WITH THE PHOTOGRAPHER: PART ONE, GLOSSARY, SUMMARY & QUESTION-ANSWERS

 

WITH THE PHOTOGRAPHER By Stephen Leacock 

Part One:

Page 140. “I WANT my photograph taken”…………….Page 142. I swung myself round on the stool.

“I WANT my photograph taken”, I said. The photographer looked at me without enthusiasm. He was a drooping man in a gray suit, with the dim eye of a natural scientist. But there is no need to describe him. Everybody knows what a photographer is like.

“Sit there,” he said, “and wait.”

I waited an hour. I read the Ladies Companion for 1912, the Girls Magazine for 1902 and the infants Journal for 1888. I began to see that I had done an unwarrantable thing in breaking in on the privacy of this man’s scientific pursuits with a face like mine.

After an hour the photographer opened the inner door.

“Come in,” he said severely. I went into the studio.

“Sit down,” said the photographer. I sat down in a beam of sunlight filtered through a sheet of factory cotton hung against a frosted skylight.

The photographer rolled a machine into the middle of the room and crawled into it from behind. He was only in it a second, – just time enough for one look at me, – and then he was out again, tearing at the cotton sheet and the window panes with a hooked stick, apparently frantic for light and air.

Then he crawled back into the machine again and drew a little black cloth over himself. This time he was very quiet in there. I knew that he was praying and I kept still. When the photographer came out at last, he looked very grave and shook his head.

“The face is quite wrong,” he said.

“I know,” I answered quietly; “I have always known it.” He sighed.

“I think” he said, “the face would be better three-quarters full.”

“I’m sure it would,” I said enthusiastically, for I was glad to find that the man had such a human side to him. “So would yours. In fact,” I continued, “how many faces one sees that are apparently hard, narrow, limited, but the minute you get them three-quarters full, they get wide, large, almost boundless in –––”

But the photographer had ceased to listen. He came over and took my head in his hands and twisted it sideways. I thought he meant to kiss me, and I closed my eyes. But I was wrong. He twisted my face as far as it would go and then stood looking at it.

He sighted again. “I don’t like the head,” he said.

Then he went back to the machine and took another look.

“Open the mouth a little,” he said. I started to do so.

“Close it,” he added quickly.

Then he looked again.

“The ears are bad,” he said; “droop them a little more. Thank you. Now the eyes. Roll them in under the lids. Put the hands on the knees, please, and turn the face just a little upward. Yes, that’s better. Now just expand the lungs! So! And hump the neck–that’s it – and just contract the waist –ha!–and twist the hip up towards the elbow–now! I still don’t quite like the face, it’s just a trifle too full, but ––––” I swung myself round on the stool.

Glossary
photograph taken – to have one’s picture clicked – tasveer khinchwana
without enthusiasm – lacking interest or excitement – bina utsah ke
drooping man – a man who looks tired or bent – jhuka hua ya thaka-sa aadmi
dim eye – a dull, lifeless-looking eye – feeki aur sust nazar
natural scientist – a person who studies nature scientifically – prakriti ka vaigyanik
unwarrantable – not justified or unnecessary – anuchit ya gair-zaroori
breaking in on – interrupting or intruding upon – beech mein dakhal dena
privacy – personal seclusion or freedom from disturbance – niji jeevan / ekant
scientific pursuits – serious academic or research work – vaigyanik gaveshna
inner door – a door inside a building – andar ka darwaza
severely – in a strict or harsh manner – kathorta ya rookhepan se
studio – a room used for photography – tasveer lene ka kamra
beam of sunlight – a narrow ray of sunlight – dhoop ki kiran
filtered through – passing through something to soften light – chhan kar aana
factory cotton – coarse cotton cloth used in factories – mill ka mota kapda
frosted skylight – a roof window with blurred glass – dhundhla sheesha wali chhat ki khidki
rolled a machine – pushed a machine on wheels – pahiyon wali machine ko dhakelna
crawled into – entered slowly and awkwardly – reng kar andar jaana
tearing at – pulling violently – zor se kheenchna
window panes – flat pieces of glass in a window – khidki ke sheeshe
hooked stick – a stick with a curved end – aankde wali chhadi
apparently frantic – seeming very anxious or desperate – dekhne mein bahut ghabraya hua
drew a little black cloth – covered himself with a black cloth – chhota kala kapda odh liya
very grave – serious and solemn – gambhir aur sanjeeda
shook his head – moved head to show disapproval – asahmati mein sir hilaana
three-quarters full – turned partly to one side, not fully facing – teen-chauthaai kon par
enthusiastically – with great interest or eagerness – utsah ke saath
human side – a kind and understanding nature – maanviya pehlu
apparently – as it seems – pratit hota hai
boundless – limitless or endless – aseemit / be-inteha
ceased to listen – stopped paying attention – sunna band kar diya
twisted it sideways – turned it to one side – ek taraf moor diya
sighted again – aimed and observed carefully – dhyaan se nishana lagaakar dekha
droop them – let them hang down – latka dena
roll them in under the lids – move the eyes partly under the eyelids – palakon ke neeche aankhen ghumana
expand the lungs – take a deep breath – gehri saans lena
hump the neck – bend the neck forward – gardan jhukaana
contract the waist – pull in the waist – kamar ko andar kheenchna
twist the hip – turn the hip sideways – kulhe ko moor lena
a trifle – a very small amount – thoda sa / zara si
swung myself round – turned around quickly – tezi se ghoom jaana
stool – a small seat without arms – chhota baithne ka peedha

