Class 12 English (Elective) Non Fiction Chapter 6 – On Science Fiction Important Question Answers from Kaleidoscope Book
Class 12 English (Elective) On Science Fiction Question Answers – Looking for questions and answers for CBSE Class 12 English (Elective) Non Fiction Chapter 6 – On Science Fiction? Look no further! Our comprehensive compilation of important questions will help you brush up on your subject knowledge. Practising Class 12 English question answers can significantly improve your performance in the exam. Improve your chances of scoring high marks by exploring Non Fiction Chapter 6 – On Science Fiction now. The questions listed below are based on the latest CBSE exam pattern, wherein we have given NCERT solutions to the chapter’s extract-based questions, multiple choice questions and Extra Question Answers
Also, practising with different kinds of questions can help students learn new ways to solve problems that they may not have seen before. This can ultimately lead to a deeper understanding of the subject matter and better performance on exams.
- On Science Fiction NCERT Solutions
- On Science Fiction Grammar Exercise
- On Science Fiction Extra Question Answers
- On Science Fiction Multiple Choice Questions
- On Science Fiction Extract Based Questions
Related:
On Science Fiction Textbook Questions (NCERT Solutions)
Stop and Think
1. What is the parallel drawn between myths and legends of the past and science fiction?
Ans. Ancient myths and legends are filled with stories about people who have extraordinary powers. These legendary heroes can control situations, and the magic they wield still fascinates people today. There are crystal balls that let people see events happening far away and magic shells that allow them to hear whispers from a distance. In science fiction, people often explore ideas based on similar beliefs and imaginations. The aims of these ancient stories are the same as those found in modern science fiction. Myths and legends from the past connect with today’s science fiction, drawing interesting parallels between them.
2. What gives science fiction its validity?
Ans. Through the essay, the author highlights the value of science fiction. The author explains that ancient myths and legends meet people’s needs by depicting a universe controlled by gods and demons. These can be influenced by magic, such as enchantments or prayers. In contrast, science fiction addresses those same needs in a universe governed by natural laws that can be understood and controlled by people.
Today, only science fiction is truly relevant because the universe appears to follow these natural laws, rather than being at the mercy of gods and demons. This shows that the laws of nature support the validity of science fiction.
3. Which literary works does the author have in mind when he refers to ‘Open Sesame’ or the concept of winged horses or flying carpets?
Ans. The author, when referencing “Open Sesame” or the concepts of winged horses and flying carpets, is likely thinking about the story of Ali Baba and the Forty Thieves from One Thousand and One Nights. This story features the magic phrase “Open Sesame” opening a cave, and the idea of flying carpets and winged horses is a common theme in tales of magic and adventure.
Understanding the Text
1. What makes for the distinction between the various genres of fiction—‘a sports story’, ‘a Western story’, ‘a jungle story’ and science fiction?
Ans. In the essay, the author explains the differences between various types of fiction. A sports story includes some kind of competition, usually related to sports. A Western story focuses on the cowboy lifestyle in the American West during the late 1800s. A jungle story explores the dangers found in tropical forests. Science fiction, however, is different. It is not defined by its content but by its context. Science fiction creates a unique literary world that stands apart from other genres.
2. How does Asimov establish that John Campbell was wrong in his opinion that it is not possible for a science fiction mystery to be fair to a reader in the same way as a classical mystery is?
Ans. Asimov responds to Campbell’s claim by saying that both classical mysteries and science fiction mysteries can be fair to readers. He uses Sherlock Holmes as an example. Holmes has great observational skills, but he still poses a fair puzzle that can be solved. Asimov argues that using scientific knowledge, even if it’s unfamiliar to the reader, can create a fair science fiction mystery, just as Holmes’s skills do in traditional mysteries. In short, Asimov believes that a mystery’s fairness does not depend on the level of scientific knowledge it shows, but on how well the author presents a puzzle that can be solved, even if it includes information that the reader might not easily know. He thinks readers can understand a fair puzzle that uses scientific facts, as long as the author explains it clearly.
