was prepared to sit there for almost any length of time,just to listen to her talking. Her voice had the sparkle of a mountain stream. As soon as she left the train, she would forget our brief encounter; but it would stay with me for the rest of the journey, and for some time after.
108 |The engine's whistle shrieked, the carriage wheels changed their sound and rhythm, the girl got up and began to collect her things. I wondered if she wore her hair in bun, or if it was plaited; perhaps it was hanging loose over her shoulders, or was it cut very short?
109 |The train drew slowly into the station. Outside, there was the shouting of porters and vendors and a high-pitched female voice near the carriage door; that voice must have belonged to the girl's aunt.
110 |"Goodbye," the girl said.
111 | 112 |She was standing very close to me, so close that the perfume from her hair was. I wanted to raise my hand and touch her hair, but she moved away. Only the scent of perfume still lingered where she had stood.
113 |There was some confusion in the doorway. A man, getting into the compartment, stammered an apology. Then the door banged, and the world was shut out again. I returned to my berth. The guard blew his whistle and we moved off. Once again, I had a game to play and a new fellow-traveller.
114 |The train gathered speed, the wheels took up their song, the carriage groaned and shook. I found the window and sat in front of it, staring into the daylight that was darkness for me.
115 |So many things were happening outside the window: it could be a fascinating game, guessing what went on out there.
116 |The man who had entered the compartment broke into my reverie.
117 |You must be disappointed," he said. "I'm not nearly as attractive a travelling companion as the one who just left."
118 |"She was an interesting girl," I said. "Can you tell me-did she keep her hair long or short?"
119 |"I don't remember," he said, sounding puzzled. "It was her eyes I noticed, not her hair. She had beautiful eyes-but they were of no use to her. She was completely blind. Didn't you notice?"
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53 | Jameo Mercer Langston Hughes (1902-1967) was a famous writer and social activist from America. Hughes was interested in the revival of African folk culture. Some of his well known works are the weary Blues (1926), Not without Laughter (1930), The Way of White Folks (1934).
61 |This story is about the sympathy shown by an older woman to a young urchin, who tried to steal her pocketbook. The young boy was eager to acknowledge the lenity shown to him by her, but he got no more chance to do that beyond a brief, "Thank You".
62 |Shew he was a large woman with a large purse that had everything in it but hammer and nails. It had a long strap, and she carried it slung across her shoulder. It was about eleven o'clock at night, and she was walking alone, when a boy ran up behind her and tried to snatch her purse. "The strap broke with the single tug the boy gave it from behind. But the boy's weight and the weight of the purse combined caused him to lose his balance so, instead of taking off full blast as he had hoped, the boy fell on his back on the sidewalk, and his legs flew up. The large woman simply turned around and kicked him right square in his blue jeaned sitter. Then she reached down, picked the boy up by his shirt front, and shook him until his teeth rattled.
66 |After that the woman said, "Pick up my pocketbook, boy, and give it here. "She still held him. But she bent down enough to permit him to stoop and pick up her purse. 'Then she said, "Now ain't you ashamed of yourself?"
67 |Firmly gripped by his shirt front, the boy said, "Yes'm."
68 |'The woman said, "What did you want to do it for?" 'The boy said, "I didn't aim to."
69 |She said, "You a lie!"
70 | 71 | 72 |By that time two or three people passed, stopped, turned to look, and some stood watching.
73 |"If I turn you loose, will you run?" asked the woman.
74 |"Yes'm," said the boy.
75 |"Then I won't turn you loose," said the woman. She did not release him. "I'm very sorry, lady, I'm sorry," whispered the boy. "Um-hum! And your face is dirty. I got a great mind to wash your face for you./p> 76 | 77 |
Ain't you got nobody home to tell you to wash your face?"
78 |"No'm," said the boy.
79 |"Then it will get washed this evening," said the large woman starting up the street, dragging the frightened boy behind her. He looked as if he were fourteen or fifteen, frail and willow-wild, in tennis shoes and blue jeans.
