CBSE Class 10 History
Ch-8 Novels, Society and History LAQ
CBSE Class 10 Novels, Society and History LAQ Social Sciences
Q.1. Mention some important reasons for the popularity of the novels. [CBSE Sept. 2010, 2011]
Explain, how did novels become a popular medium of entertainment among the middle class during the late nineteenth century in India. [CBSE 2010 (D), Sept. 2013]
Why were the novels widely read and become popular very quickly ? [CBSE Sept. 2011, 2012]
How did novels become popular among masses ? (CBSE 2013)
Assess the reasons for the popularity of the novel in Europe ? [CBSE 2012]
Ans. (i) Cheap : Novels were very cheap as compared to manuscript. These circulated among few people. In contrast, because of being printed, novels were widely read and became popular very quickly.
(ii) Novels catered to the need of common people : Printing created an appetite for new kinds of writing. As more and more people could now read, they wanted to see their own lives, experiences, emotions and relationships reflected in what they read. Novels, ideally catered to this need. It soon acquired distinctively Indian forms and styles. For readers, it opened up new worlds
of experience, and gave a vivid sense of the diversity of human lives.
(iii) New Readers : The novel first took firm root in England and France. Novels began to be written from the seventeenth century, but they really flowered from the eighteenth century. New groups of lower-middle-class people such as shopkeepers and clerks, along with the traditional aristocratic and gentlemanly classes in England and France now formed the new readership for novels.
(iv) Hiring novels : Technological improvements in printing brought down the price of books and innovations in marketing led to expanded sales. In France, publishers found that they could make super profits by hiring out novels by the hour. The novel was one of the first mass-produced items to be sold.
(v) New absorbing and believable world : The worlds created by novels were absorbing and believable, and seemingly real. While reading novels, the reader was transported to another person’s world, and began looking at life as it was experienced by the characters of the novel. Besides, novels allowed individuals the pleasure of reading in private, as well as the joy of publicly reading or discussing stories with friends or relatives. In rural areas people would collect to hear one of them reading a novel aloud, often becoming deeply involved in the lives of the characters.
Q.2. How did Charles Dickens focus on the life of the industrial workers and the terrible conditions of urban life in his novels ? Explain with examples. [CBSE 2008 (O)]
Explain the themes and issues of the . novels of Charles Dickens with examples. [CBSE Sept. 2010]
Elaborate upon the contribution of Charles Dickens in the field of novel writing. [CBSE-2012]
Novels of Charles Dickens deal with which changes of the 19th century Britain ? Mention any three such changes. [CBSE-2013]
Which type of problems were highlighted by the novelist, Charles Dickens through his novel? Explain from any of his two novels. [CBSE-2013]
Explain any three aspects highlighted by Charles Dickens in his novel “Hard Times”. [CBSE-2012]
Ans. Charles Dickens was the foremost English novelist of the Victorian era. He wrote about the terrible effects of industrialisation on people’s lives and characters. His novels Hard Times and Oliver Twist became world famous,
(i) Hard Times : His novel Hard Times (1854) describes Coketown, a fictitious industrial town, as a grim place full of machinery, smoking chimneys, rivers polluted purple and buildings that all looked the same. Here workers are known as ‘hands’, as if they had no identity other than as operators of machines. Dickens criticised not just the greed for profits but also the ideas that reduced human beings into simple instruments of production.
(ii) Oliver Twist : In other novels too, Dickens focused on the terrible conditions of urban . life under industrial capitalism. His Oliver Twist (1838) is the tale of a poor orphan who lived in a world of petty criminals and beggars. Brought up in a cruel workhouse, Oliver was finally adopted by a wealthy man and lived happily ever after.
Q.3. Novels had explained and focussed on the terrible conditions of urban life under industrial capitalism. Justify.
Ans. (i) Industrialisation and Charles Dickens :
In the nineteenth century, Europe entered the industrial age. Factories came up, business profits increased and the economy grew. But at the same time, workers faced problems. Cities expanded in an unregulated way and were filled with overworked and underpaid workers. The unemployed poor roamed the streets for jobs, and the homeless were forced to seek shelter in workhouses. The growth of industry was accompanied by an economic philosophy which celebrated the pursuit of profit and undervalued the lives of workers. Deeply critical of these developments, novelists such as Charles Dickens wrote about the terrible effects of industrialisation on people’s lives and characters. His novel Hard Times (1854) describes Coketown, a fictitious industrial town, as a grim place full of machinery, smoking chimneys, rivers polluted purple and buildings that all looked the same. Here workers are known as ‘hands’, as if they had no identity other than as operators of machines. Dickens criticised not just the greed for profits but also the ideas that reduced human beings into simple instruments of production. In other novels too, Dickens focused on the terrible conditions of urban life under industrial capitalism. His Oliver Twist (1838) is the tale of a poor orphan who lived in a world of petty criminals and beggars. Brought up in a cruel workhouse Oliver was finally adopted by a wealthy man and lived happily ever after. But not all novels about the lives of the poor gave readers the comfort of a happy ending.
(ii) Emile Zola’s : Germinal (1885) on the life of a young miner in France explores in harsh detail the grim conditions of miners’ lives. It ends on a note of despair: the strike the hero leads fails, his co-workers turn against him, and hopes are shattered.
(iii) Writings of Thomas Hardy : Thomas Hardy the 19th century British novelist wrote extensively about traditional rural communities of England that were fast vanishing.
Q.4. Who was Jane Austen ? How do her novels give us a glimpse of the world of women in the general rural society in the early 19th century Britain ?
How did Jane Austen portray the women of 19th century in her novel ? [CBSE Sept. 2010, 2012]
Ans. Jane Austen was an English novelist who gives us a glimpse of the world of women in the general rural society in the early 19th century. Her novels make us think about a society which encouraged women to look for ‘good’ marriages, and find wealthy or propertied husbands. The first sentence of Jane Austen’s (1775-1817) Pride and Prejudice states : ‘It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.’ This observation allows us to see the behaviour of the protagonists, who are preoccupied with marriage and money, as typifying Austen’s society.
Q.5. How did novels promote colonialism ? Explain with an example of a novel. [CBSE Sept. 2010]
What kind of novels were written for young boys in the 19th century ? Explain. [CBSE Sept. 2010]
How did novels make themselves relevant to young boys ? [CBSE Sept. 2011]
Explain any five features of novels written for the young in the last stage of 19 th century. [CBSE 2012]
Ans. (i) New type of man : Novels for young boys idealised a new type of man : Someone who was powerful, assertive, independent and daring. Most of these novels were full of adventure set in places remote from Europe.
(ii) Colonisers as hero and honourable :
The colonisers appear heroic and honourable-Books like R.L. Stevenson’s’ Treasure Island (1883) or Rudyard Kipling’s Jungle Book (1894) became great hits.
