“Yuganta: The End of an Epoch is a Critical Analysis of the Mahabharata”

 

Introduction

The Mahabharata has traditionally been read as a religious epic, a storehouse of mythology, and a source of spiritual guidance. However, Iravati Karve’s Yuganta: The End of an Epoch approaches it from a very different angle. Written originally in Marathi and later translated into English, the book examines the characters of the Mahabharata not as gods or demons but as historical, human figures shaped by social and political forces. Karve’s method combines sociology, psychology, and literary criticism, which is why the book is considered a critical analysis of the Mahabharata rather than a devotional commentary.

Humanizing the Characters

A central feature of Karve’s critical approach is her demythologization of the epic’s characters. She strips them of divine halos and interprets them as human beings with strengths and weaknesses.

• Bhishma is seen not as a flawless patriarch but as a tragic figure whose rigid vows make him ineffective in preventing injustice.
• Karna is presented as a noble but bitter man, destroyed by the stigma of illegitimacy.
• Krishna is treated not as a god but as a shrewd political strategist.
  By focusing on their humanity, Karve transforms myth into realistic character studies, an essential feature of critical analysis.

Sociological and Psychological Insight

Karve applies the tools of sociology and psychology to interpret the epic. She looks at the family structure, gender relations, political power, and social customs of the time. For example:

• In Kunti’s life, she sees the struggle of a woman balancing motherhood with political necessity.
• In Draupadi’s humiliation, she identifies the collapse of dharma and the silencing of women in a patriarchal society.
• Gandhari’s blindfold becomes a symbol of wasted potential and voluntary subjugation.
  These interpretations highlight social realities and psychological struggles, turning the epic into a mirror of human society rather than a divine allegory.

Critical Treatment of Power and Morality

Another aspect of Karve’s critical analysis is her questioning of power, dharma, and morality. She critiques how figures like Bhishma misuse their authority by staying silent in moments of crisis, and how Krishna justifies bending rules for political expediency. Instead of glorifying these actions, Karve exposes their contradictions, showing how the epic reflects the complexity of moral choices in human life.

Historical Reading of the Epic

Karve also treats the Mahabharata as a historical record of social transition. The title Yuganta—“the end of an epoch”—captures this idea. The war signifies not just a clash between cousins but the collapse of an old order of values. Joint families, unquestioned obedience to elders, and the clarity of dharma give way to uncertainty, ambition, and moral ambiguity. This historical perspective is a hallmark of critical analysis, as it situates the epic in its social context.

Message and Relevance

By presenting the Mahabharata critically, Karve delivers a message that remains relevant: human beings are shaped by ambition, duty, and social pressures; power without justice leads to destruction; and every age faces its own yuganta—the death of old values and the birth of new ones. Her analysis allows readers to see the epic not as a remote myth but as a living text reflecting timeless human dilemmas.

Conclusion

Iravati Karve’s Yuganta: The End of an Epoch is rightly described as a critical analysis of the Mahabharata. Through rational interpretation, sociological insight, and psychological realism, she turns mythological heroes into relatable human beings. By critiquing their use of power, exposing their moral weaknesses, and situating them in the larger context of social change, Karve demonstrates that the Mahabharata is not just a sacred story but a profound study of human nature and society. Her work thus bridges the gap between ancient epic and modern critical thought, making Yuganta an enduring classic of literary and cultural analysis.

Bhishma: The Exercise and Abuse of Power in Iravati Karve’s Yuganta

In Yuganta: The End of an Epoch, Iravati Karve provides a humanistic and sociological reinterpretation of the characters of the Mahabharata. Among them, Bhishma, the grand patriarch of the Kuru dynasty, is presented as a deeply tragic figure. Karve critiques not only his rigid sense of duty but also the manner in which his authority and power were both exercised and abused, often to the detriment of society and justice.

Bhishma’s Power and Authority

Bhishma held unparalleled power in the Kuru dynasty. As the grandsire, commander-in-chief, and custodian of tradition, his word carried immense weight. He was respected by all for his personal sacrifice—renouncing marriage and kingship for the sake of his father. His celibacy and loyalty became legendary. Yet Karve points out that this very sacrifice, while noble on the surface, bound him to vows so rigid that they made him ineffective in moments that demanded flexibility and compassion.

Failure of Moral Leadership

Karve emphasizes that Bhishma misused his moral authority by remaining silent in times of crisis. For instance, during the infamous dice game where Draupadi was humiliated in the Kaurava court, Bhishma did not intervene decisively. Though he knew that dharma was being violated, his attachment to his vow of loyalty to the throne prevented him from acting. This inaction, Karve suggests, was an abuse of his moral power, because silence in the face of injustice is as damaging as active wrongdoing.

Power Without Responsibility

One of Karve’s strongest critiques is that Bhishma’s immense power lacked effective responsibility. He had the authority to guide Duryodhana away from reckless pride, to prevent the conflict between the cousins, or to assert dharma during Draupadi’s insult. Yet, he chose to remain bound by his duty to the throne, even when the throne was occupied by morally weak rulers like Dhritarashtra. Thus, Bhishma’s exercise of power became self-serving loyalty to vows, rather than genuine responsibility toward justice and society.

