Class 11 English (Elective) Poem 4 – Telephone Conversation Important Question Answers from Woven Words Book
Class 11 English (Elective) Telephone Conversation Important Question Answers – Looking for questions and answers for CBSE Class 11 English (Elective) Poem 4- Telephone Conversation? 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 Poem 4 – Telephone Conversation 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.
- Telephone Conversation NCERT Solutions
- Telephone Conversation Extract Based Questions
- Telephone Conversation Multiple Choice Questions
- Telephone Conversation Extra Question Answers
Related:
Telephone Conversation Textbook Questions (NCERT Solutions)
Notice these expressions in the poem and guess their meaning from the context
rancid breath
squelching tar
spectroscopic flight of fancy
rearing on the thunderclap
brunette
peroxide blonde
clinical assent
raven black
Ans.
rancid breath: The smell of something that has gone bad or rotten, like old fat or butter. Here, it’s a metaphor for the offensive and morally decayed nature of the hidden racism.
squelching tar: The sound of the bus tires making a wet, sticky sound as they move over warm tar on the road.
spectroscopic flight of fancy: Relating to a spectroscope, an instrument used to analyze light by separating it into a spectrum of colors. Here, it’s used metaphorically to suggest a detailed or scientific analysis of the word “sepia,” implying the landlady is trying to mentally process or categorize this new term. An imaginative but unrealistic idea or notion; a whimsical thought. The speaker ironically calls his sophisticated description a “flight of fancy” because it’s clearly beyond the landlady’s comprehension or interest.
rearing on the thunderclap: This is a vivid image. “Receiver” refers to the phone handset. “Rearing” suggests it’s about to fly off or be hung up violently.
brunette: A person with dark brown hair, often also implying a dark complexion (though the speaker plays with this meaning).
peroxide blonde: A very light, almost bleached-looking blonde color, suggesting extreme fairness. Here, it refers to the very light color of his palms and soles.
clinical assent: expression of approval or agreement lacking warmth, empathy, or personal connection.
raven black: A very deep, shiny black color, like the feathers of a raven. Used here for extreme darkness.
UNDERSTANDING THE POEM
1. State the central issue in the poem.
Ans. The central issue in Wole Soyinka’s “Telephone Conversation” is racial discrimination and prejudice. The poem highlights how a seemingly polite interaction, like calling to rent a room, quickly degrades into an offensive and dehumanizing interrogation based solely on the possible tenant’s skin color. It exposes the hypocritical nature of racism, where a person’s worth is judged not by their character or qualifications, but by superficial physical characteristics.
2. There are intervals of silence in the interaction between the landlady and the prospective tenant. What are the reasons for this?
Ans. The intervals of silence in the poem serve several significant purposes. The first “Silence” after the speaker reveals he is African is a moment of noticeable shock and hesitation on the landlady’s part. It represents her internal struggle between her outward “good-breeding” and her underlying prejudice. It’s the moment her polite facade cracks. The second “Silence” after the speaker’s “West African sepia” comment is a pause for the landlady to process or struggle with a term that is outside her limited, prejudiced vocabulary for race. Both silences emphasize the tension and discomfort caused by the racial divide, acting as significant pauses that speak volumes about unspoken biases and judgments.
3. How is colour highlighted in the poem and why? List all the words in the poem that suggest colour.
Ans. Colour is persistently highlighted in the poem to highlight the central theme of racial prejudice and how it dictates human interaction. The landlady’s obsession with the speaker’s skin tone makes color the sole basis for judgment, stripping away his individuality. It’s used as a tool of categorization and discrimination.
The colour highlighted in the poem are gold (rolled cigarette-holder), DARK (repeatedly), LIGHT (repeatedly), Red (booth, pillar-box, omnibus – repeated three times), plain (chocolate), milk (chocolate), sepia (West African sepia), brunette, peroxide blonde and raven black.
