WITH THE PHOTOGRAPHER,
By Stephen Leacock
GLOSSARY, SUMMARY &
QUESTION-ANSWERS
Part One:
"With the
Photographer," a classic satirical short story written by the famous
Canadian humourist Stephen Leacock. Published in his 1913 collection Behind
the Beyond and Other Contributions
to Human Knowledge, it is a highly humorous yet critical
look at human vanity, the mechanical coldness of technology, and the loss of
authenticity.
* ‘Behind the Beyond’ means
looking past the surface or literal reality to reveal the absurdity, hypocrisy,
or hidden truth of a situation.
The Plot Summary
·
The Request:
A 40-year-old narrator visits a commercial photo studio to get a simple
portrait taken. He wants to leave a genuine likeness of himself for his friends
to remember him by after his death.
·
The Waiting Room:
The photographer, described as a "drooping man" with the cold,
analytical eye of a scientist, makes him wait for an hour. The narrator reads
outdated magazines from decades prior, feeling increasingly insecure about his
natural features.
·
The Ordeal:
Once inside the inner studio, the photographer ruthlessly criticizes the
narrator’s face, calling it "quite wrong". He aggressively twists and
manoeuvres the narrator’s head, ordering him to open his mouth, droop his ears,
and expand his lungs. Frustrated but submissive, the narrator defends his face,
stating he has lived with it for 40 years. The photographer takes the shot just
as the narrator loses his temper.
·
The Shocking Proof:
When the narrator returns a few days later to see the proof, he is horrified.
The photographer has heavily "retouched" the negative using chemical
processes. He removed the narrator's actual eyebrows, altered his eyes,
adjusted the mouth, and proudly boasts that he plans to edit out the ears
completely using an advanced technique.
·
The Climax:
Seeing that the photograph looks like a total stranger, the narrator breaks
into tears of anger and humiliation. He tells the photographer to keep the
"worthless bauble" for himself, refuses to pay for it, and storms out
of the studio.
Character Analysis
|
Character |
Traits & Attributes |
Role in the Narrative |
|
The Narrator |
Meek, self-conscious, passive, yet ultimately
dignified. |
Represents the ordinary human being who accepts his
natural flaws and seeks genuine human connection. |
|
The Photographer |
Cold, clinical, arrogant, and obsessed with
technical perfection. |
Represents the rigid machine age and the superficial
societal expectations of beauty. |
Core Themes
- Appearance
vs. Reality: Leacock highlights the vast disconnect between a person’s
real, natural self and the artificial, idealized versions created by
technology.
- Self-Acceptance:
The narrator values his face because it is his "humble gift"
from heaven. The story champions embracing one's natural imperfections
rather than erasing them to satisfy societal norms.
- The Arrogance of Art &
Technology: The photographer views the human face merely as raw material
to be corrected by his machine. He completely ignores the emotional value
the portrait was supposed to hold for the narrator's loved ones.
Modern Relevance
Though written in the
early 20th century, "With the Photographer" is highly relevant today.
The photographer's physical retouching of the film negative perfectly mirrors
modern social media filters, AI enhancements, and Photoshop culture, where
authenticity is routinely sacrificed for a flawless, superficial image.
*In the classic short story "With the
Photographer" by Stephen Leacock, the literal meaning of
"superficies" is the external or outer surface of something.
However, within the deeper thematic context of the
story, the word carries a heavy layer of satire and deeper meaning.
Thematic Meaning in the
Story
- Surface
vs. Substance: The photographer is entirely obsessed with the superficies—the
outermost, physical shell of the narrator's face. He looks at the face
purely as a technical object to be re-arranged, edited, and chemically
manipulated (such as through photo retouches like "sulphide" and
"bromide") rather than a reflection of a real person.
- Artificial
Beauty vs. Reality: By focusing only on the "superficies," the
photographer completely ignores the narrator's inner identity, soul, and
human feelings. He views human features as flaws that need to be wiped
away to match unrealistic standards of perfection.
- The "Distorted Self": In the end, by changing every single physical surface area of the photo—the eyes, eyebrows, mouth, and skin—the photographer destroys the original reality. What is left is a "worthless bauble": a perfect outer surface (superficies) that holds zero actual resemblance to the real narrator.
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 peedhaParaphrase 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
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
MCQS: 2
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
Answer: B2. How does the photographer initially react when the narrator asks for his photograph to be taken?
A. With great enthusiasm
B. Without enthusiasm
C. With amusement
D. With anger
Answer: B3. Which phrase best describes the photographer’s appearance as given in the passage?
A. A cheerful man in a black suit
B. A drooping man in a gray suit
C. A brisk man in a white coat
D. A tall man in a colorful suit
Answer: B4. The narrator says, “there is no need to describe him.” What does this imply?
A. The narrator cannot describe him
B. The narrator expects readers already know what a photographer is like
C. The photographer is invisible
D. The narrator is too tired to describe him
Answer: B5. What does the photographer ask the narrator to do after saying “Sit there”?
A. Strike a pose immediately
B. Wait
C. Leave and come back later
D. Read a book
Answer: B6. How long does the narrator wait in the studio?
A. Ten minutes
B. Half an hour
C. An hour
D. Two hours
Answer: C7. Which magazines does the narrator read while waiting? (Select the correct combination as listed in the passage.)
A. The Ladies Companion for 1912, the Boys Weekly for 1905, the Infants Journal for 1888
B. The Ladies Companion for 1912, the Girls Magazine for 1902, the Infants Journal for 1888
C. The Ladies Companion for 1902, the Girls Magazine for 1912, the Infants Journal for 1888
D. The Ladies Companion for 1912, the Girls Magazine for 1902, the Infants Journal for 1900
Answer: B8. What realization does the narrator have while reading the magazines?
A. That the magazines are interesting
B. That he made an unwarrantable intrusion on the photographer’s work with his face
C. That photography is an easy job
D. That he should leave immediately
Answer: B9. When the photographer opens the inner door and says “Come in,” his tone is best described as:
A. Warm and friendly
B. Jocular and teasing
C. Severe and formal
D. Confused and lost
Answer: C10. Where does the narrator sit inside the studio?
A. In a dark corner
B. In a beam of sunlight filtered through factory cotton
C. On the floor
D. Outside the studio
Answer: B11. The narrator describes a sheet of factory cotton hung against a frosted skylight. The primary function of this sheet is to:
A. Decorate the studio
B. Filter light
C. Keep out insects
D. Hide the window
Answer: B12. What does the photographer do immediately after rolling the machine into the room?
A. He lights a candle
B. He crawls into the machine from behind
C. He changes his clothes
D. He takes the narrator’s photograph right away
Answer: B13. The photographer tears at the cotton sheet and the window panes with a hooked stick because he is:
A. Angry with the narrator
B. Apparently frantic for light and air
C. Trying to fix the window
D. Looking for a hidden object
Answer: B14. When the photographer draws a little black cloth over himself, the narrator infers that the photographer is:
A. Singing
B. Praying
C. Sleeping
D. Eating
Answer: B15. After the photographer’s first look from inside the machine, how does he judge the narrator’s face?
