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SSC English First Paper Unit-2 Lesson-3 Mans and Climate

SSC English First Paper Unit-1, Lesson-1 Mr Moti by Rahad Kabir

SSC English First Paper 

Unit-1, Lesson-1 Mr. Moti by Rahad Kabir

Read the passage. Then answer the questions below

Ameen is seventeen when the war breaks out. One Monday, after supper, he announces he will go to war. Sonabhan shrieks in surprise. You want to leave me alone?  

It won't take long. Ma, he assures her. I'll be back soon after the training. That night Sonabhan cannot sleep.  

After sun-up, she opens the duck coop. The flock streams out, stretches and quacks around her for their morning meal. She takes longer than usual. She mixes water with rice husks in an earthen bowl and puts it down. They gobble it up in five minutes and head for the pond. Ameen has let out the chickens by then. He lifts his 12-week-old cockerel, Moti, and sits on the veranda. During his breakfast he doesn't strike up any conversation. Having noticed Sonabhan's puffy eyes, he knows not to mention last night's subject. He casts his glance to the aide, down at the cockerel eating rice in atience.  

Today is haat bar, market day. Sonabhan has arranged the things Ameen will take to the bazaar to sell. Two dozen eggs, a sheaf of areca nuts, a bottle gourd. The bazaar is about a mile  away.  

Ameen wears his short-sleeved floral shirt over his lungi. He whistles as he looks into the cloudy mirror to comb his hair. Placing the rattan basket on his head before setting off, he hollers: I'm off, Ma.  

Sonabhan watches him go along the bank of the little river. For the first time it occurs to her that Ameen has grown up. He has reached the height of his dead father, has his long neck and straight shoulders.  

In that moment, Sonabhan realizes It's not the war, it's the fighting that Ameen is fascinated with. Like his dead father, he is crazy about bullfighting, cockfighting and boat racing. The same stubbornness flows in his blood. Once he decides on something, nothing can stop him. Her little son! Now a man. Even up to his fifteenth birthday barely a day passed without netghbours appearing with a slew of complaints. Sometimes one or two turned up from other villages. They peeked into the house and asked, Does Ameen live here?  

Sonabhan would sigh. What did he do?  

Your son stole my date juice! Emptied the juice pots hanging on the date trees! Sonabhan would sigh again. Then ask the visitor to pardon him. She hated saying that she'd raised her son alone. If she could spare them, she would bring half a dozen eggs and hand them to the visitor Please take these for your children.  

At night, Sonabhan climbs out of her bed, clutches the hurricane lamp and tiptoes into Ameen's room. She stands by his bed, looks at her sleeping son. He snores like his father. He has her light skin and button nose. She touches his cheek. His broad forehead. She suppresses a desire to lie beside him. Like the old days, when she slept cuddling her baby. 

A warning comes from old Chowkidar's young wife. Watch your rooster, she threatens. I don't want him in my house again.  

If someone touches my boy. Sonabhan responds, they'll see the consequences. She grounds Moti for an entire day. It makes him sad. His forlorn captivity crucifies her. She sets him loose the following morning.  

Some boys come and ask Sonabhan to lend them Moti for cockfighting at a fair. They are happy to pay. 

Never, she tells them. He is my son.  

Monday dawns without Mott's crowing. His cold body is resting on its right side. Lying against the basket. Eyes closed. His kingly head down.

With Mott's basket in her lap, Sonabhan is motionless.  

She puts Moti to rest beside her husband's grave. She sighs, plods across the empty yard, steps onto an empty veranda, crawls into an empty home and sits on the edge of an empty bed.  

Another morning breaks.... Noon and afternoon come and go. The birds in the coops quack and crow.... No one lets them out. For the first time. Sonabhan's doors do not open

āχāωāύিāϟ - āĻ“āϝ়াāύ āϞেāϏāύ - āĻ“āϝ়াāύ
 āϜāύাāĻŦ āĻŽāϤি। āϞিāĻ–েāĻ›েāύ: āϰাāĻšাāĻĻ āĻ•āĻŦিāϰ