Rigid Adherence to Vows

Karve portrays Bhishma as a man enslaved by his own vows. His celebrated celibacy and lifelong service to the Kuru throne, instead of being virtues, became chains that restricted him from acting freely. This rigidity reflects an abuse of personal power, because it allowed injustice to flourish while he remained trapped in formal obligations. In Karve’s reading, true power should be exercised with flexibility and humanity, not blind adherence to rules.

The Tragedy of Bhishma

Bhishma’s tragedy, according to Karve, lies in the gap between his reputation and his actions. He was revered as a symbol of wisdom and dharma, yet in crucial moments, he failed to use his authority to protect the weak or to prevent war. By exercising power passively and misusing his authority through silence, he became indirectly responsible for the destruction of the Kuru dynasty. Karve thus critiques him as a figure whose greatness was undermined by his inability to rise above his vows.

Conclusion

In Yuganta, Iravati Karve critiques Bhishma not simply as a noble elder but as a leader who abused his power by failing to exercise it rightly. His silence during Draupadi’s humiliation, his loyalty to corrupt rulers, and his rigid adherence to vows demonstrate the misuse of authority in the name of duty. Bhishma’s example shows how power, when not directed toward justice, becomes destructive. Karve’s analysis turns him from a heroic patriarch into a tragic reminder of how excessive loyalty to tradition can lead to moral failure and social collapse.

 

YUGANTA: The End of an Epoch – Study Notes

By Iravati Karve

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Introduction

The Mahabharata is one of the greatest epics of India, filled with stories of gods, heroes, wars, and moral struggles. Traditionally, it has been read as a religious text with deep spiritual messages. However, in her famous work Yuganta: The End of an Epoch, Iravati Karve takes a very different approach. She treats the Mahabharata as a record of human experiences rather than a divine story. She studies the characters as real people—full of strengths, weaknesses, ambitions, and flaws.

Karve uses a rational and historical method. She avoids religious explanations and instead tries to understand the epic as literature, history, and sociology. She focuses on the end of the Dvapara Yuga and the coming of Kali Yuga, a time when the old order collapsed and a new age began. According to Karve, this “end of an epoch” reflects both human greatness and human failure.

Her essays in Yuganta analyze key characters like Bhishma, Kunti, Gandhari, Draupadi, Karna, Yudhishthira, Krishna, and others. She discusses themes such as fate, power, morality, the role of women, and the tragic consequences of ambition. The book is respected because it makes the Mahabharata more relatable to modern readers and encourages us to think about human nature in new ways.

Karve’s Approach to the Mahabharata

Karve’s approach is different from the traditional religious one. Instead of treating the Mahabharata as a holy scripture, she studies it as a historical text. She points out that the story was written over centuries and reflects the values, politics, and society of ancient India.

Her method has three important aspects:

1. Humanistic – She sees the characters not as gods or demons, but as ordinary people with desires, mistakes, and emotions.

2. Critical – She questions the decisions made by powerful figures, showing how their choices often led to destruction.

3. Sociological – She highlights the role of women, family systems, caste, and political struggles in shaping events.

This makes Yuganta a unique book. It gives a modern and realistic interpretation of the epic, which helps students connect with it as a story of human beings rather than divine destiny.

Analysis of Key Characters

1. Bhishma

Bhishma is one of the most powerful figures in the epic. He is respected for his vow of celibacy and loyalty to the throne of Hastinapura. But Karve criticizes Bhishma for his rigid sense of duty.

• He sacrificed his own happiness for the sake of his father, but this vow later brought suffering to the kingdom.

• He served the throne blindly, even when the rulers were unjust, like Dhritarashtra.

• Though wise, he did not stop the humiliation of Draupadi in the court.

Karve sees Bhishma as a tragic figure—noble in intention but harmful in effect. His loyalty to the throne became a weakness, as he failed to act against injustice. This shows the danger of following duty without questioning morality.

2. Kunti

Kunti, mother of the Pandavas, is portrayed as a strong but complex woman.

• She showed courage in raising her children after Pandu’s death.

• She was ambitious for their success and always guided them to claim their rights.

• Yet, her decisions also caused suffering—for example, keeping Karna’s birth a secret.

Karve points out that Kunti was torn between personal emotions and political needs. Her silence about Karna until the last moment shows her inability to accept social blame. This secret shaped Karna’s tragic destiny.

Kunti’s life reflects the struggles of women in a patriarchal society. She had to suppress her desires and live only as a mother and widow.

3. Gandhari

Gandhari, the wife of Dhritarashtra, represents patience and sacrifice. She blindfolded herself to share her husband’s darkness. But Karve questions this act—was it true sacrifice, or pride?

Gandhari was often silent in crucial moments. She could not stop her sons from committing evil deeds. Only after the war did she express her grief and anger, cursing Krishna himself.

Karve presents Gandhari as a woman caught between loyalty to her husband and responsibility as a mother. Her silence cost her dearly, as she lost all her sons in the war.

4. Draupadi

Draupadi is one of the most dynamic women in the epic. Born from fire, she symbolises passion, strength, and pride.

