Blending

BLENDING TECHINQUE in PEEP

Question: Explore how Bhatt critically conveys her ideas of language and culture in the poem ‘A Different History’.

Evidence Number Evidence Blending

POV 1 Bhatt first examines how easily people ‘here’ accept new cultures in a positive light.

EVIDENCE 1 ‘Great Pan’The Greek deity of nature, the ‘Great Pan’, is seen to meld into the society in this place, his values and ideals still considered of utmost

importance.

EVIDENCE 2 ‘emigrated’The poet depicts how these people welcome new cultures, and the gods are seen to have ‘emigrated’ to India, in search of acceptance

after being declared unwanted.

EVIDENCE 3 ‘not dead’The poet emphasizes on how the deity is ‘not dead’, he has been given a new chance at life, painting the people here as saviors of

the gods of others.

POV 2 Bhatt brings out the diversity of different values held by the people.

EVIDENCE 1 ‘roam freely’The people are open minded; they appreciate different types of

deities and ideas and are not staunch about their views, letting all ‘roam freely’.

EVIDENCE 2 ‘snakes or monkeys’‘Snakes or monkeys’, the people here respect both equally, the

good and the evil. The poet seems to view this as one of the finer aspects of the Indian culture.

EVIDENCE 3 ‘disguised’The people here believe that the gods are ‘disguised’ in their

surroundings, so their culture ascribes them to respect everything around them.

POV 3 The poet appreciates how strongly respect for others is embodied in this culture, even above oneself.

EVIDENCE 1 ‘book’ A ‘book’ is an object of reverence in this culture and so an act against it is akin to an act of dishonor for the people here.

EVIDENCE 2 ‘foot’ The ‘foot’ of oneself is placed below the knowledge in books, and so it is a great crime to shove a book with your feet.

EVIDENCE 3 ‘whose wood’Even the tree ‘whose wood’ allowed us to have these books is

thought to be linked to the book, and this culture demands respect for that as well.

POV 4 Bhatt highlights the magnitude of the crimes one may commit if the proper decorum is not followed, and so highlights how deeply rooted this respect is.

EVIDENCE 1 ‘sin’It is a ‘sin’ to dishonor an object that helps one, a grave crime that needs a great dead to atone for it, depicting how big a role these

ideals play for the people here.

EVIDENCE 2 ‘offending’ ‘Offending’ the giver is also a sin that goes against the ideals upheld by this culture.

EVIDENCE 3 ‘gently’ It is expected that tasks are carried out ‘gently’ as to please those who have enabled these tasks to be carried out.

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POV 5 However, the poet then takes a highly negative view when describing the enemy she wishes to fight.

EVIDENCE 1 ‘oppressor’ Her adversary is the ‘oppressor’, who she fears will mutilate this rich culture.

EVIDENCE 2 ‘murder’In the past this opponent has stooped to ‘murder’, the poet

emphasizes this; bringing out her fears as to what will happen next.

EVIDENCE 3 ‘torture’ Now, once the ‘torture’ of souls is over, the poet shows fear and anger at these people’s acceptance of the culture of their torturer.

POV 6 The poet predicts a future where the enemy’s culture and language are now upheld in these people’s minds, above their own.

EVIDENCE 1 ‘soul has been cropped’ Despite the fact their ‘soul has been cropped’, people here still allow themselves to be influenced by the demons that slew them.

EVIDENCE 2 ‘unborn grandchildren’ The ‘unborn grandchildren’, the poet fears, will forget the struggle and the ideals they should have to follow these torturers.

EVIDENCE 3 ‘strange language’At last, Bhatt depicts, in the future the ‘strange language’, with the

harsh tones that used to call murder, will be adopted by the people, their own language and culture lost.

Question: How does Allen Curnow vividly portray the hardships of writing a poem?


POV 1 Curnow depicts his unstable mental state in a time where he searches for inspiration to anchor him.

EVIDENCE 1 ‘moon’The ‘moon’ is unable to settle, like him, continuously orbiting the same thoughts, without any particular

conclusion.

EVIDENCE 2 ‘falls’ The poet ‘falls’ away from his inspiration and is at a loss as to how to climb back.

EVIDENCE 3 ‘myself’Curnow tries very hard to push his frustration on to nature, but fails and finally admits that it is actually ‘myself’, who is plagued with the inability to settle.

POV 2 Curnow grasps at his surroundings for ideas, but comes up empty handed.

EVIDENCE 1 ‘barefoot’He leaves ‘barefoot’, perhaps to open the parts of him

able to absorb inspiration, but this later is only a deterrent.

EVIDENCE 2 ‘chill’ Where the poet hopes to find the warmth of an idea, he is only given a ‘chill’, and his goal is unaccomplished.

EVIDENCE 3 ‘porch’Although Curnow stretches across his ‘porch’, away from what he owns and into the unknown to gain inspiration,

the illumination he seeks is elusive.



POV 3 The poet sees everything around him as overused and dull.

EVIDENCE 1 ‘washed out creation’ The night sky is but a ‘washed out creation’, there is nothing original he can obtain from it.

EVIDENCE 2 ‘contents down’Through the satirical image of the sky emptying its

‘contents down’, Curnow expresses how bleak it is, just like his mind.

EVIDENCE 3 ‘dark place’Curnow displays how he views the sky as a ‘dark place’,

almost evil in the way it seems to mock him for his inability to draw inspiration.

POV 4 Curnow’s enemy seems to be another cause of dismay, another one of the hardships of writing.

EVIDENCE 1 ‘bright’He presents his enemy as the only other ‘bright’ being in the dull world, obstructing his path as hard as he tries to

struggle forth.

EVIDENCE 2 ‘wind’Who wins this battle, only the ‘wind’ decides, another

great task as the outcome is not in his hands, but that of fate, a game that any would grow weary of.

EVIDENCE 3 ‘clouds’ Curnow depicts his nemesis as a ‘cloud’, insubstantial yet still blocking the light of inspiration from falling on him.

POV 5 In this time of inner turmoil, the poet cannot comprehend the world in its normal sense.

EVIDENCE 1 ‘not on time’He describes moments to be ‘not on time’, the writing of a poem is so difficult that his mind prolongs moments in

order to allow him to progress in his writing.

EVIDENCE 2 ‘sleep’

‘Sleep’ is elusive, at this time he cannot follow normal procedures as the monstrosity of his task is not

something that can be overcome easily, or as a doubt in his mind, perhaps not at all.

