Lost Spring Class 12 NCERT book “Flamingo summary Q&A MCQ

Lost Spring Class 12 NCERT book “Flamingo Easy summary Q&A MCQ and MP3 in Hindi voice

Lost Spring, by Anees Jung, is taken from the Class 12 NCERT book “Flamingo.” It is a moving and painful story. This story shows the childhood of poor children who, due to social and economic constraints, are forced to work at a young age instead of pursuing education and sports.

Lost Spring Class 12 NCERT Book “Flamingo Easy Summary Q&A MCQ Story in Hindi MP3 Part 1

A Letter from Your Teacher

Hello, dear student! Before we dive into this chapter, let me tell you something — ‘Lost Spring’ is not just a chapter in your English textbook. It is a window into the lives of millions of real children in India who wake up every morning not to go to school, but to pick garbage or sit by a blazing furnace. Anees Jung, the author, actually walked into their lives — she sat with them, talked with them, and wrote their stories with her heart.

So today, instead of just reading and memorising facts, I want you to feel this story. Imagine you are walking alongside the author. Imagine the streets of Seemapuri and the dark lanes of Firozabad. When you understand it with your heart, the exam answers will write themselves. Trust me. Let’s begin.

At a Glance — Quick Revision

Character	Place	Symbol	Dream
Saheb	Seemapuri, Delhi	Plastic bag → freedom	Tennis / School
Mukesh	Firozabad	Bangles → destiny/trap	Motor Mechanic

First Things First: What Does ‘Lost Spring’ Mean?

‘Spring’ is the season when flowers bloom and everything is fresh and new. For us humans, spring is a metaphor — it stands for childhood. Childhood should be a time of play, laughter, school, and dreams. Just like flowers bloom in spring, a child’s future should blossom.

But what happens when childhood is stolen? When a child has to work instead of study? When poverty replaces play? That childhood is a ‘Lost Spring.’ The spring — the childhood — is gone before it even fully arrived. That is the tragedy Anees Jung wants us to see and feel.

“Spring symbolises childhood. When children are forced into labour, their spring — their childhood — is forever lost.”

Exam Tip: If asked ‘What does the title signify?’, say: Spring = childhood. The title means the childhood of poor children is lost to poverty and labour.

PART 1 — The Story of Saheb: Garbage is Gold in Seemapuri

Setting the Scene: Where Are We?

Seemapuri. Even the name sounds distant and forgotten. It sits on the outskirts of Delhi — very close to the big city, yet as the author beautifully puts it, ‘metaphorically miles away.’ What does that mean? It means physically, it is near Delhi. But in terms of development, facilities, dignity, and opportunity, it is in another world altogether.

About 10,000 ragpickers live here. They came from Bangladesh in 1971, driven out by storms and floods. They built their lives in mud huts with tarpaulin roofs. No sewage, no running water, no drainage. They have ration cards — not because those give them an identity, but because ration cards let them buy food. And for people this poor, food matters more than identity.

Meet Saheb-e-Alam: The Lord Who Has Nothing

Here is the first irony of the chapter — and one of the most powerful ones. The boy’s name is Saheb-e-Alam. In Arabic, this means ‘Lord of the Universe.’ But look at him. He is barefoot. He walks the garbage-strewn streets of Seemapuri every morning with a torn plastic bag, digging through rubbish heaps looking for something valuable.

‘Lord of the Universe’ — and he searches for a rupee coin in a garbage heap. That is the bitter, heartbreaking irony Anees Jung sets up right at the beginning. His grand name is a contrast to his miserable reality.

“Saheb-e-Alam, which means the lord of the universe — yet he scrounges through garbage with bare feet.”

The Hollow Promise of a School

One day, the author asks Saheb: ‘Why don’t you go to school?’ And Saheb quietly says: ‘There is no school in my area. When they build one, I will go.’ Then, jokingly, the author says: ‘If I start a school, will you come?’ And Saheb’s eyes light up. ‘Yes!’ he says with a big smile.

A few days later, Saheb runs up to her: ‘Is your school ready?’ And the author feels ashamed. She had made a promise she never intended to keep. It was a casual remark — but to Saheb, it was a ray of hope. This incident reflects something very real: promises made to poor children are rarely kept. By society, by the government, by well-meaning people who forget.

Exam Tip: This incident shows the gap between the privileged and the poor — and how a casual remark can become a crushing disappointment for someone who has nothing.