āϝুāĻĻ্āϧ āĻļুāϰুāϰ āϏāĻŽāϝ় āφāĻŽিāύেāϰ āĻŦāϝ়āϏ āĻ›িāϞ āϏāϤেāϰ। āĻ•োāύো āĻāĻ• āϏোāĻŽāĻŦাāϰে, āϰাāϤেāϰ āĻ–াāĻŦাāϰেāϰ āĻĒāϰ, āϏে āϘোāώāĻŖা āĻĻিāϞ āϝে āϏে āϝুāĻĻ্āϧ āĻ•āϰāϤে āϝাāĻŦে। āϏোāύাāĻ­াāύ āĻŦিāώāϝ়ে āϚিā§ŽāĻ•াāϰ āĻ•āϰে āĻŦāϞে, āϤুāχ āφāĻŽাāĻ•ে āĻāĻ•া āĻĢেāϞে āϝেāϤে āϚাāϏ?  

āĻāϤে āĻ–ুāĻŦ āĻāĻ•āϟা āĻŦেāĻļি āϏāĻŽāϝ় āϞাāĻ—āĻŦে āύা āĻŽা, āϏে āϤাāĻ•ে āφāĻļ্āĻŦāϏ্āϤ āĻ•āϰে। āφāĻŽি āĻĒ্āϰāĻļিāĻ•্āώāĻŖেāϰ āĻĒāϰ āĻļীāϘ্āϰāχ āĻĢিāϰে āφāϏāĻŦ। āϏে āϰাāϤে āϏোāύাāĻ­াāύ āϘুāĻŽোāϤে āĻĒাāϰে āύা।  

āϏূāϰ্āϝ āĻ“āĻ াāϰ āĻĒāϰ, āϏে āĻšাঁāϏেāϰ āϘāϰ āĻ–ুāϞে āĻĻেāϝ়। āĻšাঁāϏāĻ—ুāϞো āĻŦেāϰ āĻšāϝ়ে āφāϏে, āĻļāϰীāϰেāϰ āφāĻĄ়āĻŽোāĻĄ়া āĻ­েāĻ™ে āĻĒ্āϝাāĻ•āĻĒ্āϝাāĻ• āĻ•āϰāϤে āĻ•āϰāϤে āϤাāϰ āϚাāϰāĻĒাāĻļে āϘুāϰāϤে āĻĨাāĻ•ে āϏāĻ•াāϞেāϰ āĻ–াāĻŦাāϰেāϰ āφāĻļাāϝ়। āϏে āφāϜ āĻāĻ•āϟু āĻŦেāĻļি āϏāĻŽāϝ় āύেāϝ়। āĻŽাāϟিāϰ āĻāĻ• āĻĒাāϤ্āϰে āϚাāϞেāϰ āϤুāϞি āφāϰ āĻĒাāύি āĻŽিāĻļিāϝ়ে āĻšাঁāϏāĻĻেāϰ āϏাāĻŽāύে āϰাāĻ–ে। āĻšাāϏāĻ—ুāϞো āĻĒাঁāϚ āĻŽিāύিāϟেāϰ āĻŽāϧ্āϝে āϤা āϏাāĻŦাāĻĄ় āĻ•āϰে āĻĻিāϝ়ে āĻĒুāĻ•ুāϰেāϰ āĻĻিāĻ•ে āϚāϞে āϝাāϝ়।  

āϤāϤāĻ•্āώāĻŖে āφāĻŽিāύ āĻŽুāϰāĻ—িāĻ—ুāϞোāĻ•ে āĻ›েāĻĄ়ে āĻĻেāϝ়। āϏে āϤাāϰ ⧧⧍ āϏāĻĒ্āϤাāĻš āĻŦāϝ়āϏী āĻŽোāϰāĻ—, āĻŽোāϤিāĻ•ে āϤুāϞে āύিāϝ়ে āĻŦাāϰাāύ্āĻĻাāϝ় āĻŦāϏে। āύাāϏ্āϤাāϰ āϏāĻŽāϝ় āϏে āĻ•োāύো āĻ•āĻĨা āĻŦāϞে āύা। āϏোāύাāĻ­াāύেāϰ āĻĢুāϞে āĻ“āĻ া āϚোāĻ– āĻĻেāĻ–েāĻ“ āϏে āĻ—āϤ āϰাāϤে āϝা āĻšāϝ়েāĻ›ে, āϏে āĻŦিāώāϝ়ে āĻ•িāĻ›ু āĻŦāϞে āύা। āϚুāĻĒāϚাāĻĒ āĻĒাāĻļেāϰ āĻĻিāĻ•ে āϤাāĻ•িāϝ়ে āĻŽোāϰāĻ—āϟিāĻ•ে āĻĻেāĻ–āϤে āĻĨাāĻ•ে, āϏেāϟি āύীāϰāĻŦে āϚাāϞ āĻ–েāϝ়ে āϚāϞেāĻ›ে।  