EVIDENCE 3 ‘Something.’Lost in this battle, the poet depicts his inability to process

anything outside of it, ‘something’ being his only vague idea of the world around.

POV 6 In the end, the poet succumbs to his mental block, and, in doing so, unexpectedly finds a new inspiration

EVIDENCE 1 ‘door’ Curnow shuts the ‘door’ on his inner poet, giving up in face of the hardships of writing a poem.

EVIDENCE 2 ‘litter’His workspace is filled with the ‘litter’ of half thought out

ideas, that he realizes after his defeat, are the perfect building blocks for his poem.

EVIDENCE 3 ‘tools’ Using his ‘tools’, puts together his failed attempts, leading to his eventual triumph.



Question: How does Ted Hughes convey the presence of violence in the natural world in the poem ‘Pike’?


POV 1 The poet conveys the presence in violence in nature through his depiction of the pike’s inborn ruthlessness.

EVIDENCE 1 ‘killers from the egg’‘Killers from the egg’, the pike are able and unhesitant to kill from the second of their birth, showing how perfectly violence fits into

nature.

EVIDENCE 2 ‘born with’ The pike are ‘born with’ killer instincts and it is not circumstances that have molded them so, it is nature herself.

EVIDENCE 3 ‘shrank in death’ The pike’s ruthlessness ‘shrank in death’, having followed them throughout their lives

POV 2 Many of the pike’s features, gifted to it by nature, are designed to hunt.

EVIDENCE 1 ‘instrument’Hughes highlights the presence of violence in nature by

highlighting how the pike’s entire body is merely shaped as an ‘instrument’ of murder.

EVIDENCE 2 ‘jaws...fangs’It’s ‘jaws…fangs’ are perfectly shaped as weapons of destruction, designed only to attack and conquer, portraying the presence of

violence in nature.

EVIDENCE 3 ‘iron’ The nature of the pike is like ‘iron’, unchangeable from its cruel and violent nature, as presented to it by nature.

POV 3 At the same time, the pike is a picture of great beauty, highlighting the perfect meld of violence in nature.

EVIDENCE 1 ‘perfect’Hughes describes the pike as ‘perfect’, their magnificence

accentuating their violence, and the poet’s approval suggesting that this is what the natural order demands.

EVIDENCE 2 ‘submarine delicacy’

The pike present a picture of ‘submarine delicacy’, an almost oxymoronic combination with their ruthlessness nature,

emphasizing the good coming along with the bad, the beautiful mix of great beauty and utter mercilessness.

EVIDENCE 3 ‘stunned…grandeur’The pike are ‘stunned…grandeur’, their ruthlessness and their

beauty are entirely incompatible yet they come together, just as these do in nature.

POV 4 The pike depict a confidence in their actions that cannot be portrayed if their actions weren’t meant to be.

EVIDENCE 1 ’dance…flies’They ‘dance…flies’, these majestic predators mingling peacefully

with the lowest creatures, depicting their cruelty is not out of arrogance, but out of the way they are meant to survive.

EVIDENCE 2 ‘stillness’The ‘stillness’ of the pike show their patience and also tells of

how they are meant to act in such a manner, or they would react and wish to change their behavior.

EVIDENCE 3 ‘quietly’ The pike are sure of themselves, moving ‘quietly’, needing no fanfare or falsity to present their arrival.



POV 5 The pike are violent to the point of cannibalism, a natural event, unrepressed by rules or conceptions of right and wrong.

EVIDENCE 1 ‘suddenly…one’Hughes portrays the pike devouring each other as ‘suddenly…one’, presenting how deep this mindless and natural violence

runs.

EVIDENCE 2 ‘not… this date’The pike’s behavior has ‘not…this date’, their violence being wholly natural, leaving them free of the need to change their

actions.

EVIDENCE 3 ‘outlasted’ As they are free to follow the natural order of survival of the fittest, these fish have ‘outlasted’ any of the surroundings.

POV 6 Hughes highlights the violence in nature by alluding to how this darkness is present in humans and the possible wisdom in unleashing it.

EVIDENCE 1 ‘the dream’ The freedom that the pike have to unleash the violence in nature is ‘the dream’ of the poet, the darkness yearning for escape.

EVIDENCE 2 ‘owls’The birds of knowledge, the ‘owls’ also appreciate the wisdom of

unleashing the darkness hidden in our souls and so quiet the surroundings.

EVIDENCE 3 ‘darkness beneath…freed’Finally the ‘darkness beneath…freed’ and the poet comes to the realization of the truth in the pike’s ways, comes to terms within

his darkness and sets it loose.

Question: Explore how Christina Rossetti memorably conveys her happiness in the poem.


POV 1 The poet depicts a freedom that knows no bounds.

EVIDENCE 1 ‘bird’ Like a ‘bird’, she is joyous and unrestrained, free to achieve whatever pleases her.

EVIDENCE 2 ‘watered shoot’ She lives near a ‘watered shoot’, everything she wishes for available right next to her and she looks on to a season of prosperity.

EVIDENCE 3 ‘singing’ A reader is fully brought into the poets joy as she depicts herself ‘singing’, trilling to the unadulterated notes that make her life.

POV 2 Rossetti is seen to have achieved what she wants for herself and now her only goal is to help others.

EVIDENCE 1 ‘apple’ The poet is now an ‘apple’ tree, a fruit that gives only health to others.

EVIDENCE 2 ‘bent’ She is ‘bent’ to help the less fortunate and is in the perfect position to do so.

EVIDENCE 3 ‘fruit’ She has a lot of ‘fruit’, so much to offer now that she is grown into this new life of hers that has offered her Elysium.



POV 3 The poet further brings out her elation as she expresses how this does not come solely from happiness.

EVIDENCE 1 ‘rainbow shell’ Rossetti’s mental state is a ‘rainbow shell’, a spectrum of emotions that have come together to form something greater.

EVIDENCE 2 ‘halcyon sea’ The poet’s life is paradoxically a ‘halcyon sea’, with its many ups and downs, but overall calm and peaceful.

EVIDENCE 3 ‘birthday’Her happiness seems to rise above all this, due to her ‘birthday’, due to a change in her life from the normal into something immeasurably

better.

POV 4 The poet is unable to articulate anything about her Elysium regularly, making ambiguous references that seem personal and mixing many emotions to portray her joy.

EVIDENCE 1 ‘gladder’Rossetti seems ‘gladder’ than anything she can connect to or describe,

having reached a state where it would be impossible to explain it without understating it.

