Class 11 English (Elective) Essay Chapter 4- Tribal Verse Important Question Answers from Woven Words Book
Class 11 English (Elective) Tribal Verse Important Question Answers – Looking for questions and answers for CBSE Class 11 English (Elective) Essay Chapter 4 – Tribal Verse Look no further! Our comprehensive compilation of important questions will help you brush up on your subject knowledge. Practising Class 11 English question answers can significantly improve your performance in the exam. Improve your chances of scoring high marks by exploring Essay Chapter 4 -Tribal Verse 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.
- Tribal Verse NCERT Solutions
- Tribal Verse Extract Based Questions
- Tribal Verse Multiple Choice Questions
- Tribal Verse Extra Question Answers
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Tribal Verse Textbook Questions (NCERT Solutions)
Look for these expressions in the text and guess the meaning from the context.
marginalisation of communities:
accelerated pace:
canonized written texts:
rich repository of folk songs:
tribal vision of life:
cohesive and organically unified:
itinerant street singers:
Ans.
marginalisation of communities: The process of making a group of people (or their culture/language) less important, powerless, or pushing them to the edge of society. It means they become less central and are treated as less significant.
accelerated pace: A much faster or increasing speed. It implies that efforts need to happen more quickly and intensely.
canonized written texts: Written works (books, essays, poems) that are widely accepted, highly respected, and considered to be officially established as part of the recognized, important body of literature or knowledge. They are often seen as the standard or classic works.
rich repository of folk songs: A large and abundant collection or storehouse of folk songs. “Repository” means a place where a large amount of something is stored, and “rich” indicates it’s valuable and plentiful.
tribal vision of life: The unique way tribal communities see, understand, and interpret the world, including their beliefs about nature, human beings, spirituality, and their place within the universe. It refers to their distinct worldview and philosophy of living.
cohesive and organically unified: Developing naturally as a single, complete, and harmonious unit, much like parts of a living body work together. It implies their unity isn’t forced but grew naturally over time.
itinerant street singers: Singers who travel from place to place, performing on streets or in public areas, rather than staying in one fixed location. “Itinerant” means traveling from place to place.
UNDERSTANDING THE TEXT
1. Identify the common characteristics shared by tribal communities all over the world.
Ans. Tribal communities around the world share several key characteristics. They usually live in groups that are very united and connected, like a single living body. They don’t show much interest in collecting a lot of money or wealth. They believe in a worldview where nature, humans, and God are closely linked. They also trust their ability to understand and speak the truth using their intuition rather than just logic. For them, the space around them is sacred, not ordinary, and their sense of time is personal, not just based on clocks.
2. What distinguishes the tribal imagination from the secular imagination?
Ans. The tribal imagination is very different from what the author calls “secular imagination” (which is common in modern society). The tribal imagination is often dreamlike and allows different parts of existence and time to mix together naturally. In their stories, you can find oceans flying as birds or mountains swimming as fish, and time sequences don’t strictly apply. In contrast, secular imagination, where humans often replace God as the creator, tends to be more self-aware and separated, focusing on clear distinctions and logical order.
3. How does G.N. Devy bring out the importance of the oral literary tradition?
Ans. G.N. Devy highlights the importance of the oral literary tradition by stating that it forms the very roots of India’s literary heritage. He explains that these oral verses, often songs and chants, show the deep connection between tribal people and nature. He warns that many of these traditions are being lost because they are not written down, especially due to urbanization and modern commerce. He argues that we must change our narrow view of literature (which usually means only written texts) to include these oral works, otherwise, we will lose a precious part of our history. He emphasizes that literature is much more than just writing.