(iii) English Courage : G.A. Henty’s historical adventure novels for boys were also widely popular during the height of the British empire. They aroused the excitement and adventure of conquering strange lands. They were always about young boys who witness grand historical events, get involved in some military action, and show what they called the ‘English’ courage.
(Iv) Love stories and the young : Love stories written for adolescent girls also first became popular in this period, especially in the United States, notably Ramona (1884) by Helen Hunt Jackson and a series entitles What Katy Did (1872) by Sarah Chauncey Woolsey, who wrote under the pen-name Susan Coolidge.
Q.6. Explain the history of growth of novels in India. [CBSE 2014]
Explain briefly the history of Hindi novel from starting to excellence. [CBSE 2011 ]
Ans. (i) Beginning of the novels:- The modern novel form developed in India in the nineteenth century, as Indians became familiar with the Western novel. The development of the vernaculars, print and a reading public helped in this process.
(ii) Earliest Novels : Some of the earliest Indian novels were written in Bengali and Marathi. The earliest novel in Marathi was Baba Padmanji’s Yamuna Paryatan (1857), which used a simple style of storytelling to speak about the plight of widows. This was followed by Lakshman Moreshwar Halbe’s Muktamala (1861). This was not a realistic novel; it presented an imaginary ‘romance’ narrative with a moral purpose.
(iii) Colonial period and novels : Novels began appearing in south Indian languages during the period of colonial rule. Quite a few early novels came out of attempts to translate English novels into Indian languages. For example, 0. Chandu Menon, a subjudge from Malabar, tried to translate an English novel called Henrietta Temple written by Benjamin Disraeli into Malayalam. But he quickly realised that his readers in Kerala were not familiar with the way in which the characters in English novels lived. So, he gave up this idea and wrote a delightful novel called Indulekha, which published in 1889 and, was the first modem novel in Malayalam.
(iv) First Hindi novel : Many novels were actually translated and adapted from English and Bengali, but the first proper modern novel i.e. Pariksha Guru was written by Srinivas Das of Delhi.
Q.7. Explain briefly the history of Hindi novel. [CBSE. Sep 2010, 12]
Ans. (i) Pioneer of modem Hindi literature : In the north, Bharatendu Harishchandra, the pioneer of modern Hindi literature, encouraged many members of his circle of poets and writers to recreate and translate novels from other languages. Many novels were actually translated and adapted from English and Bengali under his influence, but the first proper modem novel was written by Srinivas Das of Delhi.
(ii) Writings of Srinivas Das : Srinivas Das’s novel, Published in 1882, reflected the inner and outer world of the newly emerging middle class.
(iii) Writings of Devaki Nandan Khatri : The writings of Devaki Nandan Khatri created a novel-reading public in Hindi. His best-seller, Chandrakanta – a romance with dazzling elements of fantasy – is believed to have contributed immensely in popularising the Hindi language and the Nagari script among the educated classes of those times.
Although it was apparently written purely for the ‘pleasure of reading’, this novel also gives some interesting insights into the fears and desires of its reading public.
(iv) Munshi Premchand : It was with the writing of Premchand that the Hindi novel achieved excellence. He began writing in Urdu and then shifted to Hindi, remaining an immensely influential writer in both languages. He drew on the traditional art of kissa-goi (storytelling). Many critics think that his novel Sewasadan (The Abode of Service), published in 1916, lifted the Hindi novel from the realm of fantasy, moralising and simple entertainment to a serious reflection on the lives of ordinary people and social issues. Sewasadan deals mainly with the poor condition of women in society. Issues like child marriage and dowry.
Q.8. How had the different novelists of the colonial period taken up the task of modernisation of the Indians ? Explain.
Ans. (i) Chandu Menon portrayed Indulekha, as a woman of breathtaking beauty, high intellectual abilities and artistic talent with an education in English and Sanskrit.
(ii) Madhavan, the hero of the novel, was also presented in ideal colours. He was a member of the newly English-educated class of Nayars from the University of Madras, presently known as Chennai.
(iii) The hero was also a ‘first-rate Sanskrit scholar’. He was dressed in Western clothes. But, at the same time, he kept a long tuft of hair, according to the Nayar customs.
(iv) The heroes and heroines in most of the novels were people who lived in the modern world. Thus, they were different from the ideal or mythological characters of the earlier poetic literature of India.
(v) Characters like Indulekha arid Madhavan showed readers how Indian and foreign lifestyles could be brought together in an ideal combination.
Q.9. Write about some of the important characteristics of the Hindi novels. [CBSE Sept. 2010]
How did the Hindi novels reflect the true picture of the Indian society of the 19th century ?
Explain the teachings given by Srinivas Das in his novel ‘Pariksha Guru’. [CBSE 2010 (F), 2014]
In what ways did novels help to give the people a vision of being ideal characters without losing one’s identity ? Explain. [CBSE 2012]
Ans. (i) Pariksha Guru reflects the inner and the outer world of the newly emerging middle classes. The characters in the novel are caught in the difficulty of adapting to the colonised society, and at the same time preserving their own cultural identity. The world of colonial modernity seems to be both frightening and irresistible to the characters.
In the novel, we see the characters attempting to bridge two different worlds through their actions: they take to new agricultural technology, modernise trading practices, change the use of Indian language, making them capable of transmitting both Western sciences and Indian wisdom. But the novel emphasises that all this must be achieved without sacrificing the traditional values of the middle class household.
(ii) Munshi Premchand’s novel Sewasadan (The Abode of Service), published in 1916, lifted the Hindi novel from the realm of fantasy, moralism and simple entertainment to a serious reflection on the lives of ordinary people and social issues. Sewasadan deals mainly with the poor condition of women . in the society. Premchand wrote on the realistic issues of the day, i.e., communalism, corruption, zamindari, debt, poverty, colonialism, etc. It also tells us about the ways in which the Indian upper classes used the space created by partial self-governance allowed under the colonial rule. Godan another novel written by Munshi Prem chand is an epic of the Indian peasantry. The novel tells the moving story of Hori and his wife Dhania, a peasant couple. Landlords, moneylenders, priests and colonial bureaucrats-all those who hold power in society-form a network of oppression, rob their land and make them into landless labourers. Ye Hori and Dhania retain their dignity to the end.
Q.10. What was the importance of novels ?
In what ways was the novel in colonial India useful for both the colonisers as well as the nationalists ? [CBSE 2009 (O), Sept. 2010, 2011, 2012]
“Novels were useful for both the colonial administrators and Indians in colonial India.” Support the statement with example. [CBSE 2010 (O)]
What Were the various uses of novels from the Indian point of view ? [CBSE Sept. 2010]
Ans. (i) Source of Information : Colonial administrators found the ‘vernacular’ novels a valuable source of information on native life and customs. Such information was useful for them in governing Indian society, with its large and a variety of communities and castes.