EVIDENCE 2 ‘love’The poet speak of her ‘love’ as the cause of her happiness, but is

ambiguous about the identity of the being, incapable of recognizing what part of her has bought out this state of utter elation.

EVIDENCE 3 ‘my’On the other hand, the poet also constantly repeats her hold over this joy, her possessiveness over it, her sense of ‘my, but at the same time

allows the reader to access this joy and enjoy this emotion.

POV 5 Rossetti reaches into the artificial world, to depict to others the joy nature has given her.

EVIDENCE 1 ‘dais’The poet fantasizes that a ‘dais’ of great beauty could perhaps raise

physically raise her to her state of mental elation, to depict to everyone her immense joy.

EVIDENCE 2 ‘purple’Rossetti explores her majestic emotions through ‘purple’ dyes that

would color the area around her as to bring forth the nobility of the elation she experiences.

EVIDENCE 3 ‘doves’ At the same time, ‘doves’ line her surroundings, utter peace being all she desires to give, spreading joy and beauty to the world.

POV 6 The poet herself is unaffected by any materialistic objects, there being no greater state of joy to achieve.

EVIDENCE 1 ‘gold’ No amount ‘of ‘gold’ in this state could make her any happier, as they would serve merely as an expression of her joy, not its cause.

EVIDENCE 2 ‘hundred eyes’ If given a ‘hundred eyes’ to observe her wealth, she could feel no happier, emphasizing on how her emotion was mental, no physical.

EVIDENCE 3 ‘fleurs-de-lys’ Even the beauty of the ‘fleurs-de-lys’ cannot bring her higher on the ladder of joy, though with it she might appease others more.

Question: Explore how Rossetti powerfully conveys his grief in the ‘Woodspurge’




POV 1From the very beginning, the poet strongly puts forth his defectless vexation through

his ambiguous references to the wind.

EVIDENCE 1 ‘will’The poet has given in to follow the ‘will’ of the wind, its

ups and downs, accepting his fate, having given up fighting against the contretemps.

EVIDENCE 2 ‘shaken out’However, the reader sees that that the poet is ‘shaken

out’, unable to bear with a drastic change that his steered him off course, putting him in his state of depression.

EVIDENCE 3 ‘sat now’ The poet finally breaks and ‘sat down’, thrown into a turmoil of grief by these unexplained events.

POV 2 The poet presents a striking image of himself to bring out his grief through his physical appearance.

EVIDENCE 1 ‘between my…was’

He claims that ‘between my…was’ in a detached manner, demoting himself to the unpleasant and painful imagery of the fetal position, depicting the

pain he faces

EVIDENCE 2 ‘drawn in’He is ‘drawn in’ himself, both physically and mentally the sorrow having possessed him like a disease, leaving

him no control over himself.

EVIDENCE 3 ‘hair was over’ The poet’s ‘hair was over’ his head, a picture of absolute mania with complete helplessness in his affairs.

POV 3 The poet is hyper aware of his surroundings but incapable of reacting to them.

EVIDENCE 1 ‘naked ears…pass’Though his ‘naked ears…pass’, he is incapable of reaction,

so completely immersed in his misery that he lost his sense of being.

EVIDENCE 2 ‘wide open’The poet’s eyes are ‘wide open’ in his sorrow, but he is

like a robot, he cannot process the information he absorbs.

EVIDENCE 3 ‘dead’His emotions are ‘dead’ he is too powerless to even summon the hope that trying to change his situation

would bear fruit.

POV 4 At this point with everything in his sight, he can only connect with the things conventionally considered unwanted.

EVIDENCE 1 ‘weeds’The ‘weeds’ that are pulled out seem to be his only

solace, the only things that register in his angst filled mind.

EVIDENCE 2 ‘fix’The things he does see ‘fix’ in his mind, allowing no room for positivity or hope, pulling a reader further into his pit

of despair.

EVIDENCE 3 ‘out of the sun’ The shadowed, the dark, those ‘out of the sun’ attract him at this stage, being the only things he can connect to.



POV 5 In his complete submission, parts of him are broken and parts of him bound and he cannot rise above the smallest of problems.

EVIDENCE 1 ‘flapped loose’ His emotions ‘flapped loose’, leaving only negative ones behind, the positive to underused to remain.

EVIDENCE 2 ‘grass’Rossetti cannot rise above the lowest of the plants, the

‘grass’, giving the readers a deeper dip into his utter state of despair.

EVIDENCE 3 ‘had the run’Though his eyes ‘had the run’ of the area, his mind was

bound to negativity, to not observe the joy in his surroundings but instead concentrate on the sorrow.

POV 6 Rossetti brings out the extent of grief through how he was able to overcome it.

EVIDENCE 1 ‘need not be wisdom’

At last, Rossetti explores how though ‘there need not be wisdom’ from grief in its completion, there is an

understanding of the lowest peak established, and since he couldn’t fall lower, he began to climb.

EVIDENCE 2 ‘then learnt’ The poet explores how despite his sorrow, he ‘then learnt’ a lot about life, sorrow and emotions.

EVIDENCE 3 ‘cup of three’Rossetti realized that life has a ‘cup of three’, there is a

balance and though it keeps shifting, in totality it remains the same.

Question: Explore how ‘The City Planners’ conveys the powerful feelings of the speaker.


POV 1 The poet brings forth how distastefully these planners create and decide the readers’ livelihoods.

EVIDENCE 1 ‘guessing’ The planners rely on ‘guessing’ to shape the basis of the reader’s reality, as uncaringly as a twig.

EVIDENCE 2 ‘madness’Atwood expresses the danger she believes is posed by the fact the reader’s are allowing their ‘madness’ to be

created by someone else’s fantasies.

EVIDENCE 3 ‘insane’

The planner’s themselves are ‘insane’, scheming behind closed doors, away from each other, their ideas possibly conflicting and throwing the world into turmoil in their

personal battle.

POV 2 The planners create a weak infrastructure for their deceptively strong work.

EVIDENCE 1 ‘houses’ Though on the outside, it seems perfect, all the ‘houses’ have their place, but on the inside it’s a disaster.

EVIDENCE 2 ‘blizzard’Like the minds of these city planners’, the hearts of the

city are consumed by a ‘blizzard’, a bleak and inescapable ATCHULA SUBRAHMANYAM

HEAD OF ENGLISH_GIIS EAST COAST SINGAPORE_ [email protected]


prison that traps their mentality.

