NCERT Solutions Exploring Society: India and Beyond Chapter 8 End-of-chapter exercise — Questions, activities and projects

Book page 136 Updated on2026-09-05

Q1.
Conduct a class discussion on the two quotations at the start of the chapter.
Answer

The two quotations on page 125 say the same thing in two very different voices — one a poet's prayer, one a philosopher's argument. Read each slowly before discussing.

The quotationWhat it says, line by line
Rabindranath Tagore: “Oh, grant me my prayer, that I may never lose the bliss of the touch of the one in the play of the many.”It is a prayer, not a statement — the poet is asking to be kept from something. What he fears losing is the ability to feel the one while enjoying the many. ‘Play’ is the key word: the variety of the world is not a muddle but a delight. ‘Touch’ tells you this is something felt, not proved
Sri Aurobindo: “… The principle of unity in diversity which has always been normal to [India] and its fulfilment the fundamental course of her being and its very nature, the Many in the One, would place her on the sure foundation of her Swabhava and Swadharma.”He calls unity in diversity ‘normal’ to India — not an achievement or a slogan but her ordinary condition. Swabhava means one's own nature, swadharma one's own duty or way of being. His claim is that India is on firm ground only when she is being herself, that is, many-in-one

Questions that make the discussion go somewhere:

  • Tagore says the many are a ‘play’. Sri Aurobindo says the many-in-one is India's ‘nature’. Which of the two words fits your own experience of the country better, and why?
  • Tagore asks that he may ‘never lose’ this sense. What could make a person lose it? (Living only among people exactly like oneself; treating one's own way as the only right way; refusing to travel or to listen.)
  • Sri Aurobindo says a country is strongest when it follows its own swabhava. Does that idea apply to a person too — is a student strongest when copying others, or when being fully himself or herself while belonging to the class?
  • Both were writing long before this textbook. Does anything in the chapter — the grain map, the sari, the January festival, the tribal Rāmāyaṇas — prove either of them right?
Why the chapter opens with poetry and philosophy rather than facts: the facts come later, and there are plenty of them. What the two quotations supply is the idea that makes the facts add up — that variety is a form of richness rather than of disorder. Without that idea, 325 languages is just a large number.
Q2.
Select a few stories from the Pañchatantra and discuss how their message is still valid today. Do you know of any similar stories from your region?
Answer

Part 1 — four stories and their message today.

StoryWhat happensWhy the message still holds
The monkey and the crocodileA crocodile befriends a monkey to carry him home and take his heart; the monkey saves himself by claiming he has left his heart on the treeKeep your wits when you are frightened; and be careful about who is being friendly to you and why — a lesson that fits online “friends” exactly
The four friends and the deer (crow, mouse, tortoise, deer)Four very different animals free the trapped deer, each using the one thing it can doA team wins by combining different abilities, not by everyone being the same — the chapter's own theme, told as a story
The blue jackalA jackal falls into a dyer's vat, is taken for a magical beast, is crowned king — and is found out the moment he howls with the other jackalsPretending to be what you are not cannot last; and a crowd can be fooled by appearances for a while, but not forever
The brahmin and the goat (or ‘the three rogues’)Three cheats, one after another, tell a man that the goat on his shoulder is a dog, until he abandons itA false statement repeated by enough people starts to sound true. This is exactly what a rumour or a forwarded message does today

Part 2 — similar stories from your own region. Do not copy this list; ask at home first. Every part of India has its own collection, and the point of the question is to find yours.