As outsiders, the British knew little about life inside Indian households. The novels in Indian languages often had descriptions of domestic life.
(ii) Novels and colonialism : The novel originated in Europe at a time when it was colonizing the rest of the world. The early novel contributed to colonialism by marking the readers feel they were part of a superior community of fellow colonialists.
(iii) The novel and nation making : The history written by colonial historians tended to depict Indians as weak, divided, and dependent on the British. These histories could not satisfy the tastes of the new Indian administrators and intellectuals. Nor did the traditional Puranic stories of the past- peopled by gods and demons, filled with the fantastic and the supernatural- seem convincing to those educated and working under the English system. Such minds wanted a new view of the past that would show that Indians could be independent minded and had been so in history. The novel provided a solution. In it, the nation could be imagined in a past that also featured historical characters, places, events and dates.
(iv) Novels and struggle for freedom : The imagined nation of the novel was so powerful that it could inspire actual political movements. Banking’s Anandamath (1882) is-a novel about a secret Hindu militia that fights Muslims to establish a Hindu Kingdom. It was a novel that inspired many kinds of freedom fighters.
(v) Novels and common sharing novelists included : Various classes in the novel in such a way that they could be seen to belong to a shared world. Premchand’s novels, for instance, are filled with all kinds of powerful characters drawn from all levels of society. In his novels you meet aristocrats and landlords, middle level peasants and landless labourers, middle class professionals and people from the margins of society. The women characters are strong individuals, especially those who come from the lower classes and are not modernised.
Q.11. Who was Vaikkom Muhammad Basheer? Mention some features of his writing. [CBSE Sept. 2012]
Ans: Vaikkom Muhammad Basheer (1908-96) was one of the early Muslim writers to gain a wide popularity as a novelist in Malayalam.Basheer had little formal education. Most of his works were based on his own rich personal experience rather than on books from the past. When he was in class five at school, Basheer left home to take part in the Salt Satyagraha. Later, he spent years wandering in different parts of India, and travelling even to Arabia, working in a ship, living with sufis and Hindu sanyasis, and training as a wrestler. Basheer’s short novels and stories were written in the ordinary language of conversation. With wonderful humour, Basheer’s novels spoke about details from the everyday life of Muslim households. He also brought into the Malayalam writing themes which were considered very unusual at that time – poverty, insanity and life in prisons.
Q.12. Discuss how the issue of caste was included in the novels in India. [CBSE Sept. 2011]
Describe, the theme of the novel . ‘Saraswativijayam’ written by Potheri Kunjambu.
Who is the author of novel “Saraswati vijayam” ? Describe the theme of it.
How does ‘Saraswativijayam’ lay stress upon the importance of education for the upliftment of the lower castes ? [CBSE 2012]
How did authors from so called low castes gain recognition in the world of literature? Explain with examples of any two such authors. [CBSE 2012]
Ans. (i) Novels like Indirabai and Indulekha were written by members of the upper castes, and were primarily about the uppercaste characters. But all novels were not of this kind.
(ii) Potheri Kunjambu, a ‘lower-caste’ writer from north Kerala, wrote a novel called Saraswativijayam in 1892, mounting a strong blow on caste oppression. This novel shows a young man from an ‘untouchable’ caste, leaving his village to escape the cruelty of his Brahmin landlord.
He converted himself to Christianity, obtained modem education and returned as the judge in the local court. Saraswativijayam stressed the importance of education for the upliftment of’the lower castes.
(iii) From the 1920s, in Bengal too a new kind of novel emerged that depicted the lives of peasants and ‘low’ castes. Advaita Malla Burmaris (1914-51) Titash Ekti Nadir Naam (1956) is an epic about the Mallas, a community of fisherfolk who live off fishing in the river, Titash.
(iv) While novelists before Advaita Malla had featured ‘low castes’ as their main character, Titash is special because the author is himself a ‘low caste’.
(v) The central character of Munshi Premchand’s novel Rangboomi, Surdas is. a visually impaired beggar from a so-called ‘untouchable caste.’
Q.13. Describe the reasons of the popularity of novels among the women. [CBSE 2013, 2014]
Ans. (i) World of women : The most exciting element of the novel was the involvement of women. The eighteenth century saw the middle classes become more prosperous. Women got more leisure to read as well as write novels. And novels began exploring the world of women – their emotions and identities, their experiences and problems. Many novels were about domestic life – a theme about which women ‘Were allowed to speak with authority. They drew upon their experience, wrote about family life and earned public recognition. The novels of Jane Austen give us a glimpse of the world of women.
(ii) Women character as independent and assertive : But women novelists did not simply popularise the domestic role of women. Often their novels dealt with women who broke established norms of society before adjusting to them. Such stories allowed women readers to sympathise with rebellious actions. In Charlotte Bronte’s Jane Eyre, published in 1847, young Jane is shown as independent and assertive. While girls of her time were expected to be quiet and well behaved, Jane at the age of ten protests against the hypocrisy of her elders with startling bluntness.
(iii) New conception of womanhood : Another reason for the popularity of novels among women was that it allowed for a new conception of womanhood. Stories of love – which was a staple theme of many novels – showed women who could choose or refuse their partners and relationships. It showed women who could to some extent control their lives. Some women authors also wrote about women who changed the world of both men and women.
(iv) Women novelist : There were many women novelist who wrote about family life, autobiographies their personal experiences as women and earned public recognisation. Jane Austen, Charlotte Bronte, Rokeya Hossein, Rashsundari Devi all wrote exclusively on women.
Q.14. What did the novels in the nineteenth- century India mean to :
What was the attitude of people in India in the 19th century towards women reading ? How did women responded to this ? [CBSE Sept. 2010, 2011]
Ans. (i) Many people got worried about the effects of the novel on readers who were taken away from their real surroundings into an imaginary world where anything could happen. Women and children were advised not to read novels as they were seen as easily corruptible.
(ii) Some parents kept novels in the lofts of their houses, out of their children’s reach. Young people often read them in secret. This passion was not limited only to the youth. Older women-some of whom could not read— listened with fascinated attention to popular Tamil novels read out to them by their grandchildren.
(iii) But women did not remain mere readers of stories written by men. Soon they also began to write novels.
(iv) A reason for the popularity of novels among women was that it allowed for a new conception of womanhood. Stories of
love-which was a staple theme of many novels-showed women who could choose or refuse their partners and relationships. Some women authors also wrote about women who changed the world of both men and women. .
(v) Rokeya Hossein (1880-1932) in Sultana’s Dream (1905) showed a topsyturvy world in which women take the place of men. Her novel, Padmarag also showed the need for women to reform their condition by their own actions.
(vi) Hannah Mullens, a Christian missionary and the author of Karunao Phulmonir Bibaran (1852), reputedly the first novel in Bengali, tells her readers that she wrote in secret.