EVIDENCE 3 ‘spilt oil’While striving to restrict the natural and unexpected, they fail to erase the simple problems of the smell of

‘spilt oil’, being over ambitious.

POV 3 Atwood portrays those living in these areas as robotic and abnormal.

EVIDENCE 1 ‘grass’The people living in the suburbs attempt to gain control

and monotony in everything, discouraging even the ‘grass’ from acting out.

EVIDENCE 2 ‘planted’The people are ‘planted’, influenced blindly to abandon

their curiosity and rationality in favor of becoming nothing more than a means to an end.

EVIDENCE 3 ‘shouting’Furthermore, the people refuse to rebel against the

planners, abstaining even from ‘shouting’ and communicating.

POV 4 Atwood’s derision is further brought out as she explores the planner’s method of control and the effects on the people.

EVIDENCE 1 ‘political conspirators’Like ‘political conspirators’, the planners put up false

faces, hiding in the shadows while playing with peoples hopes in order to achieve the upheaval of natural living.

EVIDENCE 2 ‘bland’

Though the planners wish to create a ‘bland’ and uneventful life, in the people it only succeeds in causing

panic as people strive to find normality behind the scenes.

EVIDENCE 3 ‘whine’The people are forced to rationalize the ‘whine’ of a

power mower, the planners having messed around their minds, and that of their neighbors.

POV 5 The poet expresses how ridiculously the planners make the people in the suburbs behave.

EVIDENCE 1 ‘stare’ The people, facing lack of human contact, fantasize the windows ‘stare’ at them.

EVIDENCE 2 ‘hose’ The coil of a ‘hose’ threatens them without the presence of that emotion in any other situation.

EVIDENCE 3 ‘snows’ Color is deemed unwanted, so ‘snows’ cover the minds of the people, bringing the cold of winter early.

POV 6 The enormity of the poet’s emotion is further brought out in the doomsday she portrays.

EVIDENCE 1 ‘roofs’Atwood criticizes the planners ‘roofs’ as those are built to

avoid the heat they themselves have created, a temporary solution.

EVIDENCE 2 ‘cracks’ The poet foretells that one day, the ‘cracks’ would grow larger till the whole world around the people collapses.

EVIDENCE 3 ‘transitory lines’She muses disappointedly that the only solution available

will be more ‘transitory lines’ that will collapse just as surely.



Question: Explore the ways Boey Kim Cheng presents the planners in the poem.


POV 1 The element of conceit is used in poem to push a negative light on the planners.

EVIDENCE 1 ‘perfect rows’ The planners desire nothing less than ‘perfect rows’, and they are highly ambitious and will do anything to achieve their goal.

EVIDENCE 2 ‘alignment’They are highly precise about their ‘alignment’ and wish for

everything to fit exactly where they wish it to go, incapable of allowing change.

EVIDENCE 3 ‘mathematics’ The poet is angered at the usage of ‘mathematics’ for everything in the city, distancing the readers from nature.

POV 2 Cheng further criticizes the planners by comparing them to dentists.

EVIDENCE 1 ‘dental dexterity’The planners have a ‘dental dexterity’ they use the same

professionalism and accuracy dentists use to falsely beautify things.

EVIDENCE 2 ‘gaps’ The ‘gaps’ they find are all filled, leaving no difference between one block and the rest, no uniqueness.

EVIDENCE 3 ‘shining teeth’They leave their patients with ‘shining teeth’, but have no

emotional connection with their patients, are aloof to their emotions, leaving these teeth to be false and personalityless.

POV 3 Throughout the poem Cheng suggests the planners are dangerous.

EVIDENCE 1 ‘skies surrender’Even the ‘skies surrender’ in a battle with these planners,

implanting a fear that if mother nature too is afraid, a reader must act before they get stronger.

EVIDENCE 2 ‘history is new’The planners ensure that ‘history is new’, they rewrite it to their will, and if they can achieve the impossible, how easy it would be

to harm a reader.

EVIDENCE 3 ‘seas draw back’ The ‘seas draw back’ in disgust and in an attempt to flee, and the author suggests the readers do the same.

POV 4 The poet implies that the planners are changing what they think is wrong, not necessarily what the general public wishes to change.

EVIDENCE 1 ‘flaws’They remove what they see as ‘flaws’; but those are often parts of the reader’s heritage or past, things that are link the reader’s

together.

EVIDENCE 2 ‘useless blocks’ The planners break down the ‘useless blocks’, the old buildings, the past relics, the non-aesthetic.

EVIDENCE 3 ‘fossils of last century’ They destroy the ‘fossils of last century’, breaking things of great emotional value.



POV 5 The planners convince us to do things we don’t desire to do.

EVIDENCE 1 ‘Anesthesia’ If anyone protests against these planners, they are quickly given ‘anesthesia’ to numb their emotions, soothe their minds.

EVIDENCE 2 ‘Amnesia’ A person who protests can be easily made to forget their problems as the planners give them ‘amnesia’.

EVIDENCE 3 ‘Hypnosis’ If all else fails, the planners use ‘hypnosis’ and capture the readers into their trap.

POV 6 Yet despite all this, the planners can still be beaten.

EVIDENCE 1 ‘have the means’ The planners ‘have the means’ to ruin our lives, and they misuse it to their own ends.

EVIDENCE 2 ‘but’Still, there is a ‘but’, a hope, because there are still people like

the poet who remain unconvinced to remind others of what they are losing.

EVIDENCE 3 ‘stain’In the end the poet resolves to ‘stain’ the planners’ plans as far as

possible, to become a stone to remind those who forget of the past.

Question: Explore how Edwin Muir vividly conveys his admiration and fear of horses as a child in the poem ‘horses’.


POV 1 Muir introduces the duality of his opinions on these creatures from the very beginning.

EVIDENCE 1 ‘just now’ Muir questions why his fear existed ‘just now’, but no longer plagues him.

EVIDENCE 2 ‘seemed terrible’ The poet realizes the horses ‘seemed terrible’ but they did not anymore.

EVIDENCE 3 ‘fearful’ Yet later they are once again ‘fearful’, the poet’s emotions conflicting each second, each line.

POV 2 The poet also creates a threatening background for his memory of these creatures.

EVIDENCE 1 ‘blackening rain’ Muir talks of the ‘blackening rain’, which paints a dark image to most as black is traditionally an evil and foreboding color.