• She was married to five men, which was against the norm, but she managed this unique situation with dignity.

• She was deeply wronged during the dice game when she was humiliated in the Kaurava court.

• Her demand for revenge played a major role in the war.

Karve admires Draupadi’s courage but also shows how her pride and anger sometimes increased conflict. Draupadi represents women’s resistance in a male-dominated world, but also the tragic cost of vengeance.

5. Karna

Karna is perhaps the most tragic hero of the Mahabharata. Born to Kunti before her marriage, he was abandoned and raised by a charioteer’s family.

• He was a great warrior but always suffered due to his low social status.

• He remained loyal to Duryodhana, who gave him respect when others mocked him.

• His rivalry with Arjuna was central to the epic.

Karve sees Karna as a victim of fate and social prejudice. His generosity and loyalty were admirable, but his bitterness pushed him into siding with adharma (injustice). His death after knowing his true identity adds to the tragedy.

6. Yudhishthira

Yudhishthira is known for his truthfulness and sense of dharma. But Karve shows how his rigid morality sometimes became dangerous.

• He gambled away his kingdom, brothers, and even Draupadi.

• His idea of dharma often made him indecisive in critical moments.

• Yet, after the war, he became a just and peaceful ruler.

Karve portrays him as a man struggling to balance morality with responsibility. His mistakes caused great suffering, but his sincerity brought stability after the war.

7. Krishna

Krishna is the most complex character in the epic. Traditionally seen as divine, Karve interprets him as a political genius and strategist.

• He supported the Pandavas but often used cunning methods, like advising deceitful killings of Bhishma, Drona, and Karna.

• He valued justice but was not bound by conventional morality.

• His role shows that in politics, sometimes practical action is more important than idealism.

Karve admires Krishna’s leadership but also shows that his methods raised questions about morality. He represents the idea that great changes in history often come through ruthless decisions.

Themes in Yuganta

1. The Abuse of Power

Karve highlights how powerful figures in the epic often misused their authority. Bhishma, Dhritarashtra, Duryodhana, and others failed to use power responsibly. Their actions led to destruction.

2. Women and Patriarchy

The epic shows how women like Kunti, Gandhari, and Draupadi struggled in a male-dominated society. They had strength but were forced into silence or suffering because of social rules.

3. Fate vs. Free Will

Many characters blamed fate for their problems. But Karve argues that human choices shaped the war more than destiny. The tragedy was caused by human weakness, not just divine will.

4. Morality and Dharma

The epic questions what is truly right. Bhishma followed duty blindly, Yudhishthira followed dharma rigidly, Krishna used practical wisdom, and Draupadi sought justice passionately. Together, they show that morality is complex and cannot be defined simply.

5. End of an Epoch

The war of Kurukshetra destroyed an entire generation. Families, kingdoms, and traditions collapsed. Karve calls this the “end of an epoch,” showing how history moves forward by ending old systems, often through tragedy.

Karve’s Criticism of Bhishma’s Power

One of Karve’s strongest points is her critique of Bhishma. Though respected as a noble elder, Bhishma abused his power by serving the throne blindly.

• He allowed injustice in the court.

• He failed to stop Draupadi’s humiliation.

• His vow became a curse for Hastinapura.

Karve says Bhishma’s tragedy was that he confused duty with morality. His silence and inaction allowed evil to grow. This makes him responsible, in part, for the war and destruction.

Conclusion

Iravati Karve’s Yuganta is a unique study of the Mahabharata. Instead of treating it as mythology, she studies it as human history. Her essays show that the epic is not just about gods and fate but about human choices, mistakes, and ambitions.

• Characters like Bhishma, Kunti, Gandhari, Draupadi, Karna, Yudhishthira, and Krishna are presented as real human beings.

• Themes like power, morality, women’s struggles, and the end of an era are explored deeply.

• The book teaches us that the downfall of great dynasties often comes not from fate but from the weaknesses of individuals.

For students, Yuganta is important because it gives a critical and modern way of reading the Mahabharata. It shows that even ancient stories can help us understand today’s world—about leadership, justice, power, and human relationships.

Thus, Yuganta is both a study of the past and a mirror for the present. It teaches that every age ends because of human failures, but from those failures, a new age always begins.