A. The face is perfect
B. The face is quite wrong
C. The face is too small
D. The face is too pale
Answer: B16. How does the narrator respond when the photographer says, “The face is quite wrong”?
A. He becomes angry and leaves
B. He argues with the photographer
C. He answers quietly that he has always known it
D. He laughs loudly
Answer: C17. The photographer suggests the face “would be better three-quarters full.” The phrase “three-quarters full” most nearly means:
A. Turned partly to the side (three-quarter view)
B. Completely turned away
C. Looking downwards
D. Smiling broadly
Answer: A18. The narrator’s remark “So would yours” in response to “the face would be better three-quarters full” shows:
A. Hostility toward the photographer
B. Playful agreement and banter
C. Confusion about photography technique
D. Serious criticism of the photographer’s looks
Answer: B19. The narrator’s continuation about faces that “get wide, large, almost boundless” when seen three-quarters full is an example of:
A. Simile
B. Hyperbole
C. Irony
D. Metaphor
Answer: B20. What does the photographer do to the narrator’s head during the posing process?
A. Kisses him
B. Takes his head in his hands and twists it sideways
C. Shaves his hair
D. Puts a hat on his head
Answer: B21. When the narrator closes his eyes, what does he mistakenly think the photographer intends to do?
A. Shout at him
B. Kiss him
C. Hit him
D. Give him advice
Answer: B22. The photographer tells the narrator to “Open the mouth a little” and then quickly follows with “Close it.” This sequence most clearly shows:
A. The photographer is indecisive and precise about small adjustments
B. The photographer is rude
C. The narrator is uncooperative
D. The studio’s lighting is poor
Answer: A23. Which facial feature does the photographer call “bad” and ask to be adjusted?
A. The nose
B. The ears
C. The eyes
D. The chin
Answer: B24. How does the photographer instruct the narrator to position his eyes?
A. Look down at your lap
B. Close them completely
C. Roll them in under the lids
D. Look straight ahead
Answer: C25. The instruction “Put the hands on the knees, please, and turn the face just a little upward” is best described as:
A. Rude and abrupt
B. Detailed and directional posing guidance
C. Vague and confusing
D. Unrelated to photography
Answer: B26. Which command from the photographer asks for a bodily movement to create a certain posture?
A. “Open the mouth a little”
B. “Roll them in under the lids”
C. “Expand the lungs! So! And hump the neck–that’s it”
D. “Thank you”
Answer: C27. The phrase “I still don’t quite like the face, it’s just a trifle too full” indicates that the photographer:
A. Is completely satisfied
B. Finds only a minor imperfection
C. Believes the narrator is unsuitable for photography
D. Wants to stop the session
Answer: B28. The last line “I swung myself round on the stool.” most nearly indicates:
A. The narrator left the studio angrily
B. The narrator moved to help the photographer
C. The narrator resumed his original position or movement, perhaps impatiently
D. The narrator fainted
Answer: C29. The narrator’s tone throughout the passage is best described as:
A. Angry and resentful
B. Humorous and self-deprecating
C. Melancholic and wistful
D. Solemn and reverent
Answer: B30. Which sentence shows the narrator’s self-awareness about his appearance?
A. “Sit there,” he said, “and wait.”
B. “I began to see that I had done an unwarrantable thing…with a face like mine.”
C. “Come in,” he said severely.
D. “Now just expand the lungs!”
Answer: B31. The author’s attitude toward the photographer’s methods is mostly:
A. Admiring the technical skill
B. Dismissive of his expertise
C. Indifferent to the process
D. Angry about the directions
Answer: A32. The repetition of “I swung myself round on the stool” at the beginning and the end suggests:
A. The narrator is forgetful
B. Circular structure and a return to the same physical motion, implying impatience or restlessness
C. The photographer forced him to move
D. A mistake in the text
Answer: B33. The phrase “the dim eye of a natural scientist” most likely implies:
A. The photographer had poor eyesight and was a scientist by trade
B. The photographer had an analytical, detached gaze like a scientist
C. The photographer was literally a scientist studying the narrator
D. The photographer was puzzled by science
Answer: B34. Which of the following best captures the central action in the passage?
A. The narrator buys a camera and learns to operate it
B. The narrator gets into an argument with the photographer
C. The narrator seeks his photograph to be taken and undergoes a prolonged, exacting posing session
D. The narrator leaves before being photographed
Answer: C35. When the narrator says “I knew that he was praying and I kept still,” the word “praying” most nearly means:
A. Engaging in religious worship
B. Concentrating intensely and silently, hoping for a good outcome
C. Begging for mercy
D. Singing quietly
Answer: B36. The photographer’s instructions (ears droop more, roll the eyes, hump the neck) most directly reveal:
A. His ignorance of anatomy
B. A mechanistic, meticulous approach to composing a portrait
C. That he dislikes the narrator
D. That the narrator is a poor model
Answer: B37. The narrator’s comment “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 –––” is an example of:
A. An unfinished simile left trailing
B. A complete metaphor
C. A direct quotation from another text
D. A historical reference
Answer: A38. Which detail indicates the studio is somewhat old-fashioned or run-down?
A. The presence of a modern camera
B. The use of a hooked stick to tear sheets and panes
C. Bright electric lights
D. A new synthetic backdrop
Answer: B39. The narrator’s reaction to being told “the face is quite wrong” suggests he:
A. Is surprised and offended
B. Is resigned and aware of his own faults
C. Is defensive and argumentative
D. Laughs uncontrollably
Answer: B40. Which of these best summarizes the photographer’s role in the passage?
A. A careless assistant
B. A precise, almost clinical artist who manipulates the sitter to achieve an ideal image
C. A friend of the narrator
D. A novice learning photography
Answer: B41. The narrator’s description “He was only in it a second, – just time enough for one look at me, – and then he was out again” suggests the photographer:
A. Is careless and hurried
B. Is deliberate but moves quickly to inspect
C. Takes long exposures
D. Is uninterested in the sitter
Answer: B42. Which line shows that the narrator is somewhat amused by the photographer’s seriousness?
A. “Sit there,” he said, “and wait.”
B. “I’m sure it would,” I said enthusiastically, for I was glad to find that the man had such a human side to him.
C. “The face is quite wrong,” he said.
D. “Open the mouth a little,” he said.
Answer: B43. The passage’s point of view is:
A. First person narration
B. Second person narration
C. Third person limited
D. Omniscient narrator
Answer: A44. Which phrase indicates the narrator finds the magazines dated?
A. “I read the Ladies Companion for 1912, the Girls Magazine for 1902 and the infants Journal for 1888.”
B. “Sit there,” he said, “and wait.”
C. “I began to see that I had done an unwarrantable thing…”
D. “Come in,” he said severely.
Answer: A45. Which of the following best describes the mood of the scene?
A. Tense and violent
B. Lightly comic with underlying discomfort
C. Sad and mournful
D. Romantic and passionate
Answer: B46. What does the narrator mean by “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”?