3. What are the pitfalls that the writer of science fiction mystery must guard against?
Ans. Writing a science fiction mystery can be very challenging. It requires not only a good understanding of science but also the ability to think about how to change or extend that science. This makes writing a science fiction mystery difficult, but it is still possible. As John Campbell suggested, it’s essential to stick to the rules that apply in science fiction mysteries just like in regular mysteries.
Talking about the Text
Discuss in small groups
1. Imagination and fantasy help human beings to speculate upon the possible explanations for the complexity and unpredictability of the phenomena in the universe.
Ans. Science does not guarantee absolute truth, nor does it believe that such a thing truly exists. It also does not claim that everything in the Universe can be controlled through scientific methods. Imagination and creativity play a major role in helping people find possible explanations for the complex and unpredictable events in the universe. Science started with imagination, which is why these qualities help people to explore potential explanations for the complexities and unpredictability of phenomena in the universe. These explanations do not always exist in a way that everyone can agree on.
2. The difference that science and technology have made to everyday life today was visualised in science fiction fifty years ago.
Ans. Science fiction has connected past and present science. Fifty years ago, people viewed science as extraordinary and hard to understand. Some even linked it to superstitions. Today, science and technology have evolved into something clear and accessible to everyone. People are now aware of science and technology and study them critically. The advancements people see in their daily lives today were once imagined in science fiction fifty years ago.
Appreciation
1. Discuss the author’s attitude towards the pre-scientific imagination and the tone he adopts while talking about it.
Ans. The author is skeptical about pre-scientific imagination in ‘On Science Fiction’. He recognises that early stories show this kind of imagination but feels a distance from it. He believes that focusing on science is better for understanding the future. The author’s tone is both observant and somewhat dismissive. He points out that pre-scientific ideas have limits in predicting the future and stresses that science has the power to shape it.
2. Observe how the paragraph, as a form, has been used in the essay. Some paragraphs consist of just one sentence. What purpose do you think the author had in putting them in this manner?
Ans. The following are the one line paragraphs in the essay.
- The goals of these ancient stories are the same as those of modern science fiction—the depiction of life as we don’t know it.
- Science fiction is a literary universe of no mean size because science fiction is what it is not through its content but through its background.
In the first paragraph, the author discusses ancient and modern science fiction. In the second paragraph, the author highlights the background and genres of science fiction. The author combines these paragraphs to clearly explain what science fiction means in different forms.
3. Mark the linkers used by the author to connect the point he makes in one paragraph with that in the next. For example, Let me explain the difference that makes in the last line of para 1 of Section II. These are called discourse markers or discourse signalers.
Ans. The following discourse markers are:
- The goals of these ancient stories are the same as those of modern science fiction-the depiction of life as we don’t know it:
- The emotional needs that are fulfilled are the same, the satisfaction of the longing for wonder.
Science fiction is a literary universe of no mean size because science fiction is what it is not through its content but through its background: Let me explain the difference that makes.
On Science Fiction: Grammar Exercises
Language Work
A. Literary Allusions
(i) Look up a literary dictionary or encyclopedia or the internet to understand the references to the following mythical creatures
| Centaur | Satyr | Sphinx | Harpy |
| Gryphon | Gorgon | Pegasus |
Find out parallel creatures in Indian mythology.
(ii) Find out about the story of Achilles and Hector.