(vii) In the twentieth century, Sailabala Ghosh Jaya, a popular novelist, could only write because her husband protected her. As we have seen in the case of the south, women and girls were often discouraged from reading novels.
Q.15. Why were children prevented from reading novels ? Explain. (CBSE-2012)
Ans. (i) Children would get carried away from their real surroundings into an imaginary world.
(ii) It was feared that children would stay away from normal, disciplined life and would become rebels. .
(iii) The novel would have immoral influences on children and they would become corrupt.
(iv) Women and children were seen as easily corruptible, so they were advised to stay away from novels.
Q.16. Who is the author of novel “Titash Ekti Nadir Naam”? Why is it considered a special novel ? Explain any four reasons. [CBSE 2013, 2014]
Who is the author of novel “Titash Ekti Nadir Naam”? Describe the theme of this novel. [CBSE 2012]
Ans. Advaita Malla Burman.
(i) This book is an epic about the Mallas, a community of fisherfolk in the river Titash.
(ii) The novel is about three generations of the Mallas.
(iii) It describes the community life of Mallas their religious traditions, festivals and relationship.
(iv) It discusses circumstances due to which slowly they broke up.
(v) Their end comes together, as the river dries up.
This is special because the author is himself from a low caste fisherfolk community.
Q.17. Describe the ways in which the novels in India attempted to create a sense of pan- Indian belonging. [CBSE Sept. 2011, 2014]
“Leading Indian novelists of the 19th century wrote for a National cause”. Do you agree with the statement ? Justify your answer. [CBSE Sept. 2010, 2011]
How did novels fulfill the task of nation building in India ? Explain. [CBSE 2012] Or
How did the novels in India encourage nationalism ? Explain any three points. [CBSE 2010]
Ans. (i) To create a sense of equality : Colonial rulers regarded the contemporary culture of India as inferior, On the other hand, Indian novelist wrote to develop a modern literature of the country that could produce a sense of national belonging and cultural equality with their colonial masters.
(ii) To protect values of India’s tradition and culture : Many novelist like that of Srinivas Das had expressed their fear and anger about the intermining of Indian and Western culture. The world of colonial modernity seems to be both frightening and irresistible to the characters. The novel tries to teach the reader the ‘right way’ to live and expects all ‘sensible men’ to be worldly- wise and practical, to remain rooted in the values of their own tradition and culture, and to live with dignity and honour.
(iii) Women novelists : But women did not remain mere readers of stories written by men; soon they also began to write novels. In some languages, the early creations of women were poems, essays or autobiographical pieces. In the early decades of the twentieth century, women in south India also began writing novels and short stories. A reason for the popularity of novels among women was that it allowed for a new conception of womanhood. Stories of love – which was a staple theme of many novels – showed women who could choose or refuse their partners and relationships. It showed women who could to some extent control their lives. Some women authors also wrote about women who changed the world of both men and women.
(iv) Novels for low castes and peasants :
From the 1920s, in Bengal too a new kind of novel emerged that depicted the lives of peasants and ‘low’ castes. Advaita Malla Burman’s (1914-51) Titash Ekti Nadir Naam (1956) is an epic about the Mallas, a community of fisherfolk who live off fishing in the river Titash. The novel is about three generations of the Mallas, about their recurring tragedies and the story of Ananta, a child born of parents who were tragically separated after their wedding night. Ananta leaves the community to get educated in the city. The novel describes the community life of the Mallas in great detail, their Holi and Kali Puja festivals, boat races, bhatiali songs, their relationships of friendship and animosity with the peasants and the oppression of the upper castes.
(v) The novel and nation making : Many novelists wrote about Marathas and Rajputs. These novels produced sense of a pan Indian belonging. The imagined nation of the novel was so powerful that it could inspire actual political movements. Bankim’s Anandamath (1882) is a novel about a secret Hindu militia that fights Muslims to establish a Hindu kingdom. It was a novel that inspired many kinds of freedom fighters.
Q.18. Explain the contribution of Premchand in Hindi novels. [CBSE Sept. 2010, 2011, 2013]
Which is the most popular novel written by Premchand ? When was it published ? Write its theme. [CBSE 2008 (O)]
“It was with the writings of Premchand that Hindi novel achieved excellence.” Justify the statement. [CBSE 2013]
Ans. (i) Munshi Premchand was one of the greatest literary figures of the modern Hindi and Urdu literature. It was with the writing of Premchand that the Hindi novel matured into greatness.
(ii) He began writing in Urdu, and then shifted to Hindi. Premchand drew on the traditional art of kissa-goi (story telling).
(iii) Before Munshi Premchand, the Hindi literature was confined to the tales, the stories of magical powers and other such escapist fantasies. His novel, Sewasadan (The Abode of Service), published in 1916, lifted the Hindi novel from the realm of fantasy. Sewasadan deals mainly with the poor condition of women in the society.
(iv) Premchand wrote on the realistic issues of the day, i.e., communalism, corruption, zamindari, debt, poverty, colonialism, etc.,
Q.19. “Premchand’s novels are filled with all kinds of powerful characters drawn from all levels of the society.” Support the statement by giving suitable examples. [CBSE 2009 (D), Sept. 2012]
Why is Godan considered an epic on Indian peasantry ? Explain. [CBSE Sept. 2010]
Briefly explain the theme of the novel ‘Godan’ written by Munshi Premchand. [CBSE Sept. 2010]
Drawn from various strata of society, Prem Chand’s characters create a community based on democratic value(s), substantiate the above statement with examples from any of his novels. [CBSE Sept. 2011]
Ans. (i) Sewasadan : In his novel Sewasadan, Munshi Premchand deals mainly with the poor condition of the Indian women in the society. He also exposes the double standards of the upper class of the era.
(ii) Rangbhoomi : His novel, Rangbhoomi centring around the exploitation of peasants of India during the British rule brings out the suffering of ordinary farmers and depicts the inhumanity of the colonial rule. The novel is not only valuable for its literary worth but also for the representation of the social and economic conditions of the underprivileged sections of the society. He has chosen Surdas, a visually impaired beggar from a so-called ‘untouchable’ caste as his hero which is very significant. While dealing with the pain and agony of common people under foreign rule, it focuses attention on the powerful current of nationalism which eventually shook the foundation of the British empire and brought us our independence.
(iii) Godan : Godan (The gift of cow), published in 1936, is considered the greatest Hindi novel of modern Indian literature. The novel’s theme revolves around the socio-economic condition of the Indian peasantry. Landlords, moneylenders, priests and colonial bureaucrats – all those who hold power in society form a network of oppression to exploit the poor peasants. The protagonist, Hori, a poor peasant, desperately longs for a cow, a symbol of wealth and prestige in rural India. Hori gets a cow but pays with his life for it. After his death, the village priests demand a cow from his widow to bring his soul to peace.
Q.20. Explain how the writings of Munshi Premchand promoted the sense of nationalism among the Indians.