Collection or tellerRegion / languageWhat the stories are like
HitopadeśhaSanskrit, drawn largely from the PañchatantraAnimal fables arranged as advice to young princes
Jātaka talesBuddhist tradition, retold in many Indian languagesStories of the Buddha's earlier births, very often as an animal
Tenali Rāma storiesTelugu, from the Vijayanagara courtA quick-witted courtier who solves problems by cleverness
Birbal storiesNorth India, Hindi and UrduThe same pattern — intelligence beating force or wealth
Vikram–Betāl (Vetāla Pañchaviṃśati)Sanskrit and most north Indian languagesEach tale ends in a riddle about what is right
Gopal Bhar storiesBengaliA court jester's tales, comic and sharp
Paramārtha Guru storiesTamilComic tales of a foolish guru and his disciples
Notice what this proves: the fable with a moral is not the property of one region or one language. Sanskrit, Pali, Telugu, Bengali, Tamil and Hindi all have their own — sometimes the very same story under a different name. One kind of story, many tellers: the chapter's theme again.
Q3.
Collect a few folk tales from your region and discuss their message.
Answer

How to collect properly. This is a small piece of fieldwork, and doing it carefully matters more than the number of stories.

  1. Choose your tellers. Grandparents, older neighbours, a shopkeeper, a farmer, a domestic helper, someone who has come from another State — the range matters.
  2. Ask an open question: “Is there a story you heard as a child that you still remember?” Do not suggest a story yourself.
  3. Write it in the teller's own words as far as you can, and note the language the story was told in. If it is in a language your class does not share, keep the original words for the names and the songs.
  4. Record three things about the story: where it is set (a real hill, river or village?), who the characters are, and what the story is warning against or praising.
  5. Name and thank your source — “told by Smt. Kamala Devi, aged 74, in Bundeli”. A collected tale without its teller is only half a record.

Sample entry (use the shape, not the story):

Story: The parrot and the miser
Told by: my grandmother, in Bhojpuri
The tale: A rich man kept a parrot in a golden cage and fed it the best fruit, but never let it out. A poor woodcutter's daughter kept no cage at all, and a parrot came to her hut every evening for a few grains. When both fell ill, the rich man's parrot could not call for help, but the girl's parrot flew to the village and brought the neighbours.
Message: what is held by force is not really yours; what is given freely comes back to you.
What it shows about the region: the tale is set in a millet-growing village and mentions the mahua tree, so it belongs to the dry central belt where that tree matters.

What to discuss in class once the tales are in.

  • Sort them by message — honesty, hospitality, kindness to animals, respect for water and forest, cleverness over strength, the danger of greed. You will find the same handful of messages coming up again and again, in stories collected from different languages.
  • Look for the local detail — the name of a hill, a river, a tree, a festival. That is what makes the tale yours.
  • Look for a familiar story wearing new clothes. Very often a classmate's tale will turn out to be a version of one you already know. That is the chapter's discovery, made by your own class: the same story, many local forms.
Q4.
Is there any ancient story that you have seen being depicted through a form of art? It could be a sculpture, a painting, a dance performance, a movie … Discuss with your classmates.
Answer

What a good answer contains: name the story, name the art form and where you saw it, and then say how that particular art form told the story — because each one tells it differently.

Art formExamples you may well have seenHow it tells the story
Sculpture / reliefTemple panels of the Rāmāyaṇa and the Mahābhārata; Mahabalipuram's ‘Arjuna's Penance’; Jātaka scenes at Sanchi and BharhutOne frozen moment, chosen because it carries the whole story; you must know the tale to read it
PaintingFig. 8.6 in this chapter — the Mewar Rāmāyaṇa of 1652; also Madhubani, Pattachitra, Kalamkari, Phad and Warli scroll paintingsSeveral moments on one surface, in compartments or panels, read like a comic strip
Classical danceKathakali and Kūṭiyāṭṭam (Kerala), Bharatanatyam, Odissi, Kathak, Sattriya (Assam), Manipuri Rās LīlāThrough abhinaya — face, eyes and hand gestures (mudrās) — so a single dancer can play several characters
Folk theatreRāmlīlā and Rāsalīlā (north India), Yakṣhagāna (Karnataka), Terukkūttu (Tamil Nadu), Chhau (Jharkhand, Odisha, West Bengal), Bhavai (Gujarat)All night, in the open, with the audience joining in — the story belongs to the village, not to a stage
PuppetryTholu Bommalata (Andhra Pradesh), Togalu Gombeyaata (Karnataka), Kathputli (Rajasthan)Leather or wooden figures, often in shadow behind a lit screen
Cinema and televisionFilms and serials on the Rāmāyaṇa and the Mahābhārata; animated versions; comic booksThe newest retelling of all — and, as the chapter would say, one more version added to the hundreds already there