4. Which are the lines in the poem that impressed you the most and why?
Ans. The lines “Stench / Of rancid breath of public hide-and-speak” impressed me. They create a powerful, deep-rooted image of disgust. The “stench of rancid breath” evokes something rotten and offensive, directly linking it to the racist interaction. The phrase “public hide-and-speak” perfectly captures the hypocrisy of prejudice – it’s a public space, but the prejudiced conversation happens almost in hiding, allowing the speaker to remain anonymous while uttering offensive remarks. This imagery brilliantly conveys the speaker’s moral repulsion at the casual racism he’s enduring.
5. You know what ‘hide-and-seek’ is. What would ‘hide-and-speak’ mean?
Ans. “Hide-and-speak” refers to the act of speaking from a position where one is hidden or anonymous, allowing them to utter things they wouldn’t say face-to-face. In the context of the poem, it means the landlady, being on the telephone, feels hidden or shielded by the anonymity of the call. This allows her to freely voice her discriminatory questions about the speaker’s race, which she might not have dared to ask so bluntly if they were meeting in person. It implies a cowardly and prejudiced form of communication.
6. Certain words in the poem are in capital letters—why?
Ans. The words in capital letters like “HOW DARK?”, “ARE YOU LIGHT OR VERY DARK?”, “WHAT’S THAT?”, and “DON’T KNOW WHAT THAT IS” are used to represent the landlady’s heightened voice, tone, and emphasis. It suggests that she is speaking louder, more forcefully, or with an increased level of bluntness, perhaps due to her growing frustration, impatience, or the sheer audacity of her racial inquiry. The capitalization makes her words stand out, showing how harsh and surprising her questions felt to the person listening.
7. Why do you think that the poet has chosen the title ‘Telephone Conversation’? If you were to suggest another title for the poem, what would it be?
Ans. The poet chose “Telephone Conversation” as the title because it’s deceptively simple and ordinary. It highlights the everyday, seemingly harmless context in which deep-rooted racial prejudice is revealed. It emphasizes that racism isn’t always obvious violence but can be present in polite, everyday interactions. The title also draws attention to the impersonal nature of the interaction, which perhaps encourages the landlady to ask such offensive questions. If I were to suggest another title, it could be: “The Color Line on the Line” or “A Call for Color.”
8. The power of poetry lies in suggestion and understatement. Discuss this with reference to the poem.
Ans. The power of “Telephone Conversation” indeed lies strongly in its use of suggestion and understatement, particularly in the initial interactions, to highlight the deceitful nature of racism. For example, the “Silence. Silenced transmission of Pressurised good-breeding” after the speaker’s confession is the prime suggestion. Instead of explicitly stating the landlady’s racism, the silence suggests her shock, her internal conflict, and the unspoken racial judgment she’s struggling to articulate politely. This understatement is far more impactful than a direct statement of her prejudice because it allows the reader to conclude the deep-seated bias. Similarly, the speaker’s seemingly polite responses, such as “You mean—like plain or milk chocolate?”, are subtle forms of suggestion. He isn’t directly accusing her of racism; instead, he subtly forces her to acknowledge her own rude racial categorization, which then reveals her bias through her “clinical, crushing impersonality.” This understated approach allows the poem to powerfully expose the ugly reality of racism without resorting to obvious anger or direct accusation, making its message resonate more deeply.
TRY THIS OUT
1. Enact the conversation bits with your partner.
Ans.Speaker (calm, slightly cautious): “Madam, I hate a wasted journey—I am African.”
Landlady (pause – represented by silence from partner, then a sudden, sharp, almost clinical tone): “HOW DARK?” … “ARE YOU LIGHT OR VERY DARK?”
Speaker (taken aback, a beat of silence, then trying to clarify patiently, perhaps with a touch of weariness): “You mean—like plain or milk chocolate?”
Landlady (quick, impersonal, no warmth): (A brief nod, or a flat, assenting sound like “Mm-hm” or “Yes.”)
Speaker (adopting a slightly more formal, almost academic tone, perhaps with a hint of irony): “West African sepia”—(then as an afterthought, perhaps a little dryly) “down in my passport.”
Landlady (after a pause, tone changing to blunt, impatient, maybe a bit louder): “WHAT’S THAT?” (conceding, slightly softer, but still blunt) “DON’T KNOW WHAT THAT IS.”
Speaker (calm, helpful, almost pedagogical): “Like brunette.”