Why Do the Children Walk Barefoot?

The author notices that all the ragpicker children walk barefoot. One child says, ‘My mother didn’t take the slippers out of the cupboard.’ Another is wearing mismatched shoes — one from the left foot, one from the right. A third boy has never worn shoes in his life but says, ‘I want shoes.’

The author reflects: Is this a tradition? Or is it just an excuse — a cover for continuous poverty? She remembers a story of a Brahmin boy from Udupi who used to pray to a goddess for a pair of shoes every day on his way to school. The contrast is sharp: some children pray for shoes; some children get them as a matter of course. These ragpicker children cannot even dream of them.

Exam Tip: Barefoot = symbol of poverty. But the author also suggests it may have become a ‘tradition’ — a habit born out of helplessness.

The Tennis Court — A Dream Behind a Fence

One cold morning, the author finds Saheb standing near the gate of a wealthy neighbourhood club. Inside, two young men in white are playing tennis. Saheb is watching them. ‘I like this game,’ he says. He can watch, but he cannot play. The gatekeeper lets him use the swing sometimes when no one is there — but that is all the access he gets to that world.

Notice the symbol here. The tennis court — a sport of the rich — is right in front of Saheb, separated by a wire fence. The fence is not just physical. It is social, economic, and systemic. That fence separates Saheb’s world from the world he can only dream of.

The Tea Stall — When Freedom is Sold for ₹800

Later, Saheb gets a job at a nearby tea stall. He earns ₹800 a month plus food. Sounds like progress, doesn’t it? But look at what the author notices in his face. The carefree look — the light in his eyes — is gone.

He used to carry a plastic bag on his shoulder, lightly. That bag was his. He was his own master. Now he carries a steel canister that belongs to the tea stall owner. He is no longer free. He has traded his childhood freedom for 800 rupees.

“The steel canister seems heavier than the plastic bag he would carry so lightly over his shoulders.”

Exam Tip: This is a contrast. The plastic bag = freedom, identity, ownership. The steel canister = slavery, loss of self. Even though Saheb now earns money, he has lost something more precious — his independence.

Lost Spring Class 12 NCERT Book “Flamingo Easy Summary Q&A MCQ Story in Hindi MP3 Part

PART 2 — Mukesh’s Story: The Boy Who Dared to Dream in Firozabad

Welcome to Firozabad — The City of Bangles

Now the author takes us to Firozabad, a city in Uttar Pradesh, which is the bangle-making capital of India. Every family here has been making glass bangles for generations. The entire economy of the city runs on this industry. But look at the price — the human price — that these families pay.

Children as young as eight or ten sit beside hot furnaces, welding glass in tiny, dark, airless rooms. There is no ventilation, no light, no safety equipment. Their eyes, exposed to the glare of the furnaces and the dust of polishing glass, slowly go blind. Often, they lose their eyesight before they even reach adulthood.

Exam Tip: Hazards of the bangle industry: (1) Extreme heat of furnaces. (2) No ventilation or light. (3) Dust from polishing causes blindness. (4) Children work illegally but no law is enforced.

The Vicious Circle — A Trap With No Exit

Why can’t these families just leave? Why can’t they organise, demand better wages, and form a cooperative? The author asks exactly this. And the young men give her a heartbreaking answer: ‘Even if we organise, the police will arrest us, beat us, and throw us in jail. They will say we are doing something illegal.’

This is the vicious circle. On one side: poor families, no education, no money, no union. On the other side: moneylenders, middlemen, police, bureaucrats, and politicians — all working together to keep these people exactly where they are. Nobody benefits from their freedom. So nobody helps them escape.

“Sahukars, middlemen, policemen, law-keepers, bureaucrats and politicians — together they have imposed the burden on the child that he cannot shed.”

Lost Spring Class 12 NCERT Book “Flamingo EasySummary Story in Hindi MP3 Part 3

The Old Bangle-Maker and the Philosophy of Fate

Mukesh’s grandmother is the voice of resignation in this story. She has watched her husband go blind — literally, physically blind — from polishing glass bangles his entire life. And her reaction? ‘It is his karma. His fate. Can a God-given fate ever be broken?’

This is the philosophy of the helpless. When people have suffered so long, for so many generations, with no change in sight, they stop fighting. They tell themselves it was meant to be. It is God’s will. It is karma. It becomes their identity.