4. List the distinctive features of the tribal arts.
Ans. Tribal arts have several unique features. They create space and imagery in a hallucinatory way, meaning they can be dreamlike and mix different realities. The lines between art and everyday life are often blurred, with paintings merging into living spaces. Their narratives don’t always follow a strict sequence, appearing somewhat chaotic like dreams, sometimes even mixing elements from different stories (like an episode from the Mahabharata appearing in a tribal Ramayan). However, despite this freedom, tribal arts have strict ordering principles, mainly based on long-standing traditions. A key feature is playfulness, and they rarely take a very serious or pretentious tone, often incorporating humor even with heroes. Finally, they are generally not created specifically for sale, which keeps them relaxed and free from competition.
5. ‘New literature’ is a misnomer for the wealth of the Indian literary tradition. How does G.N. Devy explain this?
Ans. G.N. Devy explains that calling the literature of Adivasis “new literature” is misleading. He argues that it’s not a new “movement” or “trend”. Instead, it’s a vast and ancient body of work that most people were simply unaware of because it existed primarily in oral form. He points out that Western academics, who classified works by contemporary Indian writers (from a thousands-year-old multilingual tradition) as “new,” didn’t understand how funny this seemed to Indian literary experts. He stresses that the lack of awareness about Adivasi literature is not the fault of the tribals themselves; it’s due to a bias towards written forms.
TALKING ABOUT THE TEXT
Discuss the following in pairs or in groups of four
1. ‘It is time to realise that unless we modify the established notion of literature as something written, we will silently witness the decline of various Indian oral traditions.’
Ans. This statement argues that we need to broaden our understanding of what literature means. Right now, many people think literature only includes things that are written down in books. But India has a very rich history of stories, songs, and poems that have been passed down by word of mouth for centuries within tribal communities. If we continue to only value written works, we might just stand by and watch silently as these valuable oral traditions disappear. The speaker believes it’s crucial to acknowledge these oral forms as true literature to help preserve them.
2. ‘Tribal arts are not specificlly meant for sale.’ Does this help or hamper their growth and preservation?
Ans. The fact that tribal arts are not primarily made for sale seems to help their growth and preservation in a unique way, as the text suggests. Because they aren’t driven by money or market demands, tribal artists can create more freely, without competition or pressure to be serious or pretentious. This allows for more playfulness, humor, and a natural blend of the sacred and ordinary in their work. This community-focused, ritualistic creation helps keep the art connected to the daily lives and beliefs of the tribe, ensuring its relevance and continued practice within the community. While not being sold might limit wider recognition, it helps preserve its authentic spirit and purpose within the tribal culture itself.
3. Because India’s tribal communities are basically bilingual there is a danger of dismissing their languages as dialects of India’s major tongues.
Ans. The fact that many tribal communities in India are bilingual means they speak their own distinct language as well as a major language of their region. This is good because it helps them interact with the non-tribal world. However, there’s a danger in this bilingualism. People who don’t understand the complexity of tribal languages might mistakenly think they are just simpler dialects or variations of bigger languages, rather than complete languages in themselves. This can lead to their languages being undervalued or ignored, despite their unique grammar, vocabulary, and literary wealth.
4. While tribal communities may not seem to possess the scientific temper, there are many ideas from tribal conventions that could enrich modern societies.
Ans. Modern societies often value scientific temper, which means being rational, logical, and focused on verifiable facts. Tribal communities, as described, often live more by intuition, see space as sacred, and have a personal sense of time. While they might not show the same kind of scientific approach, their conventions offer valuable lessons. For example, their deep respect for nature and belief in human-nature interdependence could enrich modern societies struggling with environmental issues. Their communal living and lack of interest in excessive wealth accumulation could offer alternatives to consumerism. Their holistic worldview, where God, humans, and nature are linked, could provide a sense of spiritual connection missing in purely secular modern lives. Their artistic playfulness and non-commercial approach to art could also remind modern societies of art’s intrinsic value beyond economic gain.
APPRECIATION
1. How does ‘A Munda Song’ show that the perspective of the tribal mind towards the girl child is different from that of (other) mainstream communities?