Paraphrase in English

The narrator begins by stating confidently that he wants to have his photograph taken. The photographer, however, shows no interest or excitement at this request. He appears tired, dull, and lifeless, resembling a serious scientist absorbed in experiments. The narrator remarks that there is no need to describe him further because photographers are commonly imagined in this way. The photographer curtly orders the narrator to sit and wait. The narrator waits for a whole hour, passing time by reading extremely old magazines meant for women, girls, and even infants. During this long wait, he begins to feel guilty and foolish, realizing that he has intruded upon the photographer’s serious professional work with his own unimportant face.
After an hour, the photographer finally calls him inside the studio. He orders the narrator to sit down, placing him in a spot where sunlight enters through a cotton cloth hung beneath a frosted skylight, creating a controlled lighting effect. The photographer then wheels a camera into position and briefly looks at the narrator. Almost immediately, he becomes agitated, rushing to tear away the cotton cloth and open the window panes, desperately seeking more light and air.
He then returns to the camera and covers himself with a black cloth, remaining silent and motionless for a long time. The narrator humorously imagines that the photographer is praying and therefore stays perfectly still. When the photographer finally emerges, he looks serious and disappointed, declaring that the narrator’s face is completely unsuitable. The narrator calmly agrees, saying he has always known this.
The photographer suggests that the face might look better if turned at a three-quarters angle. The narrator eagerly agrees and even begins philosophizing about how many faces appear narrow and limited when seen straight on but become broad and impressive when viewed from an angle. However, the photographer ignores this speech and physically takes hold of the narrator’s head, twisting it to one side. For a moment, the narrator mistakenly thinks the photographer is about to kiss him and closes his eyes, but soon realizes the misunderstanding.
After further inspection, the photographer criticizes different parts of the narrator’s appearance—the head, the ears, the mouth, the eyes, posture, breathing, neck, waist, and hips—issuing rapid, mechanical commands. Despite all these adjustments, he still remains dissatisfied, remarking that the face is slightly too full. At this point, the narrator, tired and uncomfortable, suddenly turns himself around on the stool, bringing the episode to an awkward pause.

Paraphrase in Hindi (Roman Script)