Mukesh’s father, the old bangle-maker, says something both sad and strangely proud: ‘I know nothing but bangles. All I’ve done is build a house for my family to live in.’ He has never sent his sons to school. He couldn’t. He could only teach them what he knew — bangle-making. At least he has a roof over their heads. That is his only achievement in a lifetime of labour.

Mukesh — The Rebel With a Dream

And then there is Mukesh. Among all the resigned, defeated faces, here is a boy who still has fire in his eyes. He looks the author in the eye and says: ‘I want to be a motor mechanic.’

This is revolutionary. His entire family has made bangles. His caste makes bangles. His neighbourhood makes bangles. But Mukesh dares to want something different. The garage where he wants to learn is far from home. No problem, he says — ‘I will go on foot.’

The author asks, half-jokingly: ‘Do you even dream of flying an aeroplane?’ Mukesh suddenly falls silent. He looks at the ground. ‘No,’ he says. He is not yet ready for that. He can dream of cars he sees on the streets of Firozabad. Aeroplanes barely fly over it.

“His dream looms like a mirage amidst the dust of the streets that fill his town, Firozabad.”

Exam Tip: Mukesh represents hope and the courage to dream. His family = fate/karma (acceptance). Mukesh = rebellion and aspiration. He is the ‘spark’ the author mentions.

Savita — The Girl Who Does Not Yet Understand

There is one more character — Savita. She is a young girl in a pale pink dress, sitting next to an old woman, joining pieces of glass into bangles. Her hands move mechanically, like the tongs of a machine. She does not yet understand what the bangles mean.

One day she will. When a red veil covers her head, henna is painted on her hands, and red bangles jingle on her wrists — she will understand. She will become a bride. And the bangles she spent her childhood making will become the symbol of her own marriage. The same bangles she made for others will now define her life.

The old woman beside her — who was once a young bride herself — still wears bangles. But the sparkle in her eyes is gone. ‘I haven’t even eaten a full meal,’ she says quietly. That is the full circle of a life defined by bangles.

Lost Spring Class 12 NCERT Book “Flamingo Easy Summary Q&A MCQ Story in Hindi MP3 Part 2

It’s already run by three men—her husband, Mukesh, and their father. When the old man enters, she ducks behind a broken wall and pulls her veil over her face. It’s an irony of life that daughters-in-law must veil themselves before the eldest in the family. In this case, the old man is a poor bangle-maker. Despite years of hard work—first as a tailor, then as a bangle-maker—he hadn’t been able to build a new house and send his two sons to school. All he could do was teach them what he knew himself—the art of making bangles.

“It’s his karma, his fate,” says Mukesh’s grandmother, who has watched her husband go blind polishing glass bangles. “Can a God-given fate ever be broken?” she suggests. Born into a caste of bangle-makers—they saw nothing but bangles—in their homes, in their courtyards, in every other house, in every other courtyard, in every alley of Firozabad.

Waves of bangles—gold, dusky green, royal blue, pink, purple, every shade of the rainbow—lie in heaps in obscure courtyards, loaded onto four-wheeled handcarts pushed by young men through narrow lanes. And in dark huts, beside rows of flickering oil lamps, boys and girls sit with their parents, joining pieces of colored glass into the round shapes of bangles.

Their eyes become more accustomed to darkness than to outside light. This is why they often lose their sight before they reach adulthood.

Savita, a young girl dressed in a pale pink dress, sits beside an old woman, joining pieces of glass. As her hands move mechanically, like the tongs of a machine, I wonder if she’s aware of the sanctity of the bangles she’s helping to make. They symbolise an Indian woman’s suhaag (marriage), the auspiciousness of marriage.

Lost Spring Class 12 NCERT Book “Flamingo Easy Summary Q&A MCQ Story in Hindi MP3 Part 3

Important Questions & Answers

Short Answer Questions

Q: What is Saheb looking for in the garbage dumps? Where is he from?

Ans: Saheb is looking for anything valuable — a coin, a rupee note — in the garbage dumps of Seemapuri. He has migrated from Dhaka, Bangladesh, where floods destroyed his family’s fields and home.

Q: Why does the author feel embarrassed after asking Saheb about school?

Ans: The author jokingly promises to open a school for Saheb if he will attend. When Saheb asks a few days later if the school is ready, the author realizes she made a promise she had no intention of keeping — and feels deep shame at having given false hope to a child who had nothing.