Ans. ‘A Munda Song’ clearly shows a different, more positive view of a girl child compared to many mainstream communities. In the song, when a son is born, the “cowshed was depleted,” which suggests a loss or expense, perhaps because a son consumes resources or needs a dowry. But when a daughter is born, the “cowshed filled up,” implying prosperity, growth, or gain. This is opposite to many mainstream societies where sons are often preferred, and daughters are seen as a burden (due to dowry, etc.). The song reflects the Munda society’s reality where women play a strong, dominant role in economic, social, and ritual activities, making daughters a valuable asset.
2. How does ‘A Kondh Song’ substantiate the tribal urge to gain domination over time by conversing with their dead ancestors?
Ans. ‘A Kondh Song’ supports the idea that tribals try to “dominate time” by interacting with their ancestors, though perhaps indirectly in this specific song. The essay mentions that tribal communities obsessively turn to gaining domination over time through rituals of “conversing with their dead ancestors.” The Kondh song itself is an offering to a dead spirit, asking it not to trouble the living and implying a continued connection. The song shows the belief that the spirits of the dead are still present and can influence the living. By making offerings and communicating with these spirits, the living attempt to manage or control the influence of the past (the dead) on their present and future, thereby asserting a form of domination over time by maintaining a relationship beyond physical death. The song explicitly states, “We can, Because we are still alive; If not, How could we offer at all,” showing the continuity of relationship across the boundary of life and death.
3. ‘Adi Song for the Recovery of Lost Health’ is in Miri Agom while Adi Agom is the Adi community’s language for routine conversation. How does this reflect upon the high level of language sensitivity of the Adi? Can you think of other parallels in modern languages between the literary variety and the colloquial variety?
Ans. This shows the Adi community’s very high level of language sensitivity because they have two distinct languages for different purposes: Adi Agom for everyday talks and Miri Agom specifically for rituals and chanting. This means they understand that certain types of communication, especially sacred or ritualistic ones, require a special, rhythmic, and perhaps more ancient or formal language. It highlights their deep respect for the power and specific use of language in different contexts, showing that language isn’t just for conveying information but also for performing actions, connecting with the spiritual world, and preserving tradition. The other parallel in modern languages between the literary variety and the colloquial variety is in English. Even within English, there’s a difference between highly formal, poetic, or legal language (e.g., in classic literature, legal documents, or academic papers) and the casual, colloquial English used in daily conversation. We don’t speak Shakespearean English in casual chats, but we recognize it as a “literary variety.”
LANGUAGE WORK ______________________________
1. Comment on the symbols used in ‘A Munda Song’. What aspect of the tribal worldview do they reflect?
Ans. The Munda Song uses important symbols like the sun, moon, son, daughter, and cowshed. The sun rising and moon rising symbolize the birth of a child, linking human life directly to the daily cycles of nature. This shows a worldview where human existence is deeply connected to, and synchronized with, the natural world, rather than with artificial clock time. The most striking symbols are the son and daughter being linked to the cowshed. The birth of a son is associated with the cowshed being “depleted” (emptied), while a daughter’s birth leads to the cowshed being “filled up.” This reversal of common societal preferences (where sons are often seen as bringing wealth) reflects a unique Munda worldview: daughters are considered more valuable assets. This is because, in their society, women play a very important role in economic, social, and religious activities. So, the symbols reflect a deep harmony with nature and a matri-centric (or at least highly valuing women) social structure.
2. Explain the significance of the lines
‘I tie this Ridin creeper
To fasten your soul to your body.’
Ans. These lines from the Adi song are very significant because they reveal a core belief in the Adi tribal worldview about health and the connection between the body and spirit. When a person is ill, the Adi believe it’s because the “spirit of good health” has left the body. The maternal uncle, who performs the ritual, says he is tying a “Ridin creeper” to “fasten your soul to your body.” This shows their belief in magical or spiritual healing, where a physical object (the creeper) can be used in a ritual to spiritually bind the lost health-spirit back to the sick person’s body. The significance lies in the idea that health is not just a physical state but a spiritual one, and it requires ritualistic action to restore the unity between the body and its spirit of well-being. It highlights their reliance on traditional medicine and spiritual practices for healing.
