The Proposal Class 10 English Notes

Summary

Lomov's Arrival and Initial Proposal

Ivan Lomov, a wealthy landowner, visits his neighbour, Stepan Stepanovitch Chubukov, to ask for the hand of his twenty-five-year-old daughter, Natalya Stepanovna, in marriage. Lomov, who is 35 and suffers from palpitations and excitement, is nervous about the proposal. Chubukov is overjoyed at the prospect of the marriage, seeing it as a good economic opportunity, and goes to call Natalya.

The Quarrel Over Oxen Meadows

While waiting for Natalya, Lomov mentions that his Oxen Meadows border Chubukov's land. Natalya enters, and they initially converse politely. However, the discussion quickly devolves into a heated argument when Natalya disputes Lomov's ownership of the Oxen Meadows, claiming they have belonged to her family for nearly three hundred years. Lomov insists they are his, citing documents and family history. The argument escalates, with both parties becoming increasingly agitated and resorting to insults.

Escalation of Insults and Lomov's Collapse

The quarrel intensifies, with Lomov and Natalya hurling accusations and insults at each other, questioning family lineage and character. Chubukov joins in, defending his daughter and attacking Lomov. Overwhelmed by excitement and his palpitations, Lomov clutches his chest, exclaiming he is dying, and stumbles out of the house.

Natalya's Hysteria and Lomov's Return

Chubukove and Natalya initially react with anger, calling Lomov names. However, upon realizing he might actually be dead, Natalya falls into hysterics, desperately calling for him to be brought back. Chubukov, panicking, rushes out to find Lomov and brings him back into the house.

The Proposal Renewed and Dog Dispute

Lomov, revived, apologizes for his behaviour, attributing it to his illness. Natalya, eager to secure the marriage, quickly concedes that the Oxen Meadows are his. The conversation shifts to their dogs, with Natalya praising her dog Squeezer and Lomov defending his dog Guess. This leads to another intense argument about which dog is superior, with both Lomov and Natalya making exaggerated claims and insults. Chubukov tries to mediate but eventually joins in the dispute about the dogs.

The Marriage and Continuing Quarrel

Amidst the escalating argument over the dogs, Chubukov, desperate to finalize the marriage, shoves Lomov's hand into Natalya's, urging them to kiss and get married. They agree to marry, and Lomov declares he is happy, though his physical ailments persist. However, even as they express happiness, the argument about the dogs immediately resumes, with Natalya insisting Squeezer is better and Lomov retorting that Guess is better. Chubukov tries to drown out their bickering with shouts of "Champagne!"

The play is a farce that satirizes the materialistic and quarrelsome nature of wealthy landowners, where economic gain and petty disputes overshadow genuine affection and rational behaviour in the pursuit of marriage.

Remember
The play is a farce, meaning it uses humor, exaggeration, and absurdity to expose the characters' flaws. The "proposal" itself is almost forgotten amidst the constant arguments.

Exam-smart
An extract could be given from the beginning, showing Lomov's nervousness and Chubukov's initial joy, and you might be asked about the characters' true motivations for marriage or their initial impressions of each other. Alternatively, an extract from the middle of a quarrel could be provided, and you'd be asked to identify the cause of the conflict, the language used by the characters, and the character traits revealed.

Characters

Ivan Vassilevitch Lomov

A landowner and neighbour of Chubukov, Lomov is a hypochondriac who is always concerned about his health. He is also argumentative and hasty.

Hypochondriac: Lomov is constantly complaining about his health. He states, "I suffer from palpitations, I’m excitable and always getting awfully upset; at this very moment my lips are trembling, and there’s a twitch in my right eyebrow." He also describes his sleep issues due to his ailments.
Argumentative: Despite his desire for a quiet life, Lomov readily engages in disputes. He argues fiercely with Natalya about the ownership of the Oxen Meadows, asserting, "No, you’re mistaken, honoured Natalya Stepanovna, they’re mine."
Hasty: Lomov makes a significant decision to propose to Natalya but gets easily sidetracked by arguments. He rushes into proposing and then into arguing about trivial matters, demonstrating impulsiveness.
Anxious: He is nervous about the proposal itself, comparing it to an examination. "It’s cold... I’m trembling all over, just as if I’d got an examination before me."

Change by the end: Lomov, despite his health complaints and arguments, ultimately agrees to marry Natalya. His desire to marry and perhaps the promise of a settled life overcome his physical ailments and argumentative nature, at least temporarily, as he exclaims, "My heart... stars... I’m happy."