Kahani ka varnakarta kehta hai ki usne spasht aur vishwas ke saath kaha ki vah apni tasveer khinchwana chahta hai. Photographer ne is baat par bilkul bhi utsah nahi dikhaya. Vah thaka hua, udaas aur nirjeev sa lag raha tha, jaise koi vaigyanik jo apne prayogon mein dooba ho. Varnakarta kehta hai ki uska varnan karna bekaar hai, kyunki log aam taur par photographer ko isi tarah ka maante hain. Photographer rookhe swar mein use baithkar intezar karne ko kehta hai.
Varnakarta ek ghanta intezar karta hai aur purani patrikayein padhta hai jo auraton, ladkiyon aur bachchon ke liye likhi gayi thi. Is dauraan use lagta hai ki usne photographer ke gambhir kaam mein bekaar ka hastakshep kiya hai aur apne chehre ko lekar use sharm mehsoos hoti hai.
Ant mein photographer use andar bulata hai aur ek aisi jagah baithata hai jahan dhundhli roshni kapde aur sheeshe se chhan kar aa rahi hoti hai. Photographer camera ko beech mein laakar jaldi se dekhkar achanak ghabra jaata hai aur zyada roshni aur hawa ke liye khidki aur kapda hata deta hai.
Phir vah camera ke andar ghuskar apne upar kala kapda daal leta hai aur bilkul shaant ho jaata hai. Varnakarta majak mein sochta hai ki vah prarthana kar raha hoga aur isliye hila-dula nahi karta. Bahar aakar photographer gambhir swar mein kehta hai ki chehra bilkul galat hai. Varnakarta shant swar mein is baat se sahmat ho jaata hai.
Photographer salah deta hai ki chehra teen-chauthaai angle se behtar lagega. Varnakarta utsah se sahmati deta hai aur darshanik baat karne lagta hai, lekin photographer uski baat nahi sunta aur uska sir pakad kar ek taraf moor deta hai. Thodi der ke liye varnankar ko galatfehmi hoti hai, lekin turant sach samajh aa jaata hai.
Photographer phir chehre ke alag-alag hisson par aapatti karta hai aur use saans lene, gardan jhukane, kamar andar kheenchne jaise kai aadesh deta hai. Fir bhi vah santusht nahi hota aur kehta hai ki chehra thoda zyada bhara hua hai. Is par varnankar thak kar kursi par ghoom jaata hai.

Paraphrase in Hindi (Devanagari Script)

कहानी का वर्णनकर्ता स्पष्ट रूप से कहता है कि वह अपनी तस्वीर खिंचवाना चाहता है। फ़ोटोग्राफ़र इस बात पर ज़रा भी उत्साह नहीं दिखाता। वह थका हुआ, उदास और निर्जीव-सा दिखाई देता है, जैसे कोई वैज्ञानिक अपने प्रयोगों में डूबा हो। वर्णनकर्ता कहता है कि उसका वर्णन करना व्यर्थ है, क्योंकि लोग आमतौर पर फ़ोटोग्राफ़र को ऐसा ही समझते हैं। फ़ोटोग्राफ़र कठोर स्वर में उसे बैठकर इंतज़ार करने को कहता है।
वर्णनकर्ता एक घंटे तक प्रतीक्षा करता है और स्त्रियों, लड़कियों तथा बच्चों के लिए लिखी बहुत पुरानी पत्रिकाएँ पढ़ता है। इस दौरान उसे यह एहसास होता है कि उसने फ़ोटोग्राफ़र के गंभीर काम में अनावश्यक हस्तक्षेप किया है और अपने चेहरे को लेकर उसे शर्म महसूस होती है।
अंत में फ़ोटोग्राफ़र उसे अंदर बुलाता है और ऐसी जगह बैठाता है जहाँ धुंधली रोशनी कपड़े और शीशे से छनकर आ रही होती है। फ़ोटोग्राफ़र कैमरे को बीच में लाकर एक नज़र देखकर अचानक घबरा जाता है और अधिक रोशनी तथा हवा के लिए खिड़की और कपड़ा हटा देता है।
इसके बाद वह कैमरे के भीतर जाकर अपने ऊपर काला कपड़ा डाल लेता है और पूरी तरह शांत हो जाता है। वर्णनकर्ता मज़ाक में सोचता है कि वह प्रार्थना कर रहा होगा और इसलिए हिलता-डुलता नहीं है। बाहर आकर फ़ोटोग्राफ़र गंभीर स्वर में कहता है कि चेहरा बिल्कुल गलत है। वर्णनकर्ता शांति से इस बात से सहमत हो जाता है।
फ़ोटोग्राफ़र सुझाव देता है कि चेहरा तीन-चौथाई कोण से बेहतर दिखाई देगा। वर्णनकर्ता उत्साह से सहमति देता है और दार्शनिक बातें करने लगता है, लेकिन फ़ोटोग्राफ़र उसकी बात नहीं सुनता और उसका सिर पकड़कर एक ओर मोड़ देता है। कुछ क्षणों के लिए वर्णनकर्ता को भ्रम होता है, पर तुरंत वास्तविकता समझ में आ जाती है।
इसके बाद फ़ोटोग्राफ़र चेहरे के अलग-अलग अंगों की आलोचना करता है और साँस फैलाने, गर्दन झुकाने, कमर अंदर खींचने जैसे अनेक आदेश देता है। फिर भी वह संतुष्ट नहीं होता और कहता है कि चेहरा थोड़ा अधिक भरा हुआ है। इससे थककर वर्णनकर्ता स्टूल पर स्वयं को घुमा लेता है।