3. What is the central argument of the speaker?
Ans. The central argument of the speaker throughout the essay is that India’s rich oral literary traditions, especially those of tribal communities, are incredibly valuable and deserve to be recognized as legitimate literature, not just folklore or dialects. He argues that the common idea that literature must be written is too narrow and biased, mainly due to Western influences. Devy believes that if we don’t change this limited view, we will lose a massive and invaluable part of India’s history and cultural heritage because these oral traditions are disappearing without being formally preserved or acknowledged. He emphasizes that literature is much broader than just writing and that even written works have roots in oral traditions.
CBSE Class 11 English Essay Chapter 4 Tribal Verse Extract-Based Questions and Answers
Answer the following extract-based question.
A.
The roots of India’s literary traditions can be traced to the rich oral literatures of the tribes/adivasis. Usually in the form of songs or chanting, these verses are expressions of the close contact between the world of nature and the world of tribal existence. They have been orally transmitted from generation to generation and have survived for several ages. However, a large number of these are already lost due to the very fact of their orality. The forces of urbanisation, print culture and commerce have resulted in not just the marginalisation of these communities but also of their languages and literary cultures.
Q1. Where can the roots of India’s literary traditions be found?
Ans. They can be found in the rich oral literatures of the tribes/adivasis.
Q2. In what forms do these tribal literary traditions usually exist?
Ans. They usually exist in the form of songs or chanting.
Q3. How have these verses been passed down over time?
Ans. They have been orally transmitted from generation to generation.
Q4. Why have many of these tribal verses already been lost?
Ans. They have been lost because they were transmitted orally and not written down.
Q5. What forces have caused the marginalization of tribal communities and their cultures?
Ans. Urbanization, print culture, and commerce have caused their marginalization.
B.
The three selected songs give us a small glimpse into the rich repository of folk songs that is an expression of the tribal vision of life. Their close connection with nature is evident from their belief in the interdependence between human beings and nature. Nature for them is living and responsive to human existence and human actions, demanding respect essential for any kind of coexistence. The songs exist originally in the native languages of the tribals and are sung or chanted. The effort to bring them to students in English naturally involves some loss of the original flavour and spirit but that is a problem of all translation and constant attempts need to be made to minimise this loss. But for some conscious effort being made to first preserve these songs, these pieces of literature would have been lost to us completely. However limitedly, it is only through translation that we are able to even access these works.
Q1. What do the three selected songs offer us a glimpse into?
Ans. They offer a glimpse into the rich collection of folk songs that show the tribal way of life.
Q2. What key belief of the tribals shows their close connection with nature?
Ans. Their belief in the interdependence between human beings and nature.
Q3. How do tribals view nature, according to the text?
Ans. They view nature as living, responsive to human actions, and demanding respect for coexistence.
Q4. What is a natural problem encountered when translating these tribal songs into English?
Ans. Some loss of the original flavor and spirit occurs during translation.
Q5. Why is translation important for these tribal works, despite its limitations?
Ans. It is only through translation that these works can be accessed and preserved, otherwise, they would have been completely lost.
C.
Most tribal communities in India are culturally similar to tribal communities elsewhere in the world. They live in groups that are cohesive and organically unified. They show very little interest in accumulating wealth or in using labour as a device to gather interest and capital. They accept a world-view in which nature, human beings and God are intimately linked and they believe in the human ability to spell and interpret truth. They live more by intuition than reason, they consider the space around them more sacred than secular, and their sense of time is personal rather than objective. The world of the tribal imagination, therefore, is radically different from that of modern Indian society.
Q1. How do tribal communities generally live in terms of their group structure?
Ans. They live in groups that are cohesive and organically unified.