Articles - Exercises with Solutions

 A. Fill in the blanks with 'a', 'an', 'the' or 'X'

1. The peacock is in danger of extinction.
   📝 Explanation: Use "the" before a singular noun that represents a whole class/species.
2. Could you get me a kilogram of tea, please?
   📝 Explanation: Use "a" before singular, countable nouns when mentioned for the first time.
3. There is a European and an Eskimo among the tourists.
   📝 Explanation: Use "a" before words beginning with a consonant sound (European sounds like "Yoo-ropean") and "an" before words starting with a vowel sound (Eskimo).
4. The Sally I know lives in Bhubaneswar.
   📝 Explanation: Use "the" when referring to a specific or previously known person with a proper noun to distinguish.
5. Sajita found a wallet on her way home. She took the wallet to the police station.
   📝 Explanation: Use "a" when introducing something for the first time and "the" when referring back to it.
6. We must work to save the tigers from becoming extinct.
   📝 Explanation: Use "the" before animal species when speaking about them as a group.
7. X Have you had breakfast?
   📝 Explanation: No article is used before meals when spoken about in general.
8. You must reach X school before 9 a.m.
   📝 Explanation: No article before institutions like school, college, hospital when used for their primary purpose.
9. It is an awe-inspiring sight to see the Brahmaputra in spate.
   📝 Explanation: Use "an" before vowel sounds (awe) and "the" before names of rivers.
10. This is a painting of the Western Ghats, and that is a photograph of the Mahabaleshwar peak.
    📝 Explanation: Use "the" before mountain ranges (Western Ghats) and well-known peaks.
11. X Mary will go to school when she is three.
    📝 Explanation: No article before school when used for its primary purpose.
12. Our library has three copies of the Mahabharata.
    📝 Explanation: Use "the" before names of epics, holy books.

B. Rewrite the sentences with correct use of articles

1. The oranges and lemons are citrus fruits.
   ✅ Answer: Oranges and lemons are citrus fruits.
   Explanation: "The" is not needed before general plural nouns when talking about things in general.

2. Asif is going to visit the Oxford University.
   ✅ Answer: Asif is going to visit Oxford University.
   Explanation: "The" is not used before most university names unless the name includes a phrase like University of...

3. The elephants and the lions are found in India.
   ✅ Answer: Elephants and lions are found in India.
   Explanation: We don't use "the" before animal names in general (plural) statements.

4. Have you been to Nilgiri hills?
   ✅ Answer: Have you been to the Nilgiri Hills?
   Explanation: Mountain ranges take "the" before their name.

5. History is not really Lisa's favourite subject, but she finds the history of the Greeks fascinating.
   ✅ Answer: (No change needed.)
   Explanation: "History" as a subject doesn't need "the," but "the history of the Greeks" is specific, so "the" is correct.

6. You can take Visaka Express to Mumbai.
   ✅ Answer: You can take the Visaka Express to Mumbai.
   Explanation: Train names generally use "the" before them.

7. The children have been sent to the bed.
   ✅ Answer: The children have been sent to bed.
   Explanation: "To bed" (meaning going to sleep) doesn’t use "the."

8. Gold you buy here is of the excellent quality.
   ✅ Answer: The gold you buy here is of excellent quality.
   Explanation: "The" is used before "gold" because it refers to a specific quantity. "Excellent quality" doesn’t need "the."

9. Manoj heard a old tale about an unicorn.
   ✅ Answer: Manoj heard an old tale about a unicorn.
   Explanation: Use "an" before vowel sounds like "old." "Unicorn" begins with a "yu" sound, so "a" is correct.

10. Philosophy discussed in this book is very difficult to understand.
    ✅ Answer: The philosophy discussed in this book is very difficult to understand.
    Explanation: Specific philosophy mentioned needs "the."

C. Fill in the blanks with indefinite articles where necessary

1.     She doesn't own a car.
✅ Explanation: "Car" is a singular countable noun; use "a" for general reference.

2.     He came from a humble beginning.
✅ Explanation: "Humble beginning" is a singular countable noun.

3.     I saw X bears at the zoo.
✅ Explanation: "Bears" is plural; no article is needed.

4.     He asked for X milk.
✅ Explanation: "Milk" is uncountable; no article is used.

5.     She didn't get an invitation.
✅ Explanation: Use "an" before vowel sound ("invitation").

6.     I saw an eagle fly by.
✅ Explanation: "Eagle" starts with a vowel sound; use "an".

7.     She was an English teacher. She taught at a European university.
✅ Explanation: "English" begins with a vowel sound (an), "European" sounds like "Yoo-ro"; use "a".

8.     He bought X milk, X butter, and a loaf of bread.
✅ Explanation: "Milk" and "butter" are uncountable; "loaf" is countable.

9.     The table is made of X wood.
✅ Explanation: "Wood" is uncountable; no article is needed.

10.  Dr Abdul Kalam was an honest man.
✅ Explanation: "Honest" starts with a vowel sound; use "an".

D. Insert articles wherever necessary

 1. There is book in my backpack. Book is very heavy.

Answer: There is a book in my backpack. The book is very heavy.
Explanation: "A" introduces something new; "the" refers to the same book already mentioned.

2. Do you know where I left car keys?
Answer: Do you know where I left the car keys?
Explanation: "The" is used for specific things known to both the speaker and listener.

3. I enjoy reading detective novels, especially ones by famous author Arthur Conan Doyle.
Answer: I enjoy reading detective novels, especially ones by the famous author Arthur Conan Doyle.
Explanation: "The" is used before well-known people or things that are specific.

4. French drink wine, while Americans drink beer.
Answer: The French drink wine, while the Americans drink beer.
Explanation: Nationalities used as collective nouns take "the".

5. Group of MBA students from university of Mumbai visited Harvard University in United States.
Answer: A group of MBA students from the University of Mumbai visited Harvard University in the United States.
Explanation: "A" for a general group; "the" for official institutions and countries like "the United States".