How did the novels of Munshi Premchand promote the feeling of nationalism ? Explain. [CBSE Sept. 2010, 2011]
Ans. (i) Munshi Premchand’s novels are filled with all kinds of powerful characters drawn from all levels of the society. In his novels, one can meet aristocrats and landlords, middle- level peasants and landless labourers, middle-class professionals, and people from all the sections of the society.
(ii) The women characters are strong individuals, especially those who come from the lower classes, and are not modernised.
(iii) Premchand’s novels look towards the future without forgetting the importance of the past.
(iv) Drawn from various stratas of the society, Premchand’s characters create a community based on democratic values. The central character of his novel Rangbhoomi (The Arena), Surdas, is a visually impaired beggar from a so-called ‘untouchable’ caste. One can see Surdas struggling against the forcible takeover of his land for establishing a tobacco factory.
(v) Godan (The Gift of Cow), published in 1936, remains Premchand’s best-known work. It is an epic of the Indian peasantry. The novel tells the moving story of Hori, and his wife, Dhania, a peasant couple, who fought against landlords, moneylenders, priests and the colonial bureaucrats.
Q.21. What are the main features of novel ‘Sewasadan’ written by Munshi Premchand? Mention any three. [CBSE 2012]
Ans. (i) The Sewasadan (The Abode of Service), published in 1916, lifted the Hindi novel from the realm of fantasy, moralising and simple entertainment to a serious reflection on the lives of ordinary people and social issues.
(ii) Sewasadan deals mainly with the poor condition of women in society.
(iii) Issues like child marriage and dowry are woven into the story of the novel.
(iv) It also tells us about the ways in which the Indian upper classes used whatever little opportunities they got from colonial authorities to govern themselves.


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The aim of this action research was to investigate the effects of digital storytelling in improving the writing skills of third grade students enrolled in rural primary schools. The writing performances of the students were measured before and after the teaching procedures of digital storytelling. Then, the process of narrative writing with digital storytelling was profoundly and carefully explored through observation and field notes, interviews, audio and video records, student diaries and documents, and student products. The results indicated that digital storytelling enhanced students’ ideas, organization, word choice, sentence fluency, and conventions in terms of writing quality. Similarly, the digital storytelling improved story elements and word counts in stories. In terms of the quality of students’ digital stories, the results demonstrated a steady progress in the elements of digital stories, and the technology literacy and competency of students throughout the process. Besides, the digital storytelling modified the process of narrative writing, and emerged as a beneficial tool to overcome the digital divide by developing students’ new literacy perception, competency, and skills. The digital storytelling also created learning community by improving interactions among students in the classroom, and increased their motivation to write.
Arıcı, A.F., & Ungan, S. (2008). İlköğretim ikinci kademe öğrencilerinin yazılı anlatım çalışmalarının bazı yönlerden değerlendirilmesi [An evaluation of secondary school students’ writing mistakes with respect to some points]. Dumlupınar Üniversitesi Sosyal Bilimler Dergisi, 20, 317-320.
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Mime, the very word conjures up images that make me smile. Physical humor has always been a favorite of mine. A person could tell a joke and I’d laugh. Have that person add the physical component and I’d roar with laughter.
As a child I loved to watch Dick Van Dyke trip over a hassock or Lucille Ball work on an assembly line. When I was older I was fortunate to see Marcel Marceau perform. I found that I not only laughed, but could also be brought to tears through his silent gestures. Something wonderful happens when a person uses their body to the fullest of their ability.
In my unit I will explore the use of mime through the following:
- Present an overview of the history of mime, describing some of the basic components.
- State the objectives for using mime with my present population.
- Give strategies in aiding the process which will become a range of improvisations without words.
I thought it would be very difficult to express what mime is in words. That in itself is a contradiction. As I researched this subject I found a wealth of information. The following historical account, except where noted is drawn from:
- 1. A social studies teacher might use the story of the early man hunting or the Zuni Indian Story. These two pantomimes will be addressed later and could enhance any applicable unit.
- 2. A literature teacher may want to use the information with students to further study mime. A creative writing unit may result from a mime experience—or possibly to delve deeper and create research papers, gaining even more information and understanding of this course of study.
- 3. Science teachers may want to look at nature’s natural pantomimes. The great crested grebes have a complex courtship ritual which consists of a variety of movements. Many animals and insects use pantomime to convey a message on their own level.1
Pantomime or mime, the two words cause quite a dilemma for those who try to explain them. Some feel pantomime alludes to a performance, while mime represents the performer. Others feel that a pantomime is a comedy and a mime is a serious drama. There are many theories, but for the most part, the words are now interchangeable. I will use both terms within the context of this unit.
- All About Mime Understanding and Performing the Expressive Silence, Loeschke pgs. 2-23.
- Pantomime the Silent Theate. Hunt pgs. 7-15, 40-46.
- Mime—A Playbook of Silent Fantasy, Hamblin pgs. 16, 17.
- Mimes on Miming, Rolfe pgs. 3-8.
Mime/Pantomime is self-expression without words. It is a silent form of communication. When performing, your body becomes your instrument. Modern mime is a form of the theatre, but its roots go back a very long way. Mime is one of the earliest modes of communication,—an expression of self. Man has used mime to express many things in a dramatic way. The first cave people acted out their daily experiences through pantomime. The adventure of the hunt made for an exciting drama, though the excitement of the drama was not the objective. Primitive people used mime to influence their environment. They believed in pantomiming a successful hunt even if that day’s hunt had been poor. By doing this they felt it would bring good luck for the next day’s hunt.3
Mime was used in religious ceremonies. Man expressed his myths and traditions through mime.
The Zuni Indians tell a story of ten corn maidens. These corn maidens were entrusted with the care of different types of corn. Whenever these maidens felt threatened by the god of butterflies, the god of music, or the god of flowers, they would hide. Then it became essential for the people to get help from other gods. They needed to coax the maidens out of hiding so the corn crops would grow. This story was portrayed for the most part, in mime. It was performed every four years not to celebrate but to bring rain for the corn crops. It is still performed by the American Southwest Indians, but as a ceremony to entertain tourists, not to influence nature.3
Some primitive pantomimes were performed strictly for amusement, while others gave examples of a great event in the past of a particular tribe. Illustrations of these may be found in Kari and Douglas Hunt’s Pantomime: The Silent Theater.
It was in the Orient that mime was first used in organized theatre. In fact, since the inception of the national theatres of Japan and China, mime has had an active role.
The Greeks and the Romans used mime to perform a sketch. The Greeks were probably the first to use mime as a pure art form. Many times masks were used to interpret a certain scene/dialogue. They were then called pantomimes and were very strongly connected with dance. The Greeks had many festivals and pantomime always had a place in these celebrations. The Romans broadened the use of mime into a very popular show that was frequently risque.