Ans. (i)
| Centaur | In Indian mythology, Kinnaras are often depicted as half-human, half-horse beings, similar to the Greek centaurs. |
| Satyr | While not a direct satyr equivalent, Naigamesha, a protector of children in Jainism, is sometimes compared to the satyr Pan due to his goat-like features and association with fertility. |
| Sphinx | In Indian mythology, the sphinx is represented as a purusha-mriga, a being with a human head and a lion or tiger body, primarily found in South Indian temple art. |
| Harpy | The concept of a “harpy,” a creature part woman, part bird, is primarily associated with Greek mythology. Indian mythology has its own unique set of mythical creatures, like the Garuda, a half-man, half-bird figure, and the Kinnaras, who are also described as having both human and bird features. |
| Gryphon | The Griffin is a mythical creature known as a half-eagle, half-lion in various cultures. In Indian mythology, the griffin is often associated with the Garuda, a powerful bird-like creature that is the mount of the deity Vishnu. In South India, there is a mythical creature called the Yalli, which is sometimes considered a variant of the griffin or gorgoyle. |
| Gorgon | The concept of a “Gorgon” with snake-like hair and the power to turn people to stone is primarily associated with Greek mythology. The Nagas and Manasa in Hindu mythology share some similarities with Medusa’s Gorgon form, as they are also associated with serpents and powerful, transformative abilities. |
| Pegasus | Pegasus, the winged horse from Greek mythology, isn’t a central figure in Indian mythology. While the concept of a winged horse is present in Hindu mythology, it is typically represented by Uchchaihshravas, a white, winged horse that emerged from the churning of the ocean of milk. |
(ii) In Greek mythology, Achilles was a hero of the Trojan War and the main character in Homer’s “Iliad.” His mother was Thetis, an immortal sea nymph, and his father was Peleus, the king of the Myrmidons. Achilles is famous for killing Hector, the Trojan hero, outside the gates of Troy. Although the “Iliad” does not describe Achilles’ death, other sources say he died near the end of the Trojan War. He was killed by Paris, who shot him in the heel with an arrow. Later stories, starting with a poem by Statius in the 1st century AD, say Achilles was invulnerable everywhere except for his heel. This happened because Thetis dipped him in the river Styx as a baby while holding him by his heel. Because of this, the term “Achilles heel” now refers to a weakness in someone or something that is otherwise strong.
B. Pronunciation
Languages vary greatly in the way in which they use rhythm in fluent speech. English rhythm is based not only on word stress (i.e. the stress on a certain syllable or syllables in a word) but also on sentence stress (i.e. the basic emphasis pattern of a sentence). Both of these elements are important for intelligibility.
Look at the following sentences
(i) Delhi is a big city.
(ii) He asked me how I felt in a big city like Delhi.
You will notice that the first sentence can be said in one breath, but you may like to pause while saying the second sentence. Pauses can be indicated by the mark (/). Each pause marks the end of a ‘breath’ or tone group. Because tone groups are said in a single breath, they are limited in length and average about two seconds, or five words.
We break up spoken language into tone groups because we need to breathe, so there is a physical reason for the structure. But there is also the need to think. Thus the pace of the tone groups, and the information they convey, matches the speakers’ thoughts. Tone groups can contain only one word or as many as seven or eight, as you can see in the example given below
No,/I really can’t put up with it any more/good bye./
TASK
Mark the pauses in the following dialogue.
A: Good morning, this is Ten-2-Ten supermarket. Can I help you?
B: Good morning, I’d like to speak to the person in charge of your After Sales Service, please.
A: That’s Mr Patel.
B: Could you put me through to him, please?
A: Who’s speaking, please?
B: My name’s Karandikar.
A: Just a moment, Mr Karandikar… I am sorry, Mr Patel’s line seems to be busy.
B: Well, is there someone else who could help me?
A: There’s Mrs Paul. She’s the assistant manager, but she’s out at the moment.
B: Look, this is quite important!
A: I’ll try Mr Patel’s line again for you,… trying to connect you.
B: Ah! finally, … is that Mr Patel? Good morning, this is… Hello?… oh no! I’m cut off.
Ans.