Q: Why does the steel canister seem heavier than the plastic bag?

Ans: The plastic bag belonged to Saheb — he was his own master as a ragpicker. The steel canister belongs to the tea stall owner. Though Saheb now earns money, he has lost his freedom. The canister represents servitude; hence, it feels heavier than the bag of a free child.

Q: What makes Firozabad famous? What is the ‘vicious circle’ mentioned by the author?

Ans: Firozabad is famous for its glass bangle industry — it is the centre of India’s bangle trade. The vicious circle refers to the unbreakable trap of poverty created by moneylenders, middlemen, police, bureaucrats, and politicians, who together ensure that the bangle-makers can never organize, escape debt, or improve their condition.

Q: How is Mukesh’s attitude different from his family’s?

Ans: Mukesh’s family has accepted bangle-making as their karma and destiny — they are resigned to poverty. Mukesh, however, refuses to accept fate. He dreams of becoming a motor mechanic, wants to go to a garage to learn, and is ready to walk the long distance on foot. He represents the courage to break away from tradition.

Q: Why does Mukesh’s grandmother say, ‘Can a God-given fate ever be broken?’

Ans: She represents the philosophy of fatalism — the belief that suffering is destiny, not injustice. After generations of poverty and watching her husband go blind from bangle-making, she has stopped hoping for change. She sees their condition as God’s will, not as something that can or should be challenged.

Long Answer Questions

Q: Describe the living conditions of the ragpickers in Seemapuri.

Ans: Seemapuri is on the outskirts of Delhi but is ‘metaphorically miles away’ from the city in terms of development. Its residents — about 10,000 ragpickers — live in mud huts with tarpaulin or tin roofs. There is no sewage system, no drainage, and no running water. The people came from Bangladesh in 1971. They have ration cards for food but no proper legal identity. For them, rag-picking is not a job — it has become their art, their survival, their entire life.

Q: What forces keep the bangle-makers of Firozabad trapped in poverty?

Ans: Multiple forces conspire against the bangle-makers. Moneylenders keep them in perpetual debt. Middlemen take the profit. Police suppress any attempt to organize, threatening arrest. Bureaucrats and politicians ignore their condition. And from within, generations of fatalism and caste identity make these families believe their condition is unchangeable destiny. There is no leader, no union, and no access to legal protection.

Q: What do the bangles symbolize in this chapter?

Ans: The bangles have a layered symbolism. For the women of India, they symbolize marriage and auspiciousness — a bride’s suhaag. But in Firozabad, they also symbolize the trap of destiny — the cycle of poverty and labour that children are born into. The very bangles that celebrate marriage for others become the chains of life for those who make them. Savita makes bangles without understanding their meaning — one day, those same bangles will adorn her wrists as a bride.

Multiple Choice Questions (MCQs)

Set 1 — Basic Understanding

Q1. What is the irony behind the name ‘Saheb-e-Alam’?

(A) He is very rich but pretends to be poor.

(B) His name means ‘Lord of the Universe’ but he is a barefoot ragpicker.

(D) He owns a tea stall but never drinks tea.

✔ Answer: (B) Hint: Name means ‘Lord of Universe’ — but reality is the opposite.

Q2. Why does the author say ‘Garbage is gold’ for the ragpickers of Seemapuri?

(A) They find actual gold coins every day.

(B) Garbage is their only source of livelihood and survival.

(D) They like the smell of garbage.

✔ Answer: (B) Hint: Gold = metaphor for their means of survival.

Q3. What does the steel canister represent in contrast to the plastic bag?

(A) The canister is made of heavier metal.

(B) Saheb was becoming physically weaker.

(C) Saheb had lost his freedom and was now a servant.

(D) The bag was empty but the canister was full.

✔ Answer: (C) Hint: Bag = freedom. Canister = servitude.

Q4. Why is Mukesh’s dream of becoming a motor mechanic compared to a ‘mirage’?

(A) He lives in a desert.

(B) His grim reality makes his dream seem nearly impossible.

(D) There are no cars in Firozabad.

✔ Answer: (B) Hint: Mirage = something visible but hard to reach.

Q5. What prevents workers in Firozabad from forming a cooperative?

(A) Not enough people to organise.

(B) They are too busy making bangles.

(C) The vicious circle of police, middlemen, and politicians.