āφāϜ āĻšাāϟāĻŦাāϰ, āĻŦাāϜাāϰেāϰ āĻĻিāύ। āϏোāύাāĻ­াāύ āφāĻŽিāύেāϰ āϜāύ্āϝ āĻŦাāϜাāϰে āĻŦিāĻ•্āϰি āĻ•āϰāϤে āϝাāĻ“āϝ়াāϰ āϜিāύিāϏāĻĒāϤ্āϰ āĻĒ্āϰāϏ্āϤুāϤ āĻ•āϰে āϰেāĻ–েāĻ›ে। āĻĻুāχ āĻĄāϜāύ āĻĄিāĻŽ, āĻāĻ• āĻ—োāĻ›া āϏুāĻĒাāϰি, āĻāĻ•āϟি āϞাāω āĻŦাāϜাāϰāϟা āĻāĻ• āĻŽাāχāϞ āĻĻূāϰে।  

āφāĻŽিāύ āϤাāϰ āĻ›োāϟāĻšাāϤা āĻĢুāϞāϤোāϞা āĻļাāϰ্āϟāϟা āĻĒāϰেāĻ›ে, āϞুāĻ™্āĻ—িāϰ āĻ“āĻĒāϰ। āϚুāϞ āφঁāϚāĻĄ়াāύোāϰ āϜāύ্āϝ āφāϝ়āύাāϰ āĻĻিāĻ•ে āϤাāĻ•িāϝ়ে āϏে āĻļিāϏ āĻĻেāϝ় āĻŽাāϞāĻĒāϤ্āϰেāϰ āĻুāĻĄ়ি āĻŽাāĻĨাāϝ় āϤুāϞে āϰāĻ“āύা āĻĻেāĻ“āϝ়াāϰ āφāĻ—ে āϏে āĻšাঁāĻ• āĻ›েāĻĄ়ে āĻŦāϞে: āĻŽা, āφāĻŽি āϝাāϚ্āĻ›ি।

āϏোāύাāĻ­াāύ āϤাāĻ•ে āĻ›োāϟ āύāĻĻীāϰ āϤীāϰ āϧāϰে āϚāϞে āϝেāϤে āĻĻেāĻ–ে। āĻĒ্āϰāĻĨāĻŽāĻŦাāϰেāϰ āĻŽāϤো āϤাāϰ āĻŽāύে āĻšāϝ় āϝে āφāĻŽিāύ āĻŦāĻĄ় āĻšāϝ়ে āĻ—েāĻ›ে। āϏে āϤাāϰ āĻŽৃāϤ āĻŦাāĻŦাāϰ āϏāĻŽাāύ āωāϚ্āϚāϤাāϝ় āĻĒৌঁāĻ›েāĻ›ে, āϤাāϰ āϘাāĻĄ় āĻ…āύেāĻ•āϟা āϞāĻŽ্āĻŦা āφāϰ āĻ•াঁāϧ āĻ‹āϜু āĻšāϝ়ে āωāĻ েāĻ›ে।  