80 |The woman said, "You ought to be my son. I would teach you right from wrong. Least I can do right now is to wash your face. Are you hungry?"
81 | 82 |"No'm," said the being dragged boy. "I just want you to turn me loose."
83 |"Was I bothering you when I turned that corner?" asked the woman.
84 |"No'm."
85 |"But you put yourself in contact with me," said the woman. "If you think that that contact is not going to last awhile, you got another thought coming. When I get through with you, sir, you are going to remember Mrs. Luella Bates Washington Jones."
86 |Sweat popped out on the boy's face and he began to struggle. Mrs. Jones stopped, jerked him around in front of her, put a half-nelson about his neck, and continued to drag him up the street. When she got to her door, she dragged the boy inside, down a hall, and into a large kitchenette-furnished room at the rear of the house. She switched on the light and left the door open. The boy could hear other roomers laughing and talking in the large house. Some of their doors were open, too, so he knew he and the woman were not alone. The woman still had him by the neck in the middle of her room.
87 |She said, "What is your name?"
88 | 89 | 90 | 91 | 92 | 93 |"Roger," answered the boy.
94 |"Then, Roger, you go to that sink and wash your face," said the woman, whereupon she turned him loose-at last. Roger looked at the door-looked at the woman-looked at the door-and went to the sink.
95 |"Let the water run until it gets warm," she said. "Here's a clean towel." "You gonna take me to jail?" asked the boy, bending over the sink.
96 |"Not with that face, I would not take you nowhere," said the woman. "Here I am trying to get home to cook me a bite to eat and you snatch my pocketbook! May be, you ain't been to your supper either, late as it be. Have you?"
97 |"There's nobody home at my house," said the boy.
98 |Then we'll eat," said the woman, "I believe you're hungry-or been hungry-to try to snatch my pocketbook."
99 |I wanted a pair of blue suede shoes," said the boy.
100 |"Well, you didn't have to snatch my pocketbook to get some suede shoes," said Mrs. Luella Bates Washington jones. "You could of asked me."
101 | 102 |The water dripping from his face, the boy looked at her. There was a long pause. A very long pause. After he had dried his face and not knowing what else to do dried it again, the boy turned around, wondering what next. The door was open. He could make a dash for it down the hall. He could run, run, run, run, run!
103 |The woman was sitting on the day-bed. After a while she said, "I were young once and I wanted things I could not get."
104 |There was another long pause. The boy's mouth opened. Then he frowned, but not knowing he frowned.
105 |The woman said, "Um-hum! You thought I was going to say but, didn't you?
106 |You thought I was going to say, but I didn't snatch people's pocketbooks. Well, I wasn't going to say that." Pause. Silence. "I have done things, too, which I would not tell you, son-neither tell God, if he didn't already know. So you set down while I fix us something to eat. You might run that comb through your hair so you will look presentable."
107 | 108 | 109 |In another comer of the room behind a screen was a gas plate and an icebox.
110 |Mrs. Jones got up and went behind the screen. The woman did not watch the boy to see if he was going to run now, nor did she watch her purse which she left behind her on the day-bed. But the boy took care to sit on the far side of the room where he thought she could easily see him out of the corner of the other eye, if she wanted to. He did not trust the woman not to trust him. And he did, not want to be mistrusted now.
111 |"Do you need somebody to go to the store," asked the boy, "maybe to get some milk or something?"
112 |"Don't believe I do," said the woman, "unless you just want-sweet milk yourself I was going to make cocoa out of this canned milk I got here."
113 |"That will be fine," said the boy.
114 |She heated some lima beans and ham she had in the icebox, made the cocoa, all of and set the table. The woman did not ask the boy anything about where he lived, or his folks, or anything else that would embarrass him. Instead, as they ate, she told him about her job in a hotel beauty-shop that stayed open late, what the work was like, and how all kinds of women came in and out, blondes, red-heads, and Spanish. Then she cut him a half of her ten-cent cake.