(D) They do not know how to speak to the government.

✔ Answer: (C) Hint: The ‘vicious circle’ is the key concept.

Set 2 — Deep Understanding

Q6. What does the title ‘Lost Spring’ symbolise?

(A) The end of the winter season.

(B) The loss of childhood and its innocence.

(D) Migration of birds from Dhaka.

✔ Answer: (B) Hint: Spring = childhood. Lost = stolen by poverty.

Q7. Why do children in Firozabad lose their eyesight?

(A) They don’t eat enough carrots.

(B) Working in dark, unventilated furnaces and polishing glass.

(D) They are born blind due to karma.

✔ Answer: (B) Hint: Dust + darkness + furnace glare = blindness.

Q8. What is the central theme of ‘Lost Spring’?

(A) The beauty of the spring season.

(B) The benefits of the bangle industry.

(C) Grinding poverty and traditions that condemn children to exploitation.

(D) The history of ragpicking in Delhi.

✔ Answer: (C) Hint: Poverty + child labour + social traps = core theme.

Q9. Which of the following correctly describes Mukesh’s attitude?

(A) He accepts bangle-making as his karma.

(B) He wants to fly aeroplanes.

(C) He dreams of becoming a motor mechanic and is determined to do so.

(D) He is content watching others live better lives.

✔ Answer: (C) Hint: He is the rebel — the one who dares to dream differently.

Q10. What does the ration card symbolise for the residents of Seemapuri?

(A) Their legal citizenship.

(B) Their right to vote.

(C) Their only means of accessing food — survival over identity.

(D) Their right to education.

✔ Answer: (C) Hint: Food > identity for those who are starving.

Figures of Speech — Teacher’s Explanation

This is a section many students find tricky in exams. Let your teacher walk you through it. The beauty of Anees Jung’s writing is that she uses literary devices not to show off — but to make you feel the pain more deeply. Here is every device from the chapter explained simply, with the answer ready for you.

Phrase / Line	Figure of Speech
Saheb-e-Alam — lord of the universe, but a ragpicker	Contrast
Drowned in an air of desolation	Metaphor
Seemapuri — near Delhi yet miles away	Contrast
For children, it is wonder; for elders, survival	Contrast
Hands move mechanically like the tongs of a machine	Simile
Bangles on her wrist, but not light in her eyes	Contrast
Few aeroplanes fly over Firozabad	Statement of Reality / Symbolism
Web of poverty	Metaphor
Scrounging for gold	Hyperbole
Rag-picking has acquired proportions of a fine art	Metaphor
Steel canister heavier than the plastic bag	Contrast

Quick Guide: Contrast = two opposites placed together | Metaphor = something described as something else | Simile = comparison using ‘like’ or ‘as’ | Hyperbole = deliberate exaggeration

Key Themes at a Glance

Child Labour and Exploitation

Children should be in school. Instead, Saheb picks garbage and Mukesh works by a furnace. The law prohibits child labour — but the law is never enforced. This hypocrisy is at the heart of the chapter.

The Vicious Circle of Poverty

Poverty creates poverty. Children work instead of going to school. Because they don’t go to school, they can’t get better jobs. Because they can’t get better jobs, their children will also have to work. The cycle never breaks — unless someone dares to break it, like Mukesh.

Fate vs. Free Will

Mukesh’s grandmother believes in karma — what will be, will be. Mukesh believes in action — I will walk to the garage, even if it is far. This tension between fatalism and agency is the moral heart of the chapter.

Broken Promises and Social Apathy

The author herself makes a broken promise to Saheb. This is intentional. She is showing us that even well-meaning, educated people fail these children. Change requires more than sympathy — it requires sustained action.

Loss of Identity and Freedom

Saheb has no passport, no school, no legal identity. The ragpickers of Seemapuri have ration cards, not citizenship. Saheb loses his freedom when he joins the tea stall. Identity and freedom, it turns out, are luxuries the poor cannot afford.

THINKING ABOUT LANGUAGE

Although this text speaks of factual events and situations of misery, it transforms these situations with an almost poetical prose into a literary experience. How does it do so? Here are some literary figures of speech:

❖ Hyperbole is a way of speaking or writing that makes something sound better or more exciting than it really is. For example: Garbage to them is gold.