Q2. What is their general attitude towards accumulating wealth?
Ans. They show very little interest in accumulating wealth.
Q3. How do tribals view the connection between nature, human beings, and God?
Ans. They accept a world-view where these three are intimately linked.
Q4. Do tribal communities live more by intuition or by reason?
Ans. They live more by intuition than reason.
Q5. How does the tribal sense of time differ from an objective sense of time?
Ans. Their sense of time is personal rather than objective.
D.
The result is that I, for one, can no longer think of literature as something written. Of course I do not dispute the claim of written compositions and texts to the status of literature; but surely it is time we realise that unless we modify the established notion of literature as something written, we will silently witness the decline of various Indian oral traditions. That literature is a lot more than writing is a reminder necessary for our times. In fact, every written piece of literature contains substantial layers of orality. This is particularly true for poetry and drama but, even in prose fiction, the elements of orality need to be significant if the work is to be effective.
Q1. What is the author’s personal conclusion about literature after his research?
Ans. He can no longer think of literature as only something written.
Q2. Does the author deny that written texts are considered literature?
Ans. No, he does not dispute their claim to being literature.
Q3. What does the author say will happen if we don’t change our idea that literature is only written?
Ans. We will silently witness the decline of various Indian oral traditions.
Q4. What reminder does the author say is necessary for our times?
Ans. The reminder that literature is a lot more than writing.
Q5. What does the author state about every written piece of literature regarding orality?
Ans. Every written piece of literature contains substantial layers of orality.
Class 11 Tribal Verse Multiple-Choice Questions
Q1. What forms do India’s tribal literary traditions usually take?
A. Written novels
B. Oral songs or chanting
C. Formal plays
D. Stone carvings
Ans. B. Oral songs or chanting
Q2. Why have a large number of tribal verses already been lost?
A. Due to their oral nature
B. Due to lack of interest
C. Due to natural disasters
D. Due to foreign invasions
Ans. A. Due to their oral nature
Q3. What forces have led to the marginalization of tribal communities and their cultures?
A. Education and technology
B. Urbanization, print culture, and commerce
C. Climate change and natural growth
D. Tourism and global trade
Ans. B. Urbanization, print culture, and commerce
Q4. What does G.N. Devy argue for tribal literature?
A. A need to create space for it within canonized written texts.
B. It should be replaced by written texts.
C. It should remain separate from mainstream literature.
D. It should only be studied by anthropologists.
Ans. A. A need to create space for it within canonized written texts.
Q5. How does Devy suggest a new method should treat orality in literature?
A. It should be dismissed as casual utterances.
B. It should be ignored completely
C. It should not be dismissed as casual utterances
D. It should be replaced by written forms
Ans. C. It should not be dismissed as casual utterances
Q6. Which tribes are mentioned in relation to the selected songs in the introduction?
A. Gond, Bhil, Santhal
B. Munda, Kondh, Adi
C. Toda, Bodo, Garo
D. Naga, Khasi, Kuki
Ans. B. Munda, Kondh, Adi
Q7. What does the selection of three songs primarily indicate about tribal groups?
A. Their common language
B. The immense diversity among them
C. Their unified traditions
D. Their adoption of modern culture
Ans. B. The immense diversity among them
Q8. What is a key characteristic of the tribal vision of life, as expressed in their folk songs?
A. Disconnection from nature.
B. Focus on wealth accumulation.
C. Close connection with nature and interdependence.
D. Belief in human dominance over nature.
Ans. C. Close connection with nature and interdependence
Q9. What problem is acknowledged when translating tribal songs into English?
A. They become too long
B. Loss of the original flavor and spirit
C. They become harder to understand
D. They lose their rhythm
Ans. B. Loss of the original flavor and spirit
Q10. How do most tribal communities in India (and elsewhere) culturally live?