Landlady (sharper, judgmental, accusatory): “THAT’S DARK, ISN’T IT?”
Speaker (a pause, then a slow, deliberate, increasingly sarcastic and dramatic tone, relishing the absurdity): “Not altogether. Facially, I am brunette, but madam, you should see The rest of me. Palm of my hand, soles of my feet Are a peroxide blonde. Friction, caused—Foolishly madam—by sitting down, has turned My bottom raven black—One moment madam!”—(a rushed, almost desperate plea, sensing the hanging up) “Madam, wouldn’t you rather See for yourself?”
2. Attempt a description of
a. the place from which the call was made
b. the lady at the other end
c. the speaker in the poem.
Ans. a. The call was made from a small, enclosed public telephone booth. It was vividly red, a striking color that recurs throughout the poem, perhaps symbolizing anger, warning, or the stark reality of the situation. Inside, the air might have felt a bit stale or claustrophobic, tinged with the “stench of rancid breath,” suggesting the unpleasantness of public spaces that also harbor hidden biases. Just outside the booth, there was a matching red pillar-box (a British mailbox) and a red double-tiered omnibus (a large double-decker bus) squelching tar on the street. This repetition of red creates a strong, almost oppressive visual backdrop, emphasizing the concrete, undeniable reality of the discriminatory experience unfolding within this very public, yet isolating, space.
b. The landlady is presented as someone who prides herself on her “good-breeding,” implying she is well-mannered, refined, and perhaps of a certain social class. Her voice is described as “Lipstick coated” and delivered through a “long gold-rolled Cigarette-holder pipped,” painting a picture of a precisely groomed woman, perhaps older, who cultivates an air of sophistication. However, this outward polish thinly conceals a deep-seated racial prejudice. Her “good-breeding” is “pressurised” and eventually gives way to a “clinical” and “crushing” impersonality, and her accent becomes “Hard on the mouthpiece.” She is direct, blunt, and obsessed with categorizing the speaker purely by skin color, revealing an ignorant and discriminatory core beneath her refined exterior.
c. The speaker is an African man, well-educated and expresses himself well, with a sharp wit and a keen sense of irony. He is initially cautious and direct, stating his race honestly to avoid a “wasted journey.” He is sensitive and perceptive, immediately recognizing the landlady’s prejudiced reaction despite her silence. He feels “shamed by ill-mannered silence” and “dumbfounded” by her directness, indicating he is still susceptible to the shock of brazen racism. However, he quickly regains his composure and uses his intelligence to satirize her prejudice. He employs sophisticated language (“West African sepia”) and then resorts to absurd, exaggerated self-descriptions to mock her ridiculous obsession with color, ultimately turning her own offensive questions back on her with a powerful, sarcastic challenge. He is resilient and uses humor as a weapon against bigotry (intolerant adherence to one’s prejudices).
3. The poem evokes a mental picture of the scene. Draw a rough sketch to illustrate the episode.
Ans. Elements of the Sketch:
Foreground: A classic British red telephone booth. Its door is slightly ajar or clear, showing the back of a figure inside (the speaker).
Speaker: A man of African descent, facing away from the viewer towards the phone. His posture might be slightly tense, one hand holding the receiver, the other perhaps resting on the push-buttons (Button A, Button B).
Midground (outside the booth):
A bright red pillar-box (mailbox) nearby, standing upright.
A large, red double-decker bus (omnibus) in the background, perhaps with exaggerated “squelching tar” marks beneath its wheels, emphasizing its weight and reality.
Background: A suggestion of a typical British street scene (buildings, pavement, perhaps a lamppost).
Atmosphere: While a sketch can’t show “stench,” the bold, slightly aggressive use of red and the somewhat confined nature of the booth could convey a sense of tension or unpleasantness.
4. The poem ends with ‘Wouldn’t you rather see for yourself?’. Imagine a personal encounter between the two people in the poem and write down the dialogue they might have had.
Ans. Setting: The landlady’s doorstep. The speaker has decided to visit in person.
Characters:
Speaker: Calm, self-assured, with a subtly challenging demeanor.
Landlady: Initially polite, then increasingly nervous and uncomfortable.