Stepan Stepanovitch Chubukov

A landowner and father of Natalya. He is greedy, excitable, and dramatic.

Greedy: Chubukov's initial joy at Lomov's proposal is tied to Lomov's wealth. He says, "It’s been my continual desire," and his immediate thought is about the economic benefit: "He’s come to borrow money. Shan’t give him any!" (though this is his initial suspicion, his primary concern later is the advantageous marriage).
Excitable: Chubukov easily gets worked up, both in joy and anger. He embraces Lomov with excessive joy upon hearing the proposal, exclaiming, "By Jove! Ivan Vassilevitch! Say it again — I didn’t hear it all!" He also shouts and argues vehemently with Lomov.
Dramatic: He uses exaggerated language and actions. When Lomov is "dying," Chubukov dramatically exclaims, "I’ll shoot myself! I’ll hang myself! We’ve done for her!"
Pragmatic (in a self-serving way): While he initially supports Lomov's claim to the meadows to avoid conflict with him, he quickly shifts to supporting his daughter when she insists the meadows are theirs. He prioritizes maintaining harmony within his family and securing the marriage.

Change by the end: Chubukov is relieved and happy when the marriage is finally agreed upon. He becomes conciliatory, urging Lomov and Natalya to marry and put an end to their disputes, exclaiming, "What a weight off my shoulders, ouf!"

Natalya Stepanovna Chubukov

The twenty-five-year-old daughter of Chubukov. She is argumentative, stubborn, and emotional.

Argumentative: Natalya is as quick to argue as the men. She immediately disputes Lomov’s claim to the Oxen Meadows: "But are they yours? ... Ours, not yours!"
Stubborn: Once she forms an opinion, Natalya is unyielding. She insists, "The Meadows are ours, that’s all." and refuses to back down.
Emotional: Her emotions fluctuate rapidly. She can be indignant and angry during arguments, but also becomes distraught and hysterical when she believes Lomov is dead. She cries, "Fetch him back! Back! Ah! Fetch him!"
Concerned with appearances: She is concerned about her appearance ("You must excuse my apron and neglige") and her social standing, as shown by her outrage over Lomov’s accusations.

Change by the end: Natalya, after realizing the proposal is back on and Lomov is alive, quickly shifts her focus back to the marriage, agreeing to it and even resuming her argument about the dogs. Her primary goal becomes securing the marriage.

Other characters

Servant (messenger): Briefly appears to summon Lomov to Natalya.

Trait	Evidence from the text (Lomov)	Evidence from the text (Chubukov)	Evidence from the text (Natalya)
Argumentative	"No, you’re mistaken, honoured Natalya Stepanovna, they’re mine."	"Excuse me, my precious. You forget just this, that the peasants didn’t pay your grandmother and all that, because the Meadows were in dispute, and so on."	"But are they yours? ... Ours, not yours!"
Excitable	"I’m trembling all over, just as if I’d got an examination before me."	"[Embraces and kisses Lomov] By Jove! Ivan Vassilevitch! Say it again — I didn’t hear it all!"	"Fetch him back! Back! Ah! Fetch him!" (when she thinks Lomov is dead).
Stubborn	Insists on the ownership of the Oxen Meadows despite Natalya's protests.	Supports his daughter's claim to the meadows once she insists, stating, "Well, that’s a way to start your family bliss!"	"The Meadows are ours, that’s all."
Health-conscious	"I suffer from palpitations, I’m excitable and always getting awfully upset; at this very moment my lips are trembling, and there’s a twitch in my right eyebrow."	Does not display significant concern for his own health within the play, but uses health as a tactic to appear concerned about Lomov.	Shows concern for Lomov's health when she believes he is dying, screaming, "Ivan Vassilevitch! He’s dead!"
Focus on Marriage	Comes to propose marriage to Natalya.	Is overjoyed at the prospect of the marriage and pushes for it to happen quickly.	Quickly agrees to marry Lomov once the proposal is made clear and her argument is settled.

Remember
The characters in "The Proposal" are often caricatures, exaggerating traits for comic effect. Their arguments are over trivial matters, highlighting their superficiality and a skewed sense of priorities.

Exam-smart
An extract might show Lomov and Natalya arguing about their dogs. You would need to identify their traits like stubbornness, competitiveness, and Lomov's excitability and health concerns triggered by the argument. The question might ask about the purpose of the argument in the play – to show their personalities and the absurdity of their pursuit of marriage.