A: Good morning,/ this is Ten-2-Ten supermarket./ Can I help you? /
B: Good morning,/ I’d like to speak/ to the person in charge/ of your After Sales Service, /please./
A: That’s Mr Patel./B: Could you put me through to him, /please?/
A: Who’s speaking, /please?/
B: My name’s Karandikar./
A: Just a moment, /Mr Karandikar…/ I am sorry,/ Mr Patel’s line/ seems to be busy./
B: Well, /is there someone else/ who could help me?/
A: There’s Mrs Paul./ She’s the assistant manager,/ but she’s out/ at the moment./
B: Look,/ this is quite important!/
A: I’ll try Mr Patel’s line again/ for you,…/ trying to connect you./
B: Ah! /finally, …/ is that Mr Patel?/ Good morning,/ this is…/ Hello?…/ oh no!/ I’m cut off./
C. Grammar: Some More Verb Classes
The verb have is followed by a noun phrase. Find the noun phrases that follow have in the paragraph of the text that begins “A ‘sports story must have…some competitive activity…”
(In this example, have is followed by the noun phrase some competitive activity.)
Sentences with have do not usually have a passive form. But in general, verbs which take a noun phrase after them are transitive, and they have a passive form. Look at the verbs in the paragraph following the paragraph you have just worked with. Find the noun phrases that follow the verbs take, place, involve, change and add.
Notice that these verbs can all be passivized, and their objects can become subjects (these have been set in bold below). So that we can say
Let the contents of any of these be taken and be placed against a background where a society significantly different from our own is involved and the nature of the story has not been changed—it has merely been added to.
TASK
1. Here are a few sentences with transitive verbs, adapted from the text. Identify the noun phrases that are the verbs’ objects, and underline them. Then turn these sentences into a passive form.
- He expected a sudden change of rules.
- Nothing prevents writers from using actual science.
- He revealed that he didn’t know the difference between the element and the compound.
- He demonstrated that he couldn’t tell the difference between carbon monoxide and carbon dioxide and reduced the plot to a shambles.
- The writer must carefully explain to the reader all the boundary conditions of the imaginary society.
Ans. He expected a sudden change of rules.
Passive form: A sudden change of rules was expected by him.
Nothing prevents writers from using actual science.
Passive form: Actual science is not prevented from being used by writers.
He revealed that he didn’t know the difference between the element and the compound.
Passive form: That he didn’t know the difference between the element and the compound was revealed by him.
He demonstrated that he couldn’t tell the difference between carbon monoxide and carbon dioxide and reduced the plot to a shambles.
Passive form: That he couldn’t tell the difference between carbon monoxide and carbon dioxide and reduced the plot to a shambles was demonstrated by him.
The writer must carefully explain to the reader all the boundary conditions of the imaginary society.
Passive form: All the boundary conditions of the imaginary society must be carefully explained to the reader by the writer.
2. Some verbs take a that-clause after them. Find the verb ask in the last paragraph of the first part of this text (which begins ‘I don’t even ask that…’) and note how it is followed by that clauses. Look for other verbs, in this text as well as in the earlier ones, that are followed by a that-clause (verbs such as believe, know, realise, promise…).
Ans.
- I don’t even ask that they be wrenched out of context and somehow be made to fit the universe of reality by being given a scientific or pseudoscientific gloss. I ask only that they be self-consistent in their pre-scientific Universe and that they be well-written and exciting stories.
- As for ‘mainstream fiction’ which deals with the here and now and introduces only the small novelty of make believe events and characters, that forms only an inconsiderable fraction of the whole.
CBSE Class 12 English (Elective) Non Fiction Chapter 5- The Argumentative Indian Matters Extra Question and Answers
Answer the following questions.
Q1. When did the emergence of Science fiction begin?
Ans. It was around the time of the Industrial Revolution, approximately by 1800 and it was only after that point that science fiction could be crafted. However, there must have been something that precedes science fiction, something that, while not fitting the science fiction genre, still satisfied similar emotional needs. There must have been stories about the unusual and unfamiliar, about life diverging from people’s perceptions, and about powers that surpass their own.
