Kathmandu

Kathmandu

I. Answer these questions in one or two words or in short phrases.

Question 1. Name the two temples the author visited in Kathmandu.

Answer: The two temples that the author visited in Kathmandu are Pashupatinath temple and Baudhnath temple.

Question 2. The writer says, “All this I wash down with Coca-Cola.” What does ‘all this’ refer to?

Answer: All this refers to a bar of marzipan; a roasted corn on- the-cob garnished with salt, chilli and lemon, some comics containing love story; and a Reader’s Digest.

Question 3. What does Vikram Seth compare to the quills of a porcupine?

Answer: Vikram Seth compares the flutes protruding in all directions from the top of the bamboo to the quills of a porcupine.

Question 4. Name five kinds of flutes.

Answer: Five kinds of flutes are the reed neh, the Japanese shakuhachi, the deep bansuri, the breathy flutes of South America, and high-pitched Chinese flutes.

II. Answer each of these questions in a short paragraph

Question 1. What difference does the author note between the flute seller and the other hawkers?

Answer: The flute seller plays slowly, meditatively, without excessive display. He does not shout out his wares, and occasionally makes a sale without showing much enthusiasm; whereas the other hawkers make all his efforts to make a sale.

Question 2. What is the belief at Pashupatinath about the end of Kaliyug?

Answer: About the end of Kaliyug, it is believed that when the small shrine, which is half protruded, emerges out fully, the goddess inside will escape and it will result in the end of the evil period of the Kaliyug on earth.

Question 3. The author has drawn powerful images and pictures. Pick out three examples each of:

(i) the atmosphere of ‘febrile confusion’ outside the temple of Pashupatinath (for example: some people trying to get the priest’s attention are elbowed aside…)

(ii) the things he sees

(iii) the sounds he hears

Answer: The author has drawn powerful images and pictures which are:

(i) The author finds a chaotic atmosphere outside the Pashupatinath temple. Hawkers, priests, devotees, tourists, cows, monkeys can be seen roaming through the grounds. Some people who have been trying to get the attention of the priests are pushed by others making their way to the front. By the main gate some saffron clad westerners struggle for permission to enter the temple as the board outside the temple says only Hindus are allowed.

(ii) The author finds that Kathmandu is vivid, mercenary and religious; it has small shrines and flowers adorned deities along the narrowest and busiest streets; shops selling western cosmetics, film rolls and chocolates; some other shops selling fruits and some flutes.

(ii) He hears the film songs loudly played from the radios, the sound of car horns, ringing of bicycle bells, low of stray cows and vendors shouting out their wares.

III. Answer the following questions in not more than 100–150 words each.

Question 1: Compare and contrast the atmosphere in and around the Baudhnath shrine with the Pashupatinath temple.

Answer: At Pashupatinath, he finds an atmosphere of complete confusion. He says that priests, hawkers, devotees, tourists, cows, monkeys, pigeons and dogs can be seen roaming through the grounds. Because of lots of crowd, people are elbowed aside by others pushing their way to the front. Some saffron clad Westerners struggle to enter the temple by the main gate.

At Baudhnath temple, the author finds a sense of stillness, no crowds are there, and it is a safe place of quietness in the busy streets around.

Question 2: How does the author describe Kathmandu’s busiest streets?

Answer: The author describes Kathmandu’s busiest streets as vivid, mercenary and religious, with small shrines to flower-adorned deities along the narrowest and busiest streets. Along the streets are fruit sellers, flute sellers, hawkers of postcards; shops selling Western cosmetics, film rolls and chocolate; or copper utensils and Nepalese antiques.

He hears the radios playing film songs loudly, sound of car horns, ringing of bicycle bells, stray cows low questioningly at motorcycles, and vendors shout out their wares.

Question 3: “To hear any flute is to be drawn into the commonality of all mankind.” Why does the author say this?

Answer: The poet says this when he talks about flute music, which he considers the most universal and particular of sounds. He says that there is no culture that doesn’t have its flute – the reed neh, the recorder, the Japanese shakuhachi, the deep bansuri of Hindustani classical music, the clear or breathy flutes of South America and the high-pitched Chinese flute. He further says that flute music is similar to human voice in the sense that just like every human being, the motive force is living breath. It too needs to pause and breathe before it can go on.