115 |"Eat some more, son," she said.
116 |When they were finished eating she got up and said, "Now, here, take this ten dollars and buy yourself some blue suede shoes. And next time, do not make the mistake of latching onto my pocketbook nor nobody else's-because shoes come by devilish like that will burn your feet. I got to get my rest now. But I wish you would behave yourself, son, from here on in."
117 |She led him down the hall to the front door and opened it. "Goodnight!
118 |Behave yourself, boy!" she said, looking out into the street.
119 |The boy wanted to say something else other than "Thank you, ma' am" to Mrs. Luella Bates Washington Jones, but he couldn't do so as he turned at the barren stoop and looked back at the large woman in the door. He barely managed to say
120 |"Thank you" before she shut the door. And he never saw her again.
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53 | Count Lev Nikolayevich Tolstoy (1828-1910) was a Russian writer of worldwide fame. His novels are marked by sharp psychological insights and graphic description of reality. His most noted works are war and peace (1809), Sebastopol Sketches (1855), Anna Karenina (1877).
61 |Through the tale of a Tsar who wanted to know the nature of appropriate counsel and action, Tolstoy reveals an illuminating notion about the duties of man. This simple tale is loaded with deep thoughts on the way human beings should conduct their actions.
62 |It once occurred to a certain Tsar, that ifhe always knew the right time to begin everything; if he knew who were the right people to listen to, and whom to avoid; and, above all, if he always knew what was the most important thing to do, he would never fail in anything he might undertake.
65 |And this thought having occurred to him, he had it proclaimed throughout his kingdom that he would give a great reward to anyone who would teach him what was the right time for every action, and who were the most necessary people, and how he might know what was the most important thing to do.
66 |And learned men came to the Tsar, but they all answered his questions differently.
67 |In reply to the first question, some said that to know the right time for every action, one must draw up in advance, a table of days, months and years, and must live strictly according to it. Only thus, said they, could everything be done at its proper time.
68 |Others declared that it was impossible to decide beforehand the right time for every action; but that, not letting oneself be absorbed in idle pastimes, one should always attend to all that was going on, and then do what was most needful. Others, again, said that however attentive the Tsar might be to what was going on, it was impossible for one man to decide correctly the right time for every action, but that he should have a Council of wise men, who would help him to fix the proper time for everything.
69 | 70 |But then again others said there were some things which could not wait to laid before a Council, but about which one had at once to decide whether to undertake them or not. But in order to decide that, one must know beforehand what was going to happen. It is only magicians who know that; and, therefore, in order to know the right time for every action, one must consult magicians.
71 |Equally various were the answers to the second question. Some said, the people the Tsar most needed were his councillors, others, the priests; others, the doctors while some said the warriors were the most necessary.
72 |To the third question, as to what was the most important occupation: some replied that the most important thing in the world was science Others said it was skill in warfare; and others, again, that it was religious worship
73 |All the answers being different, the Tsar agreed with none of them, and gave the reward to none But still wishing to find the right answers to his questions, he decided to consult a hermit, widely renowned for his wisdom.
74 |The hermit lived in a wood which he never quitted, and he received none but common folk. So the Tsar put on simple clothes, and before reaching the hermit's cell dismounted from his horse, and, leaving his body-guard behind, went on alone.
75 |When the Tsar approached, the hermit was digging the ground in front of his hut Seeing the Tsar, he greeted him and went on digging. The hermit was frail and weak, and each time he stuck his spade into the ground and turned a little earth, he breathed heavily.
76 |The Tsar went up to him and said: "I have come to you, wise hermit, to ask you to answer three questions: How can I learn to do the right thing at the right time? Who are the people I most need, and to whom should I, therefore, pay more attention than to the rest? And, what affairs are the most important, and need my first attention?"
77 |The hermit listened to the Tsar, but answered nothing. He just spat on his hand and recommenced digging.