A. He intruded on the photographer’s work and feels his face is unsuitable
B. He committed a crime by entering the studio
C. He discovered the photographer’s experiments
D. He felt guilty for not paying
Answer: A47. The photographer’s repeated micro-adjustments to the narrator’s posture primarily serve to:
A. Humiliate the narrator
B. Create the exact visual effect the photographer wants for the photograph
C. Make the narrator uncomfortable for fun
D. Test different camera parts
Answer: B48. The phrase “he sighted again” most likely refers to the photographer:
A. Looking through a viewfinder or peeping aperture to frame the shot
B. Catching sight of a bird outside
C. Losing his eyesight momentarily
D. Waving his hand to get attention
Answer: A49. The narrator’s behaviour—waiting, reading old magazines, making small remarks—reveals him to be:
A. Impatient and angry
B. Observant, slightly witty, and self-aware
C. Rude and dismissive
D. Inattentive and asleep
Answer: B50. Which detail most strongly indicates the photographer's priority is technical control rather than sitter comfort?
A. He offers the narrator a chair
B. He tears at the cotton sheet and window panes for light and air, crawls into the machine repeatedly, and gives exacting physical instructions
C. He gives the narrator reading material
D. He compliments the narrator’s face
Answer: BWho 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.
31. Who said, “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.”?
Ans. The narrator said this about the photographer (to the reader).32. Who said, “Sit there,” he said, “and wait.” (repeat for emphasis)?
Ans. The photographer said this to the narrator.33. Who said, “I waited an hour.”?
Ans. The narrator said this to the reader (narrating his action).34. Who said, “I read the Ladies Companion for 1912, the Girls Magazine for 1902 and the infants Journal for 1888.”?
Ans. The narrator said this to the reader (describing what he did while waiting).35. Who said, “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.”?
Ans. The narrator said this to the reader (reflecting on his intrusion).36. Who said, “After an hour the photographer opened the inner door.”?
Ans. The narrator said this to the reader (narrating the photographer’s action).37. Who said, “Come in,” he said severely.?
Ans. The photographer said this to the narrator.38. Who said, “I sat down in a beam of sunlight filtered through a sheet of factory cotton hung against a frosted skylight.”?
Ans. The narrator said this to the reader (describing his position).39. Who said, “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.”?
Ans. The narrator said this to the reader (reporting the photographer’s actions).40. Who said, “This time he was very quiet in there. I knew that he was praying and I kept still.”?
Ans. The narrator said this to the reader (interpreting the photographer’s silence).41. Who said, “When the photographer came out at last, he looked very grave and shook his head.”?
Ans. The narrator said this to the reader (describing the photographer’s demeanor).42. Who said, “The face would be better three-quarters full”?
Ans. The photographer said this to the narrator.43. Who said, “I’m sure it would,” I said enthusiastically, for I was glad to find that the man had such a human side to him.?
Ans. The narrator said this to the photographer.44. Who said, “So would yours. In fact, 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 –––”?
Ans. The narrator said this to the photographer.45. Who said, “But the photographer had ceased to listen.”?
Ans. The narrator said this to the reader (stating that the photographer stopped paying attention).46. Who said, “He came over and took my head in his hands and twisted it sideways.”?
Ans. The narrator said this to the reader (narrating the photographer’s physical handling).47. Who said, “I thought he meant to kiss me, and I closed my eyes.”?
Ans. The narrator said this to the reader (describing his mistaken impression).48. Who said, “He twisted my face as far as it would go and then stood looking at it.”?
Ans. The narrator said this to the reader (describing the photographer’s inspection).49. Who said, “He sighted again.”?
Ans. The narrator said this to the reader (noting the photographer’s act of framing/viewing).50. Who said, “I don’t like the head”?
Ans. The photographer said this to the narrator.51. Who said, “Open the mouth a little”?
Ans. The photographer said this to the narrator.52. Who said, “Close it”?
Ans. The photographer said this to the narrator.53. Who said, “The ears are bad; droop them a little more.”?
Ans. The photographer said this to the narrator.54. Who said, “Now the eyes. Roll them in under the lids.”?
Ans. The photographer said this to the narrator.55. Who said, “Put the hands on the knees, please, and turn the face just a little upward.”?
Ans. The photographer said this to the narrator.56. Who said, “Yes, that’s better.”?
Ans. The photographer said this to the narrator.57. Who said, “Now just expand the lungs! So!”?
Ans. The photographer said this to the narrator.58. Who said, “And hump the neck–that’s it – and just contract the waist –ha!–and twist the hip up towards the elbow–now!”?
Ans. The photographer said this to the narrator.59. Who said, “I still don’t quite like the face, it’s just a trifle too full”?
Ans. The photographer said this to the narrator.60. Who said, “I swung myself round on the stool.”?
Ans. The narrator said this to the reader (describing his movement).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. A gray suit.4. With whose eye is the photographer’s eye compared?
Ans. The eye of a natural scientist.5. What is the first instruction given by the photographer?
Ans. “Sit there, and wait.”6. How long does the narrator wait?
Ans. One hour.7. Name one magazine read by the narrator while waiting.
Ans. The Ladies Companion for 1912.8. Give another magazine the narrator reads.
Ans. The Girls Magazine for 1902.9. Give the third magazine the narrator reads.
Ans. The Infants Journal for 1888.10. What feeling makes the narrator think he acted unwarrantably?
Ans. Guilt or self-consciousness about intruding with his face.11. Which door does the photographer open after an hour?
Ans. The inner door.12. How does the photographer say “Come in”?
Ans. Severely.13. Where in the studio does the narrator sit?
Ans. In a beam of sunlight.14. What filters the sunlight in the studio?
Ans. A sheet of factory cotton.15. What kind of skylight is mentioned?
Ans. A frosted skylight.16. What does the photographer roll into the middle of the room?
Ans. His photographic machine (camera).17. From which side does the photographer crawl into the machine?
Ans. From behind.18. What does the photographer tear at with a hooked stick?
Ans. The cotton sheet and the window panes.19. Why does he tear at the sheet and panes?
Ans. Because he is frantic for light and air.20. What does the photographer draw over himself in the machine?
Ans. A little black cloth.21. Why does the narrator keep still while the photographer is under the cloth?
Ans. He thinks the photographer is praying.22. How does the photographer look when he comes out?
Ans. Very grave; he shakes his head.23. What does the photographer say is “quite wrong”?
Ans. The narrator’s face.24. How does the narrator reply when told his face is wrong?
Ans. “I know; I have always known it.” (He answers quietly.)25. What pose does the photographer suggest for the face?
Ans. Three-quarters full (three-quarter view).26. How does the narrator respond to the three-quarters suggestion?
Ans. He agrees enthusiastically.27. What remark does the narrator make about faces becoming “wide, large, almost boundless”?
Ans. He says faces that seem hard or limited look much larger in three-quarters view.28. Who stops listening while the narrator is speaking?
Ans. The photographer.29. What physical action does the photographer take with the narrator’s head?