EVIDENCE 2 ‘pistons’ The horse’s hooves are like ‘pistons’ for the poet, sounding alarming and deadly.

EVIDENCE 3 ‘dusk’ The horses come at ‘dusk’ the time that evil is first thought to arrive.



POV 3 Muir not only presents the duality in his views, but also duality in these creatures’ appearances,

EVIDENCE 1 ‘flakes of light’ The horses have dark manes with ‘flakes of light’, they are both good and evil.

EVIDENCE 2 ‘lumbering’ The horses are ‘lumbering’; they have an awkward gait that separates them from the other beasts.

EVIDENCE 3 ‘marched broad-breasted’ At the same time the horses ‘march broad breasted’, majestically and valiantly, above everyone else.

POV 4 The poet also connects the things surrounding the horses to religious aspects.

EVIDENCE 1 ‘gold’The bodies of the horses are like ‘gold’, which is always

considered as a metal of the highest importance in religious practices.

EVIDENCE 2 ‘struggling snakes’ However, the poet speaks of their footprints as ‘struggling snakes’, brutal creatures in most religions.

EVIDENCE 3 ‘warm’ ‘Warm’ things in most religions are honored and welcomed; once more the poet shows the horses in a positive light.

POV 5 At the same time, Muir also continues to find them frightening.

EVIDENCE 1 ‘rage’ To Muir, the horses seem full of ‘rage’, their bodies moving in a way that depicts aggression in every sense.

EVIDENCE 2 ‘cruel’ The poet sees the horses as ‘cruel’, though astounded by their beauty, he cannot see past his fears.

EVIDENCE 3 ‘apocalyptic’ Towards the end he thinks of them to be ‘apocalyptic’ and bringers of doom in every form.

POV 6 In the end he misses the mixed feeling he once had.

EVIDENCE 1 ‘pines’ The poet ‘pines’ for the loss of the ambivalence that is bought out only by the innocence of childhood.

EVIDENCE 2 ‘fades’ He despairs as his childhood ‘fades’, only his memories remaining to help him feel those emotions.

EVIDENCE 3 ‘bright and fearful’The horses were ‘bright and fearful’ for him, but he was

unwilling to lose them because he misses the power the evoked in his mind.

Question: Explore some of the ways in which Thomas Hardy memorably ridicules prejudice about social class in the Son’s Veto.




POV 1 Hardy ridicules the prejudice in the society through Sophy’s subservience.

EVIDENCE 1 ‘hardly dared refuse’

Sophy ‘hardly dared refuse’ the question of marriage when it came from her boss, even though she did not love him,

highlighting the way society had molded her to follow the upper classes without question, no matter the cost to others.

EVIDENCE 2 ‘did not resent’

The protagonist’s willingness to obey the upper class is further highlighted when she ‘did not resent’ her own son correcting her rudely, did not rebuke him, just because he was part of a

higher social class than her.

EVIDENCE 3 ‘defy’Sophy’s subservience is also brought out by her uncertainty

concerning whether she could ‘defy’ her son and marry without his consent.

POV 2 The author brings out the extent of prejudice through Sophy’s lack of self-respect.

EVIDENCE 1 ‘lady’Sophy does not consider herself a ‘lady’, that name belonging only to her betters, a fact that also makes her come so easily

under the control of her son.

EVIDENCE 2 ‘dignified enough’Sophy feels she isn’t ‘dignified enough’ to be the mother of her son due to the class difference between them, the ludicracy of

the situation making the prejudice more memorable.

EVIDENCE 3 ‘adopted the correction’When Sophy ‘adopted the correction’ made by her son, she

further draws pity as another instance where the upper class tramples upon the lower is seen.

POV 3 A reader is also drawn the blatant class prejudice seen in the topic of remarriage.

EVIDENCE 1 ‘social suicide’Remarriage in itself is seen to be perfectly acceptable, but when it is between classes, like of Mr. Twycott and Sophy, it is ‘social

suicide’, because of the great class difference.

EVIDENCE 2 ‘very reasonable’

Even Randolph, the prejudiced son who cares more about his image than anything else, agrees that in general, the idea of

remarriage, for his widowed mother, is in general ‘very reasonable’.

EVIDENCE 3 ‘degrade’

When taking in account that the man she wishes to wed is of a lower class, he erupts, claiming it would ‘degrade’ him, making the enormous impact in people’s lives of the class differences

prevalent glaringly obvious.

POV 4 The two classes are further divided by their difference in education.

EVIDENCE 1 ‘was and were’While the lower class, like Sophy, are not taught about ‘was and

were’, to not know them in the upper class is a disgrace, increasing the rift between the classes.

EVIDENCE 2 ‘question of grammar’ The ‘question of grammar’ is seen to be one of grave importance, another identifying mark between the classes.

EVIDENCE 3 ‘sufficiently ousted his humanity’

The great rift is also highlighted when Randolph’s education ‘sufficiently ousted his humanity’, as by completing their

education, the upper class gain a greater sense of superiority, one they do not deserve.



POV 5 Hardy further ridicules the prejudice by portraying how it splits the bonds that should be held in relations.

EVIDENCE 1 ‘not really mine’Sophy sees her son as ‘not really mine’, the mother-son relation

that should have been present overshadowed by the class difference between the two.

EVIDENCE 2 ‘irritated at their existence'His mother has some deficiencies, as anyone does, but due to

the molding of society, Randolph is ‘irritated by their existence’ as it lowers his social standing.

EVIDENCE 3 ‘further away from her’As Randolph grows into the society, this prejudice is further highlighted as he grows ‘further away from her’, seeing her

mistakes as a sin instead of a small slip-up.

POV 6 There is also a great difference in the interests of the two classes, strengthening the prejudice.

EVIDENCE 1 ‘worlds within worlds’Though the classes are near each other physically, there are

‘worlds within worlds’ and their interest and ideals are so vastly different that they do not really belong to the same land.

EVIDENCE 2 ‘domestic matters as feathers’

The upper class is less concerned with home life and more with their appearance and weigh ‘domestic matters as feathers’.

EVIDENCE 3 ‘pure instincts’ The lower class, on the other hand, operates on ‘pure instincts’, their heart taking predominance over their minds.

Question: How does Mansfield vividly capture the excitement of the ball?


POV 1 Mansfield begins to portray the excitement of the ball in the cab itself, through Leila’s anxiety.

EVIDENCE 1 ‘first real partner’ Leila fantasizes her ‘first real partner’ to be the cab, so enamored by the mere idea of attending this ball.