Themes and Message

The Absurdity of Wealthy Marriages

The play highlights how wealthy families prioritize financial gain and social status over genuine affection in marriage. Lomov, despite his ailments and awkwardness, proposes to Natalya because he is 35 and needs to settle down, and her family is wealthy. Chubukov is overjoyed not by Lomov's character but by the prospect of his daughter marrying into another wealthy family and increasing their estates. This is evident when Chubukov exclaims, "My dear fellow, whom do I see! Ivan Vassilevitch! I am extremely glad! ... Now this is a surprise, my darling...". He immediately assumes Lomov is there to "borrow money" but is thrilled when the proposal is made, stating, "I’ve been hoping for it for a long time. It’s been my continual desire." The proposal itself is almost an afterthought amidst their material concerns.

The Prevalence of Quarrelsomeness and Petty Disputes

A central theme is the characters' extreme tendency to quarrel over trivial matters, which almost derails the marriage proposal. Lomov and Natalya engage in heated arguments about the ownership of Oxen Meadows and the superiority of their dogs, Guess and Squeezer. These arguments showcase their stubbornness and pride, preventing them from focusing on the actual purpose of Lomov's visit. Natalya argues fiercely, "We’ve had the land for nearly three hundred years, and then we’re suddenly told that it isn’t ours!", while Lomov insists, "I’ll show you the documents, Natalya Stepanovna!". Even Chubukov joins in, accusing Lomov's family of having "lunacy in your family" and being "drunkards" and "gamblers". This highlights how their ego and need to be right overshadow any potential for a harmonious relationship.

Hypocrisy and Self-Interest

The characters display significant hypocrisy and self-interest, particularly when their immediate desires are threatened. Chubukov, after initially being ecstatic about the proposal, readily joins in insulting Lomov and driving him away when they argue over the meadows. However, upon realizing Natalya might lose a husband and the associated wealth, he quickly tries to bring Lomov back. Lomov, too, is driven by his own needs and anxieties, exhibiting manipulative behavior when he claims his foot has gone numb to gain sympathy and push for the marriage. This theme is evident when Chubukov, trying to force the marriage, says, "She’s willing! ... Kiss and be damned to you!".

Why the Title: "The Proposal"

The title "The Proposal" is ironic and central to the play's theme. Initially, the play seems to be about a marriage proposal, as Lomov comes to ask for Natalya's hand. However, the actual proposal is repeatedly overshadowed and almost forgotten due to the characters' petty arguments and their focus on material possessions (Oxen Meadows and dogs). The title highlights the absurdity of the situation where a significant life event like marriage is reduced to a series of squabbles, and the "proposal" itself is more a transaction than a romantic overture.

Tone and Mood

The play's tone is predominantly satirical and farcical. Anton Chekhov uses humor derived from the characters' exaggerated flaws and absurd behavior to critique the social customs of the time. The mood shifts from one of awkward anticipation to intense conflict and back to a hilariously forced reconciliation. The constant arguing creates a tense and chaotic mood, which is then undercut by the ridiculousness of their insults and the sudden, unconvincing resolution.

The Message

The play conveys a message about the flaws in societal emphasis on wealth and status in marriage, suggesting that true happiness and a successful union cannot be built on such shallow foundations. It critiques the absurdity of human pride and stubbornness, showing how these traits can obstruct genuine human connection and lead to ridiculous outcomes. Chekhov also satirizes the hypocrisy and self-interest that can exist even in supposedly significant life events. The reader is left with the understanding that while superficial agreements can be reached, a lasting, happy relationship requires mutual respect, genuine affection, and the ability to prioritize what truly matters over petty disputes.

Remember
The play uses humor to expose the absurdity of marriages based on wealth and status rather than love. The characters' quarrels almost make the "proposal" irrelevant.

Exam-smart
An extract might show Lomov and Natalya arguing over Oxen Meadows. You would be asked to identify the theme of materialism or the characters' quarrelsomeness and explain how the dialogue illustrates it, citing lines like "Oxen Meadows are ours!" and "No, mine, honoured Natalya Stepanovna." You might also be asked about the irony of the title, given how the actual proposal is almost lost amidst the arguments.