6. Bible was first book to be printed by Gutenberg in fifteenth century.
Answer: The Bible was the first book to be printed by Gutenberg in the fifteenth century.
Explanation: "The" is used with unique things, ordinals (first), and centuries.

7. I am fond of music of Mozart. My grandfather owns antique piano.
Answer: I am fond of the music of Mozart. My grandfather owns an antique piano.
Explanation: "The" for specific reference; "an" before a vowel sound (antique).

8. Cloth is sold by metre. Metre of this fabric cost me moon.
Answer: Cloth is sold by the metre. A metre of this fabric cost me the moon.
Explanation: "The" before standard measurements; "a" introduces a single item; "the moon" is a fixed phrase.

9. Sun is at highest point in sky at noon.
Answer: The sun is at the highest point in the sky at noon.
Explanation: Use "the" for unique things (sun, sky) and superlatives (highest).

10. After humans, chimpanzee is most intelligent among animals.
Answer: After humans, the chimpanzee is the most intelligent among animals.
Explanation: "The" before species and superlative forms.

The Homecoming – Rabindranath Tagore

The Homecoming – Rabindranath Tagore

Phatik Chakravarti was the ringleader among the boys of the village. One day a plan for new mischief entered his head. There was a heavy log lying on the mud-flat of the river, waiting to be shaped into a mast for a boat. His plan was that they should all work together to shift the log by main force from its place and roll it away. The owner of the log would be angry and surprised, while they would all enjoy the fun. Everyone supported the proposal, and it was carried unanimously.

But just as the fun was about to begin, Makhan, Phatik’s young brother, sauntered up without a word and sat down on the log in front of them all. The boys were puzzled for a moment. One of them pushed him rather timidly, and told him to get up; but he remained quite unconcerned. He appeared like a young philosopher meditating on the futility of games. Phatik was furious. ‘Makhan,’ he cried, ‘if you don’t get up this minute, I’ll thrash you!’

Makhan only moved to a more comfortable position.

Now, if Phatik was to keep his real dignity before the public, it was clear that he must carry out his threat. But his courage failed him at the crisis. His fertile brain, however, rapidly seized upon a new manoeuvre which would discomfort his brother and afford his followers added amusement. He gave the word of command to roll the log and Makhan over together. Makhan heard the order and made it a point of honour to stick on. But like those who attempt earthly fame in other matters, he over-looked the fact that there was peril in it.

The boys began to heave at the log with all their might, calling out, ‘One, two, three, go!’ At the word ‘go’ the log went; and with it went Makhan’s philosophy, glory and all.

The other boys shouted themselves hoarse with delight. But Phatik was a little frightened. He knew what was coming. And he was not mistaken, for Makhan rose from Mother Earth blind as Fate and screaming like the Furies. He rushed at Phatik, scratched his face, beat him and kicked him, and then went crying home. The first act of the drama was over.

Phatik wiped his face, and sitting down on the edge of a sunken barge by the river-bank, began to nibble a piece of grass. A boat came up to the landing and a middle-aged man, with grey hair and dark moustache, stepped on shore. He saw the boy sitting there, doing nothing and asked him where the Chakravartis lived. Phatik went on nibbling the grass and said: ‘Over there;’ but it was quite impossible to tell where he pointed. The stranger asked him again. He swung his legs to and fro on the side of the barge and said: ‘Go and find out,’ and continued to nibble the grass.

But, at that moment, a servant came down from the house and told Phatik that his mother wanted him. Phatik refused to move. But on this occasion the servant was the master. He roughly took Phatik up and carried him, kicking and struggling in impotent rage.

When Phatik entered the house, his mother saw him and called out angrily: ‘So you have been hitting Makhan again?’

Phatik answered indignantly: ‘No, I haven’t! Who told you that I had?’

His mother shouted: ‘Don’t tell lies! You have.’

Phatik said sullenly: ‘I tell you, I haven’t. You ask Makhan!’ But Makhan thought it best to stick to his previous statement. He said: ‘Yes, mother, Phatik did hit me.’

Phatik’s patience was already exhausted. He could not bear this injustice. He rushed at Makhan and rained on him a shower of blows: ‘Take that,’ he cried, ‘and that, and that, for telling lies.’

His mother took Makhan’s side in a moment, and pulled Phatik away, returning his blows with equal vigour. When Phatik pushed her aside, she shouted out: ‘What! You little villain! Would you hit your own mother?’

It was just at this critical moment that the grey-haired stranger arrived. He asked what had occurred. Phatik looked sheepish and ashamed.

But when his mother stepped back and looked at the stranger, her anger was changed into surprise. For she recognised her brother and cried: ‘Why, Dada! Where have you come from?’

As she said these words, she bowed to the ground and touched his feet. Her brother Bishambar had gone away soon after she had married, and had started business in Bombay. She herself had lost her husband while he was there. Bishambar had now come back to Calcutta, and had at once made inquiries concerning his sister. As soon as he found out where she was, he had hastened to see her.