EVIDENCE 2 ‘tried not to care’ The protagonist ‘tried not to care’, the emotion being too overwhelming for her to successfully pretend it was not.

EVIDENCE 3 ‘couldn’t have helped crying’

Leila ‘couldn’t have helped crying’, the pressure of the emotion and hiding it being too great for her to bear.

POV 2 By depicting the movements in the dressing room, Mansfield portrays the general excitement.

EVIDENCE 1 ’quite forgot to be shy’ Even the worried Leila ‘quite forgot to be shy’ when confronted with the crowd and the joy she finds in the dressing room.

EVIDENCE 2 ‘heavenly’ It seems ‘heavenly’, all those bubbly and happy girls moving frantically, trying to get ready for the anticipated ball.

EVIDENCE 3 ‘noise was so great’The ‘noise was so great’ with the crowd, the talking and the

laughing as Mansfield portrays, showing the girls to be almost uncontrollably happy.



POV 3 The way the dancing overtakes Leila and send her into a flurry of thoughts continues to show the excitement of the ball.

EVIDENCE 1 ‘joyful flutter’ The girl feels a ‘joyful flutter’ when she begins, all too apprehensive and happy about the first ball of her life.

EVIDENCE 2 ‘difference’There is a ‘difference’ between what she felt in school and her emotions at the ball, further highlighting the excitement in the

ball, in her surroundings.

EVIDENCE 3 ‘die at least’ Leila is so overcome by the excitement the she fantasizes she would ‘die at least’ if left out of this joyous and amusing event.

POV 4 The way Mansfield portrays the surroundings further enhances the general excitement.

EVIDENCE 1 ‘golden floor’ The ‘golden floor’ shines below the dancers, adding glows to their faces and a solemn grandeur to the event.

EVIDENCE 2 ‘pink and white flags’ Leila absorbs every detail of the ‘pink and white flags’ like a sponge, hyper aware in her excited state.

EVIDENCE 3 ‘dark, silent, beautiful’The night is now the epitome of activity, as Mansfield portrays,

contrasting with its previous interpretation of ‘dark, silent, beautiful’.

POV 5 The plunge in mood at the climax created by the writer brings the reader to a realization of just how high the cliff of excitement they just plunged off was.

EVIDENCE 1 ‘thrilling’ The ball had been ‘thrilling’ before the climax, stupendously full of energy.

EVIDENCE 2 ‘terribly true’The realization that life was not always like this was ‘terribly true’, devastating to the girl who dreamed all her life of that

excitement.

EVIDENCE 3 ‘baby owls’ The ‘baby owls’ that represented Leila’s innocence pleaded for that ecstasy to be felt once more.

POV 6 Lastly, Mansfield emphasizes on the excitement levels by depicting how easily Leila is recaptured by the ball.

EVIDENCE 1 ‘feet’ The simple turning of her ‘feet’ allows the young girl to forget her disappointment and fly to the tip of her joy once more.

EVIDENCE 2 ‘beautiful flying wheel’ The world becomes a ‘beautiful flying wheel’ and the ball is once more colorful and amazing.

EVIDENCE 3 ‘didn’t even recognize’Later, in the midst of the excitement, she ‘didn’t even

recognize’ the cause of her disappointment, dragged into the joy around her.

Question: How does Pritchett vividly portray the relationship between Harold and the father in the story ‘The Fly in the Ointment’?




POV 1 The writer introduces their relation as weak and unstable, more of a formality than an emotional one, apart from mutual distaste and failed attempts of reconciliation.

EVIDENCE 1 ‘dread’The son faces ‘dread’ when he thinks of meeting his father, almost unable to meet the man he dislikes so

much.

EVIDENCE 2 ‘shyly’ The duo interacts ‘shyly’ unsure of how to react to each other or what would offend the other.

EVIDENCE 3 ‘dead hour’The son visits the father at a ‘dead hour’, their

relationship being just as bleak as the world around them.

POV 2 The difference in the ideals, views and desires of the two emphasizes on the trench between them.

EVIDENCE 1 ‘think big’ The father wishes the son would ‘think big; be more ambitious and warn more.

EVIDENCE 2 ‘burst’The son on the other hand, thinks his father is too ambitious, and it was due to that he ‘burst’ and his

business collapsed.

EVIDENCE 3 ‘money’The main issue between the two is ‘money’, while the father craves it, the son has other priorities, and this

makes it difficult for the two to get along.

POV 3 There is no empathy between them, they are unable to understand each other’s point of view, therefore looking at each other with distaste.

EVIDENCE 1 ‘irritation’The son is stung by ‘irritation’ when he speaks to his

father, especially once his father starts acting high and mighty.

EVIDENCE 2 ‘faces’The father has two ‘faces’, the one that he puts on for show, and the nasty on he is inside, something the son

realizes but cannot comprehend how to deal with.

EVIDENCE 3 ‘talking…before’When they were ‘talking…before’, the father agonizes the

son because the son’s nature is one the father sees no value in.

POV 4 The weakness of their relation is further strengthened as Pritchett depicts its fragility and the way it only came up in crisis.

EVIDENCE 1 ‘see’ The son goes to ‘see’ his father when his father’s business fails, to offer condolences.

EVIDENCE 2 ‘help’ Harold wishes to ‘help’ the man who had always put him down and ridiculed him; due to the fact it was his duty.

EVIDENCE 3 ‘lecturer’ Still the father ridicules the son’s poverty, mocks the fact he was just a low wage ‘lecturer’

POV 5 There is also a great difference in what each member of this duo is willing to do for the other.

EVIDENCE 1 ‘hated’ The son is ready to do things he ‘hated’ to help his father out of duty.

EVIDENCE 2 ‘despised’ The father simply ‘despised’ Harold and attempts to use him continuously.



EVIDENCE 3 ‘must help’While the son is value driven and ‘must help’ his father, the father never made a move to help his son beyond

jabs and insults.

POV 6 The falsity of this father-son relation is further strengthened by the father’s continuous manipulation of his son

EVIDENCE 1 ‘done with money’ The father claims he is ‘done with money’ in an effort to gain Harold’s goodwill and an offer of help.

EVIDENCE 2 ‘problem’ The father lowers himself down and admits he has a ‘problem’ of greed and corruption.

EVIDENCE 3 ‘how’Once an offer of help is made, the father quickly asks

‘how’ to make money and bounces back up to a stingy, greedy man.