(Knock, knock, knock.)
Landlady: (Opens door, a little stiffly) Yes? Can I help you?
Speaker: (A slight, polite bow of the head) Good morning, Madam. You might remember my voice. We spoke earlier about the room for rent. I am the gentleman you were speaking with on the telephone.
Landlady: (Eyes widen almost gradually, a brief flicker of recognition and discomfort crosses her face. She manages a strained smile.) Oh! Yes, of course. The—the room. Well, do come in. (She steps aside, a little awkwardly.)
Speaker: (Stepping inside, looking around briefly but not making eye contact with her for too long, a hint of a wry smile playing on his lips.) Thank you, Madam. I took your final question quite literally, you see. “Wouldn’t you rather see for yourself?” And I thought, indeed, why not?
Landlady: (Clears throat, trying to regain composure, gestures vaguely to a living room.) Ah, yes. Well, it’s quite a… an unusual request. I suppose one does like to be thorough. Please, sit down.
Speaker: (Sits, still with that knowing half-smile.) Thoroughness is commendable, Madam. Especially when one is considering something as significant as a living arrangement. One wouldn’t want any, shall we say, misunderstandings about the tenant.
Landlady: (Fussing with her hands, avoiding his gaze) Quite. And, well, you see, I simply needed to clarify a few things. Over the phone, it’s so difficult to get a complete picture, isn’t it? One relies so much on… (She trails off, searching for a polite word).
Speaker: (Leaning forward slightly, direct but calm) On ‘darkness,’ perhaps, Madam? Or ‘lightness’? You were very keen on the subtlety. For instance, my hands. (He holds up his palm, presenting it openly.) As I mentioned, quite “peroxide blonde,” wouldn’t you agree? A striking contrast to, say, my forearm.
Landlady: (Visibly squirming, looking at his hand for a fraction of a second before darting her eyes away.) Well, I… I suppose one does have… varied complexions. It’s quite common.
Speaker: Indeed. And the feet, Madam, if you recall? Also a rather surprising hue. (He makes a small, almost subtle gesture downwards, without actually showing his feet.) Though I’m sure you wouldn’t wish to inspect those.
Landlady: (A sharp intake of breath, her face stiffening.) No! No, certainly not. That won’t be necessary.
Speaker: (His voice softening, but the challenge in his eyes intensifies.) Ah. And my final point, Madam. The “raven black” was hardly understood, caused by “foolishly madam” sitting down. (He stands, slowly, and turns slightly, presenting his back, but not in a way that is truly revealing, more in a suggestive, ironic gesture.) I trust this visual confirmation clears up any remaining doubts about… my suitability?
Landlady: (Turns away, her face flushing, voice tight.) I… I think I’ve seen quite enough, thank you. I’m afraid the room is no longer available. A sudden change of plans.
Speaker: (Smiles, a deep, knowing smile, turns to face her, moving towards the door.) I see. A most rapid change of plans. How unfortunate for all of us. But thank you for allowing me to… clarify. It’s been most illuminating. Good day, Madam.
(Speaker exits, leaving the flustered landlady alone on her doorstep.)
CBSE Class 11 English (Elective) Poem 4 Telephone Conversation Extract-Based Questions
Answer the following extract-based questions.
A.
The price seemed reasonable, location
Indifferent. The landlady swore she lived
Off premises. Nothing remained
But self-confession. ‘Madam,’ I warned,
‘I hate a wasted journey—I am African.’
Silence. Silenced transmission of
Pressurised good-breeding.
Q1. What initial positive aspects of the room for rent does the speaker mention?
Ans. The speaker mentions that the price of the room seemed reasonable and its location was “indifferent,” meaning it was neither particularly good nor bad, but acceptable.
Q2. What did the landlady confirm about her living situation?
Ans. The landlady confirmed that she lived “Off premises”, meaning she did not live in the same building as the room for rent.
Q3. Why did the speaker feel the need for “self-confession” at this point?
Ans. The speaker felt it was necessary for “self-confession” because he wanted to disclose his race honestly to avoid wasting his own time and the landlady’s if she held racial prejudice.
Q4. What phrase does the speaker use to justify his directness with the landlady about his race?