Q2. What does the author mean by the line ‘science is the key to the understanding of the Universe and that scientists can use science to manipulate that key’?
Ans. The esteem that individuals have for science and scientists or the understanding they might feel or a mixture of both, is founded on the firm belief that science is the key that unlocks the secrets of the Universe, and that scientists can use this knowledge to manipulate it. Through scientific understanding, people can use the principles of nature to shape their surroundings and amplify human capabilities. As their understanding of these principles continues to grow, human abilities will expand in the future compared to the past. If they can envision the various ways in which it will elevate, they can craft their narratives.
Q3. How are deities or supernatural entities responsible for natural events depicted in fiction?
Ans. The deities or supernatural entities responsible for natural events were often depicted in human likeness, yet with extraordinary strength, size, abilities, and longevity. Occasionally, they were illustrated as enhanced animals or as hybrids of various animals. The frequent connection to the mundane in the creation of the extraordinary is to be anticipated, as imaginations are significantly constrained, even among the most creative, and it is challenging to conceive of anything truly novel or atypical, as evidenced by Hollywood’s ‘Sci-fi.’
Because the events of the Universe frequently lack to fit together well, the deities are typically portrayed as temperamental and unpredictable; often little more than immature in nature. Given that natural occurrences can be disastrous, the gods are likely to be easily offended. However, since natural events can also be beneficial, the gods are fundamentally benevolent, provided they are treated well and their displeasure is not provoked. It stands to reason that people would create rituals to appease the gods and encourage them to act favourably.
Q4. Why did people create rituals?
Ans. The people created rituals to appease the gods and encourage them to act favourably. Moreover, the effectiveness of these rituals cannot be definitively refuted by outcomes. If the rituals fail, it can easily be assumed that someone has displeased the gods. Those who devised or employed the rituals had no trouble identifying those accountable for the failure in particular cases, ensuring that belief in the rituals themselves remained constant. People shouldn’t reject the belief in the rituals.
Q5. Who are today’s scientists in pre-scientific times?
Ans. In pre-scientific times, the role of today’s scientist was fulfilled by the priest, magician, wizard, or shaman, whichever title is used is irrelevant. It was these figures who were believed to possess the knowledge needed to control the Universe, and advancements in their understanding of magical techniques were thought to enhance their power.
Class 12 The Argumentative Indian Multiple Choice Questions
Q1. According to the essay ‘On Science Fiction’, who is Isaac Asimov?
A. Philosopher and historian
B. Author and biochemist
C. Literary critic and poet
D. Politician and activist
Ans. B. Author and biochemist
Q2. How does Asimov’s essay explain the concepts like other popularized science books?
A. Theoretical way
B. Mathematical way
C. Historical way
D. Philosophical way
Ans. C. Historical way
Q3. According to Asimov, what is the situation of the “prehistoric period” of science fiction?
A. Has completely disappeared
B. Continues to persist in some aspects
C. Was the most important period
D. Is irrelevant to modern science fiction
Ans. B. Continues to persist in some aspects
Q4. What does Asimov compare Ice Age art to?
A. Classical literature
B. Modern paintings
C. Prehistoric aspects of science fiction
D. Renaissance sculpture
Ans. C. Prehistoric aspects of science fiction
Q5. According to Asimov, when did true science fiction emerge?
A. Ancient world
B. Middle Ages
C. Last two centuries
D. 21st century
Ans. C. Last two centuries
Q6. According to Asimov, what does science fiction portrayal of the future based on?
A. Religious beliefs
B. Philosophical ideas
C. Scientific and technological advancements
D. Economic conditions
Ans. C. Scientific and technological advancements
Q7. When did the realization about science and technology shaping the future began?
A. Renaissance
B. Enlightenment
C. Industrial Revolution
D. French Revolution
Ans. C. Industrial Revolution
Q8. How were the stories before true science fiction satisfied similar emotional needs?