Ans. He takes it in his hands and twists it sideways.30. What mistaken thought does the narrator have when his head is taken?
Ans. He thinks the photographer means to kiss him.31. What does the photographer say when he has twisted the narrator’s face?
Ans. “I don’t like the head.”32. What does the photographer ask the narrator to do with his mouth?
Ans. Open it a little, then close it.33. Which feature does the photographer call “bad”?
Ans. The ears.34. How does the photographer direct the narrator to change his ears?
Ans. Droop them a little more.35. What instruction does the photographer give about the eyes?
Ans. “Roll them in under the lids.”36. Where does the photographer ask the narrator to put his hands?
Ans. On the knees.37. How should the narrator turn his face, according to the photographer?
Ans. Just a little upward.38. Which short phrase shows the photographer’s approval after adjustments?
Ans. “Yes, that’s better.”39. What breathing instruction does the photographer give?
Ans. “Now just expand the lungs!”40. Which neck posture does the photographer request?
Ans. “Hump the neck.”41. What does the photographer tell the narrator to do with his waist?
Ans. Contract the waist.42. What additional twisting instruction is given for the body?
Ans. Twist the hip up towards the elbow.43. After many adjustments the photographer still finds the face:
Ans. A trifle too full.44. What final action by the narrator ends the passage?
Ans. He swung himself round on the stool.45. How does the narrator describe the photographer’s eye?
Ans. As a dim eye (suggesting a detached, scientific gaze).46. What adjective describes the photographer’s general posture or bearing?
Ans. Drooping.47. What phrase indicates the magazines are old or dated?
Ans. The years cited (1912, 1902, 1888).48. What does the narrator imply about describing the photographer?
Ans. “There is no need to describe him,” implying the typicality of a photographer’s appearance.49. What tool does the photographer use to tear the sheet and panes?
Ans. A hooked stick.50. How long is the photographer in the machine on his first quick look?
Ans. Only a second.51. What does the narrator hear or infer while the photographer is quiet under the cloth?
Ans. That he is praying or concentrating.52. Which sentence conveys that the narrator is amused to find a “human side” in the photographer?
Ans. “I’m sure it would,” I said enthusiastically, for I was glad to find that the man had such a human side to him.53. Which phrase shows the narrator’s self-deprecating humor about his face?
Ans. “With a face like mine.”54. The narrator’s overall tone in describing the episode can best be called:
Ans. Lightly comic and self-aware.55. What does the repeated motion “I swung myself round on the stool” suggest about the narrator?
Ans. Restlessness or impatience; a return to his original movement.56. The narrator’s act of reading old magazines mainly serves to show:
Ans. He is waiting and bored.57. The photographer’s detailed posture commands suggest he values:
Ans. Technical control and precise composition.58. Which word in the passage signals the narrator’s polite compliance to instructions (e.g., placing hands)?
Ans. “Please” in “Put the hands on the knees, please.”59. The narrator’s thought that he had “broken in on the privacy of this man’s scientific pursuits” implies the photographer treats his work as:
Ans. A scientific, private practice.60. The scene primarily illustrates the relationship between:
Ans. A meticulous, controlling photographer and a self-aware, amused sitter (the narrator).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 a dull, passive bearing and an analytical, detached gaze. The image implies he treats photography as a clinical or scientific task rather than a warm, social art. (Text: “drooping…gray suit…dim eye of a natural scientist.”)2. Why does the narrator feel that he has done an “unwarrantable thing”?
Ans. The narrator feels he intruded on the photographer’s private, serious work by arriving with “a face like mine.” He becomes self‑conscious after waiting and seeing the man’s scientific manner. The phrase shows guilt and awkwardness at imposing on someone absorbed in their craft.3. How does the long waiting period contribute to humour in the passage?
Ans. The hour‑long wait is exaggerated by the narrator reading absurdly old magazines, which emphasizes boredom and the photographer’s indifference. The contrast between the narrator’s expectation and the tedious reality produces comic irony. The slow pacing and trivial details make the situation amusing rather than tragic.4. Describe the lighting arrangement in the studio.
Ans. The narrator sits “in a beam of sunlight filtered through a sheet of factory cotton hung against a frosted skylight.” This artificial filtering shows the photographer’s obsession with controlling light. The contraption is both practical and slightly ridiculous, highlighting the studio’s technical, scientific atmosphere.5. Why does the photographer rush out of the machine tearing at the cotton and panes?
Ans. After a quick look, the photographer becomes “apparently frantic for light and air,” so he tears at the sheet and window panes to increase illumination. This dramatic reaction exaggerates his fixation on perfect lighting. The frenzy is comic and reveals how much he values technical conditions.6. Why does the narrator think the photographer is praying inside the machine?
Ans. When the photographer draws “a little black cloth over himself” and becomes very quiet, the narrator interprets the silence as prayerful concentration. The image is humorous because it treats a technical act as a solemn ritual. It underlines the photographer’s reverence for his craft.7. What is the significance of the remark “The face is quite wrong”?
Ans. The blunt statement shows the photographer’s frank professionalism and lack of tact. It also exposes the narrator’s insecurity and self‑deprecating humour when he calmly admits he has “always known it.” The line shifts the scene from passive waiting to corrective action.8. Explain the meaning of “three‑quarters full” in the context.
Ans. “Three‑quarters full” refers to the three‑quarter view in portraiture, where the face is slightly turned, which photographers often prefer. Practically, it’s a flattering angle; figuratively, it suggests opening up a face to reveal more character. The phrase shows the photographer’s technical thinking.9. How does the narrator react to the photographer’s criticism of his face?
Ans. The narrator replies calmly, “I know; I have always known it,” showing self‑awareness and acceptance. Rather than getting offended, he uses humour to deflect embarrassment. His reaction keeps the tone light and shows resilience.10. What misunderstanding occurs when the photographer twists the narrator’s head?
Ans. The narrator thinks the photographer might kiss him when the man takes his head in his hands and twists it sideways. This mistaken impression creates comic awkwardness and underscores the intimacy of the physical adjustments. It also highlights the narrator’s momentary vulnerability.11. What do the repeated instructions about body posture reveal about the photographer?
Ans. The numerous precise commands (ears, eyes, lungs, waist) reveal his controlling, perfectionist nature. He treats the sitter like a set of mechanical parts to be adjusted. This mechanistic approach is comic and exposes a lack of sensitivity to human comfort.12. How is humour created through the photographer’s technical language?
Ans. The photographer’s clinical imperatives (e.g., “expand the lungs,” “hump the neck”) are absurdly applied to a living person. The mismatch between technical language and human awkwardness produces comic effect. It also satirizes the seriousness with which practitioners treat trivialities.13. What does the narrator’s silence during instructions suggest about his character?
Ans. His silence and compliance show patience, politeness, and a tolerant temperament. He prefers to accommodate the professional rather than argue or rebel. This restraint highlights his wry, self‑effacing nature and supports the comic tone.14. Why does the photographer remain dissatisfied even at the end?