MCQS

1.    What does the narrator want at the beginning of the passage?

A.   To buy a camera

B.   To get his photograph taken

C.   To meet a scientist

D.   To read magazines

Ans. B

2.    How does the photographer look at the narrator initially?

A.   With excitement

B.   With anger

C.   Without enthusiasm

D.   With fear

Ans. C

3.    The photographer is described as a drooping man in a __ suit.

A.   Black

B.   White

C.   Brown

D.   Gray

Ans. D

4.    Whose eye does the photographer resemble?

A.   A poet’s

B.   A painter’s

C.   A natural scientist’s

D.   A doctor’s

Ans. C

5.    According to the narrator, who knows what a photographer is like?

A.   Only artists

B.   Nobody

C.   The narrator alone

D.   Everybody

Ans. D

6.    What instruction does the photographer give first?

A.   Smile

B.   Stand up

C.   Sit there and wait

D.   Remove the coat

Ans. C

7.    How long does the narrator wait?

A.   Half an hour

B.   One hour

C.   Two hours

D.   Three hours

Ans. B

8.    Which magazine from 1912 does the narrator read?

A.   Girls Magazine

B.   Infants Journal

C.   Ladies Companion

D.   Scientific Weekly

Ans. C

9.    The Girls Magazine read by the narrator belongs to which year?

A.   1888

B.   1902

C.   1912

D.   1920

Ans. B

10. What does the narrator feel about disturbing the photographer?

A.   Proud

B.   Amused

C.   Guilty

D.   Angry

Ans. C

11. What kind of thing does the narrator call his action of coming there?

A.   Courageous

B.   Necessary

C.   Unwarrantable

D.   Scientific

Ans. C

12. What does the photographer do after an hour?

A.   Leaves the studio

B.   Opens the inner door

C.   Falls asleep

D.   Talks politely

Ans. B

13. How does the photographer say “Come in”?

A.   Kindly

B.   Cheerfully

C.   Severely

D.   Nervously

Ans. C

14. Where does the narrator sit in the studio?

A.   In darkness

B.   Near a lamp

C.   In a beam of sunlight

D.   Beside the door

Ans. C

15. What filters the sunlight?

A.   Silk curtain

B.   Paper sheet

C.   Factory cotton sheet

D.   Glass window only

Ans. C

16. What kind of skylight is mentioned?

A.   Clear

B.   Broken

C.   Open

D.   Frosted

Ans. D

17. What does the photographer roll into the middle of the room?

A.   A chair

B.   A table

C.   A camera machine

D.   A lamp

Ans. C

18. From where does the photographer crawl into the machine?

A.   From the front

B.   From the side

C.   From above

D.   From behind

Ans. D

19. Why does the photographer rush out tearing at cotton and panes?

A.   He is angry

B.   He needs more light and air

C.   He is frightened

D.   The machine breaks

Ans. B

20. What covers the photographer when he re-enters the machine?

A.   A white sheet

B.   A coat

C.   A black cloth

D.   A blanket

Ans. C

21. Why does the narrator keep still while the photographer is inside?

A.   He is afraid

B.   He is asleep

C.   He thinks the photographer is praying

D.   He is ordered to

Ans. C

22. How does the photographer look when he comes out finally?

A.   Happy

B.   Grave

C.   Laughing

D.   Excited

Ans. B

23. What does the photographer say is quite wrong?

A.   The light

B.   The machine

C.   The face

D.   The pose

Ans. C

24. How does the narrator respond to the comment on his face?

A.   Angrily

B.   Loudly

C.   Quietly

D.   Rudely

Ans. C

25. What position does the photographer suggest for the face?

A.   Full front

B.   Half turned

C.   Side view

D.   Three-quarters full

Ans. D

26. Why is the narrator glad at this suggestion?

A.   He likes photography

B.   He sees the photographer’s human side

C.   He wants to leave

D.   He wants praise

Ans. B

27. The narrator begins to philosophize about faces being __.

A.   Ugly

B.   Identical

C.   Narrow but becoming wide

D.   Always beautiful

Ans. C

28. Why does the photographer stop listening?

A.   He is bored

B.   He disagrees

C.   He is busy adjusting the narrator

D.   He leaves the room

Ans. C

29. What does the photographer do to the narrator’s head?

A.   Pushes it down

B.   Twists it sideways

C.   Pulls it back

D.   Shakes it violently

Ans. B

30. What does the narrator mistakenly think the photographer intends?

A.   To scold him