78 |"You are tired," said the Tsar, "let me take the spade and work awhile for you."
79 | 80 |"Thanks!" said the hermit, and, giving the spade to the Tsar, he sat down on the ground.
81 |When he had dug two beds, the Tsar stopped and repeated his questions. The hermit again gave no answer, but rose, stretched out his hand for the spade, and said: "Now rest awhile-and let me work a bit."
82 |But the Tsar did not give him the spade, and continued to dig. One hour passed, and another. The sun began to sink behind the trees, and the Tsar at last stuck the spade into the ground, and said: "I came to you, wise man, for an answer to my questions. If you can give me none, tell me so, and I will return home."
83 |"Here comes someone running," said the hermit, "let us see who it is."
84 |The Tsar turned round, and saw a bearded man come running out of the wood. The man held his hands pressed against his stomach, and blood was flowing from under them. When he reached the Tsar, he fell fainting on the ground moaning feebly. The Tsar and the hermit unfastened the man's clothing. There was a large wound in his stomach. The Tsar washed it as best he could, and bandaged it with his handkerchief and with a towel the hermit had. But the blood would not stop flowing, and the Tsar again and again removed the bandage soaked with warm blood, and washed and rebandaged the wound.
85 |When at last the blood ceased flowing, the man revived and asked for something to drink. The Tsar brought fresh water and gave it to him. Meanwhile the sun had set, and it had become cool. So the Tsar, with the hermit's help, carried the wounded man into the hut and laid him on the bed. Lying on the bed the man closed his eyes and was quiet, but the Tsar was so tired with his walk and with the work he had done, that he crouched down on the threshold, and also fell asleep-so soundly that he slept all through the short summer night. When he awoke in the morning, it was long before he could remember where he was, or who was the strange bearded man lying on the bed and gazing intently at him with shining eyes.
86 |"Forgive me!" said the bearded man in a weak voice, when he saw that the Tsar was awake and was looking at him.
87 |"I do not know you, and have nothing to forgive you for," said the Tsar. "You do not know me, but I know you. I am that enemy of yours who swore to revenge himself on you, because you executed his brother and seized his property. I knew you had gone alone to see the hermit, and I resolved to kill you on your way back. But the day passed and you did not return. So I came out from my ambush to find you, and I camepon your bodyguard, and they recognised me, and wounded me. I escaped from them, but should have bled to death had you not dressed my wound. I wished to kill you, and you have saved my life. Now, if I live, and if you wish it, I will serve you as your most faithful slave, and will bid my sons do the same, Forgive me!"
88 |The Tsar was very glad to have made peace with his enemy so easily, and to have gained him for a friend, and he not only forgave him, but said he would send his servants and his own physician to attend him, and promised to restore his property.
89 |Having taken leave of the wounded man, the Tsar went out into the porch and looked around for the hermit. Before going away he wished once more to beg an answer to the questions he had put. The hermit was outside, on his knees, sowing seeds in the beds that had been dug the day before.
90 |The Tsar approached him, and said: "For the last time, I pray you to answer my questions, wise man."
91 |"You have already been answered!" said the hermit, still crouching on his thin legs, and looking up at the Tsar, who stood before him.
92 |"How answered? What do you mean?" asked the Tsar.
93 |"Do you not see," replied the hermit. "If you had not pitied my weakness yesterday, and had not dug those beds for me, but had gone your way, that man would have attacked you, and you would have repented of not having stayed with me. So the most important time was when you were digging the beds; and I was the most important man; and to do me good was your most important business. Afterwards when that man ran to us, the most important time was when you were attending to him, for if you had not bound up his wounds he would have died without having made peace with you. So he was the most important man, and what you did for him was your most important business. Remember then: there is only one time that is important-Now! It is e most important time because it is the only time when we have any power. The most necessary man is he with whom you are, for no man knows whether he will ever have dealings with anyone else: and the most important affair is, to do him good, because for that purpose alone was man sent into this life!"
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