The next few days were full of rejoicing. The brother asked how the two boys were being brought up. He was told by his sister that Phatik was a perpetual nuisance. He was lazy, disobedient, and wild. But Makhan was as good as gold, as quiet as a lamb, and very fond of reading. Bishambar kindly offered to take Phatik off his sister’s hands and educate him with his own children in Calcutta. The widowed mother readily agreed. When his uncle asked Phatik if he would like to go to Calcutta with him, his joy knew no bounds, and he said: ‘Oh, yes, yes, uncle!’ in a way that made it quite clear that he meant it.

It was an immense relief to the mother to get rid of Phatik. She had a prejudice against the boy, and no love was lost between the two brothers. She was in daily fear that he would some day either drown Makhan in the river, or break his head in a fight, or urge him on into some danger. At the same time she was a little distressed to see Phatik’s extreme eagerness to leave his home.

Phatik, as soon as all was settled, kept asking his uncle every minute when they were to start. He was on pins all day long with excitement and lay awake most of the night. He bequeathed to Makhan, in perpetuity, his fishing-rod, his big knife, and his marbles. Indeed, at this time of departure, his generosity towards Makhan was unbounded.

When they reached Calcutta, Phatik met his aunt for the first time. She was by no means pleased with this unnecessary addition to her family. She found her own three boys quite enough to manage without taking anyone else. And to bring a village lad of fourteen into their midst was terribly upsetting. Bishambar should really have thought twice before committing such an indiscretion.

In this world there is no worse nuisance than a boy at the age of fourteen. He is neither ornamental nor useful. It is impossible to shower affection on him as on a smaller boy; and he is always getting in the way. If he talks with a childish lisp he is called a baby, and if in a grownup way he is called impertinent. In fact, talk of any kind from him is resented. Then he is at the unattractive, growing age. He grows out of his clothes with indecent haste; his voice grows hoarse and breaks and quavers; his face grows suddenly angular and unsightly. It is easy to excuse the shortcomings of early childhood, but it is hard to tolerate even unavoidable lapses in a boy of fourteen. He becomes painfully self-conscious, and when he talks with elderly people he is either unduly forward, or else so unduly shy that he appears ashamed of his own existence.

Yes, it is at this age that in his heart of hearts, a young lad most craves recognition and love and he becomes the devoted slave of anyone who shows him consideration. But none dare openly love him, for that would be regarded as undue indulgence and therefore bad for the boy. So, what with scolding and chiding, he becomes very much like a stray dog that has lost its master.

His own home is the only paradise that a boy of fourteen can know. To live in a strange house with strange people is little short of torture; while it is the height of bliss to receive the kind looks of women and never to suffer their slights.

It was anguish to Phatik to be an unwelcome guest in his aunt’s house, constantly despised and slighted by this elderly woman. If she ever asked him to do anything for her, he would be so overjoyed that his joy would seem exaggerated; and then she would tell him not to be so stupid, but to get on with his lessons.

This constant neglect gave Phatik a feeling of almost physical oppression. He wanted to go out into the open country and fill his lungs with fresh air. But there was no open country to go to. Surrounded on all sides by Calcutta houses and walls, he would dream night after night of his village home and long to be back there. He remembered the glorious meadow where he used to fly his kite all day long; the broad river-banks where he would wander the livelong day, singing and shouting for joy; the narrow brooks where he could dive and swim whenever he liked. He thought of the band of boy companions over whom he was despot; and, above all, thoughts of even that tyrant mother of his, who had such a prejudice against him, filled his mind day and night. A kind of physical love like that of animals, a longing to be in the presence of the loved one, an inexpressible wistfulness during absence, a silent cry of the inmost heart for the mother, like the lowing of a calf in the twilight—this love, which was almost an animal instinct, stirred the heart of this shy, nervous, thin, uncouth and ugly boy. No one could understand it, but it preyed upon his mind continually.

There was no more backward boy in the whole school than Phatik. He gaped and remained silent when the teacher asked him a question, and like an overladen ass patiently suffered the many thrashings that were meted out to him. When other boys were out at play, he stood wistfully by the window and gazed at the roofs of the distant houses. And if by chance he espied children playing on the open terrace of a roof, his heart would ache with longing.

One day he summoned up all his courage and asked his uncle: ‘Uncle, when can I go home?’

His uncle answered: ‘Wait till the holidays come.’

But the holidays would not come till October and there was still a long time to wait.

One day Phatik lost his lesson book. Even with the help of books he had found it very difficult to prepare his lesson. But, now, it became impossible. Day after day the teacher caned him unmercifully. He became so abjectly miserable that even his cousins were ashamed to own him. They began to jeer and insult him more than even the other boys did. At last he went to his aunt and told her that he had lost his book.

With an expression of the greatest contempt she burst out: ‘You great, clumsy, country lout! How can I afford to buy you new books five times a month, when I have my own family to look after?’

That night, on his way back from school, Phatik had a bad headache and a shivering-fit. He felt that he was going to have an attack of malaria. His one great fear was that he might be a nuisance to his aunt.

The next morning Phatik was nowhere to be seen. Search in the neighbourhood proved futile. The rain had been pouring in torrents all night, and those who went out to look for the boy were drenched to the skin. At last Bishambar asked the police to help him.