Language and Literary Devices

"The Proposal"

Device	Exact Words from the Text	Effect
Humour	Lomov: "Brr... It’s cold! Natalya Stepanovna is an excellent housekeeper, not bad-looking, well-educated. What more do I want? But I’m getting a noise in my ears from excitement. [Drinks.] And it’s impossible for me not to marry. In the first place, I’m already 35 — a critical age, so to speak. In the second place, I ought to lead a quiet and regular life. I suffer from palpitations, I’m excitable and always getting awfully upset; at this very moment my lips are trembling, and there’s a twitch in my right eyebrow. But the very worst of all is the way I sleep. I no sooner get into bed and begin to go off, when suddenly something in my left side gives a pull, and I can feel it in my shoulder and head..."	The humour arises from the exaggeration of Lomov's physical ailments and his anxiety about marriage. His detailed description of his "critical age" and "palpitations" for a simple proposal is comical. The audience is made to laugh at his over-the-top nervousness and physical symptoms, contrasting with the supposed seriousness of the situation. This creates an atmosphere of lightheartedness and anticipation of a comical breakdown.
Irony	Chubukov: "Oh, don’t go round and round it, darling! Spit it out! Well?" Lomov: "One moment... this very minute. The fact is I’ve come to ask the hand of your daughter, Natalya Stepanovna, in marriage." Chubukov: "[joyfully] By Jove! Ivan Vassilevitch! Say it again — I didn’t hear it all!"	The dramatic irony is evident. Chubukov, suspecting Lomov has come to borrow money, advises him to "spit it out." When Lomov finally states his intention to propose, Chubukov's ecstatic reaction is ironically contrasted with his earlier suspicion. His subsequent effusive embrace and declaration of love, "[Sheds a tear] And I’ve always loved you, my angel, as if you were my own son," is also ironic, given his immediate willingness to accept the proposal purely for economic gain and social alliance, not genuine affection.
Repetition	Natalya: "It’s not true, they’re ours, ours, ours!"	The repetition of "ours" emphasizes Natalya's fierce possessiveness and her absolute conviction about the ownership of the Oxen Meadows. This linguistic device highlights her stubbornness and determination to defend her family's claim, escalating the conflict and the play's comedic tension.
Contrast	Lomov: "I shall try to be brief. You must know, honoured Natalya Stepanovna, that I have long, since my childhood, in fact, had the privilege of knowing your family... My land is a near neighbour of yours. You will remember that my Oxen Meadows touch your birchwoods." Natalya: "Excuse my interrupting you. You say, “my Oxen Meadows”. But are they yours?"	The dialogue establishes an immediate contrast between Lomov's polite and formal preamble, meant to set the stage for a proposal, and Natalya's abrupt, accusatory interruption questioning his claim to the land. This contrast showcases the characters' quarrelsome nature from the outset, undermining the romantic intent of Lomov's visit and foreshadowing the disruption of the proposal by petty disputes.
Dialogue	The entire play is structured around rapid, often overlapping, dialogue. For example, the exchange about the Oxen Meadows: Lomov: "Mine." Natalya: "Ours!" Lomov: "Mine." Natalya: "Ours!"	The rapid-fire dialogue and constant interruptions are central to the play's identity as a farce. The cacophony of voices and the escalation of insults create a sense of chaotic energy and absurdity. The characters' inability to communicate coherently, constantly talking past each other, drives the plot and generates humour through their petty arguments.
Metaphor	Lomov: "She’s in love; egad, she’s like a lovesick cat, and so on."	This simile (a type of metaphor) compares Natalya to a "lovesick cat" to describe her supposed eagerness for marriage. While intended by Chubukov to convey her readiness, it also implies a certain uncontrolled or desperate affection, adding a touch of humour and characterisation that might not be entirely flattering.
Exaggeration	Lomov: "My heart’s bursting! My shoulders come off! ... I fall, I fall!" Chubukov: "I’ll shoot myself! I’ll hang myself!"	The characters use hyperbole to express their emotions, particularly during their arguments. Lomov's claims of dying from palpitations and Chubukov's threats of suicide are extreme exaggerations. This over-the-top expression serves to heighten the comedic effect and underscore the triviality of the issues they are fighting about, portraying their reactions as disproportionate and thus amusing.
Stage Directions	Lomov: "[Clutches at his heart] Oxen Meadows are mine! ... [Yells] Oxen Meadows are mine!" Natalya: "[Falls into an easy-chair and wails] Bring him back! Back! Ah! Bring him here. [Hysterics.]"	The stage directions provide crucial non-verbal cues that enhance the humour and characterisation. Lomov clutching his heart and yelling, or Natalya's dramatic descent into hysterics, visually underscore the absurdity of their behaviour. These directions guide the actors and the audience to understand the physical manifestations of their emotional turmoil and overblown reactions, contributing significantly to the farce.