A. Mundane and ordinary
B. Unusual and unfamiliar
C. Realistic and probable
D. Historical and factual
Ans. B. Unusual and unfamiliar
Q9. On what beliefs people’s esteem or apprehension towards science and scientists are based?
A. Creates more problems than it solves
B. Is only for the elite
C. Unlocks the secrets of the Universe
D. Is a threat to humanity
Ans. C. Unlocks the secrets of the Universe
Q10. Towards which system, people had a vague understanding in earlier centuries?
A. Political systems
B. Natural laws
C. Economic theories
D. Social structures
Ans. B. Natural laws
Q11. Instead of natural laws, what people believed the Universe was subject to?
A. Chance
B. The whims of life and will
C. Logical principles
D. Mathematical equations
Ans. B. The whims of life and will
Q12. How are the entities that govern natural occurrences depicted?
A. Abstract concepts
B. Natural forces
C. Human-like with extraordinary powers
D. Inanimate objects
Ans. C. Human-like with extraordinary powers
Q13. How are the lifeform entities sometimes illustrated as?
A. Pure energy
B. Enhanced animals or hybrids
C. Invisible beings
D. Mythical plants
Ans. B. Enhanced animals or hybrids
Q14. To what does Asimov attribute the frequent connection to the mundane in the creation of the extraordinary?
A. Lack of scientific knowledge
B. Influence of other cultures
C. Limitations of imagination
D. Artistic license
Ans. C. Limitations of imagination
Q15. How are the deities in ancient tales typically portrayed?
A. Wise and benevolent
B. Capricious and unpredictable
C. Just and fair
D. Distant and uninvolved
Ans. B. Capricious and unpredictable
Q16. How does natural occurrences behave which leads to god’s likeness to be easily offended?
A. Pleasant
B. Catastrophic
C. Predictable
D. Controllable
Ans. B. Catastrophic
Q17. What did People create to appease the gods?
A. Philosophical arguments
B. Scientific experiments
C. Rituals
D. Political systems
Ans. C. Rituals
Q18. How effective are these rituals that are created to appease the gods?
A. Easily proven
B. Definitively disproven
C. Cannot be definitively disproven
D. Always consistent
Ans. C. Cannot be definitively disproven
Q19. In pre-scientific times, who used to fulfil the role of today’s scientist?
A. The philosopher
B. The politician
C. The priest, magician, wizard, or shaman
D. The artist
Ans. C. The priest, magician, wizard, or shaman
Q20. What are the abilities of individuals in Ancient myths and tales?
A. Ordinary abilities
B. Extraordinary abilities
C. Limited knowledge
D. No special powers
Ans. B. Extraordinary abilities
CBSE Class 12 English (Elective) Non Fiction Chapter 5- The Argumentative Indian Extract-Based Questions
Answer the following extract-based questions.
A.
I have often made the point that true science fiction is a creature of the last two centuries. Science fiction cannot exist as a picture of the future unless, and until, people get the idea that it is science and technology that produce the future; that it is advances in science and technology (or, at the very least, changes in them) that are bound to make the future different from the present and the past, and that thereby hangs a tale.
Naturally, no one could possibly get that idea until the rate of scientific and technological change became great enough to be noticed by people in the course of their lifetime. That came about with the Industrial Revolution say, by 1800—and it was only thereafter that science fiction could be written.
And yet there must have been something that came before science fiction, something that was not science fiction and yet filled the same emotional needs. There must have been tales of the strange and different, of life not as we know it, and of powers transcending our own.
Q1. What does the narrator often emphasize according to the given context?
Ans. The narrator often emphasises that genuine science fiction is a phenomenon that emerged in the past two hundred years.
Q2. How Science Fiction can portray the future?
Ans. Science fiction cannot portray the future until individuals recognise that it is science and technology that shape it and that advancements in these fields or at the very least, changes within them will inevitably make the future distinct from both present and past, wherein lies a story.