Ans. The speaker justifies his directness by stating, “I hate a wasted journey.”
Q5. How does the landlady react immediately after the speaker reveals he is African?
Ans. After the speaker reveals he is African, there is a distinct “Silence,” described as a “Silenced transmission of / Pressurised good-breeding”, indicating her shock or suppressed discomfort due to her prejudiced “good-breeding”.
B.
Voice, when it came,
Lipstick coated, long gold-rolled
Cigarette-holder pipped. Caught I was, foully.
‘HOW DARK ?’… I had not misheard… ‘ARE YOU LIGHT
OR VERY DARK ?’ Button B. Button A. Stench
Of rancid breath of public hide-and-speak.
Red booth. Red pillar-box. Red double-tiered
Omnibus squelching tar. It was real! Shamed
By ill-mannered silence, surrender
Pushed dumbfounded to beg simplification.
Q1. How is the landlady’s voice described when it finally returns after the silence?
Ans. Her voice is described vividly as “Lipstick coated, long gold-rolled / Cigarette-holder pipped”, suggesting an image of artificial refinement or a false politeness.
Q2. What is the shocking question the landlady asks that immediately reveals her prejudice?
Ans. The shocking question she asks is “HOW DARK?” followed by the clarifying options, “ARE YOU LIGHT OR VERY DARK?”
Q3. What does the speaker mean by feeling “Caught I was, foully”?
Ans. He means he felt trapped and unfairly cornered by her direct and offensive racial question, indicating a sense of disgust and being caught in a discriminatory situation.
Q4. What sensory detail does the speaker associate with the experience of the phone call and the public space?
Ans. The speaker associates an olfactory (smell) detail: “Stench / Of rancid breath of public hide-and-speak,” conveying his disgust at the anonymous and prejudiced nature of the interaction.
Q5. What specific details of the public environment does the speaker observe, and what might their color symbolize?
Ans. The speaker observes a “Red booth. Red pillar-box. Red double-tiered / Omnibus”. The repeated use of “Red” can symbolize the speaker’s rising anger, embarrassment, or the obvious reality of racism.
C.
Considerate she was, varying the emphasis—
‘ARE YOU DARK? OR VERY LIGHT?’ Revelation came.
‘You mean—like plain or milk chocolate?’
Her assent was clinical, crushing in its light
Impersonality. Rapidly, wave-length adjusted,
I chose. ‘West African sepia’—and as afterthought,
“down in my passport.” Silence for spectroscopic
Flight of fancy, till truthfulness changed her accent
Hard on the mouthpiece. ‘WHAT’S THAT?’ conceding
‘DON’T KNOW WHAT THAT IS.’ ‘Like brunette.’
Q1. How does the landlady try to rephrase her question about the speaker’s skin color?
Ans. The landlady, attempting to sound “considerate”, rephrases her question by varying the emphasis, asking, “ARE YOU DARK? OR VERY LIGHT?”
Q2. What analogy does the speaker use to clarify the landlady’s question about his complexion?
Ans. To simplify her question, the speaker asks if she means plain or milk chocolate.
Q3. How does the landlady’s agreement to the chocolate analogy affect the speaker?
Ans. Her agreement felt “clinical” and “crushing in its light Impersonality,” suggesting it was cold, detached, and dehumanizing.
Q4. What specific term does the speaker initially choose to describe his skin color to the landlady?
Ans. The speaker initially chooses to describe his skin color as “West African sepia”, to categorize his skin tone as a reddish-brown hue similar to old monochromatic photographs.
Q5. How does the landlady react to the term “West African sepia”?
Ans. After a moment of silence, the landlady’s tone changes to become “Hard on the mouthpiece” and she directly asks, “WHAT’S THAT?” admitting she doesn’t know what the term means. Her true, blunt nature came out, and her voice became harsh on the phone.
D.
‘THAT’S DARK, ISN’T IT?’ ‘Not altogether.
Facially, I am brunette, but madam, you should see
The rest of me. Palm of my hand, soles of my feet
Are a peroxide blonde. Friction, caused—
Foolishly madam—by sitting down, has turned
My bottom raven black—One moment madam!’—sensing
Her receiver rearing on the thunderclap
About my ears—‘Madam,’ I pleaded, ‘wouldn’t you rather
See for yourself ?’