Ans. The photographer’s remark that the face is “a trifle too full” shows his impossible standards and attention to minute imperfections. No amount of adjustment satisfies him, suggesting perpetual artistic dissatisfaction. It illustrates the theme that absolute perfection is unattainable.15. What is the effect of ending the passage with the narrator swinging on the stool?
Ans. The closing action returns the scene to the narrator’s earlier restlessness and suggests impatience or a desire to escape the ordeal. It provides a comic, physical punctuation to the episode and implies the narrator’s tolerance has limits. The motion also creates a circular structure.16. Why does the narrator read magazines dating from different years while waiting?
Ans. Reading old magazines is a way to kill time and shows how long the wait lasts. The antiquated dates (1912, 1902, 1888) emphasize absurdity and the studio’s stagnant atmosphere. The detail also adds comic colour by highlighting the mismatch between expectation and reality.17. How does the simile “the dim eye of a natural scientist” shape our view of the photographer?
Ans. The simile characterizes the man as analytical and detached, observing subjects as specimens rather than people. “Dim” suggests a subdued or unemotional gaze, not lively engagement. This shapes the reader’s expectation of clinical professionalism over warmth.18. Explain the effect of the narrator’s line “But there is no need to describe him.”
Ans. The line creates understated irony and invites the reader to share a cultural stereotype of photographers. It short‑circuits description by implying the type is instantly recognizable. The phrase is wry and humorous, downplaying detail while conveying character.19. What role does the hooked stick play in the scene beyond a practical tool?
Ans. The hooked stick functions as a comic prop, emphasizing the photographer’s almost desperate physical efforts to control light. It makes his actions theatrical and slightly ridiculous. The image adds physical humour to what is otherwise a technical procedure.20. How does the writer use short clauses and punctuation when listing the photographer’s commands, and what is the effect?
Ans. The clipped clauses and punctuation create a rapid, breathless rhythm that mirrors the photographer’s brisk, imperative manner. This staccato style conveys urgency and mechanical precision. It intensifies the comic pressure on the sitter and punctuates the passage’s tempo.21. What does the narrator’s phrase “with a face like mine” reveal about his attitude?
Ans. The phrase reveals self‑deprecation and modesty; he downplays his own looks with wry humour. It shows he expects criticism and can laugh at himself. This attitude makes him a sympathetic and witty narrator.22. Why is the photographer described as “very quiet” under the black cloth, and how does that advance the scene?
Ans. “Very quiet” signals intense concentration or ritualistic focus while the photographer views the sitter through the camera. The silence heightens tension and leads the narrator to imagine prayer, adding comic interpretation. It creates a brief pause before the photographer’s verdict.23. How does the narrator’s brief philosophical remark about faces becoming “boundless” function in the passage?
Ans. The remark introduces a lyrical, reflective contrast to the mechanical directions, revealing the narrator’s tendency toward poetic observation. It suggests that a simple change of angle can alter perception, offering a philosophical aside amid comedic action. The unfinished flourish also adds charm and character.24. What does the repeated use of direct speech contribute to the passage?
Ans. Direct speech creates immediacy, shows personalities through dialogue, and provides comic timing. It allows the photographer’s brusque commands and the narrator’s wry replies to play off each other. The technique makes the scene vivid and dramatic for the reader.25. How does the photographer’s critique (“the face is quite wrong”) serve as a turning point in the scene?
Ans. The blunt critique changes the situation from waiting to active correction, prompting the series of manipulative adjustments. It marks the start of the physical comedy where the narrator becomes an object of scrutiny. The remark initiates the main action of the passage.26. In what way is the narrator both a participant and an observer in the studio?
Ans. He is a participant physically, taking directions and posing, while also narrating events with ironic distance for the reader. This dual role allows him to report actions and comment on them humorously. It creates a layered perspective that enhances the comedic effect.27. Explain why the photographer’s suggestion “three‑quarters full” holds both practical and symbolic meaning.
Ans. Practically, it’s a standard portrait pose that often flatters the sitter by turning the face slightly. Symbolically, it implies partial revelation—showing that a slight change in perspective can make a face seem broader or more expressive. The suggestion merges technical advice with a metaphor about perception.28. How does the author use contrast between the photographer’s seriousness and the narrator’s humour to shape tone?
Ans. The stark contrast makes the scene comic: the photographer’s solemn, precise manner heightens the narrator’s witty self‑mockery. This interplay keeps the mood light while exposing the absurdity of over‑serious professionalism. The tone becomes gently satirical rather than bitter.29. Why might the narrator describe the magazines by their publication years rather than their content?
Ans. Mentioning the years highlights their obsolescence and the long wait, producing comic effect. It suggests the studio is behind the times and that the narrator’s boredom is profound. The dates function as small but telling details of setting and mood.30. What does the final unresolved phrase “almost boundless in –––” suggest about the narrator’s voice or style?
Ans. The trailing dash indicates a playful digression and an unfinished rhetorical flourish, showing the narrator’s spontaneous, somewhat poetic voice. It creates intimacy with the reader and a comic sense of being cut off. The ellipsis enhances the light, conversational tone.31. Why does the narrator emphasize the photographer’s crawl into the machine “from behind”?
Ans. The detail stresses the mechanical and ritualistic nature of the process, as the photographer literally disappears into his apparatus. It underscores his focus on equipment over human interaction. The small stage direction also adds visual comedy.32. What does the narrator mean by saying “Everybody knows what a photographer is like”?
Ans. He implies a stereotype of photographers as dour, technical, and somewhat eccentric professionals. The remark is ironic and invites shared assumptions with the reader. It also minimizes description while conveying character efficiently.33. How does the narrator’s admission “I have always known it” function in terms of character development?
Ans. The admission reveals long‑standing self‑awareness and resignation about his appearance. It makes him sympathetic and humorously self‑effacing rather than insecure. The line deepens his voice as witty and realistic.34. Explain the significance of the photographer’s sigh when he says the face would be better three‑quarters full.
Ans. The sigh humanizes the photographer, showing a fleeting softness amid his clinical detachment. It registers a small emotional response, which surprises the narrator and momentarily bridges their distance. This detail adds nuance to the photographer’s character.35. What does the narrator’s detailed imitation of the photographer’s commands reveal about narrative technique?
Ans. The exact reproduction of commands creates immediacy and comic effect, while also showcasing the photographer’s obsessive focus. It lets readers visualize the scene and hear the voice of the controlling figure. The technique heightens realism and satire.36. Why does the narrator note the photographer’s “grave” look and head shake after emerging from the machine?
Ans. The grave look and head shake signal disapproval and seriousness, preparing the reader for critical judgment. It emphasizes the weight the photographer places on technical perfection. The gesture heightens the narrator’s apprehension and the scene’s tension.37. What is the function of the repeated short directives (e.g., “Open the mouth a little”, “Close it”) in developing comic rhythm?
Ans. The alternation of tiny, contradictory directives produces a comic back‑and‑forth and suggests the photographer’s fastidiousness. The micro‑adjustments accumulate into absurdity, increasing the reader’s amusement. The rhythm mirrors the practical choreography of a portrait session.38. How does the narrator’s description make the photographer’s studio feel like an experiment?