Q3. When will people understand that science fiction comes from the science and technological advancements?
Ans. Of course, no one could grasp that idea until the pace of scientific and technological progress became significant enough to be perceived by individuals during their lives.
Q4. When did the realization that science fiction came from scientific and technological advancements?
Ans. The realization began around the time of the Industrial Revolution, approximately by 1800 and it was only after that point that science fiction could be crafted.
Q5. How were the emotional needs of the readers fulfilled before the emergence of science fiction?
Ans. There must have been something that precedes science fiction, something that, while not fitting the science fiction genre, still satisfied similar emotional needs. There must have been stories about the unusual and unfamiliar, about life diverging from people’s perceptions, and about powers that surpass their own.
B.
Let’s consider—
The respect that people have for science and for scientists (or the fear that people have or a combination of both) rests on the certain belief that science is the key to the understanding of the Universe and that scientists can use science to manipulate that key. Through science, people can make use of the laws of nature to control the environment and enhance human powers. By the steadily increasing understanding of the details of those laws, human powers will be greater in the future than in the past. If we can imagine the different ways in which they will be greater, we can write our stories.
In previous centuries, however, most men had but a dim understanding, if any at all, of such things as laws of nature. They did not know of rules that were unbreakable; of things-as-they-must-be that could serve neither to help us nor to thwart us but that might allow themselves to be ridden to glory, if we but knew how.
Instead, there was the notion that the Universe was the plaything of life and the will; that if there were events that seemed analogous to human deeds but that were far greater in analogous, they were carried through by lifeform’s resembling those we know but greater in size and power.
Q1. What are people’s perceptions of science?
Ans. The esteem that individuals have for science and scientists or the understanding they might feel or a mixture of both, is founded on the firm belief that science is the key that unlocks the secrets of the Universe, and that scientists can use this knowledge to manipulate it.
Q2. What people could do with scientific understanding?
Ans. Through scientific understanding, people can use the principles of nature to shape their surroundings and amplify human capabilities. As their understanding of these principles continues to grow, human abilities will expand in the future compared to the past. If they can envision the various ways in which it will elevate, they can craft their narratives.
Q3. What does the man have a ‘dim understanding’ about?
Ans. In earlier centuries, however, most individuals possessed only a vague understanding, if any, of concepts like natural laws. They were unaware of immutable rules; of realities that exist not to assist them nor obstruct them, but that could potentially be harnessed for greatness, provided they understood their workings.
Q4. What was the belief towards the Universe?
Ans. There was a belief that the Universe was subject to the notion of life and will; that if there were occurrences that appeared similar to human actions but on a grander scale, they were enacted by lifeforms similar to those they know, yet magnified in size and power.
Q5. What is referred to as ‘the key to the understanding of the Universe’?
Ans. Science is referred to as ‘the key to the understanding of the Universe’.
C.
The beings who controlled natural phenomena were therefore pictured in human form, but of superhuman strength, size, abilities, and length of life. Sometimes they were pictured as superanimal, or as supercombinations of animals. (The constant reference to the ordinary in the invention of the unusual is only to be expected, for imaginations are sharply limited, even among the best of us, and it is hard to think of anything really new or unusual—as Hollywood ‘Sci-fi’ constantly demonstrates.)
Since the phenomena of the Universe don’t often make sense, the gods are usually pictured as whimsical and unpredictable; frequently little better than childish. Since natural events are often disastrous, the gods must be easily offended. Since natural events are often helpful, the gods are basically kindly, provided they are well-treated and that their anger is not roused.
It is only too reasonable to suppose that people would invent formulas for placating the gods and persuading them to do the right thing. Nor can the validity of these formulas be generally disproven by events. If the formulas don’t work, then undoubtedly someone has done something to offend the gods. Those who had invented or utilised the formulas had no problems in finding guilty parties on whom to blame the failure of the formula in specific instances, so that faith in the formulas themselves never wavered. (We needn’t sneer. By the same principle, we continue to have faith in economists, sociologists, and meteorologists today, even though their statements seem to match reality only erratically at best.)