Style and Point of View

The play is written in dialogue form, which is characteristic of a play. The point of view is that of a third-person omniscient narrator who occasionally provides stage directions and aside comments that reveal the characters' inner thoughts and motivations. For example, Chubukov's aside, "[aside] He’s come to borrow money. Shan’t give him any!", immediately reveals his true, less-than-generous intentions, creating dramatic irony for the audience. The tone is primarily comedic and satirical, poking fun at the greed, arrogance, and petty nature of wealthy landowners in rural Russia. The fast-paced, often overlapping dialogue and the characters' exaggerated reactions contribute to the farce style, where humour is derived from the absurdity of the situation and the characters' actions.

Remember
Anton Chekhov uses dialogue and stage directions to create a farce that satirizes the social customs and character flaws of the time, rather than focusing on genuine emotion or romantic ideals.

Exam-smart
An extract might show a heated argument between Lomov and Natalya. You would be asked to identify the literary devices used (e.g., repetition, exaggeration, irony) and explain their effect in highlighting the characters' personalities and the play's comedic intent. For instance, the repetitive "Ours!" or "Mine!" emphasizes their stubbornness, while Lomov's claims of dying from palpitations are exaggerations that contribute to the humour.

Vocabulary

Word or Phrase	Meaning in THIS context	The line it comes from (short, exact)
formal	Wearing special, smart clothes for an occasion.	"Now, you know, you shouldn’t forget all about your neighbours, my darling. How are you?"
privilege	A special right or advantage gained through position or circumstance.	"I’ve come to you, honoured Stepan Stepanovitch, to trouble you with a request."
palpitations	Rapid, strong, or irregular heartbeats due to agitation, exertion, or illness.	"I suffer from palpitations, I’m excitable and always getting awfully upset..."
excitable	Easily excited; prone to outbursts of emotion.	"I suffer from palpitations, I’m excitable and always getting awfully upset..."
domesticated	(Here, referring to Natalya) Skilled in running a household.	"Natalya Stepanovna is an excellent housekeeper, not bad-looking, well-educated."
dessiatins	A Russian unit of area, equal to about 2.7 acres.	"These Meadows aren’t worth much to me. They only come to five dessiatins..."
roubles	The basic unit of currency in Russia.	"They only come to five dessiatins, and are worth perhaps 300 roubles..."
neighbours	People living near one another.	"Good neighbours don’t behave like that, Stepan Stepanovitch!"
impudent	Not showing respect; insolent.	"Giving me my own land, indeed! No, that’s not at all neighbourly!"
land-grabber	A person who illegally seizes land.	"Then you make out that I’m a landgrabber?"
pettifogger	A lawyer who behaves unethically or unfairly.	"You pettifogger! All your people were like that! All of them!"
embezzlement	Stealing or misusing money or funds placed in one's trust.	"The Lomovs have all been honourable people, and not one has ever been tried for embezzlement..."
intriguer	A person who schemes or plots secretly.	"You’re a malicious, doublefaced intriguer! Yes!"
scarecrow	A figure of a person dressed in old clothes, set up to scare birds from crops.	"The villain! The scarecrow!"
hysterics	Uncontrollable laughter or crying.	"Fetch him! [Hysterics.]"
palpitating	(Of the heart) beating very rapidly and strongly.	"My heart’s palpitating awfully."
overshot	(Of a dog's jaw) having the lower jaw that projects beyond the upper jaw.	"Excuse me, Natalya Stepanovna, but you forget that he is overshot..."
pedigree	The record of a line of ancestors of an animal, especially a purebred one.	"He’s a first-rate dog. ... But on points and pedigree he’s better than anything..."
cab-horse	A horse used for pulling a taxi (cab).	"He is old, and as ugly as a worn-out cab-horse."
contradiction	The opposite of something.	"There’s some demon of contradiction in you today, Ivan Vassilevitch."
whip	A strip of leather or other material attached to a handle, used for striking.	"The dogs are running after a fox, when Squeezer goes and starts worrying a sheep!"
intrigue	To plot or conspire.	"You only go hunting to get in with the Count and to intrigue."
slipper	A light, soft shoe worn indoors.	"And you’re under the slipper of your house-keeper!"
blessing	Approval or consent.	"She’s willing! [He puts Lomov’s hand into his daughter’s] She’s willing and all that."
family bliss	Great happiness and contentment within a family.	"What’s that? What’s the matter? [He lifts a tumbler to Lomov’s mouth] Drink this!"