āϏেāχ āĻŽুāĻšূāϰ্āϤে āϏোāύাāĻ­াāύ āĻŦুāĻāϤে āĻĒাāϰে, āĻāϟি āϝুāĻĻ্āϧ āύāϝ় āĻŦāϰং āϝুāĻĻ্āϧেāϰ āϏাāĻĨে āϏāĻŽ্āĻĒৃāĻ•্āϤ āϝে āϞāĻĄ়াāχ āϏেāχ āĻŦিāώāϝ়āϟিāχ āφāĻŽিāύāĻ•ে āφāĻ•ৃāώ্āϟ āĻ•āϰেāĻ›ে। āϤাāϰ āĻŽৃāϤ āĻŦাāĻŦাāϰ āĻŽāϤো, āφāĻŽিāύ āώাঁāĻĄ়েāϰ āϞāĻĄ়াāχ, āĻŽোāϰāĻ— āϞāĻĄ়াāχ āφāϰ āύৌāĻ•া āĻŦাāχāϚেāϰ āĻĒাāĻ—āϞ। āϏেāχ āĻāĻ•āχ āĻ›āύ্āύāĻ›াāĻĄ়া āϏ্āĻŦāĻ­াāĻŦ āϤাāϰ āϰāĻ•্āϤে āĻŦāχāĻ›ে। āĻāĻ•āĻŦাāϰ āĻ•োāύো āĻŦিāώāϝ়ে āϏিāĻĻ্āϧাāύ্āϤ āύিāϞে, āĻ•োāύোāĻ•িāĻ›ুāχ āϤাāĻ•ে āĻĨাāĻŽাāϤে āĻĒাāϰে āύা।  

āϤাāϰ āĻ›োāϟ āĻ›েāϞে। āĻāĻ–āύ āϜোāϝ়াāύ āĻĒুāϰুāώ āĻšāϝ়ে āωāĻ েāĻ›ে। āϤাāϰ āĻĒāύেāϰো āĻŦāĻ›āϰ āĻŦāϝ়āϏ āĻĒāϰ্āϝāύ্āϤ āĻāĻŽāύ āĻāĻ•āϟা āĻĻিāύāĻ“ āϝাāϝ়āύি, āϝে āĻĻিāύে āĻ•োāύো āύা āĻ•োāύো āĻĒ্āϰāϤিāĻŦেāĻļী āϤাāϰ āĻŦিāϰুāĻĻ্āϧে āĻ…āĻ­িāϝোāĻ— āύিāϝ়ে āĻšাāϜিāϰ āĻšāϝ়āύি। āĻŽাāĻে āĻŽাāĻে āĻ…āύ্āϝ āĻ—্āϰাāĻŽ āĻĨেāĻ•েāĻ“ āĻĻুāχ-āĻāĻ•āϜāύ āφāϏāϤ। āϤাāϰা āϘāϰে āωāĻ•ি āĻĻিāϝ়ে āĻĒ্āϰāĻļ্āύ āĻ•āϰāϤ, āφāĻŽিāύ āĻ•ি āĻāĻ–াāύে āĻĨাāĻ•ে?  

āϏোāύাāĻ­াāύ āĻĻীāϰ্āϘāĻļ্āĻŦাāϏ āĻĢেāϞāϤ। āĻ•ী āĻ•āϰেāĻ›ে āϏে?  

āϤোāĻŽাāϰ āĻ›েāϞে āφāĻŽাāϰ āĻ–েāϜুāϰেāϰ āϰāϏ āϚুāϰি āĻ•āϰেāĻ›ে। āĻ–েāϜুāϰ āĻ—াāĻ›ে āĻুāϞে āĻĨাāĻ•া āϰāϏেāϰ āĻĒাāϤ্āϰāĻ—ুāϞো āĻ–াāϞি āĻ•āϰে āĻĢেāϞেāĻ›ে। āϏোāύাāĻ­াāύ āφāĻŦাāϰ āĻĻীāϰ্āϘāĻļ্āĻŦাāϏ āĻĢেāϞāϤ। āϤাāϰāĻĒāϰ āĻ­āĻĻ্āϰāϤাāϰ āϏāĻ™্āĻ—ে āϤাāĻĻেāϰ āĻ•্āώāĻŽা āϚাāχāϤ। āϤাāĻ•ে āĻāĻ•া āĻāĻ•াāχ āϤাāϰ āĻ›েāϞেāĻ•ে āϞাāϞāύ-āĻĒাāϞāύ āĻ•āϰāϤে āĻšāϝ় āĻāχ āĻŦিāώāϝ়āϟা āϤাāĻ•ে āĻ–ুāĻŦāχ āĻĒীāĻĄ়া āĻĻেāϝ়। āĻĒাāϰāϞে āϏে āĻāĻ• āĻĄāϜāύ āĻĄিāĻŽ āύিāϝ়ে āĻ…āϤিāĻĨিāϰ āĻšাāϤে āϤুāϞে āĻĻিāϤ: āĻĻāϝ়া āĻ•āϰে āĻāĻ—ুāϞো āφāĻĒāύাāϰ āĻŦাāϚ্āϚাāĻĻেāϰ āϜāύ্āϝ āύিāϝ়ে āϝাāύ।  