Q1. How are entities governed by natural occurrences depicted as?
Ans. The entities that governed natural occurrences were often depicted in human likeness, yet with extraordinary strength, size, abilities, and longevity. Occasionally, they were illustrated as enhanced animals or as hybrids of various animals.
Q2. What does the author mean by the line ‘The constant reference to the ordinary in the invention of the unusual’?
Ans. The frequent connection to the mundane in the creation of the extraordinary is to be probable, as imaginations are significantly constrained, even among the most creative, and it is challenging to conceive of anything truly novel or atypical, as evidenced by Hollywood’s ‘Sci-fi.’
Q3. How are deities typically portrayed?
Ans. As the events of the Universe frequently lack to fit together well, the deities are typically portrayed as temperamental and unpredictable; often little more than immature in nature.
Q4. How are gods portrayed in accordance to natural occurrences?
Ans. When natural occurrences can be disastrous, the gods are likely to be easily offended. However, since natural events can also be beneficial, the gods are fundamentally benevolent, provided they are treated well and their displeasure is not provoked.
Q5. Why did people create rituals? How effective were they?
Ans. It stands to reason that people would create rituals to appease the gods and encourage them to act favourably. Moreover, the effectiveness of these rituals cannot be definitively refuted by outcomes. If the rituals fail, it can easily be assumed that someone has displeased the gods. Those who devised or employed the rituals had no trouble identifying those accountable for the failure in particular cases, ensuring that belief in the rituals themselves remained constant. People shouldn’t reject the belief in the rituals.
D.
In prescientific times, then, it was the priest, magician, wizard, shaman (again the name doesn’t matter) who filled the function of the scientist today. It was the priest, etc., who was perceived as having the secret of controlling the Universe, and it was advances in the knowledge of magical formulas that could enhance power.
The ancient myths and legends are full of stories of human beings with supernormal powers. There are the legendary heroes, for instance, who learn to control winged horses or flying carpets. Those ancient pieces of magic still fascinate us today, and I imagine a youngster could thrill to such mystical methods of aeronavigation and long for the chance to partake in it, even if he were reading the tales while on a jet plane.
Think of the crystal ball, into which one can see things that are happening many miles away, and magic shells that can allow us to hear the whisperings of humans many miles away. How much more wonderful than the television sets and the telephones of today!
Q1. Who played the role of today’s scientist in pre-scientific times?
Ans. In pre-scientific times, the role of today’s scientist was fulfilled by the priest, magician, wizard, or shaman, whichever title is used is irrelevant.
Q2. How pre scientific scientists enhanced their power?
Ans. It was these figures who were believed to possess the knowledge needed to control the Universe, and advancements in their understanding of magical techniques were thought to enhance their power.
Q3. Explain the line ‘The ancient myths and legends are full of stories of human beings with supernormal powers’.
Ans. Ancient myths and tales are filled with accounts of individuals with extraordinary abilities. For example, some mythical heroes master the art of commanding flying horses or magical carpets. These old tales of enchantment continue to captivate them, and the narrator can imagine a young reader getting excited about such mystical forms of airborne travel, even while reading those stories in a jet plane.
Q4. What does the author want to emphasize in the line ‘How much more wonderful than the television sets and the telephones of today!’?
Ans. The line ‘How much more wonderful than the television sets and the telephones of today’ emphasises the advanced nature of this imagined technology compared to what was available at the time of writing.
Q5. What message does the given context want to convey?
Ans. The passage evokes a sense of nostalgia and fantasy, contrasting modern, technological advancements with older, more magical or mythical ways of interacting with the world. It highlights the charm and simplicity of a world where mythical heroes master the art of commanding flying horses or magical carpets rather than jet planes.