Language work in the chapter

The chapter includes exercises focusing on Reported Speech. This grammar concept involves changing direct speech (exact words) into indirect speech.

Key transformations taught:

Reporting Questions: Use asked as the reporting verb.
Direct: "Do you think I may count on her consent?"
Reported: Lomov asked Stepan Stepanovitch respectfully if he thought he might count on her consent.
Reporting Statements: Use reporting verbs like said, declared, etc.
Direct: "I’m getting a noise in my ears from excitement."
Reported: Lomov said that he was getting a noise in his ears from excitement.
Adverbial Changes: Words like 'here' change to 'there'.
Tense Changes:
Present tense becomes Past tense.
Direct: "Why haven’t you been here for such a long time?"
Reported: Natalya Stepanovna asked why he hadn’t been there for such a long time.
Present Continuous becomes Past Continuous.
Direct: "I am getting..."
Reported: "...he was getting..."
Pronoun Changes: First-person pronouns (I, me, our, mine) change according to the subject or object of the reporting verb.
e.g., 'I' might change to 'he' or 'she'. 'My' might change to 'his' or 'her'.
Adverbs of Respect: Words like 'honoured' in direct speech may lead to adding adverbs like 'respectfully' in reported speech.

Remember
Changes in tense, pronouns, and adverbs of time/place are crucial when converting direct speech to reported speech. 🎯 Exam-smart: You might be given a sentence in direct speech and asked to convert it to reported speech, or vice versa. Alternatively, you might get an excerpt and be asked to identify sentences in reported speech and explain the changes made.

Questions and Answers

Textbook Questions

1. What does Chubukov at first suspect that Lomov has come for?

Chubukov initially suspects that Lomov has come to borrow money. He thinks this because Lomov is dressed formally and seems hesitant, saying, "He’s come to trouble you with a request."

2. Is Chubukov sincere when he later says “And I’ve always loved you, my angel, as if you were my own son”? Find reasons for your answer from the play.

No, Chubukov is not entirely sincere. While he expresses joy at the proposal, his immediate thought was about money, and he quickly shifts his focus to the potential economic benefits of the marriage, showing his pragmatism over pure affection.

3. Chubukov says of Natalya: “... as if she won’t consent! She’s in love; egad, she’s like a lovesick cat…” Would you agree? Find reasons for your answer.

This statement is an exaggeration. While Natalya is initially enthusiastic about Lomov’s proposal after learning he came to propose, her subsequent behaviour is driven by her stubbornness and pride, not necessarily by deep love or being "lovesick."

4. (i) Find all the words and expressions in the play that the characters use to speak about each other, and the accusations and insults they hurl at each other.

Lomov to Natalya: "You will remember that my Oxen Meadows touch your birchwoods." (initial assertion of ownership); "You’re simply joking, or making fun of me." (accusation of dishonesty); "Your behaviour, Ivan Vassilevitch, is strange, to say the least!" (criticism of behaviour); "You’re not a neighbour, you’re a grabber!" (accusation of land-grabbing).
Natalya to Lomov: "But are they yours?"; "Just think, Ivan Vassilevitch! How long have they been yours?"; "The Meadows are ours, that’s all."; "You can go on proving it for two days on end, you can go and put on fifteen dress jackets, but I tell you they’re ours, ours, ours!"; "What a rascal! What trust can one have in one’s neighbours after that!"; "The monster! First he takes our land and then he has the impudence to abuse us."
Lomov to Chubukov: "No, you just think I’m a fool and want to have me on!"; "You’re not a neighbour, you’re a grabber!"
Chubukov to Lomov: "You pettifogger! All your people were like that! They’re all like that!"; "You Lomovs have had lunacy in your family, all of you!"; "Your grandfather was a drunkard, and your younger aunt... ran away with an architect, and so on..."; "And your mother was hump-backed."; "Your father was a guzzling gambler!"; "And you’re just a malicious, doublefaced intriguer!"; "Boy! Pup!"; "You fool!"
Natalya to Chubukov: "No, it was you!" (blaming him for driving Lomov away).

4. (ii) Then think of five adjectives or adjectival expressions of your own to describe each character in the play.

Stepan Stepanovitch Chubukov: Greedy, short-tempered, materialistic, manipulative, boastful.
Natalya Stepanovna: Stubborn, argumentative, possessive, quick-tempered, dramatic.
Ivan Vassilevitch Lomov: Hypochondriac, irritable, principled (about his land), anxious, easily flustered.