Ans. Words such as “machine,” “scientist,” and detailed manipulations of light and body make the studio seem laboratory‑like. The photographer’s actions resemble experimental procedures rather than social interaction. This framing intensifies the clinical, controlled atmosphere.39. Why is the narrator’s compliance important to the comedic outcome of the scene?
Ans. His willing submission allows the photographer’s eccentricities to dominate, creating comedy through contrast rather than conflict. If the narrator resisted, the scene would shift tone; his compliance sustains the gentle satire. It also showcases the narrator’s tolerant, amused temperament.40. How does the passage use physical detail to create vivid imagery?
Ans. Specific actions—tearing sheets, twisting the head, drawing a black cloth—give concrete, visual moments that bring the studio alive. These tactile details help readers picture the awkward intimacy of portraiture. The sensory images enhance humour and realism. (Text: multiple physical details throughout.)41. What does the phrase “just time enough for one look at me” imply about the photographer’s method?
Ans. It suggests the photographer is efficient and decisive, preferring quick inspection to prolonged conversation. The phrase shows he gauges the sitter rapidly before making technical adjustments. It indicates a practiced, methodical approach.42. How does the narrator’s casual wit affect the reader’s sympathy toward him?
Ans. His self‑mocking remarks and humorous observations invite empathy rather than pity. The wit keeps the tone light and makes him an engaging, resilient narrator. Readers are more likely to sympathize with someone who can laugh at himself.43. Explain how the passage satirizes professional obsession.
Ans. The photographer’s extreme focus on minor details and lighting, plus his ritualistic behaviour, exaggerates professional seriousness into absurdity. The satire comes from treating trivial stylistic choices as matters of high ritual and science. The narrator’s bemused tone exposes the folly.44. What does the narrator’s attention to minute chronology (the magazine years) suggest about his narrative style?
Ans. The precise dates show an eye for small, telling details and a taste for comic specificity. They give authenticity and anchor the scene in a slightly antiquated world. The detail also underscores his observational, slightly ironic voice.45. How does the interplay of action and dialogue maintain pace in the passage?
Ans. Short bursts of dialogue alternate with quick physical actions, creating a brisk, cinematic rhythm. This keeps the scene moving while allowing comic beats to land effectively. The reader experiences the tempo of the session through the text’s structure.Three-Mark Questions
1. Why does the photographer appear indifferent when the narrator first speaks to him?
Ans. The photographer “looked at me without enthusiasm,” which immediately signals detachment and boredom. His “drooping” posture and “dim eye of a natural scientist” further suggest an analytical, impersonal attitude. He treats the sitter as a specimen to be examined rather than as a social equal, so his response is clinical rather than cordial.2. How does the narrator’s long wait in the studio add to the theme of humour?
Ans. The narrator waits an hour and amuses himself by reading comically outdated magazines (1912, 1902, 1888), exaggerating the tedium. The contrast between his expectation of a quick portrait and the reality of prolonged delay creates situational irony. This mismatch, together with his self‑conscious reflections, produces a gently comic tone.3. Explain how light is treated as an important element in the passage.
Ans. Light is manipulated deliberately—sunlight is “filtered through a sheet of factory cotton hung against a frosted skylight”—showing careful technical control. The photographer’s frantic tearing at the sheet and panes for “light and air” reveals his obsessive concern with illumination as central to making the perfect portrait. Thus, light functions both practically (for exposure) and symbolically (as the photographer’s object of professional devotion).4. What does the narrator’s response to “The face is quite wrong” reveal about his character?
Ans. The narrator answers quietly, “I know; I have always known it,” showing self‑knowledge and acceptance rather than anger. His calm, wry/sardonic: mocking, scornful or derisive reply demonstrates humour and emotional resilience—he can laugh at himself. This reaction makes him a sympathetic, composed narrator rather than a defensive or embittered character.5. How does the photographer’s handling of the narrator create comedy?
Ans. The photographer’s physical manipulation—taking the head in his hands, twisting it, and issuing precise commands—turns a human being into an object of mechanical adjustment. The absurd specificity of directions (expand the lungs, hump the neck, contract the waist) heightens awkwardness and makes the scene farcical. The comedy arises from the collision of clinical technique with bodily embarrassment.6. Discuss the significance of the “three‑quarters full” face.
Ans. Practically, a three‑quarter view is a standard flattering pose in portraiture; the photographer recommends it for technical reasons. Figuratively, the narrator uses it to suggest that a slight turn can reveal unexpected breadth or warmth—faces that seem narrow can become “wide, large, almost boundless.” The phrase thus operates on two levels: photographic technique and a modest philosophical point about perception.7. Why does the narrator swing himself round on the stool at the end?
Ans. The final swing signals impatience, fatigue, and a return to restless movement after prolonged manipulation. It functions as a comic punctuation—he literally resumes the motion from the story’s opening, suggesting cyclical annoyance and mild rebellion. The action closes the scene on a humorous, physical note that emphasizes the narrator’s tolerance has reached its limit.8. How does the narrator finally protest against the photographer’s criticism and interference?
Ans. After bearing many insults about his face, the narrator eventually asks the photographer to stop criticizing and “leave the face alone.” He asserts that the face is his own and not the photographer’s property to reshape. This protest shows a turning point where he defends his dignity and identity.9. Describe the narrator’s reaction when he first sees the finished photograph.
Ans. When the narrator returns and sees the developed photograph, he is stunned because it hardly resembles him. The features have been altered so heavily that he feels the image is of someone else, not of his “only” face. This bewilderment quickly turns into disappointment and anger at losing his true likeness.10. What changes has the photographer made to the narrator’s face in the final photograph, and why is this significant?
Ans. The photographer has retouched the picture by altering the eyebrows and mouth, and even removing facial hair, using various chemical processes. These changes create an idealized but false version of the narrator. The significance lies in how the process erases individuality in the name of “improvement,” which the narrator strongly resents.11. How does the use of chemicals like “Delphide” and “Sulphide” contribute to the story’s satire?
Ans. The mention of mysterious chemicals such as Delphide and Sulphide comically exaggerates the scientific aura around a simple portrait. It satirizes the photographer’s faith in technical processes to “perfect” a face, as if beauty were a lab experiment. This undercuts his authority and exposes the absurdity of treating art as pure chemistry.12. In what way does the story explore the conflict between authenticity and artificial perfection?
Ans. The narrator comes for a picture that looks like his real self, but the photographer wants to “improve” him by changing every feature. The final photograph is technically “better” yet no longer true to the narrator’s identity. This conflict illustrates the tension between natural authenticity and artificial, standardized beauty.13. How is the photographer’s attitude towards his own work different from the narrator’s expectations?
Ans. The narrator expects a simple, respectful service that produces a faithful likeness for personal use. In contrast, the photographer treats the portrait as his own artistic–scientific product, to be perfected according to his standards, not the sitter’s wishes. This difference in attitude causes much of the misunderstanding and humour in the story.14. What does the narrator mean when he insists that the face is “mine, not yours” (or similar words) in the later part of the story?