B.   To push him away

C.   To kiss him

D.   To hit him

Ans. C

31. What does the photographer say about the head?

A.   It is perfect

B.   It is too small

C.   He does not like it

D.   It is well shaped

Ans. C

32. What instruction is given about the mouth?

A.   Open it wide

B.   Keep smiling

C.   Open it then close it

D.   Keep it open

Ans. C

33. What does the photographer criticize next?

A.   Nose

B.   Hair

C.   Eyes

D.   Ears

Ans. D

34. What does he ask the narrator to do with the eyes?

A.   Close them

B.   Look straight

C.   Roll them under the lids

D.   Look upward

Ans. C

35. Where should the narrator put his hands?

A.   On the table

B.   On the stool

C.   On the knees

D.   Behind the back

Ans. C

36. What is the narrator asked to do with his lungs?

A.   Hold breath

B.   Expand them

C.   Relax them

D.   Empty them

Ans. B

37. What does “hump the neck” suggest?

A.   Straighten it

B.   Stretch it

C.   Bend it awkwardly

D.   Relax it

Ans. C

38. Which body part is asked to be contracted?

A.   Chest

B.   Waist

C.   Arms

D.   Legs

Ans. B

39. What does the photographer still dislike at the end?

A.   The light

B.   The pose

C.   The machine

D.   The face being too full

Ans. D

40. What action ends the passage?

A.   The photograph is taken

B.   The narrator leaves

C.   The photographer shouts

D.   The narrator swings himself round on the stool

Ans. D

Who Said To Whom?

1.    Who said, “I WANT my photograph taken”?

Ans. The narrator said this to the photographer.

2.    Who said, “Sit there and wait”?

Ans. The photographer said this to the narrator.

3.    Who said, “Come in”?

Ans. The photographer said this to the narrator.

4.    Who said, “Sit down”?

Ans. The photographer said this to the narrator.

5.    Who said, “The face is quite wrong”?

Ans. The photographer said this to the narrator.

6.    Who said, “I know, I have always known it”?

Ans. The narrator said this to the photographer.

7.    Who said, “I think the face would be better three-quarters full”?

Ans. The photographer said this to the narrator.

8.    Who said, “I’m sure it would”?

Ans. The narrator said this to the photographer.

9.    Who said, “So would yours”?

Ans. The narrator said this to the photographer.

10. Who said, “How many faces one sees that are apparently hard, narrow, limited…”?

Ans. The narrator said this to the photographer.

11. Who stopped listening while the narrator was speaking?

Ans. The photographer stopped listening to the narrator.

12. Who took the narrator’s head in his hands?

Ans. The photographer took the narrator’s head in his hands.

13. Who thought that he was about to be kissed?

Ans. The narrator thought the photographer meant to kiss him.

14. Who said, “I don’t like the head”?

Ans. The photographer said this to the narrator.

15. Who said, “Open the mouth a little”?

Ans. The photographer said this to the narrator.

16. Who said, “Close it”?

Ans. The photographer said this to the narrator.

17. Who said, “The ears are bad”?

Ans. The photographer said this to the narrator.

18. Who said, “Droop them a little more”?

Ans. The photographer said this to the narrator.

19. Who said, “Thank you”?

Ans. The photographer said this to the narrator.

20. Who said, “Now the eyes”?

Ans. The photographer said this to the narrator.

21. Who said, “Roll them in under the lids”?

Ans. The photographer said this to the narrator.

22. Who said, “Put the hands on the knees, please”?

Ans. The photographer said this to the narrator.

23. Who said, “Turn the face just a little upward”?

Ans. The photographer said this to the narrator.

24. Who said, “Yes, that’s better”?

Ans. The photographer said this to the narrator.

25. Who said, “Now just expand the lungs”?

Ans. The photographer said this to the narrator.

26. Who said, “And hump the neck”?

Ans. The photographer said this to the narrator.

27. Who said, “And just contract the waist”?

Ans. The photographer said this to the narrator.

28. Who said, “And twist the hip up towards the elbow”?

Ans. The photographer said this to the narrator.

29. Who said, “I still don’t quite like the face”?

Ans. The photographer said this to the narrator.