4. (iii) Can you now imagine what these characters will quarrel about next?

They will likely quarrel over the quality of their dogs, the superiority of their hunting skills, or perhaps even trivial matters like the taste of food or the management of their estates, as their core personalities are prone to conflict.

5. (i) Find all the words and expressions in the play that the characters use to speak about each other, and the accusations and insults they hurl at each other. (This is a repeat of 4(i), focusing on specific examples.)

Lomov on Natalya: "an excellent housekeeper, not bad-looking, well-educated."
Chubukov on Lomov: "My dear fellow," "my angel," "my precious," "my darling" (initially); later: "scarecrow," "monster," "villain," "stuffed sausage," "wizen-faced frump."
Lomov on Chubukov: "grabber," "pettifogger," "malicious, doublefaced intriguer."
Chubukov on Lomov's family: "lunacy in your family," "grandfather was a drunkard," "mother was hump-backed," "father was a guzzling gambler."
Natalya on Lomov: "What a rascal!" "The monster!"

5. (ii) Can you now imagine what these characters will quarrel about next? (This is a repeat of 4(iii), focusing on the potential for future arguments.)

Future quarrels could easily stem from their competitive natures. Arguments about which of their farms are more productive, whose ancestors were more distinguished, or whose servants are more loyal are highly probable.

6. (i) This play has been translated into English from the Russian original. Are there any expressions or ways of speaking that strike you as more Russian than English? For example, would an adult man be addressed by an older man as my darling or my treasure in an English play? Read through the play carefully, and find expressions that you think are not used in contemporary English, and contrast these with idiomatic modern English expressions that also occur in the play.

Yes, there are expressions that feel distinctly Russian or old-fashioned. Terms of endearment like "my darling," "my treasure," and "my precious" used by Chubukov towards Lomov, and the formal, almost exaggerated politeness mixed with sudden outbursts, are characteristic of older, perhaps Russian, social customs. In contemporary English, such terms are rare between adult men in a formal context. Modern English might use more direct and less effusive language, such as "Hello, Ivan," or "It's good to see you." The use of "and so on" or "and all that" as verbal tics also points to translation.

6. (ii) Look up the following words in a dictionary and find out how to pronounce them. Pay attention to how many syllables there are in each word, and find out which syllable is stressed, or said more forcefully.

Palpitations: pal-pi-ta-tions (stress on 'ta').
Interfere: in-ter-fere (stress on 'fere').
Implore: im-plore (stress on 'plore').
Thoroughbred: thor-ough-bred (stress on 'thor').
Pedigree: ped-i-gree (stress on 'gree').
Principle: prin-ci-ple (stress on 'prin').
Evidence: ev-i-dence (stress on 'ev').
Misfortune: mis-for-tune (stress on 'for').
Malicious: ma-li-cious (stress on 'li').
Embezzlement: em-bez-zle-ment (stress on 'bez').
Architect: ar-chi-tect (stress on 'ar').
Neighbours: neigh-bours (stress on 'neigh').
Accustomed: ac-cus-tomed (stress on 'cus').
Temporary: tem-po-rar-y (stress on 'tem').
Behaviour: be-ha-viour (stress on 'ha').
Documents: doc-u-ments (stress on 'doc').

6. (iii) Look up the following phrases in a dictionary to find out their meaning, and then use each in a sentence of your own.

"You may take it that...": This means "You can assume that..." or "You can be sure that...".
Sentence: You may take it that he will arrive late, as he always does.
"He seems to be coming round...": This means "He appears to be recovering" or "He is regaining consciousness."
Sentence: After fainting, he seemed to be coming round slowly.
"My foot’s gone to sleep...": This is an idiom meaning that one's foot has become numb, usually due to being in an awkward position for too long.
Sentence: I need to stand up; my foot’s gone to sleep.

II. Reported Speech

Changes in Reported Speech:

To report a question, we use the reporting verb asked.
To report a statement, we use the reporting verb said (or other suitable verbs like declared, stated, replied, etc.).
The adverb of place here changes to there.
When the verb in direct speech is in the present tense, the verb in reported speech is in the past tense (as in Sentence Set 3).
If the verb in direct speech is in the present continuous tense, the verb in reported speech changes to past continuous tense. For example, "I am getting" changes to "was getting."
When the sentence in direct speech contains a word denoting respect, we add the adverb respectfully in the reporting clause (as in Sentence Set 1).
The pronouns I, me, our and mine, which are used in the first person in direct speech, change according to the subject or object of the reporting verb such as he, him, his, or their in reported speech.