Q1. How does the landlady respond after the speaker offers “brunette” as a description?
Ans. The landlady responds with a judgmental question, “THAT’S DARK, ISN’T IT?”
Q2. What specific parts of his body does the speaker claim are “peroxide blonde”?
Ans. The speaker humorously claims that the palm of his hand and the soles of his feet are “peroxide blonde.”
Q3. What exaggerated and humorous reason does the speaker give for his “bottom raven black” color?
Ans. He humorously claims that his bottom has turned “raven black” due to “Friction, caused—Foolishly madam—by sitting down.”
Q4. What action does the speaker sense the landlady is about to take?
Ans. The speaker senses that the landlady is about to hang up the phone, described as her “receiver rearing on the thunderclap About my ears.”
Q5. What is the speaker’s final, provocative question to the landlady?
Ans. His final, provocative question to the landlady is, “Madam, wouldn’t you rather See for yourself?”
Class 11 Telephone Conversation Multiple Choice Questions
Q1. What is the speaker’s primary concern when first speaking to the landlady?
A. The price of the room
B. The cleanliness of the premises
C. Avoiding a wasted journey due to racial prejudice
D. Negotiating the rent
Ans. C. Avoiding a wasted journey due to racial prejudice
Q2. What is the immediate reaction of the landlady after the speaker reveals he is African?
A. She apologizes for any inconvenience
B. There is a “Silence” or “Silenced transmission”
C. She expresses surprise
D. She immediately offers him the room
Ans. B. There is a “Silence” or “Silenced transmission”
Q3. How is the landlady’s voice initially described when it returns after the silence?
A. Angry and loud
B. Confused and hesitant
C. Lipstick coated, long gold-rolled Cigarette-holder pipped.
D. Warm and welcoming
Ans. C. Lipstick coated, long gold-rolled Cigarette-holder pipped.
Q4. What is the landlady’s first direct question about the speaker’s appearance?
A. “HOW DARK?”
B. “HOW TALL ARE YOU?”
C. “HOW OLD ARE YOU?”
D. “ARE YOU MARRIED?”
Ans. A. “HOW DARK?”
Q5. What does the phrase “Stench Of rancid breath of public hide-and-speak” refer to?
A. The actual smell inside the telephone booth
B. The offensive nature of the landlady’s prejudiced questions
C. The smell of the speaker’s own frustration
D. The general unpleasantness of public spaces
Ans. B. The offensive nature of the landlady’s prejudiced questions
Q6. What color is repeatedly emphasized in the description of the telephone booth and its surroundings?
A. Blue
B. Green
C. Yellow
D. Red
Ans. D. Red
Q7. What does the speaker initially suggest to the landlady to help her understand his complexion?
A. A color chart
B. A fruit comparison
C. A chocolate comparison
D. A paint swatch
Ans. C. A chocolate comparison
Q8. How does the speaker describe the landlady’s “assent” to his chocolate analogy?
A. Enthusiastic and understanding
B. Hesitant and unsure
C. “Clinical, crushing in its light Impersonality”
D. Polite and curious
Ans. C. “Clinical, crushing in its light Impersonality”
Q9. What term does the speaker use to describe his complexion, which the landlady does not understand?
A. Ebony sheen
B. Midnight hue
C. Cocoa brown
D. West African sepia
Ans. D. West African sepia
Q10. What does “truthfulness changed her accent” imply about the landlady?
A. She became more honest and straightforward.
B. Her true prejudiced nature caused her polite facade to drop.
C. She began to speak with a foreign accent.
D. She became more eloquent.
Ans. B. Her true prejudiced nature caused her polite facade to drop.
Q11. What common term does the speaker offer when the landlady doesn’t understand “West African sepia”?
A. Mahogany
B. Olive-skinned
C. Brunette
D. Tan
Ans. C. Brunette
Q12. What specific part of his body does the speaker claim is “peroxide blonde”?