30. Who swung himself round on the stool?

             Ans. The narrator swung himself round on the stool.

RTC–1 (Extract 1)

“I WANT my photograph taken”, I said. The photographer looked at me without enthusiasm. He was a drooping man in a gray suit, with the dim eye of a natural scientist.

1.    Who is the speaker of the first sentence?

Ans. The narrator is the speaker of the first sentence.

2.    To whom are the words spoken?

Ans. The words are spoken to the photographer.

3.    How does the photographer look at the narrator?

Ans. The photographer looks at the narrator without enthusiasm.

4.    What physical description is given of the photographer?

Ans. He is described as a drooping man in a gray suit.

5.    With whose eye is the photographer’s eye compared?

Ans. His eye is compared to that of a natural scientist.

6.    What does this comparison suggest about him?

Ans. It suggests he is cold, analytical, and unemotional.

7.    What is the tone of the narrator in this extract?

Ans. The tone is humorous and mildly ironic.

RTC–2 (Extract 2)

“Sit there,” he said, “and wait.” I waited an hour. I read the Ladies Companion for 1912, the Girls Magazine for 1902 and the Infants Journal for 1888.

1.    Who says “Sit there and wait”?

Ans. The photographer says this to the narrator.

2.    What does the narrator do after being told to wait?

Ans. He waits for an hour.

3.    Name any one magazine read by the narrator.

Ans. The narrator reads the Ladies Companion for 1912.

4.    What do the dates of the magazines indicate?

Ans. They indicate that the magazines are very old.

5.    What feeling does the long wait create?

Ans. It creates boredom and impatience.

6.    What does this waiting show about the photographer?

Ans. It shows his indifference and lack of urgency.

7.    What literary device is used through the mention of magazines?

Ans. Humour through exaggeration is used.

RTC–3 (Extract 3)

I began to see that I had done an unwarrantable thing in breaking in on the privacy of this man’s scientific pursuits with a face like mine.

1.    Who is referred to as “I”?

Ans. “I” refers to the narrator.

2.    What does the narrator feel he has done?

Ans. He feels he has done an unwarrantable thing.

3.    Whose privacy has been disturbed?

Ans. The photographer’s privacy has been disturbed.

4.    What are the photographer’s pursuits called?

Ans. They are called scientific pursuits.

5.    Why does the narrator blame himself?

Ans. He thinks his face is unworthy of such serious work.

6.    What does this reflect about the narrator’s attitude?

Ans. It reflects his self-mockery and humility.

7.    What mood is created in this extract?

Ans. A comic yet self-critical mood is created.

RTC–4 (Extract 4)

I sat down in a beam of sunlight filtered through a sheet of factory cotton hung against a frosted skylight.

1.    Who sat down in the beam of sunlight?

Ans. The narrator sat down in the beam of sunlight.

2.    Through what was the sunlight filtered?

Ans. The sunlight was filtered through factory cotton.

3.    Where was the cotton hung?

Ans. It was hung against a frosted skylight.

4.    What does this description show about the studio?

Ans. It shows the studio is arranged artificially for lighting.

5.    What kind of detail is this description rich in?

Ans. It is rich in visual detail.

6.    Why is this detail important?

Ans. It helps create a realistic scene of photography.

7.    What tone does this description contribute to the passage?

Ans. It contributes to a precise and humorous tone.

RTC–5 (Extract 5)

“The face is quite wrong,” he said. “I know,” I answered quietly; “I have always known it.”

1.    Who says “The face is quite wrong”?

Ans. The photographer says this to the narrator.

2.    What is being criticized?

Ans. The narrator’s face is being criticized.

3.    How does the narrator reply?

Ans. He replies quietly and calmly.

4.    What does the narrator mean by “I have always known it”?

Ans. He means he has always been aware of his plain looks.

5.    What does this reply show about the narrator?

Ans. It shows his humour and self-acceptance.

6.    What tone dominates this exchange?

Ans. A tone of dry humour dominates the exchange.

7.    What does this reveal about their relationship?

Ans. It shows a professional but impersonal relationship.

RTC–6 (Extract 6)

“Now just expand the lungs! So! And hump the neck—that’s it—and just contract the waist—ha!—and twist the hip up towards the elbow—now!”

1.    Who gives these instructions?

Ans. The photographer gives these instructions.

2.    To whom are the instructions given?

Ans. They are given to the narrator.