III. Rewrite the excerpt in reported speech:

90-year-old A. K. Hangal, one of Hindi cinema’s most famous character actors, laughed and asked why they wanted to know his age, stating that if people knew he was so old, he wouldn’t get work. When asked what the secret was, he replied that his intake of everything was in small quantities and that he walked a lot. He added that he had joined the industry when people retired, being in his 40s, and therefore did not miss being called a star. He said he was still respected and given work, while actors of his age were living in poverty and without work. He mentioned that he didn’t have any complaints but admitted that he had always been underpaid. A recipient of the Padma Bhushan, Hangal never hankered after money or materialistic gains. He admitted that he was content then but regretted that money was important and that he had been a fool not to understand the value of money earlier.

1. Anger Management:

Three ill effects of anger:

Damaged relationships: Anger can lead to hurtful words and actions, straining friendships and family ties.
Poor decision-making: In a fit of anger, people often make rash choices they later regret.
Health problems: Chronic anger can contribute to stress-related illnesses like high blood pressure and heart issues.

Ways to avoid losing temper:
Deep breathing exercises: Slow, deep breaths can calm the nervous system.
Taking a break: Stepping away from the situation for a few minutes.
Counting to ten: A simple but effective way to pause and regain control.
Expressing feelings constructively: Using "I" statements to communicate needs without blaming.
Benefits from anger: Anger can sometimes signal that a boundary has been crossed or an injustice has occurred, motivating one to address the problem. However, the expression of anger itself is rarely beneficial; it is the awareness and subsequent constructive action that can be.

2. Script based on the excerpt from The Home and the World:

Characters:

Bimala: The Chota Rani (younger queen)
Narrator (Man): Husband of Bimala

(The scene opens in a room, slightly neglected. The Narrator enters, looking surprised to see Bimala dressed up.)

Narrator: (Looking around, then at Bimala) You sent for me? I was startled.

Bimala: (Fiddling with her bangles, a little flushed) Yes. Is it right that ours should be the only market in all Bengal which allows foreign goods?

Narrator: (Calmly) What, then, would be the right thing to do?

Bimala: (Firmly) Order them to be cleared out!

Narrator: (Sighs softly) But the goods are not mine. Is not the market yours?

Bimala: (Impatiently) It is much more theirs who use it for trade. Let them trade in Indian goods, then.

Narrator: (With a hint of weariness) Nothing would please me better. But suppose they do not? I am very busy this afternoon and cannot stop to argue it out. But I must refuse to tyrannise.

Bimala: (Passionate) It would not be tyranny for selfish gain, but for the sake of the country!

Narrator: (Turning to leave) To tyrannise for the country is to tyrannise over the country. But that I am afraid you will never understand. (Narrator exits. Bimala stands, looking frustrated.)

3. Qualities for a Marriage Partner:

Personal qualities: Compatibility in attitudes and beliefs, a good sense of humour, kindness, and mutual respect.
Value system: Compassion, tolerance, ambition (shared goals), and a similar approach to money and wealth.
Education and professional background: While not paramount, some level of educational attainment and professional stability can contribute to a shared understanding and life goals. Appearance is subjective and can change; inner qualities are more enduring.

4. Film Scenes and Recounting Episodes:

Reminds of romantic comedies: The play's rapid-fire arguments, misunderstandings, and the eventual "will they, won't they" tension leading to a proposal are classic elements of romantic comedies. The characters' exaggerated reactions and the farcical nature of their disputes also fit this genre.
Similar episodes: Episodes where characters argue vehemently over trivial matters, only for those arguments to become the very catalyst for their eventual closeness or a proposal, are common. For instance, a scene where a couple fights over a shared possession, only to realize they are actually fighting because they don't want the other to leave or be unhappy.

Remember
The play uses exaggeration and farce to satirize the tendency of wealthy families to prioritize economic gain over genuine affection in marriage.

Exam-smart
An extract might show Lomov and Natalya arguing fiercely. You would be asked to identify the nature of their argument, the underlying causes (beyond the surface issue), and the character traits revealed through their dialogue. For example: "Identify the subject of the quarrel between Lomov and Natalya. What does this quarrel reveal about their personalities?"

Answer: The quarrel is about the ownership of the Oxen Meadows. It reveals Natalya's possessiveness and stubbornness, and Lomov's anxiety and attachment to principles, leading them to engage in heated, irrational arguments despite Lomov's original purpose for visiting.

The Proposal — Notes

Read the notes