A. His hair
B. His teeth
C. The palm of his hand and soles of his feet
D. His fingernails
Ans. C. The palm of his hand and soles of his feet
Q13. What exaggerated reason does the speaker give for his “bottom raven black”?
A. Too much sunbathing
B. Sitting down frequently
C. A birthmark
D. A clothing dye
Ans. B. Sitting down frequently
Q14. What does the speaker sense the landlady is about to do near the end of the conversation?
A. Offer him the room
B. Invite him for an interview
C. Hang up the phone
D. Apologize for her questions
Ans. C. Hang up the phone
Q15. What is the speaker’s final, sarcastic plea to the landlady?
A. “Would you lower the price?”
B. “Wouldn’t you rather see for yourself?”
C. “Can we continue this discussion later?”
D. “Do you have any other rooms?”
Ans. B. “Wouldn’t you rather see for yourself?”
Q16. What is the main theme explored in “Telephone Conversation”?
A. The importance of clear communication.
B. The difficulties of finding housing in London.
C. The prevalent nature of racial prejudice and discrimination.
D. The humorous aspects of phone calls.
Ans. C. The prevalent nature of racial prejudice and discrimination.
Q17. Which poetic device is used in “Silence for spectroscopic/Flight of fancy, till truthfulness”?
A. Metaphor
B. Simile
C. Synecdoche
D. Alliteration
Ans. D. Alliteration
Q18. What does the landlady’s constant questioning about skin shade imply about her character?
A. She is genuinely curious about different ethnicities.
B. She is trying to be culturally sensitive.
C. She harbors racial prejudices and seeks to classify people by skin color.
D. She is a meticulous person who likes precise details.
Ans. C. She harbors racial prejudices and seeks to classify people by skin color.
Q19. What literary device is used in the phrase “Silenced transmission of Pressurised good-breeding”?
A. Onomatopoeia.
B. Paradox
C. Personification
D. Allusion
Ans. C. Personification
Q20. What is the speaker’s overall attitude towards the landlady by the end of the poem?
A. Respectful and understanding
B. Frustrated but resigned
C. Apologetic and submissive
D. Mocking and challenging
Ans. D. Mocking and challenging
CBSE Class 11 English (Elective) Poem 4 – Telephone Conversation Extra Question and Answers
Answer the following questions.
Q1. Why does the speaker refer to the telephone booth setting as “public hide-and-speak”?
Ans. This phrase highlights the ironic public nature of the booth that allows for private, prejudiced conversations. It suggests a place where people can hide behind anonymity to speak their biases without direct confrontation, evoking a sense of concealed disgust.
Q2. What is the significance of the speaker’s comment “It was real!” after describing the red booth, pillar-box, and omnibus?
Ans. This signifies the speaker’s sudden, grounding realization that the discriminatory interaction he’s experiencing is not a nightmare or an imagined scenario, but a harsh reality. The familiar red objects serve as reliable evidence to confirm the concrete existence of the prejudice.
Q3. How does the speaker use the “chocolate” analogy to expose the landlady’s prejudice, rather than just describe his skin?
Ans. By offering an analogy like “plain or milk chocolate,” the speaker forces the landlady to explicitly categorize him using a common, agreeable consumer product. Her “clinical, crushing” assent reveals her willingness to reduce human identity to a commodity, exposing the cold, impersonal nature of her racism.
Q4. What is the emotional impact on the speaker indicated by the line “Shamed By ill-mannered silence, surrender Pushed dumbfounded to beg simplification”?
Ans. This line reveals a complex emotional state. The speaker feels “shamed” not by his own race, but by the landlady’s “ill-mannered silence”—her rude judgment. This shame, coupled with his “dumbfounded” surprise at her blatant racism, pushes him to “surrender” his dignity and seek clarification, rather than immediately challenging her.
Q5. What is the ultimate effect of the speaker’s increasingly absurd and detailed physical descriptions at the end of the poem?
Ans. The absurd descriptions (peroxide blonde palms, raven black bottom) serve as a satirical strategy to mock and expose the landlady’s crude obsession with racial categorization. By providing such ridiculous, over-the-top details, the speaker turns the tables, making her invasive questions seem utterly bizarre and forcing her to confront the ridiculousness of her own discriminatory criteria.