Question: Explore how Graham Greene presents the shifting of power in the group as leadership passes from Blackie to T.


POV 1 From the very beginning, T. seems to be the more obvious leader, being more ambitious than the childish Blackie.

EVIDENCE 1 ‘no one was surprised’ When the leadership changed, ‘no one was surprised’ because T. was always more mature than Blackie.

EVIDENCE 2 ‘odd…unpredictability’Trevor has an ‘odd…unpredictability’, is very serious and

acts older than his age making him a better person to turn to support for.

EVIDENCE 3 ‘claimed…fall’ Blackie on the other hand, is childish and immature, ‘claimed…fall’, trying to make himself seem bigger.

POV 2 T. is highly self-assured, making him an ideal person to follow while Blackie allows the other members to have a say.

EVIDENCE 1 ‘Shame or defiance’When stating his name that would usually merit teasing,

he does so without ‘shame or defiance’, too sure of himself to be bothered by teasing.

EVIDENCE 2 ‘brooding’ T. is a quiet, brooding teen who refuses to accept anyone putting him down.

EVIDENCE 3 ‘vote’ Blackie on the other hand seriously takes a ‘vote’ on what the gang should do and listens when they wish to stop.

POV 3 The shift in power comes to a head when T. challenges Blackie’s authority.

EVIDENCE 1 ‘rendezvous’T. is late for the ‘rendezvous’ and acts uncaring of the rules Blackie sets when they do not satisfy his needs,

unable to be a follower.



EVIDENCE 2 ‘beautiful’ T. thinks the house is ‘beautiful’ and acts above the rest of the gang, making plans without the others say.

EVIDENCE 3 ‘better idea’ T. also questions Blackie, and overrides Blackie’s plan with his own ‘better idea’

POV 4 Blackie himself is scared of T., making his yielding to T. more likely.

EVIDENCE 1 ‘daunted…gaze’ Blackie is ‘daunted…gaze’, unable to match the seriousness of T.

EVIDENCE 2 ‘uneasily’ Blackie regards T. ‘uneasily’, like a bomb about to explode, understanding the threat to his position.

EVIDENCE 3 ‘raised…member’ When Blackie yields his authority, he quickly ‘raised…member’, afraid to act below expectations.

POV 5 Blackie abdicates his position to T. after careful deliberation, faced with pressure.

EVIDENCE 1 ‘hollow leadership’Blackie understands that T.’s would be a ‘hollow

leadership’, and believes the gang would soon get rid of him.

EVIDENCE 2 ‘altruistic’ Blackie in an ‘altruistic’ mood wishes the most fame for his gang, and in a means to achieve that, lets T. lead.

EVIDENCE 3 ‘tell’ Blackie finally abdicates his post and informs his gang that T. would ‘tell’ them the plan from that point on.

POV 6 Finally, when T. assumes control, the gang becomes more mature, more destruction driven, and more clever than ever.

EVIDENCE 1 ‘T. was…decision’ ‘T. was…decision’, he began to call the shots and had completely taken over the gang.

EVIDENCE 2 ‘destroy’From simply stealing or breaking in, the gang moves on to

‘destroy’ a house, as they move from Blackie to T.’s leadership.

EVIDENCE 3 ‘special’Under T., the gang is considered less important than their

leader, T. getting ‘special’ things, while under Blackie, they were all equals.

Question: Explore how in the passage Narayan develops humor of the conversation.


POV 1 The humor begins when the foreigner tries to be amicable and Muni thinks he is a policeman.

EVIDENCE 1 ‘Namaste’ The foreigner greets Muni with a respectful ‘Namaste’ before asking about the horse he finds so beautiful in English.



EVIDENCE 2 ‘yes no’Muni replies ‘yes no’, the only words he knows in the English

language before going on in Tamil on how he was not the murderer.

EVIDENCE 3 ‘ know nothing’ Muni claims to ‘know nothing’ and gets increasingly worried when the foreigner keeps talking.

POV 2 The humor is further built up through their actions and appearances.

EVIDENCE 1 ‘red faced’ The foreigner is ‘red faced’, a somewhat jolly and funny description that in itself amuses the reader.

EVIDENCE 2 ‘shrank away’Muni ‘shrank away’ from the friendly man, who was actually just being nice because of the misunderstandings between

them.

EVIDENCE 3 ‘khaki’ As the foreigner is dressed in ‘khaki’, Muni is led to believe that he is policeman when he is just a tourist.

POV 3 The hilarity increases as Muni attempts to push the blame onto a sister village and the foreigner begins to talk about his life.

EVIDENCE 1 ‘definitely’ Muni is quick to revert to a village rivalry and claims the murder would ‘definitely’ be from the sister village.

EVIDENCE 2 ‘other civilizations’For the foreigner, ‘other civilizations’ are a thrill and a

possibility, to Muni they are nonexistent and he cannot comprehend visiting them.

EVIDENCE 3 ‘when he is caught’Muni continues to ramble about the murderer and tries to

make the foreigner go away by explaining what they would do when he was caught.

POV 4 The comedy of the situation lengthens as the foreigner marvels Muni’s language and Muni explains his culture.

EVIDENCE 1 ‘wonderful’ The foreigner exclaims how ‘wonderful’ Muni’s language was and how interesting it was to listen to.

EVIDENCE 2 ‘learned men’ Muni, on the other hand explains how only ‘learned men’ in his village are permitted to learn English.

EVIDENCE 3 ‘guardian’ Then Muni finally realizes the man is talking of the horse and explains how it is the ‘guardian’.

POV 5 At the foreigner’s attempts to buy the horse, the hilarity increases.

EVIDENCE 1 ‘best home’The foreigner tries to talk business and assures Muni that the

horse would have the ‘best home’, but Muni cannot understand.

EVIDENCE 2 ‘transporting’ The foreigner even explains how he would be ‘transporting’ the horse yet Muni remains oblivious.

EVIDENCE 3 ‘hundred rupees’ He foreigner then offers a ‘hundred rupees’, but Muni still is lost.

POV 6 The humor climaxes when the exchange is made and the foreigner buys the horse while Muni sells the goats.



EVIDENCE 1 ‘change’ When given the money, Muni returns it, believing the man is asking for ‘change’ that Muni doesn’t have.

EVIDENCE 2 ‘offer for the goats’ Finally Muni comprehends the man desires to buy something, but he misinterprets it as an ‘offer for the goats’.