❖ Metaphor is a word or phrase used to describe something in a way that is different from its normal use, in order to show that the two things have the same qualities and to make the description stronger. For example: The road was a ribbon of light

❖ Contrast refers to a difference between people and things that can be seen clearly when they are compared or put close together. For example: His dream looms like a mirage amidst the dust of streets that fill his town, Firozabad, famous for its bangles.

❖ Simile is a word or phrase that compares one thing with another using the words “like” or “as”. For example: As white as snow

Carefully read the following phrases and sentences taken from the text, and name the figures of speech used

Saheb-e-Alam, which means the lord of the universe, is directly in contrast to what Saheb is in reality.
Drowned in an air of desolation
Seemapuri, a place on the periphery of Delhi yet miles away from it, metaphorically.
For the children, it is wrapped in wonder; for the elders, it is a means of survival.
As her hands move mechanically like the tongs of a machine, I wonder if she knows the sanctity of the bangles she helps make.
She still has bangles on her wrist, but not light in her eyes.
Few aeroplanes fly over Firozabad.
Web of poverty.
Scrounging for gold.
And survival in Seemapuri means rag-picking. Through the years, it has acquired the proportions of a fine art.
The steel canister seems heavier than the plastic bag he would carry so lightly over his shoulders.

Ans.

contrast
metaphor
contrast
contrast
simile
contrast
metaphor
metaphor
hyperbole
simile
contrast

Here are some practice questions designed to test your deeper understanding of the chapter:

1. What is the “irony” behind the name ‘Saheb-e-Alam’?

A) He is very rich but acts poor.
B) His name means ‘Lord of the Universe’, but he is a poor ragpicker.
C) He loves the spring season but lives in winter.
D) He owns a tea stall but doesn’t drink tea.

2. Why does the author say that “Garbage is gold” to the ragpickers?

A) Because they find actual gold coins every day.
B) Because it is their only source of income and survival.
C) Because the garbage dump is painted in gold color.
D) Because they like the smell of garbage.

3. In Firozabad, what prevents the workers from forming a cooperative?

A) They don’t have enough people.
B) They are too busy making bangles.
C) The “vicious circle” of middlemen, police, and politicians.
D) They don’t know how to speak to the government.

4. “The steel canister seemed heavier than the plastic bag.” What does this line actually mean?

A) The canister was made of heavy iron.
B) Saheb was becoming physically weak.
C) Saheb had lost his freedom and was now a servant.
D) The plastic bag was empty, but the canister was full of milk.

5. Why is Mukesh’s dream of becoming a motor mechanic seen as a “mirage”?

A) Because he lives in a desert.
B) Because his reality is so grim that his dream seems impossible to achieve.
C) Because he doesn’t actually want to be a mechanic.
D) Because there are no cars in Firozabad.

1. What does the title ‘Lost Spring’ symbolize?

A) The end of the winter season.
B) The loss of childhood and its innocence.
C) A botanical study of flowers.
D) The migration of birds from Dhaka.

2. What is the central theme of the story?

A) The beauty of the spring season.
B) The benefits of the bangle industry.
C) Grinding poverty and traditions that condemn children to a life of exploitation.
D) The history of ragpicking in Delhi.

3. Why do the children in Firozabad lose their eyesight?

A) Because they don’t eat enough carrots.
B) Due to working in dark, unventilated furnaces and polishing glass.
C) Because of the bright sunlight outside.
D) They are born blind due to their “karma.”

4. Savita, the young girl in Firozabad, is described as “joining pieces of glass.” What does she represent?

A) A modern entrepreneur.
B) The innocence of a child unaware of the “sanctity” of the bangles she makes.
C) An expert technician.
D) A girl who hates her family tradition.

5. “Survival in Seemapuri means…”?

A) Working in a school.
B) Playing tennis at the club.
C) Ragpicking.
D) Driving a car.

Your Teacher’s Final Note

If you remember nothing else from this chapter, remember this: these are real children. Not characters in a fantasy novel. Saheb and Mukesh are walking the streets of Indian cities right now. And the question the author leaves us with — which she also leaves you with — is: What are you going to do about it?

That is the real exam. The board exam will test your memory. But this chapter tests your conscience.

“Before he even realises it, he accepts it as natural, just like his father did.”

Don’t accept injustice as natural. Study hard. Understand deeply. And perhaps one day, be the person who builds the school — and actually opens it. Good luck!

— End of Study Guide —

CLASS ORB!