3.    What activity is taking place?

Ans. The photographer is arranging the pose for the photograph.

4.    What do these instructions suggest about the process?

Ans. They suggest it is awkward and unnatural.

5.    What effect do these commands create?

Ans. They create a comic effect.

6.    How does the narrator likely feel during this moment?

Ans. He likely feels uncomfortable and irritated.

7.    What theme of the story is highlighted here?

Ans. The theme of humour in human vanity and photography is highlighted. To Context

One-Mark questions

1.    What does the narrator want at the beginning of the passage?

Ans. He wants his photograph taken.

2.    How does the photographer look at the narrator?

Ans. He looks at him without enthusiasm.

3.    What kind of suit does the photographer wear?

Ans. He wears a gray suit.

4.    With whose eye is the photographer’s eye compared?

Ans. It is compared to the eye of a natural scientist.

5.    What is the first instruction given by the photographer?

Ans. He tells the narrator to sit there and wait.

6.    How long does the narrator wait?

Ans. He waits for an hour.

7.    Name one magazine read by the narrator.

Ans. The Ladies Companion for 1912.

8.    What feeling makes the narrator think he has done something unwarrantable?

Ans. A sense of guilt and self-consciousness.

9.    Which door does the photographer open after an hour?

Ans. He opens the inner door.

10. How does the photographer say “Come in”?

Ans. He says it severely.

11. Where does the narrator sit in the studio?

Ans. In a beam of sunlight.

12. What filters the sunlight?

Ans. A sheet of factory cotton.

13. What kind of skylight is mentioned?

Ans. A frosted skylight.

14. What does the photographer roll into the middle of the room?

Ans. A camera machine.

15. From where does the photographer crawl into the machine?

Ans. From behind.

16. What does the photographer tear at with a hooked stick?

Ans. The cotton sheet and the window panes.

17. Why does he tear at them?

Ans. He wants more light and air.

18. What cloth does the photographer draw over himself?

Ans. A little black cloth.

19. Why does the narrator keep still at that moment?

Ans. He thinks the photographer is praying.

20. How does the photographer look when he comes out at last?

Ans. He looks very grave.

21. What does the photographer say is quite wrong?

Ans. The face.

22. What position does the photographer suggest for the face?

Ans. Three-quarters full.

23. How does the narrator respond to this suggestion?

Ans. He agrees enthusiastically.

24. What does the photographer do to the narrator’s head?

Ans. He twists it sideways.

25. What does the narrator mistakenly think at that moment?

Ans. That the photographer meant to kiss him.

26. What does the photographer say about the head?

Ans. He does not like it.

27. What does the photographer say about the ears?

Ans. The ears are bad.

28. Where are the narrator’s hands placed?

Ans. On his knees.

29. What does the photographer ask the narrator to do with his lungs?

Ans. Expand them.

30. What action ends the passage?

Ans. The narrator swings himself round on the stool.

Two-Mark Questions

1.    Describe the photographer’s appearance and what it suggests about his personality.

Ans. The photographer is described as a drooping man in a gray suit with the dim eye of a natural scientist. This suggests he is dull, mechanical, unemotional, and treats photography as a cold scientific experiment rather than a lively art.

2.    Why does the narrator feel he has done an “unwarrantable thing”?

Ans. The narrator feels he has disturbed the photographer’s serious scientific pursuits by intruding with his ordinary face. His long waiting time and the photographer’s indifference make him self-conscious and guilty about demanding attention for himself.

3.    How does the long waiting period contribute to humour in the passage?

Ans. The humour arises from the exaggerated waiting of one hour and the narrator reading extremely old magazines. This delay mocks the photographer’s seriousness and highlights the narrator’s boredom, making the situation absurd and comic.

4.    Describe the lighting arrangement in the studio.

Ans. The narrator sits in a beam of sunlight filtered through factory cotton hung against a frosted skylight. This artificial and complicated arrangement shows the photographer’s obsession with light and adds to the comic, over-serious atmosphere of the studio.

5.    Why does the photographer rush out of the machine tearing at the cotton and panes?

Ans. After briefly seeing the narrator’s face, the photographer becomes frantic for more light and air. His dramatic reaction exaggerates the importance he gives to lighting, creating humour and showing his extreme professional anxiety.