āϰাāϤে, āϏোāύাāĻ­াāύ āϤাāϰ āĻŦিāĻ›াāύা āĻĨেāĻ•ে āωāĻ ে āϝাāϝ়, āĻšাāϰিāĻ•েāύ āĻŦাāϤি āĻšাāϤে āϧāϰে āĻĒা āϟিāĻĒে āϟিāĻĒে āφāĻŽিāύেāϰ āϘāϰে āĻĸোāĻ•েāύ। āϤাāϰ āĻ›েāϞেāϰ āĻļোāϝ়াāϰ āĻŦিāĻ›াāύাāϰ āĻĒাāĻļে āĻĻাঁāĻĄ়িāϝ়ে āĻĨাāĻ•েāύ। āϤাāϰ āϘুāĻŽāύ্āϤ āĻ›েāϞেāĻ•ে āĻĻেāĻ–েāύ। āϏে āϤাāϰ āĻŦাāĻŦাāϰ āĻŽāϤো āύাāĻ• āĻĄাāĻ•ে। āϤাāϰ āĻŽাāϝ়েāϰ āĻŽāϤোāχ āĻĢāϰ্āϏা āĻ—াāϝ়েāϰ āϰāĻ™ āĻāĻŦং āĻ›োāϟ āĻ–াāĻĄ়া āφāĻ•ৃāϤিāϰ āύাāĻ• āĻĒেāϝ়েāĻ›ে। āϏে āϤাāϰ āĻ—াāϞেāϰ āĻ“āĻĒāϰ āĻšাāϤ āϰাāĻ–ে। āϤাāϰ āϚāĻ“āĻĄ়া āĻ•āĻĒাāϞ। āϏে āϤাāϰ āĻĒাāĻļে āĻļোāĻ“āϝ়াāϰ āχāϚ্āĻ›েāϟা āĻĻāĻŽāύ āĻ•āϰে āϰাāĻ–ে। āĻĒুāϰোāύো āĻĻিāύেāϰ āĻŽāϤো, āϝāĻ–āύ āϏে āϤাāϰ āĻāχ āĻļিāĻļু āϏāύ্āϤাāύāĻ•ে āĻ•োāϞে āύিāϝ়ে āĻļুāϝ়ে āĻĨাāĻ•āϤ। 

āĻŦৃāĻĻ্āϧ āϚৌāĻ•িāĻĻাāϰেāϰ āϤāϰুāĻŖী āĻŦāω āϏāϤāϰ্āĻ• āĻ•āϰে āĻļাāϏিāϝ়ে āϝাāϝ়। āϤাāϰ āĻŽোāϰāĻ—āĻ•ে āϏাāĻŽāϞে āϰাāĻ–āϤে āĻŦāϞে, āϏে āϏেāϟিāĻ•ে āφāϰ āϤাāϰ āĻŦাāĻĄ়িāϤে āĻĻেāĻ–āϤে āϚাāϝ় āύা।  

āϝāĻĻি āĻ•েāω āφāĻŽাāϰ āĻ›েāϞেāĻ•ে āϏ্āĻĒāϰ্āĻļ āĻ•āϰে, āϏোāύাāĻ­াāύ āωāϤ্āϤāϰ āĻĻেāϝ়, āϤাāϰা āĻāϰ āĻĢāϞ āĻ­োāĻ— āĻ•āϰāĻŦে। āϏে āĻŽোāϤিāĻ•ে āĻāĻ•āĻĻিāύ āĻĒুāϰোāĻĒুāϰি āĻŦāύ্āĻĻী āĻ•āϰে āϰাāĻ–ে। āĻāϤে āϏে āĻĻুঃāĻ–িāϤ āĻšāϝ়ে āĻĒāĻĄ়ে। āϤাāϰ āĻāχ āĻŦāύ্āĻĻী āϜীāĻŦāύ āϏোāύাāĻ­াāύāĻ•ে āĻĒীāĻĄ়িāϤ āĻ•āϰে। āĻĒāϰāĻĻিāύ āϏāĻ•াāϞে āϏে āϤাāĻ•ে āĻŽুāĻ•্āϤ āĻ•āϰে āĻĻেāϝ়। āĻ•িāĻ›ু āĻ›েāϞে āĻāϏে āϏোāύাāĻ­াāύāĻ•ে āĻŦāϞে āĻŽেāϞাāϝ় āĻŽোāϤিāĻ•ে āĻŽোāϰāĻ— āϞāĻĄ়াāχāϝ়েāϰ āϜāύ্āϝ āϧাāϰ āĻĻিāϤে। āϤাāϰা āĻ–ুāĻļি āĻšāϝ়ে āϤাāĻ•ে āϟাāĻ•া āĻĻিāϤে āϚাāϝ়। āĻ•āĻ–āύো āύāϝ়, āϏে āϤাāĻĻেāϰāĻ•ে āĻŦāϞে। āϏে āφāĻŽাāϰ āĻ›েāϞে।  