A. As isolated individuals
B. In competitive, fragmented groups
C. In cohesive and organically unified groups
D. With strong interest in accumulating wealth
Ans. C. In cohesive and organically unified groups
Q11. How do tribal communities generally view nature, human beings, and God?
A. As intimately linked
B. As separate and distinct entities
C. As subjects to be controlled
D. As irrelevant to daily life
Ans. B. As intimately linked
Q12. How does the tribal imagination differ from the imagination of the modern Indian society, according to the text?
A. It is more logical and secular
B. It is radically different, being more dreamlike and hallucinatory
C. It is focused on objective reality
D. It strictly follows spatial and temporal sequences
Ans. B. It is radically different, being more dreamlike and hallucinatory
Q13. What principle do tribal creations admit regarding emotion and narrative?
A. That emotion should be strictly separated from narrative
B. That emotion restricts the narrative
C. That emotion and the narrative motif can be associated
D. That emotions are not important in their stories
Ans. C. That emotion and the narrative motif can be associated
Q14. On what basis do tribal artists primarily work?
A. Cultivated imagination
B. Racial and sensory memory
C. Written rules and theories
D. Modern art techniques
Ans. B. Racial and sensory memory
Q15. What specific practice substantiates the tribal urge to gain domination over time?
A. Conversing with their dead ancestors
B. Accumulating wealth.
C. Building large monuments.
D. Developing complex calendars.
Ans. A. Conversing with their dead ancestors.
Q16. What does the author suggest will happen if the established notion of literature as “something written” is not modified?
A. Oral traditions will flourish.
B. Various Indian oral traditions will decline.
C. Written literature will become more popular.
D. New forms of writing will emerge.
Ans. B. Various Indian oral traditions will decline
Q17. What is one of the main characteristics of tribal arts regarding space and imagery?
A. They are strictly realistic.
B. They are rigid and unchanging.
C. They are described as hallucinatory.
D. They follow classical Western forms.
Ans. C. They are described as hallucinatory
Q18. What is the most important ordering principle in tribal arts, despite their apparent freedom?
A. Randomness
B. Individual experimentation
C. Market demand
D. Convention (adhering to the past)
Ans. D. Convention (adhering to the past)
Q19. What is described as the “soul” of tribal arts?
A. Seriousness
B. Profit motive
C. Playfulness
D. Strict adherence to rules
Ans. C. Playfulness
Q20. What is a general misconception about orally transmitted tribal arts?
A. They are dynamic and experimental.
B. They are entirely tradition-bound with little scope for experimentation.
C. They are created specifically for sale.
D. They are always serious in tone.
Ans. B. They are entirely tradition-bound with little scope for experimentation.
CBSE Class 11 English (Elective) Essay Chapter 4 Tribal Verse Extra Question Answers
Answer the following questions.
Q1. What is the main point the author makes about the roots of India’s literary traditions?
Ans. The author says that India’s literary traditions actually started from the rich oral literatures of its tribal communities.
Q2. Why does the author worry that many tribal languages and their literatures are in danger of being lost?
Ans. The author worries because many of these traditions are oral and forces like city growth, print culture, and business have pushed tribal communities and their cultures to the side. Without more effort, these valuable parts of history could disappear.
Q3. What kind of connection do tribal communities have with nature, as shown in their folk songs?
Ans. They have a very close connection with nature, believing that humans and nature depend on each other. For them, nature is alive and reacts to human actions, so it needs to be respected for everyone to live together.
Q4. How does the tribal imagination differ from what the author calls modern Indian society?
Ans. The tribal imagination is more like a dream, allowing different levels of existence and time to mix naturally (like oceans flying as birds). Modern society’s imagination is more self-aware and separated from a direct connection to God, focusing more on logical boundaries.
Q5. Why does the author argue that we should change our idea of what literature is?
Ans. The author argues that we should realize literature is more than just written words because many rich Indian oral traditions exist. If we only count written works as literature, we risk losing these ancient oral forms entirely, which have been passed down for centuries through speech, not writing.