Through the Middle Ages and the Renaissance period, the expression ‘dumb shows’ was used to describe a silent play.
The Middle Ages brought the jester. He traveled about bringing his improvisations to many people. Most likely, he was the example of our solo comic mime of present day. With the exception of the jester, most of the performance of mime during this time period had a religious connection. The miracle plays used mime, within the church, to express the mysteries and morales of that time.
During the sixteenth century mime was brought back for pure entertainment. This was the beginning of the Italian School of Mime, which is still active today. The Italian Commedia Dell’Arte was extremely popular. It centered on the fool, Pierrot, who was an engaging clown. The French were influenced by this form of pantomime. The established Italian characters of Pierrot and Columbine were brought to France by traveling jesters from Italy. There they developed another type of mime in reaction against the Italian school.
By the 1800’s mime was recognized in many countries as an entertaining art form. Three schools of mime developed a certain individualized style. These schools were from:
These schools had and continue to have a specific technique and structure. The above descriptions are brief. The schools continue to influence the present mime performer. Despite cultural differences all mime is either a reflection of or a reaction to one or more of these unique styles.
- The Orient—this is the oldest school. They use simple plots and sets, elaborate make-up and costumes. The mime has a sense of a spirit that comes from within.
- Italy—this style is mostly comic, with broad, exaggerated movements. Slapstick prevails. There are many examples of Italian mime, presently. The work of Red Skelton is one.
- France—the youngest of the schools. It combines the French ballet with the Italian characters mentioned above. They create very believable, well-developed characters. Their movements are very precise, creating an illusion of reality.
Some aspects of the Italian school will be used with my students. The characters of the Italian school react in a big way. All of their actions are big and are usually stereotypical, but very human. The techniques are much less specific than those of the other schools. I feel these views will influence my classes, especially in the beginning activities.
As my students become more comfortable with these mode of expression, I hope to use some of the components of the French school. Their moves will become more subtle. They will work like an actor, concentrating on what motivates their character ”n a given situation, and thus creating a more realistic drama, which is one of the objectives of the French school.
This curriculum unit has been created for my dance and drama classes. I teach kindergarten through sixth grade at an integrated city school. My students come from varying backgrounds culturally and economically. These variances have enriched the interactions within my classes. I see twenty-four different classes a week. Each class runs thirty-five to forty-five minutes long, once a week. Depending on the pace of each class, this curriculum unit is designed to last eight weeks or longer.
I plan to use this unit with my third, fourth and fifth grades. I’ve chosen these particular grades for a couple of reasons. One, I feel they will be open to and enjoy this type of unit. Two, my fourth and fifth graders seem to have become self-conscious, regarding their bodies. I believe this unit can be applied to most grade levels. I envision this unit being taught in grades one through six with some minor modifications, in the delivery, according to grade level.
As I’ve observed my students performing in school assemblies, I’ve noticed many of them having difficulty making the connection between what they are saying and their bodies. They are concentrating so hard on remembering their lines and forgetting to feel, move and express.
In the using of mime with my students, words will be taken away and they will develop their skills in a non-verbal drama. In so doing my objectives and goals are as follows:
As I begin this drama unit with my students I will stress the rules of the room. The rules are:
- 1. For my students to become aware of the expressiveness of their bodies.
- 2. For my students to become less self-conscious around this expression and feel more comfortable within their bodies.
- 3. To broaden their awareness of how we speak with our bodies in everyday life.
- 4. To understand body language, which will help my students to interact and communicate much more effortlessly.
- 5. My students will be introduced to a new way of communication through the use of mime.
- 6. My students will gain self-esteem by accomplishing a given activity where there is no right or wrong way of completing it.
- 7. My students will learn to focus on a given task, tuning out all distractions. This will enable them to increase their abilities to concentrate.
- 8. My students will increase their attention span.
- 9. My students will learn tolerance and patience by the structure of the class. No one is judged and everyone is seen.
- 10. My students will gain confidence and increase their performance abilities and stage presence.
I always have my students sit in a circle. I use a moderate sized space which contains no furniture. This may be adapted to your classroom by moving furniture. We normally sit on the floor but again you may use chairs if necessary.
- 1. Respect for each other and themselves.
- 2. No one is to negatively criticize another’s response to a drama activity.
- 3. One person speaks at a time; the rest of us listen to what is being said.
- 4. Any questions or comments about a given activity are to be asked at the beginning or end of the lesson. Once the drama has begun those not involved directly will watch and wait until it is completed before questioning.
As the director of each drama activity I have certain cues to take us out of the drama when needed.
Any one of these cues is effective when explained to students before the activity. These cues become part of the drama class, to be used many times.
- 1. I ring a bell which means: stop, look at me, and listen to what I will say.
- 2. I say the word “freeze,” which means just that. Whatever position my students were in when I said that word, they stay in, until I say “melt.” This doesn’t mean they will melt to the floor. They are to resume normal posture and look at me and listen for direction.
- 3. I clap my hands three times for Stop, Look and Listen.
If there is a problem with behavior, I say ask a student to leave the circle. They are told this before the activity begins. I give them all two warnings, the third time I have to speak with one of them, that person will leave the circle for a time. That student may earn their way back into the circle after sitting out quietly for a period of time (to be decided by the teachers).
All of this is used to create a safe space for my students so they will feel comfortable expressing themselves. They will realize that inappropriate behavior is not acceptable. If they want to participate in the activities they will have to demonstrate the appropriate behavior.
As the director of any of these activities I may choose to stay out of the activity or at times be part of the drama. I am free to move in and out of the activity whichever will be most productive.
The following activities will be broken down into a weekly plan. As stated previously, I see each class once a week. A lot depends on the pace of the individual class. The length of activities will take the whole period thirty-five to forty-five minutes. Any activity may be repeated as a warm-up or main activity the following week.
I will begin with a variation of the name game. We are all seated in a circle on the floor. I will say my name and then do a particular movement. The person sitting to my right will say my name do my movement and then say their name and do their own original movement. This continues all around the circle. The person to my left will be the last. They have the challenge of saying everyone’s name and doing everyone’s movement as well as creating their own movement.
This exercise helps with: focusing, concentration, memory and spontaneity.
Two variations of this warm-up activity are as follows:
- 1. Children are to say their name and show on their face how they are feeling.
- 2. I will give my students an emotion such as: anger, boredom, happiness. They are to demonstrate this emotion without words, using their face and upper body. I will encourage large movements and exaggerated expression as indicated in the Italian school of mime. These warm-ups may be used as a whole lesson or as a start to a main activity.