āϏোāĻŽāĻŦাāϰ āϏāĻ•াāϞ āφāϏে, āĻ•িāύ্āϤু āĻŽোāϤিāϰ āĻĄাāĻ• āĻļোāύা āϝাāϝ় āύা। āϤাāϰ āĻ াāĻŖ্āĻĄা āĻļāϰীāϰ āĻĄাāύ āĻ•াāϤ āĻšāϝ়ে āĻĒāĻĄ়ে āφāĻ›ে। āĻ•ুāĻĄ়িāϰ āĻĒাāĻļে। āϚোāĻ– āĻŦāύ্āϧ। āϤাāϰ āϰাāϜāĻ•ীāϝ় āĻŽাāĻĨাāϟা āύোāϝ়াāύো।  

āĻুāĻĄ়িāϤে āϰাāĻ–া āĻŽোāϤিāĻ•ে āĻ•োāϞে āύিāϝ়ে āϏোāύাāĻ­াāύ āύিāĻļ্āϚুāĻĒ āĻšāϝ়ে āĻŦāϏে āĻĨাāĻ•ে ।  

āϏে āĻŽোāϤিāĻ•ে āϤাāϰ āϏ্āĻŦাāĻŽীāϰ āĻ•āĻŦāϰেāϰ āĻĒাāĻļে āĻļোāϝ়াāϝ়। āĻĻীāϰ্āϘāĻļ্āĻŦাāϏ āĻĢেāϞে, āĻāĻ•া āĻāĻ•া āĻ–াāϞি āωāĻ াāύে āĻšাঁāϟে, āĻ–াāϞি āĻŦাāϰাāύ্āĻĻাāϝ় āĻĒা āϰাāĻ–ে, āĻ–াāϞি āĻŦাāĻĄ়িāϤে āĻĸুāĻ•ে āĻļূāύ্āϝ āĻŦিāĻ›াāύাāϰ āϧাāϰে āĻŦāϏে āĻĨাāĻ•ে।  

āφāĻŦাāϰ āϏāĻ•াāϞ āφāϏে... āĻĻুāĻĒুāϰ āφāϰ āĻŦিāĻ•েāϞ āφāϏে āφāϰ āϚāϞে āϝাāϝ়। āĻ–োāĻĒেāϰ āĻŽāϧ্āϝে āĻĨাāĻ•া āĻšাঁāϏ-āĻŽুāϰāĻ—ি āĻĒ্āϝাāĻ•āĻĒ্āϝাāĻ• āĻ•āĻ•āĻ•āĻ• āĻ•āϰে āĻĄেāĻ•ে āωāĻ āĻ›ে... āĻ•িāύ্āϤু āĻ•েāωāχ āϤাāĻĻেāĻ•ে āĻŦাāχāϰে āĻŦেāϰ āĻ•āϰে āύা। āĻĒ্āϰāĻĨāĻŽāĻŦাāϰেāϰ āĻŽāϤো, āϏোāύাāĻ­াāύেāϰ āϘāϰেāϰ āĻĻāϰāϜা āφāϰ āĻ–ুāϞāϞ āύা।

Answer the following questions:  

(1)  How old is Ameen when the war begins in "Mr. Mott"? 

Answer. Ameen is seventeen years old when the war begins.  

(2)  What does Ameen announce one Monday after supper in "Mr. Moti"?