At nightfall a police van stopped at the door of the house. It was still raining and the streets were flooded. Two constables carried Phatik out in their arms and placed him before Bishambar. He was wet through from head to foot, covered with mud, while his face and eyes were flushed with fever and his limbs were trembling. Bishambar carried him in his arms and took him inside the house. When his wife saw him she exclaimed: ‘What a heap of trouble this boy has given us! Hadn’t you better send him home?’

Phatik heard her words and sobbed aloud: ‘Uncle, I was just going home; but they dragged me back again.’

The fever rapidly increased, and throughout the night the boy was delirious. Bishambar brought in a doctor. Phatik opened his eyes, and looking up to the ceiling said vacantly: ‘Uncle, have the holidays come yet?’

Bishambar wiped the tears from his eyes and took Phatik’s thin burning hands in his own and sat by his side through the night. Again the boy began to mutter, till at last his voice rose almost to a shriek: ‘Mother!’ he cried, ‘don’t beat me like that……Mother! I am telling the truth!’

The next day Phatik for a short time became conscious. His eyes wandered round the room, as if he expected someone to come. At last, with an air of disappointment, his head sank back on the pillow.

With a deep sigh he turned his face to the wall.

Bishambar read his thoughts, and bending down his head, whispered: ‘Phatik, I have sent for your mother.’

The day dragged on. The doctor said in a troubled voice that the boy’s condition was very critical.

Phatik began to cry out: ‘By the mark—three fathoms. By the mark—four fathoms. By the mark—’ Many times had he heard the sailors on the river steamers calling out the mark on the leadline. Now he was himself plumbing an unfathomable sea.

Later in the day Phatik’s mother burst into the room like a whirlwind, and rocking herself to and fro from side to side began to moan and cry.

Bishambar tried to calm her, but she flung herself on the bed, and cried: ‘Phatik, my darling, my darling.’

Phatik stopped his restless movements for a moment. His hands ceased beating up and down. He said: ‘Eh?’

The mother cried again: ‘Phatik, my darling, my darling.’

Very slowly Phatik’s eyes wandered, but he could no longer see the people round his bed. At last he murmured: ‘Mother, the holidays have come.’

Great! I’ve read the story "The Home-Coming" by Rabindranath Tagore. I’ll now create 50 multiple-choice questions (MCQs) based on the story, followed by an answer key.

Please give me a moment to prepare them.

Here are 50 Multiple-Choice Questions (MCQs) based on “The Home-Coming” by Rabindranath Tagore, followed by the answer key at the end:

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📝 Multiple-Choice Questions

1. Who is the main character in the story?
   A. Makhan
   B. Bishambar
   C. Phatik
   D. The mother

2. What is Phatik’s role among the village boys?
   A. Quiet observer
   B. Ringleader
   C. Teacher
   D. Newcomer

3. What mischief does Phatik plan with his friends?
   A. Break windows
   B. Hide the teacher’s book
   C. Roll a heavy log
   D. Climb trees

4. Who interrupts their plan with his presence?
   A. A stranger
   B. Phatik’s uncle
   C. The village guard
   D. Makhan

5. How does Makhan react when asked to leave the log?
   A. He runs away
   B. He refuses and stays
   C. He calls his mother
   D. He pushes Phatik

6. How does Phatik try to get rid of Makhan?
   A. Threatens him
   B. Calls their mother
   C. Rolls the log with Makhan on it
   D. Hides from him

7. What happens to Makhan during the prank?
   A. He laughs
   B. He runs away
   C. He falls and gets hurt
   D. He starts crying

8. What does Makhan do after falling?
   A. Laughs it off
   B. Cries and runs home
   C. Tells the boys to stop
   D. Hides in the forest

9. Who arrives while Phatik is sitting by the river?
   A. His cousin
   B. A teacher
   C. His uncle
   D. A stranger with a stick

10. How does Phatik treat the stranger at first?
    A. Politely
    B. Rudely
    C. With excitement
    D. With tears

11. Who is the stranger?
    A. A police officer
    B. His uncle Bishambar
    C. A teacher
    D. A trader

12. How does Phatik’s mother feel about him?
    A. Very loving
    B. Neutral
    C. Prejudiced
    D. Proud

13. Who is considered the “good” son by the mother?
    A. Phatik
    B. Makhan
    C. Bishambar
    D. The servant

14. What does Phatik give Makhan before leaving?
    A. Money
    B. A kite
    C. His fishing rod, knife, and marbles
    D. His clothes

15. Where does Phatik go with his uncle?
    A. Bombay
    B. Another village
    C. Delhi
    D. Calcutta

16. How does Phatik’s aunt react to his arrival?
    A. With joy
    B. With coldness
    C. With tears
    D. With laughter

17. What is said to be the worst age for a boy?
    A. Ten
    B. Fourteen
    C. Sixteen
    D. Twelve

18. Why is it hard to love a boy of fourteen openly?
    A. They are too emotional
    B. It is seen as indulgent
    C. They are always away
    D. They do not care

19. How does Phatik feel in his uncle’s home?
    A. Free and happy
    B. Unloved and unwelcome
    C. Excited
    D. Busy with studies