6.    Why does the narrator think the photographer is praying inside the machine?

Ans. The photographer becomes very quiet under the black cloth, suggesting deep concentration. The narrator humorously imagines this silence as prayer, reinforcing the idea that photography is treated like a solemn ritual by the photographer.

7.    What is the significance of the remark “The face is quite wrong”?

Ans. This remark shows the photographer’s blunt professionalism and lack of sensitivity. It also highlights the narrator’s self-deprecating humour, as he calmly accepts the criticism, turning a potentially insulting moment into a comic exchange.

8.    Explain the meaning of “three-quarters full” in the context.

Ans. “Three-quarters full” refers to a photographic angle where the face is partially turned. The photographer believes this angle improves appearance, while the narrator humorously generalizes it to suggest hidden depth and breadth in human faces.

9.    How does the narrator react to the photographer’s criticism of his face?

Ans. The narrator reacts calmly and humorously, admitting he has always known his face is wrong. His response shows self-awareness, humility, and wit, preventing offence and turning the criticism into a moment of light-hearted irony.

10. What misunderstanding occurs when the photographer twists the narrator’s head?

Ans. When the photographer takes the narrator’s head in his hands, the narrator mistakenly thinks he is about to be kissed. This misunderstanding adds comic surprise and emphasizes the awkward intimacy of the photographer’s physical adjustments.

11. What do the repeated instructions about body posture reveal about the photographer?

Ans. The numerous commands show the photographer’s controlling nature and obsession with perfection. He treats the human body like an object to be mechanically adjusted, which creates humour and exposes the artificiality of posed photography.

12. How is humour created through the photographer’s technical language?

Ans. The photographer uses abrupt, technical commands like “expand the lungs” and “contract the waist.” Applying such mechanical language to a living person creates absurdity and highlights the contrast between human comfort and photographic precision.

13. What does the narrator’s silence during instructions suggest about his character?

Ans. The narrator’s compliance and silence show patience and tolerance. Though uncomfortable, he submits politely, allowing the photographer’s eccentric behaviour to dominate, which reinforces the narrator’s role as a humorous, self-mocking observer.

14. Why does the photographer remain dissatisfied even at the end?

Ans. Despite all adjustments, the photographer still finds the face slightly too full. This shows his impossible standards and perpetual dissatisfaction, reinforcing the theme that absolute perfection in art or appearance is unattainable.

15. What is the effect of ending the passage with the narrator swinging on the stool?

Ans. The final action suggests irritation, fatigue, and rebellion against endless manipulation. It provides a humorous conclusion, showing the narrator’s loss of patience and emphasizing the absurdity of the entire photographic process.

Three-Mark Questions

1.    Why does the photographer appear indifferent when the narrator first speaks to him?

Ans. The photographer looks at the narrator without enthusiasm, showing that he is bored and detached. He treats photography as a routine scientific task rather than a personal service, which highlights his mechanical attitude and lack of warmth.

2.    How does the narrator’s long wait in the studio add to the theme of humour?

Ans. The narrator waits for an hour reading outdated magazines, which exaggerates the delay. This creates humour by showing the photographer’s indifference and the narrator’s helpless patience, making the situation absurd and amusing.

3.    Explain how light is treated as an important element in the passage.

Ans. Light is carefully controlled through cotton sheets and a frosted skylight. The photographer’s frantic effort to get more light shows his obsession with technical perfection, treating photography as a serious scientific experiment rather than a simple activity.

4.    What does the narrator’s response to “The face is quite wrong” reveal about his character?

Ans. The narrator calmly agrees with the criticism, showing self-awareness and humour. Instead of feeling insulted, he accepts his flaws gracefully, which reflects his ability to laugh at himself and maintain composure.

5.    How does the photographer’s handling of the narrator create comedy?

Ans. The photographer twists the narrator’s head and gives awkward physical instructions. This excessive manipulation of the human body turns the narrator into an object, creating comic awkwardness and highlighting the photographer’s lack of sensitivity.

6.    Discuss the significance of the “three-quarters full” face.

Ans. The phrase refers to a photographic angle meant to improve appearance. The narrator humorously extends it to human nature, suggesting hidden depth in people, while the photographer remains practical, revealing the contrast between art, philosophy, and profession.

7.    Why does the narrator swing himself round on the stool at the end?

Ans. The narrator swings round out of irritation and exhaustion after endless adjustments. This action signals his loss of patience and provides a humorous ending, emphasizing the absurdity and discomfort of the photographic session.