The next exercise I plan to use is mirroring. I pair the students with the person sitting next to them. They are to remain sitting, facing each other. I demonstrate this in the center of the circle with a volunteer. Once everyone has seen my partner and I, we will begin. We start with the hands. One person who has already been designated the leader will start to move slowly so that their partners can follow along. The non-leader moves with the leader during the same movement at the same time. They are never to touch each other but their hands can be close to each other, palms facing inward toward their partner. I will give them a few minutes and then I will say switch. Now the non-leader becomes the leader. We continue with this exercise for some time. I may say switch three or four more times. As my students become more comfortable I will encourage them to move their upper body then stand and move their whole body. I would also suggest using facial expressions. Eventually the pairs are moving as one.
This exercise helps students to take direction from their peers, focusing and concentrating. Also, it is starting to move the body with the rhythm of others.
At this time this exercise is to be used as a warm-up stopping the activity with the hand movements only.
Now, still in pairs we will begin a sculpting exercise. Again, I present this in the center of the circle, with a volunteer. My volunteer is now a piece of clay and I am the sculptor. I direct my piece of clay to remain very still and relaxed but to conform to any way I put their body. They are then to hold that position. At this point I direct my comments to the circle. Emphasizing how important it is to treat your clay gently and with respect. The sculptors are very careful, at all times, when molding their clay. Sculptors must be considerate when placing their clay in position, remembering that clay has to hold that position for some time.
I will advise my students that they may want to create a statue, shape or action with their clay. I will designate who is clay and who are the sculptor first. Then we will reverse and sculptors become clay and clay becomes sculptors.
This activity assists students in working together, cooperatively. It also gives their bodies the experience of being moved and shaped in many different ways. They are starting to create messages with their bodies.
I will start with a warm-up mirroring variation. Using hands first and moving on to the whole body. Refer back to Week One.
Next we will continue to work with sculpting in another way. Seated in the circle, I will ask for two volunteers. One to be clay and one to be the sculptor. The sculptor will begin to mold clay into position. I will then say “Freeze” and now the sculptor is part of the clay. One by one the outer circle will come in to mold the clay. If I say “Freeze” they become part of the sculpture. If I say “Thank you” they sit down after shaping the clay in some way. After everyone has had a turn sitting in the circle will join me in walking around the sculpture. These children will be thinking of a title for our work of art. To dismantle the sculpture I will take “magic dust” from my pocket and say “When I sprinkle my magic dust on clay, you will become boys and girls again and take your seat in the circle.” We will then hear the different titles for our sculpture.
This activity further aids my students in working together, increases attention span, focusing on task, increasing body awareness and strength. They are becoming aware of a quick end of a movement. They also work with developing a concept around an improvised sculpture.
We will start with everyone sitting in a circle facing the back of the person in front of you. One head will be in back of the other. A designated student will be instructed to make a face and turn around and show it to the person behind them, then, return to normal. That person now makes the same face and passes it on accordingly. This continues around the circle until it reaches the person who created it. This person then shows the group the ending face. Hopefully it’s the same face that we began with. If not, we can try again! The moves in this activity should be quick and precise. This reflects the French school of mime.
The next few activities are on the move. One or more may be used this week, if time allows. If not they may be used at another time. Detective Walk is an activity that will encourage students to move in space and interact. I will have everyone begin to walk around the room in any direction they choose. I will then direct them to walk as slow as possible—without touching anyone. That rule holds true for the whole exercise. After a few minutes I will direct them to walk at a normal pace. If I see students clustered together I will say, “When you see an empty space, fill it.” I will then direct my students to walk as fast as they can without running, walking at a normal pace. Now they are to pick someone out that they aren’t good friends with and keep that person insight at all times. The trick is that they can’t let that person know they are watching and they have to keep moving at all times.
The next walking exercise will help students to gain strength in their legs and to feel weight shifts.
I will ask my students to pretend they are walking on ice. I will guide them through these exercises by doing it with them. First, we will put all our weight on one foot, then we will pick up the empty foot and put it down slowly feeling the foot as it touches the floor in front of us. This requires shifting their weight from one foot to the other. Another way to do this is by thinking of peeling your foot off of the floor one section at a time and putting that same foot down the opposite way you peeled it off. Example: If you took your toes off last, (started with the heel), then you would put your toes down first when taking the step, shifting your weight as each section of your foot touches the floor. Remember ice breaks easily!
Now as we are walking in water that is up to our hips. I will then ask them to answer my following questions by showing me:.
Next you are walking with a globe on top of your head. Be careful, you do not want it to roll off. All of these walking exercises help students to focus on how their bodies move in a particular situation. They are done as a group so no one will be self-conscious. Everyone will be concentrating on doing their move.
- How do you move in deep water?
- Is it cold?
- Is it warm?
- Is it pleasant?
- Can you move quickly
- How does your upper body help you to move?
- How are your hips and legs moving?
- Show me!!!
The next exercise will help individuals to perform before a group—a solo. It will also encourage my students to imagine, visualize, pretend in a pantomime.
I will use two sticks, possibly dowels around three feet long and then like pointers. As usual we are sitting on the floor in a circle. I will begin the activity. I will use the sticks in an activity or as an object like playing the violin, walking on stilts, or looking in binoculars. I will act this out, with the sticks and without words. My students will then guess what I am doing and what the sticks have become. We will go around the circle, continuing in this manner until everyone has a turn. I may choose to go around again suggesting that this time two or more people may work together to create a scene.
The preceding activities will have helped my students to be comfortable with holding positions, moving and pretending in silence. By Week Five we have participated in a pantomime. This exposure will enable my students to take a more active role in the next mime-drama improvisations. I will not direct as actively as in the previous exercises.
Most modern mimes perform solo or in a duet. It is rare to see a group of twenty-seven mimes performing at once. Therefore the following lesson plans will be geared toward performing solo and in small groups. The next lessons are a bit more complex as my students will be given imaginary objects, ideas or actions to interpret. They will have to work together in small groups and make decisions within that group. My original objectives as stated earlier will be fulfilled by Lesson Three. Those three lessons will constitute weeks, six, seven, and eight.
Cat, Window, Puddle
Time 20-40 minutes
Objectives To create a scene with imaginary objects. To communicate actions with designated matter.
Description Group is seated in a circle. The stage is center of the circle. The circle becomes the audience as individual prayers come into the center to perform. Four imaginary objects are given. They are: a cat, a window, a door and a puddle. All of these objects must be used within a player will go to the center of the circle and use these imaginary props to create a scene. That player will then ask the audience “what happened?” This will help to evaluate the non-verbal communication. Next another player will enter the circle and create a different scene using the same imaginary props. Continue as above remembering players may not repeat earlier performances. All those in the audience will have a turn to be a player.
Materials Slips of paper with objects and actions written on them. Examples: A flying airplane, filling a glass with water, drying and breaking a dish, a clown performing, etc. There should be enough slips of paper for everyone in class.
Time 15-30 minutes
Objectives For students to become an object/character in a given scene, through showing, not telling. To think and act quickly.