20. What does Phatik most long for in Calcutta?
    A. Better food
    B. To see his father
    C. His village and mother
    D. A friend

21. What is Phatik’s performance in school like?
    A. Excellent
    B. Average
    C. Worst in class
    D. Improving

22. What happened to Phatik’s lesson book?
    A. Torn by his cousin
    B. Lost
    C. Burned accidentally
    D. Given away

23. How does his aunt respond when he says he lost his book?
    A. Buys him another
    B. Scolds him harshly
    C. Cries
    D. Ignores it

24. What illness does Phatik seem to suffer from?
    A. Fever
    B. Malaria
    C. Typhoid
    D. Cold

25. Where is Phatik found after disappearing?
    A. At school
    B. In a police van
    C. At the riverbank
    D. At a friend’s home

26. What was the weather like when he was found?
    A. Dry and sunny
    B. Snowy
    C. Raining heavily
    D. Stormy and windy

27. How did the aunt react when Phatik returned sick?
    A. Cried and hugged him
    B. Asked to send him home
    C. Cooked for him
    D. Called a doctor

28. What does Phatik say when he returns wet and sick?
    A. “I want to eat.”
    B. “Uncle, I was just going home.”
    C. “Where is Makhan?”
    D. “I miss my mother.”

29. What did Phatik repeatedly ask his uncle during his fever?
    A. “Can I go home now?”
    B. “Do you love me?”
    C. “When do holidays come?”
    D. “Where is Makhan?”

30. Who does Phatik cry out for in delirium?
    A. Uncle
    B. Teacher
    C. Cousin
    D. Mother

31. What line does Phatik repeat from his memory of river boats?
    A. “Set sail.”
    B. “One, two, three, go!”
    C. “By the mark—three fathoms.”
    D. “Land ahead.”

32. What did the doctor say about Phatik’s condition?
    A. He will recover
    B. He is fine
    C. He is critical
    D. It’s just fever

33. How does his mother react upon seeing him in the end?
    A. Coldly
    B. With anger
    C. She cries and moans
    D. She doesn’t speak

34. What does Phatik say when he hears his mother call him?
    A. “Yes, I’m fine.”
    B. “Where’s uncle?”
    C. “Eh?”
    D. “Take me home.”

35. What are Phatik’s final words?
    A. “Mother, don’t leave me.”
    B. “The holidays have come.”
    C. “I’m tired.”
    D. “I’m sorry.”

36. What theme does the story highlight most deeply?
    A. Bravery
    B. Innocence
    C. Longing for love and home
    D. Competition

37. How does Tagore portray adolescence?
    A. As fun
    B. As awkward and painful
    C. As powerful
    D. As lonely but brave

38. What does Phatik symbolize in the story?
    A. Rebellion
    B. Misunderstood youth
    C. Intelligence
    D. Laziness

39. Who is to blame for Phatik’s suffering?
    A. His teacher
    B. His friends
    C. His family’s neglect
    D. His uncle

40. What does the mother realize too late?
    A. That Phatik was innocent
    B. That she wanted Makhan to leave
    C. That she should have gone with Phatik
    D. That she loved Phatik

41. Why does Phatik's aunt never warm up to him?
    A. He misbehaves
    B. She never wanted him
    C. He was too quiet
    D. She didn’t understand boys

42. What is Phatik’s relationship with his cousin brothers?
    A. Friendly
    B. Jealous
    C. Hostile
    D. Distant and bullied

43. What is the emotional climax of the story?
    A. Phatik asking about holidays
    B. His mother arriving
    C. Phatik crying in fever
    D. His final words

44. How does Bishambar show care for Phatik?
    A. By punishing him
    B. By sitting beside him at night
    C. By sending him away
    D. By ignoring the aunt

45. What is the tone of the story?
    A. Humorous
    B. Sad and emotional
    C. Angry
    D. Boring

46. How does the story depict rural vs urban life?
    A. Urban is kinder
    B. Rural is harder
    C. Urban is cold and alienating
    D. No contrast

47. What literary device is used when Phatik dreams of his village?
    A. Irony
    B. Flashback
    C. Simile
    D. Foreshadowing

48. What is symbolized by Phatik’s final illness?
    A. A punishment
    B. His longing for home
    C. A test
    D. A gift

49. What does the title “The Home-Coming” suggest?
    A. Someone returns home
    B. A festival story
    C. Longing to return, even if through death
    D. Adventure

50. What is the most tragic part of the story?
    A. Phatik never wanted to leave
    B. He was sent away
    C. He died before being loved
    D. He hated his brother

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✅ Answer Key

1. C

2. B

3. C

4. D

5. B

6. C

7. C

8. B

9. C

10. B

11. B

12. C

13. B

14. C

15. D

16. B

17. B

18. B

19. B

20. C

21. C

22. B

23. B

24. B

25. B

26. C

27. B

28. B

29. C

30. D

31. C

32. C

33. C

34. C

35. B

36. C

37. B

38. B

39. C

40. D

41. B

42. D

43. B

44. B

45. B

46. C

47. B

48. B

49. C

50. C