Ans. He means that his face represents his personal identity and cannot rightly be redesigned by someone else’s taste. By stressing ownership, he rejects the photographer’s claim to decide what his features should look like. This line sums up the story’s defence of individuality against impersonal standards of perfection.15. How does the ending of the complete story reinforce its main theme?
Ans. At the end, the narrator leaves the studio upset because the “improved” photograph has taken away the truth of his appearance. His emotional reaction emphasizes that technical perfection without resemblance is meaningless to him. The ending therefore reinforces the theme that authenticity matters more than flattering but false images.Four‑Mark Questions
1. Discuss how Stephen Leacock uses humour to criticize artificial standards of beauty in “With the Photographer.”
Ans. Leacock shows how the photographer is obsessed with “improving” the narrator’s face instead of accepting it as it is. He makes the photographer twist the narrator’s head, droop his ears, roll his eyes, and later chemically retouch the eyebrows, mouth, and facial hair. These exaggerated “corrections” are humorous, but they also mock the idea that a natural face must always be modified to fit some artificial ideal. In the end, the “perfected” photograph is unrecognizable, proving that such standards destroy individuality rather than enhance it.2. How does the story present the conflict between the narrator’s desire for a natural portrait and the photographer’s idea of a ‘perfect’ photograph?
Ans. The narrator simply wants a picture that looks like himself, a straightforward record of his “only” face. The photographer, however, keeps saying the “face is quite wrong” and insists on changing angles, posture, and later even the features in the darkroom. When the finished photograph comes, it is heavily retouched and does not resemble the narrator at all. This conflict shows how the professional’s idea of perfection clashes with the client’s wish for natural truth.3. Examine the character of the photographer as an example of professional arrogance.
Ans. The photographer appears indifferent from the start, looking at the narrator “without enthusiasm” and commanding him to “sit there and wait.” In the studio, he issues clipped orders, criticizes the face, ears, and head, and never really listens to the narrator’s feelings. Later, he freely alters the photograph with chemicals, assuming he knows better what the narrator should look like. His arrogance lies in treating the client as an object and the face as his property, instead of respecting the person behind it.4. In what ways does the story highlight the loss of individuality through modern photographic practices?
Ans. The narrator goes in as a unique individual with a face he has “always known.” By the end, the photographer has changed the eyebrows, mouth, and other features until the picture becomes a generic, “improved” face that could belong to almost anyone. The narrator and even his friends find it hard to recognize him in the final print. This shows how certain photographic practices, obsessed with retouching and perfection, can erase personal identity in favour of a standardised, artificial look.5. Analyse how the first‑person narration contributes to the humour and impact of the story.
Ans. The narrator tells the story in the first person, mixing description with his own witty comments and self‑mockery. He jokes about his “face like mine,” imagines the photographer praying, and even thinks for a moment he is about to be kissed. This personal, slightly exaggerated perspective makes the humiliation feel funny rather than tragic, because he himself is laughing at the situation. The first‑person voice also helps us share his frustration and sympathise with his desire to be seen as he really is.6. How does Leacock use exaggeration and contrast to create satire in “With the Photographer”?
Ans. Leacock exaggerates both the photographer’s scientific seriousness and the trivial nature of the job. An ordinary portrait session is treated as if it were a complex laboratory experiment with mysterious chemicals like Delphide and Sulphide and endless micro‑adjustments of pose. He contrasts the narrator’s simple wish for a decent likeness with the photographer’s inflated sense of artistic and scientific importance. This exaggeration and contrast combine to satirize professionals who turn simple services into occasions for ego and over‑technical display.7. Comment on the theme of power imbalance between the professional (photographer) and the client (narrator).
Ans. The photographer controls the space, the camera, the light, and even the narrator’s body, giving him clear power inside the studio. He speaks in commands, while the narrator waits, obeys, and stays mostly silent, even when he feels uncomfortable. The final photograph is produced according to the photographer’s choices, not the client’s preferences, showing who truly decides the outcome. The story thus exposes how professionals can misuse their authority and ignore the wishes of ordinary clients.8. How does the later part of the story (retouching and final photograph) deepen the themes introduced in the posing scene?
Ans. In the posing scene, the photographer already tries to reshape the narrator through posture and angle; in the later part he goes further by chemically reshaping the photograph itself. The same attitude— “the face is wrong; let me fix it”—now moves from physical manipulation to complete visual transformation. This deepens the themes of artificial beauty and loss of identity, as the narrator finally sees that even his image is not safe from “improvement.” The ending reinforces the earlier humour but adds a slightly sharper criticism of such tampering.9. Discuss the story as a commentary on how modern technology and ‘expertise’ affect our sense of self.
Ans. The photographer represents expert knowledge of cameras, lighting, and chemical processes, while the narrator represents the ordinary person who trusts that expertise. However, the expert uses his skills to change the narrator’s appearance according to abstract standards, not according to the narrator’s self‑image. The finished photograph makes the narrator doubt and question his own face, as he no longer sees himself in it. Leacock suggests that technology and so‑called expertise, if misused, can distance us from our own natural sense of who we are.10. “With the Photographer” is humorous, but it also carries a serious message. Do you agree? Give reasons.
Ans. The story is full of humour: exaggerated waiting, comic instructions, the narrator’s misunderstandings, and the absurdly retouched photograph all make us laugh. Yet beneath the comedy, Leacock warns against professional arrogance, false standards of beauty, and the loss of individuality. The narrator’s anger and disappointment at the end show that something important has been taken from him—his truthful likeness. So, the humour makes the story enjoyable, while the serious message makes it meaningful and memorable.
Reference to context – Set 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. But there is no need to describe him. Everybody knows what a photographer is like.
(i) Why has the narrator come to the studio? What does his request show about his mood or expectation at the start?
Ans. The narrator has come to the studio to have his photograph taken. His direct and confident request suggests that he expects the process to be simple, ordinary, and free from complications. At this stage, he has no idea that the experience will become frustrating and absurd.
(ii) How is the photographer described in this extract, and what does this suggest 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 that he is dull, serious, and analytical rather than warm or friendly. His scientific gaze implies that he studies people objectively, almost as specimens, foreshadowing the detached manner in which he later treats the narrator.
(iii) Explain the meaning and effect of the line: “But there is no need to describe him. Everybody knows what a photographer is like.”
Ans. This line suggests that photographers are such a familiar type that no further description is needed. The statement is humorous and ironic because the narrator has already provided a memorable description before claiming that description is unnecessary. It also encourages readers to recognise the stereotype of photographers as serious and highly professional individuals, helping to establish the comic tone of the story.
(iv) How does this opening extract prepare the reader for the later conflict between the narrator and the photographer?
Ans. The extract introduces a contrast between the narrator’s simple wish and the photographer’s lifeless, scientific manner. The narrator is open and hopeful, while the photographer seems indifferent and unemotional. This contrast foreshadows the later clash, when the photographer’s detached professionalism will collide with the narrator’s desire for a natural, personal likeness.