Description Students will be split into two equal teams. Each team will face each other in parallel lines. Example 24 students, 12 on each team, Team A makes two parallel lines of 6. Each student is facing another—the persons they are facing are their partners. Team B does the same. Each student in one line on each team will receive a slip of paper. They may look at what is written on the paper but will say nothing. There will be a designated beginning to the lines. The two teams will begin at the same time—on signal. The first pair on each team will start. The person holding the paper will pantomime what is written. The partner will then interpret the mime until the correct response is given. Once the appropriate response is given the pair of partners sit down and the next pair continue. We have winners when one team is all sitting. The teacher is to keep a close eye on the performers and to keep the activity from becomlng a guessing game.
Variation Students may not look at the slip of paper until it is their time to perform.
1. Remind students to become what they are trying to convey.
- 2. Remind partners that they are to watch what is being performed then interpret, not just guess randomly.
Materials Students may use simple props—such as chairs, tables, desks. This is optional—the teacher may choose to have no props or set a limit.
Time 35-45 minutes.
Objectives To create a scene, interacting with peers. To share responsibility with peers. To convey a dramatic improvisation without words.
Description Students are broken into four or five groups—depending on the size of the class. There should be five or six in each group. Students are given examples of an activity that would involve a group, such as a baseball game, a tour bus and guide, a shopping trip, etc. Each group will then go to a designated area of the room to discuss what they are going to do. They may not use any of the examples that were given and of course, they may not use words in the drama. After a set amount of time, such as five minutes, the groups will reassemble in a circle.
Each group will have an opportunity to perform their scene. After each performance the audience will speculate as to what was going on.
Variations Give a category, such as television shows, movies, sporting events, etc.
The body techniques that are needed to proceed with mime are just touched upon in this unit. I encourage the reader to look at the following books:
These books, listed in my bibliography give excellent illustrations and directions to guide you through body movements.
- Mime: A Playbook of Silent Fantasy
- Exploring Mime
- Be a Frog, A Bird, or a Tree
My goal is not for my students to become professional mimes, but to feel comfortable with themselves in performing a drama without words. I feel this will be achieved.
- 1. Douglas and Kari Hunt, Pantomime The Silent Theater (Atheneum, New York, 1964), pgs. 11 & 12.
- 2. Hunt, Op. cit. pgs 12, 14.
- 3. Hunt, Op. cit. pgs. 14, 15.
- 4. Maravene Sheppard Loeschke, All About Mime (Prentice-Hall, Inc., New Jersey 1982), pgs. 5, 22-23.
This book contains a section on pantomime plays which will give ideas to new performers. Teachers may want to look at this too!
Carlson, Bernice Wells, Do It Yourself! Tricks Stunts & Skits, New York: Abingdon Press, 1952.
Silent stunts pgs 87-89. Examples for children to make shadow pictures and mime through Nursery Rhymes.
DePaola, Tomie, The Clown of God, New York: Harcourt Brace Jovanovich, Publishers, 1978.
A story of a traveling player, set in the time period of Colombina.
De Paola, Tomie, Sing, Pierrot Sing, New York: Harcourt Brace Jovanovich Publishers, 1983.
A picture book in mime. The traditional characters of Pierrot and Columbine are featured in this story without words.
Krementz, Jill, A Very Young Dancer, New York: Alfred A. Knopf, Inc., 1976.
A story of a young dancer who takes lessons and performs with The School of American Ballet. It is a good example of the discipline that is required to become a professional dancer/performer.
Lynch-Wilson, Janet, The Shadow Puppet Box, New York: Sterling Publishing Co., Inc., 1980.
This book has information on making and performing puppet shows. This can aid children in getting ideas for sets, for a mime performance.
Sorine, Stephanie Riva, Imagine That! It’s Modern Dance, New York: Alfred A. Knopf, 1981.
Pictoral examples of how children can create objects, shapes and actions using their bodies. This book would also be beneficial for teachers to use for instruction.
This is a book of creative Yoga postures. A fine example of how children can strengthen their bodies with fun, imaginative exercises. The prose are geared toward children. The pictures and ideas will help teachers to instruct.
Furness, Pauline, Ph.D., Role-Play in the Elementary School, New York: Hart Publishing Co., Inc., 1976.
Ideas as to the incorporation of drama within the classroom. Pgs. 30-32 give examples for pantomimes. There are fifty-two lesson plans that deal with ethics, social skills, behavior and much more.
Grenough, Marshall, McGuire, O’Rourke, Spector, Bananas, New Haven: 1979-80, Title VII Arts Pilot Staff.
Written by New Haven teachers—a collection of drama games and activities.
Hall, Sweeny & Esser, Until the Whistle Blows, Santa Monica, California: Goodyear Publishing Co., Inc., 1977.
A manual of movement games and activities.
Hamblin, Kay, Mime, a Playbook of Silent Fantasy, San Francisco, California: The Headlines Press, Inc., 1978.
An entertaining and informative book on mime. Gives a brief history and a creative and enjoyable way to begin mime through pictures and written instruction.
Hunt, Douglas and Kari, Pantomime: The Silent Theater, Hartford, Connecticut: Connecticut Printers, 1964.
An extensive history of mime, from its roots to the television mimes of the 1950’s and early 1960’s.
Loeschke, Maravene Sheppard, All About Mime, Englewood Cliffs, New
Jersey: Prentice-Hall, Inc., 1982.
An examination of mime/pantomime, comparing, explaining, summerizing the history of the schools of mime, the different types of mime and giving instruction for the beginner. There are some good examples of mime walks.
McCaslin, Nellie, Act Now! Plays and Ways to Make Them, New York: S.G. Phillips, Inc., 1975.
Gives ideas for drama games and activities. Also playwriting and dramatizing stories and ideas. Pgs. 44-45 tell of the commedia dell ‘arte troups.
Rolfe, Bari, Ed., Mimes on Miming, Los Angeles, CA: Panjandrum Books,
A history of mime as it developed throughout the centuries. Excerpts from many great mime performers discussing their art form.
Spolin, Viola, Theater Games for the Classroom. A Teacher’s Handbook, Evanston, Illinois: Northwestern University Press, 1986. A wonderful manual, clearly stated lessons for utilizing drama in the classroom. Many games can be applied to a unit on mime.
Stolzenberg, Mark, Exploring Mime, New York, Sterling Publishing Co., Inc., 1979.
A manual for beginning mime with clear pictures and written instructions.
Wagner, Betty Jane, Dorothy Heathcote, Drama As a Learning Medium, Washington, D.C.: National Education Association of the United States, 1976.
For those teachers who are interested in taking drama further as an educational tool.
Way, Brian, Development Through Drama, Atlantic Highland, New Jersey: Humanities Press, 1973.
Another book for those who would like to encorporate drama in their classrooms. Gives many examples and approaches of drama/movement to begin with and develop further.
Contents of 1990 Volume II | Directory of Volumes | Index | Yale-New Haven Teachers Institute