Answer. One Monday after supper, Ameen announces that he will go to war.  

(3)  How does Sonabhan react when Ameen says he will go to war in "Mr. Moti"?

Answer.. Sonabhan shrieks in surprise and asks if he wants to leave her alone.  

(4)  What does Ameen promise his mother about his return in "Mr. Mott"?

Answer. Ameen promises that he will return soon after the training.    

(5)  What chore does Sonabhan do the morning after Ameen's announcement in "Mr. Mott"? 

Answer. Sonabhan opens the duck coop and feeds the flock.   

(6)  What does Ameen do with Moti while having breakfast in "Mr. Moti"?  

Answer. Ameen lifts Moti and sits with him on the veranda.  

(7) On which day Ameen goes to the bazaar in "Mr. Mott"? 

Answer. On haat bar or market day, Ameen goes to the bazaar.   

(8) What Items does Sonabhan arrange for Ameen to sell at the bazaar in "Mr. Mott"?

Answer. Sonabhan arranges two dozen eggs, a sheaf of areca nuts, and a bottle gourd.  

 (9) How does Ameen dress when going to the bazaar in "Mr. Moti"?  

Answer. Ameen wears a short-sleeved floral shirt over his lungi. 

(10)  What realization strikes Sonabhan as she watches Ameen walk away in "Mr. Mott"? 

Answer. Sonabhan realizes Ameen has grown up and resembles his father. 

(11) What does Sonabhan think Ameen is fascinated by In "Mr. Motr? 

Answer. Sonabhan thinks he is fascinated by fighting, like his father.  

(12)  What kind of complaints did neighbors bring about Ameen in the past in "Mr. Mott"?  

Answer. Neighbors complained about Ameen stealing date juice from their trees. 

(13) What would Sonabhan often give to the complaining neighbors in "Mr. Moti ? 

Answer. Sonabhan would give them half a dozen eggs for their children.   

(14) What is Sonabhan's emotional reaction when she enters Ameen's room at night ? 

Answer. Sonabhan feels a deep emotional connection and longing for the times when Ameen was child.  

(15) What does Sonabhan do at night after Ameen goes to bed?

Answer. Sonabhan tiptoes into Ameen's room, touches his check and forehead and remembers the old days when she cuddled him as a baby.   

(16) What do the complaints from neighbours reveal about Ameen?

Answer. They show he was a mischievous child. He had a playful and advanturous personlity.  

(17) Why does Sonabhan ground Moti for a day in "Mr. Mott"?

Answer. Sonabhan grounds him because a neighbor complained about him.   

(18)  What happens to Moti one Monday morning in "Mr. Mott"?

Answer. One Monday morning. Sonabhan finds Moti dead in his basket. 

(19) Where does Sonabhan bury Moti In "Mr. Mott"? 

Answer. Sonabhan buries him beside her husband's grave.   

(20)  How does Sonabhan react after burying Moti in "Mr. Mott"? 

Answer. Sonabhan becomes motionless and retreats to an empty home.   

(21)  What happens to the birds in the coops after Moti's death in "Mr. Mott"? 

Answer. After Moti's death, the birds quack and crow, but no one lets them out.  

(22)  What does Sonabhan do with Moti's basket after his death in "Mr. Mott?

Answer. After Moti's death, Sonabhan holds the basket in her lap, motionless.   

(23)  How is the emptiness of Sonabhan's life emphasized after Motf's death in "Mr. Mott"?  

Answer. After Moti's death, the yard, veranda, and home all feel empty to her.  

(24)  What does the recurring mention of empty spaces signify in "Mr. Moti"?

Answer. The recurring mention of empty spaces signifles Sonabhan's deep loss and loneliness. 

(25)  What does Moti symbolize in "Mr. Moti"?

Answer. Moti symbolizes companionship and the bond between Sonabhan and her loved ones.  

(26)  How does Sonabhan's life change after Moti's death in "Mr. Mott"? 

Answer. She isolates herself, leaving the birds and home unattended.   

(27) What does the title "Mr. Mott" signify in the story?

Answer. The title. "Mr. Moti" highlights the importance of Moti as a cherished member of the family.    

(28)  What is the main theme of "Mr. Moti?

Answer. The theme explores love, loss, and the deep connections between humÃĄns and animals .


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