(v) In what way does this extract already hint at the themes of identity and professional arrogance that appear later in the story?
Ans. The extract introduces the theme of identity through the narrator's simple desire to obtain a photograph of himself. However, the photographer's detached, scientific manner suggests that he will view the narrator not as an individual but as a subject to be examined and altered. This foreshadows the theme of professional arrogance, as the photographer later assumes the authority to criticise and "improve" the narrator's appearance according to his own standards. Thus, the extract hints at the conflict between personal identity and professional judgment that drives the story.
Reference to context – Set 2
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) Why does the narrator describe the camera as a “machine”? What humorous impression does the photographer create while using it?
Ans. The narrator humorously refers to the camera as a “machine” to emphasise its strange and mysterious appearance. The photographer creates a comic impression by repeatedly disappearing under the black cloth, emerging suddenly, and frantically adjusting the light and curtains. His exaggerated seriousness makes him appear more like a scientist conducting an experiment than a photographer taking a simple portrait.
(ii) Why does the photographer remain inside the machine just for a second? What does it suggest about the photographer?
Ans. The photographer remains inside the camera for only a moment because he needs a quick look at the narrator before making adjustments. His brief inspection suggests that he is highly critical and immediately begins judging the sitter's appearance. It also shows his professional habit of viewing people as subjects to be examined rather than individuals to be understood.
(iii) When the photographer entered the machine for the second time, why does he remain there for a longer time than before? Why does the narrator think he is praying?
Ans. During his second visit under the black cloth, the photographer remains there longer because he is carefully studying the narrator and preparing the photograph. The narrator humorously imagines that he is praying because of the photographer's complete stillness and silence. This comic misunderstanding turns an ordinary photographic procedure into something resembling a solemn religious ritual.
(iv) Why does the photographer look grave? What does he say after this extract about the narrator? How does the narrator react?
Ans. The photographer looks grave because he has judged the face as unsatisfactory and is critical of the narrator’s appearance. After this extract, he says, “The face is quite wrong.” The narrator reacts with humour and self-deprecation, replying, “I know; I have always known it,” instead of feeling offended or angry.
(v) What do you think about the photographer from his activities in this extract? Give a reason to support your answer.
Ans. From his actions in this extract, the photographer appears highly professional but excessively critical and insensitive. He focuses entirely on technical details such as light and appearance while paying little attention to the narrator's feelings. His grave expression and blunt declaration that the face is “quite wrong” reveal his perfectionist attitude and professional arrogance. Through this character, Leacock humorously satirises experts who become so absorbed in their work that they forget basic human courtesy.
Reference to context – Set 3
“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.(i) What suggestion does the photographer give about the face? Why does the narrator agree enthusiastically?
Ans. The photographer suggests that the face would be better “three-quarters full,” meaning in a three-quarter view pose. The narrator agrees enthusiastically because he feels the photographer is showing a “human side” and is willing to discuss his appearance rather than just criticize it. This agreement also reflects the narrator’s habit of humour and self-deprecation.
(ii) How does the narrator generalise the idea of “three-quarters full” in his speech?
Ans. The narrator extends the photographic angle to a general observation about human faces. He says that faces which seem hard, narrow, and limited become “wide, large, almost boundless” when seen three-quarters full. This turns a technical suggestion into a philosophical remark about how a slight change of perspective can reveal hidden depth in people.
(iii) What misunderstanding occurs when the photographer twists the narrator’s head? Why does this moment create comedy?
Ans. When the photographer takes the narrator’s head in his hands and twists it sideways, the narrator mistakenly thinks he is about to be kissed. This creates comedy because the narrator’s romantic expectation is sharply contrasted with the photographer’s cold, mechanical adjustment. The absurd mismatch between emotion and technique makes the scene humorous and awkward.
(iv) Why does the photographer remain dissatisfied even after twisting the narrator’s head and making other adjustments?
Ans. Even after adjusting the narrator's pose, the photographer remains dissatisfied and declares, “I don't like the head.” This reveals his excessively critical and perfectionist nature. The remark is humorous because the narrator's actual head cannot be changed, yet the photographer behaves as though it were a defective object that could be improved through technical adjustments.
(v) How does this extract illustrate the contrast between the narrator’s imaginative, philosophical attitude and the photographer’s practical, mechanical attitude?
Ans. In this extract, the narrator turns the photographer’s simple technical suggestion (“three-quarters full”) into a philosophical remark about how faces can become “wide, large, almost boundless.” This shows his imaginative, reflective, and slightly humorous way of thinking. In contrast, the photographer stops listening and immediately begins to manipulate the narrator’s head physically, treating him as an object to be adjusted. His focus is on technique and appearance, not on ideas or feelings. This contrast highlights the main conflict in the story: the narrator values identity and personal meaning, while the photographer values control and artificial perfection. The narrator’s speech is interrupted by the photographer’s cold action, showing how professional arrogance overrides human conversation and imagination.
Reference to context – Set 4
“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.
(i) What kind of instructions does the photographer give in this extract? What do they reveal about his attitude towards the narrator?
Ans. The photographer gives a long series of precise, mechanical commands about the ears, eyes, hands, face, lungs, neck, waist and hip. These instructions show that he treats the narrator as an object to be adjusted, not as a person with feelings. His attitude is controlling and obsessed with perfection, revealing professional arrogance and lack of empathy.
(ii) How is humour created through the photographer’s technical language in this extract?
Ans. Humour is created through the photographer's absurdly technical instructions, such as “expand the lungs,” “hump the neck,” and “contract the waist.” These commands make the narrator seem like a machine or a piece of clay being shaped rather than a human being. The exaggerated seriousness with which the photographer gives these impossible directions creates a highly comic effect.
(iii) Why does the photographer remain dissatisfied even after all these adjustments?
Ans. Despite making numerous adjustments to the narrator's ears, eyes, posture, neck, waist, and hips, the photographer still complains that the face is “a trifle too full.” His continued dissatisfaction reveals his excessively critical and perfectionist nature. The humour lies in the fact that, after altering almost every feature and pose, he still finds fault with something that cannot realistically be changed.
(iv) What does the narrator’s action of swinging himself round on the stool suggest about his feelings at the end of this scene?
Ans. The narrator's action of swinging himself round on the stool suggests that he has become tired, annoyed, and impatient with the photographer's endless instructions. After being subjected to repeated adjustments and criticisms, he can no longer remain completely passive. The action reflects his growing frustration with the absurd situation.
(v) How does this extract illustrate the theme of power imbalance between the professional (photographer) and the client (narrator) in the story?
Ans. This extract clearly shows the imbalance of power between the photographer and the narrator. The photographer issues a constant stream of commands and treats the narrator as an object to be posed and corrected. The narrator obediently follows these instructions, despite their absurdity, placing him in a subordinate position. Through this exaggerated relationship, Leacock humorously satirises professionals who become so absorbed in their expertise that they ignore the individuality and dignity of the people they serve.
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