Sample answer:

Last year our school took us to a Yakṣhagāna performance during a temple festival. The episode was Abhimanyu's entry into the Chakravyūha from the Mahābhārata. The performers wore enormous headdresses and painted faces, and the whole story was carried by a singer at the side with drums, while the actors danced and spoke. What struck me was that the audience already knew what was going to happen — everyone knew Abhimanyu would not come out — and yet the hall was completely silent. I had read the episode in a book, but on the stage it felt like something happening to people we knew.
Why this activity belongs in this chapter: each of these art forms is a different language for the same story. A sculptor, a Kathakali dancer, a puppeteer and a film-maker retell the Rāmāyaṇa in ways that look nothing like each other — and every one of them is still the Rāmāyaṇa. That is unity in diversity, seen with your own eyes.
Q5.
Discuss in class the following quotation by India's first prime minister, Jawaharlal Nehru, when he travelled to many parts of India before Independence: “Everywhere I found a cultural background which had exerted a powerful influence on their lives. … The old epics of India, the Ramayana and the Mahabharata and other books, in popular translations and paraphrases, were widely known among the masses, and every incident and story and moral in them was engraved on the popular mind and gave a richness and content to it. Illiterate villagers would know hundreds of verses by heart and their conversation would be full of references to them or to some story with a moral, enshrined in some old classic.”
Answer

The setting matters. Nehru was travelling across India before Independence, in the years when he was trying to understand the country he was working for. He met villagers in many different regions who spoke different languages and had never met one another. What surprised him was how much they already had in common.

Nehru's phraseWhat he is saying
Everywhere I found a cultural background”Not in one region but in all of them — the unity he found was countrywide
“in popular translations and paraphrasesNot in the Sanskrit original but in each region's own language and retelling — exactly the ‘epic spread’ this chapter describes
engraved on the popular mindThe stories were not stored in libraries but in people — the same oral strength the chapter describes for tribal versions
Illiterate villagers would know hundreds of verses by heart”Learning and literacy are not the same thing. People who could not read carried a whole literature in memory
“their conversation would be full of references to them”The epics were not something people studied; they were the everyday language people thought in — you could say ‘this is a Dharmarāja’ and be understood
“gave a richness and content to it”His judgement: this shared store made ordinary lives fuller, not narrower

How the quotation connects to the chapter. Nehru's observation is field evidence for what the chapter argues on pages 133–135. The chapter says the two epics “created a dense web of cultural interactions across India and many parts of Asia”; Nehru walked into that web and reported it — a common store of stories and values held by people who shared neither language nor region.

Questions for the class discussion:

  • Nehru travelled in the 1930s. Is a shared store of stories still there today? What has taken its place — films, serials, songs, sport, the internet?
  • He says the villagers knew the epics in “popular translations and paraphrases”. Is a retelling in your own language worth less than the original, or worth more, since it is the one people actually live with?
  • Illiterate villagers would know hundreds of verses by heart.” What does this tell us about memory, and about judging people by whether they can read?
  • Could the same paragraph be written about your own town today? Try writing four lines beginning “Everywhere in my town I found …”
Careful in the discussion: Nehru is describing what he observed, not ranking anybody. Communities in India draw on many stores of story and value — epics, folk tales, the lives of saints and teachers, oral traditions of every kind — and the chapter's point is that these have long borrowed from one another. Discuss the shared inheritance, and treat every community's own version of it with the same respect.
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