EVIDENCE 3 ‘here’In the end, Muni is shocked to find the goats still ‘here’, when he had already sold them, and his wife gets angry because of

this misunderstanding.

Question: How does Morris Lurie vividly portray the feelings of anxiety and excitement of the boy in the story?


POV 1 When the boy finishes his comics, he is ecstatic simply to have done it, considering to do anything with it further having not even occurred to him.

EVIDENCE 1 ‘hardly slept all night’ The boy ‘hardly slept at night’, so confused about how to proceed to use his work.

EVIDENCE 2 ‘publication’ ‘Publication’, strikes bells in the boy’s mind and he worries for ages whether to go through with it.

EVIDENCE 3 ‘enough’ Just doing the comic was satisfying ‘enough’ to fulfill his dream, and gave him greater joy then selling it.

POV 2 When the boy is offered a chance to publication, he reacts with both excitement and anxiety.

EVIDENCE 1 ‘appointment’ The thought of an ‘appointment’ sends his fantasies running wild and he imagines the grandeur of the event.

EVIDENCE 2 ‘unnecessarily loud’ He is clearly unused to such things; he speaks ‘unnecessarily loud’ while setting the date.

EVIDENCE 3 ‘with a crash’ When he finishes talking, he is too excited to do anything but set the phone down ‘with a crash’

POV 3 As the date of the appointment draws nearer, the boy’s excitement and apprehension grows.

EVIDENCE 1 ‘telegram’ When the boy receives a ‘telegram’, it is a new and interesting experience for him, though it bears bad news.

EVIDENCE 2 ‘good suit’ He dons his slightly ridiculous ‘good suit’, worrying for hours what to wear.

EVIDENCE 3 ‘counting stations’ The boy spends his time ‘counting stations’ to channel his excitement.

POV 4 The boy begins to fantasize about the glamour of his appointment.

EVIDENCE 1 ‘job’ He thinks that his ‘job’ would be fantastic and is disappointed when it doesn’t turn out to be true.



EVIDENCE 2 ‘exotic’ The boy imagines that the experience would be ‘exotic’, but is sorely disappointed.

EVIDENCE 3 ‘ordinary’ The whole affair is actually perfectly ‘ordinary’, the boy being too overexcited.

POV 5 The boy’s disappointment at the revelation allows the readers to realize his previous excitement.

EVIDENCE 1 ‘accept’ The boy is quick to ‘accept’ the payment, looking forward to a job offer.

EVIDENCE 2 ‘comics’ When the press offers to show them their ‘comics’ he is disappointed but agrees.

EVIDENCE 3 ‘tour of the press’The ‘tour of the press’ disappoints the boy, as they treat

him like a kid as opposed to the mature treatment he expected.

POV 6 Finally, his dream is lost, and the reader comes to a full realization of how much it meant to the boy.

EVIDENCE 1 ‘discontinuing publication’When the magazine claims to be ‘discontinuing

publication’, it disappoints the boy and he is forced to give up his dream.

EVIDENCE 2 ‘painter’ The boy grasps up the new dream and tries to become a ‘painter’, but it fails as he has no passion there.

EVIDENCE 3 ‘dreamer’ So like the rest, he returns to being a ‘dreamer’ like everyone else.

Question: How does P.G Wodehouse present Lord Emsworth’s comic concern in the story?


POV 1 The ludicrousness of the situation stems from its cause.

EVIDENCE 1 ‘scroll of honor’ On the Emsworth’s family’s ‘scroll of honor’, many laurels had been won, but never the first place for a

pumpkin in the Shrewsbury Show.

EVIDENCE 2 ‘blot…escutcheon’ The lack of a prize creates ‘blot…escutcheon’ that deeply the Lord Emsworth.

EVIDENCE 3 ‘striving indefatigably’ The Lord had been ‘striving indefatigably’ for years and failing, adding to his fuel to win the award this time.

POV 2 In Emsworth’s life, the pumpkin’s welfare seems to take prominence over everything else, including his hatred on London.

EVIDENCE 1 ‘crowds…pavements’Emsworth hates everything about London like it’s

‘crowds…pavements’ yet for his pumpkin he travels there.



EVIDENCE 2 ‘get through’ He isn’t even sure how he could ‘get through’ being there but he tries so hard just for a prize.

EVIDENCE 3 ‘peace’ When he enters the garden, he achieves a ‘peace’ that highlights the trouble he was facing in London

POV 3 It is clear to see that the pumpkin also takes prominence over his son Freddie.

EVIDENCE 1 ‘spliced’When Freddie is ‘spliced’ with a woman the Lord

disapproves off, he runs off to the gardens to continue looking for help for his pumpkin.

EVIDENCE 2 ‘meant nothing to him’ His son’s father-in-law ‘means nothing to him’ in the face of a chance to save his pumpkin.

EVIDENCE 3 ‘unhappily’ When he thinks of his son, he does so ‘unhappily’ though he will do anything for his pumpkin.

POV 4 The Lord’s comic concern is highlighted by his reactions to the firing of his head gardener.

EVIDENCE 1 ‘makeshift’ He worries that his other gardener is just a ‘makeshift’ who cannot handle his prize.

EVIDENCE 2 ‘fare’ When he ruins his son’s chance of happiness, he is more worried about how his pumpkin would ‘fare’.

EVIDENCE 3 ‘understood pumpkins’He, in his worried fervor, starts to imagine that his old

gardener was the only person who ‘understood pumpkins’

POV 5 Lord Emsworth is a proud man, yet he attempts to rehire McAllister for the sake of his pumpkin.

EVIDENCE 1 ‘the pumpkin needs’ He claims ‘the pumpkin needs’ McAllister to come back and work, too proud to claim he needs his gardener.

EVIDENCE 2 ‘me’ When he calls the gardener to ‘me’, it amuses the people as a proud man falling.

EVIDENCE 3 ‘double it’ He is even willing to ‘double it’, his gardener’s salary to save his pumpkin.

POV 6 Finally, Emsworth’s reaction to winning completes the hilarity of his comic concern.

EVIDENCE 1 ‘deep in thoughts’ Emsworth is ‘deep in thoughts’ when he wins, absorbed by his pumpkin.

EVIDENCE 2 ‘reverently’ He stares at his prize ‘reverently’, unable to thank the thing that gave him victory.

EVIDENCE 3 ‘both win’ This victory even makes him ask his previous enemy if they couldn’t ‘both win’.


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